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A UPM is usually hired by a film producer or television producer, and is responsible for managing the production and regulating the costs of delivering the expected film or television show on budget at the end of principal photography. Based on a shooting script, the UPM will create a working budget during pre-production, prior to the start of principal photography, thereby charting a recommended budgetary course. Typically, a producer will oversee all the cost-related decisions, including above-the-line expenditures (especially during pre-production). However, the UPM is responsible for the more detailed planning and execution of the below-the-line costs (primarily for physical production). The film's director will select important department heads (keys) or support personnel related to his work, including the casting director, cinematographer, costume designer, production designer, and film editor. For below-the-line matters, the UPM often negotiates deals (for location, equipment, etc.) and hires the remaining crew, typically on the recommendation of the keys and/or based on prior experience with trusted individuals.

The UPM frequently does not have any direct responsibilities with the creative direction of the film's narrative, although in some cases he will and can be consulted. Many budget decisions affect the creative direction of the project. He or she is to support the director's artistic vision on a daily physical production level.

Before principal photography begins both the producer and UPM work to secure as many of the production elements as possible, including a workable schedule and budget. Usually from a production office during pre-production, they may later divide their time between the office and the set while the film is being shot. An on-set trailer may also be used as a makeshift production office. Like nearly all members of a film crew, UPMs will typically remain on the shoot until the end of principal photography and can return if there are any reshoots. It is not atypical for a UPM to work 80-100 (or more) hours per week while a film is in production.

In the US, a union UPM is represented by The Directors Guild of America. Certain conditions must be adhered to on a union shoot in order to remain in good standing with the DGA. These include expected salary rates, working hours, overtime penalties, required meals and other related criteria.