Reading the columns
Every account in the chart of accounts gets a row. Here is the camera account from week 3 of a fictional shoot:
| Acct | Description | Budget | This week | To date | POs open | ETC | EFC | Variance |
|---|---|---|---|---|---|---|---|---|
| 3300 | Camera | $118,000 | $14,600 | $61,200 | $22,400 | $41,000 | $124,600 | ($6,600) |
EFC is $61,200 + $22,400 + $41,000 = $124,600. Variance is $118,000 - $124,600 = -$6,600, shown in parentheses because the account is heading over. The "POs open" column comes from purchase orders issued but not yet paid, which is how a cost report catches spending that has been promised before the invoice arrives.
The hard part is ETC
Anyone can add up invoices. The judgment in a cost report is the estimate to complete: what's left to spend on this account, given what the accountant now knows. If the DP added a second camera operator for the last two weeks, ETC has to include those weeks even though no time card exists yet. A cost report with honest actuals and a stale ETC will look fine right up until it doesn't.
How it's built each week
- Post all paid invoices, petty cash envelopes, and payroll to the ledger by account.
- Reconcile open POs.
- Pull overages from the week's hot costs.
- Meet with the line producer or UPM to update ETC account by account.
- Recalculate EFC and variance, then summarize by category on a top sheet version of the report.
What people get wrong
Moving budget between accounts to hide an overage is the big one. The approved locked budget column should stay fixed; if money moves, it shows as a transfer in a separate column so the history is visible. Another is reporting variance without explaining it. A good report has a short note per significant variance: "3300 Camera: added B-camera operator weeks 4 and 5, approved by producer 3/12."
The production accountant owns the report. For a walkthrough of a full sample, see how to read a film cost report.
