Brian Gary
Flying Chaucer Films
At Flying Chaucer Films we started using Gorilla in version one mainly for its robust accounting module. That's right, accounting--most of the focus with Gorilla tends to be on the Budgeting and Scheduling functions and the keen integration between all of the modules, but for tracking expenses during production we find Gorilla indispensable. Once a budget is created in Gorilla, tracking expense against that budget becomes very easy. So that at any time during production you are able to see where you are financially in any given line item: going over in grip and electric, under tape stock, it's all right there. That way you are able to make adjustments during production and not wait until post to realize you've overspent.
Often, because of industry compatibility, we have to start with a budget created in Movie Magic or EP Budgeting. When my partner and fellow producer Shannon Bae and I began a commercial project for Dow Jones & Reuters we started with a budget created using EP. We had to budget four webisodes for the company's search engine Factiva and the ad agency Thunder Factory wanted PDF and EP version of the budget as we went through the revisions. I've used Budgeting since version 2 as a Movie Magic product and now have the OS X compatible version running on my MacBook Pro, so I'm very familiar with the software and its strengths and weaknesses.
The key thing to remember about Budgeting is that it is an estimation tool and not an execution tool.
Now what does that mean exactly. Well, Budgeting assumes that once you begin production you are going to export the budget to some form of accounting program like Vista or even Excel. There is NO way to implement and track a budget and expenses using Budgeting, hence the fact that its sole purpose is to estimate what a project will cost. Once you start spending it's of no use.
Accounting is the main reason we invested in Gorilla starting with version 1. Sure, we could spend a lot of time creating customized spreadsheets in Excel or lots of money on a dedicated accounting platform, but why, especially when Gorilla does it so well. We started by manually inputing the budget from EP into Gorilla's budgeting module and now we import a delimited file (something EP can export). From there it is really very simple, take the Factiva project for example: as expenses came in during production, everything from salaries to craft service, we just input them into the register in the accounting module. But the really impressive thing Gorilla does is allow you to track your expenses against the budget so that at anytime you can print a report that shows how much you spent in any given account.
This "hot cost" accounting gives you the flexibility you need as a producer, especially on independent shoots. Let's face it you never spend exactly what you budget in every single account: some accounts go over and some go under, but if you do a good job with the overall estimate it's usually a wash (you hope!). Let's say that that on day two of the shoot you realize that because you just added 12 extras to day three your catering expenses are going to go up. But because you can open a Gorilla report and see that you're under budget in both props and set dressings (because you cut a scene in day one) you can easily cover the increase by the underage. This is what accounting departments with high powered software are able to give producers of studio pictures. In the independent world all you really need is a laptop running Gorilla - AND you have to keep up with logging you expenses. Output is only as good as the input. The net result though is a significant savings in time.
At the end of projects we are able to printout detailed reports that go to our business accountants and the project is easily tallied and archived. The four videos for the Factiva project came in on time and on budget in large part because Shannon and I were able to monitor the expenses all throughout production and post-production using Gorilla. Meaning there were no surprises at the end or worse, what happens all too often, money running out during post because of overspending during production.
We continue increasing the use of Gorilla in our production pipeline. The integration of the modules is very helpful. We've entered into the database most of the vendors we use on a continued basis so that with one click we are able to log expenses to them against a budget.
The budgeting and scheduling modules of Gorilla receive a lot of attention, but for my money the accounting module is worth the purchase price alone. The software continues to expand and refine and becomes more and more of an indispensable tool for producers. Gorilla really is an A to Z producer's toolbox and for producers like us who need to work with other software in tandem with Gorilla it's still essential to our workflow - even if we don't use all the letters in the box.
Todd Hooker
AVMedia Resources (March 2, 2004)
Numerous software programs utilized by filmmakers today seem to suffer from the fact that they are designed for use not entirely specific to what a filmmaker needs. In marked contrast to this, Gorilla 2.0 by Jungle Software is an excellent budgeting, scheduling and management tool that really feels like it was designed for the independent filmmaker.
Gorilla is capable of generating over fifty industry standard reports that include: stripboards, breakdown sheets, budget top sheets, and variances. Version 2.0 also allows importing breakdown sheet information from Final Draft and Movie Magic Screenwriter. Currently, the folks at Jungle Software are marketing Gorilla 2.0 as "the complete production software package for the independent filmmaker". But with closer inspection, they have built a tool that is so flexible and extensive, it is capable of being a valuable asset to documentary films, music videos, and industrial video producers as well.
For example, in your independent film project, you have the ability to enter an actor's profile into the Actors module once, and then to attach that actor to one project, multiple projects, or multiple characters in one project. But in the case of a documentary film or industrial video, that "actor" could be one of the subjects you interviewed. Since you can attach digital photos to your "actors" in their module this is just a great way to keep track of so many people spread out over time, and sice you can do the same for crew members, this allows you to build your contact database effectively and efficiently.
Saving Money
How valuable is this type of tool? Many independent filmmakers are so tight on money that they will lose sight of the "time" factor when it comes to their production. A brutally tight budget could translate into the Director/Producer becoming a UPM, a Coordinator, and a Production Assistant all at the same time. You can simply ask yourself what it would cost your film if:
1) an expensive piece of equipment is not returned on time
2) an actor is not properly scheduled for a valuable shoot day
3) you go over budget on a line item and don't realize it until you are ready to start post-production?
All three of the above-mentioned examples are not uncommon occurrences on an independent film project.
To accommodate different needs, Gorilla comes in three additions: Pro, Standard, and Student, with a price tag of $399, $299, and $199 respectively. The Pro version has unlimited shoot days and budget. The Standard Edition has the same features as the Pro except it is limited to 48 days and a $500,000 budget. The Student Edition is limited to 14 days and a $50,000 budget. Personally, I get a little annoyed at software that employs this multi-tiered pricing/services strategy. But the Jungle Software website promises that you can "seamlessly" and "easily" upgrade your software version if you need the extra features and capabilities midway through your production.
Note, since Gorilla is an extensive program, there is something of of a learning curve. It is not a program you buy a day or two before your shoot and expect to be up and going. The PDF manual that is included in the disk has the information you need learn the program but it leaves a lot to be desired in the way the information is presented. However, you can learn and use Gorilla for free. At the Jungle Software website you can download a demo version. If you get partway through production, and decide you can't live without it, you can buy it and they will send you a serial number that will let you keep all your current data and information.
Cool Extras
Gorilla has many extra features relating diverse things like locations, rehearsals, and currency conversions. One feature that should enable the wheeler-dealer producer in you to emerge is "Distribution of Profits" module. This tool allows you to create "what-if" scenarios for investors and people who have deferred points on your movie. So when you win Sundance and are swamped with loads of cash, you will know exactly how much everybody is owed.
Gorilla also has a film festival module. This feature, which seems superfluous at first glance, turns out to be a really nice touch. The hard reality is that making an independent film can be an exhausting experience. It is not uncommon for a film to get bogged down and linger in post-production. This in turn, can be a steady drain on a filmmakers finances, stamina, and passion. Gorilla's film festival module is great reminder that helps you to keep your eyes on the prize.
Kari Ann Morgan
MicroFilmmaker - Equipment & Software Reviews (February 15, 2006)
The Producer. The smooth-talking, latte-toting, slickster who promises you everything. At least that's what we see in movies. In reality, the producer is a kind of jack-of-all-trades, the one who knows people and knows how to make sure things get done. It's really not a glamorous job for the most part; I know because I've done it. Granted, it was for an ultra-low-budget film, but that meant I had almost no one to delegate things to. Ah the joys of microcinema! Some of the producer's responsibilities involve (but are certainly not limited to): raising funding for the film; scheduling the production; finding actors; finding crew; scouting locations; writing up the budget; making sure people follow said budget; organize lodging/food for cast and crew; organizing post-production; making publicity arrangements; submitting movie to festivals… You can see why a lot of producers are always caffeine-addicted and on the go!
Enter Jungle Software's Gorilla 3. While it's listed as "Scheduling and Budgeting Software", it's a lot more than that. It can import scripts directly from Final Draft or Movie Magic Screenwriter and incorporate it into pre-production planning; store actors' publicity photos and audition video clips with their profile information; import video clips and still images to help with editing, storyboarding, shot-sheeting, and location hunting; figure out and organize your budget and (hopefully) profits; it even contains detailed information for 1,200 film festivals!
Ease of Use - Score 8.5
Like Photoshop or Dreamweaver or any other program dealing with a specialized field, Gorilla takes some adjustment to learn to navigate. It has 11 categories on its main menu, each with a secondary drop-down menu that pops up when you click it. For example, let's say you click on "Story" and select "Projects." This pulls up a window where you can begin to enter in information. Just beneath the top taskbar are several folder tabs--in this case, "Story," "Plot Points," "Acts," etc.--so you can quickly switch between the various structural elements of your project's story. Also, with almost all screens, you can click on the "List" button at the top to see a complete list of your contacts or "Sort" to organize them differently.
Utilizing the "Calendar and Scheduling" options are not very difficult, just mostly a matter of selecting boxes and entering in the appropriate information. The nice thing is that you can get fairly detailed and still keep your information straight. Additionally, you can import photos, video clips, or images from storyboarding software, like Frame Forge 3D Studio 2, to help organize your shot list.
The "Budgeting and Accounting" sections are a little more complicated. Okay, well a lot more complicated (unless you've done in-depth film finances before). I reviewed the Pro version, which gives you an unlimited budget (versus a $625,000 limit on the Standard and $50,000 limited for the Student version). Obviously, the more money that you (as a producer) are working with, the more familiar you're going to be with the various aspects they address here. Most folks coming to this site will be dealing with a low budget, and won't need everything in the Pro version. The Regular version of the program is probably the best for microfilmmakers, because, although it's got a higher budget than you'll need, it will allow a 45 day shooting schedule rather than the meager 2 week shooting schedule in the student version.
However, no matter which version you get, if you happen to get stuck or confused, Jungle has included a very nifty feature: a real Help button! Not something that will take you to a generic "type your problem here" Windows menu; no sir, this pulls up several red-text explanations of the various buttons and options, explaining what they are and what they do. This is a huge help, because sometimes all you need is a quick, basic explanation of how something works.
The "Editing" feature is a tool that will make your editor love you. Not only can you import video clips, but you can enter very detailed information about the quality of each take and then organize them to make it a snap to find them again later. And these screens (like almost all of the other ones) can be printed out so you can make sure that everyone is (literally) on the same page.
The "Film Fest" section is perhaps one of the biggest answers to a microfilmmaker's prayers (aside from an offer to purchase your film!): an organized list of 1,200 national and international film festivals. Locations, addresses, emails, websites, phone numbers; no more spending long hours on the Internet trying to find contact information… it's all there. It's also organized so that you can keep track of your submissions, follow-ups, etc. This section is a nice touch that shows the creators had indie filmmakers in mind when they put this together.
Finally, the "Security and Administration" features let you set limits on the information various crew members can access. For example, the Executive Producer has complete access; the Assistant Director only has access to scheduling, rehearsals, locations, and cast/crew information. (These security limitations can be altered as you see fit.) This is nice because you can have the important crew members accessing only the information they need, which can eliminate the chance of the wrong people getting into the wrong info. Additionally, the top-level (Executive Producer) has the option on the "Projects" screen to lock a production, meaning that no one else can access any information on that project.
Depth of Options - Score 9.0
What can this software do? Well, organizationally speaking, there's very little it can't do. A producer could load this onto his or her laptop computer and be able to take care of everything they need to for multiple film projects. No papers, head shots, or photographs to misplace or damage, no cds to lose or mix up; everything is in one place. The ability to upload photos, video clips, storyboards, and scripts makes it a lot easier to store and quickly locate important information. In fact, with the amount of information this software keeps track of and everything it does, I'd say that the only other thing a producer needs to take with him to work is enough change to get his daily cappuccino.
Performance - Score 9.0
This software performs excellently for what it's supposed to do. It can upload many different forms of media and is compatible with different software, which is a must in the ever-changing world of crossover technology.
There were, however, several times when I accidentally closed out the entire program by clicking the "Quit" button on the Login screen, thinking it would cancel it, instead. It was a pain to wait for the program to save everything and close down before I could restart it. A few times, I didn't realize what I had done until it was too late. It wasn't a huge issue, although It would be nice to have a simple "Are you sure you want to exit?" or "Do you want to save what you've worked on?" window pop up to prevent accidental shutdowns.
As I reviewed the software, I did find a major glitch with the Security features. One of the options that you can adjust for various crew members is "Delete Project". Obviously, only the highest levels have this option. But when I tested the Security limits of the lower levels, I found that even the Location Coordinator could delete an entire project, even though his settings weren't supposed to allow it! I did it a couple of times with different settings, and each time, levels that didn't have the authorization to delete projects were able to.
Because this glitch had the potential to jeopardize entire projects, I made sure I contacted Jungle Software, and explained the problem to their software designer, who confirmed that it is a glitch in the system. He said that he would fix it right away and that the updated version (3.0.5) would be most likely available at the end of the month. (Of course, any users who purchased the program would get a free update.) Once this has been taken care of, I see absolutely no major problems with the overall performance of this program.
Additionally, I found that their willingness to get a problem corrected immediately, rather than forcing users to wait for Version 4 spoke volumes about the quality of customer service at Jungle Software.
Value - Score 10.0
This software will prove invaluable to the low-budget producer. At only $299 for the Standard version (with its 48 shoot-days per project and more limited budget), it is definitely a worthwhile investment, especially since most microcinema producers have so many diverse roles in every aspect of production. Because this holds so much information (photos, videos, schedules, etc.) it will cut down on disorganization, which is one of the biggest problems a producer can have. It is software that can be used again and again well into the future and will make up for its cost in the time it saves you. (And, if you land a seriously big budget deal for a future film, the Pro version with unlimited budget, unlimited shooting days, and lots of features to deal with things like SAG contracts and the like is only $399!)
Final Comments - Overall Score 9.1
A must-have if you are a microcinema producer and plan to work on more than one film. It works well with other movie-associated programs (screenwriting, storyboarding, etc.) and can integrate multiple forms of media. It is fairly easy to learn and actually helps you when you get stuck. The three versions of the software (Student, Standard, and Pro) show an attentiveness to the diverse needs of different filmmakers. It is a tremendous organizational tool that will repeatedly prove its worth.
Matthew Power
Movie Maker Magazine (April 2006)
It's nice to know that someone is listening. The latest release of Gorilla Pro has a lot of flexibility, with a learning curve that even a micro-budget auteur can understand. That's beacuse the programmers took notes on feedback from indie moviemakers and made the right adjustments. A production assistant with a laptop could very easily use this program (kind of like an oversized palm pilot) to map out and track the day's shooting, check up on a missing actor or rearrange the shoot's calendar on the spot.
One of my favorite features, however, is the contact manager for actors, vendors and crew. This feature allows you to put key people on file for future shoots. Considering the amount of stray resumes that come across your desk between shoots, this is a great way to find the person you need, pronto.
The software also includes a database of 1,200 film festivals (although I wish the search engine had more depth, so that you could hunt specifically for festivals for your current project).
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