What is a Assistant Unit Production Manager?

Production

Overview

What Is an Assistant Unit Production Manager?

The Assistant Unit Production Manager (AUPM) is a mid-level position within the Production Management department of a film, television, or commercial production. Working directly under the Unit Production Manager (UPM), the AUPM handles the day-to-day administrative and logistical tasks that keep a production running on time and on budget.

The AUPM sits at a critical intersection in the crew hierarchy: above the production coordinator in responsibility, yet below the UPM in authority. On larger productions—studio features, major network series, or large-scale commercials—the AUPM allows the UPM to focus on high-level budget decisions and studio relationships while the AUPM manages the operational detail work that would otherwise overwhelm a single person.

AUPM in the Production Hierarchy

Understanding where the AUPM fits requires a clear view of the entire production management chain:

Line Producer — sets overall budget, oversees the financial health of the production
Unit Production Manager (UPM) — executes the line producer's plan, manages departments, negotiates deals, signs off on expenditures
Assistant Unit Production Manager (AUPM) — supports the UPM on administrative duties, coordinates paperwork flow, tracks budget actuals, manages vendor relationships day-to-day
Production Coordinator — handles office operations, crew communications, travel logistics, and day-to-day office management
Assistant Production Coordinator (APC) — supports the production coordinator

On leaner productions, the AUPM role may be merged with the production coordinator, or the UPM may absorb AUPM responsibilities directly. On large-scale productions—especially those shooting multiple units simultaneously—you may encounter multiple AUPMs, each assigned to a separate unit.

DGA Membership Context

The Unit Production Manager is a Directors Guild of America (DGA) signatory position. The AUPM, however, is generally not a DGA-covered position on most productions. This is an important distinction: the AUPM often serves as the pre-DGA step in the career path to becoming a full UPM. Many aspiring UPMs work as AUPM for several years—handling the administrative load, learning the contract landscape, and building relationships—before qualifying for or transitioning into DGA membership as a UPM.

Some productions, particularly large television series, do bring AUPMs under the DGA umbrella depending on their collective bargaining agreement. Always verify the specific production's union status before accepting an AUPM role.

When Does a Production Need an AUPM?

Not every production hires an AUPM. The decision typically depends on:

Budget size — productions with budgets above $5–10 million often bring on an AUPM to distribute the management workload
Shooting schedule complexity — multi-location, multi-unit, or internationally co-produced projects benefit significantly from a dedicated AUPM
Number of crew and departments — larger crews generate more contracts, deal memos, and paperwork than a single UPM can efficiently manage alone
TV episodic production — ongoing series with season-long schedules almost always employ an AUPM due to the continuous volume of administrative work

Independent films with tighter budgets may combine the AUPM function with an experienced production coordinator rather than hiring a dedicated position.

Keeping Production on Track with Modern Tools

AUPMs who work with cloud-based production management software can dramatically reduce the administrative burden of budget tracking and expense management. Saturation.io gives production management teams collaborative, real-time access to budget actuals, cost reports, and expense tracking—eliminating the manual spreadsheet work that historically consumed hours of an AUPM's week. When the UPM and AUPM share a live budget dashboard rather than emailing Excel files back and forth, the production runs faster and with fewer costly errors.

Role & Responsibilities

Core Duties of the Assistant Unit Production Manager

The AUPM's daily work is rooted in paperwork, people management, and process. While the UPM handles high-level decisions and studio communications, the AUPM is the operational engine that ensures every decision actually gets executed correctly and documented thoroughly.

Deal Memos and Crew Contracts

One of the AUPM's primary responsibilities is managing crew deal memos—the short-form contracts that outline each crew member's rate, start date, position, and deal terms. On a production with 50–200 crew members, this is an enormous volume of paperwork.

The AUPM:

Drafts deal memos based on terms negotiated by the UPM
Tracks which crew members have returned signed copies
Follows up on unsigned or incomplete agreements before the crew member begins work
Coordinates with payroll to ensure deal memo terms match what the crew is actually being paid
Flags any discrepancies between negotiated rates and submitted timecards

A single missed deal memo can create significant legal and financial exposure for the production company. The AUPM's diligence here is not administrative busywork—it is legal risk management.

Vendor Contracts and Rentals

Productions rely on dozens of vendors: equipment rental houses, location services, catering companies, transportation providers, and more. The AUPM:

Collects and reviews vendor quotes and bids
Issues purchase orders (POs) against approved budget line items
Tracks which POs have been issued, approved, and invoiced
Coordinates vendor certificate of insurance (COI) requirements with the production's insurer
Manages vendor payment schedules in coordination with the production accountant

Budget Tracking and Cost Report Support

While the production accountant owns the formal cost report, the AUPM provides critical input and coordination. On a weekly or bi-weekly basis, the AUPM:

Collects cost-to-date information from department heads
Tracks estimated costs to complete (ETC) for ongoing expenses
Identifies budget variances early so the UPM can address overages before they compound
Assists in preparing the weekly cost report summary for the line producer and studio
Monitors petty cash float disbursements and reconciliations by department

The AUPM's budget tracking work is essentially early-warning intelligence for the production. Catching a department that is trending 20% over its budget in week 3 is far less painful than discovering a $200,000 overage in post-production wrap.

Department Head Meeting Notes

The UPM typically chairs or attends weekly department head meetings where all department representatives review the schedule, flag concerns, and align on upcoming needs. The AUPM:

Prepares the meeting agenda in coordination with the UPM and 1st AD
Takes detailed notes covering decisions made, action items assigned, and financial commitments flagged
Distributes meeting notes to all department heads and the production office within 24 hours
Follows up on open action items to ensure they are completed before the next meeting

Schedule Distribution and Revision Tracking

The one-liner, breakdown sheets, and shooting schedule go through many revisions across pre-production and production. The AUPM coordinates distribution of all schedule updates:

Ensuring the most current schedule version reaches every department head and vendor
Tracking revision numbers and dates to avoid outdated documents causing crew conflicts
Flagging schedule changes with cost implications to the UPM immediately
Coordinating schedule changes with the 1st AD when production realities diverge from the original plan

Travel and Housing Coordination

For location shoots, distant locations, or productions with out-of-town talent and crew, the AUPM manages the logistics of travel and housing:

Booking flights, trains, or ground transportation for crew traveling to location
Coordinating hotel blocks, negotiating group rates, and managing room rooming lists
Handling per diem paperwork and ensuring crew members receive correct allowances per their deal memos
Managing travel day-of-the-week pay and travel expense reimbursement submissions
Adjusting travel plans on short notice when the schedule shifts

On-Set Paperwork Management

The production office generates an enormous volume of daily paperwork during principal photography: call sheets, production reports, exhibit Gs (DGA one-liner), IATSE timecards, safety bulletins, and more. The AUPM often serves as the central hub for:

Collecting and archiving daily production reports
Ensuring call sheets are reviewed and approved before distribution
Tracking safety bulletins and ensuring all departments have received and acknowledged them
Managing the production's master document library throughout the shoot

Supporting the Production Coordinator

Although the AUPM and production coordinator are separate roles, they work in close parallel. The AUPM often acts as the bridge between the UPM's strategic decisions and the production coordinator's operational execution. When the UPM approves a new vendor or changes a deal structure, the AUPM translates that decision into actionable instructions for the production coordinator and their team.

Skills Required

Essential Skills for an Assistant Unit Production Manager

The AUPM role demands a specific blend of technical production knowledge, financial literacy, and interpersonal skill. Candidates who excel in this position combine meticulous organizational ability with the confidence to manage relationships across all levels of a production hierarchy.

Movie Magic Budgeting

Movie Magic Budgeting (MMB) is the industry-standard budgeting software for film and television production. Every AUPM must be proficient in MMB, including:

Reading and interpreting existing budget topsheets and detail accounts
Making budget modifications and tracking variance from approved budget
Running comparison reports between budgeted and actual costs
Understanding account structure and fringe benefit calculations within the budget
Exporting budget data for cost report integration

Even as cloud-based tools like Saturation.io modernize how production teams collaborate on budgets in real time, fluency in Movie Magic Budgeting remains a baseline expectation on most studio and network productions.

Movie Magic Scheduling

Movie Magic Scheduling (MMS) is the companion scheduling application used to break down scripts into shooting schedules. AUPMs need working knowledge of MMS to:

Read and distribute breakdown reports and one-liners
Understand how schedule changes ripple through budget implications
Communicate effectively with the 1st AD about scheduling constraints
Identify when a new schedule version has been issued and coordinate distribution

Contract Reading and Interpretation

AUPMs handle a high volume of contracts and deal memos. Strong contract literacy is essential:

Understanding standard deal memo language for above-the-line and below-the-line crew
Identifying non-standard deal terms that require UPM or legal review
Reading union collective bargaining agreements (CBAs) to verify deal terms comply with minimum requirements—DGA, IATSE, SAG-AFTRA, Teamsters
Tracking start guarantees, turnaround requirements, overtime triggers, and kit rental arrangements
Coordinating deal memo terms with payroll to prevent discrepancies

Vendor Negotiations

While the UPM typically handles primary rate negotiations, the AUPM often manages ongoing vendor relationships and day-to-day renegotiations as production evolves:

Requesting and comparing competing bids from rental houses and service providers
Negotiating extensions, early returns, and damaged equipment claims
Managing vendor disputes and escalating appropriately
Building and maintaining a vendor relationship database for future productions

Cost Reporting

Cost reporting is one of the most technical skills the AUPM must develop. A weekly cost report shows the studio and line producer exactly where the production stands against budget. The AUPM contributes to cost reports by:

Collecting department cost-to-date and estimate-to-complete figures
Cross-referencing purchase orders against approved budget accounts
Flagging accounts with variance above agreed thresholds (typically 5–10%)
Formatting and presenting cost report data clearly for the UPM and line producer review

Production Paperwork Management

The AUPM must be fluent in the full range of production documents:

Deal memos — crew contract summaries
Purchase orders (POs) — authorization for vendor expenditures
Start paperwork packets — I-9, W-4, direct deposit, minor permits, and safety acknowledgments
Production reports — daily summaries of what was shot, how many setups, company moves, and script pages completed
Exhibit G — the DGA one-liner (daily schedule summary)
Call sheets — daily crew scheduling and location information documents
Safety bulletins — required IATSE and AMPTP safety notices for relevant work types

Excel and Google Sheets

Outside of Movie Magic, the AUPM spends significant time in spreadsheets. Advanced Excel and Google Sheets proficiency is expected:

Building and maintaining crew contact directories and department roster trackers
Creating deal memo status trackers and payroll cross-reference sheets
Building vendor PO logs and expense tracking dashboards
Creating travel and housing rooming list management sheets
Pivot tables and VLOOKUP/XLOOKUP for budget variance analysis

Cross-Department Communication

The AUPM interacts with virtually every department on a production—from the director of photography to the costume designer to the caterer. Strong communication skills are not optional:

Translating financial constraints into practical direction for department heads
Managing expectations when budgets tighten and departments need to cut back
Communicating schedule changes promptly and clearly to all affected parties
Maintaining professional, respectful relationships even in high-pressure moments
Mediating between departments when resource allocation creates conflict

Discretion and Confidentiality

AUPMs handle salary information, proprietary budget data, and confidential deal terms for every crew member. Absolute discretion is non-negotiable. Budget numbers, individual rates, and studio deal terms must be treated as strictly confidential.

Problem-Solving Under Pressure

Productions rarely go exactly according to plan. AUPMs who thrive are those who can identify problems quickly, present the UPM with clear options and cost implications, and execute solutions efficiently without creating broader disruption to the production.

Salary Guide

Assistant Unit Production Manager Salary Guide

AUPM compensation varies significantly based on production type, budget size, market, and experience level. Unlike the DGA-minimum-protected UPM position, most AUPM roles are negotiated individually, giving both AUPMs and production companies flexibility—but also less standardization.

Weekly Rate Ranges

The AUPM is almost universally hired on a weekly flat deal rather than an hourly wage, similar to other production management roles:

Entry-level / Low-budget independent features: $1,500–$2,000/week
Mid-level / Network TV episodic: $2,200–$3,000/week
Large studio features or premium cable / streaming series: $3,000–$4,500/week
High-end streaming (Netflix, HBO, Amazon) or major studio features: $4,500–$6,000+/week

These figures reflect flat weekly deals during principal photography. Prep and wrap weeks are often paid at the same rate, though some productions negotiate a reduced rate for prep or wrap-only periods.

DGA UPM Minimums for Context

Since the AUPM role is the direct step below the DGA-covered UPM, understanding DGA minimums helps frame AUPM compensation context. Per the DGA Basic Agreement, current UPM weekly minimums are approximately:

Film (studio): approximately $6,212–$6,840/week depending on budget tier
Film (location): approximately $8,698–$9,568/week
Single-camera TV (studio): approximately $6,031–$6,634/week
Single-camera TV (location): approximately $8,445–$9,290/week

AUPMs typically earn 40–65% of what the UPM earns on the same production. On a production where the UPM earns $6,500/week, an AUPM might expect $3,200–$4,000/week.

TV Episodic vs. Feature Film Rates

Television episodic production often provides more consistent employment than feature films, which has implications for annual income:

Low-budget indie feature: $1,600–$2,000/week for 6–10 weeks = $10,000–$20,000
Mid-level feature (union): $2,500–$3,500/week for 10–18 weeks = $25,000–$63,000
Network TV episodic (22 eps): $2,800–$3,500/week for 26–36 weeks = $73,000–$126,000
Streaming series (8–13 eps): $3,500–$5,000/week for 16–24 weeks = $56,000–$120,000
Major studio feature: $4,000–$6,000/week for 14–22 weeks = $56,000–$132,000

Note that AUPMs, like most production professionals, are not typically employed year-round. Experienced AUPMs who work steadily in a major market may complete two to three productions per year, combining to 30–45 weeks of employment annually.

Market Rates by Location

Production markets significantly affect AUPM rates, both because of cost-of-living differences and the concentration and budget levels of productions in each market:

Los Angeles (Hollywood): The primary union market. Rates at the high end of ranges above. Strong IATSE and DGA infrastructure means productions tend to hire at or above market minimums.
New York City: Comparable to LA. Strong union presence. High cost of living means production budgets account for higher rates.
Atlanta / Georgia: Major non-union and hybrid market. Rates are typically 20–35% below LA/NY, but productions are abundant and the market has grown enormously since Georgia's tax incentives took effect.
New Mexico / Albuquerque: Growing market driven by state tax incentives and large studio investments. Rates between Atlanta and LA levels.
Vancouver / British Columbia: Canadian market with significant US production. Rates comparable to LA when converted to USD, with Canadian dollar fluctuations adding complexity.

Annual Income Expectations

For a working AUPM in a major market with 30–40 weeks of employment annually:

Early career (3–5 years experience): $45,000–$75,000/year
Mid-career (6–10 years experience): $80,000–$120,000/year
Senior AUPM (10+ years, major productions): $120,000–$160,000/year

For broader context on entertainment industry wages, the Bureau of Labor Statistics Occupational Outlook for Producers and Directors reports a median annual wage of $79,000 for producers and directors as of May 2024, with the top 10% earning more than $208,000.

Benefits and Perks

On union productions, AUPMs typically receive:

Health insurance coverage through production (varies by collective bargaining agreement)
Per diem for location shoots (typically $100–$175/day in the US, higher internationally)
Travel day pay when relocated for production
Box rental / kit fee if supplying personal equipment or software

Non-union productions may offer health insurance, but it is not guaranteed. Many independent production professionals carry their own health coverage through guilds, unions they belong to in other capacities, or private plans.

FAQ

Frequently Asked Questions: Assistant Unit Production Manager

What does an Assistant Unit Production Manager do?

An Assistant Unit Production Manager (AUPM) supports the Unit Production Manager (UPM) in overseeing the day-to-day administrative and logistical operations of a film or television production. Core duties include drafting and tracking crew deal memos, issuing vendor purchase orders, assisting with weekly cost reports, distributing schedule updates, coordinating crew travel and housing for location shoots, and managing the flow of production paperwork throughout principal photography.

What is the difference between an AUPM and a UPM?

The Unit Production Manager (UPM) is the senior production management position. The UPM is responsible for the overall budget, negotiating crew and vendor deals, managing relationships with the studio and line producer, and signing off on major expenditures. On DGA-signatory productions, the UPM is a DGA member. The Assistant Unit Production Manager (AUPM) works under the UPM, handling the operational detail work: paperwork tracking, vendor coordination, cost report data collection, and department communications. The AUPM is typically not a DGA-covered position.

What is the difference between an AUPM and a production coordinator?

The production coordinator runs the production office and manages the flow of information, crew communications, travel logistics, and office operations. The AUPM sits above the production coordinator in the hierarchy and focuses more on financial oversight—budget tracking, cost reports, vendor contracts, and deal memo management. In practice, the roles work closely together: the AUPM translates UPM decisions into instructions that the production coordinator executes.

Is the AUPM a DGA member?

Generally, no. The DGA covers the Unit Production Manager position, not the AUPM. However, some productions—particularly large television series with specific collective bargaining agreements—may bring AUPMs under DGA coverage depending on their contract structure. Always verify with the specific production's union agreements. Many AUPMs aspire to DGA membership and use the AUPM role as a stepping stone to qualifying as a full UPM.

How much does an Assistant Unit Production Manager earn?

AUPM weekly rates typically range from $1,800 to $5,000+ depending on the production's budget size, type, and market. Early-career AUPMs on lower-budget independent films may earn $1,500–$2,000/week, while experienced AUPMs on major streaming series or studio features can earn $4,000–$6,000/week. Annual income for working AUPMs in major markets ranges from approximately $45,000 to $160,000, depending on how many weeks they work per year and the budget levels of their productions.

How do you become an Assistant Unit Production Manager?

Most AUPMs reach the role by working their way up through the production office: starting as a Production Assistant (PA), advancing to Assistant Production Coordinator (APC), then Production Coordinator, and finally stepping up to AUPM. This path typically takes 6–10 years of consistent set experience. Alternatively, some candidates enter through the DGA AD Training Program, which tracks the Assistant Director path—many 1st ADs later transition into UPM and AUPM roles. Strong organizational skills, financial literacy, and knowledge of Movie Magic Budgeting and union rules are essential for the transition.

How does the AUPM role differ in TV vs. feature film productions?

In television episodic production, the AUPM role is more continuous—a season may run 26–40 weeks, creating steady, predictable employment with recurring vendor relationships and established crew. The pace of episodic TV is relentless, with new episodes being prepped, shot, and wrapped in overlapping cycles. In feature film production, the AUPM role is more project-specific, with a defined beginning, production period, and wrap. Features often involve more complex single-project budgets, but the overall employment period is shorter. Many AUPMs work in both contexts across their careers, and the core skills transfer cleanly between them.

What software should an AUPM know?

Essential software for AUPMs includes Movie Magic Budgeting (industry standard for budget tracking), Movie Magic Scheduling (for reading and distributing breakdown reports), Excel and Google Sheets (for deal memo trackers, vendor PO logs, and travel management), and email and document management platforms used by the production office. Increasingly, cloud-based production management tools are replacing legacy spreadsheet workflows—platforms like Saturation.io allow the UPM and AUPM to collaborate on live budget data rather than emailing static files, reducing errors and improving cost report accuracy.

Education

Educational Pathways to Becoming an AUPM

There is no single required degree to become an Assistant Unit Production Manager. The film industry places a premium on demonstrated set experience, practical knowledge of production paperwork, and proven reliability under pressure. That said, certain educational backgrounds provide a meaningful head start.

Film Production and Production Management Degrees

A Bachelor of Fine Arts (BFA) or Bachelor of Arts (BA) in Film Production from an accredited film school provides foundational knowledge in all aspects of production, including budgeting, scheduling, and production management workflows. Strong programs for aspiring production managers include:

AFI Conservatory (Los Angeles) — producing program with hands-on production management training
USC School of Cinematic Arts (Los Angeles) — producing concentration with studio access and industry mentorship
NYU Tisch School of the Arts (New York) — film production with exposure to New York industry networks
Chapman University Dodge College (Orange, CA) — production-focused curriculum with strong industry placement
Emerson College (Boston / LA) — media production program with production management coursework
Georgia Film Academy (Atlanta) — state-supported program aligned with Georgia's booming production industry

A film production degree is valuable, but it is not the only path. Many successful AUPMs and UPMs came from business administration, finance, or project management backgrounds and crossed over into the entertainment industry.

Business and Finance Degrees

The AUPM role is fundamentally a business operations role inside a creative industry. Degrees in business administration, accounting, finance, or project management provide highly relevant skills:

Budget construction and variance tracking
Contract fundamentals and vendor management
Organizational behavior and team coordination
Financial reporting and cost analysis

Many production companies specifically seek AUPM candidates with both production experience and financial acumen. A business background combined with entry-level set experience can be a very effective path.

The DGA Assistant Director Training Program

The Directors Guild of America (DGA) offers an official Assistant Director Training Program that is one of the most structured pathways into the guild. The program is offered in both Los Angeles and New York and typically lasts approximately two years.

Trainees are assigned to work on union productions as assistant directors, accumulating the required days worked to qualify for DGA membership. While the program specifically tracks the AD path (2nd AD to 1st AD), it is a critical pipeline because many UPMs come from the 1st AD track—and the AUPM role often bridges candidates who are on the production management track rather than the directing track.

To apply for the DGA Training Program, candidates typically need:

400 verified days of on-set experience in the film or TV industry
Strong letters of recommendation from industry professionals
Demonstrated knowledge of union rules, production paperwork, and scheduling
Completion of a competitive multi-stage application process

Competition is extremely high—the program accepts a limited number of trainees each cycle from a pool of hundreds of applicants.

The Production Coordinator to AUPM Career Ladder

The most common organic path to becoming an AUPM in the non-DGA track runs through the production office:

Production Assistant (PA) — entry-level. Learn the basic rhythms of production, set protocol, and office operations.
Assistant Production Coordinator (APC) — take on more responsibility in the production office: travel booking, document management, crew communications.
Production Coordinator — run the production office, manage the APC team, own logistics and crew communications.
Assistant Unit Production Manager (AUPM) — step up into budget tracking, vendor contract management, and UPM support. This is the transition from office management to production management.
Unit Production Manager (UPM) — own the budget and schedule at the highest operational level, potentially leading to DGA membership.

Each step typically takes 2–4 years, meaning the full journey from PA to UPM commonly takes 8–15 years, depending on market, network, and the types of productions available.

Becoming DGA-Signatory Aware

To work as a UPM on a DGA-signatory production, you must be a DGA member in good standing. This matters to AUPMs because understanding DGA rules is part of the daily job—and because aspiring UPMs need to plan their path to guild membership.

DGA membership for UPMs is typically gained through:

Completing the official DGA Training Program
Working as a UPM on a DGA-signatory production (at which point the production company files for your DGA membership)
Lateral entry from other DGA categories (e.g., 1st AD who transitions to UPM)

Working as an AUPM on DGA-signatory productions—even if the AUPM position itself is not covered—provides invaluable exposure to DGA rules, rate cards, and protocols that will be required knowledge as a future UPM.