Production Scheduling

Scheduling in France is a puzzle of limits before it is a creative task. The thirty-five-hour Code du travail baseline, eleven-hour minimum turnarounds, required meal windows, and Convention Collective late hours tiers all shape each strip on the board. Paris mairie permits often set which arrondissements can hold a unit on a given weekday. Our first ADs and production managers build stripboards in Movie Magic, Gorilla, or StudioBinder against script breakdowns. They then layer location holds at Bry-sur-Marne, the Cité du Cinéma in Saint-Denis, and regional studios in Marseille and Bordeaux into a sequence that guards daylight, cast openings, and weather windows.

CNC compliance timelines, intermittents du spectacle scheduling, and child-talent dérogation windows from the Direction du Travail all feed the day-out-of-days before crew calls go out. Once shooting starts, schedule changes are handled inside hours, with crew alerts and version-controlled stripboard distribution. The tuning pass mostly returns ten to fifteen percent day savings against the first draft. That discipline shows in delivery, with ninety-eight percent on-schedule completion across more than two hundred scheduled shoots, and a labor-law audit trail clean enough for CNC and TV network handover.