A GUIDE TO BEST PRACTICES

IN DOCUMENTARY CREDITING

Created and recommended by the

Documentary Producers Alliance (DPA)
January 2019
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TABLE OF CONTENTS

03.

THE DOCUMENTARY PRODUCERS ALLIANCE (DPA)

04.

BACKGROUND

05.

METHODOLOGY & SCOPE

06.

CREDITING STANDARDS FOR FINANCIERS

07.

KEY CONSIDERATIONS

08.

DOCUMENTARY FILM PRODUCING

ROLES & DEFINITIONS

13.

THE DPA COSIGNERS

14.

ENDORSING ORGANIZATIONS
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THE DOCUMENTARY PRODUCERS ALLIANCE

In 2016, the DPA was formed to address career sustainability challenges affecting documentary film
producers. In the three years since, the DPA has focused and clarified its mission to embrace issues
pertaining to wage and labor practices, structural inequality in our field, the paucity of development funds,
producer recognition, and the relationship between financiers and filmmakers as expressed through
crediting and investor agreements. Crediting is one of many issues that impacts sustainability and equity
in our field. The following reflects the DPA’s effort to correct, stabilize, and standardize documentary
crediting as a first step in our broader mission to make the field more inclusive and documentary filmmaking
more viable as a career.
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BACKGROUND
With the prominence of documentaries in a changing funding and distribution landscape, a greater
variety of funding sources have been drawn to supporting independent non-fiction films. In the
absence of industry guidelines, “Associate Producer,“ “Co-Producer,“ “Producer,” “Co-Executive
Producer,” “Executive Producer,“ “In Association With,” “Presented by,” or “A Production of” billing, and
any combination of these credits in the main titles or end credits have increasingly been used to reflect
such funding, with inconsistencies as to how and when this is done. Often, there are also graphic
credits—such as static or animated logos—further complicating the array of possible attribution.
As a result, many credits have experienced diminished meaning and value, which ultimately works
against not only funders, but also filmmakers, for whom credits are both recognition of their labor and
essential industry currency.

The DPA has identified the need to create crediting standards and best practices for independent
documentary films so that: funders and investors receive the recognition that they are due (and that
filmmakers want them to have); filmmakers can offer and leverage fair credits to funding prospects to
get their films made; and the value and meaning of credits are protected (against, among other things,
dilution and inconsistency) for filmmakers and their financial partners.

The goal of this guide is to standardize the crediting landscape for documentary films big, small, and
micro, towards clarity and parity. The DPA’s intention is that these crediting standards will clarify
the criteria for various producer roles—serving film investors, donors, supporters, and filmmakers
alike in credit discussions and negotiations—and that they will be adopted widely. Importantly, the
recommendations in this guide are crafted as best practices rather than rules, recognizing that some
situations may warrant filmmakers and their partners to deviate from them. In such circumstances,
we encourage filmmakers and their partners to use these standards as a starting point, with the
specificities of a project dictating where, when, and how exceptions are applied.

We also recognize the vital need to proactively address and improve crediting practices as they relate
to social and racial equity in documentary film. To that end, the DPA supports the authentic and
fair crediting of filmmakers regardless of their race, religion, gender identity, sexual orientation, or
disability, and opposes exploitative practices that award credits to people of color and those from
other historically marginalized groups solely to suggest social, political, or cultural legitimacy for
purposes of fundraising or audience perception.

Ultimately, we believe that credits are an expression of filmmaker and industry values. Our broadest
aim is that these guidelines, in keeping with the DPA’s other efforts, facilitate greater transparency
and inclusion, and benefit the documentary industry as a whole; and, that as the field continues to
evolve, the documentary industry keeps a vigilant eye on crediting standards, adjusting as needed.
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METHODOLOGY
THE FOLLOWING GUIDELINES WERE DEVELOPED:
In collaboration with more than 100 working producers who are members of the DPA.
Through meetings, conversations, and discussions with representatives from more than 30 granting
and artist organizations, filmmaker alliances and investor consortia, directors, non-DPA producers, and
industry leaders.
Over the course of the International Documentary Association’s (IDA) 2018 Getting Real documentary
conference, where crediting was the subject of a panel discussion and talkback session.
In consultation with entertainment lawyers experienced in documentary fundraising protocols,
and applicable tax and investor protection laws (including equity investment and non-recoupable
contributions), who vetted and approved these recommendations.

SCOPE
These guidelines were developed for U.S.-based productions primarily and our research focused on
the U.S. market. We also realize that not all topics related to crediting are addressed in this document
(e.g. how credits affect award nominations). The DPA remains open to expanding the scope of these
guidelines in the future.
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CREDITING STANDARDS FOR FINANCIERS

We recommend the following financing credit tiers based on the percentage of total budget contribution at
the time of contract. Credits at the time of contract should not change, even if the film’s budget is modified.
Contributions can be via equity (recoupable investment with the potential for profit) or donation (non-
recoupable grant, tax deductible gift through a fiscal sponsor, or contribution via a crowdfunding platform).

The DPA does not endorse granting the Producer, Co-Producer, or Associate Producer credits to financiers.
These are day-to-day producing credits only; therefore, these credits may not be bought, sold, or traded.

Financing Credit Tiers

50% OR GREATER: PRESENTATION CREDIT
Applicable to a distributor, broadcaster, company or individual. Affords a static or animated company
logo (if applicable) at the top of the film and up to four individual Executive Producer credits in the main
titles, if requested.

20% OR GREATER: IN ASSOCIATION WITH CREDIT

Affords a static or animated company logo (if applicable) at the top of the film and up to two individual
Executive Producer credits in the main titles, if requested.

10% OR GREATER: 1 EXECUTIVE PRODUCER CREDIT

Affords a credit in the main titles and a static company logo (if applicable) in the logo section of the
end credits.
Financiers who typically invest as a duo (e.g. a married couple or business partners) may be treated
as a single entity.
Additional individual Executive Producer credits can each be acquired for a supplemental 2.5% of
the total budget.

7.5-9.99%: CO-EXECUTIVE PRODUCER CREDIT

Affords a credit in the main titles or in the end credits, and affords a static company logo (if applicable)
in the logo section of the end credits.

2.5-7.49%: CONTRIBUTING PRODUCER CREDIT

Affords a credit and a static company logo (if applicable) in the logo section of the end credits.

1% - 2.49%: “THIS FILM WAS MADE POSSIBLE WITH THE SUPPORT OF” OR “ADDITIONAL FUNDING
BY”
Affords inclusion in this section of the end credits and/or a static funder/company logo (if applicable) in the
logo section of the end credits. Note that this is often the primary section for grant-making organizations.
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KEY CONSIDERATIONS
For financiers who take the higher risk of providing the first money in (first money is defined as within the
first 10% of the budget at the time of contract), the financier crediting thresholds are reduced by 50%.
For example, a financier who gives 4.5% of the budget as first money in would receive a Co-Executive
Producer credit instead of a Contributing Producer credit.

The qualifying percentages for contributions made by donation (rather than equity investment) may be
negotiated down because the non-recoupable nature of the contribution provides additional financial
benefits to the filmmaker/s.

An entity or individual providing lower level financial, but critical creative support may be entitled to a
credit greater than that determined by the financing tiers alone.

The credit of Executive Producer may be afforded to individuals and/or entities that provide critical
creative and strategic support regardless of their financial contribution.

Nothing herein should imply that there is a specific dollar value for any credits given to donors making
tax-deductible contributions. As credits do not have a monetary value, the examples provided can be
helpful in creating a structure by which benchmarks can relate to billing. You should apply, personalize,
or create your own as needed.

PLEASE NOTE: These recommendations notwithstanding, credits may be subject to the exhibitor’s policies
and/or approval. For example, a broadcaster may discourage crediting a not-for-profit organization (even
one that provided the documentary’s financing), taking the position that such a credit may imply that the
film advocates the organization’s mission and thereby compromises journalistic objectivity.
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DOCUMENTARY FILM PRODUCING ROLES & DEFINITIONS

PLEASE NOTE: The definitions below are in order of hierarchy.

Financing Producer Credits

PRESENTED BY
Often given to a distributor, exhibitor, and/or financier that provides a majority of the budget.

CO-PRODUCTION OF
Used when one or more entities are jointly producing a film. Under such an arrangement, the co-funder,
production company, studio, or broadcaster (for example) commits a substantial amount of resources
such as funding, development resources, production support, or post-production services to the film.
Importantly, the credit also often affords the Co-Production entity some degree of editorial input, but
not necessarily co-copyright ownership of the film. It is not unusual for this credit to be extended to
international producing partners. The contribution value required to confer the Co-Production of credit
is usually equal to the other co-producing entities on the project (i.e. 50% if there is only one other
producing entity, 33% if there are three production partners, etc.); however, this may vary.

IN ASSOCIATION WITH
Applied to reflect a significant and long-term creative or financial investment in a film by an organization,
broadcaster, or other entity that is not the lead production company.

EXECUTIVE PRODUCER (EP)

In independent documentary films, the EP can be a financier (as defined in the Financing Credit Tiers), or a
film professional who contributes to the creative development and production of a film, offering essential
value and guidance through editorial input, fundraising, producing issues, legal matters, or distribution
strategy. The EP may also be an early champion and validator of the project, willing to offer initial backing
before other entities take on the risk. The EP is the highest-ranking financing producer credit for an
individual, and the second-highest non-financing producing credit after that of Producer.

CO-EXECUTIVE PRODUCER
A secondary-level Executive Producer role, this credit is used for financiers who contribute significantly,
but not in equal measure to an Executive Producer.

CONTRIBUTING PRODUCER
This credit applies to financiers only, who contribute monies to a film at a level lower than that of the
Executive Producer or Co-Executive Producer.

“THIS FILM WAS MADE POSSIBLE WITH THE SUPPORT OF” / “ADDITIONAL FUNDING BY”
Traditionally used as places to thank granting organizations that contribute to the film by including their
name and/or logo. Individuals who make smaller-sized contributions (per the Financing Credit Tiers)
comparative to these grants should also be acknowledged in this section if they are not given one of the
aforementioned credits. This section appears in the end credits.
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Day-To-Day Producer Credits

PLEASE NOTE:
We acknowledge that each film has a unique path from start to completion. A glossary of creative credits
will therefore never entirely capture the range of work performed on all films; however, the following
definitions attempt to delineate the work that different types of producers customarily perform.
The DPA does not endorse the use of the Creative Producer credit. We firmly believe that the Producer role
is inherent to the creative process and that no qualifying adjective needs to precede the Producer credit.
We also believe that by distinguishing between financier and day-to-day producer credits we eliminate
the need for the Creative Producing credit, which in recent years has resulted in confusion around the
Producer’s role specifically and crediting practices generally.

A PRODUCTION OF
This credit is given to the production company/companies that assume the majority of the hands-on
work of producing the film. (This is often the Director’s and/or lead Producer’s production company.)

PRODUCER
The Producer works side-by-side with the Director to realize the artistic vision and overall goals of the
film, ensuring that the production is funded and appropriately staffed, and also completed on time, within
budget, and according to the legal and technical standards required by its distribution. While the Producer
may be the initiator and/or co-creator of a film, or join a film that has already commenced production,
the Producer is ultimately responsible for, in part or in full: initiating and/or supporting fundraising
efforts; securing permissions and insurance; managing contracts and budgets; maintaining legal, HR,
and tax compliance; negotiating wages and contracts, including interaction with collective bargaining
organizations (i.e. unions); engaging with production/post-production facilities; submitting the film to
festivals; strategizing distribution and audience engagement opportunities; overseeing the film’s release,
PR, and marketing; and archiving the project. The Producer often works closely with the Director in all
phases of the creative process to: develop the story; build relationships with subjects; shape the narrative;
assist in decisions regarding creative hires, graphics, and music; and review dailies and cuts. As noted
previously in these guidelines, the Producer credit should be reserved solely for the person/s who are
hands-on throughout the process of making the film. Sometimes, the Director is also the sole Producer or
a Producer of their film.

CO-PRODUCER
An individual credit, the Co-Producer works closely with the lead Producer and may not be involved in
all aspects or stages of the film, but earns this credit for providing significant impact contributing to the
film’s completion. Like the Producer credit, the Co-Producer credit is not for individuals whose primary
role is financing.

ASSOCIATE PRODUCER (AP)

The AP assumes responsibilities delegated by the Producer or Director, and may work on the development
and pre-production stages, the production in the field and/or in the production office, or in post-production.
The AP’s duties may include: story research and development; casting; shoot coordination; archival
research; production-to-post workflow management; rights clearances; festival submissions; and final
deliverables coordination. Like the Producer and Co-Producer credit, the Associate Producer credit is not
for individuals whose primary role is financing.
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Supporting Producer Credits

PLEASE NOTE:
The following definitions are in alphabetical order.
Given that each documentary is unique, job hierarchy and crediting placement should be determined
according to the nature, creative, and/or production demands of the project.

ARCHIVAL PRODUCER
The Archival Producer is typically responsible for every stage and aspect related to the archival materials
needed for a documentary, including research, acquisition of materials, organizing, budgeting, and final
licensing. The Archival Producer works closely with the Producer and the Director in pre-production
and production phases, and with the Editor in post-production, to assess footage, stills, and ephemera
required to tell the story narratively, creatively, visually, and cogently. The Archival Producer conducts
research independently, and may oversee and direct a team of researchers on a larger-scale project.

CONSULTING PRODUCER
The Consulting Producer is often a seasoned Producer who provides high-level guidance on anything
from editorial/creative input, fundraising, producing issues, legal matters, or distribution strategy at any
stage throughout a film’s development, production, or post-production. The Consulting Producer does not
typically have editorial or creative control on the project.

FIELD PRODUCER
The Field Producer role has been adopted from news journalism, and serves as the local liaison to a
production, maintaining relationships with subjects, tracking the story, and offering overall field support
to the larger production team. The Field Producer may help research and develop story, maintain
relationships with subjects, hire crews, coordinate shoots, and direct shoots under the guidance of the
Director and/or with the oversight of the Producer.

FIXER
The Fixer role has also been adopted from news journalism. A local individual, the Fixer researches and
secures production assets including locations, permits, local crews, equipment, and offers overall field
support to the production. When a Fixer takes on additional responsibilities such as identifying, securing,
and maintaining relationships with subjects, and/or researching, developing, and tracking the story or
negotiating access, a credit more reflective of their contribution, and aligned with industry standards,
such as Field Producer, Associate Producer, or even Co-Producer, may be more appropriate.

IMPACT PRODUCER
The Impact Producer is responsible for maximizing a film’s potential for social change. Responsibilities may
vary based on the film’s content and defined distribution goals, but often include strategy development,
issue mapping, brain trust facilitation, organizational partnership development and management, digital
content production and engagement, and evaluation and impact measurement. An Impact Producer
may also coordinate and/or oversee a film’s semi-theatrical screening campaign and release. The Impact
Producer may also play a role in story development and fundraising, beginning as early as pre-production.
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LINE PRODUCER
The Line Producer supervises the operational aspects of making a film from pre-production through
completion. Under the guidance of the Producer, the Line Producer manages budgets, schedules,
contracts, and any issues impacting these and delivery of the project, where applicable. (Many independent
documentaries don’t have a designated Line Producer—the size, scope, and style of a particular documentary
being determinants.)

POST-PRODUCTION SUPERVISOR
The Post-Production Supervisor is responsible for shepherding a film through its final production
stages, during which time they liaise with the Director, Producer, Editor, Composer, and all post facilities
(including but not limited to graphics/animation, color-correction, and sound design/mix houses). The
Post-Production Supervisor’s role is to ensure all deliverables are met according to both the budget and
domestic and/or international distributor specifications and deadlines.

PRODUCTION ASSISTANT (PA)

The PA is usually an entry-level credit, and is often, but not exclusively, an in-the-field role. The PA provides
overall production support to the field team, goes on runs, coordinates meals, handles petty cash, gear and
equipment pick-up/returns, provides transport services, and serves a key support role. The support nature
of the role remains the same for an office PA, who is relied upon for any tasks the Director/Producer team
may require (e.g. assistance with expense reporting, production paperwork, and office administration).

PRODUCTION COORDINATOR
The Production Coordinator reports to the Producer, Production Manager, Line Producer, or Associate Producer
(depending on the size of the production), coordinating shoots and assisting in streamlining production. The
Production Coordinator job is typically the next step up from Production Assistant.
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Additional Producer Credits

PLEASE NOTE: These credits are more commonly utilized in documentary/non-fiction series and less
frequently applied in features or documentary one-offs.

COORDINATING PRODUCER
The Coordinating Producer organizes and supports the work of Field Producers and the production team,
including coordinating shoots (sometimes with multiple units), liaising with crews, and ensuring the effective
running of production. The Coordinating Producer position is usually a step up from Production Coordinator.

PRODUCTION MANAGER (PM)

The PM assumes the responsibilities delegated by the Producer in a more narrowly defined role than that of
the Associate Producer. The PM’s duties are almost entirely operational: organizing business, finance, and
employment issues to facilitate efficient management throughout all stages of production. (Many independent
documentaries don’t have a designated Production Manager—the size, scope, and style of a particular
documentary being determinants.)

SENIOR PRODUCER
The Senior Producer supervises the production, including any/all producers working under the Senior
Producer. The Senior Producer is responsible for scheduling, technical requirements and guidelines,
content, format, and delivery of the project within the specified budget. The Senior Producer reports to
the Supervising Producer or Executive Producer.

STORY PRODUCER
The Story Producer reports to the Senior Producer, Supervising Producer, or Executive Producer, and
is responsible for researching, casting subjects, writing treatments or scripts, planning shoots, and
supervising the editing of an episodic story.

SUPERVISING PRODUCER
The Supervising Producer oversees one or more Producers in the performance and fulfillment of some
or all of their producer functions and obligations. The Supervising Producer usually reports to the
Executive Producer. (Many independent documentaries don’t have a designated Supervising Producer—
the size, scope, and style of a particular documentary being determinants.)
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THE DPA
The Documentary Producers Alliance (DPA) is a working group of more than 100 documentary
producers nationwide that advocates on behalf of producers for the health and welfare of the
documentary industry. DPA cosigners of these guidelines include:

Trish Adlesic Laura Coxson Ines Hofmann Kanna Raphaela Neihausen Ann Rose
Maria Agui Carter Trish Dalton Tracie Holder Marilyn Ness Alicia Sams
Jameka Autry Linda Davis Melissa Jacobson Laura Nix Amanda Spain
Danny Alpert Tom Davis Elisabeth James Leslie Norville Martha Spanninger
Alexander Baertl Jessie Deeter Alexandra Johnes Jacki Ochs Elizabeth Lodge
Robert Bahar Fenell Doremus Susan Kaplan Jennifer Ollman Stepp

Joslyn Barnes Sky Dylan-Robbins Kirsten Kelly Xan Parker Annie Sundberg

Mikaela Beardsley Laura Wilson Ian Kibbe Ferne Pearlstein David Felix Sutcliffe

Diane Becker Fallsgraff Christina D. King Sierra Pettengill Helen Hood Scheer

Patricia Benabe Violet Feng Lance Kramer Josh Penn Noah Stahl

Allison Berg Ina Fichman Christine La Monte Rachel Pikelny Ricki Stern

Richard Berge Kerthy Fix Gretchen Landau Zak Piper Nathan Truesdell

Veronique Bernard Yance Ford Lisa Leeman Amanda Pollack Landon Van Soest

Nicole Bernardi-Reis Ariana Garfinkel Beth Levison Sam Pollard Chai Vasarhelyi

Erin Bernhardt Megan Gilbride Justin Levy Dawn Porter Danielle Varga

Maggie Bowman Jamie Gonçalves Loira Limbal Gordon Quinn Leah Warshawski

Iyabo Boyd Sabrina S. Gordon Maida Lynn Diane Moy Quon Caroline Waterlow

Rachel Boynton Lisa Gossels Anne de Mare Lisa Remington Elizabeth Westrate

Caitlin Mae Burke Michael Gottwald Susan Margolin Esther Robinson Eden Wurmfeld

Caryn Capotosto Jennifer Grausman Korelan Matteson Cyndee Readdean Jeremy Yaches

Nina Chaudry Stina Hamlin Daphne McWilliams Tricia Regan Svetlana Zill

Lori Cheatle Judith Helfand Yael Melamede Jeff Reichert

Katy Chevigny Alice Henty Laura Michalchyshyn Heidi Reinberg
Jimmy Chin Tony Heriza Alysa Nahmias Dallas Brennan Rexer
Williams Cole Robin Hessman Evan Neff Larissa Rhodes

For more information, please visit us at www.documentaryproducersalliance.com and follow us on

Facebook (@DocProducersAlliance), Instagram (@DocProducersAlliance) and Twitter (@DocProducers).

If you are an independent documentary film producer, we invite you to join the DPA.
Contact us at: [email protected]
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ENDORSING ORGANIZATIONS

The INTERNATIONAL DOCUMENTARY ASSOCIATION (IDA) has agreed to be a convener and to

provide a platform for advancing the conversation around documentary crediting guidelines as
part of its advocacy and policy work.

KICKSTARTER has agreed to share these guidelines with their filmmaker community and to also
help advance the conversation around documentary crediting.