Maura Mccoy Email & Phone Number

Greater Los Angeles Area

As a bidding producer, I specialize in preparing budgets and shooting schedules for commercial productions to be filmed in the U.S. and around the world.I have worked at many of the top commercial production companies including Furlined, Tool, Psyop, Prettybird, Humble, Supply and Demand, Epoch Films, Directors Bureau, Backyard, B-Reel, Serial Pictures, Believe Media, Caviar Content, Wondros, and Radical Media, among others.My skills include:-Interfacing with directors, advertising agencies, executive producers, production designers, agents, and casting directors.-Preparing line-item budgets from pre-production through post, as well as comprehensive bid cover letters.-Creating detailed shooting schedules and shot-by-shot breakdowns.-Researching locations; sourcing crew and equipment vendors. -Requesting budgets and quotes from international production companies, production designers, special effects companies and other vendors.-Proficient in MS Excel and budget software such as Showbiz Budgeting, Hot Budget and Point Zero.

Greater Los Angeles Area

Produced or managed over 150 productions for numerous commercial production companies, ad agencies and clients, with the ever-present goal of producing the best possible outcome for all involved. My skills included communicating with director, agency, client and key crew; preparing shooting schedules and overseeing daily call sheets; negotiating with crew and vendors; securing locations and permits; overseeing the budget and the preparation of a detailed line-item cost accounting of project expenses; supervision of the crew and production team on set and/or location; arranging travel for large groups; extensive problem-solving during all phases of production; meeting deadlines and managing challenging workloads; and keeping cool under intense pressure. Locations I have traveled to for productions include New York, Chicago, Miami, San Francisco, Dallas, Baltimore, Hawaii, Santa Fe, Seattle, Portland, Orlando, Atlanta, Monument Valley, Las Vegas, Argentina, Mexico, Vancouver, New Zealand, Ireland, England, Czech Republic, U.S. Virgin Islands, and Morocco.

In collaboration with director Gregg Gibbs (The Treasures of Long Gone John), I am producing a documentary chronicling the life of my father Don McCoy and his establishment of a hippie commune at Rancho Olompali in the late-Sixties. My responsibilities include fundraising efforts, such as the creation of a successful Kickstarter crowdfunding campaign to begin production and editorial, preparation of a detailed budget, and conceiving and preparing a multi-page proposal (“look book”) for presentation to potential funders; scheduling and coordinating the filming of interviews; researching, compiling and archiving photographs, newspaper clippings, film footage, audio clips, and historical information; scheduling and overseeing editorial and all other post production; obtaining all rights and clearances; engaging and collaborating with key personnel; and tracking all costs related to the production.

Produced 6 campaigns for RIM/Blackberry, including branded internet content and magazine/print advertising. Worked closely with agency and still photographer during prep and shoot of video and stills; prepared budgets and shooting schedules; negotiated contracts with key crew and studio locations; oversaw hiring of crew and equipment; and coordinated travel arrangements for celebrity talent.

Back in the early days of Visual Effects and CGI, when we still shot on FILM, I functioned as the Production Manager for the live-action VFX unit of this cult-favorite feature film featuring Nicolas Cage, John Cusack, John Malkovich, and (briefly) Dave Chappelle, whose "dead body" prop double I was responsible for taking care of during its "performances" in the VFX shots. A large part of the job was managing the live action miniatures shoot, most of which was shot on the tarmac of the enchanting Pacoima municipal airport. During prep, a talented team of propmakers built and installed a 300-foot long facsimile of a pseudo-Las Vegas Strip, complete with a lovingly-rendered 1/8-scale replica of the Hard Rock Hotel's guitar-shaped neon sign. Meanwhile, another team of model and propmakers had been working for almost a year on building a detailed 1/8-scale model of the iconic C130 Hercules turboprop cargo aircraft that was ultimately suspended from a construction crane and shot flying over and "landing" on the Strip (after clipping the Hard Rock sign - cue the pyro FX). Over the course of the 2-month-long shoot at the same location, during which we shot one take per day, every other day - literally 3 takes per week - for the above-described sequence, we dealt with: bored gangbangers terrorizing our security guards on the overnight shifts; a massive wind storm that devastated a large part of the set one day, causing a one week delay; and occasional visits from studio bigwigs. In addition to Pacoima, our unit also shot green screen shots with lead talent on stage at Hollywood Center Studios in tandem with the main principal photography unit; and on location at the Wendover Airport in Utah alongside the 2nd unit. Favorite moment: sitting next to John Malkovich at lunch one day.

Associate Of Science - As

Bachelor Of Science, Film And Television