From Vision to Viability – Budgeting Your Documentary Dream.

You have a compelling story burning inside you, a unique perspective that demands to be shared with the world. You envision capturing raw truth, impactful interviews, and breathtaking visuals to craft a powerful documentary film.

But as any independent filmmaker knows, turning that vision into a tangible film isn’t just about creative genius; it’s also about meticulous planning, especially when it comes to finances.

Budgeting a documentary can feel like trying to hit a moving target. Unlike narrative films with fixed scripts and predictable shoot schedules, documentaries often evolve, requiring flexibility, quick decisions, and the ability to adapt to unforeseen circumstances a witness changes their mind, a location becomes unavailable, or a new, compelling storyline emerges. Without a solid financial framework, even the most passionate projects can quickly derail.

That’s where a dedicated budget spreadsheet becomes your indispensable co-pilot. Forget complicated software or expensive budgeting tools. With a well-structured, free spreadsheet, you can transform the daunting task of financial planning into a clear, manageable process.

This guide will walk you through why a specialized documentary budget is crucial, what key elements it must contain, and how to use a free template to keep your documentary dream financially viable, from the first spark of an idea to the final festival screening.

Ready to gain clarity and control over your documentary’s finances? Let’s break it down.

2. Why a Dedicated Budget Spreadsheet for Documentaries?

At first glance, a film budget is a film budget, right? Equipment, crew, post-production – surely it’s all the same. However, documentary filmmaking presents a unique set of challenges and opportunities that necessitate a specialized budgeting approach. Ignoring these distinctions can lead to significant financial surprises and project derailment.

Here’s why a generic narrative film budget often falls short for a documentary:

A. The Unpredictable Nature of Story Discovery:

• Organic Development: Unlike narrative films that start with a fixed script, documentaries often evolve during production. The story you set out to tell might shift, new characters emerge, or unexpected events unfold. This means your shooting schedule, locations, and even the core narrative can change, directly impacting budget lines.
• Longer & Sporadic Production: Instead of a concentrated block of “principal photography,” documentary shoots can be sporadic, stretched over months or even years, especially if following a long-term subject or event. This means budgeting for intermittent crew needs, equipment rentals, and ongoing travel. For filmmakers in Uganda, this can involve navigating diverse terrains, cultural events, and individual schedules that are less rigid than a studio production.
• Increased Pick-Up Days: Due to the evolving story, documentaries often require more “pick-up days” (short, additional shoots) than initially planned, incurring extra costs for a small crew, transport, and equipment.

B. Heavy Emphasis on Research & Development (R&D):

• Extensive Pre-Production: Documentaries demand significant time and resources in the R&D phase before principal photography even begins. This includes deep dives into subject matter, pre-interviews, archival searches, and building trust with subjects. These costs are often underestimated in generic budgets.
• Subject Welfare & Access: Building rapport and trust with your subjects is paramount. Your budget may need to account for expenses related to your subjects’ well-being, such as travel stipends for interviews, modest honoraria (where ethically appropriate and allowed by funders), or even unexpected support if they face challenges during filming. This is particularly relevant in sensitive community-based documentaries.
• Travel & Logistics: Documentary research and filming often involve extensive, sometimes remote, travel – be it across districts in Uganda or internationally. Budgets must account for transport (fuel, vehicle rental, maintenance), accommodation, per diems, local fixers, guides, and security, which can fluctuate wildly.

C. Archival Footage, Music, and Licensing are Major Cost Drivers:

• Rights & Clearances: Many documentaries rely heavily on pre-existing materials: historical footage, photographs, news clips, or music. The fees for licensing these assets can be astronomical and often become one of the largest line items in a documentary budget. This is a far more significant category than in most narrative features.
• Music Licensing: Beyond specific archival music, finding and licensing original or stock music for your soundtrack is a crucial and often overlooked expense.

D. Different Crew & Compensation Structures:

• Smaller, More Versatile Crews: Documentaries often operate with smaller, more nimble crews (sometimes a director/DP/sound person acting as a multi-hyphenate). This impacts salary structures and “kit fees” for personal equipment.
• Subject Consent & Release Forms: While not a direct cost, the legal aspect of obtaining proper releases from subjects (especially those who are not professional actors) is a unique administrative burden that needs to be factored into planning. Legal fees for rights and clearances are also often higher for documentaries.

E. The Role of Grant Funding and “In-Kind” Contributions:

• Grant-Centric Funding: Documentaries frequently rely on grants from foundations, NGOs, and public broadcasters. These funders often require budgets to be presented in specific formats or aligned with their categories, making a flexible spreadsheet crucial.
• In-Kind Contributions: Leveraging local resources, borrowed equipment, or volunteer time (“in-kind” support) is common, especially for low-budget documentaries. A good spreadsheet allows you to track both monetary and in-kind contributions, demonstrating the full value of your project to potential funders. This is particularly valuable in contexts like Uganda, where community support can be a significant asset.

F. Longer and More Complex Post-Production:

• Story Found in the Edit: Because the story often takes shape in the edit suite, documentary post-production can be a much longer, more iterative process than narrative film. This extends costs for editors, sound designers, colorists, and rented facilities.
• Transcription: A massive and often overlooked cost is transcribing hours of interview footage, which is essential for the editing process.

3. Key Categories in a Documentary Budget Spreadsheet.

A robust documentary budget spreadsheet goes beyond simple income and expenses. It breaks down costs into logical, manageable categories that reflect the unique lifecycle of a documentary film. While specific line items may vary, most professional documentary budgets are structured around these core phases:

A. Development & Research (Pre-Production): Laying the Foundation.

This phase covers all the work done before principal photography begins. For documentaries, this is often a much more extensive and fluid phase than in narrative filmmaking.

• Producer/Director Fees (Development): Time spent on initial concept, outreach, and fundraising.
• Research & Story Development:
  • Research Assistant/Consultant fees.
  • Travel for initial research, location scouting, and subject outreach.
  • Phone, internet, and communication costs during research.
  • Preliminary transcription services for early interviews.
  • Story Producer/Writer fees (for treatment, proposal, pitch deck).
• Legal Consultation (Early Stage): Initial advice on access, releases, and potential legal issues.
• Archival Research Fees: Costs for initial searches for existing footage or photos.
• Grant Writing Fees: If hiring a professional grant writer.
• Basic Office Overhead (Development): Rent, utilities, supplies if you have a dedicated space.

B. Production: Capturing the Story (Below-the-Line – Production)

This is where you physically film your documentary. Costs here are often influenced by location, crew size, and duration of shoots.

• Crew Salaries/Fees:
  • Director of Photography (DP) / Cinematographer.
  • Sound Recordist / Mixer.
  • Production Assistant(s).
  • Local Fixer/Translator: Crucial for navigating local logistics, language, and cultural nuances, especially in diverse regions like Uganda.
  • Driver / Logistics Coordinator.
  • Any additional crew as needed (e.g., gaffer, grip, drone operator).
• Equipment Rental/Purchase:
  • Camera package (camera body, lenses, accessories).
  • Sound package (mics, boom, recorder, mixer).
  • Lighting kit.
  • Grip equipment (stands, flags, etc.).
  • Drone rental (if applicable).
  • Vehicle rental (e.g., a reliable 4×4 for Ugandan terrain) and fuel.
  • Media (SD cards, SSDs, hard drives for daily backups).
• Travel & Accommodation:
  • Flights (domestic or international).
  • Local transport (fuel, driver’s wages).
  • Accommodation (hotels, guesthouses).
  • Per Diems (daily allowances for food and incidentals for crew).
• Location Fees & Permits:
  • Filming permits from local authorities (e.g., Uganda Communications Commission, local district offices).
  • Access fees for specific locations (e.g., national parks, private properties).
  • Security personnel (if required for sensitive locations or equipment).
• Subject Welfare & Engagement:
  • Small honoraria or gifts for subjects (where ethically appropriate and permitted by funders).
  • Travel stipends for subjects to reach interview locations.
  • Meals/refreshments for subjects during interviews.
• Production Insurance: General liability, equipment insurance.
• Craft Services/Catering: Meals and snacks for crew on set.
• Contingency (Production Specific): A percentage (e.g., 10-15%) of the production budget to cover unforeseen expenses like equipment breakdowns, unexpected travel, or extended shoot days.

C. Post-Production: Shaping the Story.

This is where your raw footage transforms into a finished film. For documentaries, this phase can be particularly long and iterative.

• Editing:
  • Editor’s fees.
  • Assistant Editor fees.
  • Editing suite rental or software subscriptions.
  • High-capacity storage (additional hard drives for project files and proxies).
• Sound Design & Mixing:
  • Sound Designer/Mixer fees.
  • Foley artist fees (for creating specific sound effects).
  • Voice-over (VO) artist fees and studio time (if using narration).
  • ADR (Automated Dialogue Replacement) if re-recording dialogue is needed.
• Music:
  • Music Composer fees (for original score).
  • Music Licensing fees (for pre-existing songs). This can be a huge cost, so specify per song or album.
  • Sync fees (for matching music to visuals).
• Color Grading / Color Correction:
  • Colorist fees.
  • Grading suite rental or software.
• Graphics & Animation:
  • Motion graphics artist fees (for maps, statistics, titles, animated sequences).
• Transcription (Full): Comprehensive transcription of all raw interviews and vérité footage. (Often a separate service).
• Archival Footage & Photo Licensing: Final fees for securing rights for all selected archival materials (often priced per second, per image, or per usage).
• Legal Fees (Post-Production): Final clearances (e.g., fair use review, E&O insurance consultation).

D. Deliverables & Distribution: Sharing Your Film.

Once the film is finished, you need to prepare it for audiences and get it seen.

• Festival Submission Fees: Costs for submitting to various film festivals.
• Delivery Formats:
  • DCP (Digital Cinema Package) creation (for theatrical screenings).
  • Broadcast Master creation (e.g., ProRes HQ, specific codecs for TV).
  • Online Screener Encoding (e.g., optimized H.264).
  • Subtitles & Closed Captioning (creation and embedding for accessibility, if not hardcoded).
  • Audio Description track creation (for visually impaired audiences).

• Marketing & Publicity:
  • Poster design.
  • Trailer editing and sound mixing.
  • EPK (Electronic Press Kit) creation.
  • Website design and hosting.
  • Social media promotion.
  • Publicist fees (if hiring).
• Impact Campaign (if applicable):
  • Campaign strategist fees.
  • Outreach materials (e.g., discussion guides, educational resources).
  • Screening tour costs (venue rentals, travel).
  • Partnership development.
• Travel for Festivals/Screenings: Travel and accommodation for filmmakers attending festivals.
• Errors & Omissions (E&O) Insurance: Essential for distribution, covers against legal claims.

E. Administrative & Contingency (Overall): The Glue.

These are the ongoing costs and the essential buffer.

• Production Company Overhead: General office expenses, accounting, legal retainer, software licenses not tied to specific production roles.
• Contingency: An overarching 10-20% of your total budget for unforeseen expenses or cost overruns across all phases. For documentaries, given their unpredictable nature, a higher percentage (15-20%) is often wise.

By categorizing your budget in this detailed manner, your free spreadsheet will become a powerful tool, not just for tracking expenses, but for strategic planning and communicating your film’s financial needs to potential funders and collaborators.

A dedicated budget spreadsheet acknowledges these unique elements, providing specific line items for research, archival, subject support, and iterative production phases. It transforms your financial planning from a guessing game into a strategic tool that reflects the true nature of documentary filmmaking.

4. How to Use Your Free Documentary Budget Spreadsheet: A Step-by-Step Guide.

Once you have your free documentary budget spreadsheet template (which we’ll discuss where to find in Section 6, or you can even build a basic one yourself using the categories from Section 3), the real work begins. Populating and managing it effectively is crucial for your film’s financial health.

A. Getting Started: The Initial Setup.

1. Download/Open Your Template: Open your chosen spreadsheet template in Excel, Google Sheets, or a similar program.
2. Project Details: Start by filling in the basic information at the top: Film Title, Producer(s), Date Prepared, Budget Version (e.g., “Development Budget v1.0”).
3. Currency: Clearly designate your currency (e.g., UGX for Ugandan Shillings, or USD if seeking international funding). If dealing with international transactions, consider adding columns for both local and foreign currency, or at least noting the exchange rate used for estimates.

B. Populating Your Budget: From Knowns to Estimates.

This is an iterative process. Start with what you know, then research to fill in the gaps.

1. Work Through Categories Systematically: Go through each major section (Development, Production, Post-Production, Deliverables & Distribution, Admin & Contingency) as outlined in Section 3.
2. Enter Known Costs:
   • Fixed Costs: Start with expenses that are relatively fixed, such as film festival submission fees you’ve researched, basic software subscriptions, or known permit costs. For example, Media Council press accreditation in Uganda is a known fee (e.g., US$175 for 30 days per person).
   • Specific Quotes: If you’ve already talked to an editor, composer, or equipment rental house, enter their quoted fees.
3. Estimate Unknowns & Research Rates: For every other line item, you’ll need to make an educated guess. This requires diligent research:
   • Crew Rates:
     • Local Ugandan Crew: Research typical daily or weekly rates for local DPs, sound recordists, production assistants, and especially local fixers/drivers. Online film communities, local production houses, and networking are your best friends here. For example, some sources suggest local talent/cast starting from $100 per person per day.
     • International Crew (if applicable): If bringing in specialists from abroad, factor in their higher rates, flights, and international per diems.
   • Equipment Rental: Contact local rental houses in Kampala or other major cities for quotes on camera packages (e.g., BlackMagic Pocket Cinema Camera 6K from UGX 100,000/day, Sony FS7 MK II from UGX 500,000/day), sound kits, lighting, and grip gear.
   • Travel & Transport:
     • Vehicle Hire: Get quotes for reliable vehicles (e.g., Mini-Vans for $150/day, Landcruisers for $200/day, excluding fuel). Factor in fuel costs based on your planned mileage, which can vary significantly depending on your shooting locations within Uganda.
     • Accommodation: Research hotel/guesthouse rates in your target filming areas (e.g., $50 for budget, $100-$150 for mid-range, $200+ for luxury in Uganda).
     • Per Diems: Estimate daily food and incidentals for your crew.
   • Location Permits: While negotiable, budget at least $100 per day per location as a general guide for local permits in Uganda.
   • Archival & Music Licensing: This is notoriously difficult to estimate without specific sources in mind. Start with placeholder figures, but be prepared for these to be substantial. Research typical rates for news archives or stock music libraries.
4. Quantity and Rate: For each line item, use the “Quantity” and “Rate” columns:
   • Quantity: Number of days, weeks, people, units (e.g., “5 days” for editor, “3 crew members”).
   • Rate: Daily rate, weekly rate, flat fee per person/unit (e.g., “UGX 500,000/day” for DP, “UGX 100,000/hard drive”).
   • Subtotal: The spreadsheet should automatically calculate Quantity x Rate = Subtotal. For one-time fees (like a permit), simply enter the full amount directly into the Subtotal column and leave Quantity/Rate blank.

C. Utilizing Spreadsheet Formulas: Automate Your Calculations.

Your free spreadsheet should ideally have some basic formulas already, but know how to create them:

• Summing Totals: Use the SUM() formula to add up all subtotals within a category, and then to sum all category totals for a grand total budget.
  • Example: =SUM(B5:B20) to add cells B5 through B20.
• Contingency: Calculate your contingency as a percentage of your overall estimated costs.
  • Example: If your total estimated costs (before contingency) are in cell C100, and you want 15% contingency, the formula would be =C100*0.15. This amount is then added to your overall total.
• Auto-Calculations: Modern spreadsheets will automatically update totals as you change individual line item values, making it dynamic.

D. Tracking Actuals and Regular Updates:

• “Estimated” vs. “Actual” Columns: A good budget spreadsheet will have separate columns for “Estimated” (what you plan to spend) and “Actual” (what you actually spent). This allows you to track variances.
• Track Every Expenditure: Maintain meticulous records of every expense, no matter how small. Keep receipts, log cash payments, and update the “Actual” column regularly. This is crucial for grant reporting and financial accountability.
• Living Document: Your documentary budget is a living document. It will change. Review and update it frequently (e.g., weekly during production, monthly during post-production). As you get actual quotes or new needs arise, adjust your estimates. Transparency about these changes is key for funders or investors.

E. Adding Notes and Justification:

• The “Notes” Column: Use a “Notes” column next to each line item to provide context, justification, or details. For example: “DP Rate (negotiated for 2 weeks on location, includes kit fee)”, “Location Permit (for Bwindi Impenetrable National Park)”. This is vital for showing funders how you arrived at your numbers.
• In-Kind Contributions: Use a separate column or dedicated section to log “in-kind” contributions (e.g., borrowed equipment, volunteer hours, donated services). While not direct cash expenses, they represent real value to your project and can impress funders by showing community support.

By diligently following these steps, your free budget spreadsheet will transform from a blank grid into a powerful, dynamic tool that provides financial clarity, helps you make informed decisions, and positions your documentary for successful funding and completion.

5. Tips for Effective Documentary Budgeting: Maximizing Every Shilling.

A budget spreadsheet is a tool, but knowing how to use it smartly is what truly makes a difference. Here are essential tips for managing your documentary film’s finances, especially in resource-conscious environments like Uganda:

A. Contingency is Non-Negotiable – And Often Higher for Docs:

• The Golden Rule: Always, always, always include a contingency fund. For documentaries, given their unpredictable nature (story shifts, unexpected travel, subject availability), aim for at least 15-20% of your total budget.
• Why It Matters: This isn’t “extra money”; it’s your safety net for the inevitable unknowns. A sudden illness of a key subject, a crucial location permit that takes longer than expected, a piece of equipment breaking down in a remote area, or even just needing an extra day of shooting to capture a critical moment – these happen constantly in documentaries. Without contingency, these unexpected costs will derail your project. Funders will also expect to see it, as it demonstrates responsible planning.

B. Leverage In-Kind Contributions (Show the Full Value):

• Definition: In-kind contributions are goods, services, or equipment that are provided free of charge, but which have a real monetary value. This is incredibly common and valuable in independent and documentary filmmaking, particularly in tight-knit communities.
• Examples: A local community leader offering a free location, a friend lending their camera equipment, a restaurant providing discounted meals for your crew, a volunteer transcribing interviews. In Uganda, this could be anything from a kind community member offering accommodation during a rural shoot, to a local university lending editing suite access, or a cultural group providing traditional music for free.

• How to Use Them:
  • Value Them: Assign a fair market value to every in-kind contribution and list it in a separate section of your budget or a dedicated column.
  • Track Them: Keep clear records, including letters of agreement for significant in-kind donations.
  • Showcase Them: When pitching to funders, highlighting substantial in-kind support demonstrates community buy-in and your ability to leverage resources effectively, making your cash asks more impactful.

C. Understand and Utilize Deferrals Strategically:

• Definition: A deferral is when a crew member, vendor, or even the director/producer agrees to postpone receiving all or part of their payment until the film generates revenue (e.g., through sales, distribution deals, or additional funding).
• When to Use: Deferrals are crucial for low-budget documentaries, allowing you to secure higher-caliber talent or services than you could otherwise afford upfront.

• Considerations:
  • Clarity is Key: Always have a clear, written agreement for any deferral, specifying the amount, the conditions under which it will be paid (e.g., “first money in,” percentage of net profits), and any contingencies.
  • Prioritize Payments: Aim to pay your most essential crew members and vendors cash, if possible. Defer producer/director fees last.
  • Ethical Deferrals: Be mindful of the impact of deferrals on individuals, especially those with immediate financial needs. Ensure they fully understand the risks involved.

D. Embrace Negotiation and Creative Cost-Saving:

• “It Never Hurts to Ask”: Don’t be afraid to negotiate rates with crew, vendors, and service providers. Many in the film industry are willing to be flexible for projects they believe in, especially documentaries.
• Multi-Hatting: In small documentary crews, individuals often perform multiple roles (e.g., Director also acts as DP, or Producer as Sound Recordist). While saving money, be realistic about the workload and skill overlap.
• Localize Resources: Whenever possible, hire local crew, rent local equipment, and source catering/transport locally. This not only saves money but also builds local capacity and supports the local economy. In Uganda, leveraging established local production assistants or fixers who know the area and have connections can save immense time and money.
• Smart Travel: Plan travel meticulously. Consider public transport, carpooling, and negotiating group rates for accommodation. In Uganda, understanding local transport options and potential road conditions for different regions is key.
• Recycle & Reuse: Can you borrow equipment? Are there props or set dressing you can source from your personal network or second-hand markets?
• Student/Volunteer Support: For non-critical roles, consider offering mentorship opportunities to film students or engaging passionate volunteers. Ensure clear expectations and ethical treatment.

E. Align Your Budget with Your Funding Strategy:

• Grant Applications: Many grant applications require budgets formatted in specific ways. Tailor your spreadsheet (or export specific budget sections) to meet these requirements precisely. Funders want to see that your budget aligns with their mission and priorities.
• Demonstrate Value for Money: A well-researched and realistic budget shows funders you are responsible and understand the costs involved. It gives them confidence that their investment will be managed wisely.
• Phase-Based Funding: Documentaries often get funded in phases (development, then production, then post). Your budget should clearly delineate these phases, making it easy for funders to see how their contribution fits into the overall plan.

F. Ethical Spending and Subject Care:

• Do No Harm: Beyond mere numbers, your budget reflects your ethical approach. If working with vulnerable subjects, consider budgeting for things like:
  • Post-Interview Support: Modest travel reimbursement, food, or a small token of appreciation for subjects’ time (ensure this doesn’t create undue influence).
  • Therapeutic Support: If your film deals with trauma, consider if budgeting for access to counseling or psychological support for subjects (if needed after filming) is appropriate and aligns with funder guidelines.
  • Clear Agreements: Budget for legal consultation to ensure all consent and release forms are culturally sensitive and legally sound, protecting both your film and your subjects.
• Transparency: Be transparent about how funds are spent, especially if your film involves community engagement or benefits.

G. Continuous Review and Re-forecasting:

• Living Document: Your budget is not a static document. It’s a living tool that needs constant attention.
• Weekly/Bi-weekly Review: During active production, review your “Estimated” vs. “Actual” spending weekly. In less intensive phases, a bi-weekly or monthly review is sufficient.
• Re-forecast: If you see significant deviations (either over or under budget in certain areas), adjust your remaining estimates. This is “re-forecasting.” It helps you make informed decisions about where to cut back or where you might need to seek additional funds.

By embracing these strategic tips, your free budget spreadsheet transforms from a mere record-keeping tool into a dynamic roadmap that helps you navigate the complexities of documentary financing, ultimately bringing your impactful story to life on screen.

6. Where to Find Free Documentary Budget Spreadsheets.

You don’t need expensive software to get started with effective documentary budgeting. The internet is rich with free spreadsheet templates that can serve as an excellent foundation. While no single template will be a perfect fit for every documentary, these resources provide a robust starting point that you can adapt to your specific project.

Here are some excellent places to find free documentary budget spreadsheets:

A. General Film Industry Resources:

Many popular film industry websites and companies offer free budget templates, often in Excel or Google Sheets format. These are typically designed to be comprehensive and customizable.

• StudioBinder: A well-known platform for production management, StudioBinder offers a free film budget template (often in Google Sheets) that is highly detailed and includes top-sheet summaries and color-coded sheets. While designed for general film production, its structure is easily adaptable for documentaries.
• Wrapbook: Another payroll and production management company that provides a free, downloadable film budget template. These often have clear line-by-line examples of what to include in each section.
• No Film School: This popular online resource for independent filmmakers frequently provides free templates and guides, including film budget spreadsheets that are often suitable for low-budget and documentary projects.
• Someka / Saturation.io / WordLayouts: These websites specialize in providing professional spreadsheet templates for various purposes, including dedicated “Documentary Budget Templates” in Excel and PDF formats. These are often pre-populated with common documentary-specific categories like research and archival costs.

B. Spreadsheet Software’s Own Templates:

• Google Sheets: Google Sheets offers a variety of free budget templates directly within its platform. While not always film-specific, you can start with a general “Project Budget” or “Annual Budget” template and then customize it using the categories discussed in Section 3 of this guide. The collaborative nature of Google Sheets is a huge plus for team budgeting.
• Microsoft Excel: Similarly, Excel has numerous built-in or downloadable budget templates. Search for “project budget” or “event budget” templates as a starting point, then adapt them.

C. Film Schools and Educational Resources:

• Many film schools, universities, and non-profit film organizations (especially those supporting independent filmmaking) often publish free resources, including sample budget templates, as part of their educational materials. A quick search for “film school budget template” might yield useful results.

D. Building Your Own (Based on This Guide):

If you prefer to start from scratch or can’t find a template that perfectly aligns with your vision, you can easily build a robust spreadsheet using the categories and line items detailed in Section 3: “Key Categories in a Documentary Budget Spreadsheet.”

• Columns to Include: At a minimum, you’ll want columns for: Category, Line Item, Quantity, Rate, Subtotal, Notes, Estimated Cost, and Actual Cost.
• Formulas: Implement simple SUM formulas to calculate totals for each category and a grand total for your entire project. Add a row for Contingency that calculates a percentage (e.g., 15-20%) of your subtotal.

E. Important Considerations When Choosing/Using a Template:

• Documentary Focus: Prioritize templates that already include dedicated sections for Research & Development, Archival Licensing, and specific Post-Production elements (like transcription) as these are critical for documentaries.
• Customization: No template is perfect. Ensure the template is fully editable so you can add, remove, or rename categories and line items to perfectly reflect your specific project’s needs.
• Clarity and Simplicity: Choose a template that is well-organized and easy to understand. Overly complex templates can be daunting and lead to errors.
• “Estimated vs. Actual” Tracking: Look for templates that clearly separate estimated costs from actual expenditures, which is essential for ongoing financial management and grant reporting.
• Currency: Be mindful of the template’s default currency and adjust it to your primary working currency (e.g., UGX for local budgeting, or USD for international funding applications).

While there might not be widely circulated, officially sanctioned free budget templates specifically from Ugandan film organizations readily available online, the international templates are universally applicable. Your ability to adapt and localize them using the information and local cost insights from this guide will be your greatest asset.