Production insurance isn’t glamorous. It won’t help you get into Sundance, and it definitely won’t make your cinematography look better. But without it, your film can collapse faster than a tripod with a missing leg.
At its core, production insurance protects your project—financially and legally—against the unpredictable chaos of filmmaking. Whether it’s a broken camera, a sprained ankle, a location fire, or a lawsuit from a disgruntled extra, insurance is the thing that makes sure your shoot doesn’t end with a stack of unpaid bills and burned bridges.
What Production Insurance Actually Covers
There are several types of coverage bundled under the umbrella of production insurance, and it’s important to understand what each one does. The most common is general liability insurance, which covers bodily injury and property damage. If your actor trips on a C-stand or your dolly scratches the floor of a historic building, this is the policy that saves you.
Next up is equipment insurance. Whether you own your gear or rent it, this covers damage, loss, and theft. Many rental houses won’t even let you pick up a camera without proof of coverage—and for good reason. Gear is expensive, and one dropped lens can cost more than your entire short film budget.
Other common types include workers’ compensation (required if you’re paying cast or crew), automobile insurance for production vehicles, and errors and omissions (E&O) insurance, which protects you against legal claims around copyright infringement, defamation, or invasion of privacy—especially critical if you’re aiming for distribution.
When You Actually Need It
If your shoot involves people, locations, gear, or moving vehicles, you need insurance. That means almost every shoot—yes, even that “scrappy little indie in your friend’s apartment.” Production insurance isn’t just for studios or million-dollar movies. In fact, small productions are often more vulnerable because they can’t afford to absorb losses.
Festivals, grant providers, and distributors increasingly require proof of insurance before they’ll work with you. So do many cities when issuing permits. Skipping insurance might save you money in the short term, but it will cost you deals, access, and credibility in the long run.
And if you think your personal or business insurance will cover your production, think again. Film shoots often fall into exclusions and require dedicated policies tailored to the risks of production.
How Much It Costs and How to Budget for It
The cost of production insurance varies depending on the size, length, and scope of your project. A short film might cost a few hundred dollars to insure, while a feature could range from $1,500 to $5,000 or more. Higher-risk elements like stunts, weapons, or water work will bump that number up quickly.
It’s worth building insurance into your budget from day one. Treat it as essential, not optional—right alongside locations, gear, and catering. If you’re crowdfunding or pitching investors, showing that you’ve accounted for insurance signals that you’re a professional who knows how to protect their investment.
There are also short-term production insurance packages, often called DICE policies (Documentary, Industrial, Commercial, Educational), which can cover smaller projects on a more affordable basis. Shop around and talk to brokers who specialize in film to find the best fit for your production.
Choosing the Right Provider and Policy
Not all insurance brokers are created equal. Look for ones that specialize in media and entertainment. They’ll understand your production needs and help you avoid common gaps in coverage. Companies like Film Emporium, Front Row Insurance, and Athos Insurance are popular with indie filmmakers for a reason—they speak the language.
Before you sign anything, read the fine print. Make sure your policy covers rented gear, cast injuries, and public liability. If you’re filming internationally, check whether your coverage extends outside your home country. And if you’re planning to use music, logos, or real-life likenesses, ask whether you need E&O insurance from the start.
Above all, don’t wait until the last minute. Getting the right coverage takes time, especially if you’re working with unions, city film offices, or other third parties that require custom certificates.
Leave a Reply