Progressive Productions: Trusted Film and Photo Production Across Europe

In-House Services and Sustainability: The Progressive Approach to Production

Last updated on November 26th, 2024

Iván Gerő and Zoltán Haulis, co-founders of Progressive Productions, have been partners since 2005 and bring years of expertise from Hungary’s film production industry to the international stage. In this interview, they share how their company, now operating in Hungary, Austria, and soon Southern Spain, delivers high-quality film and photo production services tailored to international clients.

Progressive Productions was founded in Hungary in 2009, and this interview took place in 2024. How would you introduce the company to a new client, and why should they choose Progressive Productions?

Iván: Progressive Productions is a film and photo production company operating in Hungary, neighboring Austria, and soon in Southern Spain, offering production services for international clients looking to shoot in these regions. We are a well-established, reliable company with 15 years of successful experience and a strong track record of productions. I believe our unique approach to work truly sets us apart and is something worth highlighting. Zoltán and I are actively involved in each production, regardless of its size. This hands-on approach ensures that we meet our clients' needs, delivering a seamless, stress-free experience. No detail is overlooked, and we strive to meet every requirement.

Additionally, we keep certain essential services in-house—such as location and casting services—which are crucial in international production partnerships, allowing us to be faster, more precise, and deliver higher quality.

In my view, our flexibility is the key to our success and our distinctive expertise. We work with clients from diverse genres and countries, learning what matters most to each—from collaborating with an American studio to organizing a high-end fashion shoot. Our extensive experience across different genres and regions does not detract from our expertise in any single area; rather, it creates a strong, multidisciplinary approach. We are very proud of this. However, one thing is constant in every project: our primary focus is the success of our clients and each production, which we genuinely treat as our own.

Zoltán: Our name, Progressive Productions, reflects the fact that we founded our company with the goal of embracing continuous growth and challenges. It signifies that we are always open to new processes, genres, and client expectations. I believe this is of utmost importance, as success in the production industry is only achievable through adaptability and ongoing development.

You started in Hungary, then expanded to offer services in Austria from 2015, and from 2025, Progressive Productions will also begin operating in Southern Spain. So, would you say you’re a multinational company?

Iván: Yes and no. When people think of multinational companies, they usually picture large corporations operating across many countries. While we do operate in multiple countries and leverage the knowledge and resources we gather across these regions, which is a clear advantage, I wouldn't say we're a multinational in the traditional sense. What we can guarantee, though, is that whether clients choose us in Hungary, Austria, or soon in Southern Spain, we’ll deliver the same high-standard production services with a similar approach, always adapted to local specifics.

Zoltán: For our cross-border expansion, we chose the legal structure of branch offices rather than setting up separate entities in each country. Branch offices are legally tied to our main office in Budapest, building on the expertise accumulated there over the years and utilizing the infrastructure, production mechanisms, and databases developed at our headquarters. This approach extends to personnel, too — the same producers work on projects across different countries. At the same time, we source local film professionals and equipment for each project. For these reasons, we don’t consider ourselves a traditional multinational; rather, we see ourselves as a company that takes advantage of the European Union's cross-border flexibility, consistently applying our core knowledge and expertise across locations.

What is the experience and expertise that makes Progressive successful not only in Hungary but also in other countries?

Zoltán: Although we've worked with clients and producers from a wide range of cultural backgrounds, one thing remains consistent across all projects: there are always tasks that seem impossible but must be handled quickly, efficiently, and — above all — successfully. In our 15 years of experience, we’ve never encountered a problem we couldn’t solve. This mindset, which I believe is common among many production professionals in Hungary, is what enables us to be successful in other countries as well. We know how to find people who think the same way, who focus on solutions rather than obstacles. When clients choose us for projects in Austria or Spain, in addition to Hungary, they can be confident that they’ll encounter this same approach and receive the same attention to their project, no matter where they’re shooting. With us, there’s no "work hours are over" or "it's siesta time"—we manage every project with the Hungarian hard-working mindset.

Iván: It’s fascinating to get to know the local crews, customs, and work cultures in different countries. This requires openness and flexibility, which is something we excel at. Building the right team is crucial, especially when working outside one’s home country, and this is another area where we’re strong. We always assemble the crew based on the specific needs of the production, not on personal connections. This approach is supported by an internal evaluation system and constant monitoring of each crew member’s work. This is essential for successfully navigating unfamiliar areas and making the right choices.

In addition, we’ve developed refined internal workflows, checklists, and contracts that we can adapt to any work environment.

What unique considerations do you need to keep in mind when working in different countries?

Iván: Wherever we’re filming, we respect the culture, customs, iconic filming locations, and, of course, the local crew. Since every country we operate in is within the EU, apart from basic cultural, infrastructural, or weather-related differences, there are no fundamental challenges that can’t be easily overcome. As a producer, I believe it’s essential to understand a country or region beyond production logistics, gaining insights into its history, politics, economy, language, and culture. This broader perspective helps us bridge significant cultural differences smoothly.

Zoltán: To put it more pragmatically, it’s important to note that thanks to legal harmonization within the European Union, we don’t face vastly different legal environments in each country. Once you know the general legal framework — such as how to contract specific crew roles — you just need to familiarize yourself with a country’s unique regulations. However, there can still be substantial differences between laws and local practices, and understanding these requires hands-on experience over time. Together, this knowledge is part of the expertise we offer our clients.

What in-house services do you offer?

Iván: Good question! This is one of Progressive Productions’ unique features. Over the years, we’ve focused on building in-house services that enhance client satisfaction and ensure a fast and seamless workflow. Key factors in clients choosing Hungary or Austria often include accessible locations and the integrated production solutions we provide. When we first started, we didn’t have an internal location database and relied on freelance location scouts and agencies. This brought in many unreliable factors: slow responses, inaccessible locations, outdated images, and presentations that didn’t match the brief. To change this, we built an extensive internal location database with original photos, direct connections to locations, government institutions, and public spaces. One of our proudest achievements with this setup was organizing the closure and use of multiple train stations, the rental and coordination of railcars, all in about two weeks to meet a client’s needs. Since managing location services in-house, every site we’ve offered has been available and functional when chosen by our clients.

In addition, we developed a high-quality, flexible set operations system that streamlines our productions. Our experience has shown that this aspect is key to a smooth and enjoyable filming experience. When set operations run well, they’re invisible; when they don’t, they’re extremely disruptive. We feel that if someone has chosen to travel thousands of kilometers to work with us, we owe them the best possible working conditions.

Another area we’ve developed as an in-house service is casting. Here, too, we encountered similar challenges as with locations: slow agencies, inadequate outcomes, redundant talent pools, and non-transparent contracts with cast members. Today, we have a continuously updated database of thousands, including extras, featured extras, special-skilled extras, and actors. For productions that need local casting, our in-house service delivers outstanding results.

In summary, our in-house services include location scouting, casting, and a unique set operations system. We built these services to keep these areas fully under our control, ensuring a smooth, fast, precise, and reliable experience for our clients.

What can clients expect in terms of communication and updates during a project?

Iván: This is a highly prioritized area in our productions.We have clear and well-established communication practices and methods. The most important thing is that our clients receive prompt and accurate updates on every production development and detail. During the soft prep phase, we provide daily updates at the end of each day, regardless of specific requests, detailing progress on each aspect of the production and the advancements made that day. This functions as a quick status report, not only to ensure our clients have accurate information but also to give them confidence that their project is in good hands. Additionally, if they need to report to others, they can do so immediately without having to wait for us to respond.

A key principle in our communication is that we always share any concerns or potential pitfalls based on local knowledge, along with ways to address them (if such issues exist). This transparency helps our clients feel secure with us and gain insight into the local production processes and their nuances.

During hard prep and production, we use all communication platforms according to our clients' preferences (email, WhatsApp, phone), and maintain 24-hour availability. We aim to create clear email loops or chat groups for specific topics and key departments, as our experience has shown this is essential for ensuring that information is not lost and can be easily retrieved when needed. Generally, we use Google Drive to share materials with our clients, so everything is accessible and easy to review at any time. Of course, if our clients prefer a different platform, we can readily adapt to that as well.

What types of contractual agreements and billing models do you use with clients?

Zoltán: First and foremost, I want to emphasize that in film production — no matter the type of contract or billing model — the ultimate priority is delivering a final product of the desired quality. This stands above everything else.

In film production, as in most implementation work, there are generally two types of bids and billing models. One is a fixed-price contract, often referred to as a firm bid, while the other is an itemized billing structure, known as a cost-plus mark-up bid. In practice, the cost-plus model is used when numerous variables remain unknown or may change during the budgeting phase, making it impossible to set a budget that reflects future needs. In the case of a firm bid, the creative concept and production guidelines are well-defined upfront, allowing for a budget that can be set as a fixed price. We are open to both models, as well as a combination of the two, as long as we agree on the structure from the start of the project. In my experience, certain countries and types of projects clearly prefer the firm bid, as it provides a predictable project budget. With this model, it’s our responsibility to manage the budget and ensure all services are delivered, with any increase in budget occurring only under exceptional circumstances.

However, some clients require flexibility and find the firm bid too restrictive, preferring itemized billing with the understanding that they’ll cover the final expenses after reconciliation. We can agree to either of these approaches in contracts, always keeping our clients’ needs and interests at the forefront. I've observed that many production service providers only operate within the cost-plus model, which leaves clients uncertain about their level of budget control and solely responsible for maintaining cost limits. Instead of offering enticing but unsustainable estimates, we aim to provide reliable budgets that make the production feasible from start to finish.

Can clients approach you from any country and with any size of project?

Iván: Absolutely, yes! Progressive Productions is more than just a business providing services; it’s also an opportunity for us to meet new people and engage in exciting projects. I believe that this work can only be done with passion and dedication, and anyone who’s involved in production knows exactly what I mean.

Zoltán: We’re not specialized in a single country or genre, and from the start, being open to everything rather than imposing our own vision on clients has been a key to our success. Let me give you an example. In 2009, every high-quality commercial was still being shot on 35mm film, but that was also when the RED digital camera first appeared. At first, many production companies, directors, and cinematographers refused to accept this change, considering film stock as the professional choice while seeing digital technology as amateur. We, however, shot on both 35mm film and RED with equal enthusiasm, depending on what our client preferred, and most importantly, we didn’t look down on the project for this choice — we maintained a professional attitude.

We went through similar experiences with TV versus internet commercials. Many were reluctant to accept that high-quality commercials could exist outside of TV, viewing internet ads as lower-budget and, therefore, lower-quality productions. We were among the first to take part in internet-based projects.

Or take photography, for instance — many film companies don’t take the photography projects seriously, but we’ve always placed significant emphasis on it. So yes, we’re open to all genres and all sizes of projects, and we approach each with the same professional mindset. We’re convinced this is the foundation for long-term success.

Your work portfolio includes projects for Hollywood studios. Why should a Hollywood studio choose to work with you?

Iván: Yes, we’ve worked with several Hollywood studios over the years. We have a deep understanding of the expectations and workflows that studios follow. This understanding extends beyond production processes to financial and legal protocols, which we prioritize when working with studios. We’ve developed a range of internal tools (sheets, budget forms, agreements, releases, H&A, etc.) specifically to meet studio needs with the highest accuracy and quality. I spent several years in the U.S. as a teenager, so I generally feel very comfortable with American productions. Of all the different genres and clients, I find studio-driven projects allow me to adapt seamlessly as a producer.

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Zoltán: The fact that we’ve already worked with most Hollywood studios over the years is what can make us appealing when being considered for such projects. We know studio structures, processes, and values, and we bring them to life during production. We don’t see these requirements as a burden or extra work; instead, we strive to ensure that the entire crew, vendors, and location owners understand these expectations to implement them effectively. This is a crucial point in my view. To give a practical example, we don’t just hand a location release to an owner for signing — we explain why each clause is important to the studio and why compliance matters. When people understand this, the requirements are more effectively met, and it creates a better atmosphere on set, with no distrust from either side. This approach requires not only production knowledge but also legal understanding, which we possess.

Additionally, we have extensive knowledge of accounting and taxation. We’re familiar with tax laws in three European countries, as well as OECD-related treaties. We also know EU regulations on social security, which is essential when transferring workers across borders for projects, as well as EU customs regulations. This comprehensive knowledge of finance and taxation is indispensable for large-scale Hollywood projects.

Overall, I believe our company — beyond having an active network and solid production experience — ensures full compatibility with studios' legal and accounting requirements. We execute productions that align seamlessly with studios' internal standards and systems.

What specific measures does Progressive take to ensure a smooth adaptation of American-style production standards within a European context?

Zoltán: We prepare budgets according to American standards, using the Movie Magic Budgeting software, which we’ve been working with for 12 years. This allows us to avoid generalizations, breaking down each budget item to the necessary level of detail. For projects with variable budgets, variance reports provide our clients with quick insights into any changes that have been made. Beyond the software itself, we place great emphasis on aligning terminology and cost categories that may differ between the Hungarian or Austrian film industries and the American model. We discuss these distinctions with our clients and represent them in the budget according to U.S. production standards. In short, we prioritize “speaking the same language” as our American clients in the budgeting process, as this serves as the foundation for the entire production. Additionally, our production documents and spreadsheets are also structured following the American model.

Iván: In addition to what Zoltán mentioned, it’s also crucial to note that we always ensure our local crew structure — whether in Hungary or Austria — aligns with the American production structure. This generally matches up about 90% of the time, but there are always some variations or overlapping areas in specific roles and responsibilities. We discuss and clarify these distinctions with local department heads as needed. At the same time, we typically work with crews who have experience with American productions, so they’re already familiar with these standards.

How does Progressive Productions assist international clients in understanding and navigating European film incentives and tax rebates?

Zoltán: We have the strongest expertise in the Hungarian film incentive program, which has been a part of the Hungarian film industry since 2004. By comparison, the Austrian incentive is much newer and less tested, having only become available in 2023. I believe our most crucial role is ensuring that the production’s eligibility for support is recognized by the relevant authorities. In terms of accessibility, the Hungarian system is unique. In the past 20 years, we’ve heard of only a handful of productions that didn’t qualify for the incentive. Essentially, if you’re filming in Hungary, you can be almost certain of receiving tax rebate-based support. The program has specific criteria that must be met, including production and content-related standards that are scored objectively. But if you reach the required score, your eligibility for the incentive is recognized. We believe our presence and guidance are most valuable at the start of the project, where we clearly communicate the key eligibility criteria to our clients. We also prepare the local production budget — on which the tax incentive is based — in a way that maximizes eligibility for the rebate.

As I mentioned, the Austrian incentive system is still new, and time will tell how competitive it is. However, based on current regulations, it’s clear that the Austrian program is not as automatic as the Hungarian system.

In today’s world, sustainability has become critically important. How has Progressive incorporated this into its operations?

Iván: Naturally, we implement sustainability considerations in all our production processes. We go into more detail about this on our website. While this is now standard practice, I think it’s essential to note that sustainability isn’t just a checklist item on a shoot but a comprehensive approach that extends from environmental awareness to social and economic sustainability. We devote a lot of attention to this. Being from Eastern Europe, we come from a background where everyone has experienced some form of scarcity. We don’t like waste, and this practicality often reflects in our productions.

Zoltán: Sustainability, to me, means fairness — toward each other and toward the environment, which we aim not to exploit but to preserve for future generations. True sustainability goes hand-in-hand with an honest budget that reflects these values.

Let me give an example from Hungary in 2009, when low production costs made it an attractive filming destination. However, to keep crew day rates especially low, people often had to work as self-employed contractors or even source invoices from unofficial channels to get paid. We never engaged in these practices. We didn’t turn away skilled crew members simply because they couldn’t provide an invoice, and we certainly never pressured anyone to obtain invoices from unofficial sources. Naturally, this meant that our budgets, including taxes, were higher than those of some competitors, and we did lose projects because of it. Our budgets have always remained competitive, just not the lowest. In our view, fair, transparent practices are essential for the long-term sustainability of the film industry, as it can only thrive if professionals are assured of safe working conditions, health, and retirement security. It’s reassuring to see that more people are recognizing this.

I’d like to mention that I especially appreciate Green the Bid’s approach to sustainability, which advocates for clearly listing environmental production costs as a separate line item in the budget. This approach clearly distinguishes those who simply talk about sustainability from those who are genuinely investing in it.

What challenges do you foresee for the future?

Iván: I’m always cautious about the future. What seems like a challenge today might hardly be noticeable in a few months. One thing is certain: we need to keep pace with the rapid speed of technological advancement and remain flexible and responsive. That’s the principle I follow.

Zoltán: AI technology will undoubtedly transform the world, including the production industry. Many companies founded by older generations were established by individuals who previously worked as interpreters. Simply by speaking Hungarian and being fluent in English or, say, Italian, they became essential figures, building successful companies on their language skills and cultural knowledge. Of course, a producer’s personality and production expertise were also necessary to maintain success, but language ability was undeniably crucial at the start. Today, however, AI language models have ushered in an era where language is no longer a barrier. It’s no longer unthinkable for an English speaker to communicate effectively with someone who doesn’t speak any English.

Naturally, language skills and cultural knowledge remain valuable assets. For instance, our company continually supports language training in English, German, and Spanish for our team members. In today’s world, however, language and cultural awareness alone are not enough; sustainable success requires a much more complex skill set. I’m convinced that for production service companies, this will lead to a future where complex knowledge, production solutions, and a broader range of services will become more valuable.

This is why we’re now active in three countries, and why we prioritize cross-border expertise. Our model makes it possible to manage productions that involve shooting in multiple countries — for example, filming in both Hungary and Austria within the same project, and now in Southern Spain as well.