Cameron sits down with Andrew C. Griego of the Santa Fe Film Office to unpack how Santa Fe actually functions as a production hub inside New Mexico's highly competitive incentive system.

Andrew grew up in Las Cruces, New Mexico, and developed a passion for film and broadcast journalism that started in grade school. He went on to study filmmaking at NYU's Tisch School of the Arts, graduating with honors in 2013, before returning to New Mexico and building a career in the Locations Department. After joining IATSE Local 480, he worked his way up to Location Manager on large-scale features, television series, commercials, and documentaries, giving him a ground-level understanding of what productions actually need when they arrive in a region. He now calls Santa Fe home and brings that on-set perspective to his work at the Santa Fe Film Office.

While the statewide incentive often gets the attention, the conversation focuses on the operational layer producers encounter once a project lands in Santa Fe. From municipal permitting and historic districts to local crew depth, qualified production facilities, and the realities of shooting in a city with a strong architectural and cultural identity. Andrew breaks down how productions structure around the state's incentive uplifts, why Santa Fe works especially well for episodic television and contained features, and what producers often misunderstand about the region beyond the "desert" stereotype. They also discuss the city's production infrastructure, local crew culture, rural filming advantages, and how Santa Fe coordinates with the New Mexico Film Office to keep productions moving efficiently.

Cameron sits down with Patricia Beaury, a production accountant who has been working in indie film since 2011. Her credits include My Mom Jayne, The Python Hunt, Pee-wee as Himself—winner of both an Emmy and a Peabody Award—and Anora, which won five Academy Awards including Best Picture. Her work spans narrative features and documentaries that have premiered at Cannes, Venice, Berlin, and Sundance.

Patricia breaks down the real mechanics of production accounting: how cash flow, payroll, cost reporting, documentation, and approvals shape the day-to-day rhythm of a shoot. She shares how her background as a producer and line producer informs the way she reads a budget, spots trouble early, and brings narrative to the numbers so producers can make better decisions in real time.

The conversation also gets into the workflows that make productions run more smoothly, from standardized templates and weekly cost report cadence to receipt tracking, P-card envelopes, and audit-ready recordkeeping. Patricia explains why payroll is the most important part of the job, how trust with department heads keeps accounting efficient, and why a strong producer-accounting partnership can make the difference between a stressful closeout and a clean, predictable finish.