Background Vocalist PRIMARY GENRE R&B The following is the breakdown of 2009-2010 income from a Soul Background Vocalist, who performs as a background singer on Pop network TV, live on tour, and on recordings. She also writes songs and SECONDARY GENRE performs and records her own music as a solo artist. She produces Jazz records for herself and others. Electronica Rock For the purposes of this case study, we will look at her income from her work as a session musician and background vocalist only – both in ROLES the studio and live on tour. TV background performer Film background performer Live background performer This Background Vocalist tours regularly as a background vocalist Background recording artist for several different featured artists. Previous tours have included performances at concert halls, theaters, opera houses, resorts, YEARS ACTIVE and festivals. She is also part of the regular “music crew” – as a 1997 – present background vocalist – on a live network television program with a house band, appearing on 34 episodes over four seasons. She has TIME SPENT ON MUSIC 100% also performed on over 50 recordings as a background vocalist for more than 30 different artists. INCOME DERIVED FROM MUSIC 100% The Background Vocalist does not have formal musical training. She is a member of SAG-AFTRA, NARAS, SoundExchange, and ASCAP, and is registered with the AFM & SAG-AFTRA Fund. Through her affiliation with SAG-AFTRA, she qualifies for health insurance and earns pension credits. She does not have a manager or bookkeeper.
money.futureofmusic.org/case-studies CASE STUDY | Background Vocalist
A note about session work
They might call themselves background musicians or sidemen, guest musicians, session musicians, freelance musicians, or backup singers. To simplify the language for this study we call them all session musicians. These are the musicians and singers who are usually hired by a producer, record label, featured artist or bandleader to perform in a live or broadcast setting or on a recording. Session musicians can solo, may get billing, or even appear to be a regular member of a band. What makes them different than featured artists is that session musicians are paid a fee or a predictable salary for their time and expertise as musicians or singers. Generally, they do not assume any of the risk in a recording or live performance endeavor; they get paid even if the recording or tour loses money. Session musicians often accept a buyout – a one-time payment for work in a recording studio or in a live performance in exchange for signing over most or all of their rights. While they are entitled to some income that flows from copyright, session musicians are not considered the featured artist in a performance or recording. This is not a hard and fast category. Like everything else in the music business, the lines between roles are fluid.
Color coding for Background Vocalist
We have tried to use a consistent color palette across all the graphs and charts we have generated as part of the Artist Revenue Streams work. For instance, income from compositions is red, and live performance work is blue. We have used shades of these colors to signify specific types of revenue in these broad categories.
If we were to religiously stick to this color palette when describing this Background Vocalist’s income, the graphs and charts would all be shades of teal, as all of her income included in this case study is session work, in one form or another.
In order to provide a visual differentiation, we have added another color to the palette. In the case of AY, her TV- and film-based session work is brown.
money.futureofmusic.org/case-studies 2 CASE STUDY | Background Vocalist
About Television and Film Work, Appearance Fees and Mailbox Money
All payments for this Background Vocalist’s television and film appearances are governed by the union scale, which is a standardized rate negotiated by SAG-AFTRA (AFL-CIO) – the union that represents vocalists who perform on television, film and radio. (Instrumentalists are represented by AFM, the American Federation of Musicians.) These rates for film and television session work are usually renegotiated every three years between SAG-AFTRA and the employers (record companies, TV and film producers, commercial producers, network TV, etc).
• Musician appearances on television can range from being in a house band for a live show (as on many late night shows), to appearing on a scripted television show with musical numbers (ex. Glee), appearing as a special guest on a program like a talk show, or appearing on a musical contest show.
• Musician appearances on film can range from on-camera acting or singing to off- camera singing (i.e. an animated musical feature film of the kind that Disney often makes) to using previously recorded tracks (if these tracks were originally recorded under a union contract).
There are set rates for each kind of appearance. For more specifics on how much artists who are covered by SAG-AFTRA get paid for various television and recording appearances, refer to http://www.sagaftra.org/production-center.
In this report, we refer to two different categories of payment for television and film work. When the artist goes into the television or film studio and performs, we call it a “TV/Film Appearance.” If the television show or film does well, the artist shares in the success of the show and will continue to get royalty checks or residual payments (which we call “TV/ Film Mailbox Money”) when the show is rebroadcast, when there are new uses (e.g. DVD, iTunes), and when the artist is entitled to a portion of royalties (e.g. foreign use) from various uses of the show. We use the phrase “mailbox money” here because artists sometimes refer to this second category of payments that way. Some of these additional payments are explained below in Appendix A which is an overview of how SAG-AFTRA calculates mailbox money in different media.
money.futureofmusic.org/case-studies 3 CASE STUDY | Background Vocalist
Gross Revenue
This section reviews the overall gross income numbers for 2009-2010 for this Background Vocalist, as well as definitions for each category.
Gross Revenue, 2009-2010
Recording TV/Film Live Performance
2009 2010
In 2009-2010, the Background Vocalist makes 52% of her income from TV and film work, both from appearance fees as a background/session vocalist on a popular TV network talent show where she is a salaried performer, and from TV/film “mailbox money” from previous TV and film appearances as a background/session vocalist. Performing as a background vocalist in live performances on tour, primarily with one artist, makes up 41% of her income in 2009-2010.
The remaining 7% comes from her work as a background/session musician in the recording studio, and consists of both direct session payments for her time spent in the recording studio and regular (annual) income streams from “recording mailbox money” from the AFM & SAG- AFTRA Fund for her work as a background/session musician.
Graphs do not have a Y-axis dollar value in order to observe the conditions of our privacy policy. In addition, graphs and visuals in case studies are not comparable within or between case studies. Information detailed in case studies is based on data received directly from the artist or their authorized representative. The data analysis and lessons learned here are based on individual experience, and do not necessarily reflect the experiences of all musicians in genre or roles. Case studies are one of three ways this project is looking at musician income. Learn about methodology at money.futureofmusic.org. money.futureofmusic.org/case-studies 4 CASE STUDY | Background Vocalist Gross Revenue, 2009
Gross Revenue, 2009
In 2009, the Background Vocalist performed TV/Film Appearance as a live background vocalist on many 22% performances with mostly one featured artist, and also appeared as a live background Live Performance Studio Recording 4% vocalist at a few other events. As a salaried 56% crew member, she taped episodes of her TV/Film Mailbox Recording Money current primary TV show. Since her primary TV Mailbox Money 17% 1% show is popular, she also received new use fees for taping episodes of a related spin-off talent show that uses footage from the primary show.
This Background Vocalist also received fees for performing on studio soundtrack recordings of her primary TV show. She received TV mailbox money for two previous seasons of her current primary show, from her previous primary television show (on which she appeared on numerous episodes over six seasons in the late 90s-early 00s) as well as from other television appearances. Most of this mailbox money was for domestic syndication and foreign use. She also received recording mailbox money from studio recording credits with seven artists from recordings released from 1998-2002; all were recorded under SAG-AFTRA contracts.
This Background Vocalist appeared on three recordings that came out in 2009. Two of these were soundtrack collections related to her current and previous television work. One was a greatest hits compilation of songs recorded with a featured artist years previously. All were released on major labels. Only one of these was recorded in 2009; the others were recorded in previous years.
Revenue Category 2009 Details Background Vocalist 55.4% 72 engagements with five different groups Live Performance TV/Film Appearances 21.5% For 10 appearances on 2 television shows for work as a salaried performer Cable, Domestic Syndication, and Foreign royalties for 2 seasons of Artist AY’s TV/Film Mailbox Money 17.4% current primary show, 6 other television appearances, 1 film appearance from 2009 and 1 film appearance from 2004 Session Musician in Fees for recording sessions associated with current primary show for 1 audio major 4.4% Studio label release. Recording Mailbox AFM & SAG-AFTRA Fund income for 17 recording credits with 7 artists. Records 1.3% Money were released in 1998-2002.
money.futureofmusic.org/case-studies 5 CASE STUDY | Background Vocalist
Gross Revenue, 2010 Gross Revenue, 2010
In 2010, the Background Vocalist performed as a live background vocalist on many dates with one featured artist, and also appeared as a live background vocalist at one other event. Live Performance She taped a season’s worth of episodes of her 21% current primary TV show as a salaried background TV/Film Mailbox Money vocalist, and received new use fees for one 39% episode of the spin-off show that uses footage shot from the primary TV show. As in 2009, she TV/Film Appearance received fees for recording studio versions of 30% songs from her current show. She received TV Studio Recording mailbox money for a previous season of her Recording 9% Mailbox Money current primary show, multiple seasons of its 1% related spin-off show, as well as mailbox money from her previous primary television show (on which she appeared on 41 episodes over six seasons in the late 90s-early 00s) as well as from multiple other television appearances. Most of this mailbox money was for domestic syndication and foreign use, though she received a significant amount of money from a ringtone royalties settlement that was paid out in 2010 as well. She also received recording mailbox money via the AFM & SAG-AFTRA Fund from recording credits with seven artists.
The Background Vocalist appeared on one recorded soundtrack of her television work that was released on a major label in 2010. The other record released in 2010 was an urban record released on an independent label where she was an arranger and background vocalist.
Revenue Category 2010 Details 1 previous season of current primary show; 2 previous seasons of spinoff show; TV/Film Mailbox Money 39.1% multiple appearances on 5 other shows; 1 film appearance from 2009, 1 film appearance from 2004 12 episodes of current primary show as a salaried performer; 1 episode of spinoff TV/Film Appearances 29.8% show; 7 other appearances on 4 different television shows, mostly live shows. Background Vocalist 21.2% 29 performances with one featured artist; 1 other live appearance Live Performance Session Musician in Fees for recording sessions associated with current primary show for 1 audio major 9.0% Studio label release; 1 other studio recording Recording Mailbox AFM & SAG-AFTRA Fund income for multiple recording credits with 7 artists. 0.9% Money Records were released in 1998-2002 and 2008.
money.futureofmusic.org/case-studies 6 CASE STUDY | Background Vocalist
Income v Expenses
The pie charts below show aggregate gross income, and the related expenses, for 2009-2010. Gross income and expenses, 2009-2010 Gross Income and Expenses, 2009-2010
Live performance TV/Film appearance 41% 25%
Overhead 36%
Touring expenses 64% TV/Film mailbox money 27%
Recording mailbox money 1% Studio recording 6%
The pie chart for expenses has been scaled visually to represent that expenses consume about 10% of gross income. The table below provides details about expenses from 2009-2010.
Expense Category 2009-2010 Details
Touring 63.6% Travel, Meals Office Expenses, Legal and Professional Services, Postage, Overhead 36.4% Professional Dues, Music Purchases
Unlike other case studies, this musician’s expenses are more like those of a professional orchestra performer or sideman in that she doesn’t have a lot of expenses. While she tours extensively, the featured artist pays her travel costs.
money.futureofmusic.org/case-studies 7 CASE STUDY | Background Vocalist
Income v Expenses and Net
This chart below shows income versus expenses on a year-to-year basis. The grey line indicates net income, which varies depending on factors like whether the year’s income includes a lengthy tour backing a featured artist - which would pay a background vocalist soon after the performances, or if the year’s income depends more upon TV/film work and their associated mailbox money, which can take much longer to receive.
Income v Expenses and Net, 2009-2010
Recording mailbox money Studio recording Income TV/Film mailbox money TV/Film appearance Live performance
Overhead Touring Expenses
Mailbox Money: An Overview of Impact on Income
This Background Vocalist makes her money from two main revenue streams: 1) salaried TV work, which has led to more core TV work, and 2) live performances and recordings as a background vocalist. As a result of these initial income streams, she continues to earn the TV/film mailbox money – or residuals – that are a byproduct of the union contract governing TV and film work. The recording mailbox money from the AFM & SAG-AFTRA Fund is a byproduct of the recording session work.
money.futureofmusic.org/case-studies 8 CASE STUDY | Background Vocalist
Over 2009-2010, mailbox money from both television/film and recordings has clearly represented a substantial part of this Background Vocalist’s income.
TV/FilmTV/Film Appearance Appearance Fees vs. Mailbox Fees Money, vs. StudioStudio Recording Recording Fees vs. Recording Fees Mailbox vs. Mailbox Money,2009-2010 2009-2010 MailboxMoney, Money, 2009-2010 2009-2010
TV/Film Studio Recording TV/Film Mailbox Appearance 85% Money 48% 52%
Recording Mailbox Money 15%
How Television Mailbox Money Works
The Background Vocalist only taped 13 TV appearances in 2010, but the income continues to flow long after the original taping. She’s typically paid for appearances by the production company or a third party payroll company that the production company has hired to administer its royalty payments. She receives the mailbox money from different sources depending on the kind of reuse and the union administering the reuse. This income is often received as individual checks for each TV episode and production company.
Typically, television mailbox money flows in this way from the network to the artist:
How money flows back to TV/film artists
Production Payroll TV Network Artist company company Union
money.futureofmusic.org/case-studies 9 CASE STUDY | Background Vocalist
Television Appearance Income vs. Mailbox Money
Here is the Background Vocalist’s income distribution for 2009 and 2010 for her television and film work:
TV/Film Appearance Fees vs. Mailbox Money, 2009-2010
TV/Film Appearance TV/Film Mailbox Money
2009 2010
Salaried work for TV and film appearances makes up about half of the Background Vocalist’s television and film-related income in 2009 and 2010. The other half of her television and film- related income is mailbox money.
This singer earns nearly as much from mailbox money from TV/film appearances as she does from the appearances themselves. The mailbox money provides a significant, long-term revenue source that can grow as TV and film content is repurposed, made available on new platforms, and in a widening number of markets.
Kinds of Television Mailbox Money
In addition to the annual payment scale negotiations, SAG-AFTRA also negotiates and oversees residual payments – the mailbox money – for vocalists who appear on commissioned music or live performances on television or movies. After the original taping, artists can receive additional payments if the show is rebroadcast on network television or cable, goes into syndication, is shown on foreign television, or reused in other ways. Below is a chart that money.futureofmusic.org/case-studies 10 CASE STUDY | Background Vocalist
explains different residual uses, how the artist fee is calculated, and the payment schedule for such uses. These examples apply to all SAG-AFTRA members, but not necessarily to this Background Vocalist’s particular situation.
Residual Use Example Calculation When Paid
On Traditional Broadcast Television
Network TV: anything re-aired on FOX re-airs Glee episodes Percentage of the artist’s ABC, NBC, FOX, or CBS. Usually (featuring commissioned original payment. Paid Within 30 days of airing for work originally done for the same performances of music). per episode aired. network.
Syndication Exhibition, local CBS’s I Love Lucy (featuring Percentage of the artist’s Varies, but no more broadcast: Usually originally original music) is broadcast original payment. Paid than 1 year from produced for network and sold to a on free local Me-TV stations. per episode aired. rebroadcast local free TV station.
Reruns of NBC’s Saturday Cable/Basic Cable: replay on a cable Percentage of the artist’s Varies, but no more Night Live (featuring a live channel. Usually for work originally original payment. Paid than 1 year from band and musical guests) are done for a network per episode aired. rebroadcast broadcast on VH1.
Showtime re-airs Weeds Percentage of distributor’s Pay TV: Reruns of works, usually Varies, but no more (featuring commissioned gross, divided among all originally produced for Pay TV (HBO, than 1 year from performances of music) on the performers on the Showtime). rebroadcast Showtime. show.
Residual Use Example Calculation When Paid
Internet Distribution
Electronic Sell Through (EST): Percentage of distributor’s Varies, but no more TV show downloads and other gross, divided among all iTunes than 1 year from permanent copies (ringtones etc) the performers on the purchase. distributed through the internet show.
Percentage of distributor’s Varies, but no more Download to Rent or (DTR): Online gross, divided among all Netflix than 1 year from Subscription Services that stream TV the performers on the purchase. show.
Ad Supported Streaming: Online Percentage of distributor’s Varies, but no more stream on demand services that Hulu, or a distributor’s official gross, divided among all than 1 year from require you to watch an ad before YouTube Channel the performers on the purchase. accessing content. show.
money.futureofmusic.org/case-studies 11 CASE STUDY | Background Vocalist
Residual Use Example Calculation When Paid
Foreign Markets (Traditional Broadcast TV)
Either: 35% of original scale is paid up front to cover multiple uses and reuses in multiple CBS’s The Late Show markets. This is a one-time only reuse fee. with David Letterman Most do this. Varies, but no more Foreign: reused in (featuring a live band than 1 year from foreign territories and musical guests) is Or: Each market is paid for individually rebroadcast broadcast in Sweden. (around 5-10% of original scale) when each episode airs.
Residual Use Example Calculation When Paid
Physical Distribution
Percentage of The Muppet Show (featuring distributor’s gross. This Varies, but no more Home Video, Videocassette or commissioned performances of percentage paid is than 1 year from Disk music) goes to Home Video. divided among all the purchase performers on the show.
Kinds of mailbox money earned from TV appearances, 2009-2010 Here’s a chart that represents the breakdown of this Background Vocalist’s identifiable TV/Film mailbox Electronic Sell money from 2009-2010. Nearly half of Through 13% her residual income is from domestic
syndication, and 11% comes from Domestic Syndication/Free Electronic Sell foreign syndication. Forty percent of TV Through, Ring 47% Tones residual income comes from the digital 27% marketplace. The income generated
here is from dozens of episodes of nine Foreign different television shows. 11%
Network Prime Time 2%
money.futureofmusic.org/case-studies 12 CASE STUDY | Background Vocalist
Total Income Over Time from One Television Appearance
This chart illustrates the Background Vocalist’s income from one episode of her main television show. The receipt of this income is spread over six years. Each column of this chart represents an amount of income received from residuals at a point in time over those six years. If measured as one financial transaction, 39% of income from this television appearance derives from mailbox money, though the income trickles in over an extended period of time.
TV appearance income: time series from initial work to residuals for one show
residual payments
initial work
Year 0 Year 1 Year 2 Year 3 Year 4 Year 5 Year 6
Time from initial work to ------>+6 years
Recording Income: An Overview
The Background Vocalist has performed as a background vocalist on over 50 recordings released between 1997 and 2011. In any given year she may appear on anywhere from one to ten releases, and she does roughly equal parts work on independent releases and major label releases. The independent work contract structure is typically a buyout, where she is paid a flat fee for her time and expertise. For recording sessions that are made for signatory companies (usually larger record labels who have a standardized negotiated rates through SAG-AFTRA) she gets paid through SAG-AFTRA. money.futureofmusic.org/case-studies 13 CASE STUDY | Background Vocalist
In addition to earning flat fees for her work as a background vocalist in the studio, the Background Vocalist’s union performances on successful sound recordings can generate mailbox money.
Recording Income vs. Mailbox Money
Here is this Background Vocalist’s income distribution for 2009 and 2010 for her recording work.
Studio recording fees vs recording mailbox money, 2009-2010
Studio Recording Recording Mailbox Money
2009 2010
Fees for session musician work done in the studio make up the majority of the Background Vocalist’s recording-related income in 2009 and 2010. The remaining recording-related income comes from mailbox money.
While this singer earns 77% of her income from her initial studio recording fees in 2009 and 91% in 2010, she still makes small sums of money from recording mailbox money every year. In fact, some of the mailbox money included within her earnings for these two years is from releases as far back as 1998. This income provides a valuable additional revenue source that can grow as recorded music is made available on new platforms and services, from Spotify, to Pandora, to iTunes Radio.
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About Mailbox Money for Background Musicians
Just as TV/film mailbox money is money earned after the (flat fee) initial performance for additional uses of a film or television performance, a session musician earns a flat fee for a studio recording and then receives royalties from the AFM & SAG-AFTRA Fund flowing from copyright law for additional uses of the works on which they’ve appeared. These funds are from a variety of foreign and domestic sources, including 5% from non-interactive webcast radio services like Pandora or Sirius XM. In addition, SAG-AFTRA requires payments to background musicians when sound recordings are used in new mediums, such as TV or film, or when they sell over certain sales plateaus. For a complete list, visit http://www.raroyalties.org.
Reflections on Mailbox Money, Dependencies and Unions
One thing is clear from this case study: mailbox money makes a difference. This session musician makes as much – and sometimes more – from TV and film residuals she does from the appearances themselves. Reuses, new uses and royalties from television and film appearances have a huge impact on this session musician’s ability to make a living. Similarly, record royalties – or recording mailbox money – has a positive impact on this musician’s bottom line, even if the amount received from recording mailbox money isn’t as substantive as that from television and film.
Session work has pros and cons. While a session musician makes money from residuals and royalties without having to do anything for it after the initial performance, the opportunity to earn that income is the result of third-party decisions over which a session musician has no control. For example, if an older song on which our background vocalist initially performed was licensed for use in a new hit television show, the song would begin to generate royalties for many rightsholders. The song’s sudden popularity would generate sales and plays on online radio, both of which would generate royalties that trickle back to the background vocalist. Or if a television show on which a session musician has appeared becomes popular on a new online television viewing platform, the episodes of the TV show might be broadcast more often, which would later translate into residual checks for a session musician.
However, income from mailbox money isn’t guaranteed. A reuse of a TV or film appearance depends on its ongoing success and audience demand to watch older content. Income from recording mailbox money is not only dependent on the popularity of the featured artists, but also on a willingness from the record label to license to new and existing money.futureofmusic.org/case-studies 15 CASE STUDY | Background Vocalist interactive online music services. It also depends on the applicable union’s ability to negotiate rates effectively, and on the music services’ commitment to accurately maintain and report the music metadata that ensures income can flow back to the right session musicians and singers. The increasing digitization of older catalog repertoire represents an opportunity for older sound recordings to gain a new audience, but without correct metadata to match sound recordings to the original performers, session musicians stand to lose out on potential income. Similarly, while it’s likely the appearance of new online music services in the marketplace represents a net positive for background musicians, it’s no guarantee. Though only applicable to the rare artist with the power to withhold licensing of sound recordings, a few very popular featured artists are choosing to forego making their music available on new digital music services (most notably, Spotify has experienced this dynamic). While not likely to become a trend because of the way contracts are structured, the incomes of the background musicians who perform on the applicable recordings may be negatively impacted as a result. For the person who chooses to make music as a career, having unpredictable amounts of income arrive seemingly at random so many years after the initial outlay of time and effort makes it difficult to plan for professional or personal expenses.
Though it’s clear that residuals are a significant part of this background vocalist’s income stream, it’s important to underscore that this livelihood is only possible because of the unions, AFM and SAG-AFTRA. This Background Vocalist relies on SAG-AFTRA to negotiate her payments and ensure they adhere to union scale. Since she received 144 checks (!) for TV/Film Mailbox Money in 2009-2010 in amounts as small as $0.01, the unions provide a valuable service by collecting income she’s earned but would otherwise have to figure out how to access.
Even within our two-year sample, the unions collected mailbox money for three seasons of our Background Vocalist’s primary show and two seasons of its spinoff, not to mention all of the previous work she’s done. If a production company changes midstream or a show changes networks or gains syndication to a new broadcaster domestically or abroad, she doesn’t have to renegotiate a rate for her work or fill out more paperwork; the union manages the changes. Practically speaking, without unions to do that negotiation and administration, she probably wouldn’t receive most of her residual income, and what she did receive would not have benefited from collective bargaining power.
The same applies to the recording mailbox money she receives from the AFM & SAG- AFTRA Fund. Without the union’s work collecting royalties from multiple domestic and foreign sources, this money would require much more time, effort and organization on the part of the session musician to collect. The AFM & SAG-AFTRA Fund makes it possible for union and non-union session musicians to collect the income they’ve earned simply and efficiently. money.futureofmusic.org/case-studies 16 CASE STUDY | Background Vocalist
Certainly unions have more relevance for some genres of music and some musician roles than others. For example, classical orchestra players and session musicians like this Background Vocalist benefit most directly from union affiliation, as the unions often represent their interests at the bargaining table. For those whose work fits within a union’s mandate, a musician union can bolster income with its mere presence, administrative know-how and negotiating power. Nevertheless, all musicians – union or not – benefit from the unions’ advocacy on behalf of artists.
money.futureofmusic.org/case-studies 17 Appendix A: Residuals Income – Triggered by Exhibition Beyond What Your Initial Compensation Covers
In addition to negotiating the rates for initial compensation, SAG-AFTRA also negotiates and enforces residuals payments – or tv/film mailbox money – for televi- sion programs and theatrical pictures when artists are paid for exhibition of the program or movie that is beyond what was covered by initial compensation. For example, after the initial broadcast of a scripted dramatic television program made for network primetime, additional compensation is triggered in the form of a residuals payment whenever the show is rerun on network television, syndicated, released to foreign television, or to other media such as DVD or internet. There are two types of residuals calculations. Residuals can be based on a percentage of distributor’s gross receipts (referred to below as gross receipts based), or the artists’ initial compensation or percentage of union scale at the time of production (referred to as fixed or run based residuals). Below is a chart that shows an overview of the various kinds of SAG-AFTRA uses and type of residuals payments triggered by exhibition in different media.
Theatrical Network Syndication Foreign Free Home Video Pay TV Basic Cable Internet Internet Rent- Electronic Exhibition Exhibition, Exhibition, TV Exhibi- Exhibition, Exhibition, Exhibition, Streaming al Exhibition, Sell-Thru NBC, ABC, local broad- tion, outside VHS, DVD, Showtime, TNT, F/X, Exhibition, Netflix, etc. Exhibition, CBS, FOX cast the US/Can- Blu Ray HBO, VOD, Syfy, etc. YouTube, iTunes, etc. ada etc. Hulu, etc.
Gross Gross Gross Gross Gross Gross Gross Gross Gross Made for Theatrical No residuals Receipts Receipts Receipts Receipts Receipts Receipts Receipts Receipts Receipts
Made for Network, Fixed and Fixed and Syndication, For- Fixed Fixed Gross Gross Gross Gross Gross Fixed Gross Gross eign TV, Pay TV, or (Run Based) (Run Based) Receipts Receipts Receipts Receipts Receipts Receipts Receipts Home Video
Fixed and Fixed and Made for Basic Fixed Fixed Gross Gross Fixed Gross Gross Fixed Gross Gross Cable (Run Based) (Run Based) Receipts Receipts (Run Based) Receipts Receipts Receipts Receipts
Original (high Fixed and Fixed Fixed Gross Gross Gross Gross Gross budget) made for Fixed Gross No residuals (Run Based) (Run Based) Receipts Receipts Receipts Receipts Receipts Internet Receipts
Original (low Fixed and No residuals No residuals Fixed Fixed Gross Gross Gross budget) made for Fixed Gross No residuals (with some (with some (Run Based) (Run Based) Receipts Receipts Receipts Internet Receipts exceptions) exceptions)
Fixed and Fixed and Derivative made for Fixed Fixed Gross Gross Gross Gross Gross Fixed Gross Gross Internet (Run Based) (Run Based) Receipts Receipts Receipts Receipts Receipts Receipts Receipts