Agreement of August 1, 2018 Between Producer and Studio Transportation Drivers, Local #399 of the International Brotherhood of Teamsters

Total Page:16

File Type:pdf, Size:1020Kb

Agreement of August 1, 2018 Between Producer and Studio Transportation Drivers, Local #399 of the International Brotherhood of Teamsters AGREEMENT OF AUGUST 1, 2018 BETWEEN PRODUCER AND STUDIO TRANSPORTATION DRIVERS, LOCAL #399 OF THE INTERNATIONAL BROTHERHOOD OF TEAMSTERS TABLE OF CONTENTS Article Page 1. Scope of Agreement . 3 2. Recognition. 4 3. Shop Requirements. 4 4. Wage Scales, Hours of Employment and Working Conditions. 6 5. Better Conditions - Deal Memos - Personal Service Contracts. 6 6. Authority of Union and Producer . 7 7. Grievance and Arbitration Procedure . 7 8. Conflict with Laws . 14 8A. Effect of Void Provisions . 15 8B. No Strike - No Lockout . 15 8C. Federal and State Laws - Department of Transportation. 16 9. Term of Agreement . 16 10. Interpretation . 17 11. Health Plan . 17 12. Pension Plan . 23 12A. Motion Picture Industry Individual Account Plan . 28 13. Motion Picture Industry Health Plan - Retired Employees Fund . 30 13A. Producer Retirement Plans . 33 13B. Loan-Out Companies . 33 13C. 401(k) Plan Feasibility Study . 34 14. Pre '60 Theatrical Pictures; Pay Television . 34 15. Post '60 Theatrical Motion Pictures . 35 16. Policy, Applicability of Agreement and Subcontracting . 52 17. Charitable Contributions. 54 18. Contract Services Administration Trust Fund . 54 19. Technological Change . 57 20. Implementation of Work Training and/or Apprenticeship Programs . 61 21. Supplemental Markets . 61 21A. Special Residual Formula for Theatrical Motion Pictures Licensed to Free Television and/or Supplemental Markets for which a Minimum Guarantee or Non-Returnable Advance is Payable . 77 - i - Article Page 22. Labor-Management Meetings. 78 23. Safety . 78 24. Employee Assistance Program for Drug and Alcohol Abuse . 80 25. Employer in Default . 81 26. Designating Responsible Employer . 81 27. Rental Facilities . 82 28. Change of Name by Producer. 82 29. Payroll Companies and Paying Agents. 82 30. Low Budget Features . 82 32. Teamsters Logo . 82 33. Payroll Deposit . 83 34. California Sick Leave . 84 35. Waiver of New York City Earned Safe and Sick Time Act and Similar Laws . 86 §I. WAGE SCALES, HOURS OF EMPLOYMENT AND WORKING CONDITIONS Paragraph Page 1. Studio Minimum Wage Scales . 88 2. Classification and Wage Schedule . 101 2.1 Report of New Hires. 101 3. Payroll Week . 101 §II. STUDIO WORKING CONDITIONS 4. Night Premiums . 102 5. Minimum Calls. 102 6. Overtime. 103 7. Workweek; Sixth or Seventh Day Worked in an Employee's Workweek . 103 8. Holidays . 107 9. Call-backs. 111 10. Golden Hour Provisions . 111 11. Interchange of Job Classifications . 112 12. Working in Higher Classification. 113 13. Layoff Provisions . 114 14. Change and Cancellation of Calls. 114 15. Notification of Work Call. 114 15.1 Daily Rundown. 115 16. Stand-by Calls . 115 17. Pay-Off Requirements, Computation of Work Time and Time Cards. 116 18. Meal Periods and Meals . 116 - ii - §III. STUDIO ZONE AND SECONDARY STUDIO ZONE DEFINITIONS AND WORKING CONDITIONS Paragraph Page 19. Studio Zone . 119 20. Secondary Studio Zone. 120 21. Zone Waivers . 121 22. Travel Time to and from Studio Ranches. 121 §IV. NEARBY LOCATION DEFINITIONS AND WORKING CONDITIONS 23. Nearby Locations Defined . 121 24. Work Time; Travel Time . 121 25. Transportation. 121 26. Excessive Hours . 122 27. Transportation to Nearby Locations of Dogs and Wild Animals in Pictures. 122 28. Nearby Locations - Daily Overtime . 122 §V. DISTANT LOCATION DEFINITIONS AND WORKING CONDITIONS 29. Distant Location Minimum Wage Scales . 123 30. Distant Location Conditions and Wages . 136 31. Domesticated Livestock or Undomesticated Animals Taken from Los Angeles County. 137 32. Wranglers Horseshoeing on Distant Location . 137 33. Distant Location Pay Provisions. 137 34. Distant Locations Defined . 140 35. Traveling Expenses and Accommodations. 140 36. Travel Time, Work-and-Travel Conditions and Pay Provisions . 141 37. Call-backs. 143 38. Sixth Day Worked on Distant Location . 143 39. Golden Hours on Distant Location . 143 40. Meal Periods on Distant Location . 143 41. Night Premiums on Distant Location . 145 42. Time Cards on Distant Location. 145 43. Clean-up Facilities on Location . 145 44. Other Working Conditions . 145 - iii - §VI. GENERAL CLAUSES Paragraph Page 45. Hazardous Work. 146 46. Allowances for Aerial Flight Work . 146 47. Cold and Wet Work . 146 48. Overscale Employees . 146 49. Nearby and Distant Locations . 147 50. Promotions . 147 51. Quarterly Earnings Reports . 147 52. Flat Deals . 147 53. Studio Pass . 147 54. Stewards . 148 55. Employment of Gang Bosses . 149 56. Leaves of Absence . 149 57. Non-Discrimination . 149 58. Documentaries, Industrials and Educational . 150 59. Contracted Equipment or Services . 150 60. Employee Photographed. 152 61. Foremen and Supervisory Employees . 152 62. Seniority . 152 63. Substituting for Department Head . 172 64. Reporting of Accidents. ..
Recommended publications
  • Feature Films: a Profile of Production
    Feature Films A Profile of Production PHOTO: Jaimie Trueblood © 2018 Paramount Pictures / Bumblebee 6255 W. Sunset Blvd. CREDITS: 12th Floor Contributors: Hollywood, CA 90028 Anne Wurts Philip Sokoloski Graphic Design: FilmLA.com Shane Hirschman @FilmLA Photography: FilmLA Shutterstock Paramount Pictures FilmLAinc Disney Cover Photo: A Star is Born / ©Warner Bros. TABLE OF CONTENTS INTRODUCTION 2 2018 FILMING LOCATION ESTIMATES 3 CHARACTERISTICS OF MAJOR FILMING CENTERS 9 CALIFORNIA 10 NEW YORK 13 THE U.K. 14 GEORGIA 15 CANADA 16 CONCLUSION 17 SOURCES 18 APPENDIX A: FILMS SHOT ENTIRELY IN CALIFORNIA 19 APPENDIX B: FILMS SHOT IN CALIFORNIA AND OTHER LOCATIONS 20 APPENDIX C: PRIMARY LOCATIONS FOR TOP-GROSSING FEATURES 21 APPENDIX D: VISUAL MAP OF TOP-GROSSING FILMS OF 2018 22 APPENDIX E: CALIFORNIA FILM & TV TAX CREDIT RECIPIENTS 23 1 INTRODUCTION Feature films are the first form of industrialized mass entertainment, dating back to the beginning of the last century. With an early lead in feature film production, California has historically been home to the greatest concentration of film industry talent in the U.S., as well as an extensive web of ancillary products, infrastructure and services. But these days, California has competition. Production centers across the globe offer U.S. production companies an enticing combination of film incentives, a skilled workforce and available infrastructure. As a result, U.S. feature films are made all over the world. Among the unique advantages that the film industry provides to local economies are: 1. It is a high-wage industry. A recent report commissioned by the County of Los Angeles revealed that the average wage in the Film and Digital Media Industry in Los Angeles County is $117,000, which is 95 percent higher compared to the county-wide average of $59,900.1 2.
    [Show full text]
  • Agreement of August 1, 2018 Between Producer and International Brotherhood of Electrical Workers, Local #40
    AGREEMENT OF AUGUST 1, 2018 BETWEEN PRODUCER AND INTERNATIONAL BROTHERHOOD OF ELECTRICAL WORKERS, LOCAL #40 Table of Contents Article Page 1. Scope of Agreement . 1 2. Recognition. 2 3. Union Security . 2 4. Wage Scales, Hours of Employment and Working Conditions. 3 5. Better Conditions - Deal Memos - Personal Service Contracts . 4 6. Authority of Union and Producer . 4 7. Grievance and Arbitration Procedure . 5 8. Conflict with Laws . 11 9. Term of Agreement. 12 10. Interpretation. 13 11. Health Plan . 13 12. Pension Plan . 19 12A. Motion Picture Industry Individual Account Plan . 23 13. Motion Picture Industry Health Plan - Retired Employees Fund . 24 13A. Loan-Out Companies . 28 13B. 401(k) Plan Feasibility Study . 28 14. Pre '60 Theatrical Pictures; Pay Television. 28 15. Post '60 Theatrical Motion Pictures . 29 16. Policy, Applicability of Agreement and Subcontracting. 46 17. Charitable Contributions. 48 18. Contract Services Administration Trust Fund. 48 19. Labor-Management Meetings . 51 20. Formulation and Implementation of Tuition Reimbursement/Work Training Programs . 51 21. Supplemental Markets. 52 21A. Special Residual Formula for Theatrical Motion Pictures Licensed to Free Television and/or Supplemental Markets for which a Minimum Guarantee or Non-Returnable Advance is Payable . 69 22. Rental Facilities . 69 23. Report of Locations. 70 24. No Strike - No Lockout. 70 -i- Article Page 25. Employee Assistance Program for Drug and Alcohol Abuse . 71 26. Change of Name by Producer . 72 27. Payroll Companies and Paying Agents . 72 28. Employer in Default . 72 29. Low Budget Features . 72 30. Gender - Included Meanings. 72 31. Payroll Deposit . 72 32. California Sick Leave .
    [Show full text]
  • LMGA COMPASS | Summer 2014 • 3
    SUMMER 2014 The Official Magazine of the Location Managers Guild of America 30% cash rebate on spend & up to 25% on wages. Plus, no sales tax on purchases! (up to 8%) 803.737.0498 SUMMER 2014 / IN THIS ISSUE VOLUME 2 / ISSUE 3 4 22 EDITORS’ DESK LOCOSOCIOLOGY The science of location scouting 6 LETTER FROM THE PRESIDENT 8 CONTRIBUTORS Photo by Mark Indig by Photo EMPLOYERS CAN ACCESS THE 12 30 MOST ACCURATE TECH TALK KOKAYI AMPAH INFORMATION Scouting photography A 37-year legacy in the ON THE WEB, workflow world of locations CONTROLLED 9 BY YOU! MEMBERSHIP DIRECTORY How to set up your profile 42 and maximize employment CATCH OF opportunities THE DAY 14 Hooked on reality CAREER FOCUS Ilt Jones: Small-town boy makes good! 36 SCOUTING SUMMER 2014 The Official Magazine of the Location Managers Guild of America The road less traveled 30% cash rebate on spend 10 & up to 25% on wages. IN THE NEWS Plus, no sales tax on purchases! (up to 8%) Ambassador Hotel hangs on Tech Talk at the Apple Store 18 803.737.0498 LMGA at the Hollywood IN MY CITY Museum NEW ORLEANS 50 ON THE COVER Thai International Film Fest Southern gothic charm MARTINI SHOT One county: 88 cities Portugal Fam Tour with John Jabaley 39°25'50"N / 82°32'20"W Photos by Mark Indig LMGA COMPASS | Summer 2014 • 3 FROM THE “ Individuals, too, who cultivate a variety of skills seem brighter, more energetic and more adaptable than those who know how to EDITORS’ do one thing only.” —ROBERT SHEA “ I took the road less traveled by, and that has made all the difference.” DESK —ROBERT FROST Location professionals come from many walks of life.
    [Show full text]
  • Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980
    LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources December 2019 SurveyLA Citywide Historic Context Statement Entertainment Industry/Industrial Properties Associated with the Entertainment Industry, 1908-1980 TABLE OF CONTENTS PREFACE 1 CONTRIBUTORS 1 INTRODUCTION 1 HISTORIC CONTEXT INDUSTRIAL PROPERTIES ASSOCIATED WITH THE ENTERTAINMENT INDUSTRY, 1908-1980 3 Origins of the Entertainment Industry in Southern California 3 Entertainment Industry Development in the 1920s and 1930s 13 Entertainment Industry Development During World War II 59 Entertainment Industry Development in the Postwar Era 63 SUB-THEME: ORIGINS OF THE MOTION PICTURE INDUSTRY, 1908-1919 72 Development of Industrial Districts and “Motion Picture Zones” 72 Development of Early Motion Picture Production Facilities 73 SUB-THEME: MOTION PICTURE INDUSTRY: MAJOR STUDIO ERA – “THE BIG EIGHT,” 1919-1949 76 Development of Major Motion Picture Production Facilities 76 SUB-THEME: MOTION PICTURE INDUSTRY: INDEPENDENT STUDIOS AND RENTAL PLANTS, 1919-1980 80 Development of Independent Motion Picture Production Facilities 80 SUB-THEME: RADIO BROADCASTING INDUSTRY, 1922-1945 84 Development of Radio Broadcasting Facilities 84 SUB-THEME: TELEVISION BROADCASTING INDUSTRY, 1931-1980 88 Development of Television Broadcasting Facilities 88 SUB-THEME: RECORDING INDUSTRY, 1925-1980
    [Show full text]
  • 'Stars' and the Connectivity of Cultural Industry
    Environment and Planning A 2012, volume 44, pages 2646 – 2663 doi:10.1068/a4555 ‘Stars’ and the connectivity of cultural industry world cities: an empirical social network analysis of human capital mobility and its implications for economic development Elizabeth Currid-Halkett University of Southern California, Sol Price School of Public Policy, Ralph and Goldy Lewis Hall, 301B, 650 Child’s Way, Los Angeles, CA 90089-0626, USA; e-mail: [email protected] Gilad Ravid Ben Gurion University of the Negev, Department of Industrial Engineering and Management, POB 653, Beer-Sheva, Israel; e-mail: [email protected] Received 2 February 2012; in revised form 2 March 2012 Abstract. Many scholars have studied the role of human capital and its social networks in order to understand uneven economic development. The cultural industries have become a focal point in this line of inquiry. In this paper we study the linkages across cultural industry hubs, with particular focus on the role of ‘star’ human capital networks in the establishment of connectivity and dominance by a few particular cities. To date, no one has used a technique that directly connects individuals across space and empirically follows the social networks of human capital across major economic hubs. We use a unique dataset, Getty Images photographs, and undertake social network analysis to study the social networks and human capital movement within the cultural industries. We collected caption information on over 600 000 photographs, 6754 individuals, 12 777 industry social events, and 187 locations. We analyzed these photographic data to determine whether empirical social connections could tell us something meaningful about cultural industry human capital mobility and its impact on the places in which it locates.
    [Show full text]
  • 2016 Commercial Production Agreement
    2016 COMMERCIAL PRODUCTION AGREEMENT AND NORTHEAST CORRIDOR APPENDIX I.A.T.S.E. – A.I.C.P. 2016 COMMERCIAL PRODUCTION AGREEMENT TABLE OF CONTENTS ARTICLE I - RECOGNITION AND GEOGRAPHIC APPLICATION OF AGREEMENT ....... 1 ARTICLE II - UNION SECURITY AND CHECKOFF ................................................................ 3 ARTICLE III - ADMINISTRATION ............................................................................................. 4 ARTICLE IV - ACCESS ................................................................................................................ 5 ARTICLE V - JOB STEWARD ..................................................................................................... 5 ARTICLE VI - NO DISCRIMINATION ....................................................................................... 5 ARTICLE VII - GRIEVANCE PROCEDURE AND JURISDICTIONAL DISPUTES ............... 5 ARTICLE VIII - NO STRIKE - NO LOCKOUT .......................................................................... 6 ARTICLE IX - MULTI-EMPLOYER UNIT ................................................................................. 6 ARTICLE X - FIRST CONSIDERATION FOR EMPLOYMENT .............................................. 6 ARTICLE XI - MINIMUM TERMS AND CONDITIONS ........................................................... 7 ARTICLE XII - SCOPE OF AGREEMENT .................................................................................. 7 ARTICLE XIII - OPERATIONS ...................................................................................................
    [Show full text]
  • 30-Mile Studio Zone Chart Page 1
    30-Mile Studio Zone Chart Page 1 PERMIT FEE ADVANCE LOCATION MAP FILM PERMIT INFORMATION JURISDICTION CONTACT BUSINESS POLICE REQUIREMENT FIRE REQUIREMENT NOTICE FEE REF SPECIAL PROVISIONS LICENSE Agoura Hills Kimberly Nilsson 3 Business Days No Business Fee based L.A. County Sheriff L.A. County Fire Film Unit p. 558 Agoura Hills Film Permit David Nixon License Required upon the size Film: $282 Lars Nilsson Additional days and type of $95.40 Bonus Deputy Still Photo (crew > 16): $277 Provide standard $1,000,000 required for more Fee based upon the shoot $115.70 Sergeant Still Photo (crew < 16): No fee insurance with endorsement Agoura Hills Film Office difficult permits size and type of (Up to 3 locations/permit) Filming@sws- shoot Visit city Patrol Station (6 hr min) Fuel-Dispensing truck/vehicle Signatures required for filming inc.com website for Facility (4 hr min) inspection: $208 outside original hours Visit city website for more Pyro.& Special Effects: $288 Ph: 805.495.7521 more information information Call first - No email: FIRE SAFETY OFFICER (FSO) Filming Hours 7am-9pm Fax: 805.495.7621 Marsha Townsend $172.15 per hr (4 hr min) Film Unit Coordinator FIRE SAFETY ADVISOR (FSA) No Sunday Filming Ph: 213.229.1695 $55.14 per hr (4-8 hours) $82.71 per hr (8-12 hours) 20 Filming Days Maximum $110.28 per hr (12+ hours) Film Office Hours: [email protected] 7am-4pm Ph: 818.364.8240 Fax: 818.364.8242 Alhambra Mable Yu 5-10 Business Application Fee: Varies Alhambra Police Alhambra Fire p.
    [Show full text]
  • Read Our Perspective on Physical Production Studios in LA, London
    Physical Production Studios in LA, London, and Toronto How the demand for original content is driving shortage of supply of physical production space in production hubs Physical Production Studios in LA, London, and Toronto | Contents Contents Introduction 1 Growing demand for content and its impact on the global content creation landscape 2 Trends impacting supply and demand dynamics for production studio space 3 Methodology to assess each market 6 Major production hub market assessment 7 Call to action for content creators 15 Considerations for investors 16 Physical Production Studios in LA, London, and Toronto | Introduction Introduction In our previous studio production space case study, we focused on how demand for production space in New York City (NYC) is outpacing supply and how to get ahead of this challenge. In this media and entertainment market assessment, we determined that demand for production space at NYC soundstages will continue to outpace NYC supply through at least 2024 and provided key findings that could be applied to other filming locations and leveraged by content creators, real estate investors, and production facility operators. Based on the response to that paper, we expanded our methodology to understand the supply and demand dynamics of three other large English-speaking production hubs: Los Angeles, Toronto, and London. In the 15th edition of Deloitte’s digital media trends survey, we noted that watching TV and movies is consumers' favorite entertainment option, presenting a sizable market that has drawn in an array of competitors using original content to differentiate. The proliferation of content creation, particularly by a growing number of streaming platforms, has resulted in companies requiring more studio production space to film content.
    [Show full text]
  • Californias Tax Credit Program Welcomes Two More Relocating Tv
    California’s Tax Credit Program Welcomes Two More Relocating TV Series “Hunters” and “The Right Stuff” Will Bring Significant In-State Employment and Spending Hollywood, Calif. – November 18, 2020 – The California Film Commission today announced that two additional TV series will relocate to California thanks to the state’s Film & Television Tax Credit Program. The Amazon Prime war crime drama “Hunters” and the Disney+ historical drama “The Right Stuff” will move to California for their second season of production. With these latest wins, California’s tax credit program has welcomed a total of 22 relocating TV series from other states and nations (see “Relocating TV Series” list below). Topping the list are six series (including “Hunters”) that have relocated from New York, and four series that have relocated from British Columbia. In addition to “The Right Stuff,” one other series (“Ballers”) has relocated from Florida. For their first season in California, “Hunters” and “The Right Stuff” are on track to generate a combined $127 million in below-the-line wages and other qualified expenditures. Like all film and TV tax credit projects, their overall spending will be significantly greater with the inclusion of above-the-line wages and other expenditures that do not qualify for incentives under California’s very targeted tax credit program. “It’s great to emerge from the pandemic shutdown with news that two more successful TV series are relocating to California,” said California Film Commission Executive Director Colleen Bell. “Such projects are a primary target for our tax credit program because they bring high-quality jobs and significant in- state spending.” Based on information provided with their tax credit applications, the two projects announced today will employ an estimated 440 cast members, 374 crew members and 6,056 background actors/stand ins (the latter measured in “man days”) over a combined 195 filming days in California.
    [Show full text]
  • Feature Film Residential Use and Aspirational Depictions of People Within Los Angeles, California
    Feature Film Residential Use and Aspirational Depictions of People within Los Angeles, California Item Type text; Electronic Report Authors Grantham, Laura Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 09:17:27 Link to Item http://hdl.handle.net/10150/632166 Feature Film Residential Use and Aspirational Depictions of People within Los Angeles, California by Laura Grantham _____________________________ MASTER OF SCIENCE GEOGRAPHIC INFORMATION SYSTEMS TECHNOLOGY THE UNIVERSITY OF ARIZONA 2019 ACKNOWLEDGMENTS I thank all the University of Arizona GIST staff who have been such wonderful teachers. In particular, I thank Chris Lukinbeal who worked heavily with me on this project. I also thank Naveed Ahmed, who helped obtain information from the Imdb servers. Finally, I thank my family and friends for their support. 2 To Mom, Dad, and Suzi. Without whose love during this time, I would have not had the ability to complete this project. To my dearest friends. Without whose support during this time, I would have not had the strength to complete this. To my dogs. Without whose love and attention, I would have completed this project in a timelier manner. 3 TABLE OF CONTENTS ACKNOWLEDGMENTS ...............................................................................................................2
    [Show full text]
  • 2018-2021 Local 728 Basic Agreement
    AGREEMENT OF AUGUST 1, 2018 between PRODUCER and International Alliance of Theatrical Stage Employees and Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories and Canada and STUDIO ELECTRICAL LIGHTING TECHNICIANS, LOCAL #728 Table of Contents Article Page 1. Scope of Agreement . 1 2. Recognition. 2 3. Union Security . 2 4. Wage Scales, Hours of Employment and Working Conditions . 3 5. Better Conditions . 4 6. Authority of Union and Producer. 4 7. Grievance and Arbitration Procedure. 5 8. Conflict with Laws . 12 9. Term of Agreement . 13 10. Interpretation . 13 11. Gender - Included Meanings . 14 12. California Sick Leave. 14 13. Waiver of New York City Earned Safe and Sick Time Act and Similar Laws. 16 WAGE SCALES, HOURS OF EMPLOYMENT AND WORKING CONDITIONS §I. STUDIO MINIMUM WAGE SCALES Paragraph Page 1. Studio Minimum Wage Scales . 18 2. Classification and Wage Schedule. 26 3. Payroll Week . 26 4. Fractional Payroll Weeks . 26 §II. STUDIO WORKING CONDITIONS 5. Night Premiums . 27 6. Minimum Calls . 27 6.1 Call Sheets . 28 7. Overtime . 28 i §II. STUDIO WORKING CONDITIONS (continued) Paragraph Page 8. Workweek; Sixth or Seventh Day Worked in an Employee's Workweek . 29 9. Holidays . 31 10. Call-backs . 37 11. Golden Hour Provisions. 40 12. Interchange of Job Classifications . 43 13. Working in Higher Classification . 44 14. Layoff Provisions . 44 14.1 Layoff . 44 15. Change and Cancellation of Calls . 44 17. Time Cards and Computation of Work Time. 46 18. Stand-by Calls . 46 19. Pay-Off Requirements . 47 20. Meal Periods and Meals .
    [Show full text]
  • 2019 Television Report
    2019 Television Report PHOTO: Hilary Bronwyn Gayle / HBO / Big Little Lies 6255 W. Sunset Blvd. CREDITS: 12th Floor Contributors: Hollywood, CA 90028 Anne Wurts Corina Sandru Philip Sokoloski filmla.com Graphic Design: Shane Hirschman @FilmLA FilmLA Photography: Shutterstock FilmLAinc HBO TABLE OF CONTENTS INTRODUCTION 2 NEW SCRIPTED TELEVISION PROJECTS 3 THE OVERALL SCRIPTED SERIES LANDSCAPE 9 THE INFLUENCE OF DIGITAL STREAMING SERVICES 11 OTHER NOTABLE TELEVISION PRODUCTION TRENDS 14 FOCUS ON CALIFORNIA 17 CONCLUSION 21 ABOUT THIS REPORT 22 SOURCES 22 INTRODUCTION We are living in the era of “peak TV,” where all our screens are potential television sets, and there are more shows to watch on them than ever — whenever and wherever! Over the last several years, non-traditional programming from cable channels and digital platforms (the “streamers”) has begun to alter the film industry landscape. Not only are more shows being made, but also changing is how content is acquired and delivered to consumers. Television series production has a significant impact on a region’s film economy. This is because a single television series can employ hundreds of people over a duration of many seasons. For example, a one-hour series can employ 200 or more crew members per season, plus thousands of background performers and extras, plus cast. The production will support a network of related suppliers and infrastructure. Further, once a television series settles into a production location, it typically remains in that same location for the duration of its creative run, unless its creators can be persuaded by aggressive financial incentives or other enticements to shoot elsewhere.
    [Show full text]