DOCSLIB.ORG

Where There Was a Daily on Call Rate That Was Used. Where There Was A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Where There Was a Daily on Call Rate That Was Used. Where There Was A Appendix “A” Wage Rate This column for Where there was a Daily On Call rate that was used. Schedule Within reference & will Where there was a Weekly On Call only, 25% of that was used. Los Angeles, CA be removed. County CLASSIFICATION[8 Oct. 1, 2012 Sept. 29, 2013 6th Day (1st 12) 7th day/hr (1st 12) 0 – 8 hrs Min Call 1.5X - 9 – 12 hrs 2X - 13-18 hrs Over 18 hours Director of Photography Hourly $101.02 103.04 824.32 154.56 206.08 309.12 Camera Operator Hourly 61.85 63.09 504.72 94.64 126.18 189.27 1st Camera Assistant Hourly 44.74 45.63 365.04 68.45 91.26 136.89 2nd Camera Assistant Hourly 41.1 41.92 335.36 62.88 83.84 125.76 Camera Loader/Utility Hourly 35.17 35.87 286.96 53.81 71.74 107.61 Digital Imaging Tech. Hourly 58.94 60.12 480.96 90.18 120.24 180.36 Sound Mixer Hourly 69.01 70.39 563.12 105.59 140.78 211.17 Microphone Boom Operator Hourly 46.59 47.52 380.16 71.28 95.04 142.56 Utility Sound Technician Hourly 46.59 47.52 380.16 71.28 95.04 142.56 VTR/Video Playback Hourly 46.59 47.52 380.16 71.28 95.04 142.56 Key Grip Hourly 43.31 44.18 353.44 66.27 88.36 132.54 2nd Grip Hourly 38.78 39.56 316.48 59.34 79.12 118.68 Dolly Grip Hourly 40.17 40.97 327.76 61.46 81.94 122.91 Grip Hourly 37.03 37.77 302.16 56.66 75.54 113.31 Entry Level Grip Hourly 32.4 33.05 264.40 49.58 66.10 99.15 Lighting Gaffer Hourly 43.31 44.18 353.44 66.27 88.36 132.54 2nd Electrician Hourly 38.78 39.56 316.48 59.34 79.12 118.68 Dimmer Operator Hourly 37.87 38.63 309.04 57.95 77.26 115.89 Electrician Hourly 37.03 37.77 302.16 56.66 75.54 113.31 Entry Level Electrician Hourly 32.4 33.05 264.40 49.58 66.10 99.15 Property Master Hourly 43.31 44.18 353.44 66.27 88.36 132.54 2nd Prop Hourly 37.87 38.63 309.04 57.95 77.26 115.89 3 rd Prop Hourly 35.49 36.20 289.60 54.30 72.40 108.60 Daily Rate 6th Day Rate 7th Day Rate Costume Designer Daily on call 585.95 597.67 896.51 1195.34 Key Costumer Hourly 41.16 41.98 335.84 62.97 83.96 125.94 2nd Costumer Hourly 38.3 39.07 312.56 58.61 78.14 117.21 3rd Costumer Hourly 35.79 36.51 292.08 54.77 73.02 109.53 Entry Level Costumer Hourly 27.94 28.50 228.00 42.75 57.00 85.50 Key Make-Up Artist Hourly 49.3 50.29 402.32 75.44 100.58 150.87 2nd Make-Up Artist Hourly 41.96 42.80 342.40 64.20 85.60 128.40 3rd Make-Up Artist Hourly 38.03 38.79 310.32 58.19 77.58 116.37 Key Hair Stylist Hourly 48.9 49.88 399.04 74.82 99.76 149.64 2nd Hair Stylist Hourly 42.89 43.75 350.00 65.63 87.50 131.25 Appendix “A” Con’t Page 1 2013- 2016 CPA Rates V130924 Wage Rate Schedule Within Los Angeles, CA County CLASSIFICATION Oct. 1, 2012 Sept. 29, 2013 6th Day (1st 12) 7th day/hr (1st 12) 0 – 8 hrs Min Call 1.5X - 9 – 12 hrs 2X - 13-18 hrs Over 18 hours 3rd Hair Stylist Hourly 36.56 37.29 298.32 55.94 74.58 111.87 Script Supervisor Hourly 36.17 36.89 295.12 55.34 73.78 110.67 First Aid Hourly 33.79 34.47 275.76 51.71 68.94 103.41 Craft Service Hourly 31.39 32.02 256.16 48.03 64.04 96.06 Daily Rate 6th Day Rate 7th Day Rate Art Director Daily on call 861.49 878.72 1318.08 1757.44 Assistant Art Director Daily on call 644.75 657.65 986.48 1315.30 Set Decorator Daily on call 623.38 635.85 953.78 1271.70 Lead Set Dresser Hourly 37.87 38.63 309.04 57.95 77.26 115.89 Set Dresser Hourly 35.49 36.20 289.60 54.30 72.40 108.60 Daily Rate 6th Day Rate 7th Day Rate Construction Coordinator Daily on call 605.75 617.87 926.81 1235.74 Propmaker Foreperson Hourly 43.50 44.37 354.96 66.56 88.74 133.11 Propmaker Hourly 37.87 38.63 309.04 57.95 77.26 115.89 Daily Rate 6th Day Rate 7th Day Rate Paint Foreperson Daily on call 510.27 520.48 780.72 1040.96 Painter Hourly 37.87 38.63 309.04 57.95 77.26 115.89 Lead Scenic Artist Hourly 56.14 57.26 458.08 85.89 114.52 171.78 Scenic Artist Hourly 50.77 51.79 414.32 77.69 103.58 155.37 Special Effects Foreperson Hourly 43.50 44.37 354.96 66.56 88.74 133.11 Lead Effects Hourly 40.17 40.97 327.76 61.46 81.94 122.91 Effects Hourly 37.87 38.63 309.04 57.95 77.26 115.89 Studio Teacher Hourly 47.03 47.97 383.76 71.96 95.94 143.91 Welfare Worker Page 2 2013- 2016 CPA Rates V130924 Appendix “B” Wage Rate Schedule Outside Los Angeles, CA County CLASSIFICATION Oct. 1, 2012 Sept. 29, 2013 6th Day (1st 12) 7th day/hr (1st 12) 0 – 8 hrs Min Call 1.5X - 9 – 12 hrs 2X - 13-18 hrs Over 18 hours Director of Photography Hourly $101.02 103.04 824.32 154.56 206.08 309.12 Camera Operator Hourly 61.85 63.09 504.72 94.64 126.18 189.27 1st Camera Assistant Hourly 44.74 45.63 365.04 68.45 91.26 136.89 2nd Camera Assistant Hourly 41.1 41.92 335.36 62.88 83.84 125.76 Camera Loader/Utility Hourly 35.17 35.87 286.96 53.81 71.74 107.61 Digital Imaging Tech. Hourly 58.94 60.12 480.96 90.18 120.24 180.36 Sound Mixer Hourly 63.81 65.09 520.72 97.64 130.18 195.27 Microphone Boom Operator Hourly 43.06 43.92 351.36 65.88 87.84 131.76 Utility Sound Technician Hourly 43.06 43.92 351.36 65.88 87.84 131.76 VTR/Video Playback Hourly 43.06 43.92 351.36 65.88 87.84 131.76 Key Grip Hourly 40.05 40.85 326.80 61.28 81.70 122.55 2nd Grip Hourly 35.86 36.58 292.64 54.87 73.16 109.74 Dolly Grip Hourly 37.14 37.88 303.04 56.82 75.76 113.64 Grip Hourly 34.23 34.91 279.28 52.37 69.82 104.73 Entry Level Grip Hourly 29.95 30.55 244.40 45.83 61.10 91.65 Lighting Gaffer Hourly 40.05 40.85 326.80 61.28 81.70 122.55 2nd Electrician Hourly 35.86 36.58 292.64 54.87 73.16 109.74 Dimmer Operator Hourly 35.02 35.72 285.76 53.58 71.44 107.16 Electrician Hourly 34.23 34.91 279.28 52.37 69.82 104.73 Entry Level Electrician Hourly 29.95 30.55 244.40 45.83 61.10 91.65 Property Master Hourly 40.05 40.85 326.80 61.28 81.70 122.55 2nd Prop Hourly 35.02 35.72 285.76 53.58 71.44 107.16 3 rd Prop Hourly 32.8 33.46 267.68 50.19 66.92 100.38 Daily Rate 6th Day Rate 7th Day Rate Costume Designer Daily on call 541.76 552.60 828.90 1105.20 Key Costumer Hourly 37.31 38.06 304.48 57.09 76.12 114.18 2nd Costumer Hourly 35.41 36.12 288.96 54.18 72.24 108.36 3rd Costumer Hourly 32.43 33.08 264.64 49.62 66.16 99.24 Entry Level Costumer Hourly 25.85 26.37 210.96 39.56 52.74 79.11 Key Make-Up Artist Hourly 45.56 46.47 371.76 69.71 92.94 139.41 2nd Make-Up Artist Hourly 38.79 39.57 316.56 59.36 79.14 118.71 3rd Make-Up Artist Hourly 35.15 35.85 286.80 53.78 71.70 107.55 Key Hair Stylist Hourly 45.21 46.11 368.88 69.17 92.22 138.33 2nd Hair Stylist Hourly 39.67 40.46 323.68 60.69 80.92 121.38 3rd Hair Stylist Hourly 33.79 34.47 275.76 51.71 68.94 103.41 Page 3 2013- 2016 CPA Rates V130924 Appendix “B” Con’t Wage Rate Schedule Outside Los Angeles, CA County CLASSIFICATION Oct. 1, 2012 Sept. 29, 2013 6th Day (1st 12) 7th day/hr (1st 12) 0 – 8 hrs Min Call 1.5X - 9 – 12 hrs 2X - 13-18 hrs Over 18 hours Script Supervisor Hourly 33.43 34.10 272.80 51.15 68.20 102.30 First Aid Hourly 31.24 31.86 254.88 47.79 63.72 95.58 Craft Service Hourly 29.03 29.61 236.88 44.42 59.22 88.83 Daily Rate 6th Day Rate 7th Day Rate Art Director Daily on call 796.50 812.43 1218.65 1624.86 Assistant Art Director Daily on call 593.18 605.04 907.56 1210.08 Set Decorator Daily on call 576.05 587.57 881.36 1175.14 Lead Set Dresser Hourly 35.02 35.72 285.76 53.58 71.44 107.16 Set Dresser Hourly 32.79 33.45 267.60 50.18 66.90 100.35 Daily Rate 6th Day Rate 7th Day Rate Construction Coordinator Daily on call 560.06 571.26 856.89 1142.52 Propmaker Foreperson Hourly 40.21 41.01 328.08 61.52 82.02 123.03 Propmaker Hourly 35.02 35.72 285.76 53.58 71.44 107.16 Daily Rate 6th Day Rate 7th Day Rate Paint Foreperson Daily on call 471.76 481.20 721.80 962.40 Painter Hourly 35.02 35.72 285.76 53.58 71.44 107.16 Lead Scenic Artist Hourly 51.9 52.94 423.52 79.41 105.88 158.82 Scenic Artist Hourly 46.92 47.86 382.88 71.79 95.72 143.58 Special Effects Foreperson Hourly 40.21 41.01 328.08 61.52 82.02 123.03 Lead Effects Hourly 37.14 37.88 303.04 56.82 75.76 113.64 Effects Hourly 35.02 35.72 285.76 53.58 71.44 107.16 Studio Teacher Hourly 43.49 44.36 354.88 66.54 88.72 133.08 Welfare Worker 8 The minimum wage rate for any classification not listed which is within the scope of Article I shall be the current rate specified in the 10 The listing of a classification is not a staffing requirement.
Load more

Recommended publications
  • William B. Kaplan CAS
    Career Achievement Award Recipient William B. Kaplan CAS CAS Filmmaker Award Recipient George SPRING Clooney 2021 Overcoming Atmos Anxiety • Playing Well with Other Departments • RF in the 21st Century Remote Mixing in the Time of COVID • Return to the Golden Age of Booming Sound Ergonomics for a Long Career • The Evolution of Noise Reduction FOR YOUR CONSIDERATION CINEMA AUDIO SOCIETY AWARDS NOMINEE MOTION PICTURE LIVE ACTION PRODUCTION MIXER DREW KUNIN RERECORDING MIXERS REN KLYCE, DAVID PARKER, NATHAN NANCE SCORING MIXER ALAN MEYERSON, CAS ADR MIXER CHARLEEN RICHARDSSTEEVES FOLEY MIXER SCOTT CURTIS “★★★★★. THE FILM LOOKS AND SOUNDS GORGEOUS.” THE GUARDIAN “A WORK OF DAZZLING CRAFTSMANSHIP.” THE HOLLYWOOD REPORTER “A stunning and technically marvelous portrait of Golden Era Hollywood that boasts MASTERFUL SOUND DESIGN.” MIRROR CAS QUARTERLY, COVER 2 REVISION 1 NETFLIX: MANK PUB DATE: 03/15/21 BLEED: 8.625” X 11.125” TRIM: 8.375” X 10.875” INSIDE THIS ISSUE SPRING 2021 CAREER ACHIEVEMENT AWARD RECIPIENT WILLIAM B. KAPLAN CAS | 20 DEPARTMENTS The President’s Letter | 4 From the Editor | 6 Collaborators | 8 Learn about the authors of your stories 26 34 Announcements | 10 In Remembrance | 58 Been There Done That |59 CAS members check in The Lighter Side | 61 See what your colleagues are up to 38 52 FEATURES A Brief History of Noise Reduction | 15 Remote Mixing in the Time of COVID: User Experiences | 38 RF in the Twenty-First Century |18 When mix teams and clients are apart Filmmaker Award: George Clooney | 26 Overcoming Atmos Anxiety | 42 Insight to get you on your way The 57th Annual CAS Awards Nominees for Outstanding Achievement Playing Well with Other Production in Sound Mixing for 2020 | 28 Departments | 48 The collaborative art of entertainment Outstanding Product Award Nominees| 32 Sound Ergonomics for a Long Career| 52 Return to the Golden Age Staying physically sound on the job Cover: Career Achievement Award of Booming | 34 recipient William B.
    [Show full text]
  • DOCUMENT RESUME CE 056 758 Central Florida Film Production Technology Training Program. Curriculum. Universal Studios Florida, O
    DOCUMENT RESUME ED 326 663 CE 056 758 TITLE Central Florida Film Production Technology Training Program. Curriculum. INSTITUTION Universal Studios Florida, Orlando.; Valencia Community Coll., Orlando, Fla. SPONS AGENCY Office of Vocational and Adult Education (ED), Washington, DC. PUB DATE 90 CONTRACT V199A90113 NOTE 182p.; For a related final report, see CE 056 759. PUB TYPE Guides - Classroom Use - Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC08 Plus PoQtage. DESCRIPTORS Associate Degrees, Career Choice; *College Programs; Community Colleges; Cooperative Programs; Course Content; Curriculun; *Entry Workers; Film Industry; Film Production; *Film Production Specialists; Films; Institutional Cooperation; *Job Skills; *Occupational Information; On the Job Training; Photographic Equipment; *School TAisiness Relationship; Technical Education; Two Year Colleges IDENTIFIERS *Valencia Community College FL ABSTRACT The Central Florida Film Production Technology Training program provided training to prepare 134 persons for employment in the motion picture industry. Students were trained in stagecraft, sound, set construction, camera/editing, and post production. The project also developed a curriculum model that could be used for establishing an Associate in Science degree in film production technology, unique in the country. The project was conducted by a partnership of Universal Studios Florida and Valencia Community College. The course combined hands-on classroom instruction with participation in the production of a feature-length film. Curriculum development involved seminars with working professionals in the five subject areas, using the Developing a Curriculum (DACUM) process. This curriculum guide for the 15-week course outlines the course and provides information on film production careers. It is organized in three parts. Part 1 includes brief job summaries ofmany technical positions within the film industry.
    [Show full text]
  • TN-RRFC-Catalog-With-Cover.Pdf
    CATALOG January 1, 2017 – December 31, 2017 Recording, Radio, Film Connection & CASA Schools Administrative Offices 6300 Wilshire Blvd. Suite #640 Los Angeles, CA 90048 (800) 295-4433 www.recordingconnection.com | www.radioconnection.com | www.filmconnection.com | www.casaschools.com | www.rrfedu.com TABLE OF CONTENTS ABOUT RECORDING, RAD IO, FILM CONNECTION & CASA SCHOOLS CATAL OG ................................ ....... 5 ADDENDUM ................................ ................................ ................................ ................................ ....................... 5 WELCOME LETTER ................................ ................................ ................................ ................................ ............ 6 INTRODUCTION TO RECO RDING, RADIO, FILM C ONNECTION & CASA SCH OOLS ................................ ... 7 MISSION ................................ ................................ ................................ ................................ ............................ 7 INTRODUCTION ................................ ................................ ................................ ................................ ................. 7 OUR TRADITION ................................ ................................ ................................ ................................ ................ 7 TRAINING FACILIT IES ................................ ................................ ................................ ................................ ....... 7 SCHOOL LICENSING, AF FILIATIONS AND
    [Show full text]
  • Suggest a Different Type Style for Prerequisite Information
    IATSE LOCAL 481 ONLINE COURSE CATALOG (April 2013 - March 2014) Welcome to the IATSE Local 481 Course Catalog. This is your chance to preview the classes we will be offering during the 2013-2014 training season. If you haven’t already, you owe it to yourself to take advantage of this membership benefit. It’s a great way to learn with your brothers and sisters, protect our jobs, and make sure we remain a topnotch workforce. Local 481 classes are designed by and for people who work in the industry. They promote career advancement, safety, skills building, certification and cross-department collaboration. Each class or seminar will give you an opportunity to learn from trainers who know the work and enjoy sharing their experience. While classes are offered throughout the year, the majority take place from January-April. Our class descriptions are organized by primary department or included in the “General” category. The number of times a class will be offered is indicated by a number in parenthesis (1) next to the class title. Because some classes are in development, there may be slight design changes made. Classes that have confirmed dates will begin being posted on our website calendar (Calendar tab at top of all website pages) and on your dashboard in the Training Courses Box, (hit Full Course List tab). Registration for specific classes will open three to four weeks before scheduled class date. If classes have prerequisites they are noted. Some skill-specific classes give registration preference to members of targeted department(s). Other members can register, but are admitted on a space-available basis.
    [Show full text]
  • The Sunday Horse Rev Budget
    The Sunday Horse Rev Budget - 4.1.14 Executive Producer - Location: Conyers Georgia Producer: Prep: 4 Weeks / 5 Day Weeks Co-Producer Line Producer: John Duffy Shoot: 25 Days / 5 Day Weeks Director: Vic Armstrong Post: 12 Weeks / 5 Day Weeks Writers: Format: Digital Alexa Unions: DGA, WGA, SAG , IATSE, Teamster Start Date: Mar 2014 Acct# Category Description Page Total 1100 SCRIPT & STORY RIGHTS 1 $67,989 1200 PRODUCING 1 $244,646 1250 DEVELOPMENT 2 $40,000 1300 DIRECTING 2 $273,659 1400 CAST 3 $785,097 1800 ATL TRAVEL & LIVING 8 $122,355 TOTAL ABOVE-THE-LINE $1,533,746 2100 PRODUCTION STAFF 11 $382,236 2200 BACKGROUND PERFORMERS 15 $101,239 2300 ART DIRECTION 16 $77,638 2400 SET CONSTRUCTION 17 $30,547 2500 SET DECORATION 20 $144,281 2600 PROPERTY DEPARTMENT 22 $67,631 2700 CAMERA DEPARTMENT 23 $224,713 2800 ELECTRIC OPERATIONS 27 $127,892 2900 SET OPERATIONS 30 $172,502 3000 PRODUCTION SOUND 34 $59,008 3100 MECHANICAL EFFECTS 36 $19,969 3200 ANIMALS 37 $198,475 3300 WARDROBE DEPARTMENT 37 $98,369 3400 MAKEUP & HAIR DEPARTMENT 40 $123,646 3500 PICTURE CARS 43 $14,050 3600 LOCATION DEPARTMENT 44 $402,412 3700 TRANSPORTATION DEPARTMENT 49 $305,190 4000 HARD DRIVES & CF CARDS 54 $32,525 4100 TESTS 54 $2,378 4200 SECOND UNIT 54 $25,000 4300 BTL TRAVEL & LIVING 55 $65,970 TOTAL PRODUCTION $2,675,671 5100 EDITING 57 $138,491 5200 POST-PRODUCTION FILM & LAB 58 $45,000 5300 POST-PRODUCTION SOUND 58 $45,500 5400 DELIVERABLES 58 $15,000 5404 MUSIC 58 $45,000 5500 VISUAL EFFECTS 59 $12,500 The Entertainment Partners Services Group, MM Budgeting
    [Show full text]
  • Job Descriptions
    Motion Picture Studio Production Technicians Local 849 of the I.A.T.S.E. Department Descriptions & Positions ANIMAL WRANGLER DEPARTMENT – Provides and controls all animals and their actions necessary to the script. Key Animal Wrangler – Heads the team. Wrangler Captain – Provides daily care and maintenance of all animals used on a shoot. Wrangler – Helps to care for and maintain all animals used on a shoot. COSTUMES DEPARTMENT – Responsible for purchasing, renting and/or making all the clothes worn by the performers, both Actors and Background Players. They work in consultation with the Director and the Actor. They also provide several versions of one outfit if required to expedite shooting. Costume Designer – Works with the Director and the Actors. Assistant Designer/Coordinator — Key – Manages the team, preparing for the next day, and wrapping the previous day. Costume Set Supervisor — Key – Organizes wardrobe on set, taking care of continuity of wardrobe. Performers Costumer – Continuity and maintenance of a performer’s costumes. Set Costumer – Maintains the “truck” and ensures costumes are camera ready. Cutter – Creates patterns for clothes. Special Skills Costumer – Prepares specialty items, e.g. hats, footwear, belts, etc. Dresser/Wardrobe Assistant – Maintains costumes, shops, launders, irons, etc. Seamster/Seamstress – Makes or alters garments. Breakdown Artist – Distresses the clothes to look worn or destroyed. Truck Supervisor – Manages wardrobe truck on set, preparing the daily wardrobe. CRAFT SERVICE DEPARTMENT – Provides hot and cold beverages and snack foods at all times on set, and a substantial snack to take the crew through to the meal break. Craft Service personnel in Local 849 must have Standard First Aid and a recognized Food Handlers’ course.
    [Show full text]
  • Production Sound Mixer
    Production Sound Mixer A production sound mixer, location sound recordist, location sound engineer or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound designer, sound effects editors, or foley artists. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time. Usually, the recordist will arrive on location with his/her own equipment, which normally includes microphones, radio systems, booms, mixing desk, audio storage, headphones, cables, tools, and a paper or computer sound logs. The recordist may be asked to capture a wide variety of wild sound on location, and must also consider the format of the finished product (mono, stereo or multi channels). The recorded production sound track is later combined with other elements, i.e. effects, music, narration, foley or re-recorded dialog by automatic dialogue replacement (ADR). Often, when taping on video, the sound recordist may record (single system) audio directly onto the camera rather than use a separate medium (double system), although a separate copy is often made, as it both provides an extra copy which may have more tracks and also may include other sound captured without the camera. The sound mixer is considered a department head, and is thus completely responsible for all aspects of production sound including the hiring of a boom operator and utility sound technician, planning the technical setup involving sound including both sound equipment and ancillary devices involved in syncing and time offsets, anticipating and discussing sound-related problems with the rest of the crew, and ordering and preparing the sound equipment to be used on the set.
    [Show full text]
  • DANIEL GREENWALD SOUND BOOM & MIXER 15206 Burbank Boulevard, Unit 206 MEMBER: Sherman Oaks, CA 91411-3579 I.A.T.S.E
    DANIEL GREENWALD SOUND BOOM & MIXER 15206 Burbank Boulevard, Unit 206 MEMBER: Sherman Oaks, CA 91411-3579 I.A.T.S.E. LOCAL 695 Phone: (818) 909-3776, (310) 738-3779 Email: [email protected] http://www.imdb.com/name/nm0006990 DATE PRODUCTION/DEPT COMPANY POSITION/PROJECT DIRECTOR/SUPRVSR. FILM & TV: June 2011 MTV Sneak Peak Week MTV Networks Audio Specialist (A2) Various May 2011 Franklin & Bash Sony Pictures Television Utility Sound Technician Jason Ensler Mar. – Apr. 2011 Eat St. Seasons 1 & 2 Fastlane Food Prod., Inc. Production Sound Mixer Peter Waal Jan.-Feb. 2011 The Girl W/The Drag.Tattoo MGM/Scott Rudin Productions Utility Sound Technician David Fincher Sept. 2010 Company Men John Wells Productions Utility Sound Technician John Wells August 2010 The Possibility Shop The Jim Henson Company Sound Boom Operator Hugh Martin August 2010 Enlightened Open Vista Prod., LLC Playback Operator Various July 2010 Rizzoli & Isles Warner Horizon Television Sound Utility Technician Dirk Wallace Jul.- Sept.2010 Undercovers Bonanza Productions, Inc. Sound Utility Technician Tucker Gates Jun.- Mar. 2011 Our America W/Lisa Ling Part2 Pictures Production Sound Mixer Various June 2010 True Blood FangBanger Prods., Inc. Sound Utility Technician Daniel Minahan March 2010 A Nightmare On Elm St. New Line Cinema Sound Utility Technician Samuel Bayer Feb. 2010 Hawthorne Woodridge Productions Sound Utility Technician Ed Bianchi Sept. 2009 Intuit Website Commercial Pictures In A Row Sound Boom Operator Peter Lang Aug. 2009 American Ninja Warrior Pilgrim Films & TV Production Sound Mixer Various Aug. 2009 UAE Project Pilgrim Films & TV Production Sound Mixer Lasta Drachkovitch July 2009 Hawthorne Sony Pictures Television Utility Sound Technician Jeff Bleckner Jun.
    [Show full text]
  • Hp Foundation to Fund Nywift Young Female Filmmaker Initiative
    For immediate release: New York Women in Film & Television Announces: HP FOUNDATION TO FUND NYWIFT YOUNG FEMALE FILMMAKER INITIATIVE Actress/Singer/Philanthropist Ha Phuong Will Support an Education and Financial Assistance Program for Aspiring Women Filmmakers, From High School Graduation through Graduate Studies and Beyond New York City (January 23, 2018) - New York Women in Film & Television (NYWIFT) is pleased to announce the receipt of a generous donation of more than $50,000 from The HP Foundation. The HP Foundation is one of the largest of its kind and is the culmination of Vietnamese actor, singer, writer, philanthropist and NYWIFT member Ha Phuong (HP)’s passion for music and her fierce devotion to supporting young people’s causes. The announcement of this partnership was made at the Goldcrest Films, Cinematographers XX and NYWIFT Party at the Sundance Film Festival on January 22. In HP’s honor, NYWIFT has named three programs to provide additional opportunities, growth and acknowledgement for women: • HP Training Program for Recent High School Grads Two recent high school graduates will be selected to participate in an intensive, hands- on training program in camera operating. Students will take a two-week long intensive course on basic video-making. Week one would be a production overview and week two would be specialized instruction with a professional camera operator. For the next several months after completing the course the students will tape six NYWIFT events which will either be live-streamed or made available on the NYWIFT website. The students will have a professional camera person to mentor them during each shoot.
    [Show full text]
  • Eligible Positions for a Producer's OCASE Claim
    In order to increase efficiencies and prevent processing delays, the OMDC uses the following list of eligible and ineligible positions for purposes of establishing the estimated amount of the OCASE tax credit when issuing the Certificate of Eligibility. This list is not a substitute for the Taxation Act, 2007 and applicable Regulations. The CRA makes a final determination of the amount of OCASE tax credit that is permissible in accordance with that legislation. Eligible Positions for a Producer's Live Action OCASE Claim for Conventional Cast and Crew (non-VFX-Specific Roles)* Alphabetical Order Labour for eligible positions can be claimed at the applicable VFX percentage. September 2016 Eligible Positions Ineligible Positions Department Position Name Allowed Yes No 12 Production Staff 1ST ASSISTANT DIRECTOR Y 16 Props 1ST ASSISTANT PROPS Y 12 Production Staff 2ND ASSISTANT DIRECTOR N 12 Production Staff 3RD ASSISTANT DIRECTOR Y 12 Production Staff ACCOUNTANT N 12 Production Staff ACCOUNTANT ASSISTANT N 12 Production Staff ACCOUNTANT CLERK N 12 Production Staff ACCOUNTANT TRAINEE N 10 Cast ACTING COACH N 10 Cast ACTOR Y 10 Cast ACTRA BUYOUT Y 12 Production Staff ADMINISTRATIVE ASSISTANT N 10 Cast ADR & FOLEY N 06 Stars ADR & FOLEY N 22 Camera AERIAL RIGGER Y 22 Camera AERIAL SPECIALIST Y 22 Camera AERIAL UNIT Y 16 Props ANIMAL COORDINATOR N 13 Design ARMATURE MAKER Y 16 Props ARMOURER N 13 Design ART ASSISTANT Y 02 Scenario ART CLEARANCE N 13 Design ART DEPARTMENT APPRENTICE N 13 Design ART DEPARTMENT ASSISTANT N 13 Design ART DEPARTMENT
    [Show full text]
  • 2Table of Contents
    Legal Disclaimer By accepting a copy of this Business Plan, the recipient hereby agrees, among other things, to keep the information contained herein and the existence of this Business Plan confidential and to restrict the use of any information contained herein to those people within the recipient’s organization or its designated representatives who have been informed of the confidential nature of such information and who need to have such information in connection with the organization’s evaluation of Melpomene Pictures. This Business Plan has been prepared by Melpomene Pictures on the basis of internally prepared information, as well as information from public and private sources, including trade and statistical sources commonly used in the industry. The Business Plan does not purport to contain all of the information that may be required to evaluate all of the factors that would be relevant to a recipient in considering a transaction with Melpomene Pictures. The Company makes no warranty or representation, express or implied, as to the accuracy or completeness of either the material contained herein or any other written or oral information provided by the Company to recipient, and no liability shall attach thereto. Nothing contained in this Business Plan is, or should be relied on as, a promise or representation as to the future performance of the company, its business sector, the state of public or private capital markets or the economy in general. The projected financial information contained herein was prepared expressly for use herein and is based upon the stated assumptions and the company’s analysis of information available at the time that this Business Plan was prepared.
    [Show full text]
  • Good Service
    FILMSOURCING - ELECTRONIC PRESS KIT Colette Claire Henry Warren Miller Uretz GOOD SERVICE SBCC FILM PRODUCTION PRESENTS A STUDENT FILM STARRING COLETTE WARREN, CLAIRE MILLER & HENRY URETZ “GOOD SERVICE” MUSIC SUPERVISOR EMILY DISTEFANO EDITORS NATHAN STOKES, SYCAMORE MITCHELL, VESELA IVANOVA PRODUCTION DESIGNER DELANEY HOWELL DIRECTOR OF PHOTOGRAPHY MIKI INOGUCHI PRODUCED BY MCKENNA ZDENEK ASHBY WRITTEN & DIRECTED BY SARAH CRAWFORD FILMSOURCING - ELECTRONIC PRESS KIT GOOD SERVICE Production Type……………………. Short Film Runtime…………………..………..…. 14min Genre………………….………………. Comedy Completion Date…..…………..…. December 9th, 2019 Production Budget…..…….………. $3,444.08 Language………………….…….....… English Country of Origin……………..…… United States Country of Filming………….……. United States Format.……………………………..…. True 4K 4096x2160 10bit Color 2 FILMSOURCING - ELECTRONIC PRESS KIT SYNOPSIS Heather has just recently started college in southern California and misses her friends whom are attending college on the East Coast. A New York transplant in a strange new land, Heather has trouble putting herself out there and making new friends - and society’s cell phone addiction isn’t helping her cause. Little does she know that Angela, the owner of her favorite local coffee and sandwich shop, just might have the right recipe for helping her connect with another lonely heart. 3 FILMSOURCING - ELECTRONIC PRESS KIT DIRECTOR’S STATEMENT “A heartwarming film that reminds us that sometimes you just need to look up in order to find what you are looking for.” SARAH CRAWFORD The inspiration for this film came from observing my students’, peers’, and my own social behavior in regards to cell phone usage and addiction. I have studied and taught in many different schools across the United States and Italy and therefore I am very familiar with the process of making new friends in new environments.
    [Show full text]