Kentucky State Film Tax Credit Program Schedule of Qualified Expenditures
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Newsletter / Autumn 2019
NEWSLETTER / AUTUMN 2019 Welcome from our Chairman Adam O'Neill Welcome to the Autumn newsletter... Busy times at BFDG HQ with the management team, supported by the committee, working flat out on bringing you the new the bigger and better BFDG Awards 2019. Lots of work is going on behind the scenes, and members will be able to take part in the first vote from all the entries at the beginning of November. Although the BFDG Awards are an important event with the opportunity to promote and celebrate our members and their work The Guild is much more than just the Awards. There is a steady flow of new members joining us all the time, we have established links with the BECTU Art Department committee (of which I am a member) to discuss the rate card and the IR35/Schedule D liability issue, which will impact us all from April 2020, we continue to run regular events which are open to all members, there will be another Q&A coming up in November, and we are consulting with other Guilds regarding the future direction of the Joint Guild Screenings. Further afield, we are a member of ARTSCENICO and are keeping in touch regarding their recent discussions on sustainability and furthering links to the other European Guilds. Regarding the BFDG committee:- Anyone can become a member of the committee, it is open to all grades, all ages, genders, shade of hair colour, shoe size, etc. A recent point I made regarding this may have been misunderstood, so I would like to clarify: The younger committee members are the future, and are therefore very important, but I don’t want more senior members to feel they are not welcome to contribute, that would be wrong as well. -
Art Department Rate Card 2020
A r t D e p a r t m e n t Art Department Rate Card 2020 This structure is proposed as a guideline and will vary on the number of hours / days working per week, the amount of experience / time held at that position, the size of the project and where it is based. The rates do not include any allowances; the table below indicates which can apply to which grade, in regard to what is required to complete that particular job. When interviewed discuss and negotiate allowancesR one by one, and request your deal memo to be sent before you start the job. Guideline rates shown in GPB and based on a 5 day week in greater london area and include holiday pay. Ratesa have an annual increase of 2.5% from 1 st January. p i u t e Major Motion Picture / Medium Feature / q Small Feature / TV drama Type and size of production n Major International TV Medium International TV e o t r h s e e p i et r l u e a a l i i p Film Budget w 30M + 8.5M to 30M < 8.5M c b t m f e r C o o a o p TV Band c m c s s BAND 3 BAND 2 BAND 1 a From To (+) From To (+) From To (+) Supervising Art Director r £ 2,750 £ 3,500 £ 2,400 £ 2,800 £ 1,700 £ 2,200 Senior Art Director d £ 2,450 £ 2,800 £ 1,950 £ 2,600 £ 1,450 £ 1,900 Art Director 2 £ 2,000 £ 2,500 £ 1,800 £ 2,400 £ 1,200 £ 1,600 Stand-by Art Director 0 £ 1,800 £ 2,300 £ 1,600 £ 2,100 £ 1,100 £ 1,450 Assistant Art Director 2 £ 1,500 £ 2,000 £ 1,400 £ 1,900 £ 950 £ 1,200 Senior Draughtsperson / Set Designer 0 £ 1,450 £ 1,900 £ 1,250 £ 1,650 £ 1,100 £ 1,300 Draughtsperson / Set Designer £ 1,200 £ 1,600 £ 1,100 £ 1,350 £ 875 £ 1,200 -
ARTICLE 10 Minimum Salaries and Working Conditions Of
ARTICLE 10 Minimum Salaries and Working Conditions of Directors Employed on "Free TV Pictures" 10-101 Minimum Salaries The minimum salaries and working conditions of employment set forth in the following schedules and footnotes shall apply to Directors employed in the making of "free" television films: Network Prime Time Shows* **Guaranteed Days (Shooting/Prep)*** Length 7/1/08 7/1/09 7/1/10 **** ½ hour $21,791 $22,445 $23,118 7 (4/3) 1 hour 37,005 38,115 39,258 15 (8/7) 1½ hours 61,675 63,525 65,431 25 (13/12) 2 hours 103,611 106,719 109,921 42 (27/15) The rate applicable to all such services shall be that in effect on the starting date of employment. For a double length episode of an episodic series or serial, Director may be employed at two hundred percent (200%) of minimum and two hundred percent (200%) of the guaranteed days appearing in the schedule above. For Network Prime Time programs in excess of two (2) hours, the minimum and guaranteed days shall be computed at the two (2) hour rate plus pro rata of the one (1) hour schedule and the additional days may be allocated between shooting and preparation time at Employer's discretion. For other than Network Prime Time programs, the following schedule shall apply, but in the event of the production of programs in excess of two (2) hours, minimum and guaranteed days shall be computed pro rata. - 115 - Non-Network or Network Non-Prime Time Shows* Type of **Guaranteed Days Employment/ (Shooting/Prep)*** Length of Film 7/1/08 7/1/09 7/1/10 **** Term Contract 20 out of 26 weeks or $7,760 -
South Africa's Official Selection for the Foreign Film Oscars 2006
Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos. -
CA Chart of Accts Film
CALIFORNIA CHART OF ACCOUNTS Qualifying and Non-qualifying Accounts Films - Movies of the Week - Mini-Series Effective July 1, 2014 Revised March 2014 The chart below is intended as a helpful guide, and not an exact list of what are considered Qualified Expenditures. Qualified Expenditures are for pre-production, production, and post-production - not for development, marketing, publicity, or distribution . The following listing assumes where "yes" is designated that the service is performed or property is used in the state of California. Items used or personnel services employed both within and outside of California can be qualified only for the prorata portion of costs incurred directly in California. Any expenditures incurred prior to issuance of the tax credit allocation letter are not qualified expenditures. Account # Description Qualified Comments 101-00 STORY & RIGHTS 101-01 Story Rights - Purchase NO 101-02 Acquisition Expenses NO 101-06 Title Report YES If work performed in California. 101-08 Copyright Fee NO 101-99 Fringe Benefits NO 102-00 WRITING 102-01 Writers NO 102-03 Editor and Consultants NO 102-05 Research YES 102-06 Script Timing YES 102-07 Secretaries YES 102-08 Script Duplication YES 102-18 Script Clearance Research YES 102-19 Clearance Fees YES If paid to CA company 102-20 Clearance License Fees NO 102-40 Materials & Supplies YES 102-45 Box Rentals YES On Qualified Labor Only 102-47 Car Allowances, Mileage YES On Qualified Labor Only 102-50 Rentals YES 102-80 Writer Entertainment & Meals YES 102-85 Script Publication -
The Stereographer
R Basic Principles The 3D Camera Rig Placing objects in a 3D space A few different ideas have been devised for shooting 3D material over the years, including some interesting cameras using In 3D two images are projected onto the display. By wearing a special pair of glasses the two images are split so that each arrangements of lenses and prisms to make a more portable, easy to use, single bodied camera. However, to date, the most 3D Television & FilmVersion 2.0 eye only sees one of the two images. When comparing the left and right eye images, every object in the scene is horizontally effective way of shooting 3D material in a professional environment is the dual camera 3D rig. There are several configurations Depth Cues displaced by a small amount. The brain assumes these two displaced objects are actually one object, and tries to fuse them of 3D camera rig, each with advantages and disadvantages. Displaying & Viewing 3D The eight depth cues together. The only way it can do this is to assume the object is either in front or behind the screen plane. The direction and Rig configurations amount of displacement defines where each object is in the 3D space. At present there are five methods of displaying and viewing 3D material. Humans have eight depth cues that are used by the brain to estimate the relative distance of the objects in every scene we The parallel rig The opposing rig The mirror rig Anaglyph look at. These are focus, perspective, occlusion, light and shading, colour intensity and contrast, relative movement, vergence Positive parallax Zero parallax Negative parallax The most compact dual camera 3D rig is The opposing rig places the cameras in Bottom mount and stereopsis. -
College Choices for the Visual and Performing Arts 2011-2012
A Complete Guide to College Choices for the Performing and Visual Arts Ed Schoenberg Bellarmine College Preparatory (San Jose, CA) Laura Young UCLA (Los Angeles, CA) Preconference Session Wednesday, June 1 MYTHS AND REALITIES “what can you do with an arts major?” Art School Myths • Lack rigor and/or structure • Do not prepare for career opportunities • No academic challenge • Should be pursued as a hobby, not a profession • Graduates are unemployable outside the arts • Must be famous to be successful • Creates starving artists Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School in the News Visual/Performing Arts majors are the… “Worst-Paid College Majors” – Time “Least Valuable College Majors” – Forbes “Worst College Majors for your Career” – Kiplinger “College Degrees with the Worst Return on Investment” – Salary.com Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Projected More than 25 28 million in 2013 million in 2020 More than 25 million people are working in arts-related industry. By 2020, this is projected to be more that 28 million – a 15% increase. (U.S. Department of Labor) Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Due to the importance of creativity in the innovation economy, more people are working in arts than ever before. Copyright: This presentation -
EDITORIAL Screenwriters James Schamus, Michael France and John Turman CA 90049 (310) 447-2080 Were Thinking Is Unclear
screenwritersmonthly.com | Screenwriter’s Monthly Give ‘em some credit! Johnny Depp's performance as Captain Jack Sparrow in Pirates of the Caribbean: The Curse of the Black Pearl is amazing. As film critic after film critic stumbled over Screenwriter’s Monthly can be found themselves to call his performance everything from "original" to at the following fine locations: "eccentric," they forgot one thing: the screenwriters, Ted Elliott and Terry Rossio, who did one heck of a job creating Sparrow on paper first. Sure, some critics mentioned the writers when they declared the film "cliché" and attacked it. Since the previous Walt Disney Los Angeles film based on one of its theme park attractions was the unbear- able The Country Bears, Pirates of the Caribbean is surprisingly Above The Fold 370 N. Fairfax Ave. Los Angeles, CA 90036 entertaining. But let’s face it. This wasn't intended to be serious (323) 935-8525 filmmaking. Not much is anymore in Hollywood. Recently the USA Today ran an article asking, basically, “What’s wrong with Hollywood?” Blockbusters are failing because Above The Fold 1257 3rd St. Promenade Santa Monica, CA attendance is down 3.3% from last year. It’s anyone’s guess why 90401 (310) 393-2690 this is happening, and frankly, it doesn’t matter, because next year the industry will be back in full force with the same schlep of Above The Fold 226 N. Larchmont Blvd. Los Angeles, CA 90004 sequels, comic book heroes and mindless action-adventure (323) 464-NEWS extravaganzas. But maybe if we turn our backs to Hollywood’s fast food service, they will serve us something different. -
List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter . -
This Guide Will Help Producers As They Plan to Create Programming for 3D Television
This guide will help producers as they plan to create programming for 3D television. Authors Bert Collins Josh Derby Bruce Dobrin Don Eklund Buzz Hays Jim Houston George Joblove Spencer Stephens Editors Bert Collins Josh Derby 3D Production Guide Post production 14 Viewer Comfort Issues 34 Media Offload, Prep, and Ingest 14 View Alignment 34 Table Of Contents Virus scanning 14 Colorimetric Alignment 36 Media ingest 14 Defining Convergence, Parallax, and Interaxial 36 Introduction 3 Media sorting 15 Parallax and Comfort 37 Editing 16 Stereo Window Violations 37 Offline editing 16 Vergence 38 Planning Workflows for 3D 4 Different approaches to 3D offline 16 Vergence and parallax shifting across cuts 38 Pre production 4 Online editing 18 Stereo sweetening and adjustment 18 Occlusion and Text Placement 39 Format planning 4 Text and graphic object placement 39 Output 19 Frame rate and resolution 4 Depth placement 39 Audio 19 Choosing camera systems and rigs 4 Dynamic depth placement 39 Creating masters 20 Recording codec and file type 5 The color and contrast of text and graphics 39 Recording methodology 6 Delivery 20 Workflow and media management 6 Metadata Planning 7 3D Post 40 2D to 3D Conversion 22 Understanding metadata options 7 3D Shot Correction 40 Why use metadata? 7 Geometric alignment errors 40 Operator Training 8 3D Production: Cameras and Tools 24 Colorimetric alignment errors 40 Communication of the metadata plan 8 Cameras 24 Window violations 40 Role of the stereographer 8 Minimum requirements for camera quality 24 Standards and Frame Rate Conversion 42 Choosing the correct lens system 25 Rig and camera set up, alignment, and use 8 Stereo Planning 9 Choosing 3D Production Tools 26 Depth budgets 9 Rigs vs. -
Sampling of Careers Within the Performing Arts
Sampling of Careers within the Performing Arts Performing in categories/places/stages including, but not limited to: Broadway Dance Companies International Theatre Short Films Children’s Theatre Documentaries Music Videos Television Commercials Festivals Off-Broadway Touring Companies Community Theatre Film Opera Web Series Cruise Ships Independent Films Regional Theatre West End London Performing arts jobs* including, but not limited to: Actor (27-2011) Dance Academy Owner (27-2032) Mascot (27-2090) Script Writer (27-3043) Announcer/Host (27-2010) Dance Instructor (25-1121) Model (27-2090) Set Designer (27-1027) Art Director (27-1011) Dancer (27-2031) Music Arranger (27-2041) Singer Songwriter (27-2042) Artistic Director (27-1011) Dialect Coach (25-1121) Music Coach (27-2041) Sound Editor (27-4010) Arts Educator (25-1121) Director (27-2012) Music Director (27-2041) Stage Manager (27-2010) Arts Manager (11-9190) Director’s Assistant (27-2090) Music Producer (27-2012) Talent Agent (27-2012) Ballet (27-2031) Drama Coach (25-1121) Music Teacher (25-1121) Casting Agent (27-2012) Drama Critic (27-3040) Musical Composer (27-2041) Technical Director (27-4010) Casting Director (27-2012) Drama Teacher (25-1121) Musical Theatre Musician (27-2042) Technical Writer (27-3042) Choir Director (27-2040) Event Manager (27-3030) Non-profit Administrator (43-9199) Theatre Company Owner (27-2032) Choir Singer (27-2042) Executive Assistant (43-6011) Opera Singer (27-2042) Tour Guide (39-7011) Choreographer (27-2032) Fashion Model (27-2090) Playwright (27-3043) -
The Production of Tv Commercials and Stills Photography in Cape Town
THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN An overview of the impacts and constraints of the commercial production sector on the Cape Town economy. Martin Cuff, August 4th 2011 Commercial Producers Association SAASP P O Box 413005 PO Box 51649 Craighall Waterfront 2024 8002 Tel: 27 11 673 6809 Tel: 27 21 447 1075 Cell: 27 82 683 0575 Cel: 27 82 403 3661 Fax: 27 86 674 8321 Fax: 27 86 656 9656 E‐mail: [email protected] E‐mail: [email protected] Web: www.Cpasa.tv Web: www.saasp.Co.za DisClaimer: This doCument was assembled from various publiCations and websites between 2005 and 2011. It is intended for general researCh purposes only. Whilst every effort was made to ensure the information herein was CorreCt at time of Compilation, we make no warranties of any kind regarding the Completeness, aCCuraCy, reliability or suitability of the information. Any relianCe you plaCe on suCh is at your own risk, and we will not be liable for any loss or damage whatsoever arising out of, or in ConneCtion with the use of this information. The following doCuments were used as referenCe materials for this doCument: • DACST Cultural Industries Growth Strategy (1998) • Department of Trade & Industry SeCtor Development Strategy for Film and Television (June 2005); • Western Cape ProvinCial Government MiCro EConomiC Development Strategy (MEDS) Report for the Film SeCtor (April 2005) • CommerCial ProduCers AssoCiation Industry Survey (2005 ‐ 2011) • South AfriCan AssoCiation of Stills ProduCers Annual Survey (2005/6, 2009‐11) • Cape Film Commission StrategiC EConomiC Analysis (2006) • Gauteng Film Commission EConomiC review (2007) • The Durban & KZN Film Industry Review (2008) • Eastern Cape Development Corporation Film SeCtor Review (2009) THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN SUMMARY: • Stills and TV Commercials make up 57.7% of the the turnover of production in the Western Cape • The combined value of Stills & TV Commercial Production in the province is R1.53 billion.