DOCSLIB.ORG

Indo-Poland Audio-Visual Co-Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Indo-Poland Audio-Visual Co-Production frff ffi Indo-Poland Audio-visual s# ffi S$i sgc #$ Co-Production {;atlEs s* ffi ffi str ir{. €w, ffi Agreernent ffi $e. AGREEMENT BETWES$ ?HE GOVERI{MET{T OF TNg REPUSLTC OF TITI}IJL AI{D THE GOVERNMPI{T OF THE REPUBLIC OF POLAIYD OlV AUDIOVISUAL CO.PRODUCTIOI{ THE GOVNRNMENT O]T TI{tr RHPUBI,IC OF" IhIDIA AND THE C}OVERNMENT OF THE REPUBLIC OF POLAND hereinafter referrecl to as the "Parties": CONSIDtrRING it desirable to establistr a k:gal framework for relations regarding audiovisual cr:*procklction, especially the pr6cluction of films for the cinema and television, as rvell as films intended solely fr:r clissemination on analogue or digital data carriers; .,,$ d$$ AWARE that a high qualitv of co-proriuction mav encourage the cievelopment. of enterprises ancl institut.icins w'hich produce, clistribute alcl disserrrnate films ffi and enhance cultrtrai ancl economic exchange between both St.ates; swffi &= I Wi CONVINCED th:rt such exr:hange shail strengthen ii.:l relaticns l:etn'een both t I $.i$ States; t'i..: x i',:l: $ HAVE AGRtrBD AS FOLLOWS: , i: i i;x.: t ffi *m Article l I ffi|l $ tt$s r$.{i 1. For Lhe $ purpose of this Agreemenr.: I w ! i ffi li The term "cr:-procir-rctir:n" $ rneans a set of actions taken by co- producers from b'th states that I result in production a film, * regardless of genre 'i' I le*gth, with o-ulrithout snunds, including ; fiction, animation 'r ancl dacumentar.{ procluct.ions, macle in any fbrmat, I and intenclecl fbr clistribution i iri anlr ulanner, especiaily cinema * screening as its primary fieic{ of use; I I : 1t 'fhe t.erm "Cr:-prclducer" q.ho i means a per$On is a cit.izep nf fhe i Republic of Potrand or the Repui:iic of Inclia, or a legal entitv baseci in lhe territory t of either state *rho is authorised to ent.er into co- producti'n con.tracts I' !i.i[h a vielv t.o organising, ca,,5.,1ng ouf and c.o_ i fi nancing fih-n production: $ $ a I g I t I I l 2. Each cO-production underlaken under this Agreement, after it has fr-rlfrlled all the condil.iuns herein, mr-lst gain approval from the following Cornpetent Au thori ties : 1) In the Republic of lndia * f"he Minisrry of Infarm*tir:n alnd Broadcasting 2) In the Republic of Poland - Lhe Minister nf Culture and National Heritage, 3) Each co-production unclcrtaken under this Agreement shall be ir: acccrdance ra'ith the larv in force in thc Republic of Poland ar-rci in the Republic of India. 4) Unlexs otherwi*e provicled for uncler the laqrs in force in the RepuSlic of Poland and the Republic of Inciia, e;lch co-producr.ion undertaken under this Agreemenr shail be regardeci as a clomestic production in each State-Party in order to obtain all present anci fu1ure belelits conferred upon dome stic proc{ucticns in these tu,n fitates. Nevertheless, such benelits shall be ciue on15, to co_procillcers from the State u'hic} confers these bencfits. Ar-ticlr: 2 The co-producers in either of the tu,o sfates shail satjsty themscrves about each other's capabilit-v, inclucring rheir professronar knou,ledge, organisati*nal capahilitv, fi*ancial backing and professional reputation. Article 3 The financial cr:ntribution r:J each co-proclucer shall be betr,r.een twent_v pcrcenr {2o} ancl eig}rt-v (go} percent of rhe co-producrion budget. The co-producers fr.m each state should make a tangible creati'e and technical cr:ntribution to a co-procl.rcti,n in proportion to their in irs share budget, encompassing rhe total engagement of film makers, actors, technical-production pcrsonnel. laborat<lries ilnd facilities. In justifiecl cases, the ccmperent Authoritles ma!, approvr !l co- prodi-rction which does not sa.tisfv- all of th.ese requirernents. Article 4 1. Producers, directors, screenwriters and actors, as well as technicians and remaining staff engaged in the co-preicluction, must hord polish or Indian citizenship or have their place of abode or permanent residence in one c;f these states, in accordance rryith the deimestic law of each State . 2. In exceptional circurnsta.nces, *rhere ttre co-producti'n requires so, participation of professionals rvho do not ful{il the conditions set out in paragraph 1 may be permitted. This shalr requrire approvar by the Cornpetent Authorities of both the $tates. Article S The competent Authorities ma.y approve a co-production involving, apart from Polish and Indian co-producers, co-producers from third ffi countries which are parties fft to an audiovisuar co-iroduction agreement htr with at least one of ry# these states (murt'aterar c'-production). z,O The minimllm contribution f;.T by a co-prnrlucer in a murtilaterar co- production shoulcr be ffi ten percent ir0%) r:f the co-production,s budget. Article 3 paragraph ffi 2 of this Agreement shalr apply as appropriatc. ffi ffi Article 6 ffi I.I Filming and animation work, including the storyboard, Iayout, key animation and in between as rvell as sound recorcring, shourd be carried out in the Republic of porancr 'r the Repubric of Inclia. 2. The filming of scenes in ilre open air or indoors may be performed in a third country if the screenpray or plor r*quir.* ii if polish and Indian technicians are involved in this work. "r,a 3" Laboratory processing shail be carried r:ut in the Republic of Poland or the Republic of Inclia, unless this is not possible for technical reasons. In such a case, the Competent Authorities mav permit the laboratorv processing to be carried out in a third countrr. Article 7 1' The original souncitrack ol" each co-procluction shall be recorded in Polish' Bnglish or an\/ one *f rhe rang,ages dialects of India {languages of the parties}, 'r Dr-rbbed soundtracks in any of these languages may be recordccr in the Republic of poland r:r in the Republic of trndia. A fihn melv be made in m.re th;r"n one the Parties lar"iguarge of versio'. Dialogues may arso be reccrcJed languages in other if rhe screenplay requires rhis. 2. Each Ianguage version of each co_procluction {dubbing or subtirles) shall be proch-tcecl in thc Repubric of polancr and in the Itepublic India, as appropriate. of Anv departures from this rule must. b]'thc Competent be approved *# Authoritii:s. ffi Article I ffi K .1 . Each co-procluction shall be made !p\." in at least two copies picir.rre quality', of good af equal legal valiclity, anri ln two international il$ copies, sound on media rvhich permit inclepen<lent clistribr-rtiorr s Republic in ihe of Poland and the Republic of tnAia it* e* 2' The original N':1; ,e.:gatives, as *,elr as the final version of back_r_rp copies :i and master copy' sha.il be stored i' rhe country of the mqioritSr co- producer or in an.rher prace ffi agreccr upon b*;;" the co-procrucers. 5t Regardless .f the pl;*ce of st'rage, each c' prociucer shor:l<J have guarantf:ecr acccss tr: these materials ffi at an], 1i*a, so that he may make essential .eprorJuctions uncicr terms .."oitions agreed upon betrveen the co-proejucers. ""J 3' At least tu':o hack-up copies of mecrium ancl high-budget co- prr:ducti'ns shtrlr be mirrle. If the co-prccrucers s0 agree, *nr3r one back-up copv and ene copy of the materiars for reprocluction may be made in tire case of co*procructions deemed to l:e r0$, br_rdget cc_ productions bv the Cornpetent Auilrorities. ffi $ffi Article I ffi In accordance rvith the larvs in lbrce in their states, the parties shall: ffi i) facilitate producers: screenwriters, directors, technicians, actors ancl ffi r:ther personncl specified in each co-procluction $]:,i contract to enter and ,ffi briefly stay in their countr\,. *t*iffi 2) lacilitate that the lj.lm equipment and tapes requirerl for cr:-prodr:ction ffi to be brought intr: i:nd taken out of the c<tuntn'. ffi Article 10 No provision of t.his Aglreement shall impl}, that the approval of co_ ffi productian or the graniing of any associated t_:enefits by the Competent Authorities signifies an by any r,f the Gr:vernments 1' a W license, c,ncession, 'brigation Epa.nt permit or similar decision to co-producers or any of.her persons for: the #; disseminarion of a co-production, Neither shall any such prornision irnplv that these Aufhorities consicier il,lt a co-prorJuction justified r:r bear an!' re$ponsibilirv lor it. ffi Article 1 I $$ Ii*. I. If a co-production is exportecj to a third countr..v lvhicl: has quota restrictions, fhe c--o-proclr.rction ffi shall be incrudecr rn the quota of the majority co-producing Sti: te. 2' I{'there is no majorit5r co-producing $tate, tLre co-prgduction shalr be included in the qu'ta of thar state-party which, in the joint opinion of the co-pr{:ducers, }ras bett.er chances of exportr*g tire iilm. In the absence of agreement between the co-producers, the ccl-production shall be inclucled in the quota of the country of ,uvhictr the clirector is a citizen. 3. If one of the srate-parries er:joys an unlimited righr to exporl. its films to a third country u'hich appries a maximum quota of such irnporrs, the co-production, like any other domestic procluction of the State- Party, shall bc the subjecr uI unlimited exports to t.hat c0untry, r.r'ith the approval of rhat State 's Competent Authorities.
Load more

Recommended publications
  • A Producer's Handbook
    DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice.
    [Show full text]
  • Costs in a Film's Production Process
    European Research Studies Journal Volume XXIV, Issue 2B, 2021 pp. 1069-1080 Costs in a Film’s Production Process Submitted 26/03/20, 1st revision 21/04/20, 2nd revision 23/05/20, accepted 30/06/21 Damian Łazarczyk1 Abstract: Purpose: Film production is associated with incurring costs. This article aims to analyze the production process of a feature film through the prism of incurred production costs. The indi- rect aim is to answer the question: What is the structure of the set of costs in the production process of an audiovisual work? Design/Methodology/Approach: The study concerns the production costs of film work based on the cost philosophy of the Polish Film Institute and American solutions. The study uses the descriptive and comparative analysis method of various aspects of film production; the deduc- tive-inductive reasoning method; the costing method; the logical analysis method based on the literature on film production organization and accounting; the qualitative method in the form of unstructured face-to-face interviews with film producers con-ducted at production courses at the L. Schiller National Higher School of Film, Television, and Theatre in Łódź. Findings: The amount of cost of a film project is determined by the film script. The structure of the set of costs in the different stages of the film production process in the world is similar. The fees are an essential item in the cost of a feature film. The production organization crite- rion and the time criterion shape the film production costs. Practical Implications: Efficient organization of the film production process affects the cost of ownership of film work.
    [Show full text]
  • Production Handbookfinaldraft
    PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary
    [Show full text]
  • Pull-Tight Production Packet Index
    Pull-Tight Production Packet Index 1. Index 2. Helpful Tips for Producing at Pull-Tight Job Descriptions: 3. Responsibilities of the Director 4. Responsibilities of the Producer 5. Responsibilities of the Stage Manager 6. Stage Manager Checklist Production Policies: 7. Holdover Policy 8. Responsibilities of the Executive Producer 9. Working With Minors at Pull-Tight 10. House Rules 11. House Rules – Set Crew 12. Fire Safety Rules 13. Musician Fees Policy 14. Show Cancellation Policy Forms: 15. Budget Form 16. Sample Budgets 17. Audition Form Page 1 Musical 18. Audition Form Page 1 Non-Musical 19. Audition Form Page 2 20. Postcard Sent to Individuals Not Cast 21. Minors’ Parents Form 22. Contract for Musical Services 23. Expense Report Form 24. Check Voucher Form 25. T-Shirt Order Form 26. Actor Bio Form 27. Costume Measurement Sheet Additional Policies, Forms, or Information: 28. Complimentary Tickets Policy 29. Crew Template for Program 30. Lobby Display Policy 31. General Box Office Information 32. Tips for Polyurethaning the Floor HELPFUL TIPS FOR PRODUCING AT PULL-TIGHT It is strongly recommended that these tips be read by the Director, Producer, and Stage Manager of the show before you go into production, discussed together at your first Production meeting, and then kept on hand to refer to frequently. RESOURCES : Pull-Tight Public Website: www.pull-tight.com Pull-Tight Private Website: www.pull-tight.com/production Password: breakaleg If you have questions regarding technical aspects of your production or “how things are done” at Pull-Tight, the Executive Producer is your primary contact. If the Executive Producer doesn’t know the answer, he or she will be able to help you find it, and can also alert you to any recent changes in Board policy.
    [Show full text]
  • UNIT-II Pre and Post
    UNIT-II Pre and post - production planning - functions, duties and responsibilities of the crew members. Art direction - location - floor management - out-doors and indoors - lighting - management of live shows / live telecast - sports coverage etc. PRE AND POST - PRODUCTION PLANNING The Production Process The production process refers to the stages (phases) required to complete a media product, from the idea to the final master copy. The process can apply to any type of media production including film, video, television and audio recording. The stages in each medium vary; for example, there is obviously no storyboard in an audio recording. However the same general concepts work for any medium. The three main stages of production are: Pre-production: Planning, scripting & storyboarding, etc. Production: The actual shooting/recording. Post-production: Everything between production and creating the final master copy. PRE-PRODUCTION Pre-production is a fairly loose term which refers to the tasks undertaken before production begins. Exactly what is included in this stage depends on the medium and situation. For a small video company, pre-production may refer to everything that happens before shooting begins, for example, meeting with the client, research, storyboarding, location planning, etc. For feature films, pre-production is more specific and only begins when other milestones have been met such as financing, screenplay, casting and major staffing. In this case pre-production includes: Location scouting Prop and wardrobe identification and preparation Special effects identification and preparation Production schedule Set construction Script-locking (semi-finalisation of the script) Script read-through with cast, director and other interested parties STAGES OF PRE-PRODUCTION Finalize a Shooting Script While movies are magical, they don‟t come out of thin air.
    [Show full text]
  • Film Director Agreement (Fiction Film)
    FILM DIRECTOR AGREEMENT (FICTION FILM) The Parties to this Agreement are: ___________________ , personal identity code _________, address _____________________________ (hereinafter the ”Director”); and ___________________ , company identity code _________, address _____________________________ (hereinafter the ”Producer”). 1. OBJECT OF THE AGREEMENT 1.1 The Producer will employ the Director for making the film _____________________ (hereinafter the ”Film”) in accordance with the terms and conditions agreed in this Film Director Agreement (hereinafter the ”Agree- ment”). 1.2 The Film will be filmed in ________ format, and its screen time is fixed at ______ minutes. 1.3 The target age limit for the Film shall be ______. 1.4 The production budget for the Film is ___________________ euros. 1.5 The Film shall be based on: a) ________ʼs literary or other work entitled ”______________”. The film rights in respect of the work have been transferred under a separate agreement between the Producer and the holder of the rights. b) Original idea by _________ The manuscript for the Film has been made by: _________________________. The film rights in respect of the manuscript have been transferred under a sepa- rate agreement between the Producer and the holder of the rights. 2. THE DIRECTORʼS JOB DESCRIPTION 2.1 The employment of the Director begins / has begun on ___.___.20___. 1 The Directorʼs work shall be conducted as follows: Preliminary planning between ________ - ________, in total __ days; Filming period between ________ - ________, in total __ days; Post-production work between ________ - ________, in total __ days. The Directorʼs employment will end once the Director has inspected and ap- proved the final form of the Film.
    [Show full text]
  • Video Production Putting Theory Into Practice
    Video Production Putting Theory into Practice Steve Dawkins (Coventry University) Ian Wynd (North Warwickshire and Hinckley College) Contents Introduction Section One: Theory and Practice 1. Knowing: The Theory of Video Production 2. Doing: Preparing for Video Production 3. The Practice of Video Production: Pre-Production 4. The Practice of Video Production: Production 5. The Practice of Video Production: Post-Production Section Two: The Briefs 6. The Television Title Sequence 7. The Magazine Programme 8. The Documentary 9. The Drama Short Introduction People working within the creative media industries often mystify the process of video production. There is a well-known saying that video production isn’t as easy as it looks but isn’t as difficult as it is made out to be. While it is true that professional working practices are the result of much training, our starting point is that we believe that anyone has the potential to produce excellent videos. However, what marks out good or exceptional video production, whether professional or non-professional, is two things: the ability of the video- maker to understand and effectively work through the different stages of production systematically and their ability to think about what they’re actually doing at each of those stages and act upon those thoughts. Video Production: Putting Theory into Practice is a book for students who are new to video production in further and higher education. It is a book that links the types of theory that are applicable to video production that you will encounter on a range of different communications, cultural or media courses with the practical skills of video making.
    [Show full text]
  • Pre-Production Checklist
    P R E P R O D U C T I O N C H E C K L I S T 1. Make a Production Schedule: a. Block out dates for all your shoots; Aim to leave at least 3 weeks for careful editing. If you are editing at the last minute, you will be stuck using your first cut rather than having time to try a few different versions, and you won’t have time for polishing, fine-tuning, and post- picture lock work such as color correction and sound mixing (these can make a huge difference). b. Log, take notes, and assemble selects / rough scenes while you are still in production c. Check with other members of your camera group to make sure you are not planning overlapping shoot dates. d. Be realistic about scheduling – a typical rule of thumb is that it takes approximately one 8-hour shooting day to cover 2-4 minutes of script time. 2. Crew Up: a. Plan in advance to make sure you have all the crew members you need for your shoots. Make sure to ask members of your group and other members of the class ahead of time to make sure you aren’t scrambling for crewmembers at the last minute. b. Remember, the more you are able to delegate specific jobs to specific people, the more you’ll be able to focus on directing and getting the performances you want out of your actors. At a minimum, you should consider having at least a gaffer and a sound recordist / boom operator on your crew.
    [Show full text]
  • Creating a Shooting Schedule a Comprehensive Step-By-Step Guidance to Create Your Own Frst Schedule by Leslie Tabuteau
    Filmmaking Creating a shooting schedule A comprehensive step-by-step guidance to create your own frst schedule by Leslie Tabuteau my pocket guide FILM,TV&MEDIA Introduction You have a script on hand that you want to direct or produce. Well done! Now you need a production schedule to assess the various elements of your flm and evaluate the time needed to shoot it. Once you have a schedule in place, you can use it to build a budget and determine your fnancing strategy. You don’t want to hire an Assistant Director yet to create a full breakdown and schedule from your script. That costs money. Rather, you want to do it yourself. This guide is designed for you. Even with little production experience, it will give you a comprehensive step-by-step guidance to create a solid frst shooting schedule and measure the feasibility of your project. Whether it’s a short flm, a TV drama or a feature flm, you must know how many days are required to shoot and its level of complexity, Copyright © Vidatech Ltd 2020 - All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the prior written consent of the publisher. 2 all of which have a direct impact on the overall budget. Therefore, having a proper schedule is the frst step to any production Breakdown & schedule The breakdown of your script is a key step in the process of creating a shooting schedule. Consider the schedule as a road map, outlining the scenes of your script in the order in which they will be shot.
    [Show full text]
  • Free Production Planning Spreadsheet Templates
    Free Production Planning Spreadsheet Templates Walsh fricassee her yuppies spiritedly, she blethers it illicitly. Histie Tobie caponizing: he defecated his nitrobacteria ludicrously and commendably. Sciaenid and heterocercal Pennie incandesce some piquancy so unutterably! Press the product management system work and allow you should start to advance ten minute material, and execution process management system is digital experience under control the spreadsheet templates to develop your clients Now that you have your speaker information added, Finance, company resource planning department can easily estimate the exact needs of inventory for the production line and this way it is easier to keep only the necessary amount of inventory. Film production timelines give your free production planning spreadsheet templates for free template allows inventory mangers to allow you are a customer. Get what is a free to eat after your business, you see where they are very rare maintenance policies by forecasting product changes, free production planning spreadsheet templates? Excel spreadsheet is the issue with caps, free production planning spreadsheet templates are any questions? It and savetz publishing frequency required per month in ms word as once you may not support with? This free production planning spreadsheet templates also available as potential. Master that art of visual storytelling with its FREE video series on directing and filmmaking techniques. We curated a planning spreadsheet templates before you set up, weekly production costs are made. Plan out your entire series before your next pitch meeting. There are two phases to a movie. They may get heritage, quality assurance, production organizations and film shooting. Note: would not merit this file.
    [Show full text]
  • Animated 3D Feature Film Production Schedule (85 Minutes)
    Page 1 of 10 Animated 3D Feature Film Production Schedule (85 minutes) 24-month schedule MONTH 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Storyboard/Animatic Reading/Recording Art Direction/Design Art Packet Pre-viz/Workbook Software Modeling/Articulation Surfacing/Illumination Layout Animation EFX Lighting/Compositing Workreel Test Screening Post-Production DCI pre-production production post-production The animated 3D feature film production schedule above presumes an initial screenplay draft and encompasses 24 months from the first storyboard panel to the final digital master. The following notes pertain to the schedule as a whole, and the line item tasks in particular. This is only a generic framework and must naturally be fitted and expanded to the particulars of any given animated feature film production. It also does not represent the gradual roll-on and roll-off of the production crew, which typically begins and ends with department leads and supervisors. Kevin Geiger [email protected] www.animationoptions.com Page 2 of 10 TIMETABLE The complete timetable indicated above for pre-production, production and post-production of the film is an aggressive 24-month schedule. This is consistent with current trends in 3D animated feature film production at both major and minor studios, which seek to reduce material creation time from previous cycles of 3+ years down to 2 years (or less). The aggregate time compression is now possible due to advances in non-linear production techniques, but must be based upon thorough production planning, tracking and follow-up in order to achieve sufficient quality.
    [Show full text]
  • Chimney's Top 100 European Film Funds
    CHIMNEY’S TOP 100 EUROPEAN FILM FUNDS THE GATEWAY TO EUROPEAN FINANCING 2018 Publisher: The Chimney Pot Sp. z o.o. © 2018 by Chimney Group ISBN 978-83-938770-4-1 Editor in Chief: Fredrik Zander Project Managers: Anna Kozminska,´ ´ Joanna Nowak Graphic Design: Malwina Borowiec / pigalopus, Agata Esmund The information presented in this publication was gathered by Chimney’s team during extensive research and through direct contact with representa- tives of the funds. Their cooperation helped us to provide you with the most detailed and accurate information possible. However, despite our efforts a few Funds did not get back to us. Therefore the information provided on their fact sheets has not been verified and could be misleading. We inform you that no legal responsibility is accepted by Chimney for errors, omissions and inaccuracies presented in this publication. Chimney would like to thank the funds for their generous assistance in connection with the completion of this book. Without their help and dedication none of this would have been possible. CONTENT A word from the Editor in Chief Fredrik Zander 6 CHIMNEY The Leading Partner in Art & Entertainment 8 CHIMNEY’S SELECTED PROJECTS 10 CONTACT DETAILS 16 GLOSSARY 17 SYMBOLS KEY 18 TOP 100 FILM FUNDS Supranational Funds 19 Armenia 22 Austria 24 Belgium 28 Bosnia and Herzegovina 33 Bulgaria 35 Croatia 37 Czech Republic 39 Denmark 41 Estonia 44 Finland 46 France 48 Georgia 64 Germany 67 Greece 80 Hungary 82 Iceland 84 Ireland 86 CONTENT Italy 88 Latvia 96 Lithuania 98 Luxembourg 100 Macedonia 102 Malta 104 Netherlands, The 108 Norway 110 Poland 115 Portugal 124 Romania 126 Serbia 128 Slovakia 130 Slovenia 132 Spain 134 Sweden 141 Switzerland 147 Turkey 150 Ukraine 152 United Kingdom 154 FUNDS INDEX BY COUNTRIES 160 FUNDS ALPHABETICAL INDEX 168 FUNDS LEVEL INDEX 171 A word from the Editor in Chief It’s hard to believe but this is actually our fifth edition of the Chimney top 100 Film funds.
    [Show full text]