ARTICLE 7 Directors' Minimum Conditions
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Film Incentive Bc
FILM INCENTIVE BC GENERAL ELIGIBILITY RULES Production corporations and their productions must meet Film Incentive BC (FIBC) is an economic initiative designed the following minimum conditions to qualify for FIBC: to encourage film, television, digital animation and visual • The production corporation claiming the tax credit effects production in British Columbia. Eligible applicants must be a BC-based Canadian-controlled corporation; are film, television and animation production corporations • The “producer” of the production must be a BC-based with a permanent establishment in BC that are owned individual who is a Canadian; and controlled by Canadians, and have incurred qualifying • The production must be Canadian content; labour expenses in British Columbia. • More than 50% of the copyright of the production HOW FIBC WORKS must be owned by the BC-based Canadian-controlled corporation; FIBC is a refundable corporate income tax credit. When • At least 75% of the principal photography days of the filing tax returns, production corporations may claim a production must be done in British Columbia; specified percentage of the labour costs incurred in • At least 75% of the cost of production must be paid to making film, television, digital animation or visual effects BC-based individuals or corporations; productions. The credits are applied to reduce tax payable, • At least 75% of the cost of post-production work for and any remaining balance is paid to the corporation. the production must be carried out in British Columbia; • The production must be completed within 24 months The production corporation must apply to CREATIVE BC of the end of the taxation year in which principal to receive an eligibility certificate and a completion photography began; certificate for the production. -
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. -
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 -
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 -
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. -
Directors Schedule 1
DGC/CMPA Standard Agreement 2019–2021 Directors Schedule 1 2019–2021 DGC/CMPA Standard Agreement Schedule 1 Table of Contents Directors DR1.00 ONE DIRECTOR DR13.02 .......................................................................................... 10 DR1.01 Unique Function and Participation ........................................ 4 DR14.00 DIRECTOR’S MINIMUM RATES DR1.02 ............................................................................................ 4 DR14.01 .......................................................................................... 10 DR1.03 ............................................................................................ 4 DR14.02 Payments .......................................................................... 10 DR1.04 ............................................................................................ 4 DR15.00 TIER LEVELS AND BUDGETS DEFINED DR2.00 SECOND UNIT PHOTOGRAPHY DR15.01 .......................................................................................... 11 DR2.01 ............................................................................................ 4 DR16.00 MINIMUM WEEKLY RATES FOR THEATRICAL MOTION DR2.02 ............................................................................................ 4 PICTURES DR2.03 ............................................................................................ 4 DR16.01 .......................................................................................... 13 DR2.04 ........................................................................................... -
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 . -
Steinhart Runaway Hollywood Chapter3
Chapter 3 Lumière, Camera, Azione! the personnel and practices of hollywood’s mode of international production as hollywood filmmakers gained more experience abroad over the years, they devised various production strategies that could be shared with one another. A case in point: in May 1961, Vincente Minnelli was preparing the production of Two Weeks in Another Town (1962), part of which he planned to shoot in Rome. Hollywood flmmaker Jean Negulesco communicated with Minnelli, ofering some advice on work- ing in Italy, where Negulesco had directed portions of Tree Coins in the Fountain (1954) and Boy on a Dolphin (1957) and at the time was producing his next flm, Jessica (1962): I would say that the most difcult and the most important condition of mak- ing a picture in Italy is to adapt yourself to their spirit, to their way of life, to their way of working. A small example: Tis happened to me on location. As I arrive on the set and everything is ready to be done at 9 o’clock—the people are having cofee. Now, your assistant also is having cofee—and if you are foolish enough to start to shout and saying you want to work, right away you’ll have an unhappy crew and not the cooperation needed for the picture. But if you have cofee with them, they will work for you with no time limit or no extra expense.1 Negulesco’s letter underscores a key lesson that Hollywood moviemakers learned overseas when confronted with diferent working hours, production practices, and cultural customs. -
ARTICLE 13 Minimum Salary Schedules and Working Conditions
ARTICLE 13 Minimum Salary Schedules and Working Conditions of UPMs, Assistant Directors and Associate Directors Section 13-100 MINIMUM SALARIES 13-101 Minimum Salary Schedules and Conditions for UPMs, Assistant Directors and Associate Directors7 Employer agrees that the minimum salaries and conditions of employment set forth in the following Schedules and Paragraphs shall govern the employment of UPMs and Assistant Directors, likewise Associate Directors where specifically indicated. Term contracts shall be for a minimum of twenty-three (23) out of twenty-six (26) weeks or multiples thereof. (a) Salary: Effective Dates July 1, 2011 July 1, 2012† July 1, 2013†† Studio Workweek* UPM $4,712/week $4,794/week $4,878/week 1st AD 4,481/week 4,559/week 4,639/week Key 2nd AD 3,003/week 3,056/week 3,109/week Second 2nd AD 2,835/week 2,885/week 2,935/week Add'l 2nd AD*** 1,724/week 1,754/week 1,785/week Distant Location Workweek** UPM $6,599/week $6,714/week $6,831/week 1st AD 6,266/week 6,376/week 6,488/week Key 2nd AD 4,195/week 4,268/week 4,343/week Second 2nd AD 3,962/week 4,031/week 4,102/week Add'l 2nd AD*** 2,420/week 2,462/week 2,505/week 7 See Paragraph 24-403 for salary rates and production fees applicable to Unit Production Managers, Assistant Directors and Associate Directors employed on multi-camera prime time dramatic pilots, presentations and series. † See text of footnote 3 on page 38. -
Usc Sca Ctpr 507 Production I -‐ Fall 2011
USC SCA CTPR 507 PRODUCTION I - FALL 2011 COURSE DESCRIPTION and OUTLINE (Section 18603 – Pollard/KositcHek) 4 units INSTRUCTORS: Cinematography: Robert KositcHek Email: [email protected] Phone: (310) 315-9465 Day/Time: Mon, 2:00 – 5:00 Location: SCA Stage 2 Producing/Directing: StU Pollard Email: [email protected] Phone: (310) 344-9380 Day/Time: Mon/Wed, UsUallY 2:00pM – 5:50pm (see Course Outline below) Location: SCA 362 Office Hours: By AppointMent OnlY SA: Christine Moitoso Phone: (209) 484-7508 Email: [email protected] WitH facUltY gUests: Editing: Reine-Claire Dousarkissian / 310-435-8216 / [email protected] SoUnd: Midge Costin / 310-890-2353 / [email protected] SoUnd: Doug Vaughan / 310-413-9181 / [email protected] Required text book: Voice & Vision, Second Edition: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier AtHletic SHoes and long pants MUST be worn to all CineMatograpHY classes USE OF LAPTOPS, CELL PHONES, TABLETS, ETC. NOT ALLOWED DURING CLASS Hello and welcome to 507! There is no better way to learn how to make a picture, than actually going through the process of doing it… Be patient and open to new ideas as you embark on this creative and personal journey of discovery. OVERVIEW: Production I (CTPR 507) is about ideas and your ability to communicate effectively through the language of cinema. It combines introductions to the five major disciplines within the cinematic arts: producing, directing, editing, cinematography, and sound with guided opportunities to create individual and small group projects. Students will make two short HD projects as part of an exploration of visual storytelling, as well as shoot a directing an exercise in the Fundaments of Directing (production students only). -
Option and Purchase Agreement Explanatory Notes
OPTION AND PURCHASE AGREEMENT EXPLANATORY NOTES USING THE EXPLANATORY NOTES The Explanatory Notes are intended to provide more detailed explanations of certain clauses in this sample agreement or to give more detail about the law involved. The Explanatory Notes DO NOT form part of the agreement and should not be included in your final redrafted agreement. The Explanatory Notes are not intended as legal advice and should be considered information only. You should contact Arts Law for specific legal advice. PARTIES The agreement should clearly identify the name and address, and preferably the telephone and fax numbers, of the persons or organisations entering into the agreement (parties). Throughout the rest of the agreement, the parties are referred to or "defined" by shorthand terms for ease of reference, for example Producer. Other terms could be used, or the parties could simply use their own names. If a party has an Australian Business Number (ABN), Australian Company Number (ACN) or Australian Registered Body Number (ARBN), the number must be included. The ABN is important for GST purposes. If either party is a company, its Australian Company Number (ACN) and the address of its registered office must be stated. BUYING THE FILM RIGHTS TO AN EXISTING WORK Under the Copyright Act 1968 (Cth), the author of a literary or dramatic work (such as a book, play or screenplay) has the right to control reproduction, adaptation and publication of that work. This means that film makers who want to adapt an existing work into a film must buy the rights. If they do not, they risk an action for copyright infringement. -
VU Resume 111720
VANESSA UHLIG vanessauhlig.com EDUCATION UNIVERSITY OF TEXAS AT AUSTIN Master of Fine Arts, May 2019 Film and Media Production, Moody College of Communication UNIVERSITY OF CALIFORNIA AT DAVIS Bachelor of Arts, Highest Honors, May 2007 English, College of Arts and Sciences SKILLS • Pre-Production: Movie Magic Scheduling, Final Draft, Shot Designer, Adobe Creative Suite • Production: Canon, Sony, Black Magic camera systems; 16mm / 35mm film cameras, field sound recording equipment • Post-Production: Avid Media Composer Certified, Adobe Premiere Pro, Final Cut, Avid Pro Tools, Adobe Audition • Languages: Spanish [proficient], Thai [intermediate], French [intermediate], Kaqchikel Maya [beginning] SELECTED PRODUCTION CREDITS Writer/Director/Producer The Low Season (narrative feature) script in development to be produced and shot in Guatemala Las Cruces (short narrative/documentary hybrid) thesis film, UT Austin [premiered at Austin FF] A Woman Loves (narrative short) screened at UT SXSW Showcase (2018) Jazz for Sleep (narrative short) screened at UT SXSW Showcase (2017) If You Were Going to Leave (short documentary) University of Texas at Austin (2016) A Note (narrative short) screened at CineAid FF and Bangkok Short FF (2015) Writing Department SKAM Austin Season 1 Facebook Watch (2018) [Script Coordinator] Production Panic Season 1 Amazon Studios (2020) [Director’s Assistant - Blocks 2 and 4] SKAM Austin Season 2 Facebook Watch (2018) [Production Assistant] Overachievers (narrative short) Sam Mohney Productions (2019) [Producer and First AD] The Fix (narrative short) Edward Jack Productions, premiered Palm Springs FF (2017) [Producer and First AD] Motorized Subcultures (TV episode) Dragonfly Media/Discovery Channel (2015) [Segment Field Producer] Kong: Skull Island (Thai Unit) Legendary Pictures/Warner Brothers (2015) [Production Assistant] Star Wars: The Last Jedi (Thai Unit) Lucasfilm/Walt Disney Pictures (2015) [Production Assistant] “Bucket List” (TVC) Expedia/Park Pictures d.