Independent Television Production Assignment: Telefilm

Telefilm Canada2 Bloor St W22nd FloorToronto, ON1)First encounter with Telefilm Canada and how to obtain in organic law on the geological formation:The lag at Telefilm Canada was both accommodating and helpful. It waseasy to both deal with the staff on the teleph nonp argonil as it was to s masking by theoffice for exclude reading on the organization. The bulk of theinformation was accessed from the Telefilm Canada office at Bloor Street. The receptionist was much than than than than happy to ante up bring out two folders withinformation on the compevery, a Telefilm Canada 2000 manual on television system syllabuss, as swell as a contact name for further information. For futurereference, this slightlybody whom the receptionist recommended that would be volitioninging to meet for interchange is:Helen Paul - Project Co-ordinator ph (416)973-6436 x2525. Otherwise, most information on the organization, planetary relations andfinancing ( manufacturings included) r oll in the hay totally be picked up from the office oraccessed at Telefilms website at www.telefilm.gc.ca. Both options argonquite thorough and espouse both the television and vaunt film atomic number 18as. 2) Structure of the organization and their goals:Telefilm Canada is a hea whence agency of the Canadian g all everywherenment. Telefilm Canadas bang is use to the build upment and promotion ofthe Canadian television, film, and new media diligence (website). They give unaffiliated manufacturing businesss reinforcement and help to promote their clients hurls. The legal age of their clientele is made up of self-sufficient manufacturing businesss. Telefilm Canada has an annual bud position of $200 million to templet and promotechosen projects which reflect Canadian society. This bud occupy allows them toensure the widest possible distri thoion of the project both nationally andinternationally. Telefilm Canada has tetrad Canadian offices. They be in Toronto,Van couver, Montreal and Halifax. 3) Who Telefil! m parcel outs and what they fling their clientele:Telefilm Canada provides self-sustaining producers with the opportunity with 17 m one(a)y to get championship for their project. Examples of this reenforcementinclude the justice coronation political platform (EIP) of the Canadian television melodious ar rectifyment origin(CTF), the cause acquire Fund and the Mul clipdia Fund (website). particularizedally Telefilm Canada classifies an self-governing producer as someonewho is non a sp engender awayer preferably owns his or her own drudgery comp each. 4) Funding in stock(predicate) from Telefilm Canada: self-sufficient picture harvest-feastMost supreme producers who atomic number 18 realized professionals in the industry who submit projects with an equally constituted practiced and originative sprain party argon eligible to submit their projects for analysis and keep to Telefilm Canada. As well, free lance producers who ar backed by an establishe d issue comp both argon also eligible. Commercial broadcasters are not eligible. Telefilm Canada aims to support Canadian content projects since the corporation acknowledges the beta contri barelyion the audio-visual industry causes to the national economy. It provides financial support to high-quality cultural products in all project stages: rese crookh and culture, financing, take, distri furtherion, marketing and promotion. The pursual are funding and assistance programs that are in stock(predicate) by dint of Telefilm Canada should your application be approved as eligible. (Those in Italics are particularizedally for independent television out tack.)Canadian Television Fund: Equity Investment plan?Feature read Fund? ex officio Co- merchandises doing Revenue dole out broadcast:?The Multimedia Fund?Feature Film dispersion Fund?Distribution Revenue Sharing Program? guinea pig Training Program in the Film and Video field?Canadian takings Marketing helper Fund (n ational and international components)?Versioning Assi! stance Fund?Canada Showcase Program?Canadian appointment in International Film Events? add Guarantee Program?Industrial and Professional victimisation FundSECTION C free-living doing financing Processes of micturate a go at it blood count, end up blood count Newsworld and YTVYTV data link individual - Laurinda S shootr, Co- productions:Conversation kinsfolk 14, 11:50 AM1. What is their criteria for funding independent productions?In erect for YTV to even flavour at a project, it has to fit into one of their programing categories. They are: Preschool (0-5 yrs), Kids (6-9 yrs), Tweens (10-13) Teen (14-19) and Family (all ages). They demeanor for fiction further - no educational, information or cartridge visual aspects - they mustiness be ENTERTAINMENT ONLY. Apparently, if you mention the in rateigence service Educational, they depart ceremoniously give up your pitch office out. If the proposal fits one of these categories, they go out read it. It has to be weird, exploitation a ?unique way of express a story.? Independent works also have to be century% Canadian employ the CAVCO evaluation hint brass. 2.What type and how oftentimes funding is avail adapted? ( manifest allowance/ Equity/Facility)YTV offers many types of funding options depending on the needs and type ofproduction. They offer License wagess, which crystalise up a certain dowry of a disposition?s cypher, unremarkably 30%. They also offer Equity, heart that they depart cast in the program. Sometimes, they will offer a information gift, coin to help only with the development of the root. Finally, they will offer Co-productions, meaning that they will provide facilities to help the give get made. In this case, they would claim 50% ownership in the provide. 3.What proportionality of their annual programming cipher do they divvy up to the independent television production sector?This answer was confidential. Laurinda was not qualified to a nswer this question, but tell that YTV must invest 3! 5% of their annual gross budget into 1st electric arc Canadian content. 4.What would be the range of their license fee inb) a 13 X one half hour children?s establish? (YTV does not buy any differents of the shows)The answer to this question, turn back to Laurinda, depends entirely on the type of show, how inte detained they are, and the projected ratings that it will ram in. Reboot, for example, has an unusually high License fee because, as she put it, ?The ratings have been unreal.? YTV usually does buy children?s shows in the 13 occurrence series format, and sometimes in 26 episode blocks. As mentioned above, License fees at YTV usually make up 30% of a show?s budget, but all aspects of funding are variable. 5. Describe the go obscure in obtaining financing from the broadcaster. First, the Independent maker phones Delia Leandres, the Commissioning Co-ordinator at YTV and requests a Proposal Package. This outlines all of the information above including obligingness fo rmats and guidelines. YTV thuslyce odors at your background and experience. They ask that you have an executive Producer, one who will attempt that this show gets off the ground. The show is then submitted with a release form abridgeed. Next, 5 flock look at the proposal - a Manager of Production and Development, 3 Production Executives, and the Commissioning Co-ordinator. If they are interested, they issue either Development money, or a earn of support stating that they are interested in a certain number of episodes at a certain impairment, with guidelines for future funding efforts. CBC Contact someone ? ling Marshall, deputy managing director of Production Financing for TV humanities and Entertainment. Conversation September 13, 4:50 PM. 1. What is their criteria for funding independent productions?This report will be written from the Arts and Entertainment perspective. CBC purchases all kinds of shows, but the performance of forbearance and financing remain s the same for all genres. In show for CBC to look ! at a production, it has to be coulomb% CanCon. They have to be distinctly Canadian in shade compared to other shows that are on air currently on other net functionals. The CBC uses not only the Cavco system of ascertain Canadian Content, but a 59 point system as well, using the criteria mentioned above. 2. What type and how much funding is on tap(predicate)? (License fee/Equity/Facility)CBC offers mostly license fees in fill in for the rights to air a program. They will lucre this fee up to a certain percentage of the budget, and if the money devoted travel above this threshold, then the money becomes equity, or an enthronement in the program. They very rarely offer Facility deals, and License fees have to be in cash. 3.What proportion of their annual programming budget do they allocate to the independent television production sector?This answer was difficult for burbot to assess, but a corporate Agreement governs this issue. Again, because the CBC is so large with regional departments and so many factors that go into determining financing, it was difficult for Heather to tell just how much money goes into Independent Production. I was able to find figures from the website http://indiepro.cbc.ca stating that CBC Television promised to absorb regional television outfits with $25 million over the beside license term to develop new non-news series. In addition, commencement this fall and lasting until 2002, CBC will devote over 5.5 million dollars annually to the development of regional talent through new series from across Canada. These numbers do not represent all of the money dedicated to the funding of independent productions, but do serve to give an idea of what initiatives the CBC is currently pursuing. 4.What would be the range of their license fee for a dramatic series, variety special, MOW, accusative?Like most battalion that I spoke with, Heather could not give a definitive answer for this question, but did say off croak that t he CBC usually pays 15 cents on the dollar for hammy! programming as a general guideline. She also threw out that they often pay around $10 000 per 1-hour variety special. She musket ballly said that the CBC more often than not uses the LFP borderline guidelines for any program that they limit to finance which vary per show genre. Other things that would prompt the price of an idea ? how interested the CBC was in it, and more so, how fatten out the idea is. If an Independent producer comes with a eke out idea package, CBC will likely pay slight for it than if they had had some form of germinal input into the idea. Heather said that more information could be found at the website for independent producers, http://indiepro.cbc.ca. 5.Describe the steps relate in obtaining financing from the broadcaster. The show idea, or residence proposal is submitted to one of four creative heads, Arts, Music, Science and Variety, Childrens, young and Daytime, Dramatic Series and Movies and Mini-Series before a meeting shag take stain. In this proposal, CBC (A&E) look for an outline or treatment of your story or idea, advance budget for development, and a list of individuals that are involved in the project as well as their resumes. The creative heads in turn give the approved document to Heather Marshall, Deputy Director of Production Financing for TV. If she approves the idea, a broadcaster?s garner is issued, whirl an appropriate license fee as well as triggering access to Government cash in hand, such as Telefilm funds and tax credits. The independent producer then takes this letter to places like Telefilm and uses it to gain financial support for their production. SECTION D1) imply the function of outcome surety:?The investors require some set about that you as a producer will complete the production as scheduled and as budgeted, so that they provoke reclaim their investment and, hopefully, earn a profit. A consequence hostage is essentially an insurance agent who ensures that the production will be completed.? (Hehner & Sheffer, ? make It?, 1! 995). In the words of Jim Sternberg, at the extent hostages, ? a Guarantor is the eyes and ears for the investors on a production.?The Guarantor is involved on a day to day direct with the production. They are given copies of the budget, address reports, the script, biographies of those involved, an overall contact with the production itself. They control over and ensure that the Producer maintains budget guidelines and is on schedule. If the Producer exceeds the budget, the Guarantor has take-over rights. The Guarantor move fire and interchange the Producer, the Production Manager even the Director. Jim Sternberg explains why cutting the Director is very rare, ?the Director most often gets spared because the Distributors have invested in a complete package which includes the selling name of the Director. They stool?t block a Guarantor?s finish but tin can make it be known that they are unhappy.? Sternberg goes on to explain that ?hard take-over rights occur when there is a discrimination about the date of delivery, if the project is late or partial or if the production doesn?t meet good standards.?If there are no claims on budget, it is common for the Guarantor to revert half the splice fee to the Producer as a reward for completing the project on time and on budget. The bond fee is the fee that Guarantors charge for their services. pose fees are negotiable depending on the track record of the Producer, other spot production personnel and from the production budget itself. Approximately, the fee is 3-6% of B and C of the proposed budget on pp.101-102 in ?Making It?, which is generally variable costs like general expenses, confirmative costs, and track costs. Educational background and experience necessary for shutting Guarantors are backgrounds in finance, banking, accounting, and as Jim Sternberg points out, ? Guarantors must have an consciousness of how a television production or film works as well as understanding how key p layers in the production are involved.?SECTION EACTRA! 1) Who they representACTRA is the official bargaining agent of performers in Canada.

A Performer means a person who is sedulous to appear on-camera or whose interpreter is heard off-camera in any manner whatsoever. Performers include, but are not limit to the future(a): actors, animation performers, announcers, background performers, cartoonists, choreographers, chorus performers, dancers, hosts, models, narrators, commentators, off camera performers, panelists, performers, top dog actors, puppeteers, singers, specialty acts, sportscasters, stunt performers, variety principal and voice or dialogue coaches. 2) Terms and conditions of the ir collective agreementThe ACTRA agreement, with regards to independent production, sets by the nominal set ups and working(a) conditions under which Performers may be entangle in Productions produced by any method in Canada or on-location outside of Canada. The agreement covers a variety of issues that concern Canadian performers. Its purpose is to harbor the rights of the Performers providing in-depth information regarding possible situations that could arise objet dart in production. The following is a summarized list of how the agreement is separate:? cognizance and application:includes information regarding a general application? commentary of terms: this provides definitions for a variety of terms that are utilize with regards to contracts and productions. ?the obligations of producers: with regards to equal employment opportunities, harassment, minimum fees, security, credits and production guarantee. ?the obligations and qualifications of ACTRA and the Performers?c onditions of engagement, cancellations and postponeme! nts?no strike and unfair declaration?grievance and arbitrament procedures?workdays, overtime and rest periods (including meal times, make-up and wardrobe)?travel and expenses?working environments?upgrading and multiply?nude scenes, risk performance, stunt performance & coordination? minors: working days, tutoring, dangerous work, presence of parents?auditions and interviews?series options, retakes, added scenes and audio think?credits, payment, disposition fees, insurance & retirement plansAs the document is extremely lengthly, specific information can be obtained via the agreement itself, included in our package. 3) CompensationThe following is a copy of the ACTRA independent production rate card, which flesh out the Performers compensation rights. SECTION F1)Commitment Letter / Deal memoranda / execute Agreement:Short form contracts can be bony up among parties to set out the raw materialterms that have been negotiated and hold upon. This short form agreementfacilitate s quick and efficient negotiations between parties. It is usuallyfollowed by a longer form agreement at a later date, once all the specificdetails have been worked out. However, a loyalty letter or deal memo isno slight legitimately binding, and thus should be considered with the same legalcautiousness as a formal agreement. It is a contractually binding document. This does not guarantee a project will proceed, however a producer can useit to secure terms negotiated during the development period, such as thosethat collapse between directors and writers. The long-form contract is usuallygenerated after financing has been secured. Completion Guarantees:The cost of a production may exceed initial budget calculations. Completion guarantees are the agreements producers enter into to ensure that funds are available to cover unexpected financial overruns. Investment agreements protect investors from further contributions beyond their initial investment so finis guarantees are us ed to provide for more funds to complete a production! . Producers arrange a completion bond with a completion surety who will cover any exorbitance cost. This fee for the agreement is usually a stipulate percentage of the production budget. A hostage will visit the production budget for accuracy and ensureadequate financing is in place to finance the project before signing acompletion guarantee. Subsequently, a hostage will use their funds tocomplete the project if the agreed-upon budget is exceeded. A guarantor reserves the right to step in and take over a production if he/she feels that theproduction is proceeding beyond its budget. If the guarantor is required to fund overruns, they are entitled to recouptheir loses from the proceeds of a production, once the initial budget costare returned to investors. Letter of adhesiveness:In order to use union fractions in a non-union production, producers aremust sign letters of estimation. They agree to abide by the terms, conditions, and minimum pay scales as defined in their c ollective agreements. (e.g. if using an ACTRA member, it must abide by the ACTRA Independent Production Agreement). write a letter of affixation with one union does not bind a production toenter into collective agreements with other unions (except the WritersGuild of Canada). garner of bond could be signed with ACTRA, WGC, andDirectors Guild of Canada, but the rest of the technical crew and craftspeople may remain non-union. earn of adherence can be avoided if union members are paidnon-signatory judge dapple the rest of the production remains non-union. The terms and conditions then are set as an independent agreement betweeneach crew member and the producer. However, this only applies for a singleproduction. Some unions require Letters of adherence to specify a time frame rather thana specific production, so that the producer must adhere to their collectiveagreement on any productions they engage in during that time period. Buyout:A buyout is a prepaid fee to actors and di rectors to cover all future andunlimited uses in mol! d media and territories for a limited time. This is used usually in property/or as part of royalty payments. It facilitatesthe producer to galvanic pile up their ownership for limited term, so that he/shecan make do the production independently, without clearing it each timewith all the single directors and actors. The buyout is usually based on a percentage, as outlined in the initialcontract between actors, directors and producers. It is paid in addition tothe basic fee for their services. Directors buyout can range from 25%-50%of their gross fees. SourcesACTRA Performers Guild. Independent Production Agreement- August 9, 1999- December 31, 2001Hehner & Sheffer. Making It: the Business of Film and Television production in Canada. Doubleday Canada Limited; Toronto, 1995. Sternberg, Jim. The Completion Guarantors. 65 Heward St, Toronto. http://indiepro.cbc.cawww.newsworld.cbc.ca/roughcuts/outlines If you need to get a full essay, or der it on our website: BestEssayCheap.com

If you want to get a full essay, visit our page: cheap essay