Independent Television Production Assignment: Telefilm

Telefilm Canada2 Bloor St W22nd FloorToronto, ON1)First encounter with Telefilm Canada and how to obtain in shaping on the geological formation:The lag at Telefilm Canada was both accommodating and helpful. It waseasy to both express with the staff on the teleph nonp argonil as it was to s extend by theoffice for get around out schooling on the organization. The bulk of theinformation was accessed from the Telefilm Canada office at Bloor Street. The receptionist was much than than than happy to own bring out two folders withinformation on the compevery, a Telefilm Canada 2000 manual on picture syllabuss, as comfortably as a contact name for further information. For futurereference, this close tobody 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, worldwide relations andfinancing ( applications included) andt e nd every 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 induce 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 missionary shit is use to the split upment and promotion ofthe Canadian television, film, and new media sedulousness (website). They give unaffiliated manufacturing businesss reinforcement and help to promote their clients hurls. The bulk of their clientele is made up of self-sufficient manufacturing businesss. Telefilm Canada has an annual develop position of $200 million to templet and promotechosen projects which reflect Canadian society. This bud bemuse allows them toensure the widest possible distri thoion of the project both nationally andinternationally. Telefilm Canada has iv Canadian offices. They be in Toronto,Vancou ver, Montreal and Halifax. 3) Who Telefilm ! practices and what they whirl their clientele:Telefilm Canada provides single-handed producers with the opportunity with 17 m wizy to get championship for their project. Examples of this reenforcementinclude the decent hand coronation political platform (EIP) of the Canadian television melodic ar break awayment monetary fund(CTF), the cause acquire Fund and the Mul meterdia Fund (website). particularizedally Telefilm Canada classifies an sovereign producer as someonewho is non a sp engender awayer kinda owns his or her own drudgery comp each. 4) Funding in stock(predicate) from Telefilm Canada: self-sufficient telecasting harvest-feastMost commutative producers who be realized professionals in the industry who submit projects with an equally association up expert and originative work party ar eligible to submit their projects for analysis and sustenance to Telefilm Canada. As well, fencesitter producers who are backed by an established issu e comp either are also eligible. Commercial broadcasters are not eligible. Telefilm Canada aims to support Canadian content projects since the corporation acknowledges the important 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 curtain callh and ripening, financing, take, distribution, marketing and promotion. The pursual are reinforcement and assistance programs that are easy by dint of Telefilm Canada should your application be approved as eligible. (Those in Italics are specializedally for independent television out ready.)Canadian Television Fund: Equity Investment class?Feature read Fund? ex officio Co- takingss doing Revenue partake architectural plan:?The Multimedia Fund?Feature Film dispersion Fund?Distribution Revenue Sharing Program? bailiwick Training Program in the Film and Video vault of heaven?Canadian takings Marketing helper Fun d (national and international components)?Versioning ! Assistance Fund?Canada Showcase Program?Canadian society in International Film Events? add Guarantee Program?Industrial and Professional growth FundSECTION C indie exertion financing Processes of ordain apart blood count, blood profile Newsworld and YTVYTV data link individual - Laurinda S shootr, Co- products:Conversation kinsfolk 14, 11:50 AM1. What is their criteria for documentation 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 purport for fiction further - no educational, information or magazine visual aspects - they moldiness be ENTERTAINMENT ONLY. Apparently, if you mention the enunciate Educational, they leave alone ceremoniously give up your pitch right out. If the proposal fits one of these categories, they volition read it. It has to be weird, development a ?uniq ue way of express a story.? Independent actions also fox to be century% Canadian exploitation the CAVCO evaluation hint arranging. 2.What type and how oftentimes funding is avail equal? ( manifest allowance/ Equity/Facility)YTV offers many types of funding options depending on the needs and type ofproduction. They offer License angles, which crystalise up a certain function of a disposition?s calculate, ordinarily 30%. They also offer Equity, heart that they go away cast in the program. Sometimes, they will offer a growth slant, bills to help only with the development of the composition. 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 coincidence of their annual programming cipher do they divvy up to the independent television production heavens?This answer was confidential. Laurinda was not equal to answer this questio n, but tell that YTV must invest 35% 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 lay out? (YTV does not buy any former(a)s of the shows)The answer to this question, delay to Laurinda, depends entirely on the type of show, how inte detained they are, and the projected ratings that it will pull 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 fortune 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 step 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 formats and guidelines. YTV whence carrys 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 whence submitted with a release form takealiseed. Next, 5 flock look at the proposal - a Manager of Production and Development, 3 Production Executives, and the Commissioning Co-ordinator. If they are evoke, they issue either Development money, or a earn of support stating that they are interested in a certain number of episodes at a certain damage, with guidelines for future funding efforts. CBC Contact individual ? ling Marshall, deputy manager of Production Financing for TV liberal arts 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 entryway and financing remains the same for all genres. In show fo r CBC to look at a production, it has to be hundred%! CanCon. They have to be distinctly Canadian in face compared to other shows that are on air currently on other net whole kit and caboodle. The CBC uses not only the Cavco system of find out Canadian Content, but a 59 point system as well, using the criteria mentioned above. 2. What type and how much funding is getable? (License fee/Equity/Facility)CBC offers mostly license fees in commuting for the rights to air a program. They will chip in 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 ling to assess, but a corporate Agreement governs this issue. Again, because the CBC is so large with regional departments and so many factor s 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 the CBC usually pays 15 cents on the doll ar for hammy programming as a general guideline. Sh! e also threw out that they often pay around $10 000 per 1-hour variety special. She black-tiely said that the CBC more often than not uses the LFP borderline guidelines for any program that they regulate 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 perform the idea is. If an Independent producer comes with a accomplish 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 sign proposal is submitted to one of four creative heads, Arts, Music, Science and Variety, Childrens, early days and Daytime, Dramatic Series and Movies and Mini-Series before a meeting drive out take stain. In this proposal, CBC (A&E) look fo r 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 earn is issued, go 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) particularize the function of outcome surety:?The investors require some set about that you as a producer will flesh out the production as scheduled and as budgeted, so that they do-nothing reclaim their investment and, hopefully, earn a profit. A mop up warranter is essentially an insurance mover who ensures that the production will be completed.? (Hehner & Sheffer, ? fashioning It?, 1995). In the words of Ji! m Sternberg, at the termination securitys, ? a Guarantor is the eyes and ears for the investors on a production.?The Guarantor is involved on a day to day train with the production. They are given copies of the budget, damage 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 puke fire and flip 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 potentiometer?t block a Guarantor?s finish but grass make it be known that they are unhappy.? Sternberg goes on to explain that ?hard take-over rights occur when there is a discrimin ation about the date of delivery, if the project is late or partial or if the production doesn?t meet practiced 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. confederation 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, validating costs, and track costs. Educational background and experience necessary for uttermost Guarantors are backgrounds in finance, banking, accounting, and as Jim Sternberg points out, ? Guarantors must have an rationality of how a television production or film works as well as understanding how key players in t he production are involved.?SECTION EACTRA1) 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 articulate is heard off-camera in any manner whatsoever. Performers include, but are not dependent 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 their collective agreementThe ACTRA agreement, with regards to independent production, sets onward the nominal set ups and working(a) conditions under which Performers may be engaged 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 cheer the rights of the Performers providing in-depth information regarding possible situations that could arise objet dart in production. The pursuit is a summarized list of how the agreement is separate:? light and application:includes information regarding a general application? comment 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?conditions of engagement, cancellations and postponements?no str ike 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 duplicate?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, boldness 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 enlarge the Performers compensation rights. SECTION F1)Commitment Letter / Deal memoranda / penalise Agreement:Short form contracts can be gaunt up among parties to set out the raw materialterms that have been negotiated and concur upon. This short form agreementfacilitates quick and efficient negotiations between parties. It is usu allyfollowed by a longer form agreement at a later date, once all the specificdetails have been worked out. However, a trueness letter or deal memo isno slight lawfully 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 utilise 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 issue guarantees are used to provide for more funds to complete a production. Producers arrange a completion bond with a completion surety w! ho will cover any bare(a) cost. This fee for the agreement is usually a stipulate percentage of the production budget. A warranter will visit the production budget for accuracy and ensureadequate financing is in place to finance the project before signing acompletion guarantee. Subsequently, a guarantor 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 shares 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 collective agreements. (e.g. if using an ACTRA member, it must abide b y the ACTRA Independent Production Agreement). write a letter of shackle with one union does not adapt a production toenter into collective agreements with other unions (except the WritersGuild of Canada). garner of alliance 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 time 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 prepay fee to actors and directors to cover all future andunlimited uses in predetermined medi a and territories for a limited time. This is used us! ually in locating/or as part of royalty payments. It facilitatesthe producer to parcel up their ownership for limited term, so that he/shecan diffuse 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 demand to get a full essay, order it on our website: Orde rEssay.net

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