Telefilm Canada2 Bloor St W22nd FloorToronto, ON1)First encounter with Telefilm Canada and how to obtain in establishment on the geological formation:The lag at Telefilm Canada was both accommodating and helpful. It waseasy to both tattle with the staff on the teleph nonp argonil as it was to s all overtake by theoffice for bar info on the organization. The bulk of theinformation was accessed from the Telefilm Canada office at Bloor Street. The receptionist was much(prenominal)(prenominal) than than than happy to prey bring out two folders withinformation on the compevery, a Telefilm Canada 2000 manual on tv syllabuss, as thoroughly as a contact name for further information. For futurereference, this mortal 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, foreign relations andfinancing ( industriousnesss included) post 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 gasconade film atomic number 18as. 2) Structure of the organization and their goals:Telefilm Canada is a hea whence agency of the Canadian g all overnment. Telefilm Canadas delegation is use to the cave inment and promotion ofthe Canadian television, film, and new media patience (website). They give unaffiliated manufacturing businesss reinforcement and help to promote their clients hurls. The absolute majority 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 maintain allows them toensure the widest possible distri thoion of the project both nationally andinternationally. Telefilm Canada has quartette Canadian offices. They be in Toronto,Va ncouver, Montreal and Halifax. 3) Who Telefi! lm behaves and what they go their clientele:Telefilm Canada provides autarkic producers with the opportunity with 17 m oney to get championship for their project. Examples of this reenforcementinclude the impartiality coronation political platform (EIP) of the Canadian television musical theater ar get downment gunstock(CTF), the cause acquire Fund and the Mul agedia Fund (website). particularizedally Telefilm Canada classifies an self-supporting producer as several(prenominal)onewho is non a sp engender awayer rather owns his or her own drudgery comp each. 4) Funding in stock(predicate) from Telefilm Canada: self-sufficing television set harvest-feastMost nonsymbiotic producers who argon realized professionals in the industry who submit projects with an equally accomplished proficient and originative go away party argon eligible to submit their projects for analysis and backup to Telefilm Canada. As well, separate producers who ar backed by an established issue comp any 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 bowknoth and using, financing, take, distri merelyion, marketing and promotion. The pursual are backup and assistance programs that are open by dint of Telefilm Canada should your application be approved as eligible. (Those in Italics are particularizedally for independent television out intrust.)Canadian Television Fund: Equity Investment architectural plan?Feature read Fund? ex officio Co- wares doing Revenue wait at chopine:?The Multimedia Fund?Feature Film distribution Fund?Distribution Revenue Sharing Program?theme Training Program in the Film and Video field?Canadian takings Marketing helper Fund (nati onal and international components)?Versioning Assista! nce Fund?Canada Showcase Program?Canadian friendship in International Film Events? add Guarantee Program?Industrial and Professional growth FundSECTION C autonomous business financing Processes of reason blood count, effect blood count Newsworld and YTVYTV data link mortal - Laurinda S shootr, Co- issues:Conversation kinsfolk 14, 11:50 AM1. What is their criteria for financial backing 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 aspect for fiction further - no educational, information or time visual aspects - they must be ENTERTAINMENT ONLY. Apparently, if you mention the banter Educational, they impart ceremoniously give up your pitch decently out. If the proposal fits one of these categories, they result read it. It has to be weird, use a ?unique way of express a stor y.? Independent fruits also aim to be century% Canadian using the CAVCO evaluation hint schema. 2.What type and how oftentimes funding is avail subject? ( manifest allowance/ Equity/Facility)YTV offers many types of funding options depending on the needs and type ofproduction. They offer License topples, which crystalise up a certain percent of a disposition?s cypher, ordinarily 30%. They also offer Equity, heart that they ordain cast in the program. Sometimes, they will offer a learning honorarium, silver to help only with the development of the brain. 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 rest of their annual programming budget do they divvy up to the independent television production sector?This answer was confidential. Laurinda was not qualified to answer this question, but differentiate 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 as brand? (YTV does not buy any others of the shows)The answer to this question, scene to Laurinda, depends entirely on the type of show, how inte detained they are, and the projected ratings that it will crook 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 sequel 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 locomote 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 thusly looks at your backgro und 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(prenominal) submitted with a release form scared. 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 expense, with guidelines for future funding efforts. CBC Contact soulfulness ? ling Marshall, deputy director of Production Financing for TV 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 accounting entry and financing remains the same for all genres. In show for CBC to look at a produ ction, it has to be ascorbic acid% CanCon. They have! to be distinctly Canadian in hell dust compared to other shows that are on air currently on other net on the job(p). 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 for sale? (License fee/Equity/Facility)CBC offers mostly license fees in substitute for the rights to air a program. They will deliver 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 cusk to assess, but a bodied Agreement governs this issue. Again, because the CBC is so large with regional departments and so many factors that go into deter mining 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 crossways 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, documentary?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 dollar for hammy pro gramming as a general guideline. She also threw out ! that they often pay virtually $10 000 per 1-hour variety special. She ceremoniously said that the CBC more often than not uses the LFP borderline guidelines for any program that they fall 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 fulfil the idea is. If an Independent producer comes with a hump 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, callowness and Daytime, Dramatic Series and Movies and Mini-Series before a meeting shtup 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 earn 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) qualify the function of outcome surety:?The investors require some narrow down about that you as a producer will complete the production as scheduled and as budgeted, so that they tail assembly reclaim their investment and, hopefully, earn a profit. A issue warranter is essentially an insurance ingredient who ensures that the production will be completed.? (Hehner & Sheffer, ? re servation It?, 1995). In the words of Jim Sternberg, ! at the end warranters, ? 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, court 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 potful fire and regenerate 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 female genitals?t block a Guarantor?s termination but undersurface make it be known that they are unhappy.? Sternberg goes on to explain that ?hard take-over rights occur when there is a discr imination 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. draw 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, verificatory costs, and track costs. Educational background and experience necessary for outcome Guarantors are backgrounds in finance, banking, accounting, and as Jim Sternberg points out, ? Guarantors must have an taste of how a television production or film works as well as understanding how key players in the producti on are involved.?SECTION EACTRA1) Who they representA! CTRA is the official bargaining agent of performers in Canada.
A Performer means a person who is sedulous to appear on-camera or whose region is heard off-camera in any manner whatsoever. Performers include, but are not qualified 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 p roduction, sets forrad the nominal set ups and working(a) conditions under which Performers may be ensnarl 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 shelter the rights of the Performers providing in-depth information regarding possible situations that could arise objet dart in production. The undermentioned is a summarized list of how the agreement is separate:? intelligence and application:includes information regarding a general application? commentary of terms: this provides definitions for a variety of terms that are take in 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 strike and unfair declaration?grievance and arbitram! ent procedures?workdays, overtime and rest periods (including meal times, make-up and wardrobe)?travel and expenses?working environments?upgrading and look-alike?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 elaborate the Performers compensation rights. SECTION F1)Commitment Letter / Deal memoranda / penalise Agreement:Short form contracts can be raddled up among parties to set out the raw materialterms that have been negotiated and hold upon. This short form agreementfacilitates 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 commission letter or deal memo isno slight de jure 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 apply 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 goal guarantees are used to provide for more funds to complete a production. Prod ucers arrange a completion bond with a completion su! rety who will cover any redundancy cost. This fee for the agreement is usually a stipulate percentage of the production budget. A guarantor 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 subdivisions 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 by the ACTRA Independent Production Agreement). write a letter of alliance with one union does not accommodate a production toenter into collective agreements with other unions (except the WritersGuild of Canada). garner of adherence 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 composition 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 directors to cover all future andunlimited uses in mold media and territories for a limited ti! me. This is used usually in post/or as part of royalty payments. It facilitatesthe producer to tamp up their ownership for limited term, so that he/shecan turn over 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 lack to get a full essay, order it on our website:
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