The Complete Guide to Film & Digital Production:
Description: The Complete Guide to Film Digital Production: The Process The People Lorene M. Wales, Ph.D. CRAFT SERVICES SET ETTIQUETTE UNIONS, GUILDS ASSOCIATIONS 2017 Taylor Francis CRAFT SERVICES 2017 Taylor Francis Crafty
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slide1. The Complete Guide to Film & Digital Production:
The Process & The People
Lorene M. Wales, Ph.D. CRAFT SERVICES SET ETTIQUETTE UNIONS, GUILDS & ASSOCIATIONS © 2017 Taylor & Francis<br>
slide2. CRAFT SERVICES © 2017 Taylor & Francis<br>
slide3. Crafty – Pre-Production Checks with heads of departments for specific requests such as vegetarian preferences or favorite foods.
Purchases craft service supplies, cups, plates, etc.
Rents craft service supplies such as a coffeemaker, hot plate, etc.
May need to rent a vehicle to transport craft services (low budget). In higher budget craft service companies have their own vehicles. © 2017 Taylor & Francis<br>
slide4. Crafty - Production Arrives on set a half-hour before crew call to set up.
Works with the 2nd AD to determine the location for the craft services table.
Prepares any mini craft services. For instance, director may send the cameraperson off to get some shots. The craft service person always makes sure a small cooler of drinks and snacks go with them.
Replenishes craft service supplies throughout the day.
May bring snacks to the set periodically.
At the end of the day, wraps out the craft services table.
Prepares craft services for the next day. © 2017 Taylor & Francis<br>
slide5. Choices for GOOD Crafty Always have coffee ready when the crew arrives. Also, make sure coffee is available throughout the day.
On hot days, supply saltier snacks, juice, and water. The salty snacks help the body retain fluid better, which fights against dehydration.
On very cold days, provide hot chocolate and other hot beverages and have the craft service person bring it to set periodically.
Choose foods appropriate to the season, such as fruits and vegetables. © 2017 Taylor & Francis<br>
slide6. GOOD Crafty High-energy drinks are expensive, but crews love them.
All snacks should be finger foods, easy to eat on the run.
While some crew claim that they want healthy foods on set (and some will actually mean it), most really want the Twinkies and cookies. Provide both to keep them happy.
Vary the selection of snacks from day to day so the crew will not become bored.
Always keep the craft services table neat and clean. Presentation makes a difference. © 2017 Taylor & Francis<br>
slide7. Catering Catering, as opposed to craft services, is used when you provide your crew with a meal.
Could be lunch, breakfast, or dinner, depending on what time you begin shooting.
Catering companies specialize in providing food for production crews. These caterers understand that they might be called on to provide a hot meal for over one hundred people in the middle of the night (because shooting began at 6 P.M.!). © 2017 Taylor & Francis<br>
slide8. Hiring Catering Companies Catering on a production is used for the one sit-down meal of the day.
A general rule - crew will have this meal no more than 6 hours after crew call.
Six hours after the crew has come back from lunch, if you do not wrap, you must offer them a second meal. In most cases, this is considered a walking meal.
In low budget, this could consist of pizza or hoagies.
In higher budget projects, you have the option of having the caterer do the second meal. © 2017 Taylor & Francis<br>
slide9. Hiring Catering Companies The best way to make your choice is through personal reference. If you don’t know anyone who has used a specific company, then go with the caterer who best fits your budget and food style.
Most caterers feature their chefs on their website and in their promotional materials.
Many caterers own mobile kitchens so they can prepare the food on site. © 2017 Taylor & Francis<br>
slide10. Hiring Catering – The Process Contact the caterer and he will send you sample menus to give you an idea of what can be done.
Once you choose, sign a contract for the duration of the shoot.
Caterers generally charge by the person, so one piece of information they will need is the average number of crew and cast they will serve. This information will give them a better idea of what they can provide.
During production the 2nd AD will call the caterer each day with the exact number of people to expect the next day. © 2017 Taylor & Francis<br>
slide11. The “Last” Supper Last day of shooting warrants a big last supper for the crew.
Producers splurge for a special meal such as steak or lobster. The meal becomes a small celebration for the crew and cast.
This meal can be ordered at any time during production. However, be sure to give your caterer plenty of notice in case the food has to be imported. © 2017 Taylor & Francis<br>
slide12. SET ETTIQUETTE © 2017 Taylor & Francis<br>
slide13. Set Etiquette Unless you are the director or 1st AD, always work quietly and keep personal conversations to a minimum. Professional sets are kept very quiet.
Do not bother the director with problems, suggestions, or unnecessary questions.
If you are new to production, always ask for clarification if you do not understand an instruction. Pretending to know more than you do only makes you look foolish. © 2017 Taylor & Francis<br>
slide14. Set Etiquette Never make assumptions; clear communication is crucial to the smooth running of a set.
Humility works better than pride. People will respect you more if you don’t try to be something you’re not. Don’t go around dropping names and credits. There will always be someone who has more experience than you.
Follow-up is very important. If you give someone a task, check with him to make sure it is done. This is not an insult but competent production behavior. © 2017 Taylor & Francis<br>
slide15. Set Etiquette On professional sets, there should be a sense of urgency. People who work slowly will not survive a shoot trying to get twenty scenes in 1 day (low to medium budget).
Make sure the crew knows its jobs. Most problems come from either someone not doing his job or someone doing someone else’s job.
There are three kinds of people in the industry: those that work well, those that work fast, and those that work well and fast. It’s the last category of people that keep getting work. © 2017 Taylor & Francis<br>
slide16. Unions & Guilds © 2017 Taylor & Francis<br>
slide17. International Alliance of Theatrical Stage Employees
(IATSE) www.iatlse.lm.com
Exists to protect laborers work rights.
Provides health benefits, vacation pay, and a pension plan.
Requires contractual contributions from employers. In other words, the production pays for benefits for the crewmember.
Holds production seminars for its members.
Publishes a quarterly magazine called, “The Official Bulletin.” © 2017 Taylor & Francis<br>
slide18. www.ibew.org
represents workers in utilities, construction, telecommunications, broadcasting, manufacturing, railroads, and government
National Association of Broadcast Employees and Technicians (NABET)
broadcasting, distributing, telecasting, recording, cable, video, sound recording. It is the broadcasting and cable television workers sector of the Communications Workers of America (CWA). International Brotherhood of Electrical Workers – (IBEW) © 2017 Taylor & Francis<br>
slide19. www.castingsociety.org
casting directors in film, television, and theatre
American Federation of Television and Radio Artists (AFTRA) – www.aftra.org
Actor’s Equity Association (AEA) – www.aea.org Casting society of America – (CSA) © 2017 Taylor & Francis<br>
slide20. www.documentary.org
A subscription to the IDA magazine.
Discounts on the Millennium edition of the IDA Survival Guide and Membership Directory. Discounts on seminar transcripts, books, and audiotapes.
Discounts on admission to events such as the annual Awards Gala, and the annual celebration for documentaries that have been nominated for Best Achievement at the Academy Awards.
Holds the InFact Documentary Showcase, which shows documentaries to various venues.
Provides support and information on fiscal sponsorship of documentaries for non-profit organizations.
Posts Jobs.
Discounts on health insurance, a credit union post production services, transcription services, and tape to film transfers. International Documentary Association – (IDA) © 2017 Taylor & Francis<br>
slide21. www. dga.org
To join you must have employment with a DGA shoot. The production company sends notification to the DGA. The employee pays an initiation fee and quarterly dues. The council in your category approves membership.
Associate directors and stage managers must have 30 days work within 10 consecutive weeks of primetime television or 3 years production experience.
Stage managers must have 3 years production experience in television or commercial production and 1 national program or 15 tape commercials, or 15 national programs, or 50 tape commercials. Director’s Guild of America (DGA) © 2017 Taylor & Francis<br>
slide22. First assistant directors need to have at least 520 days as a second A.D or 400 days as a 1st A.D. Second A.D.’s must have 400 days of work in film or television production. U.P.M.’s must have 260 days as a 1st A.D. or 400 days as a U.P.M.
Monitors guild requirements for directors such as having the director’s name appear in all advertising and publicity associated with a project.
Provides legal information, representation, and arbitration
Monitors residuals.
Holds seminars for its members & programs for its minority members.
Instituted the Artists Rights Foundation.
Have minority committees such as affirmative action, African-Americans, director mentor (women and ethnic), and the Latino committee.
Provides networking through events and meetings. Director’s Guild of America (DGA) © 2017 Taylor & Francis<br>
slide23. www.wga.org
Contract negotiation.
A WGA newsletter.
Health and pension benefits. Writer’s Guild of America (WGA) © 2017 Taylor & Francis<br>
slide24. www.sag.org
The Screen Actor Magazine published quarterly.
The John Dales Scholarship Fund which is a grant for members and their dependents to go to college or graduate school.
A Membership Assistance Fund which provides emergency financial aid to eligible SAG members.
Catastrophic Health which provides financial assistance for life threatening illness.
A speaker series.
Financial seminars.
Pension and health.
A credit union.
Gives out an annual SAG award. Screen Actor’s Guild (SAG) © 2017 Taylor & Francis<br>
slide25. To join SAG you must have:
Proof of SAG employment, which is employment as a principal performer or speaking cast, for a film, videotape, television program, or commercial produced by a signatory company.
Three days work as a SAG background player at full scale.
Have a membership with an affiliated union such as, AEA, or AFTRA for one year. Screen Actor’s Guild (SAG) © 2017 Taylor & Francis<br>
slide26. www.oscars.org
Recognizes outstanding achievements of its members.
Fosters educational activities such as workshops and seminars.
Owns film research facilities.
Membership is by invitation of the board of governors for those who have achieved distinction in their field.
Two members must sponsor membership. Academy of Motion Picture Arts and Sciences — (AMPAA) © 2017 Taylor & Francis<br>
slide27. www.emmyonline.com
The annual Emmy awards.
A subscription to Emmy magazine along with newsletters of ongoing activities.
Internships for students.
A yearly faculty seminar where faculty from around the country are brought in and meet with industry professionals.
Support with insurance and job listings.
Various seminars and screenings. Academy of Television Arts and Sciences (ATAS) © 2017 Taylor & Francis<br>
slide28. www.producersguild.com
To join you must have 5 years, producing or executive producing at least 2 feature films, 2 two-hour television shows or 3 one-hour television specials, or 13 one-hour television programs or 13 half hour programs.
Provides networking opportunities.
Allows its members to put PGA in their credits.
Provides a pension plan.
Holds arbitration seminars.
Provides copyright services.
Publishes a news magazine.
Sponsors screenings.
Gives out producer awards each year.
Provides access to a credit union. Producer’s Guild of America — (PGA) © 2017 Taylor & Francis<br>
slide29. www.tvproducers.org
Holds monthly board meetings.
Has a formal association with the Producer’s Guild of America. They hold joint meetings and activities.
Publishes a yearly roster of producers with credits.
Holds ten seminars a year.
Publishes a quarterly newsletter.
Sends weekly e-mail updates for social events & activities.
Provides eligibility for a credit union.
Provides networking opportunities w/ other industry personnel.
Holds quarterly meetings.
Provides discounts to trade shows.
To join you must provide 2 industry references, an application, and resume. American Association of Producers — (AAP) © 2017 Taylor & Francis<br>
slide30. www.afm.org
Health and pension plans.
A part of the AFL-CIO union privilege program which helps members with loans, credit, cars, legal services, and pet insurance.
They provide free music contracts
A booking program that provides employers with information on artists.
A subscription to International Musician. American Federation of Musicians (AFM) © 2017 Taylor & Francis<br>
slide31. www.artistsrights.org
Exists to protect artist’s rights.
They are against the idea that property outweighs artistic rights.
They claim that there is not enough protection for work-for-hires.
With membership, you get updates on ARF’s programs and initiatives to protect artist’s rights. Artists Rights Foundation © 2017 Taylor & Francis<br>
slide32. www.nab.org
Technical resources, research, information resources.
A career center, newsletters, convention and conference discounts, and publication discounts.
A benefits program.
Discounts with insurance, car rentals, and credit cards. Represents radio and television broadcasters National Association of Broadcasters (NAB) © 2017 Taylor & Francis<br>
slide33. www.afma.com
Provides marketing support services.
Helps with government relations with int’l projects.
Has the American Film Export Association (AFEA), dedicated to opening new markets in Europe.
Can help provide arbitration for dealing with licensing disputes across borders.
Monitors box office data for independents.
Provides informational services.
Provides information for producers regarding financing and distribution companies. American Film Marketing Association — (AFMA) © 2017 Taylor & Francis<br>
slide34. Wrote the Producer’s and Distributor’s Guide to Product Delivery: provides information on film and trailer elements, video and audio delivery material, product protection, and critical records.
Participates in the Federation of Independent Film Producers Association (FIFPA). This is a Paris based association that protects and promotes the interests of the global feature industry.
Participates in the International Intellectual Property Alliance (IIPA). This is a Washington D.C. based trade association of the United States core copyright industries.
Has contact with over 20 financial institutions that support the independent film industry.
To join you must have at least 5 years experience in the business and have owned or licensed at least 5 television shows or films in the top thirty territories. American Film Marketing Association — (AFMA) © 2017 Taylor & Francis<br>
slide35. Event where independent filmmakers can attempt to secure distribution for their projects.
600 screenings in this nine-day event.
Held in late February in Santa Monica, California.
Holds luncheons and seminars for industry personnel.
Presents the AFMA Independence Award, to a producer who has exemplified the independent spirit. American Film Market © 2017 Taylor & Francis<br>
slide36. www.mpaa.org
Board of directors includes Disney, Sony, MGM, Paramount, Fox, Universal, and Warner Bros. Motion Picture Association of America — (MPAA) © 2017 Taylor & Francis<br>
slide37. The Motion Picture Association (MPA) is an international arm of the MPAA.
Formed in 1945 after World War II to reestablish films in the worldwide market.
Have offices in Washington D.C., Brussels, Rome, New Delhi, Rio de Janeiro, Singapore, Mexico City, Toronto, and Jakarta. Motion Picture Association © 2017 Taylor & Francis<br>
slide38. More Organizations Advanced Television Systems Committee (ATSC) www.atsc.org
Corporations advising government agencies on hi-def & other advanced systems.
Association of America’s Public Television Stations (APTS).
Non-profit to promote public TV.
International Television Association (education & research)
Newton Television Foundation
Promotes documentaries about social concerns.
Media Fellowship International www.mediafellowship.org
ministry to media professionals equip, encourage, energize international network information, education, training © 2017 Taylor & Francis<br>
slide39. Conclusion Craft services are a small but important part of your production if you want to keep a crew happy. Just as important is hiring the right catering company that understands the proclivities of a production schedule.
While all sets are different, there are certain aspects of production etiquette common to most productions, which include proper behavior on set and knowing one’s job.
Finally, many different unions and guilds might be associated with your show. Each one provides networking opportunities, some provide benefits, and most help to monitor and protect their members. © 2017 Taylor & Francis<br>
The Process & The People
Lorene M. Wales, Ph.D. CRAFT SERVICES SET ETTIQUETTE UNIONS, GUILDS & ASSOCIATIONS © 2017 Taylor & Francis<br>
slide2. CRAFT SERVICES © 2017 Taylor & Francis<br>
slide3. Crafty – Pre-Production Checks with heads of departments for specific requests such as vegetarian preferences or favorite foods.
Purchases craft service supplies, cups, plates, etc.
Rents craft service supplies such as a coffeemaker, hot plate, etc.
May need to rent a vehicle to transport craft services (low budget). In higher budget craft service companies have their own vehicles. © 2017 Taylor & Francis<br>
slide4. Crafty - Production Arrives on set a half-hour before crew call to set up.
Works with the 2nd AD to determine the location for the craft services table.
Prepares any mini craft services. For instance, director may send the cameraperson off to get some shots. The craft service person always makes sure a small cooler of drinks and snacks go with them.
Replenishes craft service supplies throughout the day.
May bring snacks to the set periodically.
At the end of the day, wraps out the craft services table.
Prepares craft services for the next day. © 2017 Taylor & Francis<br>
slide5. Choices for GOOD Crafty Always have coffee ready when the crew arrives. Also, make sure coffee is available throughout the day.
On hot days, supply saltier snacks, juice, and water. The salty snacks help the body retain fluid better, which fights against dehydration.
On very cold days, provide hot chocolate and other hot beverages and have the craft service person bring it to set periodically.
Choose foods appropriate to the season, such as fruits and vegetables. © 2017 Taylor & Francis<br>
slide6. GOOD Crafty High-energy drinks are expensive, but crews love them.
All snacks should be finger foods, easy to eat on the run.
While some crew claim that they want healthy foods on set (and some will actually mean it), most really want the Twinkies and cookies. Provide both to keep them happy.
Vary the selection of snacks from day to day so the crew will not become bored.
Always keep the craft services table neat and clean. Presentation makes a difference. © 2017 Taylor & Francis<br>
slide7. Catering Catering, as opposed to craft services, is used when you provide your crew with a meal.
Could be lunch, breakfast, or dinner, depending on what time you begin shooting.
Catering companies specialize in providing food for production crews. These caterers understand that they might be called on to provide a hot meal for over one hundred people in the middle of the night (because shooting began at 6 P.M.!). © 2017 Taylor & Francis<br>
slide8. Hiring Catering Companies Catering on a production is used for the one sit-down meal of the day.
A general rule - crew will have this meal no more than 6 hours after crew call.
Six hours after the crew has come back from lunch, if you do not wrap, you must offer them a second meal. In most cases, this is considered a walking meal.
In low budget, this could consist of pizza or hoagies.
In higher budget projects, you have the option of having the caterer do the second meal. © 2017 Taylor & Francis<br>
slide9. Hiring Catering Companies The best way to make your choice is through personal reference. If you don’t know anyone who has used a specific company, then go with the caterer who best fits your budget and food style.
Most caterers feature their chefs on their website and in their promotional materials.
Many caterers own mobile kitchens so they can prepare the food on site. © 2017 Taylor & Francis<br>
slide10. Hiring Catering – The Process Contact the caterer and he will send you sample menus to give you an idea of what can be done.
Once you choose, sign a contract for the duration of the shoot.
Caterers generally charge by the person, so one piece of information they will need is the average number of crew and cast they will serve. This information will give them a better idea of what they can provide.
During production the 2nd AD will call the caterer each day with the exact number of people to expect the next day. © 2017 Taylor & Francis<br>
slide11. The “Last” Supper Last day of shooting warrants a big last supper for the crew.
Producers splurge for a special meal such as steak or lobster. The meal becomes a small celebration for the crew and cast.
This meal can be ordered at any time during production. However, be sure to give your caterer plenty of notice in case the food has to be imported. © 2017 Taylor & Francis<br>
slide12. SET ETTIQUETTE © 2017 Taylor & Francis<br>
slide13. Set Etiquette Unless you are the director or 1st AD, always work quietly and keep personal conversations to a minimum. Professional sets are kept very quiet.
Do not bother the director with problems, suggestions, or unnecessary questions.
If you are new to production, always ask for clarification if you do not understand an instruction. Pretending to know more than you do only makes you look foolish. © 2017 Taylor & Francis<br>
slide14. Set Etiquette Never make assumptions; clear communication is crucial to the smooth running of a set.
Humility works better than pride. People will respect you more if you don’t try to be something you’re not. Don’t go around dropping names and credits. There will always be someone who has more experience than you.
Follow-up is very important. If you give someone a task, check with him to make sure it is done. This is not an insult but competent production behavior. © 2017 Taylor & Francis<br>
slide15. Set Etiquette On professional sets, there should be a sense of urgency. People who work slowly will not survive a shoot trying to get twenty scenes in 1 day (low to medium budget).
Make sure the crew knows its jobs. Most problems come from either someone not doing his job or someone doing someone else’s job.
There are three kinds of people in the industry: those that work well, those that work fast, and those that work well and fast. It’s the last category of people that keep getting work. © 2017 Taylor & Francis<br>
slide16. Unions & Guilds © 2017 Taylor & Francis<br>
slide17. International Alliance of Theatrical Stage Employees
(IATSE) www.iatlse.lm.com
Exists to protect laborers work rights.
Provides health benefits, vacation pay, and a pension plan.
Requires contractual contributions from employers. In other words, the production pays for benefits for the crewmember.
Holds production seminars for its members.
Publishes a quarterly magazine called, “The Official Bulletin.” © 2017 Taylor & Francis<br>
slide18. www.ibew.org
represents workers in utilities, construction, telecommunications, broadcasting, manufacturing, railroads, and government
National Association of Broadcast Employees and Technicians (NABET)
broadcasting, distributing, telecasting, recording, cable, video, sound recording. It is the broadcasting and cable television workers sector of the Communications Workers of America (CWA). International Brotherhood of Electrical Workers – (IBEW) © 2017 Taylor & Francis<br>
slide19. www.castingsociety.org
casting directors in film, television, and theatre
American Federation of Television and Radio Artists (AFTRA) – www.aftra.org
Actor’s Equity Association (AEA) – www.aea.org Casting society of America – (CSA) © 2017 Taylor & Francis<br>
slide20. www.documentary.org
A subscription to the IDA magazine.
Discounts on the Millennium edition of the IDA Survival Guide and Membership Directory. Discounts on seminar transcripts, books, and audiotapes.
Discounts on admission to events such as the annual Awards Gala, and the annual celebration for documentaries that have been nominated for Best Achievement at the Academy Awards.
Holds the InFact Documentary Showcase, which shows documentaries to various venues.
Provides support and information on fiscal sponsorship of documentaries for non-profit organizations.
Posts Jobs.
Discounts on health insurance, a credit union post production services, transcription services, and tape to film transfers. International Documentary Association – (IDA) © 2017 Taylor & Francis<br>
slide21. www. dga.org
To join you must have employment with a DGA shoot. The production company sends notification to the DGA. The employee pays an initiation fee and quarterly dues. The council in your category approves membership.
Associate directors and stage managers must have 30 days work within 10 consecutive weeks of primetime television or 3 years production experience.
Stage managers must have 3 years production experience in television or commercial production and 1 national program or 15 tape commercials, or 15 national programs, or 50 tape commercials. Director’s Guild of America (DGA) © 2017 Taylor & Francis<br>
slide22. First assistant directors need to have at least 520 days as a second A.D or 400 days as a 1st A.D. Second A.D.’s must have 400 days of work in film or television production. U.P.M.’s must have 260 days as a 1st A.D. or 400 days as a U.P.M.
Monitors guild requirements for directors such as having the director’s name appear in all advertising and publicity associated with a project.
Provides legal information, representation, and arbitration
Monitors residuals.
Holds seminars for its members & programs for its minority members.
Instituted the Artists Rights Foundation.
Have minority committees such as affirmative action, African-Americans, director mentor (women and ethnic), and the Latino committee.
Provides networking through events and meetings. Director’s Guild of America (DGA) © 2017 Taylor & Francis<br>
slide23. www.wga.org
Contract negotiation.
A WGA newsletter.
Health and pension benefits. Writer’s Guild of America (WGA) © 2017 Taylor & Francis<br>
slide24. www.sag.org
The Screen Actor Magazine published quarterly.
The John Dales Scholarship Fund which is a grant for members and their dependents to go to college or graduate school.
A Membership Assistance Fund which provides emergency financial aid to eligible SAG members.
Catastrophic Health which provides financial assistance for life threatening illness.
A speaker series.
Financial seminars.
Pension and health.
A credit union.
Gives out an annual SAG award. Screen Actor’s Guild (SAG) © 2017 Taylor & Francis<br>
slide25. To join SAG you must have:
Proof of SAG employment, which is employment as a principal performer or speaking cast, for a film, videotape, television program, or commercial produced by a signatory company.
Three days work as a SAG background player at full scale.
Have a membership with an affiliated union such as, AEA, or AFTRA for one year. Screen Actor’s Guild (SAG) © 2017 Taylor & Francis<br>
slide26. www.oscars.org
Recognizes outstanding achievements of its members.
Fosters educational activities such as workshops and seminars.
Owns film research facilities.
Membership is by invitation of the board of governors for those who have achieved distinction in their field.
Two members must sponsor membership. Academy of Motion Picture Arts and Sciences — (AMPAA) © 2017 Taylor & Francis<br>
slide27. www.emmyonline.com
The annual Emmy awards.
A subscription to Emmy magazine along with newsletters of ongoing activities.
Internships for students.
A yearly faculty seminar where faculty from around the country are brought in and meet with industry professionals.
Support with insurance and job listings.
Various seminars and screenings. Academy of Television Arts and Sciences (ATAS) © 2017 Taylor & Francis<br>
slide28. www.producersguild.com
To join you must have 5 years, producing or executive producing at least 2 feature films, 2 two-hour television shows or 3 one-hour television specials, or 13 one-hour television programs or 13 half hour programs.
Provides networking opportunities.
Allows its members to put PGA in their credits.
Provides a pension plan.
Holds arbitration seminars.
Provides copyright services.
Publishes a news magazine.
Sponsors screenings.
Gives out producer awards each year.
Provides access to a credit union. Producer’s Guild of America — (PGA) © 2017 Taylor & Francis<br>
slide29. www.tvproducers.org
Holds monthly board meetings.
Has a formal association with the Producer’s Guild of America. They hold joint meetings and activities.
Publishes a yearly roster of producers with credits.
Holds ten seminars a year.
Publishes a quarterly newsletter.
Sends weekly e-mail updates for social events & activities.
Provides eligibility for a credit union.
Provides networking opportunities w/ other industry personnel.
Holds quarterly meetings.
Provides discounts to trade shows.
To join you must provide 2 industry references, an application, and resume. American Association of Producers — (AAP) © 2017 Taylor & Francis<br>
slide30. www.afm.org
Health and pension plans.
A part of the AFL-CIO union privilege program which helps members with loans, credit, cars, legal services, and pet insurance.
They provide free music contracts
A booking program that provides employers with information on artists.
A subscription to International Musician. American Federation of Musicians (AFM) © 2017 Taylor & Francis<br>
slide31. www.artistsrights.org
Exists to protect artist’s rights.
They are against the idea that property outweighs artistic rights.
They claim that there is not enough protection for work-for-hires.
With membership, you get updates on ARF’s programs and initiatives to protect artist’s rights. Artists Rights Foundation © 2017 Taylor & Francis<br>
slide32. www.nab.org
Technical resources, research, information resources.
A career center, newsletters, convention and conference discounts, and publication discounts.
A benefits program.
Discounts with insurance, car rentals, and credit cards. Represents radio and television broadcasters National Association of Broadcasters (NAB) © 2017 Taylor & Francis<br>
slide33. www.afma.com
Provides marketing support services.
Helps with government relations with int’l projects.
Has the American Film Export Association (AFEA), dedicated to opening new markets in Europe.
Can help provide arbitration for dealing with licensing disputes across borders.
Monitors box office data for independents.
Provides informational services.
Provides information for producers regarding financing and distribution companies. American Film Marketing Association — (AFMA) © 2017 Taylor & Francis<br>
slide34. Wrote the Producer’s and Distributor’s Guide to Product Delivery: provides information on film and trailer elements, video and audio delivery material, product protection, and critical records.
Participates in the Federation of Independent Film Producers Association (FIFPA). This is a Paris based association that protects and promotes the interests of the global feature industry.
Participates in the International Intellectual Property Alliance (IIPA). This is a Washington D.C. based trade association of the United States core copyright industries.
Has contact with over 20 financial institutions that support the independent film industry.
To join you must have at least 5 years experience in the business and have owned or licensed at least 5 television shows or films in the top thirty territories. American Film Marketing Association — (AFMA) © 2017 Taylor & Francis<br>
slide35. Event where independent filmmakers can attempt to secure distribution for their projects.
600 screenings in this nine-day event.
Held in late February in Santa Monica, California.
Holds luncheons and seminars for industry personnel.
Presents the AFMA Independence Award, to a producer who has exemplified the independent spirit. American Film Market © 2017 Taylor & Francis<br>
slide36. www.mpaa.org
Board of directors includes Disney, Sony, MGM, Paramount, Fox, Universal, and Warner Bros. Motion Picture Association of America — (MPAA) © 2017 Taylor & Francis<br>
slide37. The Motion Picture Association (MPA) is an international arm of the MPAA.
Formed in 1945 after World War II to reestablish films in the worldwide market.
Have offices in Washington D.C., Brussels, Rome, New Delhi, Rio de Janeiro, Singapore, Mexico City, Toronto, and Jakarta. Motion Picture Association © 2017 Taylor & Francis<br>
slide38. More Organizations Advanced Television Systems Committee (ATSC) www.atsc.org
Corporations advising government agencies on hi-def & other advanced systems.
Association of America’s Public Television Stations (APTS).
Non-profit to promote public TV.
International Television Association (education & research)
Newton Television Foundation
Promotes documentaries about social concerns.
Media Fellowship International www.mediafellowship.org
ministry to media professionals equip, encourage, energize international network information, education, training © 2017 Taylor & Francis<br>
slide39. Conclusion Craft services are a small but important part of your production if you want to keep a crew happy. Just as important is hiring the right catering company that understands the proclivities of a production schedule.
While all sets are different, there are certain aspects of production etiquette common to most productions, which include proper behavior on set and knowing one’s job.
Finally, many different unions and guilds might be associated with your show. Each one provides networking opportunities, some provide benefits, and most help to monitor and protect their members. © 2017 Taylor & Francis<br>