In this episode we discuss the COVID-19 White Paper guidelines with Lisa Mall.
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In this episode we discuss the COVID-19 White Paper guidelines with Lisa Mall.
As of June 1st, 2020 the Industry-Wide Labor-Management Safety Committee Task Force released a White Paper that was compiled by various companies, unions and guilds in the Film/TV Industry with the purpose of creating a safe workplace and re-starting the industry. Below you can download the file and see our thoughts.
Below you can join our Facebook Group to participate in questions/discussion on how best to implement these policies on your set.
Crew members who work as 2nd Assistant Directors fill one of the most critical roles on any film set. The 2nd AD acts as a bridge between the “set” and the “basecamp” and while they are known for creating the call sheet, their duties extend into other areas of production that are vital for a set to operate efficiently.
The below information was complied by the Directors Guild of America:
2nd AD Duties
An employer may not unreasonably deny a request from a UPM or 1st AD for another 2nd Assistant Director. BA 13-202 (b).
I’ve started a brand new film/tv podcast that is all about production “Go For Production.” I hope you enjoy the first episode and stay tuned for exciting new guests!
Paul Garnes (@paulgarnes on instagram) has served as a producer, line producer and/or production manager on films and television series for Disney, Dreamworks, HBO, ABC, NBC, BET, Sony/Screen Gems, Magnolia Films, and Paramount Pictures.
A graduate of Chicago’s Columbia College, Garnes has worked as Vice President of Operations and Production for Academy Award winner Jamie Foxx’s Foxx/King Productions and Head of Production for Simmons-Lathan Media Group.
In 2006, Garnes was recruited by Tyler Perry and Reuben Cannon to join the Tyler Perry Company where he served as Vice President and Executive in Charge of Production until 2009, overseeing the creation of its multi-million dollar studio and backlot. In addition to daily operations, Garnes supervised over 250 episodes of broadcast television while at the studio.
Paul was the Executive Producer of the film Selma that was nominated for the 2015 Academy Award for Best Picture and Best Original Song, and won a 2015 Golden Globe for Best Original Song.
Recently Paul served as the Line Producer of ABC’s Cloak and Dagger and is currently working as the Line Producer and Executive Producer to the series Queen Sugar which is part of the OWN Network.
I often get asked to create schedules and budgets for films in development and one of the questions I will often ask the producer(s) is what unions they want to budget for. Many times SAG is a no brainer no matter the budget but often times convincing producers to budget for IATSE, DGA, TEAMSTERS and WGA can be a challenge. Many times the reasons producers don’t want to join these unions is because of paperwork, limited finances and having to be under the scrutiny of a union. I put together a list of reasons why producers might want to reconsider….
7 reasons why your Low Budget Film show should go DGA Signatory:
1. Choosing to make your project DGA signatory will allow your Director the ability to Join the DGA if they are not currently a member.
2. Your film will be eligible to be entered into the DGA Awards.
3. You will be required to hire DGA UPMs and ADs (1st, 2nd and 2nd 2nd) thus ensuring an experienced AD staff. Now yes you can (might be able to) find experienced Non-Union ADs and UPMs however it is possible that they may or may not be as experienced as someone in the union and this could potentially lead to problems.
Example: You hire a Non-Union 1st AD who has only done one or two features and they may or may not not know how to keep your set safe or on schedule and you end up needing to shoot more days thus causing you to spend thousands of dollars.
4. If a movie is over a million dollars, some financiers will prefer that your movie is bonded. Some bond companies will require that your film join certain unions such as IATSE and DGA to limit the risk involved in making the picture.
5. You have access to a vast network of possible DGA Directors, ADs and UPMS around the United States to employ. Check out the list(s) HERE.
6. It may not be as expensive as you thought. For films under $500K the rates are negotiable. Essentially you would be paying the fringes (pension and health etc) on 3-4 crew members in addition to your cast. Check out the rates HERE.
7. It may not be as difficult as you thought. Yes you have to fill out an application and submit information about the film…but you are most likely doing this for SAG etc. What’s one more application?
Curious about making your project DGA Signatory? Follow these simple steps…
Step 1.
Visit the Employers section of the DGA website.
Note:
There is a section on the DGA Application where you will list the Director, UPM and ADs. Its important to note that for most applications you will need to hire members in good standing who are listed on the perspective Qualification List. There are some project types where you may be eligible to hire someone who is not listed in a certain category etc. You can always fill out the crew you know for now ie… (Director and UPM) and then submit the AD names at a later time once it gets closer to filming. If you have any questions about the application don’t be afraid to call the DGA and ask.
Step 4.
Email the packet to signatories@dga.org.
Once your signatory application has been received, a signatory rep will be able to review and let you know what additional items are needed for the signatory process. Should you have questions about the signatory application’s status once sent, contact a Signatories Assistant, at (310) 289-2094.
Step 5.
Upon return of the completed and signed signatory application and forms, the Guild will determine if the producer company presented is the appropriate signatory entity, based on the information provided. Further information may be required.
Step 6.
Signatory status will be given to the Producer at the time the Guild is confident that the necessary signatory and financial assurances’ documents have been provided. The signatory and financial assurances documents will be circulated to the appropriate parties, signed by the authorized representative of the signatory Producer, and delivered to the Guild prior to the commencement of Principal Photography. A payroll deposit is required. It is important to discuss the delivery of the payroll deposit with the Signatory Representative early in the signatory process.