Release forms. Help! Any other forms, paperwork, required by distributors?
- Thread starter Clint Nitkiewiz Hernandez
- Start date
ESTEBEVERDE
Veteran
Who said that? Where is that in a contract?
Blair Witch didn't and it did just fine.
!?!?!?!
Where is this coming from!?!?!?
I most definitely don't follow your logic and don't understand how you could come to this conclusion.
You can shoot 6hs straight without penalties.. not 100% sure but I do know the first meal is 6hs after call time. Breakfast is not obligatory.
You can call SAG and get a little booklet with all the rules... a sliver of a book really, and it is all there in sections and with all the detail... very simple and useful. You can read it from cover to cover in like 20min. Then you will easily and quickly find the stuff by using the little chapter page thing in the front...
stan harrington
Well-known member
6 hours is correct contractually...I personally rarely shoot more than 4 is what I meant...more often than not I am done in less than 2 hours...crazy me...
YES! there it is... if this is true about all distributors, and I have no doubt that it is (thanks filmman) then you should REALLY consider going ULB and limiting your number of SAG
Blair Witch was 99% marketing 1% film-making and I am sorta sick of it being used as an example... but it is obviously a valid point...
Now I really don't know about buyers/distributors... that is what I need to learn more about... I NEED to find some good research on this so I have no clue if it is or not a big deal to them...
But for making things more certain and safe to increase my selling potential I will go ahead and pay for my one sag actress... then again any money I pay her goes to my bank account
so all I will be losing is the health benefit and other fees plus the government taxes on ONE SAG actorshhhhhh... don't even say that :undecided
whoa... lol... nice bro
I am used to the 16hs day mentality
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stan harrington
Well-known member
I think that it is uncalled for the way I shoot because I don't use a crew, equip or lights...just the occassional tripod and microphone and a ninja (sometimes)...I probably would go nuts if I had to work those hours for such a small return...I'll find out soon enough though...LOL
I like the 12hs day because of rentals and crew... getting people that work to agree to set aside a day when they can't take a paid job and so on... also travel time. So we shoot to get it done asap... then again we shoot when people can make it and have to agree to their schedules so if someone doesn't want to shoot a full day then we simply don't...
BTW most of the time it is more of a ~9hs day... unless we have a location for only one day, then we shoot as much as we can knowing that that is the only way to get the best out of it.
BTW most of the time it is more of a ~9hs day... unless we have a location for only one day, then we shoot as much as we can knowing that that is the only way to get the best out of it.
Blaine
Mr. Hollywood
This just isn't true as an across the board statement. There may very well be some distributors who work that way, I don't know. What you DO need are signed releases from everyone who worked on the film. For distribution, you're more than likely going to need E&O (Errors & Omissions) Insurance.
ESTEBEVERDE
Veteran
Guys... come on. That's just spreading FUD (Fear Uncertainty and Doubt).
A distributor is under no obligations other than the ones that are created by the sales/licensing contract they make with the copyright owner.
You are only responsible to SAG if you are a SAG signatory.
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ESTEBEVERDE
Veteran
Blaine makes some very very good points. :thumbsup:
For wide distribution the film will most definitely need E&O.
Both the Distributors and the Exhibitors want to cover their asses and rightfully so.
SAG has nothing to do with E&O per se.
SAG is voluntary union.
SAG is not the legislature, the judiciary, nor the executive.
SAGs only power is to contract with those who are willing and able to do so.
.
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Blaine
Mr. Hollywood
Never said it did. Just pointing something out so he could be thinking about it from the beginning.
ESTEBEVERDE
Veteran
Blaine... sorry man. I think you misunderstood my post.
That's my fault.
I was agreeing with you! :thumbsup:
Please accept my apology if my post sounded rude! :beer:
But sag contracts make them able to protect their members... I guess it isn't such a big deal for ULB's since it seems all they cover is the right to break an agreement to do a sequel if it is not in the benefit of the talent to do so...
anyway... I repeat that I DON'T know enough about actually selling a movie, I haven't done that yet
it makes sense that a distributor might not care but others might if they know that SAG could present a problem in the future, but it looks like the ULB doesn't really pose a threat...
I'd like to hear more about distributors and their purchasing habits, what they buy and how the contract/deals pan out...
anyway... I repeat that I DON'T know enough about actually selling a movie, I haven't done that yet
it makes sense that a distributor might not care but others might if they know that SAG could present a problem in the future, but it looks like the ULB doesn't really pose a threat...
I'd like to hear more about distributors and their purchasing habits, what they buy and how the contract/deals pan out...
Blaine
Mr. Hollywood
:beer:
Clint Nitkiewiz Hernandez
Well-known member
All forms required for Theatrical and DVD release.
All forms required for Theatrical and DVD release.
Okay, so talking more about distribution now;
Can anyone simply list all forms, paperwork, apart from deliverables required for both Theatrical and DVD release?
Thanks... Guess I'll start. I don't want to shoot a feature without insurance, as I had been planning to, only later to find that if I want to go theatrical or to DVD, I need proof of insurance for the shoot dates, (wild example, not sure if true though)
- Deliverables.
- Actor release forms
- Location release forms by owners
- Music cue sheets
- E&O (Errors & Omissions) Insurance.
- Please add on to this list, thanks.
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-
-
All forms required for Theatrical and DVD release.
Okay, so talking more about distribution now;
Can anyone simply list all forms, paperwork, apart from deliverables required for both Theatrical and DVD release?
Thanks... Guess I'll start. I don't want to shoot a feature without insurance, as I had been planning to, only later to find that if I want to go theatrical or to DVD, I need proof of insurance for the shoot dates, (wild example, not sure if true though)
- Deliverables.
- Actor release forms
- Location release forms by owners
- Music cue sheets
- E&O (Errors & Omissions) Insurance.
- Please add on to this list, thanks.
-
-
-
Blaine
Mr. Hollywood
I understand it was only a "wild example" but production insurance is only for your shooting (and perhaps equipment rental). As long as the final product is "clean" with no injunctions or lawsuits against it, the distributor doesn't care if it was shot with production insurance or not.
Clint Nitkiewiz Hernandez
Well-known member
Oh okay I see.
Oh okay I see.
Good to know, thanks, how about that
E&O (Errors & Omissions) Insurance.
Do you have any details on that? Links maybe? It is absolutely required by distributors? Thanks.
Oh okay I see.
Good to know, thanks, how about that
E&O (Errors & Omissions) Insurance.
Do you have any details on that? Links maybe? It is absolutely required by distributors? Thanks.
Clint Nitkiewiz Hernandez
Well-known member
Question for distributors.
Question for distributors.
I have connections to a few distributors, I could ask them a few questions, do you recommend any to ask as far as our topics have covered?
I have a few of my own.
1. What are all the forms, paperwork you require from the filmmaker to to release the film onto DVD or theatricaly, i.e releases, contracts, etc, (I really want to nail down exactly what forms, permits, so I dont get screwed when I have my HDCAM SR tape master ready for delivery only for the distributor to tell me, Um, you forgot to fill out this form prior to shooting.
2. Any recommendations?
Question for distributors.
I have connections to a few distributors, I could ask them a few questions, do you recommend any to ask as far as our topics have covered?
I have a few of my own.
1. What are all the forms, paperwork you require from the filmmaker to to release the film onto DVD or theatricaly, i.e releases, contracts, etc, (I really want to nail down exactly what forms, permits, so I dont get screwed when I have my HDCAM SR tape master ready for delivery only for the distributor to tell me, Um, you forgot to fill out this form prior to shooting.
2. Any recommendations?
ESTEBEVERDE
Veteran
You don't need to necessarily get E&O before you go into distribution/exhibition.
You do need to be compliant so that you can get E&O.
There are different copyright and clearance issues depending on what type of work you are doing?
There are one set of requirements for Documentaries and others for Narratives... etc.
Keep in mind production insurance, liability insurance, and E&O insurance are all different classes of insurance and are issued as separate policies.
Each is acquired at different stages of production as well with E&O being secured during exhibition/distribution.
filmman
Veteran
I don't know whether to cry or to laugh.
Look, no one making an ULB movie has to worry about whether the movie is going theatrical or not.
If you're the second person in this millennium who's going to have to do the same thing as Blair Witch and succeed in getting a theatrical, you don't have to worry about any forms.
The Blair Witch distributor paid ALL the union fees. Not just SAG. ALL the Union fees. Otherwise the projectionists wouldn't project the movie in theaters.
The first theatrical of Blair Witch was paid for by a car lot dealer who put up $50,000 for the movie's theatrical release.
The kids who made the movie and who promoted it on the Internet were very clever in four-walling their movie. Then Artisan (the distributor) picked up the film for $1,000,000 and they made $200,000,000 theatrical and didn't have to pay the filmmakers anything. The actors got almost nothing.
The actors sued later. Here's the link to the article:
http://archives.cnn.com/2002/LAW/10/17/ctv.blair.witch/
If you're making a small movie, and you want good acting, sign the SAG ULB contract. (I'm attending the workshop coming up so I can get the lowdown on the details.)
This way you won't have any problems with the distributor in the very lucky case you find a distributor who wants to distribute the movie.
It's a shot in the dark; but I believe in making ULB movies. We're filmmakers, so what are we going to do?
If someone -- anyone -- decides to call the distributor and complain, the distributor will ask you, "do you owe this guy any money?" Distributors don't want any trouble, so make sure that not only you have all the releases but that everyone involved in the project has no gripes. Hold a production meeting and tell everyone, "Listen if I'm going to be hassled or if anybody is going to jeopardize my production or relationship with the distributors or exhibitors, please don't work with me." Tell them exactly what your concerns are and what you're planning to do. Don't be afraid of anybody and don't hide anything, not your ambitions or your artistic goals. It's better to let everyone know that you're the creative artist and that you want everyone involved to be positive.
Any sign of trouble, cut the rope.
Look, no one making an ULB movie has to worry about whether the movie is going theatrical or not.
If you're the second person in this millennium who's going to have to do the same thing as Blair Witch and succeed in getting a theatrical, you don't have to worry about any forms.
The Blair Witch distributor paid ALL the union fees. Not just SAG. ALL the Union fees. Otherwise the projectionists wouldn't project the movie in theaters.
The first theatrical of Blair Witch was paid for by a car lot dealer who put up $50,000 for the movie's theatrical release.
The kids who made the movie and who promoted it on the Internet were very clever in four-walling their movie. Then Artisan (the distributor) picked up the film for $1,000,000 and they made $200,000,000 theatrical and didn't have to pay the filmmakers anything. The actors got almost nothing.
The actors sued later. Here's the link to the article:
http://archives.cnn.com/2002/LAW/10/17/ctv.blair.witch/
If you're making a small movie, and you want good acting, sign the SAG ULB contract. (I'm attending the workshop coming up so I can get the lowdown on the details.)
This way you won't have any problems with the distributor in the very lucky case you find a distributor who wants to distribute the movie.
It's a shot in the dark; but I believe in making ULB movies. We're filmmakers, so what are we going to do?
If someone -- anyone -- decides to call the distributor and complain, the distributor will ask you, "do you owe this guy any money?" Distributors don't want any trouble, so make sure that not only you have all the releases but that everyone involved in the project has no gripes. Hold a production meeting and tell everyone, "Listen if I'm going to be hassled or if anybody is going to jeopardize my production or relationship with the distributors or exhibitors, please don't work with me." Tell them exactly what your concerns are and what you're planning to do. Don't be afraid of anybody and don't hide anything, not your ambitions or your artistic goals. It's better to let everyone know that you're the creative artist and that you want everyone involved to be positive.
Any sign of trouble, cut the rope.