The Producer should use this contract agreement with the Owner of a vehicle that will be used as a picture vehicle in a production.
The Producer is responsible for working with the Owner to determine the dates the vehicle will be used.
All other clauses in the agreement must remain unchanged, unless the Producer is authorized in advance by the Head of Production to make specific amendments to the contract.
This form should be used in instances where a student is issued a disbursement advance for production-related expenses on a production. Advances will be issued to the student’s pre-paid Visa card.
Students are required to submit itemized receipts for all expenses and to return any unused monies.
The 2nd AD should complete the Performers Time Report for each production day, ensuring that each performer signs the report before they are dismissed for the day. If a show does not have an assigned 2nd AD, the Producer shall assume the responsibility.
The Producer should use this contract agreement with a Performer, in order to have the right to record their voice and likeness for the film.
The Producer is responsible for working with Performer to determine the screen credit in the finished film.
All other clauses in the agreement must remain unchanged, unless the Producer is authorized in advance by the Head of Production to make specific amendments to the contract.
The Producer should use this contract agreement with the Owner (or authorized agent) of a musical composition that will be used in the film.
The Producer is responsible for working with the Owner to determine the screen credit in the finished film. All other clauses in the agreement must remain unchanged, unless the Producer is authorized in advance by the Head of Production to make specific amendments to the contract.
Note: F1 and M1 projects are not permitted license music in this manner. Those project must use the Universal Production Music library for any music needs.
The Music Cue sheet lists each song that is used in the final cut of the film.
| # | Sequential numbering of each song used |
| TC Start | The timecode of when the song starts |
| TC End | The timecode of when the song ends |
| Cue Title | The name of the song |
| Usage | How the song is used:
|
| Licensor | Include an abbreviation for the type of licensor and the name of the licensor:
|
| Society (%) | If applicable, the music rights society that manages the rights to the song and the percentage of their stake in the song. In the U.S., there are 2 main music rights societies: ASCAP & BMI.
|
| Rights Acquired | Indicate what rights you have acquired for the song:
|
The Minor Labor policy is intended to safeguard children from being employed under conditions that are injurious or detrimental to their health, safety or education.
The Producer of a show is required to work with the parent (or legal guardian) to complete a Minor Labor Policy Agreement, which outlines the conditions of employment. On occasion, however, there can be instances where an aspect of this agreement may be waived or modified, and the Producer may submit this exemption request to the Head of Production. All exemptions must have the consent of the parent or legal guardian, and final approval of requests lies solely with the Head of Production.
The Minor Labor policy is intended to safeguard children from being employed under conditions that are injurious or detrimental to their health, safety or education. This paperwork serves to ensure that parents (or legal guardians) are informed about the conditions of employment.
The Producer of a show that involves minor labor should complete both pages of this document with the parent or legal guardian. The first page outlines the terms of the labor agreement. The second page documents any medical conditions or dietary needs, and provides authorization for the school to seek medical treatment for the minor in cases of emergency.
Should any exemptions or modifications to this policy be needed, the Producer should complete a Minor Labor Policy Exemption Request with the parent or legal guardian.
The Producer should prepare the Meal Sign In sheets prior to production by typing in as much info as possible. Then on set during lunch, the 2nd AD will have each Cast and Crew member sign the sheet. Count the number of signatures, and enter that number at the bottom by Individuals Served.
The Producer will also need to turn in the Meal Sign In sheets along with the Reimbursement Voucher to verify those who had eaten the food that was provided on set.
A master use license is the right to synchronize a sound recording with your visual image. You clear this right with the record label who owns the sound recording you would like to use.
Check the liner notes of the recording to find out which company this is. Alternatively, you can get contact information for record labels by contacting either ASCAP or BMI. You will be provided with a contact at the record label’s Business Affairs Department.
Getting the rights could be as simple as sending letters to the publisher and record label, having them sign and return them. However, you may be required to complete their licensing agreements instead. If this is the case, make sure you have the Head of Production review the agreement before you sign it, to ensure we have the proper releases.
You must get each license for at least:
Note that if you do not plan to use the original sound recording, but rather plan to reproduce a specific musical composition in your film, you need to acquire a Synchronization License instead.
