#agreement-paperwork

Minor Labor Policy Agreement

Production Paperwork

Instructions

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.

Master Use License Request

Production Paperwork

INSTRUCTIONS

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:

  • Two-years
  • Film festival
  • Non-commercial
  • World rights

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.

SAMPLE LETTER

Location Shooting Plan Agreement

Production Paperwork

Instructions

In addition to completing a Location Agreement with the Location Owner (or authorized agent), the Producer must also complete a Location Shooting Plan Agreement. This agreement gets into the finer details of how the location may be used and all guidelines and restrictions related to the use of the location.

This includes information about: the quantity of crew members; arrival and departure times; parking; craft service; trash; which rooms can be used or not-used; which items can be moved or not-moved; any COVID safety protocols the location may require; and the names/info of the students that location owners should contact during the shooting day.

Sample

Location Agreement

Production Paperwork

Instructions

The Producer should use this contract agreement with the Location Owner (or authorized agent), in order to have the right to use and photograph the interiors and exteriors of the property.

The Producer is responsible for working with the Location Owner to determine the start and end dates for when the show will have access to the location. (The Producer is additionally responsible for drafting a Location Shooting Plan Agreement with the Location Owner.)

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.

Life Story Rights

Production Paperwork

Instructions

The Producer should use this contract agreement with the Owner of the life story rights, in order to use and/or fictionalize the Owner’s life story, name, likeness, statements, writings, photographs, anecdotes, acts, appearances, and voices.

All 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.

Image Release

Production Paperwork

Instructions

The Producer should use this contract agreement with the copyright holder (or authorized agent) for the right to use and photograph the depiction of still photographs, artwork, and/or motion picture footage.

All 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.

Depiction Release

Production Paperwork

Instructions

The Producer should use this contract agreement with an Interviewee for a documentary project, in order to have the right to record their voice and likeness and use it in the film.

The Producer is responsible for working with Interviewee 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.

Crowd Release

Production Paperwork

Instructions

In some situations, especially in public spaces that the production cannot lock down, it is not always possible to get signed releases from every individual that appears in a shot. This Crowd Notice sign can be used in such situations to alert passersby that, by entering an area, their voice and likeness may be recorded and used in the film.

If a production plans to use this signage, the Producer should check in advance with the Location Owner to make sure they are okay with the signs being posted around the location.

When posting the signs, pay particular attention to the flow of passersby through the area. Identify strategic positions for placing the signs so that they are clearly visible to any passersby, but out of view of the camera.

Crew Deal Memo

Production Paperwork

Instructions

The Producer must ensure that all crew members complete a Crew Deal Memo at the start of the period of employment on the production. The deal memo outlines the terms and conditions of employment (which may not be modified) and defines the screen credit in the finished film.

Composer Contract

Production Paperwork

INSTRUCTIONS

The Producer should use this contract agreement with a Composer who is writing the musical score for a production. It should be used regardless of whether or not the composer is being paid for their services.

The Producer is responsible for working with the Composer to determine the due date, the compensation structure, and the screen credit in the finished film.

It is advisable to make the delivery date of the score (in Section 1 of the contract) as early as is feasible, in order to provide some padding. It is not uncommon for composers on student films to miss their deadline, so it’s better to assume that that might happen than to hope for the best. Most ideal would be setting delivery of the score for a date during the sound editing phase, so that you have a better sense of how everything’s coming together. If that’s not viable, set delivery for as many days before the mix date as your composer’s schedule will allow.

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.