SUN TZU QUOTES'..."You have to believe in yourself."

Dumb Dog Production is a full-service Film Production Company. We hope you find the site informational and answers any questions you might have about the entertainment industry.

We do not claim that this site is a be all and means to an end, but to help guide and learn how the entertainment industry work.

Please do not hesitate to contact us for any questions.

Thank you,

Sherri (Bisbey) Rowe / Bruce Bisbey / James Bisbey

Email: brucedumbdog@gmail.com Dumb Dog Production Phone: +1 319-930-7978 Dumb Dog Productions LLC / Bus Lic.: 5084725 https://dumbdogproductions.com/ https://dumbdogproductionsllc.blogspot.com/ https://www.facebook.com/DumbDogProductionsLLC/

Saturday, January 26, 2019

WHAT IS A CREW BOX/KIT RENTAL INVENTORY FORM? (In the Entertainment industry.)

Box - Kit Rental Inventory Form / Photo Credit: Bruce Bisbey ADC

WHAT IS A CREW BOX/KIT RENTAL INVENTORY FORM? (In the Entertainment industry.)


WHAT IS A CREW BOX/KIT RENTAL INVENTORY FORM?

A crew box/kit rental inventory form is exactly as it states. Taking inventory on all equipment and items you will be using on a show. This helps you to show what you are bringing to the show besides your abilities. It details every item for insurance claims and the event something is stolen. Read the contract form carefully. Many forms and shows do not cover your kit for losses or if stolen.

Describe in short the details of the item. Cost/worth, ID and serial numbers. Taking a photograph of the serial number and other product information for your own data base is wise. This makes reporting and replacing loses much easier for you, the accountant, producer and if needed the police.


“Kit fees,” “kit rentals,” and “box rentals” are all basically the same thing. The production is paying you for wear and tear on equipment that you own, which you use on the shoot. It’s cheaper for them, because they don’t have to rent that gear, and a nice tax-free bonus for you. The most likely thing you’ll get a kit fee for is your computer.

Always ask if there is a box rental if not offered and you will be using your own equipment. Many producers (I have worked on shows with these kind of producers) see it as giving free money away. That by hiring you, they are hiring your tools for you to do the job they are paying you for.

Please remember box rental agreements are not for rental package of your equipment. It's not a box or kit, it's a package. It's not a drill, tape measure, laptop, or cell phone.

Read the box rental form carefully.

When you sign the box rental agreement, there's a clause that states that production is not liable for damage to your gear. The difference can be huge between a box rental and package rental. Some producers will hope you sign the box rental for $50 dollars a week with no reimbursement for damaged or stolen equipment. Example: Your package rental could be a rental of $3000.00 dollars for the run of the show with full insurance. Plus the box rental of $50 dollars a week for your computer or combined in your package rental. With your package rental we are not talking about your cell phone or computer. But sound, camera, video equipment etc.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Nicholas Persac, The Guardian, Jones on art, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Box - Kit Rental Inventory Form / Photo Credit: Bruce Bisbey ADC

WHAT IS A CREW BOX/KIT RENTAL FORM? (In the Entertainment industry.)

Crew Box Kit Rental Form / Photo - Form Credit: Bruce Bisbey ADC

WHAT IS A CREW BOX/KIT RENTAL FORM? (In the Entertainment industry.)
 

WHAT IS A CREW BOX/KIT RENTAL FORM?

“Kit fees,” “kit rentals,” and “box rentals” are all basically the same thing. The production is paying you for wear and tear on equipment that you own, which you use on the shoot. It’s cheaper for them, because they don’t have to rent that gear, and a nice tax-free bonus for you. The most likely thing you’ll get a kit fee for is your computer.

Always ask if there is a box rental if not offered and you will be using your own equipment. Many producers (I have worked on shows with these kind of producers) see it as giving free money away. That by hiring you, they are hiring your tools for you to do the job they are paying you for.

Please remember box rental agreements are not for rental package of your equipment. It's not a box or kit, it's a package. It's not a drill, tape measure, laptop, or cell phone.

Read the box rental form carefully.

When you sign the box rental agreement, there's a clause that states that production is not liable for damage to your gear. The difference can be huge between a box rental and package rental. Some producers will hope you sign the box rental for $50 dollars a week with no reimbursement for damaged or stolen equipment. Example: Your package rental could be a rental of $3000.00 dollars for the run of the show with full insurance. Plus the box rental of $50 dollars a week for your computer or combined in your package rental. With your package rental we are not talking about your cell phone or computer. But sound, camera, video equipment etc.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Nicholas Persac, The Guardian, Jones on art, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Crew Box Kit Rental Form / Photo - Form Credit: Bruce Bisbey ADC

Friday, January 25, 2019

WHAT IS AN ART DEPARTMENT DRAWING DISTRIBUTION LEDGER? (In the Entertainment industry.)

Art Department Drawing Distribution Ledger / Photo-Ledger Credit: Bruce Bisbey ADC

WHAT IS AN ART DEPARTMENT DRAWING DISTRIBUTION LEDGER? (In the Entertainment industry.)

WHAT IS AN ART DEPARTMENT DRAWING DISTRIBUTION LEDGER?

An Art Department drawing distribution ledger is the distribution list for the drawing plans. It is used to show who has received up-coming set designs, revisions to existing plans, reference and quick access for all parties on the list. It also shows and makes sure all interested parties have received the latest and greatest revisions, which be numerous. The template on this page, I created for Production Designer Jon Gary Steele. I had the honor to be his Art Department Coordinator on numerous shows. I used this template on all the feature films, TV and documentaries I have worked on. We would create a drawing plan excel list and distribute the list to the production designer, art directors, set designers and Ads for quick access, reference and revisions.

Information on the distribution list: 
  • Set Number…
  • Set Name…
  • Sheet Number…
  • Drawing Title… 
Designation for the drawing distribution:

P=Preliminary Drawing
R=Released (finalized and released for use)
RV=Revision (Make sure all parties have any revised plans)

Example of Department and individuals on the Distribution List: 
  • Construction Coordinator…
  • Carpenters…
  • Paint or Scenic…
  • Art Department…
  • Set Dec…
  • Director of Photography…
  • Gaffer…
  • Grip…
  • Director…
  • Greens…
  • Props…
  • ADs…
  • Others…
  • Distributed By Initials… 
This seemingly small task is huge and so important. The cost factors for a mistake or the wrong plans distributed or not received can cost from thousands to millions of dollars.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Nicholas Persac, The Guardian, Jones on art, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Art Department Drawing Distribution Ledger / Photo-Ledger Credit: Bruce Bisbey ADC

Thursday, January 24, 2019

WHAT IS AN ART DEPARTMENT DRAWING PLAN LABEL? (In the Entertainment industry.)

Art Department Drawing Plans Label / Photo-Plan Credit: Bruce Bisbey ADC

WHAT IS AN ART DEPARTMENT DRAWING PLAN LABEL? (In the Entertainment industry.)

WHAT IS AN ART DEPARTMENT DRAWING PLAN LABEL?      

An Art Department drawing plan label is attached to set plans, schematics and other design work to identify what the drawing plan it was created for. The template on this page, I created with Production Designer Jon Gary Steele. I had the honor to be his Art Department Coordinator on numerous shows. I used this template on all the feature films, TV and documentaries I have worked on. I would create a drawing plan excel list and distribute the list to the production designer, art directors, set designers and Ads for quick access, reference and revisions.


Identifying some of the following: 
  • Show Name…
  • Production Company…
  • Photo of the set or location…
  • Director…
  • Producers…
  • Production Designer…
  • Supervising Art Director…
  • Art Director…
  • Set Designer…
  • Art Department Coordinator…
  • Set Name…
  • Set Number…
  • Drawing Description…
  • Date Drawn…
  • Drawn By…
  • Scale…
  • Shoot Date…
  • Location…
  • Revisions…
  • Sheet Number… 
I usually used a sticky peeling off backing for quick sticking and placement on the front or back of the drawing. Unless the drawing was updated/changed on the drawing itself. We would just add the updated drawing with the updated label to the drawing plans drawers.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Nicholas Persac, The Guardian, Jones on art, Studio Binder, Film Tool Kit, Still Motion, Fred Ginsburg, Film Under Ground,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Art Department Drawing Plans Label / Photo-Plan Credit: Bruce Bisbey ADC

WHAT IS A SCRIPT BREAKDOWN SHEET? (In the Entertainment industry.)

Script Breakdown Sheet / Photo Credit: StudioBinder

WHAT IS A SCRIPT BREAKDOWN SHEET? (In the Entertainment industry.)


WHAT IS A SCRIPT BREAKDOWN SHEET?    

In film and television, a script breakdown is an analysis of a screenplay in which all of the production elements are reduced into lists. Within these lists, are in essence the foundation of creating a production board, which is fundamental in creating a production schedule and production budget of an entire production of any film or television program in pre-production. This process is a very tedious and complex task, and is usually the responsibility of the Assistant Director or first or 1AD within the production staff of any given production company. However, many film directors, film producers and screenwriters have knowledge of breaking down a script.

A script breakdown is an important filmmaking process that allows you to identify all the script elements needed to prep, schedule, and budget a film production. A breakdown happens at a scene level. The person tasked with the job will create scene breakdown after scene breakdown until a full, start-to-finish script breakdown is completed. This will be used to determine technical and creative requirements for each department.

In particular, literally breaking down the script is a very a thorough and detailed creative analysis of dramatic action in filmmaking, highlighting the reciprocal struggle, theme, and design elements of a screenplay. Which is to code the entire cast, extras, props, special effects, stunts, wranglers, picture cars, wardrobe, make-up and hair stylists, special equipment and or cameras, ADR, Foley, film scores and soundtracks etc., which are all broken-down with different colored marker highlights within a shooting script.

A script breakdown element is an object, person, or process that is identified when creating a scene breakdown, such as: 
  • Cast / Characters…
  • Extras…
  • Props…
  • Set Dressing…
  • Costumes…
  • Makeup…
  • Vehicles….
  • Stunts…
  • Special Effects or VFX…
  • Animals…
  • Sound…
  • Music…
  • Special Equipment… 
After which, these highlights are then organized and broken-down into strips to organize the production schedule within the actual physical production board. This process is more easily done nowadays utilizing a computer than done manually, with features inside Final Draft called tagger, or utilizing tagging mode inside Movie Magic Screenwriter, another effective computer program. This information can easily be imported over to Movie Magic Scheduling to create a digital production board, and then easily imported over to Movie Magic Budgeting to create the entire production budget. Most of the script and production computer software out there comes in both Microsoft and MacOS versions, and even though there is competing software on the market, these which are listed are considered to be an entertainment industry standard. This whole process of the script breakdown however is not to be confused with character breakdowns utilized with casting calls, this is an entire different process with similar names, however administered by two entirely separate departments.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Nicholas Persac, The Guardian, Jones on art, Studio Binder, Film Tool Kit, Still Motion, Fred Ginsburg, Film Under Ground,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Script Breakdown Sheet / Photo Credit: StudioBinder

HOW DOES MILEAGE REIMBURSEMENT WORK? (In the Entertainment industry.)

Mileage Reimbursement / Photo Credit: Bruce Bisbey - Dumb Dog Productions

HOW DOES MILEAGE REIMBURSEMENT WORK? (In the Entertainment industry.)


HOW DOES MILEAGE REIMBURSEMENT WORK?    

Each year, in the US the IRS sets a standard mileage reimbursement rate so that contractors, employees, and employers can use them for tax purposes. This rate applies to both cars and trucks and fluctuates year by year.

Paying your team back for driving can drive anyone crazy. Well, hit the brakes on your confusion. In this overview, we’ll explain all the twists and turns of mileage reimbursement so you can decide what to do for your employees as they zip around town.

Most companies and countries use a set business rate as their holy grail while crafting their travel reimbursement policies. Do you have to follow these rates exactly? Not quite, but we’ll explain more below.

Do you have to reimburse my employees for driving their cars? 
  • Possibly. You may be required to, depending on which state you live in and whether your team earns minimum wage…
  • It can help you on the tax side, since reimbursements are a deductible business expense…
  • It can also help keep your team happy, since they know they won’t have to dig into their own pockets for work expenses. Employee retention for the win…
  • You can only reimburse your employees when they drive to and from specific work duties. That means commutes are not a part of this equation… 

What does mileage reimbursement cover?
You might be wondering where the rate amount came from. Does mileage reimbursement include gas? Does it include maintenance? The rate is based on fixed and variable costs of operating a vehicle.

Travel to a Location:
Overtime caused by travel time is computed at a rate of  time-and-one-half.

The mileage reimbursement rate for employees may include: 
  • Gas…
  • Standard maintenance…
  • Insurance…
  • Registration fees…
  • Depreciation… 

How does mileage reimbursement work?
Employees must keep track of the mileage they drive for business. They might keep a pen and paper in their cars for recordkeeping.

Most businesses and shows give employees mileage reimbursement forms. These forms might ask employees the following information about their business-related drive: 
  • Date…
  • Business purpose…
  • Origin…
  • Destination…
  • Miles travelled…
  • Total miles… 

Typically, the forms have many lines so that employees can enter multiple trips. This means the employee doesn’t need to fill out a form per business-related trip. And, the employee receives a lump sum instead of small payments. Some employees submit the form once every few months or once a year.

You can decide when employees turn their forms into you. Create a mileage reimbursement policy, and include it in your employee handbook. You should talk about deadlines, qualifications, and exemptions in your mileage reimbursement rules.

HOW TO CALCULATE MILEAGE REIMBURSEMENT.
It’s relatively simple to calculate mileage reimbursement. Multiply the number of business miles driven by the reimbursement rate. Something like a mileage-tracking app will help you keep track of your drives.

If you drove 1,000 miles and get reimbursed .50 cents per mile, your reimbursement would be $500 (1,000 X .50 = 500). By the way, this simple formula can be tweaked based on your driving and rate of reimbursement.

How do I reimburse your team?
If you’re paying back your team, you can use expense-tracking software to pay folks every few weeks or months at the rate you choose. Set a rate, have employees enter their mileage, and calculate how much you owe them. You can then reimburse them through your payroll software. Remember, if you don’t reimburse mileage, employees can deduct it from their gross income on their taxes.

And there you have it—your playbook for mileage reimbursement. With this guide in your (mental) dashboard, you’ll be able to pay back your team, stay compliant, and keep your company moving and grooving.

Benefits of providing mileage reimbursement
Offering mileage reimbursement to employees has many benefits. You can increase employee satisfaction and even receive a tax deduction when you reimburse employees for mileage.

Mileage reimbursement is a great perk for employees. Employees who are reimbursed for their mileage will be more willing to make business-related errands. And, employees will feel fairly compensated. They don’t need to worry about accrued mileage costs when you reimburse them. If you do not reimburse employees, they might be disgruntled, which could affect employee engagement.

Current SAG-AFTRA rates (check for current rates)

Travel to an Overnight Location (no services rendered on Day of Departure):

Day Performers:
When traveling to or from the location on a day when no services are rendered, the performer shall be paid for a full day.

Weekly Performers:
There are exceptions applicable to some weekly performers. Please contact a SAG-AFTRA business representative for specific questions.

Flight Insurance:
The Producer must provide coverage of not less than $100,000 for travel by commercial airlines and $250,000 for travel by helicopter. If the producer is unable to provide such coverage, he or she is required to reimburse the performer in full the purchase price of such insurance after showing proof of purchase by the performer.

If you have a specific question about mileage reimbursement and travel or need further information, please contact a business representative at your SAG-AFTRA local office.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Nicholas Persac, The Guardian, Jones on art, Studio Binder, Film Tool Kit, Still Motion, Fred Ginsburg, Film Under Ground,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.




Mileage Reimbursement / Photo Credit: Bruce Bisbey - Dumb Dog Productions

Tuesday, January 22, 2019

WHAT IS A CREW DEAL MEMO? (In the Entertainment industry.)

Freelance Crew Deal Memo / Photo Credit: Studio Binder

WHAT IS A CREW DEAL MEMO? (In the Entertainment industry.)

WHAT IS A CREW DEAL MEMO?    

Deal memos or crew contracts are the documents you're asked to sign before a shoot. They are usually created up by the production company and form the official agreement between you and those hiring you. In short, a deal memo is a contract of terms between you and whomever holds the money on the shoot.

Do not be afraid of a deal memo, it is standard…but read it, ask questions if you have a concern. It is a legal document and protects your right as well as the Production Company/Studio. A Deal Memo is the employment agreement that states what you are being hired to do; what you will be paid; terms of employment; and misc. details. Employment on union shows is not so risky, since there are strict guidelines for the producers to follow, along with the recourse of union intervention if crew members are mistreated.

Make sure that the wording is specific and relevant! Do not be afraid to cross out paragraphs left over from the actors' contracts.

The memo should clearly state who the employer is. If it is a bona fide, long-standing production company—that is okay. But if the name of the production company is the name of the film, expect the production office to shut down forever on the last day of shooting! Get the real name of the producer, including actual address (verify it) and social security number. If the producer refuses his/her real name or address, be wary!

The memo should have your name on it, of course. It should detail your job function on the set, such as Production Sound Mixer, Boom Operator, etc. That way you do not end up hauling lumber around.

EXAMPLE: Please note that is deal memo is a template only.  It should not be construed as legal advice and Producer to Producer is not responsible for its usage in any way whatsoever.

FREELANCE CREW DEAL MEMO

PRODUCTION COMPANY: ____________________________________________                                                                                                                                                     
FILM TITLE: _________________________________________                                                                                                                                                                          
START DATE: ______________    POSITION: _______________                                                     

FREELANCE CONTRACTOR NAME: ________________________________________                                                                                                                     
ADDRESS: _____________________________________________ 
                                               
PHONE: Mobile: ________________________   Email: _________________________ 

***********************
(Items below to be completed by production company only)

COMPENSATION:                                                per                                      day
               
SCREEN CREDIT: __________________________________________                                                                                                                                                              
OTHER TERMS:  _____________________________________________________________                                                                                                                            
TERMS AND CONDITIONS OF EMPLOYMENT

This Deal Memo shall confirm the agreement between the above-named freelance contractor (“Contractor”) and                                      (“Production Company”), in connection with the Film presently entitled “                        ” (“Film”).  For good and valuable consideration, the receipt of which is hereby acknowledged, Production Company and Contractor agree as follows:

SERVICES:  Contractor shall render services hereunder from the Start Date, which are usual and customary of the services required of a person employed in this capacity in the film industry, and shall render such services exclusively to Production Company thereafter through the completion of Contractor’s services as determined by Production Company.  Contractor’s services in the position stated above shall be rendered to the best of Contractor’s ability and as Production Company directs in its sole discretion, including, without limitation, all matters of taste and judgment.

RENTALS: Contractor’s kit rental and equipment is the sole responsibility of Contractor.  Production Company assumes no responsibility for Contractor’s kit/equipment.  Any rentals from Contractor must be approved by Company and must be documented at the time of hire with a rental agreement.

PAYMENT:  Production services fees shall be paid to Contractor within 30 days after Production Company’s receipt of Contractor’s invoice.  Pay date may be delayed by reason of an intervening federal or state holiday.  Employee shall not receive any overtime, turnaround or other hourly payments.  Paid work on a day off or a holiday must be approved in advance by Production Company and will be paid at the normal rate provided for by this Deal Memo.


CAR INSURANCE:  Contractor shall be covered under State’s Worker’s Compensation policy during the period Contractor renders services pursuant hereto.  Contractor is responsible for liability and collision insurance and deductibles on her/his personal vehicle used in conjunction with their employment. 

ALCOHOL/DRUGS: Use of alcohol or drugs during hours of employment will result in Contractor's immediate termination.

PURCHASES: All purchases, rentals and other expenses incurred by Contractor must be approved in advance by Production Company’s Producer or Production Manager.  A purchase order or check request is needed for all rentals or non-cash purchases.  All purchase orders or check requests must be approved by the Producer or Production Manager.

PETTY CASH: If Contractor is given a petty cash float, Contractor is responsible for returning receipts, remaining cash, or a combination thereof upon completion of the job.  Contractor authorizes Production Company to deduct from Contractor’s final payroll check any outstanding balance in Contractor’s petty cash advance fund and any costs of repair or replacement of any equipment assigned to Contractor accrued as a result of Contractor’s negligence.

PRODUCTION COMPANY EQUIPMENT: If Contractor is assigned a walkie-talkie, cell phone, or any other equipment, Contractor shall be responsible for returning same to Production Company in good working order. 

SCREEN CREDIT: Unless otherwise specified in this deal memo, screen credit is at Production Company's discretion subject to Contractor's performance of all services required through completion of term.

TERM: Unless expressly provided elsewhere in this agreement, Contractor's employment hereunder shall not be for a "run of the show" or for any guaranteed period of employment.  Production Company reserves the right to discharge Contractor at any time, subject only to the obligation to pay the balance of any guaranteed compensation due provided that Contractor is not in material breach of its obligations hereunder. Production Company will attempt to notify Contractor a minimum of twenty four (24) hours in advance of layoff.  Use of alcohol or drugs during hours of employment will result in Contractor's immediate termination. This agreement is subject to immediate suspension and/or termination (at Production's election) without further obligation on the part of Production Company in the event of any incapacity or default of Contractor or in the case of any suspension, postponement or interference with the Film’s production by reason of labor controversy, strike, earthquake, act of God, governmental action, regulation, or decree or for any other customary force majeure reason. The expiration or termination of this Deal Memo shall not affect the ownership by Company of the rights granted herein.

NO WAIVER:  The terms and conditions of this deal memo are binding for Production Company and Contractor and shall not be waived or altered by any method.  Any added conditions on the front of this deal memo inconsistent with these conditions of production services shall be null and void.

WORK FOR HIRE:  Production Company shall be the owner of all of the results and proceeds of Contractor's services, including any copyright, trademark and any other intellectual property rights in any work or property created by Contractor, or anyone under Contractor's direction. Contractor acknowledges that Contractor's work is a "work made for hire" within the scope of Contractor's work, and therefore Production Company shall be the author and copyright owner of any work created under this agreement. In the event that any of proceeds of Contractor's work are not considered a work for hire, then Contractor's copyright to such work is hereby assigned to Production Company. Contractor expressly waives any rights of droit moral that may be afforded Contractor under the laws of any country in connection with the Film.  If Contractor shall hereafter be deemed to own any rights in or to the Contractor, Contractor hereby assigns such rights to Company and further agrees to execute any documents required by Company to effectuate such intent.

AVAILABILITY:  Contractor will advise Production Company of Contractor's whereabouts so that Contractor may be reached at any reasonable hour of the night or day during the term of this deal memo.

PUBLICITY:  Company shall have the right to use Contractor's name, voice, picture and likeness in connection with the Film, the advertising and publicizing thereof, and any promotional films or clips respecting the Film without additional compensation therefore. Contractor shall not directly or indirectly circulate, publish or otherwise disseminate any news story, article, book, blog or other publicity concerning the Film, the Contractor's or others' services, without Production Company's prior written consent.  Admittance of any non-contracted guests to the set is at the sole discretion of the Production Company.

ARBITRATION:  This Agreement shall be interpreted in accordance with the laws of the State of _________________, applicable to agreements executed and to be wholly performed therein.  Any controversy or claim arising out of or in relation to this Agreement or the validity, construction or performance of this Agreement, or the breach thereof, shall be resolved by arbitration in accordance with the rules and procedures of ________, as said rules may be amended from time to time with rights of discovery if requested by the arbitrator.  Such rules and procedures are incorporated and made a part of this Agreement by reference.  If _________ shall refuse to accept jurisdiction of such dispute, then the parties agree to arbitrate such matter before and in accordance with the rules of the American Arbitration Association under its jurisdiction in ________________ before a single arbitrator familiar with entertainment law.  The parties shall have the right to engage in pre-hearing discovery in connection with such arbitration proceedings.  The parties agree hereto that they will abide by and perform any award rendered in any arbitration conducted pursuant hereto, that any court having jurisdiction thereof may issue a judgment based upon such award and that the prevailing party in such arbitration and/or confirmation proceeding shall be entitled to recover its reasonable attorneys' fees and expenses. The arbitration will be held in _______________ and any award shall be final, binding and non-appealable.  The Parties agree to accept service of process in accordance with the _________ Rules.

ENTIRE AGREEMENT:  This deal memo sets forth the entire understanding of the parties regarding the subject matter and may not be amended except by a written instrument signed by the parties.  Any added conditions on the front of this deal memo inconsistent with the conditions of employment detailed in the body of this agreement shall be null and void.

NO OBLIGATION TO PRODUCE:  Production Company will not be obligated to produce or release the Film, or to use the results of Contractor’s services. 

ASSIGNMENT:  Production Company shall have the right to transfer or assign its rights and obligations pursuant to this deal memo to any other person, firm, or corporation, and upon such assignment shall be relieved of its obligation to Contractor.

HOLD HARMLESS:  Contractor shall indemnify and hold Production Company harmless from and against any and all loss, claim, liability, judgment, cost or expense suffered by Production Company for any breach or default of this Deal Memo by Contractor.

CONTRACTOR ACCEPTS ALL CONDITIONS OF PRODUCTION SERVICES WORK AS DESCRIBED ABOVE

AGREED TO AND ACCEPTED: __________________________________
                                                                                                                                
Date: _____________   
                                             
CONTRACTOR ______________________________________
                                                                                                                                
Date: _____________         
                                       
PRODUCTION COMPANY _____________________________________________

Salary.
How much are you being paid? For what period of time: hourly, daily, or weekly? Define that period of time, such as an 8-hour workday, excluding an off-the-clock lunch break of not less than 30 minutes but not more than one hour. Or perhaps a 10 hour workday, or even a 12 hour day.

When will you get paid?
State laws usually require paychecks not more than 7 days after the pay period, but check your local laws. Most crews like to be paid on a weekly basis, beginning not more than 7 days from the first day of work. Do not accept any deal where you won't be paid until the end of a lengthy shoot; that is a sure sign that the producer does not have any funds!

Do not be nice about not getting paid.
If you were promised a paycheck on Friday, and that check is not there, then make it very clear that it had better be there by the next morning. Holding back your roll of dailies can help make the point; even if it means accidently turning in a blank roll... oops. And if the check still is not there the following morning, well, time to take evasive action. Leave the set, and make sure to take your equipment with you!

Overtime
Overtime traditionally means at least time and a half for any hours beyond 8 per day, 40 per week, or seventh consecutive workday. In the movie biz, these rules often get bent. Figure in your basic overtime to your rate when you agree to (or define) a long working day, or weekly rate. Your deal memo should state that you expect overtime compensation for all time beyond your basic 8, 10, or 12 hour day; as well as for weeks extending longer than the defined week.

Producers will counter with the statement that no one is getting paid overtime because no day will go overtime! To that, I point out, if we do not go into overtime—then you will not have to pay me overtime. But if you do not agree to pay me overtime when the day goes into overtime, then I will simply pack up and go home at the end of my shift and the rest of the crew can shoot M.O.S. (Of course, I never leave my equipment behind for someone else to use!)

The deal memo should cover areas such as meals (who pays?), travel expenses, gas, tolls, parking.

Travel days should be compensated, at least partially.

Airfare should be prepaid, and round-trip tickets are given to each crew member before departure. Make sure you have a return ticket in your possession, just in case the production falls apart while you are on distant location.

Hotel accommodations are to be of reasonable quality (clean, no bugs) and private room/bath. No dorms or sharing of facilities. You are entitled to your privacy and rest. Rooms should be prepaid or secured with the Producer's credit card; never your own.

Are you an employee or an independent contractor?
Low budget producers will often try to entice you into being an Independent Contractor so that you will not have taxes deducted from your meager paychecks. But the IRS does not consider you to be an Independent Contractor unless you are working independently of the crew, such as an Editor in their own offices. If you work under the direct supervision of the production company, then you are not independent. If you use your own equipment or facilities, determine your own hours, choose your own locations & working conditions—then you may qualify as an Independent Contractor.

But the biggest problem that you face as an Independent Contractor is not taxes, but insurance coverage. What happens if you get sick or injured on the set? What if disaster strikes your equipment? Independent Contractors are self-insured. Employees are covered by Workman's Comp and Liability provided by the Producer.

Equipment and expendables
Is the producer renting an equipment package from you and paying you weekly for it? Is the equipment totally your own, or is it from a rental house? Whose account is it under, yours or the producers? Who is providing insurance coverage against loss or damage? Is the company purchasing expendables and providing them to you, or are you bringing the expendables and billing the company on an as-used basis?

If you are engaged to act as a middleman in arranging for equipment, make sure that the rental house understands that you are acting on behalf of the producer and not for yourself. They may be willing to entrust their gear to the producer because they trust YOU, but then they will want to hold you RESPONSIBLE. Make it clear that they must be comfortable with the producer's credit app and insurance, and that you are not personally vouching for your client.

By the way, never put up front money or your credit card to cover company bulk purchases. If you have to front for expendables, then they belong to you until the company reimburses you, at a profit!

Term of employment
The deal memo should state the start and completion dates of the project. Are you being hired for the duration of the show, weekly, or on a day-to-day hire? How many days prior to the start date does the production company need to notify you in the event of postponement or cancellation? After all, you are turning away other work being offered to you because the producer has booked you! Will you be compensated for delays? What about compensation for prep days, location scouting, and travel days?

Deferred Salary.
Read free. Do not seriously expect to be paid any real money after the picture is completed and "sold". You have better odds of winning the lottery! Whatever compensation you are going to get, you will receive at the end of each shooting week. After that, forget it.

So make sure you that you are willing to settle for whatever is offered to you up front.

But if you feel lucky, and decide to gamble on a Deferred deal, then play it for as much as you can get. Do not defer straight salary; if you have to wait and gamble, then it should be for at least double or triple your normal rate. Expendables, expenses, and equipment rental are not deferrable!!

Priority of deferred payment.
Your deal should state that you get paid as quickly as anyone else. Investors who put up cash should not be paid off any sooner than professionals who put up their time and skill. Your services are equal to cash, since the producer would otherwise have to PAY for them.

The few times that I have had to accept a partially deferred deal, I have added a clause stating that all of the soundtracks that I record are my property and copyright until my contract is paid off in full—only at that time will the ownership and rights to the sound recordings revert to the producer. The producer is prohibited from entering into any agreement with any outside party that constitutes sale or transfer of ownership of the sound recordings until my contract is paid in full. That prevents a producer from legally selling off the film to a distributor, and then claiming that the amount of the sale was insufficient to pay off the deferred debt. The distributors purchasing the rights to the film always claim that any deferred contracts are between the crew and the producer.

I also record a copyright claim at the head of every tape.

Ownership of the sound recordings serves as mechanic's lien and may give you a little more leverage to insure payment. But don't count on it. Lawyers usually only take your case if really big money is involved.

Most importantly in your deal memo, pay attention to who signs it. An approval by a production assistant is not considered binding by the producer. It must be signed by the producer if deferred payments are involved. The producer or a senior production manager must sign any deal memo. Make sure that the production manager is, in fact, empowered to make the deal.

The issue of deal memos is a complicated one, and this article should not be used in lieu of consulting with an attorney. Many fine line legal issues are involved, and the laws vary widely from state to state.

Be careful in what you sign and what you agree to! Make sure that the deal memo covers not just what the producer expects from you, but what you expect from the producer! The more specific, the better. If you are not using the services of a lawyer, then write everything out in plain, common day English. A judge is more likely to rule in your favor if the intent of the agreement is clear, even if it is not in legalese. When your agreement starts sounding like it was written by a lawyer, then legal loopholes are more likely to be applied.

Always get a signed copy of the agreement, including initialed pages and initialed cross-outs. Better yet, ask to take an unsigned copy of the deal memo home for a couple of days to look over. Explain that you never sign any contract without consulting with your lawyer. Even if you do not have a lawyer, that will give you a chance to show the agreement to a couple of seasoned professionals who might spot something fishy or badly misworded.

Do not be afraid of a deal memo, it is standard…but read it, ask questions if you have a concern. It is a legal document and protects your right as well as the Production Company/Studio.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Nicholas Persac, The Guardian, Jones on art, Studio Binder, Film Tool Kit, Still Motion, Fred Ginsburg,
Film Under Ground,

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Freelance Crew Deal Memo / Photo Credit: Studio Binder

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