The Film Industry Project Diane Rivera Estella
Introduc:on to Digital Cinematography 01.11.2015
Introduc:on-‐ The Producer’s Business Handbook
• This book is a well explained guide for producers, in which all the components, trends and elements of what is to be a successful producer are men:oned in full detail.
Chapter 1: How the Mo/on Picture Func/ons
• Each category is successful because they have a perspec:ve of how the whole industry operates and keeping that in mind they are con:nuously improving their posi:on inside of it.
10 Mo/on Picture Industry Par/cipants with whom the producer have interrela/onships • Audience • Distributors • Producers • Retailers and licensed media • Interna:onal territories • Financing par:cipants • Distributor subcontractors • Produc:on talent and
subcontractors • Ancillary media and licensees • Major consumer brands
Chapter 2: U.S. Theatrical Distributors The Studio Distributors: The Majors They are well evolved self contained en::es. United States is the country where the people spent more money going to the movies than any other country in the world. Three tradi/onal rela/onship categories engage with independent producers: • In-‐ house studio produc:on • Nega:ve pickup • Distribu:on agreement Major studio distributors are the greatest advocates of independent producers.
Chapter 3: Interna/onal Territories There are eight big film markets that their audiences spend more on mo/on picture entertainment than any other territories. Those are: • United States • Japan • United Kingdom • France • Germany • Spain • Australia • Italy
Chapter 4: Internet Marke/ng and DIY Distribu/on The internet has revolu/onized the marke/ng, distribu/on and consump/on of film entertainment. Some of the op/ons for distribu/on are: • Digi/zed Content • Social Media Marke/ng • Mul/plaOorm Marke/ng These op:ons are beneficial for the producers and many advantages can be taken by u:lizing those strategies
Chapter 5: Ancillary Windows, Rights, and Products There are four major ancillary windows: • Home entertainment • Premium cable • Network television • Cable/Syndicated television
Producers rely on ancillary earnings they rarely forecast profits from the theatrical distribu/on of their pictures.
Chapter 6: Mo/on Picture Financing A group of banks specialized in financing Films is dedicated to give the opportunity to whom shine between many others presen/ng their pitch ideas. Those banks evaluate their customers using different criteria, a different way to evaluate not using the conven/onal process.
Chapter 7: Produc/on Incen/ves Produc/on incen/ves are a key of almost any film produc/on made in the U.S. Governmental support have become an important feature in film produc/on. Government bring incen/ves in order to collaborate to the economy growth.
Chapter 8: Comple/on Guarantors The Comple:on Guarantor ensures that the mo:on film is going to be completed on :me.
Chapter 9: AZorneys, Nego/a/ons, and Entertainment Law This group brings legal services to the entertainment industry. The aXorney is involved in most aspects of a producer’s work.
Chapter 10: Talent, Agents, and Agencies Great mo:on pictures are created by a team of ar:sts who contribute with their talent to the crea:on of a masterpiece. Agents and agencies are the intermediaries between the producer and the talent. The rela:onship between the producer and the ar:st is s:ll personal.
Chapter 11: Development, Produc/on, and Producing Company Structures The purpose of company structure is to do the following: • Provide the business en:ty with a
legal iden:ty recognized by the government.
• Establish an independent, tangible, tradable, business presence with the capacity to increase in value.
• Deliver company owners increased business/trading capaci:es, legal protec:on, and expanded taxa:on op:ons.
Chapter 12: Development Financing Development Funding Sources: • The produc:on company • A studio • Private investors • Co-‐produc:on rela:onships • Government agencies
Producers needs to plan their film in every aspect of it an this is in order to keep advancing in a confident and steady pace. This development need to con/nue through the produc/on and distribu/on.
Chapter 13: The Team Internal and external players who are advisory and opera:ng teams of the produc:on and development opera:ons. Advisory Team • Entertainment Bank Execu:ve • Entertainment AXorney • PR/Adver:sing Execu:ve • Distribu:on or Interna:onal Sales
Execu:ve • Physical Produc:on Specialist • Comple:on Bond Exacu:ve • Entertainment Accountant Producer • Development VP • Global Sales VP • PR/Adver:sing VP • Business Affairs VP • Finance VP
Chapter 14: Produc/on Company Opera/on “As dexterity increases, so does confidence. As this occurs, one has a natural tendency, especially under pressure(and producers operates under extreme condi:ons), to cut opera:ng corners and increase corners opera:ng speed”.
Chapter 15: The Producer’s Business All the areas that are components of a film process are supervised by the producer. Those areas are: • Mul:ple Picture Management • Time and budget economies • Distributor Rela:onships • Agents • Banks and comple:on guarantors • Sales Events • Establishing the produc:on company
presence • Sustaining business, ar:s:c, and
personal objec:ve balance • Managing library pictures • Theatrical Re-‐release • Advancing team vitality and allegiance • Chapter Postscript
Chapter 16: Reports, Data, and Producer’s Principles Producer Success Principles • Story. Producing a quality story • Target audiences • Balance • Talent • Global distribu:on • Development • Financing • Entertainment Law • Produc:on Company Team • Living a full life
Resources-‐ I do not claim ownership of any images in this presenta:on
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