OUR MEDIA PRODUCT - PEAR PRESSURE
Our media product
is a short film created for an international competition called DEPICT. DEPICT challenges
low-budget filmmakers to create a 90 second ultra-short masterpiece and focuses
on “uncovering emerging international filmmaking talent, which shows
originality, imagination and the ability to engage in just a minute and a half.”
On the website
We were put into small groups of three
and brainstormed any ideas that we had through mind mapping and recording our initial
thoughts, while simultaneously keeping in mind that we only had 90 seconds to
portray our story.
There are four different stages that
must be completed to create a successful media product. These are:
- Pre-production,
- Production,
- Post-Production,
- Distribution,
Pre-production
Once the story was agreed, we created pre-production documents that were vital
to the creation of our production. These
included -
- A budget, to make sure we did not overspend,
- Location release and recce to make sure we were filming in a location perfect for us,
- A minutes document to document everything we had done, what was left to do and what needed to be completed and when,
- A production schedule to make sure everything got filmed and all shots had been completed,
- Emailing the Police to let them know what dates we would be filming in public to ensure the safety of the general public as well as the cast and crew,
- Risk assessments to keep cast and crew safe,
- A script to ensure everyone knew what to say and do while being filmed,
- A shot list to break the script into practical segments,
- Storyboards to give a visual aid to how the film would look during its early pre-production setting,
- Talent releases to help find any actors we needed and have them sign any needed documents
Production
Production involved using our pre-production documents to complete the practical work involved in filming our 90 second video. We used the college’s equipment of cameras, light stands, tripods and audio recording devices.
Post-Production
Post-production included editing audio
and the videos together, adding effects and transitions, creating animations
using a character animator and adding special effects by keying in green
screens.
Distribution
When all the footage had been recorded
and edited to a standard acceptable to the whole group, the film was
distributed by the video platform YouTube.
We chose to distribute our short film on YouTube as it is free to use and easy
to navigate, as well as being the most popular video sharing platform. We could
also edit the settings so that only people to the link to the video could see
it.
TYPES OF MOVING IMAGE PRODUCTION:
A short film is just one example of a type of moving image media product. Other examples include films, TV series, standalone programmes, animations, web series, music videos and adverts.
Moving image media products can be viewed on a variety of different platforms, including at the cinema, on a TV (live broadcast or via a steaming service) and on the internet via a computer or mobile device.
Feature Films
The
Academy of Motion Picture Arts and Sciences
(also known as the Oscars), the American Film Institute and the British Film
Institute state that a feature film runs for
more than 40 minutes, however the Screen Actors Guild asserts that a feature's running time is 60
minutes or longer.
A feature film is defined as “a film
that is made to be shown cinematically, versus those made for television.”
An example of a successful feature film is Kingsman: The Secret Service (2014, Mathew Vaughn) which has a total run time of 2h 10m. This feature film was successful as it took $414.4 million worldwide, had a 7.7/10 rating on IMDb and a 75% rating on Rotten Tomatoes, created an array of supporters begging for a sequel and won the Empire Award for Best British Film in 2015.
A famously unsuccessful feature film
is Cats (2019, Tom Hooper), which has a total run time of 1h 50. The
film grossed $75 million on a budget of $80–100 million and is estimated to
have lost Universal Pictures at least $114 million.
Films are distributed in a variety of
different ways, including in cinemas, via streaming websites and by DVD/Blu-ray.
As more people now have access to the internet via phones, personal computers
and smart TVs, online streaming services have become the most popular way to
distribute feature films, with platforms such as Amazon Prime,
Netflix, and Disney+ taking the majority of the market.
Due to advances in technology and
finding easier ways to distribute material (such as online streaming), fewer and
fewer DVDs are being created for films. This has meant that TVs, computers, and
laptops are now often built without a CD or DVD player due to them becoming obsolete,
so this trend is likely to continue.
Another way of distributing feature films is through cinemas such as ODEON or
VUE. These will buy the right to display the film in their cinema and sell
tickets to return a profit. Due to the pandemic, there has been a massive drop
of the number of people attending cinemas. Film companies have been left with
no choice but to release their films on streaming websites in order to ensure
they gain a profit. This happened recently with the delayed release of ‘Trolls: World Tour’. Bypassing the cinema and going straight to digital release angered AMC theatres, who subsequently announced that they would not show any more films made by Universal Pictures. This, and the $100 million made in digital sales in the first three weeks (GAUDIO, 2022) may encourage more production companies to bypass the cinema platform in future and go straight to streaming platforms.
TV Series
A TV series is defined as “A group of
programs created or adapted for television broadcast with a common series
title”
The BBC is obliged to publish where they have spent their money throughout the year as their money is raised from taxpayers who have a right to know.
The BBC television soap series Eastenders
costs roughly £141,000 per episode. Approximately one third of that budget goes
on actors and writers’ wages.
ITV’s costs are more difficult to determine
as they do not legally have to publish what they have spent during the year. It
is estimated that Coronation Street has a comparable budget close to
£125,000 per episode.
An example of an unsuccessful televisions
series is Too Hot to Handle. This series flopped before it was first
aired with viewers complaining of it being too similar to Love Island
and didn’t want to watch the series having seen the promotional adverts.
As the name suggests, the primary
distribution for a TV series is usually on a television network, then subscription-based
online streaming services such as Netflix,
Amazon Prime,
Hulu
or BritBox.
Splitting a series into many episodes on TV gives more opportunities to earn
money from commercial breaks and sponsors from the show, as well as advertising
and cross-promotion on the network’s own streaming services such as ITV Player,
All 4 and BBC iPlayer.
Online subscription-based streaming services are a secondary option as they are
less likely to bring in as much money. Anyone who missed an episode will feel
obliged to pay to watch the episode to catch up on what they missed.
Standalone
programme
Another type of moving image
production is a standalone programme. Examples of a standalone programme include
a royal wedding, a party-political broadcast or a significant news event such
as Neil Armstrong landing on the moon.
These standalone events can either be pre-planned, such as July 1981, when an
estimated 28million watched Prince Charles marry Lady Diana Spencer, or
unplanned such as the Manchester bombing on 22 May 2017, where scheduled programmes
such as Loose Women and This Morning were cancelled to bring
coverage of the devastating news.
Standalone programmes are usually only
distributed through live TV as there is a high chance of more people seeing and
tuning in for a one-time national event. However, some of these programmes are
put on streaming (catch-up) services so that even more people can view them. This
is usually only standalone programmes such as royal events or significant news
events. Party broadcasts are rarely put on catchup TV because the target
audience of these political broadcasts are often the older generations who may
not know how to access online streaming sites.
Animations
An animation is defined by “moving
images created from drawings, models, etc. that are photographed or created by
a computer”
There are many different types of
animations, such as stop-motion, where a model is photographed, moved slightly,
then photographed again. The resulting photos are edited together to make a
moving image.
A famous example of stop-go animation is Bagpuss (12 February –7 May
1974, Peter Firmin and Oliver Postgate). In early 1999, Bagpuss topped a
BBC poll as the UK’s favourite children’s TV programme.
Budgets for stop-go animations can vary from as little as a couple pounds to
thousands – as all you really need is a model and a camera it is easy for
someone make an animation using objects lying around their house.
In comparison, Aardman Animations
usually make roughly 2 seconds of animation a day with a team of 17 animators
The Curse of the Were-Rabbit, another Aardman Animations film, took 5
years to develop from concept to premier and had a budget of 30 Million USD.
2D frame-by-frame animation, where flat, 2D characters and environments are created upon a canvas and moved and edited, was widely popular when animation first started.
2D animations do not have a set length, with short animations ranging from a few minutes (They Remain) or YouTubers like JaidenAnimations, whose videos usually last round 20 minutes.
The budget for short animations
usually range from $100-$5000 depending on how many people are employed to
create the animation.
2D animations can also last hours,
with films such as Spirited Away, created by the famous Studio Ghibli,
which lasts 2h 5m. When 2D animation was first being explored, Disney held the
majority of the market with their 2D animated films like Cinderella (1950,
Clyde Geronimi, Wilfred Jackson, Hamilton Luske). Big 2D animated Disney movies
usually have a large budget with Cinderella’s budget being $2.2 million.
Cel animation is another example of
animation. Cel animation is the art of creating 2D animation by hand on sheets
of transparent plastic called “cels”.
3D animations now rule the animated
film industry. Disney, Pixar and DreamWorks hold the majority of the market,
with Disney’s Tangled (2010) being the most expensive, costing $260
million. 3D animated films with big companies like Disney take years to make
with large teams of up to 1000 people. In comparison, smaller animations made
by YouTubers such as 3D
Animation Hub usually cost
around the price of the animation software they use and very little else if it
is a one person team.
Animated films are distributed in the
same way normal films are distributed, through cinema, DVDs and online
streaming platforms. Smaller animations are usually distributed though YouTube,
social media platforms or websites because it is free to use, easy to navigate
and is the most popular video sharing platform.
Web Series
A newly emerging form of moving image
productions are web series. These are series that are released on online
streaming sites such as YouTube. They are usually made by small Indie film
companies as a way to promote their films and grow an audience before making
anything bigger. Budgets for web series are widely varied, with low budget series
only needing friends as actors and a camera, whereas 4K cameras, paid actors
and editors are required for higher budgeted web series. YouTube Web Series
Music videos
Music videos are also a form of moving
image production, with the most popular ever music video being Baby
Shark, which has 9.78 billion lifetime
views.
Other
distribution methods
Other distribution methods include
websites; where owners of the media can share their video to the world through
their own website. This is a popular distribution method with animations, web
series and indie films as it can also be used as a portfolio.
Social media is also a popular
distribution method for similar reasons to websites but are usually more
popular as they are easier to share and free to make an account, whereas owning
a website usually costs money.
FINANCES AND
SOURCES OF FUNDING
Funding
Funding is defined by “the act of
providing resources to finance a need, program, or project.”
There are many different ways to
source funding.
Small indie companies usually depend on funding like Kickstarter. Kickstarter is a website where creators can post their
ideas and investors may fund them if they find it interesting.
A similar source of funding is from investors. Film makers present their film
business plan directly to interested investors during a presentation or pitch
meeting.
Another funding source for moving images for small indie companies is through
winning contests (such as DEPICT).
Several funds exist to help finance moving image productions.
The BFI Film Fund award money from the National Lottery to support a range of
different moving image productions. A development Fund and Production Fund is
available to support formal development of original live action, emerging media
and animation feature filmmaking.
The Completion Fund supports the completion of fiction emerging media and
animated feature films that have been invited to launch at a major
international film festival.
The UK Global Screen Fund: International Co-production fund supports UK
producers to work as partners on international co-productions and helps create
new global projects.
The BBC also works closely with
filmmakers throughout the creative process, offering rigorous opportunity to
new filmmakers and a protected, collaborative space for established voices.
Film4 also help develop and co-finance films and are known for working with the
most distinctive and innovative talent in UK and international filmmaking, both
new and established. They have aided films such as Steve McQueen’s 12 Years
a Slave
For a small filmmaker, the most attractive funding stream is by obtaining grants and awards, such as those listed above. As well as exposing the filmmaker to the minimum personal financial risk, the funding body may also assist with marketing the finished product and with introductions to other contacts in the industry.
Large film companies can afford to
finance their projects using bank loans, merchandising and product placement.
Pirates of the Caribbean: On Stranger Tides is an example of a high budget film, costing
an estimated $379 million to make. The majority of their funding will have come
from bank loans. Bank loans are when companies go to a bank with their film
idea and ask to borrow money to finance the film. When the film has been
created, the loan will be paid back with interest from the film’s profits which
earns the bank money.
An example of product placement is EE and Coronation Street, where EE plans to target Coronation Street viewers by embedding the brand into the soap opera for an undisclosed amount. This product will usually only be on shot for a few seconds (68% of product placements last for 5 seconds or less
Another way of funding a film is
through merchandising. For example, Hasbro paying for the rights to manufacture
Peppa Pig toys. As well as earning the film company a small amount of royalties
from each manufactured product, people who then get these toys will want to
watch Peppa Pig, and subsequently watch adverts either from streaming it online
or watching it on TV, which gains the company even more money.
An example of a low budget film is The
Blair Witch Project (1999, Daniel Myrick, Eduardo Sánchez), which cost $35,000–60,000,
to make the film and an estimated final cost of $200,000–750,000 after
post-production.
A man called John Pierson was
approached to help finance the film and viewed some of the early footage.
Pierson agreed to air the tape in his television show Split Screen and
paid the filmmakers for the tape. He also paid the filmmakers to shoot another
segment for the second season of Split Screen.
This contributed to the film's budget. The filmmakers also contributed their
own money to finance the film.
Budgeting
All types of moving image productions
need a budget, from a small homemade film to a Hollywood blockbuster.
For our short DEPICT project, our agreed
budget was a maximum of £10, which was funded by splitting the cost equally three
ways. £10 was a realistic figure as the college provided all the equipment we
needed, including cameras, tripods, lights, light colour plastic sheets, light
stands and audio recording devices, as well as the Adobe Cloud which linked us
to animating and editing software. The budget only had to cover incidental expenses
such as transport, props and catering - the cast happily gave their spare time for
free in exchange for being fed.
The prize for winning the DEPICT
competition is up to £2500 in prize money
In 2021, three winning animators were
offered free access to an upcoming Stop Motion Foundation course run by Aardman
Academy. This could help them fund future projects if their work was noticed by
someone high up in Aardman.
REQUIREMENTS FOR
PRODUCTION:
For our short DEPICT project, we had a
crew of three and a cast of two who completed all tasks between them.
Bigger projects however need a much
bigger team as their standard are more professional and in-depth, with a wide
range of specialist roles needed to successfully make a moving image product.
·
Cast – actors/supporting
artists (anyone who is seen in front of the camera),
·
Crew – producer,
director, prop master, set dresser etc (the people who develop the film)
·
Equipment – cameras,
lighting, sound, editing software, transport, props, costumes etc (things
needed to make the film)
·
Locations and
accommodation – travel, hotel (costs money to get permission to film in places,
and arrange where cast and crew will stay)
·
Facility houses –
where equipment and props will be kept, either for storage or creation
·
Copyright – (Free
in UK, but have to pay in other countries. Have to pay if used someone else’s
music, idea etc)
·
Distribution of
film – (The average film budgeted over £10 million costs £2.4million to
distribute.
·
Advertisements – very
expensive, ranging from TV adverts to the side of busses and posters. A 30 second
ad in the Superbowl cost millions as it reaches over 100 million viewers in one
night
PERSONNEL
The typical makeup of a team needed to
create a moving image production varies with budget and available skill. Low
budget shorts will require fewer people compared to a Hollywood blockbuster.
A low budget film, like the one we created for
DEPCIT, will require fewer people. We used our crew of three to its best advantage
by equally spreading and sharing roles. We needed a director, camera operator,
light operator, editor, actors and sound recorder. Our talent consisted of two
people, with a crew member playing the third. We used our skills and experience
to allocate jobs. As I have acted in a local youth theatre, it was agreed that
I would be one of the actors. Neither Ruben and Joseph had any experience of
filming, so it was decided that they should learn and gain some valuable
experience.
Films with bigger budgets may need to
split roles between more than one person, with a supervisor overseeing and
co-ordinating everyone’s work.
This is in contrast to a project with
a smaller budget where a single person does multiple jobs, in TV programmes,
one person is in charge of one thing, or a team of people are in charge of one
thing or a group of things.
Hollywood feature films usually have a much larger team compared to a low budget film, with many different people working together to in each department. For example, they may have a large team of hair and make-up artists with some having specialist roles such as styling one actor’s hair. In addition to the huge number of people directly involved in creating and editing the film, there would be an equally large number working ‘behind the scenes’ in areas such as health and safety, insurance, legal, catering, communications, security and payroll. The more people in each department, the more likely each is to have a specialist role so the whole team is required to make things work.
Lower budget films take on a smaller crew in jobs such as set design and costume design. To save money for example the film Parasite (2019, Bong Joon Ho) only has one music director, film editor, cinematographer, costume designer and one set decorator.
For low budgets moving image
productions, TV programmes and Hollywood feature films, team size, skills and
experience must be considered when employing crew. Directors and casting
directors usually do this by looking at availability, how much getting certain
actors or equipment will cost, as well as looking at future employee’s CVs to
ensure they are the best person for the job.
For our production, we decided that
everyone would have a go in each role to give a fair chance. We allocated roles
by asking each other if there was anything specific we wanted to do and
splitting the work equally.
For pre-production, we all took on
individual roles to complete all paperwork.
On all documents, input was given by the whole group, but with one person
taking responsibility for the finished document.
As a group we worked on the storyboard, timeline, budgeting, and minutes.
Ruben completed the shot list as he had experience in this role from taking
photography and he knew what angles would look best from his experience.
Joseph created the police email and talent documents. He did not have previous
experience in any of these roles and wanted to try them out.
I created the script, production schedule, risk assessment and location recce.
I have had previous experience creating scripts for drama, and previous experience
making risk assessments due to helping out in a local youth theatre group. I
did not have any experience in creating a location recce document or creating a
production schedule but completed these tasks as nobody else agreed to do them.
During production, the roles where split equally, all of us taking turns at
filming, being in charge of lighting or props and recording audio. As we were all
fairly inexperienced in all the areas, it was decided to share all the roles to
give everyone a chance to see what they liked.
After this was completed, we began
editing. Ruben took the lead in editing audio, despite having little experience.
He learnt the software quickly and gathered everything we needed to a high
standard.
Joseph took the lead in creating the animations, despite having no previous
experience, he learnt the software quickly.
I took the lead in editing all the shots together and adding effects and
transitions, I had a little knowledge and experience, but I worked hard to complete
this to a standard I was happy with.
TIME:
Our production schedule helped keep us
on time, ensuring that we met all the deadlines and completed everything. Our
deadlines where:
o Pre-Production
– 21st Oct - 15th Nov
o Production
– 16th Nov -25th Nov
o Post-Production
– 29th Nov - 9th Dec
We met these deadlines successfully, uploading the finished video to YouTube on the day of the deadline. This was in spite of missing 2 lessons due to a change in room and a fire alarm taking up nearly half of another lesson. To make up for this lost time, we worked outside of lessons to ensure we kept to the schedule we had planned at the beginning of the project. This schedule was essential to ensure any disruptions did not cause us to fall behind.
In the professional industry, not
meeting deadlines and wasting time can have dire consequences. For example, the
film The Kings Man has a staggering eight delays to its release date,
most of which were caused by cinemas shutting due to coronavirus. However the
number of delays infuriated the public, with headlines such as “The King's
Man Reminds Us it Still Exists With New Trailer”
By missing a deadline, it can put the entire schedule into jeopardy and could
possibly lose the studios income for that milestone. This means taking the loss
of lots of money and the product ship date being moved.
Despite The King’s Man’s
delays, it has so far grossed over $18 million in its first week, and with its
later films making over $400 million, it is expected to rapidly rise.
EQUIPMENT/FACILITES:
For both a professional moving image
production and a low budget production, a range of equipment and facilities are
needed. Equipment such as cameras, tripods, lights, microphones are vital
towards a production of any budget. Facility houses are used to acquire
equipment like camera and props.
A full list of needed equipment can be
found at
https://www.desktop-documentaries.com/video-production-equipment.html
Major studios have equipment departments
run as separate businesses. They have grip and lighting rentals, fabrication,
wardrobe, props, sometimes special effects. Smaller companies will generally
rent the camera gear but there are large production companies who own vast
assemblages of in-house gear.
Professional moving image productions
also rent out things such as rooms to store things in, vans to house their
actors and crew as well as catering vans.
HNA Facilities specialise in supplying on-location
facilities vehicles. Their website states, “Competitive Price Matched Prices”
and cost varies depending on how long you need the trailers for. With several
different options of vans available, such as;
·
Four way trailers,
·
Three way
trailers,
·
Two way trailers,
·
Make-up trailers,
o
Work Stations: 5
- 1
o
Back wash with
hot and cold water
o
Washing machine /
Dryer
·
Costume trailers,
o
3 - 6 Work Space
o
Washing Machine
o
Tumble Dryers
o
200ft – 350ft of
rail space
·
Dining trailers,
o
Upper and lower
dining floors
o
Smart, hygienic
dining tables
o
Health &
Hygiene compliant food servery
o
On-board hand
washing
o
Cool water drinks
dispenser
o
Tinted windows
for privacy & comfort
·
Honey wagons,
o
Ladies: 2 - 4
o
Gents: 1 - 2
o
Number of
urinals: 2
o
Number of sinks:
2 sinks in each side
·
Production
offices,
o
5 - 10 work
stations
o
Slide out sides *
in most
o
Separate office
areas - in some
·
Camera cars,
·
Technical
trailers,
·
Support vehicles,
·
Artist trailers,
Film
and TV Services rent out power supply,
distribution and lighting equipment. In union with their industry partners, they
will provide all types of trussing, staging and scaffold structures. They can
also take care of studio heating, ventilation & air-conditioning, lighting
bars & equipment, power outlets and window treatments upon request.
Kennington Film Studios is the UK’s largest film, TV and video production
company to deliver fully crewed and serviced studio-based productions. They
offer a wide range of equipment, facilities and support, right from generating
creative ideas all the way through to online content distribution. They offer
lots of in-house services, such as:
·
Live streaming
o
Dedicated
live-streaming team: show director, show producer, technical manager, broadcast
manager, audio & visuals manager, content loader, vision mixer.
o
Gallery space and
bespoke set-up.
o
Output to
multiple channels including but not limited to: YouTube, Facebook Live,
Instagram Live.
o
1GB upload &
download internet speed.
·
Three studio
spaces:
o STUDIO 1
o Package Price: £1,300 + VAT (10 Hour Day)
o STUDIO 2
o List Price: £1,237.50 – Package Price: £880 +
VAT (10 Hour Day)
o STUDIO 3
o
£645 + VAT
(10 Hour Day)
·
Visual effects
o
Research and
Development
o
3D Modelling and
Texturing
o
FX and Simulation
o
Concept Art and
Design
o
Rigging and
Animation
o
Lighting and
Rendering
o
Storyboarding and
Animatics
o
Pre-Visualisation
o
Compositing
·
Crew hire
·
Green screen
filming
o List Price: £1,237.50 – Package Price: £880 +
VAT (10 Hour Day)
·
Video editing
·
Animations
·
Storyboarding
·
Set builds
·
Podcast studio
o
Podcast Pricing:
o 4 Hours – £250+VAT (09:00 – 13:00 / PM 14:00 –
18:00 / 19:00 – 22:00)
o 8 Hours – £400+VAT (09:00 – 18:00)
o Tech manager / sound engineer £135+VAT AM/PM
£225 Full Day+VAT
o Post production – £50+VAT per hour
During our DEPICT production, the
equipment available to included steady grips, lights, lighting stands, coloured
sheets, tripods, cameras, microphones. We signed insurance forms to accept
responsibility for the equipment and
collected from Skills, where they were all checked and signed off.
Adobe Cloud was also provided by the college, and we used to create our
animation and edit the video.
LOCATION:
Before we started filming, a location
recce was created, where the crew took photos of the available areas that
suited our need on where we wanted to film and helped spot any difficulties
that could occur when filming in that location. We discussed all our options as
a team before deciding on which location fit our filming needs best.
Our DEPICT filming only took place in
2 different locations.
Most of the filming took place on the college grounds and the rest of the
filming took place on private property (a family members house). We decided to
film offsite as some scenes could not be completed in a college setting, however,
to film outside of college a location release form needed to be completed. The
release form gives the crew legal permission to film on that site.
To ensure the cast, crews and the general public’s safety, a police email was created
and sent to the police. This ensured that if any members of the public saw us
and thought we were acting suspicious and called the police, the police could
reassure them of what we were doing.
A risk assessment was created to
ensure that all possible risks had been considered and ways to minimize these
risks had been implemented. The document was used all through pre, post and
throughout production and it was extremely helpful and put actors and the team
at ease as it ensured that we knew what to do in the risk of an accident
occurring. Thankfully, nobody was hurt, and the risk assessment was not used.
There were very little limitations in
our filming locations, except needing to be quiet to ensure we did not disrupt any
classes when filming in college and being limited for time when filming off
site due to the actor’s availability.
MATERIALS:
Many other materials are needed in the
production of a moving image, such as petrol for any vehicles or transport, mains
electric ($100+
All vehicles and trailers could also be rented to save money, but can be very
expensive, with private trailer hires costing up to £70 a day.
LEGAL ISSUES:
During our DEPICT production, we did
not face any legal issues. We only used loyalty-free, uncopyrighted music. We
used all our own original ideas as well as our own video with no brands or
logos in. We gained permission on all locations we filmed at and correctly
completed the location release forms. We had created risk assessments and did
not need any kind of insurance as everyone has read over the risk assessment
and understood the risks when filming.
During a professional moving image
production, codes of practice and regulations are vital. Insurance and legal
documents are needed to ensure everyone’s safety and protection.
Copyright protects any original work
that you’ve created and stops others from using it without your permission. http://www.gov.uk/copyright/ outlines the features of what copyright it
and how it is obtained.
You automatically
get copyright protection when you create:
o
original
literary, dramatic, musical and artistic work, including illustration and
photography
o
original
non-literary written work, such as software, web content and databases
o
sound and music
recordings
o
film and
television recordings
o
broadcasts
o
the layout of
published editions of written, dramatic and musical works
o
You can mark your
work with the copyright symbol (©), your name and the year of creation. Whether
you mark the work or not doesn’t affect the level of protection you have.
Copyright
prevents people from:
o
copying your work
o
distributing
copies of it, whether free of charge or for sale
o
renting or
lending copies of your work
o
performing,
showing or playing your work in public
o
making an adaptation
of your work
o
putting it on the
internet
Copyright
overseas
Your work could be protected by
copyright in other countries through international agreements, for example the
Berne Convention.
In most countries copyright lasts a
minimum of life plus 50 years for most types of written, dramatic, and artistic
works, and at least 25 years for photographs. It can be different for other
types of work.
|
TYPE OF WORK |
HOW LONG COPYRIGHT LASTS |
|
Written, dramatic, musical, and artistic work |
70 years after the authors death |
|
Sound and music recordings |
70 years from when its first published |
|
Films |
70 years after the death of the director, screenplay author and
composer |
|
Broadcasts |
50 years from when its first broadcast |
|
Layout of published editions of written, dramatic, or musical
works |
25 years from wen its first published. |
OTHER
DEFINITIONS
Clearance
You
can’t copy or use copyright material without permission. Clearance is a term
that refers to getting permission to use copyright material. For example, if we
had used someone else’s song as background music in our project, we would have
needed to obtain written permission from the copyright holder to use it for
this purpose.
Public
Liability Insurance
Public
liability insurance covers the cost of claims made by members of the public for
incidents that occur in connection with the media project. Public liability
insurance covers the cost of compensation for personal injuries, loss of or
damage to property or death. For example, if something was damaged in the
private property we filmed in, the insurance would cover the cost of the
damage.
Completion
guarantee / insurance
A completion guarantee is issued to
guarantee that a film will be completed and delivered to the distributor in
accordance with the script by a stated date. The completion guarantee ensures
that if the film runs into problems, the completion guarantor has the option to
either loan money to the producer to finish the film, take over the film itself
and finish it; or abandon the film and repay the financier the production
financing, interest, and certain other costs.
An example of this is The Thief and the Cobbler
(1993). The original director Richard Williams worked on it for over 28 years.
After a deal with Warner Brothers fell through, a completion guarantee took
control of the film from Williams, and it was completed by Fred Calvert.
REGULATION
A regulatory body is appointed by the
Government to establish national standards for qualifications and to ensure
consistent compliance with them.
OFCOM is an example of a regulatory body that describe themselves as “in charge of the communication services that we use and rely on each day”.
Its function is to make sure that:
- people are able to use communications services, including broadband;
- a range of companies provide quality television and radio programmes that appeal to diverse audiences;
- viewers and listeners are protected from harmful or offensive material on TV, radio and on-demand;
- people are protected from unfair treatment in programmes, and don’t have their privacy invaded;
- the universal postal service covers all UK addresses six days a week, with standard pricing;
- the radio spectrum is used in the most effective way
However statutory powers on film
remain with the local councils. They may overrule any of the BBFC’s decisions,
passing films we reject, banning films we have passed, and even waiving cuts,
instituting new ones, or altering categories for films exhibited under their
own licensing jurisdiction.
Before April 2017, any type of
uncopyrighted moving media distributed online is regulated by the Association for Television on Demand, but there isn't really any legal regulation
of online video.
In 2020 the Government decided to
employ Ofcom as the regulator for online harms in the UK, they became the
regulator for video sharing platforms established in the UK. Their job is to
make sure VSPs (video sharing platforms) which fall within our jurisdiction
take appropriate measures to protect children from harmful content and all
users from illegal content and incitement to hatred and violence. However, VSPs
must self-assess whether they fall under the regulations and come under UK
jurisdiction meaning not all VSPs are regulated by OFCOM.
These powers came into force on 1 November 2020.
As our DEPICT video does not contain
any content that could harm children or incite violence, there are no concerns
about our video infringing any of these regulations. We ensured during our
pre-production and the planning of our film that there were no themes that
could infringe any of the rules.
TRADE UNIONS AND
TRADE ASSOCIATIONS
A trade union is a group of employees
who join together to maintain and improve their conditions of employment.
Unions have brought significant
changes to society, including:
- a national
minimum wage,
- the abolition of
child labour,
- improved worker safety,
- improving living
standards by reducing the number of hours in the working week and encouraging a
healthy work/life balance,
- improved parental
leave,
- equality legislation,
- better protection
of migrant workers and a reduction in exploitation,
- minimum holiday
and sickness entitlements,
A trade union representative is a
union member who represents and gives advice to colleagues when they have
problems at work. They -
- negotiate
agreements with employers on pay and conditions,
- discuss major
changes such as redundancy,
- discuss members’
concerns with employers,
- accompany members
to disciplinary and grievance meetings,
- help members with
legal and financial problems,
- provide services
to members, including legal services,
- represent their
members in their dealings with employers and can negotiate better working
conditions
PACT is an example of a trade union that
represents the interests of UK independent television, film, digital,
children’s and animation media companies. They help to shape the best possible
regulatory and legislative environment for the independent production sector to
grow domestically and internationally. They do this by offering businesses the
tools and support they need, as well as working to ensure the best possible
economic, regulatory and legislative environment for them to do business in.
In just ten years, the sector has turned from a small business into a
multibillion-pound industry that has heavily shaped the media sector to how we
see it today.
BECTU
is the UK's media and entertainment trade union. The sectors covered include
broadcasting, film, independent production, theatre and the arts, leisure and
digital media. They protect their 25,000 members by negotiating pay, conditions
and contracts with employers on behalf of their members.
Their website states that “Bectu is the union for creative ambition. We
represent over 40,000 staff, contract and freelance workers in the media and
entertainment industries.”
They represent Production and independent broadcasting, the arts and
entertainment as well as the BBC. They stand for the environment, equalities,
politics, charitable causes and health and safety.
Wikipedia states that a trade association is business association, sector association
or industry body, is an organization founded and funded by businesses that
operate in a specific industry. They provide opportunities to meet and engage
with peers and colleagues and want to work together on a common cause of
interest.
An industry trade association participates in public relations activities such
as advertising, education, political donations, lobbying and publishing, but their
main focus is collaboration between companies.
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