|Begins:||Thursday, December 9, 2010 at 9:30am|
|Ends:||Thursday, December 9, 2010 at 2:30pm|
1350 Ave of the Americas (btw 55th & 54th St)
New York, NY 10019
Meeting notes are available to current, logged in Members only.
I. EVOLUTION IN 3D TV COMMERCIAL PRODUCTION-TO CONVERT OR NOT TO CONVERT, THAT IS THE QUESTION (9:45-10:45)
Prime Focus will show members how, with a little planning and on-set supervision, they can maximize their production dollars by shooting in 2D and converting to 3D, thereby providing them with two different formats of the same spot, and 2) how they don't always have to decide between shooting natively and 2D to 3D conversion; there exists a hybrid between the two, and lastly show people how good a converted spot can look.
Matt Bristowe, Senior Producer - Prime Focus
Richard Baker, Senior Stereographer - Prime Focus
II. MINORITY OWNED PRODUCTION COMPANIES-ARE THERE ANY LEFT? (11:00 - 12:00)
Streetlights has created two distinct, though inter-related, program phases for employment success. The initial phase, the Production Assistant Program, is the only entry-level production training of its kind, requiring each graduate to complete 240 hours of job preparation, 120 of which are spent working on actual productions. Taught by industry professionals, the aspiring Production Assistants learn everything from walkie-talkies to petty cash, from lock-up to Who's Who on the job, as well as navigating the city with the Thomas Guide and ofﬁce/on-set practices and protocols. This extensive preparation allows the new P.A.s to be of true assistance to the production companies from their very ﬁrst day on the job. The second phase, the Commercial Diversity Initiative or "CDI" Union Program, was created by Streetlights specifically for the world of TV commercial production. This session will explore the convergence of diversity & minority representation in the world of production.
Dorothy Thompson, Founder/Executive Director - STREETLIGHTS
Muffie Taggett, Manager, Creative Content Production - General Mills
III. CUTTING EDGE ISSUES IN ADVERTISING (1:00-2:00)
Reed Smith is a global-relationship law firm and also ANA's outside legal counsel. Kate O'Brien is a partner in the Intellectual Property Group and regularly counsels clients on advertising and marketing issues. Attempts to influence customer behavior take place in many shapes and forms, whether via social media, in blogs, other consumer generated content, in print media, on broadcast media, via telemarketing, through direct mail, word-of-mouth, and more. This has fostered a robust regulatory environment where all industries are impacted by governmental trade regulations, and business policies and practices are under heightened scrutiny, facing uncertainty and potential federal and state investigations. Kate and associate Rachel Rubin will share thoughts to help marketers minimize risk and save money in this complex environment.
Stacy Marcus, Associate - Reed Smith LLP
IV. EMERGING TRENDS IN STATE SPONSORED PRODUCTION TAX INCENTIVE OPPORTUNITIES (2:00 - 2:30)
A. At a number of recent panels, producers have discussed how they were able to file for the incentives, broker the credits, and keep the money. Their big concern was that the advertiser might learn what they were doing. The advice given was to quietly find out if the advertiser or agency planned to file; if so, the production company should not file. If an advertiser learns that the production company files and keeps the money, the thought was that the advertiser would not use that production company again.
B. A major agency advised us that one of the top production companies they use includes a clause in the production contract stating that the production company would receive 50% of any tax credits or rebates earned. If they did not get 50%, they would not provide the needed paperwork.
The agency suggested that we discuss this with the AICP, and work out a uniform % for the production company. This is not a good idea; our position is that the production company should be paid for any extra time necessary to generate the paperwork, with a reasonable markup. The money belongs to the advertiser; the production company should not be allowed to demand a large portion of the incentive.
Speaker: Mike Rose - Ease Entertainment Services