BSLBT PRODUCTION PACK FOR PRODUCTION COMPANIES

BSLBT PRODUCTION PACK FOR PRODUCTION COMPANIES Hello, and we look forward to working with you. Contained within this pack are our current production guidelines and templates. We hope this pack helps you, but if you have any questions please do contact Maggie Swinfen at maggie@bslbt.co.uk INDEX Production Company Checklist Pages 2-3 Programme Management Summary for Producers Pages 4-5 Credits and Copyright Guidelines Pages 6-7 Example Endboards Pages 8-9 Technical Specifications (Including High Definition) Pages 10-13 Music Guidelines Pages 13-19 Archive Pages 20-21 Instructions for Exporting to FCP on Rapid View (For viewings) Pages 22-25 Example Post Production Scripts Pages 26-27 Example Cashflow Page 28 1

CHECKLIST PER INDIVIDUAL PROGRAMME/EPISODE Prior to Production Please send the following to Maggie@bslbt.co.uk r A copy of your Production Insurance r A copy of your tapeless workflow if shooting on hard disc or card. r 1 x health and safety questionnaire completed (per series if applicable) r A copy of your company health and safety policy and example risk assessments for productions r A copy of your cashflow and detailed budget for the contract r 1 x programme specification form (per series if applicable) r Email the names and job titles of the people who will need access to Rapid View either to see the comments or the upload of the programme cuts Programme Delivery For each individual programme, please send the following to Maggie@bslbt.co.uk ON THE MASTER DELIVERY DATE r Names, roles and email address for key members of production team including editor r 1 x suggested EPG entry (max 180 characters including spaces and punctuation). If the programme is a series include a Series EPG as well as individual Programme EPGs Please send the following to Maggie Swinfen Maggie@bslbt.co.uk and Suchandrika Chakrabarti (suchandrikac@mediatrust.org ) ON THE MASTER DELIVERY DATE r 2 x well-framed colourful still images for press (preferably 300dpi stills, not frame grabs). r 1 x Music Cue sheet r 1x Programme delivery form r Masters for the Community Channel ON THE MASTER DELIVERY DATE 1 x open subtitled master tape on digi beta 16:9 FHA, (14:9 protected & 4:3 caption safe) 1 x dvd with bitc Please label the packages TRANSMISSION MASTERS FAO: Maggie Swinfen, BSLBT, C/O West Digital. 65 Goldhawk Road, London, W12 8EG 2

r Masters for BSLBT ON THE MASTER DELIVERY DATE 1 x non subtitled master tape on digi beta 16:9 FHA, (14:9 protected & 4:3 caption safe) 1 x dvd (no bitc) and no bars and tone, no programme clock. 1 x promo film for each programme a Quicktime file of between 40 to 60 seconds duration. FORMAT: Quicktime File Type: MP4 Codec: H.264 Width: 1024px bitrate: 1024 See tech spec for further details and labelling (FOR HD DELIVERY PLEASE CHECK WITH MAGGIE SWINFEN) Please label the packages BSLBT COPIES, FAO: Maggie Swinfen, BSLBT, C/O West Digital. 65 Goldhawk Road, London, W12 8EG Other Deliverables DUE A MAXIMUM OF 2 WEEKS AFTER MASTER DELIVERY r Scanned or hard copies of all artist s contracts, all release forms, and any licenses r 1 x programme synopsis, giving running order, item info, contributor back-story etc r 1 x final costs statement (per series if applicable) **Within 2 months of Delivery r 1 x final post production script r 1 x diversity monitoring form completed r For press and publicity and Website purposes Programme synopsis around 100 words Production Company biography information. Biographies of actors, presenters, contributors, writers, directors and possibly key crew with headshots. A minimum of 5 high resolution photographs (Hi quality jpegs taken with a stills camera with a minimum of 6 megapixels) which show the characters and story. (NOT behind the scenes photos) A minimum of 5 screen grabs, (jpegs 1920 x 1080) which show the characters and the story Please label each image clearly. And include a short description of the image. EG. John Smith in character as Sam Brown EG: Ashley up close with the boa snake Extra behind the scenes images, screen grabs or photos are welcome, but the 10 described above are the minimum required. Please email. Also a jpeg of any logo s designed for the programme. Or screen grabs of the title sequence designed for the programme. Please email. If you design a flyer we would like a PDF copy please. 3

SUMMARY GUIDELINES FOR ALL PRODUCTION TEAM: Please hand to producers, directors, ap s, production managers, editors and anyone else on the team that needs any of this information 1. Programme running length Between 23:30 and 24 minutes including the BSL Zone Bumpers (available on the Rapid View site) (More details in Tec Specification) 2. Clearances All rights must be cleared for a minimum of 2 years exclusive unlimited transmission in UK and Eire on all forms of television and on the internet (websites) and via VOD services and non theatric rights. VOD includes services such as the BBC s iplayer, ITV Player and Channel 4 s 4oD etc, (unless special permission is granted from BSLBT production manager). Internet and VOD rights should be cleared for a further 10 years non-exclusively. Release forms must be obtained for all contributors, locations and copyright material and any restricted rights, media, term, and territory clearly stated on the Programme Delivery Form. (see contract for full detail) 3. Music All music must be cleared as above. BSLBT has a blanket agreement with Audio Network which allows programme makers unlimited use of music from their online library. Music cue sheets must still be completed. (More details in Music guidelines). 4. Compliance All programmes must comply with OFCOM guidelines. Their broadcasting code can be downloaded from the website: http://www.ofcom.org.uk/tv/ifi/codes/bcode/. This must be read and understood before making a programme. Ofcom is the regulatory body which, amongst other role, polices what is acceptable and unacceptable on broadcast television. For more information on OFCOM visit http://www.ofcom.org.uk/accessibility/bsl/. 5. Programme Numbers Programme numbers are required on all final copies of programmes, on clock and tape labels. These can be found on your programme contract. All amended programmes must have a new number to avoid confusion. See tech specification for details. 6. Approvals and Delivery. BSLBT must approve the scripts and the rough cuts at agreed stages in person or online. BSLBT has an online application called Rapid View where programmes should be uploaded. This allows BSLBT to make time-coded comments. You will be given a log in and password (More details in Uploading Files Help to the Rapid View site). At the start of a 4

production please email the names and job titles of the people who will need access to Rapid View either to see the comments or the upload the programme cuts End Credits and Final title of programme must be approved by BSLBT. (Make sure you have read the credit guidelines). Programme titles must be a maximum of 34 characters including spaces. BSLBT must view the finished programme before delivery by upload on Rapid View. Delivery is usually to West Digital who send the tapes onto the Community Channel or Maggie Swinfen at BSLBT. Technical review is managed by Nigel Gregory and Hannah Woolfson at the Community Channel Compliance Review is managed by Suchandrika Chakrabarti at the Community Channel. No programme is considered completed until the tape has passed compliance and tech review. Final payments withheld until all tapes and paperwork have been delivered and final cost statement given. 7. Health and Safety Production Companies are expected to have a Health and Safety policy. BSLBT has a simple questionnaire which needs completing by the Producer on confirmation of the commission. Proof of adequate insurance cover should also be provided. Risk Assessments must be carried out for all filming. 8. Diversity monitoring form. BSLBT has a diversity monitoring form which it is intended will be used by BSLBT to track the range of people employed on productions. A form is to be completed for each programme delivered. 5

BSLBT: Programme Credits Policy Please also note programme titles must be no longer than 34 characters including spaces Credits must not be given in return for any payment, reduced fee, benefit or any other advantage. Credits should reflect significant creative contributions to the programme. Credits which imply that certain jobs are the preserve of one gender only must not be used. (The exception is Best boy). To ensure that credits are legible on-screen, individual letters should not be less that 20 pixels in height. All end credits should be of a 30 sec max No BSLBT staff member may be given a credit. Where two or more people have contributed to work covered by a single credit the relative contributions should be reflected by different type sizes. e.g. costume Mary Smith, Ben Smith References must not be made in end credits to charities without prior referral to BSLBT Information about Help lines or Action Lines and other public service support material should NOT be included in end credits, without prior referral to BSLBT Productions requiring a Helpline/Action Line should normally include this information in the body of the programme but this must also be referred to BSLBT Location owners' names, or logo s cannot be used. Locations cannot be guaranteed a mention in programmes, nor given a credit. No individual should normally be named in a credit list more than once. Where someone has fulfilled more than one credit-worthy function he/she may be credited for both (if more than 2 functions they must choose just 2 which most reflected their contribution) in a single credit line, provided the roles are significantly different from each other e.g. "Directed and Produced by" There is no firm rule about the order in which credits are listed. However, the aim should be to run them in a logical sequence starting, where appropriate, with the names of performers or contributors and ending with the name of the person responsible for the production. To ensure that credits are legible, please consider, typeface used, graphic style (including contrast with any background used) and roller speed. Individual letters in credits should not be less that 20 pixels in height Crawling end credits are allowed over picture as appropriate to genre, please check with BSLBT 6

Or scroller over black, as appropriate to genre, please check with BSLBT You cannot credit suppliers and facilities who are providing their products or services for a fee and not adding a creative or production role. This is a commercial transaction not a creative one. Any exceptions to this require prior referral to BSLBT It is possible to credit facilities such as post-production houses, where it is clear that a significant creative contribution has been made. Such credits may include the name(s) of the individual(s) or the name of the organisation, but not both. Credits should NOT be given to theatrical organisations whose performers appear in television programmes, unless required contractually. Where this occurs, the inclusion of a credit must be referred and agreed, in advance by BSLBT. Typical wording is 'Beverley Smith appears by permission of XYZ theatre company'. Where animals are used in productions in a way which may give the mistaken impression they have been harmed, it is advised to include a caption in the end credits. EG. 'The programme-makers/producers would like to give an assurance that no animals were harmed in the filming/making of this programme/episode'. URLs can only be used in the body of a programme if approved by BSLBT No reference to any commercial website is permitted In a series, it may not always be necessary to include every credit-worthy individual in each programme. It may be more appropriate, to credit some individuals in one programme and not others. If an individual or organisations has gone above and beyond the call of duty in helping the programme makers, and without whom the programme could not have been made it is sometimes appropriate to put a With thanks to. If you think it necessary to offer this to someone you must contact BSLBT for permission. To keep lists short, credits should be generic where possible, e.g. when several people have carried out allied production roles, the credit Production Team may be appropriate to cover a variety of positions. Any next time on packages must be included within the programme running time and have finished before the credits roll. NB avoid saying next week as schedule changes and repeat patterns may invalidate this. Please check with BSLBLT if you intend to do this. All voiceovers and dialogue must have finished by the start of the end credits. Do not show any contact details for third parties such as telephone numbers, SMS, web addresses without permission from BSLBT 7

COPYRIGHT See an example of the end card below. The original must be downloaded from Rapid View. There are two to choose from, one in black and one in white. Please use the following copyright wording: A {production company name} production for British Sign Language Broadcasting Trust {production company name} 2013 8

Technical specification Cameras and Acquisition Formats for HD Programmes Shooting Guidelines All HD format should be filmed on cameras with a minimum of 3x1/3 sensors or 1x1 and a recording format of a minimum of 50Mbs inter-frame or 100Mbs intra-frame. Approved smaller documentary cameras: - Canon XF300 & 305 @ 50 MB/s - Sony EX1, EX1R & EX3 920 x 1080 or 1280 x 720 - HQ Mode @ 50 MB/s using a Nanoflash attachment - Epic Red - Canon 5D only if a separate sound recorder is used and only makes up 33% of the final programme. 15% of non-hd footage is allowable in any one programme. This allows for second cameras, archive footage, casting footage, diary cams, mini cams etc. Use of the Sony Z1 and Z7 are not considered HD even in HDV mode and should only be used as second cameras, as part of the 15% non HD percentage. Approved larger cameras: Red Camera(s) Sony HDW-F900R / F950 (shoots 1080 only) Sony F23 Sony PMWF3L Sony HDW790 / 730S Sony PDW700/ PDW800 (1920 x 1080 @ 50 Mb/s) Sony HDC-1500 Sony PDW F350 (1920 x 1080 @ 50 Mb/s) Panasonic AJ-HPX3000 (shoots 1080 only) Panasonic AJ-HPX3700 (shoots 1080/59.94i, 50i, 29.97pN, 25pN) Panasonic AJ-HDX900 Panasonic Varicam AJ -HDC27FP @720 If you want to use a camera not on the list, you may still be able to, but please contact us and check first. Acquisition Rate: Acquisition rate should be 50i/1080i/1080p. If you are planning on using a different acquisition rate please contact us so that we can discuss the impact this will have on any post production requirements. For full information on the latest guidance about HD go to the link below http://tech.ebu.ch/camtest/camtestreports01 HD File based delivery Soon to be required: A quicktime file at 1080/50i resolution (also called 1080/25i). Codec: DNxHD 185Mbps or QT Pro-Res High Quality Color Space: RGB Color Depth: 8bi 9

Master tape This should be on Digibeta in PAL format. There should be one programme per tape, with line-up bars (100%) and tone (1 khz -18dbfs), plus a countdown clock, before the film. Timecode must be continuous throughout the tape, with both LTC and VITC present and matching The programme should start at exactly 10:00:00:00. A typical programme master tape of 24 minutes duration could run as follows. Please note all time codes must be frame accurate. Timecode Item 09:57:50:00 Top of tape - black and silence 09:58:30:00 100% bars and 1khz tone at -18db 09:59:30:00 Countdown clock with slate giving programme name, part number (where appropriate), and duration to the nearest second, aspect ratio, audio tracks, production company name and phone number 09:59:57:00 Cut to black and silence 10:00:00:00 BSL Zone Intro Bumper (runs for 7 seconds) 10:00:07:00 Programme Starts 10:23:54:24 Programme Ends 10:23:55:00 BSL Zone Outro Bumper (runs for 5 seconds) 10:24:00:00 Hold end frame of BSL Zone Outro Bumper for 5 seconds (sound mute by this point) 10:24:05:00 Pictures cut to black Black continues for minimum 2 minutes after the end of the programme The master should be accompanied by a typewritten log, listing what it contains, and giving frame accurate time code references as above The out-tc of the programme is the point when we will cut away from your programme into the ad break. You must leave 5 seconds of pictures on the tape beyond this point. We will transmit every frame between the in-tc and the out-tc. Please DO NOT give an out-tc that will make us transmit the extra 5 seconds hold. Programme running length: between 23:30 and 24 minutes including BSL Zone bumper Aspect ratio Please deliver one master tape in 16:9 FHA, (titles14:9 protected). Any material within your programme that is not shot widescreen (for example archive material shot 4:3) must be aspect ratio converted to 16:9 FHA. We will accept material that is aspect ratio converted as part of your edit using a DVE effect. We will not accept 4:3 material that is pillar boxed. We will only accept 16:9 FHA programmes please do not supply a letterboxed master this will be rejected Video Quality Please do not use any continuous burned-in graphics or text in your video track. Your master tape must comply with the Ofcom technical standards. 10

Sound quality BSLBT s policy is to expect normal industry standards of sound recording with a final sound mix. Your master tape must comply with the standards jointly agreed by the UK's main broadcasters, a copy of which can be found at: http://www.bbc.co.uk/guidelines/dq/pdf/tv/tv_delivery_to_network_programmes_v1.0-2011.pdf Voice over requirements to be agreed with BSLBT Subtitles All BSL programmes must be subtitled with Open Subtitles see screen grabs for examples of suitable sizes. Subtitles should also be 4:3 safe Please note this means that the shots must be framed bearing this in mind. Astons/Graphics Also consider where any other captions/graphics may appear e.g. names of contributors Ideally they should go just above the open subtitles, just before or at the same time that they appear. This is because the channel may have an on screen logo at top of frame Credit guidelines See separate document Please note in particular: Video The Luma Levels should not Exceed 100% and not be lower than 0% We will check that it is within the legal limits for Luma and Chroma - you can check this as well using the Waveform Monitor and Vectorscope on your editing computer. Captions should be open captions Your finished master must be free from dropout, flash frames, and unintended picture disturbance of any kind. We will check that it is within the legal limits for luminance - you can check this as well using the waveform monitor on your editing computer. Audio Audio levels should not peak over 6PPM(-10db). Clock numbers The clock should show: RX Record date Series title and episode name and number Programme ID number see below Total duration and part durations (if applicable) Aspect ratio Audio channels eg stereo mix 1&2 Prod Company name and contact tel no. Tape Labelling on tape and on tape box must include the following (and also on DVD s) Programme ID number see below Series title and episode name and number RX Record date Production Company name and tel number Subtitled or NO subtitles 11

Programme ID Number This can be found on the programme contract. NB Clock Numbering and tape label numbering If you have to resupply a programme due to a fail at the tech review stage please increment the letter after the episode number. i.e the letter A of EP1A would become EP1B. Web Promo and Technical Spec Between 40 and 60 seconds duration with BSL Zone bumpers. They should be a quicktime pro res file at 1920 X 1080 pixels. To be sent by electronic transfer to maggie@bslbt.co.uk Please include Promo ID number with file extension which can be found on the contract. 12

MUSIC GUIDELINES BSLBT requires a buy out for world, all media, 10 years for the web (but we would recommend you clear music in perpetuity to save you work in the future). Unless agreed in writing prior to the start of Production. Any music which is essential to the programme content and cannot be cleared in this way must be mentioned in the Programme Specification as it must be agreed prior to signature of contract. The guidelines below are designed to help with an understanding of Music Copyright. Please note, music must be cleared and paid for prior to first broadcast/use. Please try to make sure that music doesn t dominate the programme. The simplest ways to use music are as follows: AUDIO NETWORKS BSLBT has a blanket agreement with Audio Networks Music Library. Producers are free to use AS MUCH music as they want from this library free of charge to the production for any programmes made for BSLBT. Online membership at www.audionetwork.com Email address: maggie@bslbt.co.uk Password music Online members can log into the site using their email address and password (click on the log in icon at the top right of the screen). This opens a window with a summary of your account details. If you have any existing projects (previously called pick lists) you can look at these by clicking the my projects button. You can search for the tracks you need either using keywords or via the category searches on the left hand side. You ll notice the keyword search is now predictive based on search words other users have entered. Working with tracks You have four options with tracks you select: Click the the mix button (dartboard icon) to audition other mixes of the track Click listen to audition the track online in compressed format (speaker icon) Click save (folder icon) to store the track in a project. See below for project management tips. Click the download icon (down arrow) to download the full quality WAV file to your computer. Downloading tracks Choose open to download the file to a temporary folder and auto play through your default media player. Choose save to specify a location on your computer to download the file. 13

If you want to download the mp3 file rather than the WAV (approx 10% of the WAV file size), click save (folder icon), then on the next screen either create a new project or add to an existing one. You can then select the mp3 icon to download the compressed file or WAV for full quality. Downloading files in zipped folders If you have a number of mp3s and or/wavs in your project you can zip them up and download in one go. To do this tick the relevant tracks (right hand box) and then at the bottom of the screen choose download selected items mp3s or download selected items wav/aif. Either open to download to temporary folders, or save to specify where. If you ever have problems downloading raw music files, we recommend you zip them before download. This protects the file and usually solves any problems with getting the file to your computer. Please note there is a limit of around 100mb or so, above which zipped downloads won t work. Bear this in mind and try not to zip up more than two or three full-length WAV files. Mp3s are much smaller in data size and shouldn t present the same problems. Projects A project is a folder of tracks you can create and store. It s very handy if you re sourcing tracks for a specific production, or more than one production at a time, but don t want to download just yet. You can store tracks in a folder to listen to later, or for a colleague to listen to. You can add tracks or delete tracks from a project at any time, or you can download directly from a project either mp3 or WAV format. You can also zip files before downloading. You can choose either to keep the project private and visible only to yourself, or by clicking participants you can specify which of your colleagues who are also online members will have access to the project. Creating a project To create a new project, select your track and click the folder icon to save it. You are then prompted either to add to an existing project or to create and name a new project. You can add as many tracks as you like to your project by searching and selecting add to existing project. To add a track to an existing project, choose the project from the dropdown list. You can print your project using the icon at the bottom of the screen, and email to a colleague, adding your own comments, by clicking the email icon. New features From within the project window you can rate each track by clicking on the traffic light. The default is amber, but you can change to red or green. Click on order by rating at the top of the window to re-order the project by preference. You can add notes to a track in a project by clicking the notes icon between the CD number and the listen icon. SPECIALLY COMPOSED MUSIC You may choose to employ a composer to write and perform music specially for the production. In their contract you need to ensure that they give you the rights to the music in all media, for unlimited transmissions, worldwide. BSLBT does not ask for publishing rights from the composer, so they are free to use the tracks they compose for production in other areas if they wish. OTHER PRODUCTION MUSIC LIBRARIES If you don t want to use Audio Networks you are free to contact other production libraries and pay for their tracks. Production music often is cheaper than commercial tracks and the MCPS have their own collection of libraries that are quite reasonably priced - http://www.prsformusic.com/users/productionmusic/pages/default.aspx 14

COMMERCIAL TRACKS Very occasionally is may be necessary to include a commercial track in your film. This might be that it is integral to the story or if it is sung by one of the characters. NOTE: The song HAPPY BIRTHDAY has a commercial copyright and would need to be cleared in this way. If you do decide to include a commercial track then these are the procedures you need to follow: What do I need to clear? For every commercial track there are two components to clear recording and publishing. Both components are separately administered. The publishing, owned and administered by a publisher, is the lyrics and notes that make up the song. NB. If you just use the lyrics in a written form or spoken aloud or signed, they still need clearing. The recording, owned and administered by a record label, is the lyrics and notes, recorded and rendered as CD or MP3. There can be numerous different recordings of the same song. Hallelujah for example, has many recordings (Alexandra Burke, Jeff Buckley and the Leonard Cohen original) owned by many different record labels. The song itself, however - the lyrics and notes - remains the property of just the one publisher. How do I clear publishing? PRS for Music offers a blanket license agreement called the IPC Scheme which you can use to license tracks for BSLBT. Under the terms of the scheme, tracks registered with PRS are licensed at fixed rates so you do not need to approach the publisher for approval or to negotiate a fee. To clear publishing you must first register your production company for the IPC scheme by contacting the PRS - http://www.prsformusic.com/users/broadcastandonline/tv/ipc/pages/ipc.aspx Once you have done this, they will talk you through how to locate the track with the Work Search function on the PRS database and ensure that all the Final Owners are 100% MCPS and PRS registered: 15

This means that the publisher is allowing PRS to license the track and collect royalties for the publishing on their behalf. Hence, you do not need to approach the publisher directly for approval or to negotiate a fee. How do I clear recordings? You will need to contact the PPL who represent record labels in the UK. To clear recordings, locate the track using the PPL Audio Repertoire Search and check that the recording you are using is owned by a PPL registered record label. This means that the record label are allowing PPL to license and collect royalties for the recording on their behalf. Hence, you do not need to approach the label directly for approval or to negotiate a fee. PPL can also send you a spreadsheet of registered labels. Most established labels are registered but foreign labels and smaller indie labels are not. Always check before you use. Once you have the list of PPL registered labels you can also use the Audio Product search on PRS for Music to look up the rights holders. Is there anything else I should know? When using the IPC Blanket you should note these few exceptions for it s use: - You can t use it to clear signature music (eg. A title theme) - You musn t use music in a derogatory way, or as a parody. - There are some bands that are never clearable currently these are: AC/DC The Beatles (including some solo works by Paul McCartney & George Harrison), Arthur Brown Bob Dylan Bruce Springsteen Metallica, Procol Harum The Band The Travelling Wilburys Queen Nirvana Arctic Monkeys 16

MUSIC CUE SHEET You must email a scanned and signed copy of Music Cue Sheet to Suchandrika Chakrabarti at the Community Channel suchandrikac@mediatrust.org and copy it to maggie@bslbt.co.uk Guidance notes: Please put the programme time codes each time you use a music cue, even if it is repeated. When you fill in the Origin and Use columns in the Cue Sheets, please use these codes: ORIGIN CODES (where is the music from?) C = commercial recording (that you would buy in a shop) R = Commissioned (specially made for the production) L = Library (from a specialist music library) L = Live (recorded along with the pictures) T = Soundtrack (incidental music taken from a film) V = Promotional video (i.e. a music video) USE CODES (how is the music or music video used?) B = Background music (music NOT audible to the action on screen) F = Featured music (music which is audible to the action on screen) S = Signature tune (used in the titles and/or credits) M = Sponsorship Music (used in the sponsorship bumpers) You must sign the form. Things about Music clearance that often catch people out: (i) Recording a busker in the street - you do have to pay the person who wrote the tune they're playing and (technically) the busker (ii) A person on screen whistles a bit of a tune - You don't have to pay for the performance, but you do have to pay the person who wrote the music in the first place. (iii) A radio station is on air and you can hear the DJ and the music. You have to pay for the music, and you have to pay the radio station (iv) Just a couple of seconds of a recognisable tune needs to be cleared. Eg. Happy Birthday sung at a birthday party (v) Session players performing with a band need to be cleared separately from band members (via the MU- Musicians Union) (vi) Publishers can charge more for title music, ensure it is cleared in your license agreement (vii) Out of copyright The life of a composition or literary work is 70 years from the end of the year in which the writer died- or the last writer to die if there were co authors. The copyright term for recordings (and audio-visual works) is fifty years from first release which means 78 gramophone recordings are out of copyright if used from the original disc. However, check very carefully when using old recordings sourced from CDs. Many record companies protect their catalogue by re-mastering, and digitising the recordings which they claim creates a new copyright. 17

Terminology - Synchronisation or Synch rights - the right to lay music over moving image for inclusion in your programme. - Broadcast or Performing rights - the right to broadcast a programme that contains music. - Dubbing rights - the equivalent of synch rights for recordings. Also known as Master rights. - Public Domain or traditional works out of copyright. http://www.channel4.com/corporate/4producers/resources/documents/beginners-guidemusic.pdf OTHER USEFUL LINKS: Terminology / Companies PRS/ MCPS - Performing Rights Society (this now encompasses MCPS too) - http://www.prsformusic.com/creators/memberresources/mcpsroyalties/pages/mcps.aspx PPL - The Phonographic Performance Limited http://www.ppluk.com BPI - British Phonographic Industry http://www.bpi.co.uk/default.aspx ASCAP - American Society of Composers, Authors and Publishers www.ascap.com MU Musicians Union www.musiciansunion.org.uk Audio Network music library: http://www.audionetwork.com 18

ARCHIVE GUIDELINES Archive Footage is the umbrella term for anything that you use in your film that you didn t shoot yourself specifically for the production. Material are items or objects such as magazine articles, personal photographs and artwork for which a copyright might apply. Archive and Materials can be broken down into three main areas: Personal and Organisation-owned Archive and materials, video footage and stills Sometimes someone that you are filming might give you a home video that they filmed, or some family photos from an album that would be great to include in the film. Or, in another case, a private organisation might give you a show-reel with shots that you would like to include. In order to include it, you should ask them to sign a material release (a template can be sent if you don t have one). This covers the rights that you need in order to broadcast the footage or materials and shows that you had their permission to include it. Sometimes you offer a small fee for this material, but usually it is free. If you do pay a fee make sure to note it on the release form. Production Company Owned footage Sometimes, your production company might have footage from an old film that they have made before that they want to include in your new production. An example of this might be London GVs. By using the old footage rather than shooting the same scene again is a way of keeping costs down and as long as it works editorially then it s fine. You will just need to re-check any release forms to see whether you have the right to use the footage in ANY production and not just the one named in the old release form. Sometimes it is necessary just to re-contact the old rights holder and ask them to sign a new release form covering your new production. Stock Footage/ Paid-For Archive/ Copyright Materials Sometimes it is necessary to pay for pieces of a programme that you didn t film yourself or that you don t own the rights to. This could be a clip from the news covering a specific article that you want to include, a piece of historical footage, a film clip or just a newspaper headline... they all must be cleared! If you are looking for some archive to use here are some helpful archive sites: http://www.focalint.org/footage-and-content-gallery/footage-and-content-finder - This is a collection of 140 Archive companies you just fill in the form for what you are looking for and the companies that can help send back a reply with archive rates and examples of footage. http://www.bbcmotiongallery.com - Really good searchable archive library at reasonable rates for worldwide clearance. http://www.itnsource.com/en/ - Good for news footage http://www.gettyimages.co.uk - good for photographic stills of celebrities and news stories http://www.huntleyarchives.com - good for old film footage and historical content http://www.johnfrostnewspapers.co.uk - This is a great place to search for newspaper articles for research. John Frost loans you the newspaper for a fee which you then can shoot yourself on a rostrum. Please note that you would still need to clear the article with the individual newspaper, but John Frost is incredibly helpful and economical way of searching for newspaper stories http://www.nasa.gov/multimedia/imagegallery/previous_images_of_the_day_collection_arc hive_1.html - NASA archive is free. 19

Sometimes, things are owned by people and you don't realise. Lots of things fall into this category that you might not think of straight away. Here are some common examples: - Sports Footage If you film a scene in a pub or a living room and there is football on the telly you would have to contact the owner of the sport s footage and clear it. The best way around this is to ask the location to switch the telly off. - A clip from Youtube You might find something amazing on youtube that you want to include but it is covered by the same archive rules as anything else. Start by trying to track down the owner by sending an email to the person who posted up the clip. If they filmed it themselves they might be happy to sign a release form. They might be able to point you to another place where they got the clip from it s quite a detective job. If you have made every effort to track down the clip owner but can t find who it is contact BSLBT who will make a decision on whether or not you can use it. They will ask for copies of the messages you have sent to try to find out the clip s owner. - A poster on the wall of a famous film/ artwork some posters are reproductions of famous work that need permission from the artist to be used. If you think the poster is really recognisable then maybe try to shoot around it, or blur out the image in final post. Check with BSLBT if you are unsure. - A Newspaper or Magazine clipping sometimes you might want to feature a newspaper story. You would need to contact the newspaper involved and ask for permission to use it giving the date of the newspaper and the title of the piece. If it has a photo attached they will need to check the permission with their photographer. If you are just planning to use the headline of the story and NOTHING ELSE is visible (including the newspaper name) then no copyright applies. - Logos/ Trademarks - Although these pop up in daily life all the time, watch out for any logos that you feel might be being featured heavily. For example it s not a good idea to dress your lead actor head to toe in Adidas. 20

INSTRUCTIONS FOR EXPORTING TO FCP ON RAPID VIEW Uploading Approval Files to Rapid View 1. Select the clip or sequence you want to export. 2. Go to File, Export, Export with Using Quicktime Conversion 3. Select Option 4. Select Settings 21

5. Make sure everything is the same as the picture below and click OK: 6. Select Size 22

7. Make sure settings are the same as pictures below and click OK: 8. Select Sound Settings 23

9. Make sure your settings are the same as picture below and click OK: 24

Further Help Telephone: 020 8743 5100 Email: help@rapidview.co.uk BACK TO INDEX EXAMPLE POST PRODUCTION SCRIPTS: Post Production scripts are important if you sell a programme abroad and this has happened with BSLBT commissions. It enables the foreign broadcaster to take the non subtitled version of the programme and lay their native language subtitles on the programme. ALWAYS INCLUDE A TOP SHEET WITH PROGRAMME NAME, PRODUCTION COMPANY DETAILS AND PROGRAMME NUMBER SAMPLE 1: POST PRODUCTION FINAL SCRIPT 10.00.00 EXT. NIGHT WS river, gothic parliament 10.00.02 MUSIC (end 10.00.52) Dur 50 10.00.03 Archive: Thatcher waving ARCHIVE THATCHER V/O I stand before you tonight the Iron Lady of the Western World! 10.00.12 COMM 1 Margaret Thatcher revelled in her reputation. As prime minister she was the unbending and indestructible force of British politics. But the Iron Lady was brought crashing down in just ten unbelievable days. 10.00.28 Archive: Thatcher ARCHIVE THATCHER I/V It was treachery with a smile on its face. 10.00.34 10.00.42 EXT. NIGHT gothic parliament Archive: Thatcher leaving Downing Street COMM 2 Tonight Mrs Thatcher s closest confidantes reveal the inside story of her downfall. It is a tale of suspicion, revenge and trust betrayed. 10.00.47 EXT. NIGHT gothic parliament TITLE: FALL OF THE IRON LADY 25

SAMPLE 2: POST PRODUCTION FINAL SCRIPT 1. 10:00:00 JOHN IN VISION Good Evening I m JV and this is Jerusalem 2. Nat sof.demolition and shouting 3. 10:00:04 JV COMM The fight is on for the Holiest City in the Holy Land.Jerusalem It s a new year, a new decade but in Jerusalem an old fight is boiling up again. 4. Pal sync: they are demolishing the houses, its ethnic cleansing 5. 10:00:14 JV COMM Palestinians are being thrown out of their homes, Israelis are moving in even underground. 6. Settler Sync: My aim is to get Jews all over all over 7. Sting. 8. 10:00:33 JOHN IN VISION A knock on the door at midnight an eviction order served the threat your house could be smashed down. And for others the school run with armed guards, the fear of violence from the neighbors. This is life for many living in East Jerusalem. The Israelis say Jerusalem is their capital and must never be divided. The Palestinians say the east of the city is theirs and one day must become the capital of a new state. As Miranda Corbin s discovered finding a route to peace in this city isn t exactly a walk in the park. 26

EXAMPLE CASHFLOW A cashflow is the way in which the Producer sees the stages when money is needed to finance the production. It needs to be realistic to enable the production to run smoothly and for facilities and crew to be paid on time. However, it cannot demand all the money up front. Obviously a tight turnaround project will have very different requirements from a series delivering in stages. This needs careful thought and agreement with the BSLBT Production Manager. It forms part of the contract. 1000 from the licence fee will be held back until a final cost report is sent across to BSLBT. CASH FLOW che ule Category FEB Programme Title: Production Company MARC H APRIL MAY JUNE DELI VERY TOTAL 5 Research/Script development 1000 1000 1000 1000 1000 5000 6 Producer/Director 1000 1000 1000 1000 1000 5000 7 Artists 2000 2000 2000 6000 8 Presenters/Interviewees 1000 1000 1000 1000 4000 9 Production Unit Salaries 5000 5000 5000 5000 5000 25000 10 Assistant Directors/Continuity 5000 5000 5000 5000 5000 25000 11 Crew camera 5000 5000 2000 12000 12 Crew sound 13 Crew lighting 14 Crew art dept 15 Crew ward/make up/hair 16 Crew editing 17 Misc 18 Salary & wage related overheads 200 200 200 200 800 19 Materials Art dep 20 Material makeup/wardrobe 21 Production Equipment 2000 2000 2000 6000 22 Facility Packages 23 Studios/OB 24 Other production facilities 50 500 500 500 1550 25 Tape stock 500 500 500 500 2000 27 Post-production 5000 5000 5000 5000 20000 28 Archive 1000 500 500 500 500 3000 29 Rostrum Graphics 150 150 150 450 30 Music (incl. copyright) 2000 2000 31 Travel/Transport 500 1000 1000 1000 1000 4500 32 Hotel/Living 500 500 500 500 2000 33 Other Production costs 500 500 500 500 500 2500 34 Insurance/Legal/Finance 200 200 200 200 200 1000 35 Production Overheads 1500 1500 1500 1500 1500 7500 DIRECT COSTS INC OVERHEADS 17950 32050 30550 29400 25350 0 135300 PRODUCTION FEE 1000 2000 2000 1000 1000 4000 11000 TOTAL 18950 34050 32550 30400 26350 4000 146300 27