You know, with the number next to each log it really feels like some sort of video game franchise pulling to its conclusion. Like Chris Redfield finally defeating Albert Wesker in Resident Evil 5, saving Jill Valentine from mind control, and stopping a terrorist plot from pouring parasitic leaches all over the world.
By the way, here's a link to that site I've been researching for the past 6 months: http://www.spaa.org.au/
Nighty night.
Tuesday, August 18, 2009
SPAA Log 5
How do you benefit?
For starters, being a member of SPAA means you have the ability to subscribe for the mailing list to constantly be sent more and more information and stuff which is weally weally important to your self esteem especially when it comes to Producing a film >.>
Moving along. The same applies for very much everything else that occurs when being a member, it’s pretty much a binary situation. 0, means you can see everything, ever. 1, you aren’t a member, you see nothing, you pay money to see everything. So I, 1, will be relaying what they more or less teaser you with in terms of resources.
News:
Industry/Commercial
Info:
- TV Audience Ratings for television shows and advertisement in metropolitan areas.
- Access to Australia box office results and top films in limited release.
- Encore discount…
Encore is a magazine/website which covers the latest in the Australian film, television and new media industry. I’ve never heard of it before, or ever seen it in a news agency so I’ll assume it’s a net purchase thing which is sent straight to your house.
… 1 year magazine subscription striking $50 from its original price, and a discount on the ‘Encore Directory’ saving you another $50. Or get a deal involving both saving you more money.
- Several other discounts quick list:
Australian Film Institute Discount – 50% off of membership.
Open Channel Short Course Discount – 10% discount off full cost of all short-courses.
Australian Copyright Council Publication Discount – 25% off one publication every course member enrolls in.
Orion Green Screen Studio Hire Discount – 25% off.
- Events discounts up to 30% on annual SPAA and Fringe Conferences and 70% on seminars.
- 20% discount for SPAA members to attend the MediaGuardian Edinburgh International Television Festival.
Student members are included in the discounts for SPAA events. Pretty cool, if you were living in the Eastern States.
For everything else, there’s Mastercard.
For starters, being a member of SPAA means you have the ability to subscribe for the mailing list to constantly be sent more and more information and stuff which is weally weally important to your self esteem especially when it comes to Producing a film >.>
Moving along. The same applies for very much everything else that occurs when being a member, it’s pretty much a binary situation. 0, means you can see everything, ever. 1, you aren’t a member, you see nothing, you pay money to see everything. So I, 1, will be relaying what they more or less teaser you with in terms of resources.
News:
Industry/Commercial
Info:
- TV Audience Ratings for television shows and advertisement in metropolitan areas.
- Access to Australia box office results and top films in limited release.
- Encore discount…
Encore is a magazine/website which covers the latest in the Australian film, television and new media industry. I’ve never heard of it before, or ever seen it in a news agency so I’ll assume it’s a net purchase thing which is sent straight to your house.
… 1 year magazine subscription striking $50 from its original price, and a discount on the ‘Encore Directory’ saving you another $50. Or get a deal involving both saving you more money.
- Several other discounts quick list:
Australian Film Institute Discount – 50% off of membership.
Open Channel Short Course Discount – 10% discount off full cost of all short-courses.
Australian Copyright Council Publication Discount – 25% off one publication every course member enrolls in.
Orion Green Screen Studio Hire Discount – 25% off.
- Events discounts up to 30% on annual SPAA and Fringe Conferences and 70% on seminars.
- 20% discount for SPAA members to attend the MediaGuardian Edinburgh International Television Festival.
Student members are included in the discounts for SPAA events. Pretty cool, if you were living in the Eastern States.
For everything else, there’s Mastercard.
Friday, August 14, 2009
SPAA Log 4
How do you join?
Money for starters.
Criteria: Membership is open to Australian individuals and companies engaged in the production of film and television or provide services and facilities related to production.
All members pay an annual subscription fee which varies depending on the category of membership. Producer members also pay a levy on their productions; so SPAA expect you to give them some cash for helping you out on your movie that you’re making. It does only say “Producer members” though, so you could get away with it if you’re something other than a Producer. Then they give you a form to fill out.
There are several member categories with their own fees and all memberships comprise of 1 (One) Financial Year. So if you apply for membership early January you’ll have to wait 6 months before actually being on their cast of super Producers.
The website claims that “SPAA membership is always good value” and “SPAA demonstrates its responsiveness to the needs of the industry.” (Due to its incentives for new and existing members)
So membership type is broken up into 4 categories, or two categories with a benefit of the latter for each type plus the Existing Cost is displayed, and a Priority Offer with how much you’re saving when going with the priority offer, then the pay conditions:
Existing Producer:
---Existing Cost: $429
---Priority Offer: $275
New Producer:
---Existing Cost: $429
---Priority Offer: $275
Existing Associate:
---Existing Cost: $275
---Priority Offer: $175
New Associate:
---Existing Cost: $275
---Priority Offer: $175
Then the pay conditions only change between the ‘New’ and ‘Existing’ member genres, New meaning you pay between the start and end of the financial year, and Existing meaning you pay by the start of the financial year. So really there is no difference.
What the 'Priority' part is goes beyond me, does it mean that you need to join SPAA top priority? If that's the case then claim it's of the utmost importance to join them so you get a 40% membership discount.
And what’s this funny asterisk doing between each member category?... Oh, it says ‘*Producer Members’; so earlier before when I suggested joining as something other than a Producer, there isn’t really much you can do about that, you more or less need to be a Producer to join this fan club. Well duh, it is the Screen Producers Association of Australia, why would I think anybody else other than Producers can join? Mind you, why would they place on their site that ‘Producer Members do this, this and this’ when all members are Producers.
Okay, bear with me, ‘Associate Members are those who do not have Producer credit and who are not employers or who are not engaged professionally in the industry, Associate Members do not pay levies-’ yet they’re classed as Producer Members (Either way, masquerade as an Associate so you don’t have to pay levies [If you’re discovered, you don’t know me and you didn’t read this]), ‘-and do not have access to SPAA Industrial Relations and Commercial Agreements. Associate members do not vote in SPAA elections.’
Companies Membership (This is like purchasing the family deal over a single ticket)
Category A: Freelance TV Producer/Other Catefory - $550
- No Offices or employees – Up to 2 Active members SPAA
- Member of Film or TV division who would like to be included in TVC (Television Commercials Producers) activity (no additional voting rights)
Category B: Small/New Production Companies - $1650
- Small, 1-3 Directors – Up to 2 Active members
- Facilitation Company – 1-2 Producers
- Established more than 12 months
Category C: Big/Established Companies - $3300
- Big: More than 3 Directors – Up to 4 active members
- Facilitation Company more than 3 Producers
- Established more than 12 months
Corporate, Facilities, Service and Student Members
Corporate Members - $2200
- Companies with more than five permanent full time employees qualify (excluding principals and directors). May nominate across all six divisions, but only vote in one: Animation, Doco, Feature, TV, Commercials, and Services.
Facility Members - $1100
- From the post production editing, effects, film distribution and processing sectors. May vote in Services and Facilities Division only.
Service Members - $1650
- Includes lawyers, accountants, agents, completion guarantor, insurance companies. May vote in Services and Facilities Division only.
Student Members - $44
- Do not have a Producer credit and are not engaged in the professional industry.
So there you go. Want to join SPAA? Well now you know.
And knowing is half the battle.
Money for starters.
Criteria: Membership is open to Australian individuals and companies engaged in the production of film and television or provide services and facilities related to production.
All members pay an annual subscription fee which varies depending on the category of membership. Producer members also pay a levy on their productions; so SPAA expect you to give them some cash for helping you out on your movie that you’re making. It does only say “Producer members” though, so you could get away with it if you’re something other than a Producer. Then they give you a form to fill out.
There are several member categories with their own fees and all memberships comprise of 1 (One) Financial Year. So if you apply for membership early January you’ll have to wait 6 months before actually being on their cast of super Producers.
The website claims that “SPAA membership is always good value” and “SPAA demonstrates its responsiveness to the needs of the industry.” (Due to its incentives for new and existing members)
So membership type is broken up into 4 categories, or two categories with a benefit of the latter for each type plus the Existing Cost is displayed, and a Priority Offer with how much you’re saving when going with the priority offer, then the pay conditions:
Existing Producer:
---Existing Cost: $429
---Priority Offer: $275
New Producer:
---Existing Cost: $429
---Priority Offer: $275
Existing Associate:
---Existing Cost: $275
---Priority Offer: $175
New Associate:
---Existing Cost: $275
---Priority Offer: $175
Then the pay conditions only change between the ‘New’ and ‘Existing’ member genres, New meaning you pay between the start and end of the financial year, and Existing meaning you pay by the start of the financial year. So really there is no difference.
What the 'Priority' part is goes beyond me, does it mean that you need to join SPAA top priority? If that's the case then claim it's of the utmost importance to join them so you get a 40% membership discount.
And what’s this funny asterisk doing between each member category?... Oh, it says ‘*Producer Members’; so earlier before when I suggested joining as something other than a Producer, there isn’t really much you can do about that, you more or less need to be a Producer to join this fan club. Well duh, it is the Screen Producers Association of Australia, why would I think anybody else other than Producers can join? Mind you, why would they place on their site that ‘Producer Members do this, this and this’ when all members are Producers.
Okay, bear with me, ‘Associate Members are those who do not have Producer credit and who are not employers or who are not engaged professionally in the industry, Associate Members do not pay levies-’ yet they’re classed as Producer Members (Either way, masquerade as an Associate so you don’t have to pay levies [If you’re discovered, you don’t know me and you didn’t read this]), ‘-and do not have access to SPAA Industrial Relations and Commercial Agreements. Associate members do not vote in SPAA elections.’
Companies Membership (This is like purchasing the family deal over a single ticket)
Category A: Freelance TV Producer/Other Catefory - $550
- No Offices or employees – Up to 2 Active members SPAA
- Member of Film or TV division who would like to be included in TVC (Television Commercials Producers) activity (no additional voting rights)
Category B: Small/New Production Companies - $1650
- Small, 1-3 Directors – Up to 2 Active members
- Facilitation Company – 1-2 Producers
- Established more than 12 months
Category C: Big/Established Companies - $3300
- Big: More than 3 Directors – Up to 4 active members
- Facilitation Company more than 3 Producers
- Established more than 12 months
Corporate, Facilities, Service and Student Members
Corporate Members - $2200
- Companies with more than five permanent full time employees qualify (excluding principals and directors). May nominate across all six divisions, but only vote in one: Animation, Doco, Feature, TV, Commercials, and Services.
Facility Members - $1100
- From the post production editing, effects, film distribution and processing sectors. May vote in Services and Facilities Division only.
Service Members - $1650
- Includes lawyers, accountants, agents, completion guarantor, insurance companies. May vote in Services and Facilities Division only.
Student Members - $44
- Do not have a Producer credit and are not engaged in the professional industry.
So there you go. Want to join SPAA? Well now you know.
And knowing is half the battle.
Friday, May 29, 2009
SPAA Log 3
Who are they?
3rd log, 12th week, not a great ratio but I'll have to deal with it.
Today children we find out who SPAA is, now I'll start with whoever sounds the most significant as honestly I have no idea how the ladder of rank or promotion works; in what case, I'll find the definition of the occupation each person takes and place it next to the name of that role after I move through each of them. Let's start with who I'm assuming is the big cheese.
Geoff Brown
Executive Director (A person responsible for the administration of a business, I think I'm on the right track)
Brown has been working with the SPAA for quite some time, between 1995 and 2000 he was the Commercial Affairs Manager for SPAA overseeing the commercial and industrial matters which affected the independant film and television production sector. I'm guessing that means 'make sure there's no screwing over' going on between groups and companies. In 2002 he was appointed as the Executive Director of the SPAA and, since then, has held his place in the Association. He must have been born for the job considering in the past 16 years of his life he's held a key, senior management role.
Bethwyn Serow
SPAA Production Executive (According to Wikipedia*, doesn't participate in anything but is still responsible for the success of the project)
Just looking for some information on her at the moment, bare with me; apparently she worked on 'Beneath Indian Skies' which was Produced back in 1990 as Director, she's done research for a story on Tim Costello. Serow also takes a managerial role in Television Commercials.
Katie Fagan
TVC & Levies Officer (Pretty much the debt collector I suppose)
Okay. Well there are pleny of Katie Fagan's in the world, some of them even with 'Fagan' as their fake name. One 'Linkedin' profile was based in Sydney so I'm assuming that's her, but it's far out of date; it does state that she works/ed for Online Marketing at MCA (Museum of Contemporary Art I'm guessing, her position was in the Industry was for Arts and Crafts). There's also another Katie Fagan in Sydney who's a Country and Folk singer, strangeworld.
Julie Marlow
Documentary Policy Manager (Nup, the internet doesn't want to answer this one, I'm going to guess...making sure there are no loop holes in agreements or contracts for anything related to Documentary. Or! Or actual documentation of certain things, or everything. Either one)
Produced several projects between 2003 and 2007, also wrote and applied for funding for two of them
Gaylee Butler
Conference Director (Woah, big job; here are a couple of things you're expected to perform as the Conference Director. Identify key industry trends and hot-button issues, conduct intensive primary market research to define conference topics Create compelling program agendas based on your research. Here I thought the person simply directed a meeting or something)
Made it to the red carpet World Premier of Star Trek, one perk of the things being high up in a film organisation benefits you with? Surely there was some discount that came from it. Doesn't update her Twitter so much. She starred in a movie titled 'Comedy Gold' as herself in 2008. I don't know, it's a bit odd how all of these high ups in the film industry don't have Facebook profiles and barely update their Twitter. I mean, Graeme updated his Twitter and Facebook everyday from what I witnessed. When you're this high up does it mean you don't need Facebook and can attend world premiers of movies? Sounds like some sort of heaven.
Emma Beaumont
Sponsorship and Special Events (I'm going to assume that it's a role of finding money for the SPAA and hosting the special events such as the SPAA Fringe, etc.)
Tatyana Tinetti
Accounts/Member Services (Looking after the members of SPAA, that being the other Producers in Australia)
Emma Thompson
Administrative Officer (Manages the whole affair, kind of like a human alarm clock)
Cynthia Cano & Lucas Pozzey
Administration Team (Takes some weight off of the Administrative Officer)
And after that there's the SPAA Council, council President and people for each media; and after that there are the individual people who represent SPAA in each state. So yeah, and then there's the thousands of Producers hooked up with SPAA; big family here.
*Note: Google didn't give me a proper definition, instead the first link was for Wikipedia which I don't usually use as a source.
3rd log, 12th week, not a great ratio but I'll have to deal with it.
Today children we find out who SPAA is, now I'll start with whoever sounds the most significant as honestly I have no idea how the ladder of rank or promotion works; in what case, I'll find the definition of the occupation each person takes and place it next to the name of that role after I move through each of them. Let's start with who I'm assuming is the big cheese.
Geoff Brown
Executive Director (A person responsible for the administration of a business, I think I'm on the right track)
Brown has been working with the SPAA for quite some time, between 1995 and 2000 he was the Commercial Affairs Manager for SPAA overseeing the commercial and industrial matters which affected the independant film and television production sector. I'm guessing that means 'make sure there's no screwing over' going on between groups and companies. In 2002 he was appointed as the Executive Director of the SPAA and, since then, has held his place in the Association. He must have been born for the job considering in the past 16 years of his life he's held a key, senior management role.
Bethwyn Serow
SPAA Production Executive (According to Wikipedia*, doesn't participate in anything but is still responsible for the success of the project)
Just looking for some information on her at the moment, bare with me; apparently she worked on 'Beneath Indian Skies' which was Produced back in 1990 as Director, she's done research for a story on Tim Costello. Serow also takes a managerial role in Television Commercials.
Katie Fagan
TVC & Levies Officer (Pretty much the debt collector I suppose)
Okay. Well there are pleny of Katie Fagan's in the world, some of them even with 'Fagan' as their fake name. One 'Linkedin' profile was based in Sydney so I'm assuming that's her, but it's far out of date; it does state that she works/ed for Online Marketing at MCA (Museum of Contemporary Art I'm guessing, her position was in the Industry was for Arts and Crafts). There's also another Katie Fagan in Sydney who's a Country and Folk singer, strangeworld.
Julie Marlow
Documentary Policy Manager (Nup, the internet doesn't want to answer this one, I'm going to guess...making sure there are no loop holes in agreements or contracts for anything related to Documentary. Or! Or actual documentation of certain things, or everything. Either one)
Produced several projects between 2003 and 2007, also wrote and applied for funding for two of them
Gaylee Butler
Conference Director (Woah, big job; here are a couple of things you're expected to perform as the Conference Director. Identify key industry trends and hot-button issues, conduct intensive primary market research to define conference topics Create compelling program agendas based on your research. Here I thought the person simply directed a meeting or something)
Made it to the red carpet World Premier of Star Trek, one perk of the things being high up in a film organisation benefits you with? Surely there was some discount that came from it. Doesn't update her Twitter so much. She starred in a movie titled 'Comedy Gold' as herself in 2008. I don't know, it's a bit odd how all of these high ups in the film industry don't have Facebook profiles and barely update their Twitter. I mean, Graeme updated his Twitter and Facebook everyday from what I witnessed. When you're this high up does it mean you don't need Facebook and can attend world premiers of movies? Sounds like some sort of heaven.
Emma Beaumont
Sponsorship and Special Events (I'm going to assume that it's a role of finding money for the SPAA and hosting the special events such as the SPAA Fringe, etc.)
Tatyana Tinetti
Accounts/Member Services (Looking after the members of SPAA, that being the other Producers in Australia)
Emma Thompson
Administrative Officer (Manages the whole affair, kind of like a human alarm clock)
Cynthia Cano & Lucas Pozzey
Administration Team (Takes some weight off of the Administrative Officer)
And after that there's the SPAA Council, council President and people for each media; and after that there are the individual people who represent SPAA in each state. So yeah, and then there's the thousands of Producers hooked up with SPAA; big family here.
*Note: Google didn't give me a proper definition, instead the first link was for Wikipedia which I don't usually use as a source.
Sunday, May 10, 2009
Monday, April 27, 2009
SPAA Log 2
About SPAA? What they do?
You'll have to excuse me on my ignorance if any of this sounds stupid considering as, after reading a fraction of what SPAA is all about, most subjects appears to be in the area of Film/Screen law/legalities and the Government; what a coincidence, it happens to be a topic I grasp the least, all I ever learn from watching parliament house is people in Government are exceedingly arrogant; so curse quietly when you come across my incorrect interpretation of SPAA.
I figured I might as well start off the research on this topic by first finding out what the SPAA is and does exactly. I'll start off with what they 'Do' first before we all discover who the silhouetted figures are sitting up at the half table. SPAA consider themselves, and no doubt are seeing their position in Film and Television, an "Industry Body representing Australian Independent Film and Television Producers on all issues affecting business and creative aspects of Screen Production". From what I take it, it's pretty much said they represent the "top brass" in the industry on "everything".
SPAA "members" (Quoted because this is the name given for industry sections and isn't to be confused with "Membership" which is the name of the individual who is a member of the SPAA) are Television, Feature Film, Animation, Documentary, TV Commercial, and Interactive Media Production Companies (The extended and more intelligent or mature name for 'Video Game Developers'). As well as Post-Production, Finance, Distribution and Legal Companies which more or less wraps up loose ends in the industry.
I must have blacked out after reading the next piece, albeit it's still in front of me. Apparently "SPAA gives its members the means to have an effective say in the following areas by:" yet the following areas simply make it sound as if the SPAA does everything for you. It truly is confusing my interpretation of this topic, so let’s hop on it and let you interpret my interpretation.
It's broken up in 5 areas for you to have an 'effective say':
- Policy and Government
From what I understand it's making sure all potential issues are clear for the best outcome of whatever media is being created. It's the 1/5th which confuses me the most considering my Government and Political-esque knowledge.
- Commercial and Industrial Affairs
SPAA help represent the membership thoroughly to the Industry as well as helping out with sponsorship; the SPAA clarify Industry law and obligations in the area that the membership is operating; keeping Industry issues in line with all of the memberships associations plus maintaining Industry negotiations with the membership.
Feeling sick yet?
- News and Info
Perhaps the one area I understood due to its non-vaguality. It's more or less the SPAA bringing the Producer up to date with the Industry surrounding them.
- Events
Essentially the majority of what is said in this section should just be with 'News and Info', it's clear that SPAA wants to sell their primary Sydney based events though. Highlighting the big names and changes in the industry via meetings and seminars plus the annual SPAA and Fringe Conferences. The 'big names' spoken of are from : Finance, Broadcasting, Distributing, Sales, Advertisement, Service, International Industry Affairs, and Writers/Directors/Actors/Production Personnel. It really is a misnomer on SPAA's goal on helping Producers if the information potentially goes out of date before the turn of every annum; but hey, this is why I'm researching this topic...right?
- Getting Started in the Industry
All they had here was a link to a short guide or 'Crash Course' in the art of becoming a film producer which SPAA had compiled (Something I didn't bother reading). It's nice to know how much they're trying to help emerging producers compared to the aid given to already emerged and quite rather successful producers in the industry.
What do you think? About that "Effective say" of course. No doubt you forgot all about it after reading the past 5 key points. This is all being pulled off of something one mouse click away though, so don’t take anything to heart just yet.
-----
Under ‘Resources’ there are a lot sections to choose from, stuff I can’t see 100% due to not being a member so I’ll put down a simple list of everything and find explanations on them.
Industrial Agreements: In a nutshell, I wouldn’t have a clue what this is suggesting to, but no doubt it has something to do with agreements in the industry that everyone must follow to lead a long and fulfilled life of film making and broadcasting.
Underpinning Awards: Got me…some form of martial arts?
OH&S: Well this one is easy, Occupational Health and Safety. I’m guessing SPAA has their own criteria of it that you can follow. Spur of the second update, SPAA in fact have a resource document you can purchase which will help out in the whole risk management section of your position as a Producer in the industry. Of course you could just develop your own OHS management and reports, it’s not like it’s a locals shop for locals only.
Commercial Production Specific Documents: Documents on Producing Commercial affairs.
Discrimination, EEO (equal employment opportunity) and Harassment: A resource that no doubt makes everyone even with one another in the work space and how to deal with people in the industry being patronizing. This is something that not only the film industry needs, but every other industry for that matter; it would make occupational garbage a lot more even.
Copyright and Intellectual Property: Welp, obviously explanation of how to handle copyright infringement and the likes. I did a quick search to see whether there were any SPAA involved copyright lawsuits but came up blank. It’s there though, and if you were stuck with infringement issues then this resource would be handy to refer to in times of need where you’re really being screwed over.
Child Employment: Likely a document explaining the process of employing kids into a production, right and wrongs, dos and don’ts, etc.
Tax Issues: The other name for money issues.
Producer Offset
Location Offset
PDV Offset: fanning out budget across time, probably explaining the most effective way of putting your budget to use and when/where to use it.
Importation of foreign artists: If you’ve hired a foreign employee, then this resource would explain how to best handle the situation when it arises.
-----
My interpretation so far? The SPAA is there for Producers/Managers in the industry primarily so that if you get screwed over financially wise you can let them know about it and they’ll METAPHORICALLY send two brute looking men to the person's house on persuasion terms. Unless they really do, post metaphor note, need to send two brutes on persuasion terms.
You'll have to excuse me on my ignorance if any of this sounds stupid considering as, after reading a fraction of what SPAA is all about, most subjects appears to be in the area of Film/Screen law/legalities and the Government; what a coincidence, it happens to be a topic I grasp the least, all I ever learn from watching parliament house is people in Government are exceedingly arrogant; so curse quietly when you come across my incorrect interpretation of SPAA.
I figured I might as well start off the research on this topic by first finding out what the SPAA is and does exactly. I'll start off with what they 'Do' first before we all discover who the silhouetted figures are sitting up at the half table. SPAA consider themselves, and no doubt are seeing their position in Film and Television, an "Industry Body representing Australian Independent Film and Television Producers on all issues affecting business and creative aspects of Screen Production". From what I take it, it's pretty much said they represent the "top brass" in the industry on "everything".
SPAA "members" (Quoted because this is the name given for industry sections and isn't to be confused with "Membership" which is the name of the individual who is a member of the SPAA) are Television, Feature Film, Animation, Documentary, TV Commercial, and Interactive Media Production Companies (The extended and more intelligent or mature name for 'Video Game Developers'). As well as Post-Production, Finance, Distribution and Legal Companies which more or less wraps up loose ends in the industry.
I must have blacked out after reading the next piece, albeit it's still in front of me. Apparently "SPAA gives its members the means to have an effective say in the following areas by:" yet the following areas simply make it sound as if the SPAA does everything for you. It truly is confusing my interpretation of this topic, so let’s hop on it and let you interpret my interpretation.
It's broken up in 5 areas for you to have an 'effective say':
- Policy and Government
From what I understand it's making sure all potential issues are clear for the best outcome of whatever media is being created. It's the 1/5th which confuses me the most considering my Government and Political-esque knowledge.
- Commercial and Industrial Affairs
SPAA help represent the membership thoroughly to the Industry as well as helping out with sponsorship; the SPAA clarify Industry law and obligations in the area that the membership is operating; keeping Industry issues in line with all of the memberships associations plus maintaining Industry negotiations with the membership.
Feeling sick yet?
- News and Info
Perhaps the one area I understood due to its non-vaguality. It's more or less the SPAA bringing the Producer up to date with the Industry surrounding them.
- Events
Essentially the majority of what is said in this section should just be with 'News and Info', it's clear that SPAA wants to sell their primary Sydney based events though. Highlighting the big names and changes in the industry via meetings and seminars plus the annual SPAA and Fringe Conferences. The 'big names' spoken of are from : Finance, Broadcasting, Distributing, Sales, Advertisement, Service, International Industry Affairs, and Writers/Directors/Actors/Production Personnel. It really is a misnomer on SPAA's goal on helping Producers if the information potentially goes out of date before the turn of every annum; but hey, this is why I'm researching this topic...right?
- Getting Started in the Industry
All they had here was a link to a short guide or 'Crash Course' in the art of becoming a film producer which SPAA had compiled (Something I didn't bother reading). It's nice to know how much they're trying to help emerging producers compared to the aid given to already emerged and quite rather successful producers in the industry.
What do you think? About that "Effective say" of course. No doubt you forgot all about it after reading the past 5 key points. This is all being pulled off of something one mouse click away though, so don’t take anything to heart just yet.
-----
Under ‘Resources’ there are a lot sections to choose from, stuff I can’t see 100% due to not being a member so I’ll put down a simple list of everything and find explanations on them.
Industrial Agreements: In a nutshell, I wouldn’t have a clue what this is suggesting to, but no doubt it has something to do with agreements in the industry that everyone must follow to lead a long and fulfilled life of film making and broadcasting.
Underpinning Awards: Got me…some form of martial arts?
OH&S: Well this one is easy, Occupational Health and Safety. I’m guessing SPAA has their own criteria of it that you can follow. Spur of the second update, SPAA in fact have a resource document you can purchase which will help out in the whole risk management section of your position as a Producer in the industry. Of course you could just develop your own OHS management and reports, it’s not like it’s a locals shop for locals only.
Commercial Production Specific Documents: Documents on Producing Commercial affairs.
Discrimination, EEO (equal employment opportunity) and Harassment: A resource that no doubt makes everyone even with one another in the work space and how to deal with people in the industry being patronizing. This is something that not only the film industry needs, but every other industry for that matter; it would make occupational garbage a lot more even.
Copyright and Intellectual Property: Welp, obviously explanation of how to handle copyright infringement and the likes. I did a quick search to see whether there were any SPAA involved copyright lawsuits but came up blank. It’s there though, and if you were stuck with infringement issues then this resource would be handy to refer to in times of need where you’re really being screwed over.
Child Employment: Likely a document explaining the process of employing kids into a production, right and wrongs, dos and don’ts, etc.
Tax Issues: The other name for money issues.
Producer Offset
Location Offset
PDV Offset: fanning out budget across time, probably explaining the most effective way of putting your budget to use and when/where to use it.
Importation of foreign artists: If you’ve hired a foreign employee, then this resource would explain how to best handle the situation when it arises.
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My interpretation so far? The SPAA is there for Producers/Managers in the industry primarily so that if you get screwed over financially wise you can let them know about it and they’ll METAPHORICALLY send two brute looking men to the person's house on persuasion terms. Unless they really do, post metaphor note, need to send two brutes on persuasion terms.
Friday, April 24, 2009
Karaoke
Hmm? No seriously.
For starters, yes I haven't touched base with the SPAA again yet; I will before it becomes illegal or anything. Ahh...so, it's kind of worrying to think I arrive home at 1am and switch on the computer; but here I am, typing up this post to make sure I don't forget anything or blank in the morning.
This arvo/evening Thee and several other animation students (Evangeline, Daniel, Lenny), plus our Facilitator, Ebbie, and several of her friends (Numerous who were ex-animation students) all went to Karaoke! So I sang "Kiss from a rose", "We are the Champions"... ahhh, "Way I walk"(?)[citation.s needed] and many others. It was great fun. Anygways, I'm throwing this in because it turned out to be a sleight of a networking party, to a degree. After Karaoke we hightailed it to Ebbie's place to sit around and chat about old times; I had the privelage of meeting her significant other, Max Frankle, who too is an ex-animation student. In lamens he's a wizz with 3D garbage, so I was deeply impressed when I witnessed several of the model spectaculars he had spent hours on and implemented into computer games. It was good as I managed to understand a fair bit he raved on about (Can't speak for Lenny though) and a decent conversation was formed on things 3D plus off shoots, etc.
So yeah, fun and factual night. Acheived a lift straight home from Clancie aswell ^.^
For starters, yes I haven't touched base with the SPAA again yet; I will before it becomes illegal or anything. Ahh...so, it's kind of worrying to think I arrive home at 1am and switch on the computer; but here I am, typing up this post to make sure I don't forget anything or blank in the morning.
This arvo/evening Thee and several other animation students (Evangeline, Daniel, Lenny), plus our Facilitator, Ebbie, and several of her friends (Numerous who were ex-animation students) all went to Karaoke! So I sang "Kiss from a rose", "We are the Champions"... ahhh, "Way I walk"(?)[citation.s needed] and many others. It was great fun. Anygways, I'm throwing this in because it turned out to be a sleight of a networking party, to a degree. After Karaoke we hightailed it to Ebbie's place to sit around and chat about old times; I had the privelage of meeting her significant other, Max Frankle, who too is an ex-animation student. In lamens he's a wizz with 3D garbage, so I was deeply impressed when I witnessed several of the model spectaculars he had spent hours on and implemented into computer games. It was good as I managed to understand a fair bit he raved on about (Can't speak for Lenny though) and a decent conversation was formed on things 3D plus off shoots, etc.
So yeah, fun and factual night. Acheived a lift straight home from Clancie aswell ^.^
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