viacom media networks production guidelinesviapub.viacom.com/sites/vmeproduction/documents/viacom...
TRANSCRIPT
VIACOM MEDIA NETWORKS
PRODUCTION GUIDELINES
+ Background Checks
+ Budgeting
+ Casting
+ Content Vetting and Script Clearance
+ Cost Reports/Hot Costs
+ Foreign Travel and Immigration
+ Guild/Union Coverage and Signatories
+ Guild/Union Paperwork and Clearances
+ Insurance/Risk Management
+ Kick-Off Calls
+ Legal (Business and Legal Affairs/BALA)
+ Minors
+ Press Inquiries
+ Production Paperwork and Distribution to the Network
+ Production Safety
+ Residuals
+ Safe Harbor Letter, Pence Legislation, NDA’s
+ Security
+ Swag
+ Title Clearance
+ Third Party Funding
+ Trade Outs and Integrations
+ Transportation
+ Travel
+ Wrap Requirements
- Introduction
This website contains policies and procedures that govern all Global Entertainment Group (GEG)
Programming.
Contact your assigned Network Physical Production executive with questions regarding and production
issues or policies outlined below.
You will receive separate documentation and information from other departments at GEG including
Business and Legal Affairs (BALA), Finance/Accounting, Music & Media Licensing (MML) and Production
Risk Team (PRT).
Your assigned Network Physical Production executive will provide you with a list project specific
network contact from each department.
Any exceptions to the policies outlined in the GEG Production Manual will need prior approval from
the Network Physical Production executive or BALA representative.
For the purpose of this document, a Studio and Third Party production will be defined as follows:
o Studio: a production produced by a GEG entity.
o Third Party: productions produced by a non-Studio production company funded by a GEG entity.
- Background Checks
Occasionally cast and crew may be required to undergo specific clearance checks
and evaluations. Contact your network Production Risk Team (PRT) representative for
the required clearance and procedures.
Your PRT representative may require the below clearances/procedures:
o Cast Physicals
o Communicable disease training
o Criminal and civil background checks
o DMV or MVR (motor vehicle records) drivers checks - Any non-union crew
member that is transporting cast, crew or equipment will need to undergo
a DMV/MVR check.
o Medical evaluations
o Psychological evaluations
Notify your Network Physical Production executive and PRT representative if your
project includes minors under the age of 18.
Our Production Risk Team will advise on the appropriate procedures (as well as any
state legal requirements) for filming with minors. Any provisions that our Production
Risk Team deems requirements for production MUST be put in place prior to any
minors appearing on camera. These provisions may include:
o Coogan Account information
o Criminal background checks on anyone interacting with the minors
o Minors’ work permits
o A studio teacher to monitor the minors on-set hours
o If background checks are required no staff, cast and/or crew should be
allowed to work until cleared. If employees and/or contractors have
specific questions on the clearance, reach out to the BALA representative
for information. All results are confidential.
- Budgeting
Contact your Network Physical Production executive for the following:
o Network-specific budgeting requirements
o Chart of accounts and budget template
o Relevant contracts and deal memos
o Current Union Rates – if applicable
o Current Fringe Rates – if applicable
o Estimated episodes/greenlight date – see budget checklist
Discuss with your Network Physical Production executive any potential tax
incentives and/or state sales tax exemptions.
Submit budget and calendar drafts directly to your Network Physical Production
executive.
Budgets should include the following:
o As-of date
o Version number
o Show title
o Season
o Cost per episode (reflected in top corner/header)
o All contractual costs including prod co fees, producers, talent, etc. Use names
and started dates when possible.
o Rights and clearances costs. Underages in R&C cannot be used to offset other
areas in the budget.
Preferred budget format is Movie Magic Budgeting (MMB). Please include the MMB
file with each draft.
Variant information should be noted from pass to pass.
The budget should be accompanied by the following:
o Assumptions
o Calendar (including writing, pre-production, production, post production &
estimated delivery dates)
o Cash Flow (if Third Party)
o Detailed day/week breakdowns including start and end dates for all personnel
o One sheet summary of show concept or script(s) if available
The network cannot release funds to Third Party productions until the following
have been approved and fully executed:
o All background checks, paperwork and clearances have been obtained
o Budget with assumptions page
o Calendar
o Cash flow/payment schedule (a revised cash flow may be required at some
point during production if significant production or cost changes occur)
o Production Services Agreement, or applicable project agreement
o Talent deals
Overages – It is essential that the network be notified of any anticipated overages.
Any overages incorrect prior to or without the network’s approval will not be
reimbursed. A formal proposal is required to be submitted in writing to the Network
Physical Production executive (and to the network BALA representative for Third
Party) with the following:
o Estimated overage amount
o Detailed breakdown of costs
o How costs will be applied to the production
The following financial backup is required:
o Invoices
o Timesheets
o Expense reports
o Proof of payment
Overages are paid out upon receipt and acceptance of all financial backup. The
total overage cannot be confirmed until final cost analysis and backup
documentation are reviewed and approved. The actual overage amount cannot
exceed the initial estimate.
- Casting
All casting notices should be approved before posting. Please route to your Network
Physical Production executive and BALA Representative for clearance prior to
posting.
- Content Vetting and Script Clearance
Contact your Network Physical Production executive for a content project-specific
vetting distribution list.
It is advised that all content for both scripted and non-scripted shows (for non-
scripted shows this includes outlines or any write up of the creative) be sent to the
provided distribution list within 72 hours or more. This timeframe is provided to
ensure:
o Each script is adequately researched and a clearance report is generated
o Script legal analysis is provided by the Intellectual Property & Litigation (IPL)
representative
o Script modifications and art department adjustments are made
o Appropriate written clearance agreements are obtained prior to the
commencement of the photography for each episode
A member of the show level production team should be tasked with the responsibility
of addressing all legal, MML, and script clearance report notes, and whether such
notes give rise to a modification of the script, a change in a proposed prop or name,
or any other modification by which the clearance notes are addressed. This will be
different people for different departments or different shows (i.e., art department
coordinator for MML or line producer for nudity riders/safety).
The following items should be flagged early on in the script vetting process:
o Animals
o Aircraft
o Boats
o Drones
o Minors
o Pyrotechnics
Additional content vetting and script clearance information for Third Party
productions only:
o Third Party production companies need to conduct an independent legal and
clearance review in addition to going through the network content vetting
process.
o Viacom has negotiated favorable rates with a number of the most highly
regarded script research and clearance companies. Please contact the IPL
representative for a recommendation of one of the preferred vendors.
o It is assumed that content will be delivered to the network fully cleared and
vetted by your independent legal counsel.
10
- Cost Reports/Hot Costs
After spending on the project begins, submit cost reports to your Network Physical
Production Executive every week, unless otherwise directed.
o REALITY PRODUCTION (Weekly Episodic)
BI-WEEKLY COST REPORTS - budgets over $300k/episode
INTERIM COST REPORT - budgets under $300k/episode
FINAL DELIVERY – Final Detailed Cost Report & Summary
Viacom Finance requires a separate bank account be maintained for each series. We
recommend the following records to be accessible in the event of an audit:
o Trial Balance
o General Ledger
o Payroll Records
o Monthly Bank Statements
o Invoices
o Credit Card Statements
o Petty Cash Records
REALITY PRODUCTION (Strip)
o BI-WEEKLY COST REPORTS – budgets over $150k/episode
o INTERIM COST REPORT – budgets under $150kepisode
o FINAL DELIVERY – Final Detailed Cost Report & Summary
11
Viacom Finance requires a separate bank account be maintained for each series. We
recommend the following records be accessible in the event of an audit.
o Trial Balance
o General Ledger
o Payroll Records
o Monthly Bank Statements
o Invoices
o Credit Card Statements
o Petty Cash Records
REALITY PRODUCTION (Weekly Episodic): A-LEVEL PRODUCTION COMPANY (to be
decided by Channel):
o INTERIM COST REPORT
o FINAL DELIVERY – Final Detailed Cost Report & Summary
Viacom Finance requires a separate bank account be maintained for each series. We
recommend the following records be accessible in the event of an audit:
o General Ledger
o Payroll Records
o Monthly Bank Statements
o Invoices
o Credit Card Statements
12
o Petty Cash Records
SCRIPTED PRODUCTION
o DAILY HOT COSTS upon request only
o BI-WEEKLY COST REPORTS – budgets under $1.75M
o WEEKLY COST REPORTS – budgets above $1.75M
o FINAL DELIVERY – Final Detailed Cost Report & Summary
o Trial Balance – upon request
o General Ledger –upon request
Viacom Finance requires a separate bank account be maintained for each series. We
recommend the following records be accessible in the event of an audit:
o Payroll Records
o Monthly Bank Statements
o Invoices
o Credit Card Statements
o Petty Cash Records
The report should include the following:
o Amort & pattern reports
o A top sheet cost analysis including:
For third-party productions
13
Date through which ATL & BTL payroll is actual
Latest SAP cost report
Date through which A/P is actual
For Studio Productions:
Date through which ATL and BTL payroll is actual
Latest G/L reconciliation
Date through which A/P is actual.
o Detailed cost analysis with the following columns:
Actuals this Period
Actuals to Date
POs
To Date Total
Estimate to Complete
Estimated Final Cost
Adjusted Budget/Overages
Total Budget
Variance
o A trial balance should be included in cost report distribution. Hot costs may be
required on projects daily once photography commences.
- Foreign Travel and Immigration
14
If your production will include foreign travel, reach out to your network PRT
representative and copy your Network Physical Production executive.
If your production will include the employment of foreign nationals, reach out to
your network Production Risk Team (PRT) representative and copy your
Network Physical Production exec.
The network PRT representative will send an e-mail outlining immigration and
international travel recommendations/requirements (among other Production
Risk concerns and instructions).
Continue to contact your network PRT representative, your Network Physical
Production executive with any questions or concerns regarding the employment
of foreign nationals and/or travelling abroad. All essential personnel will be
required to complete compliance training.
Foreign Corrupt Practice Act (FCPA) training may be required. Please allow
adequate lead time for a training period to be scheduled in advance of
production travel.
- Guild/Union Coverage and Signatories
15
Consult with your Network Physical Production executive and BALA representative to
determine union coverage and signatories, as well as applicable union agreements.
Confirmation on guild/union coverage and signatories is required for each new cycle.
If third party, determine what contract your project will fall under.
- Guild/Union Paperwork and Clearances
All forms and paperwork can either be found in the Network Union and Guild Forms
folder on Scenechronize (https://www.scenechronize.com/sc) or they will be
provided by your networks production team.
- DGA
A DGA Project Information Sheet must be completed during pre-production.
o If the production (whether Studio produced or via Third Party) uses a
Viacom preferred signatory (ex: Onsite, Central, Pop Channel, Bling,
etc…) then its completed at show level and submitted to Network
BALA, Labor Relations and Network Physical Production. Labor
Relations submits to the guild. At times, Network Physical Production
may choose to complete and submit this form to Labor Relations. Labor
Relations will send us a fully executed form for our records.
16
o If a Third Party production uses its own signatory, then it’s completed
at show level and submitted directly to the guild. Network oversight will
vary.
Clearing DGA members
o Before ANYONE can work (Directors, UPMs, Stage Managers, ADs), they
MUST appear on the appropriate qualification lists and be a member in
good standing with the DGA. Clearing members retroactively is not an
acceptable practice.
o The qualification lists can be found at: Qualifications List
o To the extent that they are required by the minimum staffing and/or to
the extent that production is using such positon, the following titles
need to be cleared:
Dramatic Agreement:
o Director
o Unit Production Manager (UPM)
o First Assistant Director (1st
AD)
o Key Second Assistant Director (2nd
AD)
o Second Second Assistant Director (2nd
2nd
AD)
o Additional Second Assistant Directors (addtl 2nd
AD)
o Associate Director/Technical Coordinator (line cut)
o Associate Director (line cut)
17
o Audience Switcher (Associate Director)
o Assistant UPM (2nd
2nd
AD)
o Location Manager – New York or Chicago (2nd
2nd
AD)
FLTTA Agreement:
o Director
o Associate Director (Assoc. Dir.)
o Stage Manager (SM)
DGA Deal Memos
o All DGA Employees must sign a DGA Deal Memo at the commencement
of their employment (not after they work).
o If the production (whether Studio produced or via Third Party) uses a
Viacom preferred signatory (ex: Bling, etc…) then it’s completed at
show level for the first episode only and submitted to Network Labor
Relations for review and Network Physical Production. Labor Relations
completes the deal memo and sends back to the show for the DGA
member to sign. The show submits the final fully executed deal memo
back to Labor Relations who then submits it directly to the guild and
will do so for all episodes. At times, Network Physical Production may
choose to complete and submit this form to Labor Relations for review.
o If a Third Party production uses its own signatory, then it’s completed
at show level and submitted directly to the guild. Network oversight will
18
vary.
Reach out to your Network Physical Production executive and BALA
representative if there are any questions regarding DGA obligatory guild
payments. Such payments include (but are not limited to) series pick-up
bonuses.
Quarterly Earnings Report, Data Report & DGA Credit Breakdown
o If the production (whether Studio produced or via Third Party) uses a
Viacom preferred signatory (ex: Bling, Central, etc…) then it’s
completed at show level and submitted to Network BALA, Labor
Relations and Network Physical Production for review. Show to
ultimately deliver to the guild. At times it may be coordinated by the
finance department.
o If a Third Party production uses its own signatory, then it’s completed
at show level and submitted directly to the guild. Network oversight will
vary.
- IATSE/TEAMSTER
Reach out to your Network Physical Production executive to discuss
IATSE/Teamster coverage.
If the production (whether produced in house or via third party) uses a
19
Viacom preferred signatory (ex: FRB, Cranetown, etc…) then they are
governed under these deals and generally any forms and processes happen
at a show level with Network oversight.
If a Third Party production uses its own signatory, then they are governed
under their own deal and are responsible for all documentation and
processes. Network oversight will vary.
For 399, Labor Relations will set a deal in place for your show.
Production must check the safety status of ALL union employees. This can
be done by going to the Contract Services Administration Trust Fund
(CSATF) website: csatf.org. All union employees must be in good standing
with their local prior to engagement.
IATSE crew may not begin working until safety clearance is obtained.
- SAG-AFTRA
A SAG-AFTRA New Show Info Sheet (NSIS) must be completed during pre-
production.
o If the production (whether Studio produced or via Third Party) uses a
Viacom preferred signatory (ex: Onsite, Central, Pop Channel, Bling,
etc…) then its completed at show level and submitted to Network
BALA, Labor Relations, and PM. Labor Relations submits to the guild.
Labor Relations will provide the production the SAG-AFTRA number.
o If a Third Party production uses its own signatory, then it’s completed
at show level and submitted directly to the guild. Network oversight will
vary. Third Party secures the SAG-AFTRA number.
A cast clearance report must be performed and talent MUST be in good
standing with SAG-AFTRA before they can work.
o If a Taft-Hartley is needed, contact your Network Physical Production
Executive and BALA representative for further instructions.
o To perform a cast clearance report, contact Station 12 at (323) 549-
6794 in Los Angeles, or at (212) 827-1418 in New York. You will need to
sign up for a caller ID. To clear talent, you will need your caller ID, your
show’s Production ID, and each actors’ Social Security Number or SAG-
AFTRA ID number.
o If talent is not cleared, they can still perform. Clearing talent is a “best
practice” but need not stop production.
An Exhibit G must be filled out by show production on each day of
production.
Background Performers
o If the production (whether Studio produced or via Third Party) uses a
Viacom preferred signatory (ex: Onsite, Central, Pop Channel, Bling,
etc…) then the show contracts the guild directly (cc’ing Labor
Relations).
o If a Third Party production uses its own signatory, then the show
contracts the guild directly.
- WGA
WGA Weekly Worklists must be completed at the end of each week.
Development
o If no production entity has been assigned, then it’s completed by either
the Network Physical Production OR the Signatory (ex: LRF or Trana
Stad) and submitted to Labor Relations. Labor Relations is OK with
Network Physical Production submitting directly to the guild as long as
Labor Relations is cc’d.
Longform
o If the production (whether Studio produced or via Third Party) uses a
Viacom preferred signatory (ex: Central, LRF, Trana Stad, etc…) then its
completed either at show level OR the Signatory (ex: LRF or Trana Stad)
and then submitted to Network Labor Relations and cc BALA and
Network Physical Production. Labor Relations or BALA submits to the
guild. There are the exceptions where the show submits directly to the
guild, ccing the BALA and Network Physical Production.
o If a Third Party production uses its own signatory, then its completed at
show level and submitted directly to the guild. But only if its truly a
third party signatory and not a shell. Network oversight will vary.
The WGA Notice of Tentative Writing Credits (NTWC) must be completed as
soon as possible prior to the relevant episode’s airdate.
o Completed at show level and submitted to Network BALA, Labor
Relations and Network Physical Production for approval – regardless of
signatory arrangement. Labor Relations wants to see the first draft of
every episode, once approved, they are OK with show faxing directly to
the guild and distributing to writers.
o It takes WGA up to one month to approve NTWCs. Plan accordingly for
credits/post/titling.
Please reach out to your network Production Executive to discuss WGA
obligatory WGA payments. Such payments could include (but are not limited
to):
o Series Sequel payments paid to anyone credited with sole or created by
credit
o Character payments paid to any new character not appearing in the
pilot episode
- Insurance/Risk Management
-For Studio Productions
Reach out to your Network Physical Production executive for information regarding
the appropriate PRT contact.
Complete the insurance declaration form found in the Viacom Media Networks
Insurance Procedure Document, and e-mail it to your PRT representative, copying
your Network Physical Production executive.
Follow the insurance procedures outlined in the Viacom Media Networks Insurance
Procedure Document.
-For Third Party Productions
It is essential that Third parties contact their network Production executive for
instructions on signing up for insurance. All productions are to be covered under
the Viacom pick-up program. Viacom Media Networks uses HUB Entertainment
Industry Solutions, a division of HUB International, as its preferred insurance
provided for all production. Your general insurance terms are listed within the
production services agreement, however, HUB may advise on different coverage
based on the specific needs of the production. Please contact your Production
executive for an introduction to the HUB team and/or to discuss coverage through
another carrier. Any other carrier is subject to network approval.
-For Both Studio and Third Party Productions
You must fill out an incident report for all incidents/accidents and report them to
your BALA representative, network Production Executive, and Risk Management
representative. If third-party, alert your independent production counsel, in addition
to your network BALA representative, network Production Executive, and Risk
Management representative.
Even if the accident is minor and there were no reported injuries or damage, you
MUST report it to the network and keep a log for final delivery.
The incident should be noted on your production report.
Contact your BALA representative to determine if EMS is required on set for your
production. See PRODUCTION SAFETY.
- Kick-Off Calls
Contact your Network Physical Production executive for information regarding kick-off
calls and scheduling. Typically, the following kick-off calls are required:
o Development
o Production
o Legal
o Music & Media Licensing (MML)
o Finance
o Post-Production
o Insurance
o Production Safety
o Production Risk
Please review all documents or bookmark provided guidelines from the network prior
to each kick-off call including, but not limited to, the following:
o Production Guidelines
o MML Guidelines
o Legal Requirements
o Finance Guidelines
o Post-Production Guidelines
o Insurance Procedures Manual (studio shows only)
o Travel & Expense policy (studio shows only)
- Legal (Business and Legal Affairs/BALA)
You will either receive the network legal packet with detailed information regarding
contracts, agreements, COAs (certificated of Agreement/Authorship), and deal memos
from your BALA representative or from the Network Legal Forms and Agreements on
Scenechornize (http://www.scenechronize/sc).
Individuals that are required to sign agreements (including talent) cannot begin
working until their agreement is signed.
Production staff (including producers) are not authorized to sign agreements on
behalf of the network’s studio production company or companies. Refer to your legal
packet for more detailed instructions.
As mentioned above in BUDGETING, funding will not be released to a Third Party until the
Production Services Agreement and talent deals (if applicable) are signed.
- Minors
Reach out to your Network Physical Production executive for your child labor contact
information. Provision requirements for minors vary state by state and are frequently
changing. Following your kickoff call, your labor contact will send an email outlining
the child/labor recommendations (among other production risk concerns and
instructions).
- Press Inquiries
Reach out to your network Communications executive for any still photography and/or
unit photography requirements.
Cast, crew and staff are not permitted to speak with press unless authorized by the
network.
All casting notices should be approved before posting. Please route to your
Network Physical Production executive, BALA and Corporate Communications
Representatives for clearance prior to posting.
- Production Paperwork and Distribution to the Network
Your Network Physical Production department will set you up with Scenechornize,
where you will upload/distribute all of the necessary forms. In addition to outlining the
ideal timeline and frequency for documentation distribution, the document will also list
the network executives and staff that should receive each document. It is imperative
that you follow these lists so that all network departments/personnel can review
documents as needed. These documents include, but are not limited to, the following:
o Calendar
o Call Sheets
o Credits
o Contact / crew List
o First shot, lunch, and wrap reports
o Outlines / scripts / cuts
o Production Reports
o Production Schedules
- Production Safety
Viacom has implemented enhanced safety procedures. Click here to review all safety
procedures to view all safety procedures. Viacom’s Senior Director of Safety, Chris
Velvin and/or his assistant Abel Horowitz, will provide you with the current website
username and password outlining more Production Safety information specific to your
show.
o The material provided is intended to assist and guide productions by providing
workplace protection for employees, and to reduce losses resulting from
accidents and injuries. It is not intended as legal interpretation of any federal,
state or local standards.
o Consult with your Network Physical Production executive and Viacom’s Director of
Production Safety as early in the project as possible to determine if a safety
consultant will be recommended for the production.
o If a safety consultant is recommended, Viacom’s Director of Production Safety will
provide guidelines directly or share a list of Viacom approved third-party safety
consultants. The cost of a Third Party safety consultant is to be included in the
budget at the cost of the third party production company. Safety Consultants are to
be approved by Viacom prior to use.
A safety meeting should be held before the start of work at a new location, the start of
a new type of work or when new hazards are present, or at least once every 10 days.
For award shows, tentpoles and other event specials involving load-in, load-out, and
set construction, a safety meeting should be held at the start of each workday.
All employees need to be made aware of safety issues affecting their work and their
worksite.
California has specific procedures and responsibilities outlined in the Illness & Injury
Prevention Program (IIPP) that will be provided by BALA. All instructions, notifications
and procedures must be followed at all times during filming.
A safety analysis should be conducted to determine what your projects should budget
for.
Third Party vendors are responsible for executing all safety requirements during
production.
Reach out to Chris Velvin with any safety related questions or concerns:
o Email: [email protected]
o Office: 310-752-8593
o Cell: 424-280-9674
- Residuals
Please note that EP and Cast & Crew Residual’s Processing no longer accepts paper
wrap binders/ deliverables. All Residual Deliverables must be DIGITAL files and should
be uploaded to Scenechronize. Your production exec and coordinator can provide
further instructions on uploading and introduce you to the correct residuals point.
- Safe Harbor Letter, Pence Legislation, NDA’s
SAFE HARBOR LETTER
o Applicable only to Third Party production companies.
o Submit a copy of your third Party production company’s Safe Harbor Letter to
your network BALA representative. Your BALA representative can provide a
template if needed.
o The Safe Harbor Letter is a letter sent to the attorney general certifying that
the company is exempt from the federally mandated recordkeeping
requirements listed in the Pence Amendment (See 18 U.S.C. § 2257 - 2257A).
because they regularly within the course of business, collect and maintain records of
performers’ identification information.
o Visit the Justice Department Website for further information regarding Safe
Harbor Letters: Safe Harbor Letters
PENCE LEGISLATION/RELEASES
o Per Pence legislation, all persons appearing on camera must be of legal age or
require parental consent. Production must verify in writing all persons age by
viewing the proper ID before participating in the program and appearing on
camera.
o The ID information must be recorded on the appearance releases form and
production should retain a copy of the ID whenever possible. Failure to
complete with Pence legislation may result in criminal penalties.
NON-DISCLOSURE AGREEMENT (NDA)
o All cast and crew handling confidential and sensitive material must read and
execute an NDA. Please contact your BALA Executive for more details.
31
- Security
On a per project basis, it might be recommended to hire on-site security personnel to
monitor the production. All security staffing is to be provided by an approved VMN
vendor or approved by VMN security. The security personnel CANNOT be armed
unless specifically directed by Viacom Security.
- Swag
All project-specific swag (t-shirts, coffee mugs, hats, etc.) created by the show is
required to incorporate an official network logo in the design. Please reach out to
your Network Physical Production executive for more information and approval
procedures.
- Third Party Funding
Cash flow will need to be approved by Finance and Network Physical Production in
advance of any funding.
It is required that Third Parties register as a vendor in the Supplier Workplace for
Invoice Management (SWIM). Allow adequate time for the review and set-up process.
Viacom standard NET payment terms are 60 days from the date of invoice approval.
Visit the following link to begin the vendor registration process: Click here to begin
the vendor registration process.
32
The SWIM portal contains a HELP and FAQ section. Should you require additional
assistance through this process, please contact our vendor support group at 212-846-
5070.
In order for money to be remitted the following requirements are to be met:
o Production company/supplier is set up as an approved vendor in SWIM
o The production services agreements has been approved and fully executed
o Budget has been approved and fully executed
o Cash flow/schedule has been approved
o ATL deals have been approved and fully executed
o Invoice reflective of cash flow have been submitted to SWIM
All appropriate documents have been received including – independent contractor
application, certificate of insurance, etc (if applicable).
- Title Clearance
Contact your BALA representative for information on title clearance procedures.
Please allow adequate clearing time. Show graphics should not be created without a
clearance title. The show title does not have to be cleared in order to apply for E&O
insurance. In this situation, the title will not be covered under the E&O insurance
plan. Generally, VMN will clear the title for all programs at no cost to the budget. The
third party insurer should get a copy of the title report.
- Trade Outs and Integrations
33
No product integration or trade out is permitted without the prior written consent of
the network. For clarity, this includes (but is not limited to) visible on-screen logos and
verbal brand mentions. Any and all requests should be sent to your Network Physical
Production executive.
A network Integrated Marketing executive will be assigned to each project at the
onset of production.
Your production budget should not be submitted with assumed trade outs.
- Transportation
U.S. Department of Transportation (DOT) Compliance requires the following:
o When filming in the United States, Transportation Coordinators and Captains should
be familiar with DOT Rules and Regulations regarding pre-employment screening,
driver hours, log requirements, drug and alcohol testing. They should also be
familiar with the process for obtaining a DOT number specific to the production.
o When hiring transportation crew outside the Los Angeles area it is necessary that
the production makes arrangements with a vendor to perform pre-employment
screening and drug and alcohol testing on location.
o Drivers are not to begin work until appropriate checks have been completed.
- Travel
34
Only Studio projects are to book ALL travel (air, hotel, rental car, etc.) through
Carlson Wagonlit Travel (CWT).
To contact CWT of book travel:
o Call (310) 752-8006
o Go to the CWT website: Click here to go to the CWT website
- Wrap Requirements
You will receive the wrap requirements on your Scenechronize page
(https://www.scenechronize.com/sc), in your Network Wrap Requirements folder. Or
you will receive the wrap requirements from your Network Physical Production team.