The Association of Independent Commercial Producers (AICP) Digital Chapter has introduced its new Standard Production Agreement specifically tailored to companies which produce content digitally.
The contract fills an industry void, related Matt Miller, president/CEO of the AICP. “For a long time, our members, the agencies and clients have lacked an agreement that applied to work produced digitally, and were attempting to retrofit contracts, or piece together something,” said Miller. “With this new resource, there is now a document which provides sound legal framework for this type of production.”
Ed Ulbrich, president of the AICP Digital Chapter and president, Commercials, at Digital Domain, added, “The purpose behind AICP Digital is to examine and address issues affecting companies producing content digitally, and this is one of many such business tools you will see from us.”
The AICP Digital Board and its Standards & Practices Committee created the document, along with AICP legal counsel Kane Kessler, to address issues such as: producer’s tools, distribution channels and deliverables, cancellation, payment terms, and many other areas. While these issues are not specific only to digital production, there are different considerations which need to be addressed when producing content digitally.
To view the full Standard Production Agreement, click here.
AICP Digital was formed in 2009, and represents over 60 AICP member companies who work in a variety of digital disciplines, including visual effects, interactive, motion graphics, animation, mobile (including applications), design, and installations.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More