The Television Academy has announced its 2018 changes in membership requirements as approved by its Board of Governors.
Among the changes is the expansion of membership to include personal publicists in the Professional Representatives Peer Group, short form writers in the Writers Peer Group and colorists in the Picture Editors Peer Group.
“It’s the Television Academy’s mission to create a membership body that reflects the many diverse professions and endeavors of those working in the television industry,” said Hayma Washington, Television Academy chairman and CEO. “These membership changes are indicative of the ongoing effort to more closely represent our vision of a progressive and inclusive television community.”
New membership eligibility rules changes include:
Professional Representatives Peer Group: Active Status (voting) membership now includes personal publicists who are actively engaged in publicizing individual artists, a substantial portion of whom appear or work in nationally viewed television programming. All applicants must have at least three years experience as a personal publicist, and all requirements must be met within four years preceding their application for membership.
Writers Peer Group: Active Status (voting) membership now includes writers with credits on at least 120 minutes of professional short form programs that have had broad domestic or verifiable international consumer release. The short form programs must have an average content length of 15 minutes or less.
Picture Editors Peer Group: Active Status (voting) membership now includes Associate Producers/Post Supervisors and Colorists with a minimum of four years working on nationally exhibited content, full-time for 24 of the last 36 months.
Additional changes include:
Motion & Title Design Peer Group: Additional positions of employment have been added including Creative Director, Art Director, Animator, Compositor, Editor, Illustrator, Typographer and Creative Producer. Members must have worked a minimum of three years that includes at least three Motion & Title Design credits.
Sound Peer Group: Additional positions of employment have been added including Engineer, Monitor Mixer, Playback Mixer, Production Sound Mixer and Re-Recording Mixer. Members must have worked in these areas for at least three consecutive years or have verifiable credit on at least 25 hours of nationally exhibited programming within the past four years.
Makeup Artists/Hairstylists Peer Group: Active Status (voting) membership now requires work on at least 25 nationally exhibited episodes (previously 25 hours of programming) within a four-year period, plus a minimum of two years’ experience.
Reality Programming Peer Group: Active Status (voting) membership now requires individuals to have completed at least 26 work weeks (previously two calendar years) of reality television programming; or have at least 20 credited episodes in at least two of the previous four years.
Juliette Welfling Takes On A Musical, A Crime Thriller, Comedy and Drama In “Emelia Pérez”
Editor Juliette Welfling has a track record of close-knit, heartfelt collaboration with writer-director Jacques Audiard, a four-time BAFTA Award nominee for Best Film not in the English Language--starting with The Beat That My Heart Skipped in 2006, then A Prophet in 2010, Rust and Bone in 2013, and Dheepan in 2017. He won for The Beat That My Heart Skipped and A Prophet.
Welfling cut three of those features: A Prophet, Rust and Bone, and Dheepan. And that shared filmography has since grown to most recently include Emelia Pérez, the Oscar buzz-worthy film from Netflix. Welfling herself is not stranger to Academy Award banter. In fact, she earned a Best Achievement in Film Editing Oscar nomination in 2008 for director Julian Schnabel’s The Diving Bell and the Butterfly.
Emelia Pérez is a hybrid musical/drama/thriller which introduces us to a talented but undervalued lawyer named Rita (portrayed by Zoe Saldana) who receives a lucrative offer out of the blue from a feared drug cartel boss who’s looking to retire from his sordid business and disappear forever by becoming the woman he’s always dreamt of being (Karla SofÃa Gascón in a dual role as Manitas Del Monte/Emilia Pérez). Rita helps pull this off, orchestrating the faked death of Del Monte who leaves behind a widow (Jessi, played by Selena Gomez) and kids. While living comfortably and contently in her/their new identity, Pérez misses the children. Pérez once again enlists Rita--this time to return to family life, reuniting with the kids by pretending to be their aunt, the sister of Del Monte. Now as an aunt, Pérez winds up adopting a more altruistic bent professionally,... Read More