LOCAL PRODUCTION INFRASTRUCTURE Case Studies in Film/TV Workforce Development Programs

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LOCAL

PRODUCTION

INFRASTRUCTURE

Case Studies in Film/TV Workforce Development Programs

Prepared for

The Association of Film Commissioners International Prepared by

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INTRODUCTION

Building Local Infrastructure and Qualified Crew

When a production company is looking to film on location they ask many questions. Does the state or country have a solid infrastructure? Do they have sound stages, enough office space, equipment houses, post facilities and building materials? Do they have qualified crews?

After evaluating the costs of accommodations, the level of production infrastructure and the number of qualified crews, the production company then needs to determine how much is it going to cost to bring in what isn’t already there. Incentive programs are most often tied to in-state expenditures and local crew hires, which factors into the rebate amount affecting the overall budget of the project.

Several of the states/countries that offer incentive programs are also offering new and expanded educational opportunities for their filmmakers and local workforce, providing a myriad of film classes. And many of these courses are taught by highly skilled and experienced instructors. The more qualified the local crew, the fewer number of people the production has to bring with them, the more money they save. And the larger the local workforce, the more successful the incentive program is in providing jobs and raising state revenue.

It is the purpose of this paper to examine what makes up a production infrastructure and how certain regions are building those local resources through workforce development programs.

Industry Snapshot

In 2008, there were about 361,900 wage and salary jobs in the motion picture and video industries in the United States (Motion Picture and Video Industries, 2010-11 Edition. Bureau of Labor Statistics). Most of the workers were involved in casting, acting, directing, editing, film processing, and motion picture and videotape reproduction.

Although six major studios produce most of the major motion pictures released in the United States, many small companies are used as contractors throughout the process. Most motion picture and video establishments employ fewer than 5 workers.

Many additional individuals work in the motion picture and video industries on a freelance, contract, or part-time basis as a means to supplement their income. Being self-employed, accurate statistics on their numbers are not available. Regardless, competition for these jobs is intense.

Employment in the production of motion pictures and other films for television is centered in Los Angeles and New York City. In addition, many films are shot on location throughout the United States and abroad.

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Occupations in the Industry

The length of the credits at the end of most feature films and television programs gives an idea of the wide variety of workers involved in producing and distributing films. However, jobs in the industry can be broadly classified according to the three phases of filmmaking: Preproduction, production, and postproduction.

Preproduction occupations. Preproduction is the planning phase, which includes budgeting, casting, finding the right location, set and costume design and construction, and scheduling. Most Film Commissioners work with the Locations Managers at this stage to find the ideal location within a jurisdiction.

Art directors design the physical environment of the film or television set to create the mood called for by the script. They supervise many different people, including illustrators, scenic designers, model makers, carpenters, painters, electricians, laborers, set decorators, costume designers, and makeup and hairstyling artists. These positions can provide an entry into the motion picture industry. Many people begin their careers in such jobs in live theater productions and then move back and forth between the stage, film, and television.

Production occupations. Preproduction is the planning phase, which includes budgeting, casting, finding the right location, set and costume design and construction, and scheduling. Production is the actual making of the film. The number of people involved in the production phase can vary from a few, for a documentary film, to hundreds, for a feature film.

Cinematographers, camera operators, and gaffers work together to capture the scenes in the script on film. Cinematographers do not usually operate the camera; instead, they plan and coordinate the actual filming. Camera operators handle all camera movements and perform the actual shooting.

Assistant camera operators check the equipment, load and position cameras, run the film to a lab or darkroom, and take care of the equipment. Commercial camera operators specialize in shooting commercials. This experience translates easily into filming documentaries or working on smaller-budget independent films. Gaffers, or lighting technicians, set up the different kinds of lighting needed for filming. They work for the director of photography, who plans all lighting needs.

Sound engineering technicians, film recordists, and boom operators record dialogue, sounds, music, and special effects during the filming. Multimedia artists and animators create anything required by the script, from talking animals to flaming office buildings and earthquakes.

Many individuals get their start in the industry by running errands, moving objects on the set, controlling traffic, and helping with props. Production assistants and grips (stagehands) often work in this way.

Postproduction occupations. Postproduction activities take place in editing rooms and recording studios, where the film is shaped into its final form. One of the most important tasks in filmmaking

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and television production is editing. After a film is shot and processed, film and video editors study footage, select the best shots, and assemble them in the most effective way.

Assistant editors or dubbing editors select the soundtrack and special sound effects to produce the final combination of sight and sound as it appears on the screen. Editing-room assistants help the film editors with their simpler tasks.

Film Commissioners are often asked how deep is the regional or local crew base which translates to how many feature film crews can a jurisdiction support with below-the-line crew positions. Since most production companies bring in their key positions, an average feature film would probably require between 30-40 local crew positions. Some of these locally hired positions include grips, gaffers, electricians, camera operator, caterer, make-up artist, set designer, carpenter, drivers and production assistants.

Nature of the Industry

The U.S. motion picture industry produces many of the world's feature films and recorded television programs. The industry is dominated by several large studios, based mostly in Hollywood. However, with the increasing popularity and worldwide availability of cable television, digital video recorders, computer graphics and editing software, and the Internet, many small and medium-sized

independent filmmaking companies have sprung up to fill the growing demand for entertainment content.

Although studios and other production companies are responsible for financing, producing, publicizing, and distributing a film or program, the actual making of the film often is done by hundreds of small businesses and independent contractors hired by the studios on an as-needed basis. These companies provide a wide range of services, such as equipment rental, lighting, special effects, set construction, and costume design, as well as much of the creative and technical talent that go into producing a film. The industry also contracts with a large number of workers in other industries that supply support services to the crews while they are filming, such as truck drivers, caterers, electricians, and makeup artists.

Union Membership

Unions are very important in this industry. Virtually all film production companies and television networks sign contracts with union locals that require the employment of workers according to union contracts. Nonunion workers may be hired because of a special talent, to fill a specific need, or for a short period. Although union membership is not mandated, nonunion workers risk eligibility for future work assignments.

Film and television directors are members of the Directors Guild of America. Art directors, cartoonists, editors, costumers, scenic artists, set designers, camera operators, sound technicians, projectionists, and shipping, booking, and other distribution employees belong to the International

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Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts (IATSE), or the United Scenic Artists Association.

Training and Advancement

Formal training can be a great asset to workers in filmmaking and television production, but experience, talent, creativity, and professionalism are also factors in getting a job. Many entry-level workers start out by working on documentary, business, educational, industrial, or government films or in the music video industry. This kind of experience can lead to more advanced jobs.

In addition to colleges and technical schools, many independent centers offer training programs on various aspects of filmmaking. Since most production companies are looking for those locally hired below-the-line crew positions (grips, gaffers, camera operators, etc.), Film Commissions are

developing and partnering with these training programs to build local crew base.

Here are some examples of states/countries that offer infrastructure and workforce development programs.

Case Study: New Mexico Workforce Development – United States

The New Mexico Film Office’s development training programs were created through the Job Training Incentive Program (JTIP) for Film & Multimedia. These programs are intended to assist in building qualified crew for the NM film and multimedia industry.

Pre-Employment Class Training

The Pre-employment Class Training Program provides reimbursement funds to qualified contractors who teach short-term, intensive classes relating to below-the-line film and television craft departments. Both lectures and hands-on classes are available. The more specialized the class the more likely industry experience will be required to attend. The audience for the hands-on classes often includes IATSE Local 480 members, Film Technicians’ Training Program students, and those with transferable skills in film related trades (i.e. carpentry, commercial painting, etc.)

Film Crew Advancement Program (FCAP)

This on-the-job training program is intended for New Mexico crew working in advanced below-the-line job positions. Qualifying New Mexicans who are interested in adding a new skill set or are ready to move to a higher position within their craft department may apply. The majority of positions in this program require some experience in the industry. This program also serves as an incentive for participating companies to provide more job opportunities for NM film and television crew professionals. The program provides a 50% reimbursement of the qualified participants’ wages to the participating company.

Partnerships: The Pre-Employment Training Program was developed by the New Mexico Film

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facilitating short-term intensive workshops and lectures to below-the-line film and television job positions. The program objective is to increase the hirability of New Mexicans for continual employment in the film and television industry.

Funding: The Pre-Employment Training Program is a reimbursement. Therefore the contractor

must organize and pay for all aspects of the workshop. The NMFO will reimburse the contractor after the services are rendered.

For the FCAP, a production company is reimbursed 50% of a participant’s wages for hours worked by the qualifying crew member in specialized craft positions (up to1040 training hours available per position). This on-the-job training program is in addition to the 25% film production tax rebate.

Structure: Workshop and lectures must relate to industry needs as determined by the NMFO.

Local film unions and guilds may be consulted regarding workshops that relate to film and television job positions that are most often under their jurisdiction. Workshops that focus on specific technical skills for below-the-line job positions are preferred.

When local production offices are established, the production company must submit the FCAP application and a contract provided by the NMFO prior to principal photography. The invoice for reimbursement is submitted with payroll reports when training hours are completed.

Analysis: The New Mexico Film Office measures the effectiveness of the training programs by

tracking the number of participants through local unions. The production companies choose to participate in the workforce training programs as an additional incentive.

The New Mexico Film Office tracks crew rather than tracking production companies since the funding for these programs comes out of a larger fund that the legislature approved for job training. The programs were developed to stimulate job opportunities rather than traditional training. The crew members get experience and then get hired on their own merits.

Results: New Mexico estimates that 1/3 of the below-the-line crew in New Mexico have

participated in these programs. Since 2003, 800-900 crew members have been involved in the program and have been hired in approximately 1300-1400 positions.

The New Mexico Film Office reviews the programs each spring and change are made according to the current industry in the state. More crew members initially participated in the training and because it has plateaued, the focus has shifted to moving up and changing positions.

Case Study: Skillset Workforce Training – United Kingdom

Skillset is the Sector Skills Council (SSC) for Creative Media which comprises TV, film, radio, interactive media, animation, computer games, facilities, photo imaging, publishing, advertising and fashion and textiles in the United Kingdom.

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Their aim is to support improvements to the local film industry and ensure that it remains globally competitive. Skillset does this by influencing and leading; developing skills, training and education policy; and through opening up the industries to the UK's pool of diverse talent.

Skillset conducts consultation work with industry, publishes research and strategic documents, runs funding schemes and project work, and providse information about the challenges that face the industry and what needs to be done to overcome them.

Skillset also provides impartial media careers resources for aspiring new entrants and established industry professionals.

Overview of Skillset Initiatives

A large number of individuals, largely freelancers, have already benefited from the lottery money that Skillset has given to fund training and education initiatives for all parts of the industry.

Skillset doesn’t deliver training directly. Instead they fund organizations to deliver courses that meet their funding and training priorities. This allows them to offer subsidized rates to participants, making training in these priority areas more affordable and accessible.

They set their priorities by conducting research, having industry consultations and working with their training providers to evaluate prior training programs.

• The five strategic priorities for 2010 – 2013 are:

• Training in new technologies

• Improving business skills

• Developing creative talent

• Supporting new industry trainees • Enhancing health and safety skills

Partnerships: Skillset works with employers, trade associations, unions, learning and training

providers, Government, public agencies and other key organizations to ensure that the UK's creative media industries have the skills and talent they require.

Funding: Skillset researches where skills gaps exist, then they raise funding from the industry and

Government to develop and deliver solutions to address these problems. Skillset manages a range of training funds contributed by the industry and public sources.

The key source of funding for these programs has been money from the UK National Lottery but there have also been contributions from the industry itself in the form of the Skills Investment Fund (SIF). The SIF is a voluntary levy paid by film productions shooting in the UK or those in receipt of UK public funding. In addition, individual programs within the strategy attract additional partnership funding from companies and organizations within the UK film industry.

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The aim of these funds is to help ensure that the UK creative industries have a workforce with the right level and range of skills. The funds broaden access to training opportunities and career development, support businesses and aim to make the workforce healthier and safer.

Structure: Skillset collects information on the size and make-up of the workforce sectors, and

develops standards that define the specific job areas and job roles involved. They work with industry practitioners to develop qualifications that meet industry needs, collect information on training and funding currently available, and supply information, advice and guidance to new entrants, freelancers and companies to give them the tools they need to develop their skills.

Analysis: The training providers are required by the grant they receive to deliver schemes and

courses as part of Skillset’s overall strategies and they must evaluate and assess the effectiveness of their projects. Skillset has also carried out a number of follow up surveys with the participants from these schemes to look at the longer term impact of their training on their work and careers.

Results: Skillset has a Film Skills Council which advises them on the development and

implementation of film skills strategies. The membership of the Film Skills Council includes key figures from the production sector as well as those from the wider sectors of the film industry such as distribution and exhibition.

At key points in the development of Skillset strategies, they have also undertaken extensive consultation across the UK film industry to ensure that the strategy is addressing the key priorities around skills and training for the industry. Skillset uses the results and feedback from individual programs to make changes and improvements and they also consult with the industry about ways to improve their strategy overall.

Case Study: Higher Education Workforce Programs

Whether the educational institution is a public college or a private training facility, colleges have partnered with industry segments including unions that can bring the hands-on, practical experience needed to train qualified crew members on an actual film set. Partnerships with the film industry can also involve in-kind support such as use of facilities or guest lecturers.

Workforce development agencies along with state and federal grants are common funding resources for production training programs. Some institutions will participate in a percentage of the profits after recoupment of investments from a film since the students are not paid employees on set. The students gain real project experience along with networking opportunities for future employment in the industry.

Many higher education production training programs are structured within Arts/Entertainment areas or in conjunction with Radio/Broadcast programs. Some are two year Associate of Science

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Columbia Academy – Vancouver, British Columbia CANADA

The Video & Film Production (VFP) program was created by the Columbia Academy video and film school in Vancouver to introduce the student to the professional world of video, film, and television production and to develop realistic skills in the creative, technical, and business aspects of the industry.

Columbia's 12-month Video & Film Production training program helps students develop

production skills by participating in a variety of real projects in multiple production styles to simulate an actual production house environment.

With Columbia Academy’s Vancouver video & film production training school, students learn by doing. From Day One, the Video & Film Production program provides practical, Hands-On experience in the various positions found in video, film, and television production.

The video and film production industry is huge in Vancouver, BC Canada, with many possible career paths. Columbia Academy's video & film school training let’s students choose and

concentrate on the area of specialty that interests them most and gives them the skills to succeed. Program Outcomes:

• The Video & Film Production training course emphasizes project management and Hands-On participation in all aspects of production from concept to distribution.

• As video, film, and television production is a collaborative field, students will learn to function as members of an integrated production team on a wide variety of projects.

• Through this process, students learn the skills required for positions in the video, film and

television production industry and develop professional standards and attitudes towards their work. • In VFP, students complete multiple class projects (as well as possible personal or client projects) during their term, gaining experience in a variety of video, film & television production positions.

Since beginning this case study on workforce development, the 45-year-old Columbia Academy has been forced to close its doors. Columbia employees attempted to purchase the school from a new owner and could not acquire the assets of the school and therefore, could not continue to operate the school. Columbia Academy's Broadcast Performing Arts and Video & Film Production programs have been reestablished at VanArts, a well-respected Vancouver media arts college.

Columbia Academy has remained part of the case study to emphasize the importance of long-term vision and financial sustainability when developing these workforce training programs and partnerships.

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Valencia Community College – Orlando, FL USA

As Central Florida continues to grow as a major film production center with two major movie giants- Universal Studios and Disney's MGM Studios- located in Orlando, there is a corresponding need for trained technicians with skills in making movies. Valencia's nationally recognized Film Production Technology program is a selective admission, limited enrollment program and trains

students for entry-level positions in six major areas of film production.

These areas include: gripping, electrical-lighting, editing, sound, camera, and set construction. Students may specialize in Cinematography or Post-Production. All of the classes are hands-on and are taught by professional film makers.

The Advanced Courses portion of this degree is limited-access and requires successful completion of prerequisite courses.

Program Outcomes:

• Demonstrate knowledge of various motion picture production equipment. • Employ ability to function as a “team” member of a crew.

• Apply film working protocol, set etiquette, and safety.

• Practice effective problem solving, decision making, and goal setting strategies. • Implement the skills included in the Film Production Technology Program. • Distinguish cinematic styles.

• Demonstrate understanding of moving image through the use of dollies, SteadiCam, jibs and cranes.

As a college in the State of Florida, Valencia Community College has to be able to demonstrate employment of graduates within the industry. This can be challenging to do since this is a freelance business. The students have to take 5 Theater Technology courses during the first year of the program and there are many job opportunities for people with those skills in Orlando. They enjoy a very high success rate of graduates and ultimately that is what drives the program.

The industry is kept very involved with the program along with teachers, mentors and members of the Advisory Board. On larger pictures the professionals are involved in grading the students which provide the faculty and students with valuable feedback. The students also make contacts that will be a part of their professional careers for years to come.

Valencia Community College owns about 10% of the profits of all of the feature films that utilize their students. Some of that money goes towards the purchase of equipment and scholarship

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Perkins money has been very helpful in keeping the program current. VCC also has a Walt Disney World Endowed Chair which allows them to bring in a celebrated Director, Producer, etc. or they can use the annual earnings from that chair to purchase equipment. The state and the college have also contributed financially to the program over the years.

Future growth opportunities include adding additional film classes, for instance a photography class and a post-production sound class, but these are limited by the 64 credit hour maximum allowed in the AS degree in Florida.

The Film and Television School – Wellington, NEW ZEALAND

The New Zealand Film and Television School (The Film School) has been operating in Wellington since 2000. Senior members of the film industry recognized the need for a film school which would be able to respond to industry training needs.

The Film School is the only industry-run school in New Zealand and is unique in its visiting tutor programme, where tutors come into the school direct from the industry.

The schools recruits people with a commitment to New Zealand film and New Zealand stories, people who are the future of the film industry in New Zealand. The school welcomes storytellers to create a blueprint; potential directors to translate it into visual language; future technicians to realise the story and prospective producers to turn it into reality.

Program Outcomes:

• Meet the demand for film-based education and training sought by those wishing to make a career in film

• Ensure that new entrants into the industry are adequately and realistically prepared to follow a career path

• Ensure that industry-based standards are established and maintained.

The course is hands-on and practical. Teaching is project-based and they teach on both digital video and 16mm film. Students make a range of individual projects that may include music videos,

documentaries and short digital dramatic films. The focus of the year is the production of two or three short films, shot on film and made collectively by the whole crew.

The Film School has a close relationship with the film industry and they consult widely when developing changes to the program. The program has good industry acceptance and the industry is very supportive of what they do.

The limited government funding that supports the Film School is unable to be increased. Students are charged fees which are also price-controlled by the government. They have minor additional revenue streams from venue hire and production assistance. Applications are also made to various charitable trusts for donations.

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The Film School is registered as a private training establishment by the New Zealand Qualifications Authority (NZQA) and is listed on the Ministry of Education Prospectus. They have no formal process for measuring the effectiveness of the program; however, they are in the process of a major review by staff, the governing board and members of the film industry.

Outlook and Summary

Wage and salary employment in the motion picture and video industries is projected to grow 14 percent between 2008 and 2018, compared with 11 percent growth projected for wage and salary employment in all industries combined (Motion Picture and Video Industries, 2010-11 Edition. Bureau of Labor Statistics). Job growth will result from the increase in demand for programming needed to fill the rising number of cable and satellite television channels, both in the United States and abroad. More films will be needed to meet in-home demand for videos, DVDs, and films over the Internet. Responding to an increasingly fragmented audience will create many opportunities to develop films. The international market for domestic films is expected to continue growing as more countries and foreign individuals acquire the ability to view U.S.-made movies. While employment growth will lead to new opportunities, many more job openings will arise through people leaving the industry, mainly for more stable employment, since employment in this industry can be a bit erratic.

Opportunities will be better in some occupations than in others. Computer specialists, multimedia artists and animators, film and video editors, and others skilled in digital filming, editing, and

computer-generated imaging should have the best job prospects. There also will be opportunities for broadcast and sound engineering technicians and other specialists, such as gaffers and set

construction workers. Small or independent filmmakers may provide the best job prospects for new entrants, because they are likely to grow more quickly as digital technology cuts production costs. As technology allows for growth in the digital filming sector and incentive programs fluctuate, filmmakers will continue to seek out the most financially advantageous locations for their projects. And a production company can’t evaluate the incentives without taking the infrastructure into consideration. If you compare a state that offers a fabulous incentive program but has little infrastructure (or one that’s just getting established) with one that has a less-attractive incentive package but a solid infrastructure, many times a production company is better off with the latter. The stronger the local infrastructure, the more attractive the incentive packages is going to look. In conclusion, the workforce training programs outlined in this case study are meant to represent different ways jurisdictions are building production infrastructure and local crew. There is not one model that all film commissions can follow but rather a variety of programs that can make an area more competitive in attracting film projects and strengthen local tax incentive programs. Here are words of advice to other film commissions from those with successful workforce training programs.

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• Identify your stakeholders and seek their advice, support and feedback.

• Find commonalities looking to regional schools and trade industries and work with those

existing programs. Provide accurate information about working in the film industry.

• Ensure that those working within film industry are actively engaged in developing and

implementing the strategies that you develop. Industry buy-in and partnerships are key in establishing and delivering programs that meet the needs of the workforce and also that industry professionals want to take part in.

• Attract film projects by showing them your jurisdiction has professional students that can

make their projects a reality. And get students involved in as many professional projects as possible.

• Build additional incentives for production companies that utilize film students. • Make sure the program is mentioned in the film credits to start creating a brand.

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Bibliography

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Honthaner, Eve Light. Variety Presents The Complete Film Production Handbook. Burlington, MA: Focal, 2010. Print.

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Ives, Tobi Elizabeth. "New Mexico Workforce Training Program." Telephone interview. 14 July 2011.

Skillset. Web. <http://www.skillset.org>.

Lee, John. "Skillset Program." E-mail interview. 27 July 2011.

"CA: Film & Video Schools in Vancouver." Columbia Academy. Web. <http://www.columbia-academy.com/video-film-production-school.html>.

Valencia Community College. Web. <http://www.valenciacc.edu/asdegrees/arts/fpt.cfm>.

Clemente, Ralph. "Valencia Community College Film Program." Telephone interview. 28 Apr. 2011.

New Zealand Film & Television School. Web. <http://www.filmschool.org.nz>. Cull, Sarah. "Film New Zealand." E-mail interview. 29 Mar. 2011.

Honey, Tommy. "The Film School.” E-mail interview. 14 July 2011.