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Viacom media networks production guidelines

This website contains policies and procedures that govern all Global Entertainment Group's (GEG) pro​gramming. Contact your assigned Network Physical Production executive with questions regarding any 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 of project-specific network contacts from each department. Any exceptions to the policies outlined in the VM&E Production Manual will need prior approval from the Network Physical ​Production executive or BALA representative.​

For the pur​pose of this document, a​ Studio​ production and a Third ​Party production will be defined as the following:​​​

​​
  • Studio​: a production produced by a GEG entity.
  • Third ​Party: productions produced by ​a non-Studio​ production company funded by a GEG entity.

Additional channel specific guidelines (if any) may be found by clicking on the logos above. ​​

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  • 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 clearances and procedures.
  • Your PRT representative may require the below clearances/procedures:​
    • Cast physicals
    • Communicable disease training
    • Criminal and civil background checks
    • 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.
    • Medical evaluations
    • 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:
    • Coogan Account information
    • Criminal background checks on anyone interacting with the minors
    • Minors’ work permits
    • ​A studio teacher to monitor the minors on‐set hours
    • 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.​​​​
  
  • Contact your Network Physical Production executive for the following:
    • Network‐specific bud​geting requirements
    • Chart of accounts and budget template
    • Relevant contracts and deal memos
    • Current union rates - if applicable
    • Current fringe rates - if applicable
    • 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:
    • As-of date
    • Version number
    • Show title
    • Season
    • Cost per episode (reflected in top corner/header)
    • All contractual costs including prod co fees, producers, talent, etc. Use names and start/end dates when possible
    • 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 must be accompanied by the following:
    • Assumptions
    • Calendar (including writing, pre‐production, production, post‐production and estimated delivery dates)
    • Cash flow (if Third Party)
    • Detailed day/week breakdowns including start and end dates for all personnel
    • 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:
    • All background checks, paperwork and clearances have been obtained
    • Budget with assumptions page
    • Calendar
    • Cash flow/payment schedule (a revised cash flow may be required at some point during production if significant production or cost changes occur)
    • Production services agreement, or applicable project agreement
    • Talent deals​​​​​​​​
  • Overages - It is esential 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:
    • Estimated overage amount
    • Detailed breakdown of costs
    • How costs will be applied to the production
  • The following financial backup may be required:
    • Invoices
    • Timesheets
    • Expense reports
    • 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. 

 

  

All casting notices should be approved before posting. Please route to your Network Physical Production executive and BALA Representative for clearance prior to posting.

  
  • ​Contact your Network Physical Production executive for a project‐specific content 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:
    • Each script is adequately researched and a clearance report is generated
    • Script legal analysis is provided by the Intellectual Property & Litigation (IPL) representative
    • Script modifications and art department adjustments are made
    • 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:
    • Animals
    • Aircraft
    • Boats
    • Drones
    • Minors
    • Pyrotechnics
  • Additional content vetting and script clearance information applicable to Third Party productions only:
    • Third Party production companies need to conduct an independent legal and clearance review in addition to going through the network content vetting process.
    • Viacom Media Networks 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.
    • It is assumed that content will be delivered to the network fully cleared and vetted by your independent legal counsel.​​
  

After spending on the project begins, submit cost reports to your Network Physical Production executive every week, unless otherwise directed.

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 recommended the following records be accessible in the event of an audit:

  • Trial Balance
  • General Ledger
  • Payroll Records
  • Monthly Bank Statements
  • Invoices 
  • Credit Card Statements
  • Petty Cash Records

REALITY PRODUCTION ( Strip)

  • BI-WEEKLY COST REPORTS - budgets over  $150k/episode
  • INTERIM COST REPORT - budgets under $150k/ episode
  • FINAL DELIVERY - Final Detailed Cost Report & Summary

Viacom Finance requires a separate bank account be maintained for each series. We recommended the following records be accessible in the event of an audit:

  • Trial Balance
  • General Ledger
  • Payroll Records
  • Monthly Bank Statements
  • Invoices 
  • Credit Card Statements
  • Petty Cash Records

REALITY PRODUCTION (Weekly Episodic):  A-LEVEL PRODUCTION COMPANY (to be decided by Channel):  

  • INTERIM COST REPORT    
  • FINAL DELIVERY - Final Detailed Cost Report & Summary

Viacom Finance requires a separate bank account be maintained for each series. We recommended the following records be accessible in the event of an audit:

  • General Ledger
  • Payroll Records
  • Monthly Bank Statements
  • Invoices 
  • Credit Card Statements
  • Petty Cash Records​

SCRIPTED PRODUCTION

  • DAILY HOT COSTS - upon request only
  • BI-WEEKLY COST REPORTS - budgets under $1.75 M
  • WEEKLY COST REPORTS - budgets above $1.75 M upon request
  • FINAL DELIVERY Final Detailed Cost Report & Summary
  • Trial Balance - upon request
  • General Ledger - upon request

Viacom Finance requires a separate bank account be maintained for each series. We recommended the following records be accessible in the event of an audit:

  • Payroll Records
  • Monthly Bank Statements
  • Invoices 
  • Credit Card Statements
  • Petty Cash Records

The report should include the following:

  • Amort & pattern reports
  • A top sheet cost analysis including:

For Third Party productions:

  • Date through which ATL and BTL payroll is actual
  • Latest 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
  • 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
  • A trial balance should be included in cost report distribution. Hot costs may be required on projects daily once photography commences.​​​

 

  
  • ​If your production will include foreign travel, reach out to your network Production Risk Team (PRT) representative and copy your Network Physical Production executive.
  • If your production will include the employment of foreign nationals, reach out to your network PRT representative and copy your Network Physical Production executive.
  • 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.​
  
  • ​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, please determine with your counsel which guild contracts may apply to your project. Your counsel should confirm any and all coverage with the network BALA representative. 
  

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 network production team. 

DGA

  • A DGA Project Information Sheet must be completed during pre‐production.
    • If the production (whether Studio produced or via Third Party) uses a Viacom preferred signatory (ex: Onsite, Central, Pop Channel, Bling, etc...) then it's 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.
    • If a Third Party production uses it's own signatory, then it's completed at show level and submitted directly to the guild.  Network oversight will vary.
  • Clearing DGA members
    • 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.
    • The qualification lists can be found at: Qualification List
    • To the extent that they are required by the minimum staffing and/or to the extent that production is using such positions, the following titles need to be cleared:
  • Dramatic Agreement:
    • Director
    • Unit Production Manager (UPM)
    • First Assistant Director (1st AD)
    • Key Second Assistant Director (2nd AD)
    • Second Second Assistant Director (2nd 2nd AD)
    • Additional Second Assistant Directors (addtl 2nd AD)
    • Associate Director/Technical Coordinator (line cut)
    • Associate Director (line cut)
    • Audience Switcher (Associate Director)
    • Assistant UPM (2nd 2nd AD)
    • Location Manager – New York or Chicago (2nd 2nd AD)
  • FLTTA Agreement:
    • Director
    • Associate Director (Assoc. Dir.)
    • Stage Manager (SM)
  • DGA Deal Memos
    • All DGA employees must sign a DGA Deal Memo at the commencement of their employment (not after they work).
    • 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.
    • If a Third Party production uses it's own signatory, then it's completed at show level and submitted directly to the guild.  Network oversight will vary.
  • Reach out to your Network Physical Production executive and BALA representative if there are any questions regarding DGA obligatory guild payments. Such payments could include (but are not limited to) series pick‐up bonuses.
  • Quarterly Earnings Report, Data Report & DGA Credit Breakdown
    • 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.  The show is to ultimately deliver to the guild.  At times, it may be coordinated by the finance department.
    • If a Third Party production uses it's 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 Studio produced or via Third Party) uses a Viacom preferred signatory (ex: FRB, Cranetown, etc...) then they are governed under these deals and generally any forms and processes happen at show level with Network oversight.

  • If a Third Party production uses it's 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.
    • If the production (whether Studio produced or via Third Party) uses a Viacom preferred signatory (ex: Onsite, Central, Pop Channel, Bling etc..) then it's 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.
    • 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.
    • If a Taft‐Hartley is needed, contact your Network Physical Production executive and BALA representative for further instructions.
    • 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.
    • 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
    • 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).
    • If a Third Party production uses it's own signatory, then the show contracts the guild directly.

WGA

  • WGA Weekly Worklists must be completed at the end of each week.
  • Development
    • If no production entity has been assigned, then it's completed by either 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
    • If the production (whether Studio produced or via Third Party) uses a Viacom preferred signatory (ex: Central, LRF, Trana Stad etc..) then it's 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. 
    • If a Third Party production uses it's own signatory, then it's completed at show level and submitted directly to the guild.  But only if it's 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.
    • 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. 
    • It takes the WGA up to one month to approve NTWCs. Plan accordingly for credits/post/titling.
  • Please reach out to your Network Physical Production executive to discuss WGA obligatory WGA payments. Such payments could include (but are not limited to):
    • Series sequel payments paid to anyone credited with sole or created by credit.
    • Character payments paid to any new character not appearing in the pilot episode​
  
  • ​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 network PRT representative, copying your Network Physical Production executive as well as Sharon Brennan (Sharon.Brennan@viacom.com) and Corrin Hu (Corrin.Hu@viacom.com)
    • 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 Physical 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 provider for all productions.  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 Network Physical 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 Studio and Third Party Productions:
    • You must fill out an incident report for all incidents/accidents and report them to your BALA representative, Network Physical Production executive, and PRT 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.​
  
  • ​Contact your Network Physical Production executive for information regarding kick‐off calls and scheduling. Typically, thefollowing kick‐off calls are required:
    • Development
    • Production
    • Legal
    • Music & Media Licensing (MML)
    • Finance
    • Post‐Production
    • Insurance
    • Production Safety
    • 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:
    • Production Guidelines
    • MML Guidelines
    • Legal Requirements
    • Finance Guidelines
    • Post‐Production Guidelines
    • Insurance Procedures Manual (studio shows only)
    • Production Safety Documents
    • Travel & Expense policy (studio shows only)​
  
  • You will either receive the network legal packet with detailed information regarding contracts, agreements, COAs (Certificate of Agreement/Authorship), and deal memos from your BALA representative or from the Network Legal Forms and Agreements on Scenechronize (https://www.scenechronize.com/sc).
  • Individuals that are required to sign agreements (including talent) cannot begin working until they have signed their agreement.
  • 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.​
  

Reach out to your Network Physical Production executive for your child labor contact information.  Provision requirements for minors vary by 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). 

 

 

 

 

 

 

  
  • ​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.
  

​Your Network Physical Production department will set you up with Scenechronize, where you will upload/distribute all of the necessary forms. In addition to outlining the ideal timeline and frequency for document 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:

  • Calendar
  • Call sheets
  • Credits
  • Contact /crew list
  • First shot, lunch, and wrap reports
  • Outlines/scripts/cuts
  • Production reports
  • Production schedules​​​
  

    ​Viacom has implemented enhanced safety procedures. Click here to review all safety procedures. Viacom's Senior Director of Safety, Chris Velvin and/or his assistant Abel Horwitz, will provide you with the current website username and password outlining more Production Safety information specific to your show. 

  • 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.
  • 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.
  • 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, orat 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:
    • Email:    Chris.Velvin@viacom.com
    • Office:   310-752-8593
    • Cell:       424-280‐9674
  

​Please note that EP and Cast & Crew Residual's Processing no longer accepts paper wrap binders/ deliverables.  All Residual Deliverables must be DIGITAL files.   

Due Date Summary.xlsx

Residuals Checklist.doc 

 

  

SAFE HARBOR LETTER

  • ​Applicable only to Third Party production companies.
  • 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.
  • The Safe Harbor Letter is sent to the attorney general certifying that the company is exempt from the federally mandated record keeping 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.
  • Visit the Justice Department Website for further information regarding Safe Harbor Letters: Safe Harbor Letters​​​

PENCE LEGISLATION/RELEASES

  • 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.
  • The ID information must be recorded on the appearance release form and production should retain a copy of the ID whenever possible. Failure to comply with Pence legislation may result in criminal penalties.

NON-DISCLOSURE AGREEMENT (NDA)

  • All cast and crew handling confidential and sensitive material must read and execute an NDA. Please contact your BALA Executive for more details.

 

  

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.

  

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.

  
  • Cash flow will need to be approved by Finance and Network 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
  • 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:
    • Production company/supplier is setup as an approved vendor in SWIM
    • The production services agreement has been approved and fully executed
    • Budget has been approved and fully executed
    • Cash flow/schedule has been approved
    • ATL deals have been approved and fully executed
    • Invoices 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)
  

Contact your BALA representative for information on title clearance procedures. Please allow adequate clearing time. Show graphics should not be created without a cleared 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. 

  
  • 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.​​
  
  • U.S. Department of Transportation (DOT) Compliance requires the following:
    • When filming in the United States, Transportation Coordinators and Captains should be familar with the DOT rules and regulations regarding pre-employment screening, driver hours, log requirements, and drug and alcohol testing. They should also be familiar with the process for obtaining a DOT number specific to the production.
    • 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.
    • Drivers are not to begin work until appropriate checks have been completed.​​
  

Only Studio projects are to book ALL travel (air, hotel, rental car, etc.) through Carlson Wagonlit Travel (CWT).

To contact CWT or book travel:

  

​Click here to view the Harassment Policy.

  
  • You will either 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.