Bbc Radio Drama Agreement

Prices are charged per minute for the duration of the slot machine, with the exception of the drama “15 minutes” broadcast on Woman`s Hour, which is paid according to the news of 14 minutes. The duration of the slot machine is as follows: translations of plays, prose and verses must be paid at two-thirds of the prices due to the translator and the original author respectively. If you are dramatizing an English translation, a producer must clarify the translation rights and the underlying work. 2/3 of the prose for the dramatization rate is paid to both the original author/publisher and the British translator/editor. The co-written timing script is prorated and the share is agreed upon when the piece is contracted. Z.B. receive two authors of a 90` coin, if on an agreed 50:50 basis, each receive an allowance of 45`. If the split changes during the letter and the share needs to be adjusted (with the agreement of all parties), this must be agreed before or upon payment of the second half of the fee (and not after the event). An author considered “established” for the television drama within the meaning of the BBC`s agreement with the WGGB and the PMA is also considered to be founded for radio. An established author is one where the author has retransmitted 120 minutes of dramatic works, provided that this has been achieved by at least two plays, dramatizations, dramatized feature films, adaptations, series or long-running series. Since 2014, the BBC has been writing to authors and requesting that its entire BBC radio and television catalogue be made available under (paid) conditions similar to those that apply to orders for contemporary BBC programmes. A feature writer must provide the following services: Deep Search; collection and selection of accompanying material (e.g.

news recordings, literary material); Script construction; presentation; Interviews requested by the BBC to make a radio show or a closed object within a radio show that is a creative treatment of its subject, but which does not happen to actors of character or original material in a dramatic form. Adaptations of stage plays are commissioned on the basis of the following: the underlying rights are paid using the usual set of material published per minute for plays/prose; while an adaptor can receive, depending on the work, a flat fee for smaller machining, up to 35% of the GDR drama rate, for very important adaptations that allow the development of new scenes or characters. In accordance with the terms of the Radio 4 Extra Geneal Permissions agreement (expiration: March 2018), the archiving program is paid on the following basis: no residual or rehearsal fees are paid for other broadcasts and the author can reuse his script (but not the recording) after the expiration of the exclusivity period. The possibility of hiring radio-feature contributors to a daily allowance is maintained. When a beginner gains more experience, the fee normally slides up towards the set rate. Timing applies when the piece is finished and broadcast. BBC/PMA/WGGB TV rates (per minute, at slot length) In return for these payments, the BBC has the right to send 6 days of broadcast (up to four transmissions per day) on the service/simulstream for three years. One of the acquired rights is to have an audio stream or temporary download listened to for a maximum of 30 days after each transfer and an additional 7 days (if downloaded): if you need to verify, track or save your bank details: the BBC receives more than 100 returned contributions per month, most of which are made by false bank details, which are due to the fact that artists (or even agents) change their bank details and do not inform the BBC. These require a lot of manual effort and result in contributors not receiving the payments to which they are entitled. NPSF rights (4Extra, Audiostream, etc.) are acquired with 10% of the one-time transfer fee. Contracts now contain automatic public law podcast rights for 30 days, provided that each podcast can be withdrawn immediately upon written request from the rights holder.. .

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