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INDUSTRY / MARKET Italy

CinemaLive launches a masterclass on the management of exploitation rights

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- The Italian course will focus on the relationship between independent producers and VOD platforms who act as funders for the former, in this period of market acceleration and regulatory change

CinemaLive launches a masterclass on the management of exploitation rights
CinemaLive's CEO Alessandro Costantini

In March, the European Producers Club published a “Code of Fair Practice for VOD platforms commissioning new works (originals) from independent producers” (read our article), a four-point document which lists the key requirements for a positive relationship between producers and financial backers. The code places an emphasis on the “rules of engagement” and on the ultimate aim of preventing independent producers from being reduced to mere “service providers” at a time when the market is experiencing rapid acceleration (1.1b subscriptions to online video services were recorded worldwide in 2020, according to a report by Motion Pictures Association) and individual European states are having to adjust their regulatory frameworks.

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These themes will be explored in greater depth within the new training course launched by CinemaLive, entitled “Informed Management of Film-Audiovisual Exploitation Rights”, which will unfold live, online, from 4pm to 6pm every Tuesday and Thursday between 25 May and 10 June 2021, via the Google Meet platform (click here for further details).

The course will kick off on Tuesday 25 May with an introduction from CinemaLive’s CEO Alessandro Costantini, followed by a panel discussion hosted by lawyer Mariangela Liuzzi of Liuzzi Media Law, who will provide an overview of the legal framework producers must work within, analyse the various definitions of “producer” (independent, original, executive) in relation to subsidies and tax breaks, explore the various exploitation channels available (theatrical, SVOD, TVOD, home video, pay TV, free TV, etc.), and introduce participants to the “Regulation on programming and investment obligations in favour of European works and works by independent producers”. The course will continue on Thursday 27 May, with a focus on examples of specific rights: private copying (Attorney-at-Law Alessandro Della Ragione), cable rights and relations with rights specialist AGICOA (Genevieve Rabe, VP Business Development Compact Media), and exploitation rights management at both the contractual and the fiscal level (Caterina Niccolai of the Giussani law firm, and Ciro Serio of law firm Savella & Associati).

The future will form the focus of the panel scheduled for 3 June, led by Laura Chimienti and entitled “Copyright 4.0: Can Artificial Intelligence produce an audiovisual product that is protected by copyright?”, while that of 8 June will see participants explore the business side of the coin via a masterclass entitled “The Role of International Distributors”. Delivered by True Colours’ Managing Director/Head of Acquisitions Gaetano Maiorino, the class will clarify who sales agents are and what they do, as well as outlining their role and relationship with producers, and their overall responsibilities and activities. Attendees will also learn how to draw up sales and festival strategies.

The course will come to an end at 4pm on Thursday 10 June, following a talk on “International Distribution: Tools of the Trade”, which will see the same Maiorino examining contracts and promotional material - mandates, marketing plans, sales forecasts, and case studies of posters, videos and online marketing campaigns – as well as revealing how best to go about choosing a sales agent.

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(Translated from Italian)

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