Canadian Filmmakers: Navigating Your Certificate of Insurance

Posted by Alyson Forster on Aug 4, 2020 7:12:08 AM

Canadian Filmmakers: Navigating Your Certificate of Insurance

If you’re a US-based filmmaker, read this blog post instead.

Congratulations, you successfully purchased your production insurance! Your broker has sent you a confirmation that your coverage is bound, a summary, invoice, and certificate of insurance. You review all of your paperwork and estimates from the rental house and permit office, but how do you know what coverage is what, or if you even purchased the correct coverage?

things that may go missed on a certificate that can ‘make or break’ you on the day of production:

  1. Make sure the production company’s name and address are correct. Rushed through the application? This is the time to triple check any spelling errors.
  2. If you are working (especially) on a Short-Term Production, double-check the effective dates. Make sure you include any additional pickup/drop-off dates that may be needed for props or rentals.
  3. Did a permit office request any special wording? This is the time to make sure you have the exact wording on your certificate as the insurance requirements noted.

Below is a sample certificate of insurance for Canadian film productions. We will review each section so you can properly understand what you are looking at.

Certificate of Insurance Canada

Ok, so from the top!

The highlighted section below is where your company information is located.

The non-highlighted section below is your insurance broker’s information.

Certificate of Insurance Canada

The next part of the first page will delegate the policy number and the start and end dates of coverage. If you need additional days for a short shoot, reach out to your broker immediately. If you request additional coverage dates after the expiration of coverage, you will be responsible for purchasing a new policy.

Certificate of Insurance Canada

If a permit office, rental house, or specific entity you are working with has requested special wording on a certificate, it will go here. If you do need special wording on your certificate, please make sure you reach out to your broker in advance. Special wording or endorsements such as a “Waiver of Subrogation” may take up to 24-48 hours to process from the carrier.

Certificate of Insurance Canada

The following pages of your certificate of insurance will outline the limits of insurance and retention or deductible. The deductible or retention is the amount you will have to pay the insurance company in a case of a loss that exceeds the deductible, and is located on the far right column.

Example: You rent a camera that has a replacement value of $50,000. The camera gets lost in transit. This means that for the insurance company to replace the camera, you will have to pay the deductible amount.

Example: You rent a grip accessory and the replacement value is $150. The grip accessory is damaged during the shoot. Since the accessory’s replacement value is less than the deductible, the insurance company will not cover the loss.

Certificate of Insurance Canada Schedule AHave more questions on the coverages on the far left column? Contact us.

 

About: Front Row Insurance Brokers Inc. is an independent insurance broker that provides film insurance for a very low cost. Should a claim occur, Front Row works diligently with insurers and clients to expedite the payment of claims.

Related:

US Filmmakers: Certificate of Insurance

DISCLAIMER: Informational statements regarding insurance coverage are for general description purposes only. These statements do not amend, modify or supplement any insurance policy. Consult the actual policy or your broker for details regarding terms, conditions, coverage, exclusions, products, services and programs which may be available to you. Your eligibility for particular products and services is subject to the final determination of underwriting qualifications and acceptance by the insurance underwriting company providing such products or services. This website does not make any representations that coverage does or does not exist for any particular claim or loss, or type of claim or loss, under any policy. Whether coverage exists or does not exist for any particular claim or loss under any policy depends on the facts and circumstances involved in the claim or loss and all applicable policy wording.

Topics: Short Film Insurance, Film Insurance, Film Production, Film Producers, Annual Film Insurance, Film Production Companies, Film Location Insurance, Certificates

Filmmakers and Insurance: What Moves You

Posted by Casey Budden on Nov 5, 2018 11:59:13 AM

Filmmakers & Film Insurance

Movie fans in theatre.What Moves You?

More than 100 years after their invention, “moving pictures” still seem to command our collective imagination. We often have very personal emotional attachments to movies: we say that certain films inspired us, moved us, shaped our childhood, shocked us, or opened our minds.

What is unique about the medium of film? What explains this continuing fascination despite all the other technological delectations our age offers up? Is it because film promises us a total escape from the everyday? Provides deep insight into the human condition? Or is it simply good entertainment?

Probably, it’s all of the above. 2017’s total box office results were the highest in history, with over $39 billion in takings worldwide despite the fact that public attention is more divided than ever, with video games, streaming services, and downloads all vying for a slice of their entertainment dollars. Clearly, movies aren’t going anywhere.

What is changing is the way content is delivered. Creators are both rapidly influencing, and being influenced by, new technologies. This is not anything new: the history of film is one of periodic disruption followed by renewal in response to the changing tastes of audiences.

Early “talkies,” which began to appear in the mid-to-late 1920s, were often compared uncharitably to earlier, silent films. Critics often felt that the spoken dialogue made for tawdry, artistically inferior pictures. Audiences loved them, however, and by the early 1930s, the majority of films were being produced with sound.

Starting around the same time and lasting until the late 1940s was the Hollywood “studio system”—a system of production characterized by complete vertical integration of the production process. The studio system totally dominated filmmaking during this period. Studios “owned” talent, cast was repertory, and filming was done mainly on elaborate sets or backlots rather than on location. Props and sets were also frequently recycled through various productions. Many venues were owned by studios, who could thus control when, where, and for how long a film screened. Theatres that were not studio-owned were subject to a practice called “block booking” in which they were required to take on and screen entire slates of lesser-quality films from a studio in order to obtain screening rights to a single anticipated hit. (This is where the term “B movie” comes from).

As might be expected, this arrangement provided steady and reliable revenue for the studios. The big stars of the time were household names. Studios were nicknamed “Dream Factories” due to their ability to quickly churn out genre favorites—westerns, musicals, romances. Fantasy and spectacle were favored over realism, and audiences gobbled them up. But new technology was already sowing the seeds of change: the rapidly growing popularity of television, as well as a landmark antitrust case in 1948 which forbade studios from owning movie theatres and curtailed the practice of block booking, placed the film business on shaky ground by mid-century. The severe slump which ensued was not truly reversed until 1972, the year The Godfather was released.

The collapse of the studio system was both good and bad. As major studios were no longer guaranteed a theatrical release for their films, they became more risk-averse, tending to focus on properties they knew would make money. On the other hand, the proliferation of smaller studios and the uncoupling of distribution from production allowed many up-and-coming directors to make their mark. The 1970s ushered in the emergence of a raft of American auteur directors—Robert Altman, Martin Scorsese, Francis Ford Coppola, Roman Polanski, and Stanley Kubrick among them. These directors were influenced by European art-house cinema of the 50s and 60s and approached filmmaking with a markedly different aesthetic. Their films featured greater realism and frequently controversial subject matter. Like their European contemporaries from decades past, more scenes were shot on location. Dialogue was less frequently dubbed. Increased emphasis was placed on characterization and dialogue.

Simultaneously, and progressing in a completely opposite artistic direction, another trend was taking shape: the “Hollywood blockbuster.” Designed to maximize ticket sales for large studios, these films featured larger-than-life spectacle and action, supported by cutting-edge technology and special effects. Star Wars (1977) represents the most obvious example of this phenomenon. Audiences flocked to the cinema for the first time in decades to be part of an experience they could not replicate with equipment available at home. The modern action-adventure spectacle was born (and continues, in the guise of the ubiquitous superhero movie).

The 1980s accelerated these changes in filmmaking. Major studios could no longer afford to back a loser, so often doubled down on grand special-effects laden productions that audiences would be guaranteed to love, or else reliable franchises such as Rocky, Rambo, Indiana Jones, Friday the 13th,, A Nightmare on Elm Street, etc. The advent of home video technologies such as VHS and Betamax meant that a significant proportion of a film’s income now came not from box office, but home video revenues. This further opened up the playing field, as it was now economically viable for a small independent producer to market their film “direct-to-video” and make a profit.

Cut to the present day where, in addition to the multiplex, you can now watch a film on your phone, tablet, smart TV, portable music player, or game console. Streaming services are the latest disruptive innovation and have changed the way episodic TV content, for example, is presented (no more “previously on…” and no more commercials). It’s arguably never been easier for a creator to get their work out there.

Audiences flocked to the “dream factories” of the Golden Age of Cinema because there’s no magic like film magic. This hasn’t changed, and we don’t think it ever will. Film is the only medium that has the ability to inspire both our intellects and our hearts while completely engaging our senses.

At Front Row Insurance, we are “Passionate about the arts…better at insurance.” We love creatives and the creative work that they do. That’s what moves us. What moves you? Whatever it is, we probably have a policy that will suit you. Contact us.

RELATED:

THE BEST CAMERAS FOR FILMMAKING

HOW TO PROTECT YOUR CAMERA LENS(ES)

Topics: Entertainment Insurance, Film Producer's E&O Insurance, Public Liability Insurance for Film, Film Location Insurance, Extra Expense Coverage, insurance for film set, Educational Film Insurance, film school insurance, pre-production insurance

THIRD PARTY PROPERTY DAMAGE LIABILITY (TPPD INSURANCE) EXPLAINED

Posted by Mike Groner on Jul 21, 2016 9:31:43 AM

Third party property filming
Third Party Property Damage (TPPD)

Third Party Property Damage coverage provides for the damage or destruction of property of others (including loss of use of the property) while the property is in the care, custody or control of the production company and is used or is to be used in an insured production. This is the most ideal coverage to insure a film location.

Third Party Property Damage may also be extended for damage to buildings and contents rented as living quarters for cast & crew during production.

Coverage does not apply to: liability for destruction of property caused by operation of any motor vehicle, aircraft or watercraft, including damage to the foregoing; liability for damage to any property rented or leased which may be covered under props, sets or wardrobe, or miscellaneous equipment coverage (except, that loss of use of any such equipment is covered), will fall under those respective coverages instead.

This type of exposure is not covered under a Comprehensive Liability policy. Property Damage coverage written as part of the Commercial General Liability Policy excludes damage to any property in the production company’s care, custody or control.

THIRD PARTY PROPERTY DAMAGE & EXTRA EXPENSE INSURANCE

Extra Expense reimburses the production company for any extra expense necessary to complete principal photography of the insured production due to loss of, damage to or destruction of property  or facilities (props, sets, wardrobe or equipment) used in connection with the production.

Coverage can also be extended on some policies for delays due to civil authority, mechanical breakdown of camera equipment, disruption of outside power and non-industry strike.

To obtain coverage a no obligation insurance quote for your project, please click on one of the links below:

Film Production Package For a Single Production:Film Production Package for a single production: features, television series, documentaries, and more.

Blanket Annual Production Package:    A convenient way of administering your insurance if you anticipate multiple productions in the next twelve months. This type of policy covers Documentaries, Corporate Videos, Commercials, Educational Films, Music Videos, Shorts, and more.

RELATED LINKS:

Film Insurance 101 & How to Protect Your Film Project

Film Production Insurance: Why it is needed

Pre-Production Insurance

Film Production Insurance

How the Premium is Determined

Short Film Insurance

DigiGear Insurance

Props/Sets/Wardrobe Insurance

E&O Insurance

DICE Insurance

Third Party Property Damage

Crew Vehicles

Umbrella Vs. Excess Liability

Commercial General Liability

Negative Film / Videotape and Faulty Stock

Workers Comp

Cast Insurance

Extra Expense (EE)

Foreign Locations

Claims

Topics: Film Location Insurance, Extra Expense Coverage, Third Party Property Damage

Effortless and Affordable Short-Term Film Insurance Canada

Posted by David Hamilton on May 27, 2016 3:49:23 PM

short film insurance


Short film insurance (Canada) can be arranged quickly through Front Row. Front Row's online short shoot program is quite popular with new and established filmmakers because of the low cost and the simple process to arrange a policy.

Note: the online program is for individuals who live or have a company in Canada at this time; however, worldwide coverage is available to Canadian filmmakers. For a US short film insurance quote, complete this form.

To provide you with a short film insurance quote, we need a few details. The fastest way to receive a quote is to complete this short application telling us about your project:

Get a 2 Minute Quote

We can provide Short-Term Equipment Insurance starting at $300 CAD!

If you would like to add film location liability for one week , we can do so for a small additional premium.

Front Row Insurance can also provide affordable coverage for: 

If you would like an annual policy to cover multiple productions, please visit our D.I.C.E Page (Documentaries, Industrial Films, Commercials, Educational Films – it also covers short shoots, music videos and feature films with lower budgets).

Topics: Short Film Insurance, Film Insurance, Film insurance broker, Film Location Insurance, film school insurance