US Filmmakers: Navigating Your Certificate of Insurance

Posted by Alyson Forster on Aug 4, 2020 7:12:51 AM

US Filmmakers: Navigating Your Certificate of Insurance

If you’re a Canada-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 (US), 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. We will review each section so you can properly understand what you are looking at.

US Certificate of Insurance

Ok, so from the top!

The highlighted section on the left is where your company information is located.

The highlighted section on the right is your insurance company. You will notice it shows insurer “A” and insurer “B”. This will correspond to the boxes on the far left side to show which company is which.

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

US Certificate of Insurance

This next part is VERY important, especially when it comes to Film LA. See the box that says “ADDL INSR”? That stands for Additional Insured, and the “Y” stands for yes. Next to that column, there is wording “SUBR WVD” this stands for Waiver of Subrogation.

This is a waiver that you must request in advance and most likely will cost additional premium. Without a “Y” under “ADDL INSR” and “SUBR WVD”- your insurance coverage will not be sufficient for Film LA.

The next part of the “grid” 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.

The bottom right highlighted section is what your rental/prop house will review. Keep in mind, this amount is not the value to rent the equipment. The amount is to replace the item in the case of a total loss.

The section ‘ded’ that is highlighted stands for your 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.

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 accessories replacement value is less than the deductible, the insurance company will not cover the loss.

US Certificate of Insurance

Note: Remember insurer “A” and insurer “B”? You can now see them on the far right column.

This row on your certificate is where any special wording would be located. If you need a rental house to be named additional insured, this is where the wording would be located.

US Certificate of Insurance

Note: Whenever there is a need for special wording on your certificate, please notify your broker. This is something only your broker can process.

Last section! So, the certificate holder will be the entity that requested to be named additional insured, loss payee, or certificate holder. If a rental house has requested to be named additional insured, this is where you would find their name and address.

US Certificate of Insurance

 

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:

Canadian Filmmakers: Certificate of Insurance

Getting a film permit in Los Angeles / Film LA

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 Production, Film Producers, DICE Insurance, Film Production Companies, US Film insurance broker, Certificates

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, DICE Insurance, Film Production Companies, Film Location Insurance, Certificates

Guidance on Health and Safety for Film & TV Workers during COVID-19

Posted by Grant Patten on May 15, 2020 11:04:26 AM

HEALTH & SAFETY FOR FILM & TV WORKERS DURING COVID-19 (WSPS)

HEALTH & SAFETY FOR FILM & TV WORKERS DURING COVID-19Source: Royalty-free stock photo ID: 1680037777, Shutterstock

The Workplace Safety & Prevention Services (WSPS) has released some helpful guidelines for those in the film, TV and live performance industries who will soon be returning to production work in this COVID-19 environment. WSPS is an Ontario-focused organization, but this information could still be useful to those in other provinces or even the US as well.

Front Row Insurance is merely passing on these WSPS guidelines that might be helpful to some in planning their return to production, but please also consult an employment lawyer, public health and industry associations and government recommendations. The below is for informational purposes only and should not be considered advice.

Controls to consider for returning to production during COVID-19:

The WSPS documents have some helpful points to consider, including…

Are there tasks you can minimize or eliminate? For example, could any scenes that were planned to involve numerous people potentially be cut down to fewer people? Similarly, can scenes that involved people close together potentially be restructured to allow social distancing?

Limit entry points and control who comes onto set, who they speak to, and what they handle.

Have all crewmembers and visitors wash their hands thoroughly with soap and water, or an alcohol-based hand sanitizer if soap and water are not available, before entering the set, after contact with others, and with surfaces others have touched.

Train crewmembers on COVID-19 transmission points, steps being taken to protect them, and how to protect themselves, including frequent hand sanitizing, and not touching their face.

Is there an opportunity to put barriers in place between crewmembers on set? Consider using floor markings to keep people at a safe distance apart.

Is there an opportunity to improve fresh air intake/air circulation on set?

Increase cleaning frequency – on everything from desks, seats and vehicles to commonly touched surfaces like cameras, computers, microphones, phones, door handles and switches.

Ensure laundering instructions are being followed for wardrobe.

Review sanitation practices for hair and makeup stations to avoid spreading the virus and implement new practices.

Replace buffets with wrapped food items.

Consider having personal protective equipment (PPE) for crewmembers. Some examples of PPE that may be suited to supervisors, production or operations management work include gloves, masks, goggles and/or face shields.

Review your preventative measures on an ongoing basis, and adjust them if they are not working well enough or causing other issues with your work.

COVID Guideline Documents from Workplace Safety & Prevention Services (WSPS):

The above points are selections from the WSPS documents; you are encouraged to download the full documents, linked below:

Download: Workplace Safety & Prevention Services Guidance on Health and Safety for Television Hosts, Technical Crews and other TV and Film Employees during COVID-19 [PDF]

Download: Workplace Safety & Prevention Services Guidance on Health and Safety for Television, Film and Live Performance Sector during COVID-19 [PDF]

NOTE: These documents are intended for informational purposes only to provide an overview of the potential hazards posed in the workplace due to COVID-19. They are not intended as medical advice, to provide a comprehensive risk assessment for all workplaces, or to replace any legislated workplace safety obligations. Due to the ongoing evolution of the situation in Ontario and around the world, these documents may be used as a guide for Employers in addition to guidance delivered by public health authorities such as the World Health Organisation (WHO), Ontario Ministry of Health, Public Health Ontario and the Centres for Disease Control and Prevention (CDC).” Any use which is made of these documents by any Employer, or any reliance on or decisions to be made based on them, are the responsibility of the Employer.

Good luck and take care,
The Front Row Team

Citations:

https://www.wsps.ca/

Topics: Film Production, Film Producers, Film Production Companies, TV Series, COVID-19

Risk Assessments for Film Productions

Posted by David Hamilton on Nov 20, 2012 1:44:00 PM

risk assessments for film productions

Most workplace injuries and diseases can be prevented by identifying and dealing with potential workplace hazards and unsafe work practices.

Q. When do you need to conduct a risk assessment?

A.  For each potentially hazardous activity or situation involved in your production. I.e.,

Conducting FILM PRODUCTION Risk Assessments – 3 basic steps

  1. Identify potential hazards and unsafe work practices
  2. Assess the risks associated with the potential hazards and/or unsafe work practices
  3. Deal with the potential hazards and/or unsafe work practices

Remember: Write your risk assessments down on paper; that way, they can be attached to call sheets and used as a reference in case they are needed at a later date.

A specialized film insurance broker is best able to present the risks associated with your film production to the film insurance underwriter to ensure you receive the best coverage and premium for your production.

Front Row Insurance Brokers are specialized Film Insurance Brokers. Please call us if you have any questions.

The above information is  based on WorkSafe – Focus on Safety – Safe Work Practices for Film and Television Production in B.C. (2001 edition)

Topics: Short Film Insurance, Film Insurance, Entertainment Insurance, Film insurance broker, Film Production, Film Insurance claims, Film Producers, Film Production Companies, Cast Insurance

Focus on Safety to Reduce Film Production Workers Compensation Claims

Posted by David Hamilton on Nov 13, 2012 2:06:00 PM

Workers comp on film sets

Film production health & safety / Workers Comp

Film production companies have an obligation toward their cast and crew members, and must ensure their health and safety.

Production Companies should:

  • Develop and implement health & safety programs
  • Provide first aid equipment and emergency procedures for workers
  • Provide personal protective clothing and equipment for workers where required by the Regulation
  • Hire qualified, Competent Workers with the proper tickets and qualifications
  • Report all incidents involving medical treatments or lost time from injury or disease to the Workers' Compensation Board (WCB)
  • Investigate all incidents, involving near misses
  • Ensure that cast and crew follow all WCB, municipal, provincial and federal requirements

Cast & Crew should:

  • Wear personal protective clothing and equipment when required
  • Alert the supervisor or production company to potential hazards
  • Immediately report work they consider unsafe to their supervisor
  • Follow safe work procedures

Production Companies should form a joint health and safety committee that is responsible for identifying potential hazards or unsafe work practices and providing suggestions to improve conditions. The committee delegates should ensure that regular workplace inspections are carried out, and confirm that incidents are investigated. Above all, it’s important to consider and respond to heath and safety recommendations from the cast & crew.

Some examples of task allocations per position are:

Production Manager – Ensure that sets and locations are inspected for potential hazards and that potential hazards are eliminated or controlled.

Production Coordinator – Communicate the distribution of information to cast, crew members and various departments within the production company.

Director – Support assistant directors in their occupational health & safety responsibilities.

Director of Photography – Make safety a priority when placing cameras and setting up lighting.

Construction Coordinator – Ensure that the construction mill has a first aid facility stocked with appropriate supplies.

Location Manager – Assess all locations for potential hazards (starting from the time of the initial scout.

SPFX/Stunt Coordinator – Hold safety talks immediately before any scheduled special effect or stunt.

* The above information is based on WorkSafe – Focus on Safety – Safe Work Practices for Film and Television Production in B.C. (2001 edition)

Related Blog PostS

WORKERS' COMP EXPLAINED

WORKERS COMPENSATION FOR FILM CREWS

Topics: Film Insurance, Entertainment Insurance, Film insurance broker, Film Production, Film Insurance claims, Film Producers, film insurance premium, Film Production Companies, Workers Compensation

E&O: Acquire permission before you eat at McD****** or drink a C***

Posted by Doran Chandler on Mar 20, 2012 3:02:00 PM

E&O Insurance: copyright infringements

Copyright infringements

It happens more often than you might expect: a producer completes a film, locks picture, makes a sale, and then drops by our law office to inquire about “clearing” the film for Errors & Omissions insurance coverage. In reviewing the film, we note that the producer filmed copyrighted and trademarked material, but failed to get the necessary permission to include it in the film.

E&O insurance policies insure against claims arising from accidentally infringing a copyright or trademark, invading someone’s privacy or otherwise getting tripped up on someone else’s rights. In order to qualify for E&O coverage, the film in question must be fully cleared and the producer must acquire all necessary permissions from third parties whose rights might otherwise be infringed. If a film includes material that potentially infringes a third party’s copyright and permission has not been acquired, there are a number of options to consider.

First, the film could be edited to remove the offending material. This is only a viable option if time, finances and/or creative willingness permit. Second, there may be an exception allowing the inclusion of certain copyrighted material in the film without permission.

Likely the most popular excuse for copyright infringements is the concept of “fair use”. Although referred to regularly in industry reference materials available here in Canada, fair use is a US principle based on the belief that it is not “fair” to find every copying to be a violation of copyright law if such copying was for certain purposes, including criticism or review. (For example, the concept of “parody” falls under fair use in the US and has provided many a filmmaker with substantial sources of otherwise protected material. Thank you Mel Brooks and Mike Myers!)

Fair use does not exist in Canada and is often used interchangeably, and often confusingly, with “fair dealing”, the concept found in the Canadian Copyright Act. Other than in very clear-cut cases, extreme caution must be used in relying on fair dealing, which is a very limited defense as the use of the material must be for “private study, research, criticism, review or newspaper summary”. Unfortunately, because there are no hard and fast rules available, it is impossible to define what is and is not fair dealing.

Other than fair dealing, in Canada, the concept of “incidental inclusion” may provide another possible exception to copyright infringement. If the use of copyrighted material is very minor and is incidentally and not deliberately included, (for example, a pre-existing credit card door sticker at a retail location), it is likely that the use will fall within incidental inclusion and will not be considered an infringement. It can become prohibitively expensive and time consuming to clear every protected item in a film, no matter how small the use.

If E&O insurance is required, and if none of the above options is feasible, in some cases it may be possible to “exclude” the offending material from the E&O insurance policy and effectively assume the risk yourself. (Be aware, however, that these types of exclusions may not be acceptable to broadcasters and distributors.)

The bottom line? Always, always, always ensure that you acquire all necessary permission to include any protected material in your film before you start shooting.

 

RELATED LINKS:

E&O Insurance 101 & How to Protect Your Film Project

E&O: What You Need to Know

E&O: Cost

Are you paying for the coverage you need?

Steps to Obtain

Producer Errors and Omissions

E&O: Reviewing Scripts

Distributor Errors and Omissions

Documentary E&O Insurance

Copyright Reports

How much of your film is copyright-able?

Copyright Infringements

Title Reports

Script Clearance Reports

Clearance Procedures

Claims Made vs. Occurrence

Fair Use

False Light Accusations

The value of a lawyer

To get or not get permission: The Social Network

A production lawyer's guide to obtaining E&O insurance and preventing litigation

Topics: Film Insurance, Entertainment Insurance, Film insurance broker, Film Production, Film Producer's E&O Insurance, Multimedia Risk Insurance, Film Insurance claims, Film Producers, film insurance premium

E&O Insurance - How much of your production's format is copyright-able

Posted by Doran Chandler on Feb 27, 2012 2:19:00 PM

By: Doran S. Chandler - Roberts & Stahl, Entertainment Lawyers

How much of your film or TV show is copyright-able?

DORAN CHANDLER LawyerWhenever a producer or writer dreams up a new idea for a television show, it doesn't take long for them to start worrying about someone pinching it and beating them to the punch. This is especially true in the case of news programs, game shows, and other reality based productions. Such productions are relatively inexpensive to produce and consist mainly of material with a questionable footing in copyright. This makes it accessible to a large number of producers and difficult to pitch and develop without tipping off competitors about a potential new trend.

A somewhat odd corollary to this is that the value of television formats has grown exponentially in recent years with the widespread licensing of formats to broadcasters or production companies in foreign markets. As a result, many producers want to know what they can borrow from existing programs, and whether they can protect what they have created. Only one notable Canadian case, Hutton v. Canadian Broadcasting Corporation, sheds some light on the issue. 

In Hutton, the Alberta courts considered whether the format of a music video magazine show could be copyrighted. The courts held that concepts and devices generally present in shows of the same genre were not protect-able, such as the mood of the hosts, the presentation of biographical materials, interviews, and the use of TV monitors in the set design. The courts also considered the use of infinity shots, bumpers and teasers to commercials, the use of montages, and the use of transitions like dissolves and back-to-back video playbacks, finding that these elements could not in themselves be protected. One characteristic the trial court found protect-able at trial were elements of "dramatic conceit" in the programs, or the entertainment fictions used to create drama in each program. The trial judge ultimately found that the plaintiff's show, Star Chart, was not a dramatic work within s.2 of the Copyright Act and thus not capable of being copyrighted. On Appeal, the Alberta court de-emphasized the idea that dramatic conceit was protect-table and held simply that the works were not qualitatively similar and did not have any causal connection between them.

The end result of Hutton is that, while we have some idea about what Canadian courts will consider when evaluating a format, we don't really have a clear guideline for what is required to achieve a protect-able format. Adding to the uncertainty is that different standards of protection have emerged in other jurisdictions. In one case considering the copyright-ability of the format for Opportunity Knocks, a prominent UK copyright judge held that the elements of a "dramatic format" were too uncertain for copyright protection.

Meanwhile, courts in Holland and Brazil have granted protection to the Survivor and Big Brother formats, respectively, finding that copyright can subsist in the meticulous combination of individually unprotect-able elements in a format. Together, these decisions leave producers intending to rely on a specific format on shaky ground. Given that the legal right to use or to keep others from using a given format is unpredictable at best, it is a good idea to take some precautions when developing a show. One important security measure is to pitch your concept formally in conference using confidentiality agreements. Another useful precaution is to document and distinguish your concept with as much detail as possible, including the use of specific music, timing, camera angles and set design.

Registering distinctive slogans and catch phrases with the trademark office can offer protection, as can registering your detailed synopsis with the copyright office. Lastly, advertise your production as aggressively as possible because a strong market presence will always attract more copyright protection than anonymity. 

 

RELATED LINKS:

E&O Insurance 101 & How to Protect Your Film Project

E&O: What You Need to Know

E&O: Cost

Are you paying for the coverage you need?

Steps to Obtain

Producer Errors and Omissions

E&O: Reviewing Scripts

Distributor Errors and Omissions

Documentary E&O Insurance

Copyright Reports

How much of your film is copyright-able?

Copyright Infringements

Title Reports

Script Clearance Reports

Clearance Procedures

Claims Made vs. Occurrence

Fair Use

False Light Accusations

The value of a lawyer

To get or not get permission: The Social Network

A production lawyer's guide to obtaining E&O insurance and preventing litigation

Topics: Film Insurance, Entertainment Insurance, Film insurance broker, Film Production, Film Producer's E&O Insurance, Film Insurance claims, Film Producers, Documentary Insurance

Digital Film Insurance and the Future | Digital Media Insurance

Posted by Mike Groner on Dec 5, 2011 4:41:00 PM

Insurance for digital features, TV series and documentaries is evolving.

Digital Film Insurance and the Future

It’s the case that many production companies now incorporate scenes in their films that were once captured live but are now being created, edited and manipulated digitally in post production. What this means is that the need for negative/faulty insurance is becoming gradually reduced and will soon be replaced by digital image capture, processing and storage. Examples:

  • In 2009, Slumdog Millionaire became the first movie shot mainly in digital to win the Academy Award for Best Cinematography
  • The highest grossing movie in the history of cinema, Avatar, was shot on digital cameras

As digital cinematography shifts towards “tapeless” or “file based” workflows, insurers needs to ensure that they are covering similar incidences of risk, tailored towards loss and/or damage to digital media.

What this means for insurers

Digital data should be covered as software under the negative coverage policy definition, and though some policy wordings incorporate coverage for digital data, the wordings might still need to be formatted and reworded for digital media. Digital capture may occur on video tape, hard disks, flash memory, or other media which can record digital data, therefore wordings need to reflect the new technology and storage devices which presently, many don’t.

If the film industry moves solely towards digital film, then the risk rating and pricing related to production packages will need to be reviewed given that the risk factor between the periods of principal photography and post production will be significantly reduced and  the risk of loss will be shifted towards another area such as post production.

Typically insurers will require information relating to the lab and type of film used, whereas with digital cinematography the shift will be towards the type of camera being used and the experience of the operator in using an HD or Red Camera. Back up procedures will have more impact on the rating of a production.

Why digital media insurance?

Various technical considerations arise when contrasting film vs. digital cinematography, i.e., when shooting on film, response to light is determined by what film stock is used, whereas with digital photography, response to light is determined by the CMOS or CCD sensor(s) in the camera, so the cinematographer needs familiarity with the specific camera model. Typical production packages are rated based on all costs incurred during principal photography and exclude many post production costs. Production company requirements are now shifting towards a significant portion of the risk stemming from post production activities.

Inferences

Technology innovation has meant that new vendors have emerged on the market such as RED and Silicon Imaging that are primarily focused on digital technology.

Impact on Claims/Losses

What this means for insurance losses is that innovative risk control and risk transfer methods need to be addressed that specifically relate to new exposures from digital media products. The types of losses that can result stem from:

  • transferring digital data to/from 2D-3D conversion
  • migration of data from old forms of storage to new forms
  • care, custody and control issues relating to the migration and archiving of data

The Future

As insurers revisit their policy wordings, they must ensure that their coverage and exclusions match with the industry requirements, as the advances in digital technology won’t slow down to wait out the process. While wordings might not currently exclude losses resulting from digital cinematography, insurers must ensure that new risk rating methods and coverage address the new risks that will inevitably arise during post-production and storage of data.

Topics: Short Film Insurance, Film Insurance, Entertainment Insurance, Film Production, Film Producer's E&O Insurance, Film Insurance claims, Film Producers, Documentary Insurance, DICE Insurance

Cast Insurance: 5 Reasons to Use an Approved Cast Doctor

Posted by David Hamilton on Jul 10, 2011 10:12:00 AM

CAST INSURANCE

DoctorsAn approved cast doctor will save a film producer time and money when obtaining film production insurance for a film production.

Cast insurance covers against extra expenditures incurred by the production caused by death, sickness, disability or kidnapping of insured cast members, director, DOP, or anyone else designated under cast coverage. Financiers and distributors will usually require cast insurance before they release funds. 

Five reasons why it is well worth the effort to seek out an experienced doctor that is familiar with cast exams:

  1. An approved doctor is trained to dig for more information when an actor is being evasive regarding a previous medical condition such as substance abuse or a bad back. This information is material to the insurance company and the producer as it will determine if the actor will be subject to additional premiums to become insurable.
  2. An approved doctor will not be bullied or awed by a celebrity actor: they obtain better information.
  3. An approved doctor knows what information a film insurance underwriter needs and provides it. There is less back and forth questioning which saves everyone time.
  4. An approved doctor always answers all the questions on the cast medical form which avoids delays.
  5. Last but not least, an approved doctor was approved in the first place because they have legible handwriting! 

Get a Quote

Feel free to contact me david@frontrowinsurance.com if you would like me to send you a free list of approved cast doctors in North America.

RELATED POST:

Essential Elements (EE) Cast Insurance

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 Insurance, Entertainment Insurance, Film insurance broker, Film Production, Film Producers, Film Production Companies, Cast Insurance

Film Production Crew: Always Ask if you are Covered by Workers Comp

Posted by David Hamilton on Jun 14, 2010 3:18:00 PM

Workers Compensation for Film Crews

Workers Compensation for Film Crews

Crew members on film productions, short films, commercials, documentaries and music videos should always be covered by work comp insurance - the risk of going without is too great.

If you are a crew member working on a low or micro budget film production, you should always ask the producer if they have workers compensation coverage for the crew and general liability coverage for the production in general.

Workers comp. provides benefits to workers injured on the job such as: medical costs, rehab costs and loss of future earnings all per the policy wording. In most states and provinces, the filmmaker is obligated to provide coverage for any cast or crew that they hire. In some cases coverage is arranged through a private entertainment insurance broker and in some cases it is arranged directly through the state or provincial agency responsible for providing work comp.

The benefit to the producer is that once the injured crew member accepts the work comp benefits, they usually waive the right to sue the producer

Sometimes that insurance company or government work comp agency will not provide coverage if the crew and cast are not being paid as there is no way to determine loss of future earnings. For this reason, the producer should arrange to make nominal payments to cast and crew.

If you are a crew member who gets hurt on the job and there are no work comp benefits available to you, then you are faced with the prospect of suing the producer while recovering from your injuries - difficult and unpleasant.

Always ask the producer if you will be covered by workers comp even when volunteering on a short shoot in any capacity.

RELATED BLOG POSTS:

WORKERS' COMP EXPLAINED
 
FOCUS ON SAFETY TO REDUCE FILM PRODUCTION WORKERS COMPENSATION CLAIMS

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 Insurance, Entertainment Insurance, Film insurance broker, Film Production, Film Producers, Commercial Production Insurance, Documentary Insurance, Film Production Companies, Workers Compensation