The interactive framework published last year by the APA in collaboration with the IAP aims to help the parties agree and define the scope of the work, how to manage changes, etc., to take into account how interactive productions should be managed and different from TV/film production – the difficulties of studying feasibility by budget, identifying the work to be done and allowing the client, through the agency, to complete what he needs for the progress of the project, but which is still controllable in a framework that ensures the scope of the work and the budget. James Britton, managing partner of Stinkdigital, said, “Interactive producers have a lot to do, and work in the interactive framework and now the interactive contract, and I am convinced that we have created a good basis for contracting, which will allow interactive production to grow.” This common industry guideline is aimed at the member organisations of the IPA, APA and ISBA and concerns films made by their agencies, production companies under the… This clause also contains new provisions prohibiting the substitution of the director or manufacturer for part of the production of advertising without the Agency`s approval. However, the Agency is required not to unduly withhold its consent to the amendment if the director or manufacturer`s non-presentation or incapacity occurs “for an unforeseeable reason, including, but not limited, to illness.” The APA-IPA today launched the new APA/IPA Interactive production contract at the Courthouse Hotel, London. It is an important step for APA and IAP members to create interactive content that aims to do what the first part (PIBS) and part two do for television production – to create a foundation on which production companies and agencies can make the best possible trade instead of being involved in contract negotiations. Any film production – whether for television, the Internet or anything, can and should be allocated on Part 1 (GDPS) and Part 2 – the interactive contract is for other types of work: web-builds and experience projects are the most important. We wonder if there was a typographical error. Was it not intended that this text would apply generally to all materials manufactured in accordance with the treaty? The error is compensated by the clear division of “all copyrights” in advertising by the production company to the agency, but the agencies would have preferred to see the specific wording that requires a general application of the director, and not only with regard to cartoon characters and models produced by third parties. A useful reference to the sidebar here recommends that the Agency ensure that its advertisers understand customers that weather costs must be paid immediately to the agency so that the agency can pay the production company. For the first time, weather insurance has its own clause. This is much broader than the previous text that appeared to be in the room (vii) of the clause (k). The sidebar indicates that losses due to adverse weather conditions that delay the completion of exterior buildings are the responsibility of the production company and that losses due to adverse weather conditions that delay the arrival of artists, agency staff or agency facilities are the agency`s responsibility. There is also a reminder to check the time it takes for the brokers to confirm the weather insurance and that if insurance is not available and/or the Agency does not apply for and pay for insurance, the Agency is responsible for additional delays/costs.
Although the representative has so far only been entitled to consultations and decisions “regarding the advertising content of the advertisement,” this has been amended to “necessary consultations and authorizations with respect to the content of the advertisement.” Since it is not known what part of the advertising will be “advertising content,” we can only welcome the removal of this wording.