233x Filetype XLSX File size 0.08 MB Source: www.alberta.ca
Sheet 1: Instructions
All applicants must complete the Eligible Cost Worksheet at the time of application and with the request for an installment payment. For those applicants whose projects have a total production value less than $200,000, the Eligible Cost Worksheet must be completed and submitted with the final payment request. | |||||
The Calculations for Online Budget tab can be used to enter the budget form in the online application. | |||||
The calculations on the Cals for Evaluation Worksheet tab can assist you in answering questions 1dii and 1diii on the Economic Evaluation Worksheet | |||||
All costs must be entered in the appropriate line item. If you are requesting a cost not covered by a line item in the worksheet, please enter the cost below | |||||
Legend | |||||
Head of Department Position | |||||
Complete for Initial Application | |||||
Complete for Installment Payment | |||||
Complete for Final Payment Request | |||||
Requested Costs not in Worksheet | |||||
SCREEN-BASED PRODUCTION GRANT | |||||||||||||
ELIGIBLE ALBERTA COSTS WORKSHEET | |||||||||||||
Applicant Company: | |||||||||||||
Project Name: | |||||||||||||
Estimated Costs complete at time of application | Interim Costs (do not need to be paid) complete for interim payment | Final Costs - Include Unpaid complete for final payment | |||||||||||
NUMBER | CATEGORY | TOTAL COST | NON-ALBERTA COSTS | ALBERTA COSTS (A) | TOTAL COST | NON-ALBERTA COSTS | ALBERTA COSTS (A) | TOTAL COST | NON-ALBERTA COSTS | ALBERTA COSTS (A) | Unpaid | Legend | |
ABOVE THE LINE | Head of Department Position | ||||||||||||
01 | STORY RIGHTS | Up to three Albertan performers in lead or supporting roles | |||||||||||
STORY RIGHTS / ACQUISITIONS | $- | $- | $- | Complete for Initial Application | |||||||||
Total 01 | $- | $- | $- | $- | Complete for Installment Payment | ||||||||
02 | SCENARIO | Complete for Final Payment Request | |||||||||||
WRITER(s) | $- | $- | $- | ||||||||||
CONSULTANT(s) | $- | $- | $- | ||||||||||
STORYBOARD | $- | $- | $- | ||||||||||
SCRIPT EDITOR(s) | $- | $- | $- | ||||||||||
RESEARCH | $- | $- | $- | ||||||||||
CLEARANCES / SEARCHES | $- | $- | $- | ||||||||||
SECRETARY | $- | $- | $- | ||||||||||
SCRIPT REPRODUCTION | $- | $- | $- | ||||||||||
TRAVEL EXPENSES | $- | $- | $- | ||||||||||
LIVING EXPENSES | $- | $- | $- | ||||||||||
FRINGE BENEFITS | $- | $- | $- | ||||||||||
Total 02 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
03 | DEVELOPMENT COSTS | ||||||||||||
PRE BREAKDOWN / BUDGET & DEV | $- | $- | $- | ||||||||||
CONSULTANT EXPENSES | $- | $- | $- | ||||||||||
OFFICE EXPENSES | $- | $- | $- | ||||||||||
SURVEY / SCOUTING | $- | $- | $- | ||||||||||
TRAVEL EXPENSES | $- | $- | $- | ||||||||||
LIVING EXPENSES | $- | $- | $- | ||||||||||
PROMOTION | $- | $- | $- | ||||||||||
Total 03 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
04 | PRODUCER | ||||||||||||
EXECUTIVE PRODUCER | $- | $- | $- | ||||||||||
PRODUCER | $- | $- | $- | ||||||||||
LINE PRODUCER/SUPERVISING PRODUCER | $- | $- | $- | ||||||||||
CO-PRODUCER | $- | $- | $- | ||||||||||
ASSOCIATE PRODUCER | $- | $- | $- | ||||||||||
PRODUCER'S ASSISTANT | $- | $- | $- | ||||||||||
TRAVEL EXPENSES | $- | $- | $- | ||||||||||
LIVING EXPENSES | $- | $- | $- | ||||||||||
PUBLIC RELATIONS | $- | $- | $- | ||||||||||
FRINGE BENEFITS | $- | $- | $- | ||||||||||
Total 04 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
05 | DIRECTOR | ||||||||||||
DIRECTOR | $- | $- | $- | ||||||||||
2ND UNIT DIRECTOR | $- | $- | $- | ||||||||||
DIALOGUE DIRECTOR | $- | $- | $- | ||||||||||
DIRECTOR'S ASSISTANT | $- | $- | $- | ||||||||||
TRAVEL EXPENSES | $- | $- | $- | ||||||||||
LIVING EXPENSES | $- | $- | $- | ||||||||||
FRINGE BENEFITS | $- | $- | $- | ||||||||||
PERMITS | $- | $- | $- | ||||||||||
Total 05 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
06 | STARS | ||||||||||||
STARS | $- | $- | $- | ||||||||||
RIGHTS PAYMENT ( %) | $- | $- | $- | ||||||||||
AUDIO POST PRODUCTION | $- | $- | $- | ||||||||||
RIGHTS PAYMENT ( %) | $- | $- | $- | ||||||||||
TRAVEL EXPENSES | $- | $- | $- | ||||||||||
LIVING EXPENSES | $- | $- | $- | ||||||||||
INCIDENTAL EXPENSES | $- | $- | $- | ||||||||||
POST PRODUCTION EXPENSES | $- | $- | $- | ||||||||||
FRINGE BENEFITS | $- | $- | $- | ||||||||||
PERMITS | $- | $- | $- | ||||||||||
Total 06 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
T1 | TOTAL ABOVE THE LINE | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | ||
BELOW THE LINE | |||||||||||||
7 | CAST | ||||||||||||
PRINCIPALS | $- | $- | $- | ||||||||||
RIGHTS PAYMENTS | $- | $- | $- | ||||||||||
ACTORS | $- | $- | $- | ||||||||||
OTHER PERFORMERS | $- | $- | $- | ||||||||||
RIGHTS PAYMENTS | $- | $- | $- | ||||||||||
OFF CAMERA PERFORMANCES | $- | $- | $- | ||||||||||
RIGHTS PAYMENTS | $- | $- | $- | ||||||||||
WARM-UP PERFORMERS | $- | $- | $- | ||||||||||
ADDITIONAL DIALOGUE RECORDING (A.D.R. / Looping) | $- | $- | $- | ||||||||||
RIGHTS PAYMENTS | $- | $- | $- | ||||||||||
STUNT CO-ORDINATOR | $- | $- | $- | ||||||||||
STUNTS / ADJUSTMENTS | $- | $- | $- | ||||||||||
RIGHTS PAYMENTS | $- | $- | $- | ||||||||||
CHOREOGRAPHER | $- | $- | $- | ||||||||||
UPGRADING | $- | $- | $- | ||||||||||
RIGHTS PAYMENTS | $- | $- | $- | ||||||||||
CASTING DIRECTOR | $- | $- | $- | ||||||||||
CASTING EXPENSES | $- | $- | $- | ||||||||||
REHEARSAL AREA | $- | $- | $- | ||||||||||
VIDEO EXPENSES (CASTING) | $- | $- | $- | ||||||||||
FRINGE BENEFITS | $- | $- | $- | ||||||||||
PERMITS | $- | $- | $- | ||||||||||
Total 7 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
8 | EXTRAS | ||||||||||||
SPECIAL SKILL EXTRAS | $- | $- | $- | ||||||||||
GENERAL EXTRAS | $- | $- | $- | ||||||||||
STAND-INS / PHOTO DOUBLES | $- | $- | $- | ||||||||||
CASTING DIRECTOR | $- | $- | $- | ||||||||||
CASTING FEE | $- | $- | $- | ||||||||||
CASTING ASSISTANT | $- | $- | $- | ||||||||||
CASTING EXPENSES | $- | $- | $- | ||||||||||
TUTOR(S) | $- | $- | $- | ||||||||||
CHILDREN'S CO-ORDINATOR | $- | $- | $- | ||||||||||
GUARDIAN(S) | $- | $- | $- | ||||||||||
COLLECTIVE BARGAINING FEE | $- | $- | $- | ||||||||||
FRINGE BENEFITS / PERMITS | $- | $- | $- | ||||||||||
Total 8 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
9 | PRODUCTION STAFF | ||||||||||||
PRODUCTION SUPERVISOR | $- | $- | $- | ||||||||||
PRODUCTION MANAGER | $- | $- | $- | ||||||||||
VISUAL FX SUPERVISOR | $- | $- | $- | ||||||||||
ASSISTANT PRODUCTION MANAGER | $- | $- | $- | ||||||||||
UNIT MANAGER | $- | $- | $- | ||||||||||
ASSISTANT LOCATION MANAGER | $- | $- | $- | ||||||||||
LOCATION MANAGER | $- | $- | $- | ||||||||||
1ST ASSISTANT DIRECTOR | $- | $- | $- | ||||||||||
2ND ASSISTANT DIRECTOR | $- | $- | $- | ||||||||||
3RD ASSISTANT DIRECTOR | $- | $- | $- | ||||||||||
PRODUCTION ASSISTANT(S) / TRAINEE(S) | $- | $- | $- | ||||||||||
TALENT CO-ORDINATOR | $- | $- | $- | ||||||||||
PRODUCTION CO-ORDINATOR | $- | $- | $- | ||||||||||
ASSISTANT PRODUCTION COORDINATOR | $- | $- | $- | ||||||||||
PRODUCTION SECRETARY | $- | $- | $- | ||||||||||
TYPIST SERVICES | $- | $- | $- | ||||||||||
PRODUCTION ACCOUNTANT | $- | $- | $- | ||||||||||
ASSISTANT PRODUCTION ACCOUNTANT | $- | $- | $- | ||||||||||
BOOKKEEPERS/ACCOUNTING CLERKS | $- | $- | $- | ||||||||||
LOCAL CONTACT PERSON(S) | $- | $- | $- | ||||||||||
TECHNICAL ADVISOR | $- | $- | $- | ||||||||||
INTERPRETER | $- | $- | $- | ||||||||||
CRAFT SERVICES | $- | $- | $- | ||||||||||
SCRIPT SUPERVISOR / CONTINUITY | $- | $- | $- | ||||||||||
Total 9 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
10 | DESIGN LABOUR | ||||||||||||
PRODUCTION DESIGNER | $- | $- | $- | ||||||||||
ART DIRECTOR | $- | $- | $- | ||||||||||
1ST ASSISTANT ART DIRECTOR | $- | $- | $- | ||||||||||
2ND ASSISTANT ART DIRECTOR | $- | $- | $- | ||||||||||
PRODUCTION ASSISTANT/TRAINEE(S) | $- | $- | $- | ||||||||||
DRAFTING | $- | $- | $- | ||||||||||
GRAPHIC ARTIST(S) | $- | $- | $- | ||||||||||
Total 10 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
11 | CONSTRUCTION LABOUR | ||||||||||||
CONSTRUCTION CO-ORDINATOR | $- | $- | $- | ||||||||||
HEAD CARPENTER | $- | $- | $- | ||||||||||
CARPENTER(S) | $- | $- | $- | ||||||||||
SCENIC PAINTER(S) | $- | $- | $- | ||||||||||
HEAD PAINTER | $- | $- | $- | ||||||||||
PAINTER(S) | $- | $- | $- | ||||||||||
STAND-BY CARPENTER | $- | $- | $- | ||||||||||
STAND-BY PAINTER | $- | $- | $- | ||||||||||
STRIKE CREW | $- | $- | $- | ||||||||||
LABOURER(S) | $- | $- | $- | ||||||||||
Total 11 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
12 | SET DRESSING LABOUR | ||||||||||||
SET DECORATOR | $- | $- | $- | ||||||||||
ASSISTANT SET DRESSER(S) | $- | $- | $- | ||||||||||
ON-SET SET DRESSER(S) | $- | $- | $- | ||||||||||
SET DRESSING BUYER(S) | $- | $- | $- | ||||||||||
SWING GANG | $- | $- | $- | ||||||||||
LABOURER(S) | $- | $- | $- | ||||||||||
Total 12 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
13 | PROPERTY LABOUR | ||||||||||||
PROPERTY MASTER | $- | $- | $- | ||||||||||
ASSISTANT PROPERTY MASTER | $- | $- | $- | ||||||||||
PROPERTY BUYER(S) | $- | $- | $- | ||||||||||
Total 13 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
14 | SPECIAL EFFECTS LABOUR | ||||||||||||
SPECIAL EFFECTS SUPERVISOR/DIRECTOR | $- | $- | $- | ||||||||||
SPECIAL EFFECTS ASSISTANTS | $- | $- | $- | ||||||||||
OTHER SPECIAL EFFECTS LABOUR | $- | $- | $- | ||||||||||
Total 14 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
15 | WRANGLING LABOUR | ||||||||||||
HEAD WRANGLER | $- | $- | $- | ||||||||||
Total 15 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
16 | WARDROBE LABOUR | ||||||||||||
COSTUME DESIGNER /HEAD WARDROBE | $- | $- | $- | ||||||||||
ASSISTANT COSTUME DESIGNER | $- | $- | $- | ||||||||||
ASSISTANT WARDROBE | $- | $- | $- | ||||||||||
TRUCK COSTUMER | $- | $- | $- | ||||||||||
SEAMSTRESS(ES) / TAILOR(S) | $- | $- | $- | ||||||||||
OTHER WARDROBE LABOUR | $- | $- | $- | ||||||||||
Total 16 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
17 | MAKEUP / HAIR LABOUR | ||||||||||||
KEY HAIR | $- | $- | $- | ||||||||||
KEY MAKEUP | $- | $- | $- | ||||||||||
MAKEUP/HAIR LABOUR | $- | $- | $- | ||||||||||
ASSISTANT MAKEUP ARTIST(S) | $- | $- | $- | ||||||||||
DAILIES | $- | $- | $- | ||||||||||
HAIRDRESSER | $- | $- | $- | ||||||||||
ASSISTANT HAIRDRESSER(S) | $- | $- | $- | ||||||||||
DAILIES | $- | $- | $- | ||||||||||
SPECIAL EFFECTS MAKEUP / HAIR | $- | $- | $- | ||||||||||
WIGS / HAIRPIECES LABOUR | $- | $- | $- | ||||||||||
Total 17 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
18 | VIDEO TECHNICAL CREW | ||||||||||||
TECHNICAL SUPERVISOR | $- | $- | $- | ||||||||||
TECHNICAL DIRECTOR | $- | $- | $- | ||||||||||
FLOOR MANAGER | $- | $- | $- | ||||||||||
LIGHTING CONSULTANT | $- | $- | $- | ||||||||||
LIGHTING DIRECTOR | $- | $- | $- | ||||||||||
BOARDMAN | $- | $- | $- | ||||||||||
ELECTRICIAN(S) | $- | $- | $- | ||||||||||
AUDIO | $- | $- | $- | ||||||||||
BOOM(S) | $- | $- | $- | ||||||||||
CAMERA PERSON(S) | $- | $- | $- | ||||||||||
TONGUE OPERATOR | $- | $- | $- | ||||||||||
DRIVER(S) | $- | $- | $- | ||||||||||
VIDEO OPERATOR(S) | $- | $- | $- | ||||||||||
VTR OPERATOR(S)_ | $- | $- | $- | ||||||||||
MAINTENANCE | $- | $- | $- | ||||||||||
GRIPS | $- | $- | $- | ||||||||||
STAGEHAND(S) | $- | $- | $- | ||||||||||
AUTOCUE OPERATOR | $- | $- | $- | ||||||||||
UTILITY PERSON(S) | $- | $- | $- | ||||||||||
TELEVISION ASSISTANT(S) | $- | $- | $- | ||||||||||
Total 18 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
19 | CAMERA LABOUR | ||||||||||||
DIRECTOR OF PHOTOGRAPHY/CINEMATOGRAPHER | $- | $- | $- | ||||||||||
CAMERA OPERATOR | $- | $- | $- | ||||||||||
1ST ASSISTANT CAMERAPERSON | $- | $- | $- | ||||||||||
2ND ASSISTANT CAMERAPERSON | $- | $- | $- | ||||||||||
TRAINEE(S) | $- | $- | $- | ||||||||||
SPECIAL EQUIPMENT OPERATOR(S) | $- | $- | $- | ||||||||||
ADDITIONAL CAMERA OPERATOR(S) | $- | $- | $- | ||||||||||
ADDITIONAL CAMERA 1ST ASSISTANT(S) | $- | $- | $- | ||||||||||
ADDITIONAL CAMERA 2ND ASSISTANT(S) | $- | $- | $- | ||||||||||
STILL PHOTOGRAPHER | $- | $- | $- | ||||||||||
Total 19 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
20 | ELECTRICAL LABOUR | ||||||||||||
GAFFER | $- | $- | $- | ||||||||||
BEST BOY | $- | $- | $- | ||||||||||
ELECTRICIAN(S) | $- | $- | $- | ||||||||||
DAILIES | $- | $- | $- | ||||||||||
RIGGING / STRIKING | $- | $- | $- | ||||||||||
GENERATOR OPERATOR | $- | $- | $- | ||||||||||
Total 20 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
21 | GRIP LABOUR | ||||||||||||
KEY GRIP | $- | $- | $- | ||||||||||
SECOND GRIP | $- | $- | $- | ||||||||||
GRIP(S) | $- | $- | $- | ||||||||||
CRANE GRIP | $- | $- | $- | ||||||||||
DAILIES | $- | $- | $- | ||||||||||
RIGGING / STRIKING | $- | $- | $- | ||||||||||
LABOURER(S) | $- | $- | $- | ||||||||||
TELEPROMPTER OPERATOR | $- | $- | $- | ||||||||||
Total 21 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
22 | PRODUCTION SOUND LABOUR | ||||||||||||
SOUND MIXER/SOUND DESIGNER | $- | $- | $- | ||||||||||
BOOM OPERATOR | $- | $- | $- | ||||||||||
CABLE PERSON | $- | $- | $- | ||||||||||
PLAYBACK OPERATOR | $- | $- | $- | ||||||||||
PUBLIC ADDRESS OPERATOR | $- | $- | $- | ||||||||||
Total 22 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
23 | TRANSPORTATION LABOUR | ||||||||||||
CO-ORDINATOR | $- | $- | $- | ||||||||||
CAPTAIN | $- | $- | $- | ||||||||||
CO-CAPTAIN / HEAD DRIVER | $- | $- | $- | ||||||||||
DRIVERS | $- | $- | $- | ||||||||||
Total 23 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
24 | FRINGE BENEFITS | ||||||||||||
GOVERNMENT BENEFITS | $- | $- | $- | ||||||||||
UNION / ASSOCIATION BENEFITS | $- | $- | $- | ||||||||||
Total 24 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
25 | PRODUCTION OFFICE EXPENSES | ||||||||||||
OFFICE RENTALS | $- | $- | $- | ||||||||||
HEAT & LIGHT | $- | $- | $- | ||||||||||
OFFICE FURNITURE | $- | $- | $- | ||||||||||
OFFICE EQUIPMENT | $- | $- | $- | ||||||||||
PHOTOCOPY | $- | $- | $- | ||||||||||
STATIONERY / SUPPLIES | $- | $- | $- | ||||||||||
TELEPHONE / TELEX / POSTAGE | $- | $- | $- | ||||||||||
COURIER | $- | $- | $- | ||||||||||
COMPUTER SERVICES | $- | $- | $- | ||||||||||
OFFICE CRAFT SERVICE | $- | $- | $- | ||||||||||
CLEANING | $- | $- | $- | ||||||||||
SECURITY | $- | $- | $- | ||||||||||
Total 25 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
26 | STUDIO / BACKLOT EXPENSES | ||||||||||||
STUDIO / BACKLOT RENTALS | $- | $- | $- | ||||||||||
POWER | $- | $- | $- | ||||||||||
CARPENTRY SHOP RENTALS | $- | $- | $- | ||||||||||
OFFICE RENTAL | $- | $- | $- | ||||||||||
TELEPHONE | $- | $- | $- | ||||||||||
DRESSING / HAIR / MAKEUP ROOMS | $- | $- | $- | ||||||||||
STUDIO SPECIAL EFFECTS EQUIPMENT | $- | $- | $- | ||||||||||
SECURITY | $- | $- | $- | ||||||||||
CLEANING | $- | $- | $- | ||||||||||
Total 26 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
27 | LOCATION OFFICE EXPENSES | ||||||||||||
OFFICE RENTALS | $- | $- | $- | ||||||||||
OFFICE FURNITURE | $- | $- | $- | ||||||||||
OFFICE EQUIPMENT | $- | $- | $- | ||||||||||
PHOTOCOPY | $- | $- | $- | ||||||||||
TELEPHONE / TELEX / POSTAGE | $- | $- | $- | ||||||||||
COURIER | $- | $- | $- | ||||||||||
Total 27 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
28 | SITE EXPENSES | ||||||||||||
SURVEYING / SCOUTING EXPENSES | $- | $- | $- | ||||||||||
SITE RENTALS | $- | $- | $- | ||||||||||
SITE POWER | $- | $- | $- | ||||||||||
SITE ACCESS | $- | $- | $- | ||||||||||
SITE SPECIAL INSURANCE | $- | $- | $- | ||||||||||
REPAIRS / RESTORATION | $- | $- | $- | ||||||||||
CLEANING | $- | $- | $- | ||||||||||
SECURITY | $- | $- | $- | ||||||||||
POLICE CONTROL | $- | $- | $- | ||||||||||
PUBLIC RELATIONS | $- | $- | $- | ||||||||||
Total 28 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
29 | UNIT EXPENSES | ||||||||||||
MEAL PAYMENT | $- | $- | $- | ||||||||||
CATERING | $- | $- | $- | ||||||||||
CRAFT SERVICE | $- | $- | $- | ||||||||||
TABLES / CHAIRS/ HALLS | $- | $- | $- | ||||||||||
GREEN ROOM | $- | $- | $- | ||||||||||
FIRST AID | $- | $- | $- | ||||||||||
CREW OUTFITTING | $- | $- | $- | ||||||||||
MEDICAL / INSURANCE/ VISA EXPENSE | $- | $- | $- | ||||||||||
PUBLIC RELATIONS | $- | $- | $- | ||||||||||
Total 29 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
30 | TRAVEL & LIVING EXPENSES | ||||||||||||
FARES | $- | $- | $- | ||||||||||
HOTELS | $- | $- | $- | ||||||||||
PER DIEMS | $- | $- | $- | ||||||||||
TAXIS / LIMOUSINES | $- | $- | $- | ||||||||||
EXCESS BAGGAGE | $- | $- | $- | ||||||||||
SHIPPING | $- | $- | $- | ||||||||||
CUSTOMS / BROKERAGE | $- | $- | $- | ||||||||||
Total 30 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
31 | TRANSPORTATION | ||||||||||||
PRODUCTION CARS | $- | $- | $- | ||||||||||
TRUCKS / VANS | $- | $- | $- | ||||||||||
BUSES | $- | $- | $- | ||||||||||
MOTORHOMES | $- | $- | $- | ||||||||||
TALENT CARS | $- | $- | $- | ||||||||||
SPECIAL SUPPORT VEHICLES | $- | $- | $- | ||||||||||
GAS | $- | $- | $- | ||||||||||
MAINTENANCE | $- | $- | $- | ||||||||||
REPAIRS | $- | $- | $- | ||||||||||
TAXIS | $- | $- | $- | ||||||||||
PARKING | $- | $- | $- | ||||||||||
MILEAGE | $- | $- | $- | ||||||||||
SPECIAL LICENSES / PERMITS | $- | $- | $- | ||||||||||
BROKERAGE DUTY | $- | $- | $- | ||||||||||
Total 31 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
32 | CONSTRUCTION MATERIALS | ||||||||||||
CARPENTRY RENTALS | $- | $- | $- | ||||||||||
CARPENTRY PURCHASES | $- | $- | $- | ||||||||||
PAINTING RENTALS | $- | $- | $- | ||||||||||
PAINTING PURCHASES | $- | $- | $- | ||||||||||
BACKDROPS / MURALS | $- | $- | $- | ||||||||||
Total 32 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
33 | ART SUPPLIES | ||||||||||||
DRAWING SUPPLIES | $- | $- | $- | ||||||||||
DRAWING EQUIPMENT | $- | $- | $- | ||||||||||
RESEARCH EXPENSE | $- | $- | $- | ||||||||||
STOCK PRINTS / PROCESSING | $- | $- | $- | ||||||||||
BLUEPRINTING | $- | $- | $- | ||||||||||
Total 33 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
34 | SET DRESSING | ||||||||||||
RENTALS | $- | $- | $- | ||||||||||
PURCHASES | $- | $- | $- | ||||||||||
MANUFACTURING | $- | $- | $- | ||||||||||
REPAIRS / REPLACEMENTS | $- | $- | $- | ||||||||||
Total 34 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
35 | PROPS | ||||||||||||
RENTALS | $- | $- | $- | ||||||||||
PURCHASES | $- | $- | $- | ||||||||||
GRAPHICS / SIGNS | $- | $- | $- | ||||||||||
REPAIRS / REPLACEMENTS | $- | $- | $- | ||||||||||
PICTURE VEHICLES RENTALS | $- | $- | $- | ||||||||||
PICTURE VEHICLE PURCHASES | $- | $- | $- | ||||||||||
PICTURE VEHICLE MODIFICATIONS | $- | $- | $- | ||||||||||
PICTURE VEHICLE INSURANCE | $- | $- | $- | ||||||||||
Total 35 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
36 | SPECIAL EFFECTS | ||||||||||||
RENTALS | $- | $- | $- | ||||||||||
PURCHASES | $- | $- | $- | ||||||||||
STUNTS PURCHASES / RENTALS | $- | $- | $- | ||||||||||
ARMAMENTS / PERMIT FEES | $- | $- | $- | ||||||||||
Total 36 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
37 | ANIMALS | ||||||||||||
RENTALS | $- | $- | $- | ||||||||||
PURCHASES | $- | $- | $- | ||||||||||
FEED / STABLING | $- | $- | $- | ||||||||||
TRANSPORT | $- | $- | $- | ||||||||||
VETERINARY FEES | $- | $- | $- | ||||||||||
CUSTOMS BROKERAGE | $- | $- | $- | ||||||||||
Total 37 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
38 | WARDROBE SUPPLIES | ||||||||||||
RENTALS | $- | $- | $- | ||||||||||
PURCHASES | $- | $- | $- | ||||||||||
MANUFACTURING | $- | $- | $- | ||||||||||
SHIPPING / BROKERAGE | $- | $- | $- | ||||||||||
REPAIRS / CLEANING | $- | $- | $- | ||||||||||
Total 38 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
39 | MAKEUP / HAIR SUPPLIES | ||||||||||||
MAKEUP RENTALS | $- | $- | $- | ||||||||||
MAKEUP PURCHASES | $- | $- | $- | ||||||||||
HAIR RENTALS | $- | $- | $- | ||||||||||
HAIR PURCHASES | $- | $- | $- | ||||||||||
WIGS PURCHASES | $- | $- | $- | ||||||||||
SPECIAL EFFECTS | $- | $- | $- | ||||||||||
SHIPPING / BROKERAGE | $- | $- | $- | ||||||||||
Total 39 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
40 | VIDEO STUDIO FACILITIES | ||||||||||||
STUDIO | $- | $- | $- | ||||||||||
CONTROL ROOM | $- | $- | $- | ||||||||||
DIGITAL / OPTICAL EFFECTS MACHINE(S) | $- | $- | $- | ||||||||||
CAMERA(S) | $- | $- | $- | ||||||||||
VIDEOTAPE MACHINE(S) | $- | $- | $- | ||||||||||
AUDIO | $- | $- | $- | ||||||||||
ULTIMATTE / IMAGEMATTE | $- | $- | $- | ||||||||||
TELECINE | $- | $- | $- | ||||||||||
AUTOCUE | $- | $- | $- | ||||||||||
INTERCOM | $- | $- | $- | ||||||||||
GRAPHICS GENERATOR | $- | $- | $- | ||||||||||
MONITORS | $- | $- | $- | ||||||||||
DRESSING / MAKEUP ROOM(S) | $- | $- | $- | ||||||||||
CARPENTRY SHOP | $- | $- | $- | ||||||||||
Total 40 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
41 | VIDEO REMOTE TECHNICAL FACILITIES | ||||||||||||
MOBILE(S) | $- | $- | $- | ||||||||||
DIGITAL / OPTICAL EFFECTS MACHINES | $- | $- | $- | ||||||||||
CAMERA(S) | $- | $- | $- | ||||||||||
AUDIO FACILITIES | $- | $- | $- | ||||||||||
VIDEO MACHINE(S) | $- | $- | $- | ||||||||||
SLOW MOTION MACHINE(S) | $- | $- | $- | ||||||||||
SPECIAL EQUIPMENT | $- | $- | $- | ||||||||||
GRAPHIC GENERATOR | $- | $- | $- | ||||||||||
Total 41 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
42 | CAMERA EQUIPMENT | ||||||||||||
BASIC PACKAGE RENTALS | $- | $- | $- | ||||||||||
DAILY RENTALS | $- | $- | $- | ||||||||||
SPECIALTY RENTALS | $- | $- | $- | ||||||||||
VIDEO / TELEPROMPTER | $- | $- | $- | ||||||||||
PURCHASES | $- | $- | $- | ||||||||||
STEADICAM - PANAGLIDE | $- | $- | $- | ||||||||||
SHIPPING / BROKERAGE | $- | $- | $- | ||||||||||
Total 42 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
43 | ELECTRICAL EQUIPMENT | ||||||||||||
BASIC PACKAGE RENTALS | $- | $- | $- | ||||||||||
DAILY RENTALS | $- | $- | $- | ||||||||||
SPECIALTY RENTALS | $- | $- | $- | ||||||||||
GENERATOR(S) | $- | $- | $- | ||||||||||
PURCHASES | $- | $- | $- | ||||||||||
Total 43 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
44 | GRIP EQUIPMENT | ||||||||||||
BASIC PACKAGE RENTALS | $- | $- | $- | ||||||||||
DAILY RENTALS | $- | $- | $- | ||||||||||
SPECIALTY RENTALS | $- | $- | $- | ||||||||||
CRANE RENTALS | $- | $- | $- | ||||||||||
SCAFFOLDING | $- | $- | $- | ||||||||||
PURCHASES | $- | $- | $- | ||||||||||
Total 44 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
45 | SOUND EQUIPMENT | ||||||||||||
BASIC PACKAGE RENTALS | $- | $- | $- | ||||||||||
DAILY RENTALS | $- | $- | $- | ||||||||||
WIRELESS MICROPHONES | $- | $- | $- | ||||||||||
WALKIE / TALKIES | $- | $- | $- | ||||||||||
PURCHASES | $- | $- | $- | ||||||||||
Total 45 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
46 | SECOND UNIT | ||||||||||||
CREW | $- | $- | $- | ||||||||||
FRINGE BENEFITS | $- | $- | $- | ||||||||||
TRAVEL / LIVING | $- | $- | $- | ||||||||||
TRANSPORTATION | $- | $- | $- | ||||||||||
EQUIPMENT | $- | $- | $- | ||||||||||
STOCK | $- | $- | $- | ||||||||||
PROCESSING | $- | $- | $- | ||||||||||
PRINTING | $- | $- | $- | ||||||||||
Total 46 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
47 | VIDEOTAPE STOCK | ||||||||||||
ORIGINAL SCENES | $- | $- | $- | ||||||||||
FILM TO TAPE TRANSFER STOCK | $- | $- | $- | ||||||||||
SUB-MASTERS WITH TIME CODE | $- | $- | $- | ||||||||||
VIEWING COPIES | $- | $- | $- | ||||||||||
Total 47 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
48 | PRODUCTION LABORATORY | ||||||||||||
RAW STOCK | $- | $- | $- | ||||||||||
PROCESSING | $- | $- | $- | ||||||||||
SPECIAL PROCESSING | $- | $- | $- | ||||||||||
VACUMATE | $- | $- | $- | ||||||||||
WORK PRINT | $- | $- | $- | ||||||||||
VIDEO CASSETTES (RUSHES) | $- | $- | $- | ||||||||||
TAPE SELECTION | $- | $- | $- | ||||||||||
SPECIAL PRINTING | $- | $- | $- | ||||||||||
MAGNETIC MASTER STOCK (1/4") | $- | $- | $- | ||||||||||
MAGNETIC TRANSFER | $- | $- | $- | ||||||||||
SYNCHRONIZATION | $- | $- | $- | ||||||||||
EDGE CODING | $- | $- | $- | ||||||||||
RUSHES/DAILIES SCREENING | $- | $- | $- | ||||||||||
CONTINUITY / PRODUCTION STILLS | $- | $- | $- | ||||||||||
Total 48 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
T2 | TOTAL BELOW THE LINE | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | ||
POST PRODUCTION | |||||||||||||
49 | EDITORIAL AND SOUND MIXING LABOUR | ||||||||||||
POST PRODUCTION SUPERVISOR / CO-ORDINATOR | $- | $- | $- | ||||||||||
SUPERVISING SOUND EDITOR | $- | $- | $- | ||||||||||
SUPERVISING PICTURE EDITOR | $- | $- | $- | ||||||||||
SOUND DESIGNER | $- | $- | $- | ||||||||||
ASSISTANT EDITOR(S) | $- | $- | $- | ||||||||||
APPRENTICE EDITOR(S) | $- | $- | $- | ||||||||||
DIALOGUE EDITORS | $- | $- | $- | ||||||||||
SOUND EFFECT EDITOR(S) | $- | $- | $- | ||||||||||
MUSIC EDITOR(S) | $- | $- | $- | ||||||||||
ASSISTANT SOUND EDITOR(S) | $- | $- | $- | ||||||||||
ADR/GOUP SUPERVISOR | $- | $- | $- | ||||||||||
ADR RECORDIST/ADR RECORDING ENGINEER | $- | $- | $- | ||||||||||
ADR EDITOR | $- | $- | $- | ||||||||||
GROUP RECORDIST/ENGINEER | $- | $- | $- | ||||||||||
GROUP EDITOR | $- | $- | $- | ||||||||||
FOLEY ARTIST | $- | $- | $- | ||||||||||
FOLEY RECORDIST/FOLEY RECORDING ENGINEER | $- | $- | $- | ||||||||||
FOLEY EDITOR | $- | $- | $- | ||||||||||
PRE-MIX RE-RECORDING MIXER | $- | $- | $- | ||||||||||
FINAL MIX RE-RECORDING MIXER | $- | $- | $- | ||||||||||
OTHER LABOUR | $- | $- | $- | ||||||||||
FRINGE BENEFITS | $- | $- | $- | ||||||||||
TRAVEL EXPENSES | $- | $- | $- | ||||||||||
LIVING EXPENSES | $- | $- | $- | ||||||||||
DIALOGUE / TRANSCRIPTION | $- | $- | $- | ||||||||||
Total 49 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
50 | EDITORIAL EQUIPMENT | ||||||||||||
EDITING ROOMS | $- | $- | $- | ||||||||||
EDITING EQUIPMENT | $- | $- | $- | ||||||||||
PICTURE EDITING PURCHASES | $- | $- | $- | ||||||||||
SOUND EDITING PURCHASES | $- | $- | $- | ||||||||||
POST PRODUCTION OFFICE EXPENSES | $- | $- | $- | ||||||||||
COURIER | $- | $- | $- | ||||||||||
Total 50 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
51 | VIDEO POST PRODUCTION (PICTURE) | ||||||||||||
DIRECTOR OF ANIMATION | $- | $- | $- | ||||||||||
INTERACTIVE DEVELOPER | $- | $- | $- | ||||||||||
VFX DIRECTOR | $- | $- | $- | ||||||||||
VFX SUPERVISOR | $- | $- | $- | ||||||||||
PAPER CUT | $- | $- | $- | ||||||||||
OFF LINE | $- | $- | $- | ||||||||||
(video editor) | $- | $- | $- | ||||||||||
(assistant editor - optional) | $- | $- | $- | ||||||||||
COMPUTER LOAD LIST | $- | $- | $- | ||||||||||
ON LINE | $- | $- | $- | ||||||||||
DIGITAL / OPTICAL EFFECTS MACHINE(S) | $- | $- | $- | ||||||||||
GRAPHICS GENERATOR | $- | $- | $- | ||||||||||
COMPUTER CLEAN | $- | $- | $- | ||||||||||
GRAPHICS | $- | $- | $- | ||||||||||
GRAPHICS CAMERA | $- | $- | $- | ||||||||||
INSERT STUDIO | $- | $- | $- | ||||||||||
PROTECTION COPIES | $- | $- | $- | ||||||||||
DISTRIBUTION COPIES | $- | $- | $- | ||||||||||
VIEWING COPIES | $- | $- | $- | ||||||||||
Total 51 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
52 | AUDIO POST PRODUCTION STUDIO | ||||||||||||
ORIGINAL EFFECTS RECORDING (INCLUDING EQUIPT RENTALS) | $- | $- | $- | ||||||||||
SPECIAL SOUND TREATMENT (CREATIVE SOUND DESIGNS, ETC.) | $- | $- | $- | ||||||||||
SOUND ASSET TRANSFERS AND RE-CONFORM | $- | $- | $- | ||||||||||
NARRATION/VO STUDIO | $- | $- | $- | ||||||||||
MUSIC PRE-RECORD-PRE-MIX STUDIO | $- | $- | $- | ||||||||||
ADR/GROUP STUDIO ADR | $- | $- | $- | ||||||||||
FOLEY RECORD STUDIO | $- | $- | $- | ||||||||||
PRE-MIX RE-RECORD STUDIO | $- | $- | $- | ||||||||||
FINAL MIX RE-RECORD STUDIO | $- | $- | $- | ||||||||||
MUSIC AND EFFECTS (M&E) RE-RECORD STUDIO | $- | $- | $- | ||||||||||
FINAL MIX ENGLISH AND M&E STEMS STUDIO (MULTI-TRACK, STERIO AND MONO AS REQUIRED) | $- | $- | $- | ||||||||||
ATMOS MIX - ORIGINAL LANGUAGE MULTI-TRACK MASTER FILE, M&E MULTI-TRACK MASTER FILE) | $- | $- | $- | ||||||||||
DCP (DIGITAL CINEMA PROJECTION) ORIGINAL LANUGAGE MASTER MIX FILE | $- | $- | $- | ||||||||||
DIGITAL/WEB DELIVERY CALIBRATION (INCLUDING BLURAY AND DVD) | $- | $- | $- | ||||||||||
ORIGINAL LANGUAGE MASTER MIX MULTI-TRACK FILES (INCLUDING M&E/STEM FILES) | $- | $- | $- | ||||||||||
ORIGINAL LANUAGE MASTER MIX STERIO FILES (INCLUDING M&E/STEM FILES) | $- | $- | $- | ||||||||||
BROADCAST DELIVERY CALIBRATION | $- | $- | $- | ||||||||||
ORIGINAL LANGUAGE MASTER MIX MULTI-TRACK FILES (INCLUDING M&E/STEM FILES) | $- | $- | $- | ||||||||||
ORIGINAL LANUAGE MASTER MIX STERIO FILES (INCLUDING M&E/STEM FILES) | $- | $- | $- | ||||||||||
EVALUATION/FOCUS GROUP SCREENINGS | $- | $- | $- | ||||||||||
OPTICAL TRACK | $- | $- | $- | ||||||||||
OTHER SPECIALTY AUDIO SERVICES | $- | $- | $- | ||||||||||
Total 52 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
53 | MUSIC | ||||||||||||
PRE-RECORDED GUIDE TRACK | $- | $- | $- | ||||||||||
COMPOSER | $- | $- | $- | ||||||||||
ARRANGERS/ ORCHESTRATORS | $- | $- | $- | ||||||||||
CONDUCTOR / LEADER | $- | $- | $- | ||||||||||
MUSICIANS | $- | $- | $- | ||||||||||
FRINGE BENEFITS | $- | $- | $- | ||||||||||
STUDIO | $- | $- | $- | ||||||||||
TRAVEL EXPENSES | $- | $- | $- | ||||||||||
LIVING EXPENSES | $- | $- | $- | ||||||||||
MIX | $- | $- | $- | ||||||||||
MATERIALS | $- | $- | $- | ||||||||||
MUSIC RIGHTS | $- | $- | $- | ||||||||||
Total 53 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
54 | TITLES / OPTICALS / STOCK FOOTAGE | ||||||||||||
TITLES - OPENING, CLOSING | $- | $- | $- | ||||||||||
OPTICALS | $- | $- | $- | ||||||||||
STOCK FOOTAGE | $- | $- | $- | ||||||||||
OTHER | $- | $- | $- | ||||||||||
Total 54 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
55 | VERSIONING | ||||||||||||
VERSIONING | |||||||||||||
CLOSED CAPTIONING FILE CREATION INCLUDING TRANSCTOPTION AND CODING | |||||||||||||
DESCRIPTED VIDEO TRACK DIGITAL FILE CREATION INCLUDING, WRITE, VO, TALKE, STUIDO AND OUTPUT TO STERIO DIGITAL AUDIO FILE FOR USE ON SAP CHANNELS | |||||||||||||
Total 55 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
T3 | TOTAL POST PRODUCTION | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | ||
T4 | TOTAL BELOW THE LINE AND POST PRODUCTION | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | ||
OTHER | |||||||||||||
56 | UNIT PUBLICITY | ||||||||||||
UNIT PUBLICIST | $- | $- | $- | ||||||||||
PUBLICITY/PRESS EXPENSES | $- | $- | $- | ||||||||||
PHOTO EQUIPMENT | $- | $- | $- | ||||||||||
STILLS/PRINTING/PROCESSING | $- | $- | $- | ||||||||||
PROMOTION | $- | $- | $- | ||||||||||
VIDEO CASSETTES | $- | $- | $- | ||||||||||
PUBLIC RELATIONS | $- | $- | $- | ||||||||||
ELECTRONIC PRESS KIT | $- | $- | $- | ||||||||||
Total 56 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
57 | GENERAL EXPENSES | ||||||||||||
INSURANCE - See Note 1 below | $- | $- | $- | ||||||||||
MEDICAL FEES | $- | $- | $- | ||||||||||
LEGAL FEES | $- | $- | $- | ||||||||||
POST PRODUCTION ACCOUNTING | $- | $- | $- | ||||||||||
AUDIT FEE | $- | $- | $- | ||||||||||
BANK CHARGES | $- | $- | $- | ||||||||||
Total 57 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
58 | INDIRECT COSTS | ||||||||||||
CORPORATE OVERHEAD - See Note 2 below | $- | $- | $- | ||||||||||
INTERIM FINANCING | $- | $- | $- | ||||||||||
Total 58 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
T5 | TOTAL OTHER | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | ||
T6 | TOTAL ATL, BTL, POST PROD & OTHER COSTS | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | ||
59 | CONTINGENCY | ||||||||||||
CONTINGENCY - See Note 3 below | $- | $- | $- | $- | |||||||||
Total 59 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
T7 | SUB TOTAL | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | ||
60 | COMPLETION GUARANTEE | ||||||||||||
COMPLETION GUARANTEE | $- | $- | $- | ||||||||||
Total 60 | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | |||
T8 | GRAND TOTAL | $- | $- | $- | $- | $- | $- | $- | $- | $- | $- | ||
Notes: | Unpaid Costs Percentage of Total: | #DIV/0! | |||||||||||
1. Insurance | |||||||||||||
Commercial General Liability insurance must be prorated according to the number of production days and must be purchased from an Alberta vendor with an Alberta address on the invoice | Unpaid exceeding 5% of the total budget will not be considered in the grant calculation | ||||||||||||
Film Production Insurance - must be prorated to the number of shoot days as be purchased from an Alberta vendor with an Alberta address on the invoice. | |||||||||||||
2. Overhead | |||||||||||||
Corporate overhead may be claimed in the individual line items or as a bulk total on the contingency line. Should you choose to enter under the contingency line, appropriate documentation is required to validate the cost. Overhead must not exceed 15% of the total budget. See the guidelines for a definition of overhead. | |||||||||||||
3. Contingency | |||||||||||||
There is no allowance for contingency upon final submission. All unpaid costs should be entered in the appropriate line item and have any unpaid amounts entered in column "L". |
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