entertaintment-law_book

Entertainment Law 101

$195.00

Re-Broadcast on January 5, 2017

This course is a nuts and bolts overview of entertainment law from the perspective of doing business or representing the interests of producers of film, television and digital series. The class will provide practical production, finance and distribution forms while providing key considerations in both the legal and business affairs of producing and exploiting content. Topics include production legal, performer agreements, film finance, television agreements for producers and/or showrunners.

Key topics to be discussed:

  • Overview of Practicing Entertainment Law
  • Production: Film, TV, Digital Series
  • Production Legal
  • Film Finance
  • Television Agreements: Production Services vs. For Hire vs. License

 
Date / Time: January 5, 2017

  • 2:00 pm – 4:00 pm Eastern
  • 1:00 pm – 3:00 pm Central
  • 12:00 pm – 2:00 pm Mountain
  • 11:00 am – 1:00 pm Pacific

 
Choose a format:

  • Live Video Broadcast/Re-Broadcast: Watch Program “live” in real-time, must sign-in and watch program on date and time set above. May ask questions during presentation via chat box. Qualifies for “live” CLE credit.
     
  • On-Demand Video: Access CLE 24/7 via on-demand library and watch program anytime. Qualifies for self-study CLE credit. On-demand versions are made available 7 business days after the original recording date.

 
All Access Pass: Before you buy, access this class and all other myLawCLE programs, over 120 new live classes every year, for only $69 dollars per month. Purchase the All Access Pass first. Click here for more information.

Clear

Re-Broadcast on January 5, 2017

mylaw-elsa1Elsa Ramo is an established entertainment attorney, known as one of the field’s primary legal resources for producers, financiers, and production entities in film, television, and digital content. She started her legal career at the University of San Diego School of Law, from which she graduated in 2002, and proceeded to establish the Los Angeles office for Davis Dixon Kirby LLP (a royalty litigation firm). After several clients approached her to handle their independent productions, she founded her own firm on the Universal Studios backlot in 2005. Today, her firm, Ramo Law PC, operates out of Beverly Hills.

Variety honored Elsa Ramo in their 2014 Women Impact Report. The Story Exchange listed Elsa in their Power List, dubbing her the best advocate for creative minds. Indiewire named her one of the “Women to Watch” in the ‘indie’ entertainment scene. And California Lawyers for the Arts awarded her the 2010 Artistic License Award along with Maria Shriver for her outstanding pro-bono work for artists and arts organizations.

Elsa Ramo has worked on such notable projects as the Netflix Emmy nominated series “Chef’s Table,” produced by Boardwalk Pictures, “Still Alice” (Julianne Moore’s 2015 Best Actress Oscar™), “Stanford Prison Experiment” (Sundance 2015’s Winner of the Waldo Salt Screenwriting Award and Alfred P. Sloan Feature Film Prize), and many more. Ramo Law provides production, distribution, and financing legal services for over sixty feature films per year as well as television (series on MTV, Discovery and E!) and digital series (series on Netflix, Hulu, and Amazon). Beyond legal representation, the firm offers consulting services for domestic and international distribution, submission services and other opportunities for business development in the film, television, and digital content industry.

Elsa also represents such prolific producers as Informant Media (“Crazy Heart,” “Stuck In Love,” and “Kidnapping Freddy Heineken” with Anthony Hopkins), QED International (“I, Alex Cross” with Tyler Perry, “Sabotage” with Arnold Schwarzenegger, and “Fury” with Brad Pitt), Scott Mednick (“Teenage Mutant Ninja Turtles” and “300”), and Electric City Films (“Little Birds” and “Mississippi Grind”).

Elsa Ramo lives in Santa Monica with her husband and son.

More information about Elsa Ramo and her company can be found on her company website: www.ramolawpc.com.

CLE Accreditation:
mylawCLE seeks approval in all states except VA.

CLE 2.00 – AK
CLE 2.00 – AL
CLE 2.00 – AR
CLE 2.00 – AZ
CLE 2.00 – CA
CLE 2.40 – CO
CLE 2.00 – DE
CLE 2.40 – FL
CLE 2.00 – GA
CLE 2.00 – HI

CLE 2.00 – IA
CLE 2.00 – ID
CLE 2.00 – IL
CLE 2.00 – IN
CLE 2.00 – KS
CLE 2.00 – KY
CLE 2.00 – LA
CLE 2.00 – ME
CLE 2.00 – MN
CLE 2.40 – MO

CLE 2.00 – MP
CLE 2.00 – MS
CLE 2.00 – MT
CLE 2.00 – NC
CLE 2.00 – ND
CLE 2.00 – NE
CLE 2.00 – NH
CLE 2.40 – NJ
CLE 2.00 – NM
CLE 2.00 – NV

CLE 2.40 – NY
CLE 2.00 – OH
CLE 2.40 – OK
CLE 2.00 – OR
CLE 2.00 – PA
CLE 2.00 – PR
CLE 2.40 – RI
CLE 2.00 – SC
CLE 2.00 – TN
CLE 2.00 – TX

CLE 2.00 – UT
CLE N/A – VA
CLE 2.40 – VI
CLE 2.00 – VT
CLE 2.00 – WA
CLE 2.40 – WI
CLE 2.40 – WV
CLE 2.00 – WY

Accreditation Policy
myLawCLE will seek credit where attending attorneys are primarily licensed for all of its live webinars and live teleconferences, except in states which allow for reciprocity (see reciprocity section below). Credit for CLE in a self-study format is sought for in most states; however, some states do not allow for CLE credit to be earned in a self-study format (see the self-study section below). Many states typically decide whether a program qualifies for MCLE credit in their jurisdiction 4-8 weeks after the program application is submitted. For many live events, credit approval is not received prior to the program. Credit hours granted are subject to approval from each state.

Reciprocity
Additionally, some states allow for credit to be granted on a 1:1 reciprocal basis for courses approved in another mandatory CLE jurisdiction state. This is known as a reciprocity provision and includes the following states: AK, AR, CO, FL, ME, MT, ND, NH, NJ, NY, PR, and SD. myLawCLE does not seek direct accreditation of live webinars or teleconferences in these states.

On-demand CLE
myLawCLE will seek on-demand approval in all states except Virginia and Arkansas (outside reciprocal provisions stated above).


myLawCLE Credit Guarantee
myLawCLE offers a program and credit approval guarantee. If a registered attendee is unhappy with a CLE program they have attended, myLawCLE will offer that attended access to another complimentary CLE or a full refund in order to insure the attendeeís satisfaction.

Additionally, on all online CLE programs application for approval will be made in all states where attending attorneys are primarily licensed in. If a registered attorney does not receive credit from their state for any reason, a full refund will be granted.

Section I: Overview of practicing entertainment law- areas of focus, overview of types of clients, scope of engagements

Section II: Production:  Film, TV, Digital Series
a) Overview of Film/TV Industry: Acq.
b) Focus on Development Agreements
c) Review of an option agreement vs. shopping agreement vs. producer attachments vs. producer

Section III: Production Legal
a) Overview of Production Legal Scope
b) Detail, review of a performer agreement
c) Discuss other forms of above the line agreements- i.e. director agreements, producer agreements etc and applicable revisions that should consistently be in all production contracts
d) Discuss below the line and day-to-day advice
e) Overview of Clearance issues in Film (Scripted vs. Documentary vs. Docu-Series) – music, persons, places, etc.

Section IV: Film Finance
a) Discuss equity financing/PPM overview
b) Discuss debt financing by traditional banks versus private lenders versus specific collateral deals i.e. soft money loans, negative pickups 
c) Film Distribution
d) Overview of Key Terms of Film Acquisition agreement
e) Discuss other forms i.e. negative pick up, sales agency agreements etc.

Section V: Television Agreements: Production Services vs. For Hire vs. License
a) Creator representation and development agreements
b) Overview of shopping agreement for reality show concept
c) Television License Agreements
d) Discuss producer/showrunner agreements, writer agreements