395x 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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