Daniel R’bibo is a Senior Vice President at Gallagher and has worked on over 100 feature films including Oscar winners such as FOXCATCHER and HER, as well as A24's MID-90's, SEARCHING, HAPPY DEATH DAY and a dozen television shows. For nearly two decades, Daniel has provided insurance services for independent and studio projects which have premiered at Cannes, Sundance, Tribeca, TIFF and more. He has worked on all lines of insurance ranging from Production Insurance policies to Financial and Cybertechnology policies such as E&O, D&O and Network/ Security & Privacy coverages. Daniel was featured in Risk and Insurance Magazine’s Top 40 Under 40 List and has been awarded their Power Broker Award in the Media & Entertainment Category four separate times. Few people in the world know entertainment insurance better than Daniel, and he’s prepared to share what he knows exclusively with the Stage 32 community. Full Bio »
When the entertainment industry shut down as a result of the global pandemic, insurers were left with hundreds of millions of dollars in claims. As a result, traditional production insurance is no longer available. Carriers have modified their coverages, added exclusions and changed coverages they are offering altogether. Additionally, they now require more information in order to underwrite and provide a quote for the film. Production insurance has always been difficult to navigate, but now more than ever it’s crucial to understand how it works and how it’s changed.
Filmmakers and creators, both independent and as a part of studios and networks, are itching to get back to work and start creating again. However it’s important to be careful before plunging in, and not just for health reasons. The truth is updates to production insurance is going to change things for everyone, and you need to understand how exactly things will change before you get started on your next project. Filmmakers need to learn what the new underwriting guidelines are and what information is now needed in order to obtain production insurance. You also need to know how to better budget the increased cost for insurance and so that there are no surprises when the quotes come. By knowing what terms and insurances are available for your specific project, you will be able to discuss these options with lenders, distributors and bond companies. It’s more important than ever to be informed and to be prepared when gearing up for your next production.
Daniel R’bibo is a Senior Vice President at Gallagher and has worked on over 100 feature films including Oscar winners such as FOXCATCHER and HER, as well as A24's MID-90's, SEARCHING, HAPPY DEATH DAY and a dozen television shows. For nearly two decades, Daniel has provided insurance services for independent and studio projects which have premiered at Cannes, Sundance, Tribeca, TIFF and more. He has worked on all lines of insurance ranging from Production Insurance policies to Financial and Cybertechnology policies such as E&O, D&O and Network/ Security & Privacy coverages. Daniel was featured in Risk and Insurance Magazine’s Top 40 Under 40 List and has been awarded their Power Broker Award in the Media & Entertainment Category four separate times. Few people in the world know entertainment insurance better than Daniel, and he’s prepared to share what he knows exclusively with the Stage 32 community.
Daniel will dive deep into how production insurance works and how it has changed with COVID-19 pandemic. He will begin with a general overview of production insurance. He’ll explain the various insurances relating to production including production package, general and auto liability, workers compensation, errors and omissions (E&O), and COVID specific insurances. Next Daniel will delve into the changes in insurance underwriting and carrier appetite due to the pandemic. He’ll walk you through what you need to know before you get a quote, including COVID related exclusion and new terms and conditions, required safety procedures, and how may quotes you can expect for your project. He will also show you how much to budget for your own production insurance. Finally, Daniel will provide case studies of real films’ insurance breakdowns, both before COVID and after. He will spend time discussing both films made for under and over $5 million. It can feel like the Wild West now in venturing back into production, but Daniel will give you a clear picture of how insurance is going to work moving forward.
PLUS! You will receive a production insurance quote checklist to make sure you have everything in order to ensure you get the best quote possible from an Insurance Agent.
Praise for Daniel's Stage 32 Webinar
I very much enjoyed the host and his knowledge of the topic
Daniel was great - very informative and someone I'll reach out to in the future!
I'm glad I was able to network live with Daniel today. His insurance knowledge was invaluable for my film projects.
"I learned SO much. I can't believe how helpful this has been!"
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Learn directly from Daniel R’bibo (Area SVP at Gallagher Entertainment), who's worked on Oscar-nominated films such as Foxcatcher, American Hustle and The Master. Production insurance. It sounds boring and overwhelming, and is one aspect of filmmaking that most producers try to avoid and typically push off until the last minute. There are a lot of options out there in terms of policies and coverages for an independent film, and it is sometimes hard to know what the right coverage for your project is. Just because you buy the insurance that is required in a contract doesn’t mean you are actually properly insured. Just because your film has wrapped doesn’t mean you are free to go. So how do you know if you’re covered? Luckily, Stage 32 is here to help you master getting the right production insurance for your independent film! In this Stage 32 Next Level Webinar, host Daniel R’bibo will go over all the various insurance policies that a producer or financier should consider when making a film. He will explore ways to get better insurance for lower premiums, discuss current industry issues such as insurance for reality participants, coverage for stunts/ hazardous activity, online distribution and help you generally better understand what you are really buying when it comes to coverage. Finally, Daniel will explore the wonderful world of liability and what exposure a producer and more importantly the financier really have. Daniel R’bibo, ARM, is the Area Senior Vice President at Gallagher Entertainment, one of the largest entertainment insurance brokers in the world. In addition to managing his book of entertainment clients including Pilgrim Studios, UCLA, Academy of Art University and Emmett/ Furla Films, Daniel now oversees the Entertainment Business Management group which works with almost 50 of the top business management firms in the world. Daniel has been in the entertainment insurance industry for over 14 years and has worked on many Oscar-nominated films and smaller independent budgeted films. Who better to help guide you to getting the right coverage for your film?
BONUS! Brad will give you a handout with a list of companies that are funding $3MM movies. Over recent years, the independent producing model has shown that films budgeted between $1-$3 Million have become a "sweet spot" for investors. At this budget you can typically attract and secure some star power, one important step toward increasing the odds that your investors will see a return on their investment. But this is just one reason why this budget range is attractive to many investors. There are many more variables at play which will help you raise money for a film or project in this price range. But first, you must understand some tried and true principles that will help you find investors, present your project in the proper fashion and lock them down for an investment. Knowing how to raise money intelligently for films and projects with budgets between $1MM-$3MM can be your calling card toward making a life working in independent film. Simply put, those who understand the formula to the strategies and methods that can help your investors see a return get to keep those investors time and time again. And those investors can, and usually do, bring more investors if they're happy. While everyone says that raising financing is the hardest aspect of filmmaking, there are smart ways to find money that you may not have thought of, and there are also ways you can expand your dollars once you start raising funds for your project. In addition, there is a well-known group of professionals and creatives that have been working on films between $1-$3MM for years and it's important that you know who they are, how to approach them and what expectations are once you do. Brad Hibbs Wyman has produced over 40 feature films in all budget ranges, including Monster starring Charlize Theron in her Oscar-winning role, Freeway starring Oscar-winner Reese Witherspoon and actor Steve Buscemi's directorial debut, Trees Lounge. Brad has learned all aspects of financing and the elements that are needed for a successful raise and he's going to bring his years of knowledge exclusively to the Stage 32 community. In Brad's real and humorous style, he will teach the basic principles of motion picture financing for under $3 million dollar features which include: Rule #1 - “GET THE MONEY" Rule #2 - Always remember to “GET THE MONEY” Rule #3 - Never forget to always remember to “GET THE MONEY" If that gives you the insight into Brad's fun personality, then you're in for a treat with this webinar. Brad will teach you the common obstacles that get in the way of raising financing. He'll go over all the various types of financing: equity, private equity, pre-sales, GAP, tax incentives, deferred and crowdfunding. In addition, he'll go in depth on guidelines for your financial package and what you'll need for tax incentives, pre-sales, debt and domestic MG. He'll even go over your plan of execution including your investment proposal and what it looks like, completion and guarantor bonds and pitching your project. You will not only know the basics of how to smartly raise up to $3MM, but you'll also walk away with knowing the names of the players and the companies that are in this landscape, giving you an instant advantage to becoming an insider. And if that doesn't make you feel great enough, Brad’s proceeds from this exclusive Stage 32 webinar will be donated to his favorite arts charity! "Brad was great. I loved his style and how frank he was. Really appreciate his demeanor." - Robert G. "It was one of the most amazing experiences. The most entertaining and true presenter I have ever come across." - Ranadeep B. "Awesome experience - great learning opportunity and very well organized. I look forward to more." - Brien Gorham "Brad brought the goods and the funny. And he removed my initimidation factor when it comes to approaching investors. Great webinar!" - Alyssa K.
Payment plans available - contact firstname.lastname@example.org for details 4-PART IN-DEPTH CLASS (OVER 8 HOURS OF EDUCATION) Learn from a top showrunner who's worked with Hulu, Sony, TBS, Norman Lear, the creators of FRIENDS, and more! Plus! Participate in a mock network executive meeting! When you have an idea for a TV show, the goal is always to have it "ordered to series" so you can see it on air and have a large audience experience it. We are still in the age of the “Content Gold Rush," and there are more series being ordered and produced than ever before in history. In order to capitalize on this opportunity, you need to be prepared and know everything that goes into not only developing and selling a series but how to navigate it all the way to an actual series order. Whether you’re a brand new writer, an experienced producer, or someone working their way up the ladder, the big question is always: How do I develop my show and make it stand out so that it can sell and get a series order? In this exclusive Stage 32 class, television series creator John Lehr will teach you the entire journey from crafting a stand-out idea to selling your show to developing it with a streamer or network and, ultimately, getting the green light for a first season production order. Over four interactive sessions, John will take you through the steps of developing and producing a marketable show. You'll start by nurturing your concept into a well rounded show idea and then learning the best way to pitch it, package it, sell it and navigate the development steps with your distributor to get a first season order. John will show you how to work with network executives to achieve your goals. John has successfully created, pitched, sold, and executive produced shows for TBS, Hulu, and Sony/Crackle. He also created and produced pilots for Fox and Comedy Central and has pitched and developed shows for NBC, HBO, MTV, and Sony/BBC. He's also worked with legendary television creators, including Norman Lear and FRIENDS' Kevin Bright, David Crane, and Marta Kauffman. If you attend the live webcasts of this class, you’ll even have the opportunity to ask John any questions you have about developing, selling, and navigating your series to success. You'll also participate in a mock network meeting so you are prepared to work with executives. John is sharing his 25 years of entertainment business experience with you exclusively through Stage 32. This is a rare opportunity to work with a top showrunner to see how professional television series creators take their ideas all the way to your television screen. Testimonials from John's Previous Stage 32 Education: "John was energetic and very positive and encouraging. I appreciated his perspective and advice." "John is great - emphasizing the sizzle reel was very helpful to hear." "[John's] information about the pitch deck, sizzle, and experiences were incredibly helpful."
The barrier of entry into filmmaking has never been lower, and the opportunities for distribution have never been higher. While the channels of distribution have never been more diverse and accessible, the education for filmmakers of how to best utilize those channels is often hard to navigate. Is theatrical or VOD your best bet? Will the film festival circuit help you? What can a distributor do for you? And how much money are indie films even making these days? With so many different opportunities and new platforms arising constantly, how do you choose the best path for YOUR film? Content still over-saturates the marketplace and standing out has become particularly difficult. Independent films that find success in this landscape do so by being creative, by approaching distribution in unconventional ways, and by uncovering platforms and strategies that others might not have considered. Creative distribution takes a good amount of work and forethought, but it’s also fully possible for any filmmaker who’s up for thinking outside the box. First, it will be important to have a better understanding of the free and paid opportunities to market your film, connect with distributors, build audiences, and team up with collaborators who will help amplify your efforts. Let us give you the tools you need. Liz Manashil was the manager of Sundance Institute's groundbreaking Creative Distribution Initiative and worked in impact distribution for many content creators during her time at Picture Motion. Prior to Sundance and Picture Motion, Liz spent several years as a film critic for the Hulu series JUST SEEN IT, which she also helped produce and direct. As a filmmaker, her debut feature, BREAD AND BUTTER, was released by The Orchard and can be seen on VOD nearly everywhere. Her second feature, SPEED OF LIFE, was released by Giant Pictures, can be seen on Showtime. Liz spends her time advocating for filmmakers to have healthy and productive relationships with their distribution partners. Liz will walk you the options you have to creatively distribute your film and strategies you can implement to build your audience and optimize your film’s release. She’ll begin by outlining the state of distribution today, how it’s changed in recent years, what success looks like now and what’s realistic or normal for independent films. She’ll then go into what ‘creative distribution’ means and how it can benefit you as an artist. She’ll teach you about film aggregators as an option for distribution, including how to find good ones, and red flags to watch out for. She’ll then discuss tips for finding traditional distributors. She’ll go over different types of distribution rights you might not have considered before and explain how to determine which distributors could be the right fit for your film. Liz will also talk about how to navigate distribution contracts and the main clauses and sections to look for. She’ll then teach you ways to market your distributed film to build your audience, with both free and paid strategies. Next, she’ll delve into impact distribution as an option for releasing your film. She’ll go over what it is and how to use this method to run a successful screening tour. Finally Liz will talk about how you should be adjusting your distribution goals post-COVID and use this time to your advantage. With the lessons and strategies Liz lays out, you’ll be armed with an large array of ideas and practices you can apply to your own independent film to give it a release and audience you might not have thought possible Distribution is constantly changing. Whether you are a first time filmmaker or a seasoned veteran, the landscape and the market are both constantly in flux. I'm so excited for you to join me in our session about alternative forms of distribution. I'll give you a bird's eye view of how to get your film out, how to build audiences, and how to make a difference with your movies. -Liz Manashil
Payment plans available - contact email@example.com for details Only Two Spots Left! Complete the first draft of your horror feature working one-on-one with the former in-house story consultant for Blumhouse and IM Global Studios and streamers are on the hunt for horror films, with new deals being struck every day for fresh horror scripts. Why can't your slasher film or creature feature be one of them? It just takes a great finished script. There is an insatiable global appetite for horror movies. From franchises like THE PURGE to lower-budget hits like GET OUT to micro-budget breakouts like PARANORMAL ACTIVITY, audiences simply can't get enough. In this exclusive Stage 32 writing lab, we'll help you stop fearing the blank page as you complete the first draft of your horror script over eight intense sessions under the guidance and mentoring of Karina Wilson. Karina has worked for over a decade as a script consultant with horror houses Blumhouse and IM Global and on titles such as SKYLINE, 13 SINS, VIRAL, VAMPIRE ACADEMY, HORNS, and LORDS OF SALEM, among others. You'll meet in an online class setting where you'll network and write alongside a small group of passionate writers and you'll work with Karina one-on-one for two virtual sessions to discuss your script's progress and ensure you walk away from this course with a strong first draft. These one-on-one sessions are an invaluable opportunity to work with one of the industry's most sought-after horror story consultants. By the end of this lab, you'll have a completed feature script draft vetted by an industry expert. Even better, you'll have the first chance to join one of the limited spots in Karina's Level 3 Lab, where you'll continue to work hands-on with Karina on rewriting your draft to perfection. To guarantee that you get the most out of your time with Karina, we're capping this lab to 12 seats, and once they're gone, they're gone for good. Don't miss out on this incredible opportunity to work with an experienced horror writer and script consultant, and to finish a top-notch first draft of your script, which will bring your dream of seeing your horror feature on screen closer to becoming a reality. Testimonials from Karina's previous Stage 32 Education: "She delivered on the topic and gave an informative lecture. I took many notes on how to immediately improve the horror script I'm writing now. That was my goal!" - Martha C. "I thought it was very informative and the speaker was well versed!" - Loretta C.
Aerial images go back to when hot air balloons first went up in the 1700s, but the use of aerial images has exploded in the 21st century with the now ubiquitous Unmanned Aerial Vehicles, better known as drones. In very little time, drone photography has become widely—perhaps too widely—used in countless films, television shows, commercials, and other media projects. And along with this wide adoption of drones has come a demand for those who can successfully and artfully operate them. This presents a potentially lucrative and rewarding opportunity for cinematographers looking to expand their reach and build their skill set. Yet with the clear overuse of drone photography in media today, each to varying effects, it’s evident that not all drone shots are created equal, and standing out requires a deeper level of skills. Adding drone cinematography to your film, tv or new media project can breathe new life into shots that may, in the past, have cost your budget heavily to rent the necessary equipment to get. In the same way, finding success with drones requires more than knowing simply how to pilot one; a cinematographer needs to have the eye and well-developed instincts and they need to understand how to work with clients and artists to get those perfect shots. It's important to know that the term ‘drone operator’ is often used for those that use these vehicles to capture video or images, but just as cinematographers are never simply referred to as ‘tripod operators’, neither should anyone simply be seen as a ‘drone operator’. A drone is just a new way to place the camera in incredibly exciting places, a tool in a tool belt. Better understanding the steps that can take you to this point can prove exciting and promising for a cinematographer’s career. Chris Tangey is one of the most sought after drone cinematographers in the world. His impressive career as a cinematographer has him working for Netflix, Warner Bros. Columbia Tristar, BBC, National Geographic, Discovery, Lonely Plant and more. He recently won "Best Aerial Cinematography" in the European Cinematography Awards, and both "Best Drone" and "Best Scenography" In the New York International Film Awards. He was also awarded a Jury Commendation in the World Drone Awards in Siena Italy. He has 2 Gold and 4 silver awards from the Australian Cinematographers Society. Chris has quickly become a leader in the field of aerial imagery and is ready to share what he knows exclusively with the Stage 32 community. Chris will give you the knowledge and tools to get you started to becoming a successful aerial cinematographer. He’ll begin by giving a brief introduction on drone photography, offering a history and understanding of what exactly drones, as well as how they have affected the current state of helicopter-based cinematography. He’ll explain the benefits and exciting potential of drone cinematography and how that has come into play in media today. He’ll lay out how drones and drone photographers work within small and large productions and their crews. Next Chris will give a rundown of how drones work, what the main types of drones are, what the main drone manufacturers are, and what the notable parts of a drone are. He’ll explain what features are offered for different drones and what features are needed for different types of projects. He’ll also give tips on where to buy your own drone as well as how to obtain a licence to legally operate them. Chris will then outline the safety and legal aspects of operating drones. He will teach you the governmental rules and regulations in most countries, including vertical separation rules and how both controlled and uncontrolled aerodromes are treated. He’ll give you tips on how to navigate these rules while still working with your clients and how to understand what your licence gives you the right to do. He’ll also provide strategies to work within the confines and limits to still get the shots you need as well as strategies to keep yourself and your crew safe. Chris will go over how to break into the industry as an aerial cinematographer. He’ll explain the current marketplace and help outline what level of the marketplace you should be targeting. He’ll give you tips on how to build a reel and display your ability to find opportunities and will teach you how to find and stick to your rate, including ways to not undercut the market, manage value-added rates, and offset licence rights against day rates. Chris will even offer case studies from his own career to demonstrate how best to work with clients and get the shots you’re after. Expect to leave with the knowledge and confidence you need to kick start your own aerial cinematography career. "My career as a cinematographer has been “elevated" greatly by incorporating drones and knowing how to use them properly to get the best possible shot. I'm so excited to share my experiences with the Stage 32 community and give everyone the knowledge to use this powerful tool to their creative and financial advantage" -Chris Tangey