Daniel has been in the entertainment insurance industry for over 14 years. Daniel received his Bachelor’s Degree in Business Administration from California State University, Northridge in 2002. Starting his career at Aon/ Albert G. Ruben Insurance Services in 2000 as the IT Administrator, he quickly moved into the entertainment insurance side of the company in 2002. During his tenure at Aon, Daniel has serviced a range of entertainment clientele ranging from Independent Film Producers to large studios such at The Walt Disney Company and Viacom. He has worked on most lines of insurance ranging from Production Insurance policies to Financial and Cybertechnology policies such as E&O, D&O and Network/ Security & Privacy coverages. In 2011 Daniel won the Power Broker Award in the Media & Entertainment Category as well as being in their Top 40 Under 40 Category by Risk and Insurance Magazine. Daniel joined the Liberty Company Insurance Brokers in September 2011 with the purpose of creating and building Liberty Entertainment Insurance Services, the entertainment division of the firm. During this time, he has overseen the acquisition of CMM Entertainment as well as open up Liberty offices in New Mexico and Louisiana and building relationships with affiliate offices throughout the country. As a result of the acquisition Daniel oversaw all entertainment operations which included management for approximately 15 employees in 3 states as well as the day-to-day servicing for the Entertainment Business Management and Production clients. In March, 2013 Daniel joined 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. Full Bio »
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?
Q: What is the format of a webinar?
A: Stage 32 Next Level Webinars are typically 90-minute broadcasts that take place online using a designated software program from Stage 32.
Q: Do I have to be located in a specific location?
A: No, you can participate from the comfort of your own home using your personal computer! If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar.
Q: What are the system requirements?
A: You will need to meet the following system requirements in order to run the webinar software: Windows 7 or later Mac OS X 10.9 (Mavericks) or later.
If you have Windows XP, Windows Vista and Mac OS X 10.8 (Mountain Lion): The webinar software does not support these operating systems. If you are running one of those operating systems, please upgrade now in order to be able to view a live webinar. Upgrade your Windows computer / Upgrade your Mac computer
Q: What if I cannot attend the live webinar?
A: If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar. If you cannot attend a live webinar and purchase an On-Demand webinar, you will have access to the entire recorded broadcast, including the Q&A.
Q: Will I have access to the webinar afterward to rewatch?
A: Yes! After the purchase of a live or On-Demand webinar, you will have on-demand access to the audio recording, which you can view as many times as you'd like for a whole year!
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.
As a television maker, one of the most difficult aspects of your job is creating and managing the budget for your project. Budgeting a feature or a short can be complicated enough, but at least you have all of the information at your fingertips. You have a script, schedule, rates—all of these things are at your disposal. However what happens when you need to budget a TV show? You don’t have all the scripts, there’s seemingly no way to create a schedule and, on the surface, no way to generate a budget. And once that budget is established, how do you handle decision making and cost tracking over a many, many months long process? These seemingly unsolved issues do have answers, and ones that may be simpler than you think. Successfully producing a TV show to get on screen requires that you understand not just how to build a TV budget, but also how to operate it. Knowing the ins and outs of Movie Magic and the various tools within as it relates to television is key. It’s very easy to get overwhelmed and drown in the details of creating and managing the budget of a series. Through thorough research of the software, what it does and how it affects your project, you will be able to create TV budgets with ease. Presenting a solid TV budget will help you gain the confidence of those who can ultimately invite you into the inner circle of TV producing and allow you to advance your career to new heights. Rami Rank is a producer with credits on shows including Amazon's GOLIATH, DEXTER for Showtime, SWINGTOWN for CBS, HELP ME and HELP YOU for ABC, as well as features such as the remake of APRIL FOOL'S DAY. Rami began his career working on indie features as a Production Coordinator, Production Manager and Line Producer. After joining the union and coordinating the third season of DEXTER, Rami joined Universal Studios where in addition to helping manage the Backlot and Stage Operations he also ran UVS-1, Universal’s Virtual Production business until 2013, when he came back to production. Through his storied career, Rami has produced and budgeted for all types of television shows, including some of the biggest ones out there. He knows intimately what goes into the vital aspect of creating a budget for these projects and is ready to share all he’s learned exclusively with the Stage 32 community. In this 3-session class, Rami will offer detailed, practical, and exhaustive guide to creating and managing a successful TV budget. In session one he will review the basic starting point of a TV budget: where the information comes from and how to utilize it. He will review some basic concepts like Budgeting and Scheduling Software, Rate Guides and the two types of budgets you’ll be creating – Patterns and Amorts. Session 2 will be a deep dive into the Amort budget. Students will receive a copy of an Amort budget to use as reference as we walk through all of the departments, positions and costs to consider in preparing the Amort. In the final session you will receive copies of a pattern budget to use as reference as he teaches how this budget is transformed into an episodic budget and then tracked using hot costs and cost reports. You will leave these three classes with the knowledge base and confidence to tackle any TV budget. WHAT TO EXPECT This class is designed for beginner and intermediate students looking to learn the ins and outs of creating a budget for a television show. This is an in-depth, practical, and detailed class with significantly more than a standard 90-minute webinar. You will be given guides and walk throughs of software and procedures and will receive handouts and resources that will accompany the lessons and that you will be able to hold onto after the class ends. This class will consist of three sessions, each roughly 90 minutes in duration and spaced one week apart from one another. In addition to the lessons where Rami will be sharing his screen and walking you through section by section of television budgeting software, you will have the opportunity to ask Rami questions during each session. Plus, to stay motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the budgeting process. To see the full budgeting class schedule, see below under "What You Will Learn". "As a long time producer, I know how important a solid budget is for any television show, and I know just how challenging it is to create one successfully—much harder than for features and shorts. I’m excited to empower producers and creatives in the Stage 32 community to do the same. Get ready to learn more about TV budgets than you ever have before!" -Rami Rank
International co-productions, or “co-pros,” can be the perfect tool for bringing dream projects to life. But these ventures come with their own unique rules and requirements, which not everyone has experience with. In this webinar, attorneys Lorraine D’Alessio and Liz Profumo will deconstruct the co-pro process, sharing practical tips for launching a successful cross-border production. Participants will learn about key steps such as finding business partners, capitalizing on tax incentives, protecting creative rights, and securing work visas for foreign staff. The webinar will also explore the impact of current U.S. policies surrounding trade and immigration. Lorraine has practiced law since 2010, with a particular focus in entertainment immigration. She is the Founding Partner and CEO of D’Alessio Law Group, a global firm which has helped thousands of artists and entertainment professionals to launch careers in the U.S., Canada, and beyond. Born in Canada, Lorraine was a successful Ford model before turning her focus to law. Her entertainment background, as well her personal experience with immigration, allows her to deeply understand the legal and logistical needs of global artists. She is excited to partner with the Stage 32 community and help support its members in achieving their goals.
It’s undeniable that we’re witnessing a new era of unscripted television. The staggering, cultural success of shows like TIGER KING, CHEER, I’LL BE GONE IN THE DARK, and LAST CHANCE U signify in no uncertain terms that the appetite is huge for premium docuseries and will likely continue to be for at least the near future. The water is warm for premium docuseries, but that doesn’t mean someone can just put together their own unscripted series willy nilly. Finding a subject and crafting a format that will resonate with audiences and find success with a network is no small feat and requires a lot of hard work and an understanding of what makes this type of content successful. In today’s rapidly evolving television landscape, one of the greatest challenges that producers face is how to develop series that will actually resonate in such an increasingly crowded space. Gone are the days of having an idea, putting a 3-page deck together and pitching it to 30 different networks in the hopes that several of them will make offers to further develop the series. Instead, the most effective way to produce a docu-series in today’s world is to secure many more parts of the package when bringing a new project to market. In a world of talent, access, format and projected story arc, the development of different types of shows require us to ask different questions of ourselves early on and throughout the development process. Doing this and working to stay ahead of the curve can very well situate you for success and put you on your way to produce your own premium docuseries. Andrew Fried is the Founder and President of Boardwalk Pictures, producers of premium non-fiction content for multiple networks and distributors, including Netflix, Showtime, Quibi, YouTube and many others. A recipient of multiple Emmy wins and nominations (including six nominations and three wins for breakout Netflix hit CHEER just this year), Fried and Boardwalk strive to elevate and expand the idea of documentary television across an ever-growing unscripted landscape. Boardwalk has been responsible for some of the most prestigious unscripted series of the last few years. CHEF'S TABLE, now in its 7th season, received 8 Emmy nominations, won 3 James Beard Awards and the IDA Award for Best Documentary Series. CHEER, also on Netflix, has proven to be one of the platform's biggest successes. Other huge commercial hits include Gwyneth Paltrow's THE GOOP LAB, 7 DAYS OUT, STREET FOOD and LAST CHANCE U (now in its 4th season), the Showtime series ACTION and YouTube’s BEST SHOT. Andrew will give you the tools to put together, pitch, and hopefully sell your own docuseries to a streamer or network. He will begin by giving you a general overview of unscripted programming, including the different types, where we see these shows, who potential buyers are and how the industry has grown and evolved recently. Next he will delve more closely into the different types of docuseries that people are currently watching. This includes anthology vs. arced stories, format vs. a documentary approach, and how this landscape will continue to evolve through time. Andrew will then use his own Circus Analogy to explain how we find story versus create story, and how that informs both casting and access. He will teach you how to create material that will sell. He’ll go over how to develop a deck and how to create a sizzle reel to better communicate your vision. He’ll even give you tips on how to put all of this together without breaking the bank. He will also show you how to avoid over-developing your idea while being sure not to under-develop it either. Next, Andrew will give you tips on navigating the “Hollywood” of it all. He’ll explain when celebrity attachments can help, how to package your project without cutting yourself out, and will outline the elements you need to actually get a green light. Andrew will then delve into how docuseries are developed and cast, and how these steps work. He’ll walk you through what a show bible looks like for a docuseries and when you actually get to make the thing. He will finally discuss the process in the field and in post to put everything together. By revealing how the industry works behind popular docuseries and walking you through the entire timeline of what putting together content like this looks like, Andrew will give you clear tools and a practical roadmap you can use to make your own docuseries a reality. Praise for Andrew's Stage 32 Webinar "Really really great info. As someone who has had success in pitching docuseries before Andrews's information was spot on and I still got new info and ideas out of it!" -Matt R. "Great presentation. One of my top 2 favorite Stage 32 webinars I have attended. -Heather L. "Truly a great overview on pitching and selling docuseries." -Michael G. "Clear, well organized and a pleasant approachable personality." -Amita S.
As you are aware, unscripted television is BOOMING. All the streamers have jumped into the mix and now more and more networks, premium cable channels and even short form platforms like Quibi are diving in with both feet. Creating compelling non-fiction TV requires more than just vision. It involves a gameplan. And it can't hurt to have multiple ideas in reserve or even multiple paths for the same show. This will allow you to not only launch one show, but perhaps lay the groundwork for many shows, essentially building brand recognition for you and for your production company. There is a path to building a scalable business in reality and unscripted and that path is wider than ever. And there's no better person to send you on that path than a guy who has built an empire with his company through producing such shows as Netflix's CHEER and CHEF'S TABLE and many others for streamers and networks around the world. We all have a desire to tell stories. In an era when technology is rapidly developing and there are increasingly lower barriers to actually creating unscripted content. But an idea is just the start. Often times what we fail to do is understand how to get from an idea, or a series of ideas, to having viable content that a more commercial marketplace is actually looking for. By doing a deep dive into the history, shows and business of the prolific reality production company Boardwalk Pictures, we can better understand how to establish our creative voice and brand in a crowded landscape and determine how best to bring our value to a variety of projects and partners. Andrew Fried is the Founder and President of Boardwalk Pictures, producers of premium non-fiction content for multiple networks and distributors including Netflix, Showtime, Quibi, YouTube and many others. A recipient of multiple awards and 3 Emmy nominations, Fried and Boardwalk strive to elevate and expand the idea of documentary television across an ever-growing unscripted landscape. Boardwalk has been responsible for some of the most prestigious unscripted series of the last few years. CHEF'S TABLE, now entering its 7th season, has received 8 Emmy nominations, has won 3 James Beard Awards and the IDA Award for Best Documentary Series. CHEER, also on Netflix, has proven to be one of the platform's biggest successes. Other huge commercial hits include Gwyneth Paltrow's THE GOOP LAB, 7 DAYS OUT, STREET FOOD and LAST CHANCE U (now in it’s 4th season), the Showtime series ACTION and YouTube’s BEST SHOT. Andrew will teach you how to stake your claim in the unscripted marketplace and also how to build an empire in the space. By diving into his journey and the paths Boardwalk Picture shows have taken from concept to screen, Andrew will show you the do's and don'ts of unscripted from the creative and business sides to assure you shorten your path to success. He will speak to the companies origin stories and how Chef's Table became Netflix's first unscripted original series. He will explain how to judge quantity vs. quality, explain the "8th Grade Assembly" test, describe what it means to be storyteller led, and how to identify a void that needs to be filled. He will dive into how to develop your creative brand, define what stories it is you want to tell, and how to approach meetings and networking opportunities to help get your vision to air. He will describe how to add value to just about every situation - so important in unscripted where you're likely to have partners and how to best position yourself to where people not only want to work with you, but will be anxious to hear your next idea and the one after that. Praise for Andrew's Stage 32 Webinar "Fabulous, authentic insights into what makes a successful producer of premium unscripted content!" -John P. "Loved it! I especially appreciated his positivity! I’m feeling inspired and I know I’m on the “write” track to creating something wonderful!" -Edie F. "Andrew was really great - a total professional who gave a lot of insight into "the business" and what attracts the green light." -Pooky A. "Excellent. Honest. Thoughtful. Insightful." -Tim O.
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. But finding success with drones requires more than knowing simply how to pilot one; a cinematographer needs to understand how to properly use the tool and work with clients and artists to get those perfect shots. The truth is, for as often as drone camerawork is used in film, television and new media today, you can still stand out as a cinematographer in a big way by using drones smartly, artfully, and effectively. But what turns drone photography from mediocre to great? And how can you use this tool to stand out and not only enhance your current project but also help you get more work in the future? 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 and 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 continue his drone cinematography education by expanding into the more intermediate and advanced elements of creating a great drone shot and using your work to help you get work. He will begin by going over the nuts and bolts of operating a drone, including preparation and safety checks, proper thumb and finger placement, and what the 180 degree shutter rule is. He’ll also explain how to maintain the shutter rule with ND and PL filters and teach you how to properly take off and land. He will also give you tips of how to eliminate variables and trip points when planning your flight and will show you how to continue to improve. Next Chris will break down the anatomy of a good drone shot. He will explain when drones are useful and when they should actually replace a jib or dolly shot. He’ll talk about the importance of getting the shot you’re after and how to tell if you’re overshooting. Next Chris will discuss different types of cinematic drone shots, including landscape shots, dolly shots, and lift shots. Then he’ll go more in depth of when you SHOULD use a drone and when you SHOULDN’T, including questions you should ask yourself before using the drone, how best to plan your shot, and what situations are most effective for drones. Finally, Chris will go over how drones work in the industry and how this particular skill set fits in. He’ll teach you the best ways to show off your talent and get noticed and give you tips on pathways to find work, including networks and communities, forums and drones for hire databases, and how that intersects with representation. Chris will leave you with a lot more context, skills, strategies, and knowledge to start using drones for your project and stand out from the pack while doing it. This is Part 2 of Chris Tangey's Drone Cinematography Webinar Series. To check out Part 1, now available on demand, click here. "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