!!����"%�#� �"�����������������������#� ���!������������'����"���� ���������������������)��*���������description!pages.!!The!product!of!years!of!research!into!producing!credits!and!their!use!within!the!entertainment!industry,!the!job!descriptions!herein!have!been!drafted!to!reflect!the!current!realities!and!responsibilities!of!the!profession.!!Adoption!of!a����������������������� ���������"������� �����������������'����!������� �����credits!are!accurate!and!precise.!! ��������������������������%�#� '��������!!a!set!of!job!descriptions!and!guidelines!covering!producing!titles!in!motion!pictures,!television!and!new!media.!!Each!section!opens!with!a!series!of!credit!guidelines!covering!the!entire!producing!team,!followed!by!an!in=depth!description!of!the!primary!producing!title!for!each!medium.!!(Please!note!that!there!is!no!single!primary!producing!title!for!new!media,!comprising!as!it!does!a!variety!of!different!and!discrete!platforms.)!For!each!of!these!titles,!a!detailed!job!description!and!list!of!producing!functions!is!provided;!while!no!single!producer!is!expected!to!undertake!every!one!of!these!functions!on!a!given!production,!a!credited!producer!must!perform!a!majority!of!the!producing!functions!listed.!!!���������&�������� ��������������������!��#����������$��������+���������(������� ������������ �� ������a!producing!credit.!The!producer!must!always!place!what!is!best!for!the!production!above!all!other!considerations.!Efforts!by!those!seeking!credit!or!award=eligibility!to!insert!themselves!into!meetings!or!situations!where!not!appropriate!will!only!impede!the!process!of!production,!and!damage!the!lines!of!authority!and!communication.!When!more!than!one!person!seeks!recognition!as!producer,!each!must!take!responsibility!for!preventing!conflicting!voices!to!the!director!and!to!others!on!the!production.!Should!an!individual!be!found!to!have!interposed!themselves!in!such!inappropriate!fashion,!he!or!she!will!be!penalized!in!their!bid!for!credit!certification!or!award!eligibility.!!The!Guild!also!offers!its!dispute!resolution!process!as!part!of!the!Producers!Code!of!Credits.!Please!contact!the!PGA!offices!for!a!copy!of!the!rules!governing!Producers!Guild!Arbitrations.

In )53354�6'82'4)+��'4�/4*/</*;'2�8+)+/</4-�:.+���85*;)+*�(?A�)8+*/:�,58�'�35:/54�6/):;8+�/9�:?6/)'22?�8+,+88+*�:5�'9�:.+�,/23C9��85*;)+8��!5�'<5/*�)54,;9/54�=/:.�5:.+8�685*;)+8�)8+*/:9��=+�8+,+8�:5�:./9�/4*/</*;'2�'9�:.+���85*;)+*�(?�A !.+���85*;)+*�(?A�)8+*/:�/9�-/<+4�:5�:.+�6+8954�9��359:�)5362+:+2?�8+96549/(2+�,58�'�,/23C9�production. Subject to the control of the Owner (see Rules of Arbitration, section I.B), the ��85*;)+*�(?A�=5;2*�.'<+�9/-4/,/)'4:�*+)/9/54-making authority over a majority of the produc/4-�,;4):/549�')8599�:.+�,5;8�6.'9+9�5,�'�35:/54�6/):;8+C9�685*;):/54��!.59+�6.'9+9�'8+��Development; Pre-Production; Production; and Post-Production & Marketing. The following )549/*+8':/549�=5;2*�(+�:'1+4�/4:5�'))5;4:�/4�*+:+83/4/4-���85*;)+*�(?A�)8+*/:�

� $/:./4�:.+�*+<+2563+4:�685)+99��:.+���85*;)+*�(?A�=/22�:?6/)'22?�)54)+/<+�5,�:.+�underlying premise of the production, or select the material. S/he also will select the

6850+):C9�=8/:+8��9+);8+�the necessary rights and initial financing, and supervise the development process.

� In pre-685*;):/54��:.+���85*;)+*�(?A�=/22�:?6/)'22?�9+2+):�:.+�1+?�3+3(+89�5,�:.+�creative team, including the director, co-producer, cinematographer, unit production manage8��685*;):/54�*+9/-4+8��'4*�68/4)/6'2�)'9:��!.+���85*;)+*�(?A�'295�=/22�6'8:/)/6':+�in location scouting, and approve the final shooting script, production schedule, and budget.

� �;8/4-�685*;):/54��:.+���85*;)+*�(?A�=/22�9;6+8</9+�:.+�*'?-to-day operations of the producing team, providing continuous, personal, and usually "on-9+:A�)549;2:':/54�=/:.�the director and other key creative personnel. S/he also will approve weekly cost reports, and continue to serve as the primary point of contact for financial and distribution entities.

� For the last phase, post-685*;):/54���3'81+:/4-��:.+���85*;)+*�(?A�/9�+>6+):+*�:5�)549;2:�personally with post-production personnel, including the editor, composer, and visual effects staff. S/he is expected to consult with all creative and financial personnel on the answer print or edited master, and usually is involved in a meaningful fashion with the financial and distribution entities concerning the marketing and distribution plans for the motion picture in both domestic and foreign markets.

$/:.�:5*'?C9�2'8-+-scale productions, it is rare to find one individual who exercises personal decision-making authority across all four phases of production. However, the PGA requires that /4�58*+8�:5�+'84�:.+�)8+*/:�5,���85*;)+*�(?�A�54+�3;9t have taken responsibility for at least a majority of the functions performed and decisions made over the span of the four phases.

;(0+):�:5�:.+�)54:852�5,�:.+��=4+8��:.+���85*;)+*�(?A�/4�!.+':8/)'2��5:/54��/):;8+9�/9�+>6+):+*�to exercise decision-making authority over a majority of the following specific job functions:

� Conceived of the underlying concept upon which the production is based or involved at its inception.

� Selected the material upon which the production is based and secured necessary rights for development and production of the material.

� Selected the writer(s). � Supervised and oversaw the development process. � Secured the initial financing. � Served as the primary point of contact for the studio and/or financing entity.

� Selected the director, co-producer and unit production manager. � Selected the principal cast in consultation with the director.

� In consultation with the director, selected the production designer, cinematographer, editor and visual effects co.

� Participated in location scouting in consultation with the director. � Supervised the preparation of the preliminary budget and approved and signed the final

budget in consultation with the Co-Producer and UPM. � Creatively involved in the final shooting script in consultation with the director and the

writer(s) and approved and signed the final shooting script. � Approved the final shooting schedule in consultation with the director.

� Exercised final approval of the deals for the principal components of the production. � Provided continuous in-person consultation with the director and principal cast � In collaboration with the director, provided in-person consultation with the production

designer, art department, wardrobe, make-up and hair. � In collaboration with the director, provided in-person consultation with the stunt

coordinator and on mechanical effects (if applicable). � Supervised "on-9+:A�'4*�54�'�)54:/4;5;9�('9/9�:.+�*'?-to-day operation of the producing

team and the entire shooting company. � Approved the weekly cost report. � #/+=+*�:.+��*'/2/+9A�'4*�685</*+*�/4-person consultation with the director, the editor, the

studio and/or financial entity.

� Provided in-person participation on visual effects in consultation with the director, the studio or financial entity.

� Selected the composer in consultation with the director, and participated in-person with the composer and the director in the scoring process

� Provided in-person consultation with the editor along with the director, the studio or financial entity, and participated on the final cut of the motion picture.

� Consulted with the director and the editor during the preparation of the first cut that is shown to the studio/financial entity.

� Selected the music supervisor in consultation with the director, and participated in-person during the music recording sessions.

� Provided in-person consultation with the director on the re-recording stage. � Provided in-person consultation with the director on the titles and opticals. � Provided in-person consultation with the cinematographer, the director, the studio and/or

financing entity on the answer print or edited master. � Consulted on the media plan and materials, and the marketing and distribution plans for

the motion picture. � Consulted on the plans for exploitation of the motion picture in ancillary and foreign

markets.

1. The Produced By credit shall be in the primary credit position among all PGA-sanctioned credits for theatrical motion pictures.

2. Subject to the control of the Owner (see Rules of Arbitration, section 1.B), The individual receiving Produced By credit shall have final responsibility for all business and creative aspects of the production of the motion picture, with direct participation in making decisions concerning a majority of the producing functions (see PCOC Section 1 for comprehensive list).

1. The credit of Co-Producer / Line Producer is to be granted to the individual who reports directly to the individual(s) receiving "Produced By" credit on the theatrical motion picture.

2. The Co-Producer / Line Producer is the single individual who has the primary responsibility for the logistics of the production, from pre-production through completion of production; all Department Heads report to the Co-Producer / Line Producer.

1. The credit of Executive Producer shall only apply to an individual who has made a significant contribution to the motion picture and who additionally qualifies under one of two categories:

� Having secured an essential and proportionally significant part (no less than 25%) of the financing for the motion picture; and/or

� Having made a significant contribution to the development of the literary property, typically including the securement of the underlying rights to the material on which the motion picture is based.

PR O DU C T I O N

PRODUCTION SUPERVISOR/MANAGER

1. The Production Supervisor/Manager reports

POST PR O DU C T I O N

POST-PRODUCTION SUPERVISOR

1. The Post Production Supervisor reports directly to

V ISU A L E F F E C TS

VISUAL E F F ECTS PRODUCER 1. The Visual Effects Producer reports directly to

directly and immediately to the person performing the Co-Producer/Line Producer or UPM functions.

2. The Production Supervisor/Manager has the primary responsibility for the logistics of the production of the motion picture, from pre-production through the completion of production.

PRODUCTION COORDINATOR:

1. The Production Coordinator reports to the person(s) receiving the Produced By credit, the Co-Producer/Line Producer the Production Supervisor/Manager or UPM.

2. The Coordinator interacts with various studio and production departments concerning any and all logistics of production and is responsible for facilitating production requirements including, but not limited to, equipment contracts, purchase orders, film inventory, insurance, day player contracts, crew deal memos, travel and shipping, call sheets, production reports, cast and crew lists, and compliance with various union report requirements.

ASSOCIATE PRODUCER

the Co-Producer/Line Producer. 2. The Post Production Supervisor is responsible for the coordination and oversight of the entire post production process, but not primarily as a production company executive. POST PRODUCTION COORDINATOR 1. The Post Production Coordinator reports directly to the Post Production Supervisor. 2. The Coordinator is responsible for facilitating post production functions as assigned by the Post Supervisor, which can involve interaction with various studio and post production departments concerning any and all aspects of the logistics of post production, such as working with the vendors, helping prepare day player contracts and crew deal memos, scheduling ADR, making travel arrangements, distributing paperwork, maintaining crew lists, etc. ASSOCIATE POST-PRODUCER 1. The Associate Post-Producer credit is granted solely on the decision of the individual receiving the Produced By credit, and is to

the individual receiving the ��85*;)+*��?A�)8+*/:�'4*�58�the Visual Effects Supervisor. 2. The Visual Effects Producer is responsible for a ,/23C9�</9;'2�+,,+):9�(;*-+:�and schedule across at least two of the three phases of a 35:/54�6/):;8+C9�68+-production, production, and post-production process. VISUAL E F F ECTS CO-PRODUCER 1. The Visual Effects Co-Producer reports directly to the Visual Effects Supervisor and/or the Visual Effects Producer. 2. The Visual Effects Producer is responsible for overseeing several Visual Effects Coordinators and/or assuming many of the day-to-day tasks of the Visual Effects Producer. VISUAL E F F ECTS COORDINATOR 1. The Visual Effects Coordinator reports directly to the Visual Effects Co-Producer. 2. The Visual Effects Coordinator is responsible for facilitating visual effects functions as assigned by the Visual Effects Co-Producer, which can involve interaction with various production and

1. The Associate Producer credit is granted solely on the decision of the individual receiving the Produced By credit, and is to be granted sparingly and only for those individuals who are delegated significant production functions. 2. The Associate Producer is responsible for performing one or more producing functions delegated to him/her by the individual receiving the Produced By credit and the Co-Producer. This does not include persons whose primary function is as an assistant.

be granted sparingly and only for those individuals who are delegated significant post-production functions. 2. The Associate Producer is responsible for performing one or more producing functions delegated to him/her by the individual receiving the Produced By credit and the Post-Production Supervisor. This does not include persons whose primary function is as an assistant.

post-production departments concerning any and all aspects of the logistics of visual effects.

��>+);:/<+��85*;)+8A�/9�:.+�68/3'8?�)8+*/:�'354-�'22����-sanctioned credits for long-form television programs. The Executive Producer credit is given to the person(s) most completely responsible for the production of a long-form program. Subject to the control of the Owner (see Rules of Arbitration, section I.B), an Executive Producer shall have significant decision-making authority over a majority of the producing functions across the four phases of production. Those phases are: Development; Pre-Production; Production; and Post-Production & Marketing. The following considerations are taken into account in determining Executive Producer credit:

� Within the development process, the Executive Producer typically will conceive of the underlying premise of the production, or select the material. S/he also will select the 6850+):C9�=8/:+8��9+);8+�:.+�4+)+99'8?�8/-.:9�'4d initial financing, and supervise the development process.

� In pre-production, the Executive Producer typically will select the key members of the creative team, including the director, co-producer, cinematographer, unit production manager, production designer, and principal cast. The Executive Producer also will approve the final shooting script, production schedule, locations and budget.

� During production, the Executive Producer will supervise the operations of the producing team, providing continuous and often "on-9+:A�)549;2:':/54�=/:.�:.+�*/8+):58�'4*�5:.+8�key creative personnel. S/he also will approve weekly cost reports, and continue to serve as the primary point of contact for studios, networks and other financial entities.

� For post-production & marketing, the Executive Producer is expected to personally consult with the director and post-production personnel, including the editor, composer, and visual effects staff during the preparation of the first cut to be shown to the studio, network or other financial entity. S/he is expected to consult with the appropriate creative and financial personnel on the final answer print/edited master. S/he usually is involved in a meaningful fashion with the studio, network and foreign distributor concerning the marketing and distribution plans for the long-form program in domestic and foreign markets.

The credit of Executive Producer is only appropriate for those who are responsible for at least a majority of the producing functions performed and decisions made over the span of the four phases of production.

Subject to the control of the Owner, the Executive Producer in Long-Form Television is expected to exercise decision-making authority over a majority of the following specific job functions:

� Conceived of the underlying concept upon which the production is based or involved at its inception.

� Selected the material upon which the production is based and secured necessary rights for development and production of the material.

� Selected the writer(s). � Supervised and oversaw the development process. � Secured the initial financing. � Served as the primary point of contact for the studio and/or financing entity.

� Selected the director and producer and/or co-producer and/or unit production manager. � In consultation with the director, selected the production designer, cinematographer,

editor and visual effects company � Participated in location scouting in consultation with the director. � Supervised the preparation of the preliminary budget and approved and signed the final

budget in consultation with the Co-Producer and UPM. � Creatively involved in the final shooting script in consultation with the director and the

writer(s) and approved and signed the final shooting script.

� Approved final shooting schedule in consultation with the director, producer, co-producer and UPM.

� Exercised final approval of the deals for the principal components of the production. � Supervised the producing team. � Provided ongoing in-person consultation with the director and principal cast � In collaboration with the director, provided in-person consultation with the production

designer, art dept, wardrobe, make-up and hair. � Approved the weekly cost report.

� Selected the composer in consultation with the director, and participated in-person with the composer and the director in the scoring process

� Consulted with the director and the editor during the preparation of the first cut shown to the studio/financial entity.

� Provided in-person consultation with the editor along with the director, the studio or financial entity, and participated on the final cut of the motion picture.

� Selected the music supervisor in consultation with the director, and participated in-person during the music recording sessions.

� Provided in-person consultation with the director on the re-recording stage. � Provided in-person consultation with the director on the titles and opticals. � Provided in-person consultation with the cinematographer, the director, the studio and/or

financing entity on the answer print or edited master. � Consulted on the media plan and materials, and the marketing and distribution plans for

the motion picture. � Consulted on the plans for exploitation of the motion picture in ancillary and foreign

markets.

1. The Executive Producer credit shall be in the primary credit position among all PGA-sanctioned credits for television long-form programs.

2. Subject to the control of the Owner (see Rules of Arbitration, section I.B), the individual receiving credit of Executive Producer shall have final responsibility for all business and creative aspects of the production of the long-form television program, with direct participation in making decisions concerning a majority of the producing functions (see PCOC Section 2 for comprehensive list).

1. The credit of Co-Executive Producer is to be grantedÑand even then, only in rare or unusual circumstancesÑto an individual who reports directly to and works directly with the Executive Producer in a decision-making capacity, assuming direct supervisory responsibilities for a significant majority of the producing functions (see Section 2 for comprehensive list), encompassing both above and below the line operations.

2. The Co-Executive Producer reports directly and immediately to the Executive Producer.

1. The Supervising Producer reports directly to the Executive Producer and/or Co-Exec. Producer.

2. The credit of Supervising Producer is granted solely - and only in rare or unusual circumstances - at the discretion of the Executive Producer.

3. The credit of Supervising Producer shall apply only to a primary creative contributor to the program who performs, in a decision-making capacity, a substantial number of producing functions.

1. The credit of Producer is to be granted to the individual who reports directly to and works directly with the Executive Producer in a decision making capacity on a significant majority of the producing functions producing functions (see Section 2 for comprehensive list).

2. The Producer has the primary responsibility for ensuring that the creative vision of the Executive Producer and Director are faithfully executed within the approved budgetary parameters; and/or

3. The Producer will have secured the underlying rights to the literary property on which the long-form program is based, or made a significant contribution to the development thereof, or else will have secured an essential and proportionately significant part of the financing for the long-form program.

1. !.+�)8+*/:�5,���85*;)+*�(?A�/9�:5�(+�-8'4:+*�:5�:.+�/4*/</*;'2�=.5�8+658:9�*/8+):2?�:5�the person(s) receiving Executive Producer or Producer credit on the long-form program.

2. The Visual Effects Producer reports directly to the person(s) receiving Produced By credit.

3. !.+���85*;)+*�(?A�/9�:.+�9/4-2+�/4*/</*;'2�=.5�.'9�:.+�68/3'8?�8+96549/(/2/:y for the logistics of the production, from pre-production through completion of production; all �+6'8:3+4:��+'*9�8+658:�*/8+):2?�:5�:.+���85*;)+*�(?A�

1. A credit of Visual Effects Producer only applies to a long-form program if it contains significant visual effects of substantial cost and duration.

2. The Visual Effects Producer reports directly to the person(s) receiving Executive Producer credit.

3. The Visual Effects Producer has responsibility for the creative and business aspects of the long-form program in collaboration with the visual effects supervisor, director and the Executive Producer.

1. The Associate Producer credit is granted solely on the decision of the Executive Producer, and is to be granted sparingly and only for those individuals who are delegated significant producing functions.

2. The Associate Producer is responsible for performing one or more functions delegated to him/her by the Executive Producer, Co-Executive Producer, Supervising Producer, �85*;)+8����85*;)+*�(?A��58�:.+��85*;):/54��'4'-+8��

PR O DU C T I O N

PRODUCTION SUPERVISOR/MANAGER

1. The Production Supervisor/Manager reports directly and immediately to the person performing the ��85*;)+*�(?A��/4+��85*;)+8�58�UPM functions.

2. The Production Supervisor/Manager has the primary responsibility for the logistics of the production of the motion picture, from pre-production through the completion of production.

POST PR O DU C T I O N

POST PRODUCTION SUPERVISOR

1. The Post Production Supervisor reports directly to the "Produced (?A��/4+��85*;)+8�

2. The Post Production Supervisor is responsible for the coordination and oversight of the entire post production process, but not primarily as a production company executive.

POST PRODUCTION COORDINATOR

1. The Post Production Coordinator

PRODUCTION COORDINATOR:

1. The Production Coordinator reports to the person(s) receiving the "Produced (?A��/4+��85*;)+8�)8+*/:��58�:.+�Production Supervisor/Manager or UPM.

2. The Coordinator interacts with various studio and production departments concerning any and all logistics of production and is responsible for facilitating production requirements including, but not limited to, equipment contracts, purchase orders, film inventory, insurance, day player contracts, crew deal memos, travel and shipping, call sheets, production reports, cast and crew lists, and compliance with various union report requirements.

reports directly to the Post Production Supervisor.

2. The Coordinator is responsible for facilitating post production functions as assigned by the Post Supervisor, which can involve interaction with various studio and post production departments concerning any and all aspects of the logistics of post production, such as working with the vendors, helping prepare day player contracts and crew deal memos, scheduling ADR, making travel arrangements, distributing paperwork, maintaining crew lists, etc.

The Executive Producer credit in television series is given to the individual(s) whose only reporting responsibility is to the studio and/or companies financing and distributing a television series. Subject to the control of the Owner (see Rules of Arbitration, section I.B), the Executive Producer has final responsibility for the creative and business aspects of producing the series. S/he will have direct authority over a majority of the producing functions throughout all phases 5,�:.+�9+8/+9�685*;):/54��!.+�/4,583'2�:/:2+�� .5=��;44+8A�.'9�,8+7;+4:2?�)53+�:5�9+8<+�'9�shor:.'4*�,58�'�9+8/+9C��>+);:/<+��85*;)+8� Though television series are frequently writer-driven, the Executive Producer must undertake significant production responsibilities in addition to his/her writing services and responsibilities. Frequently, the Executive Producer is responsible for the creation of the series, including its concept, format and characters. In this special circumstance, the PGA gives considerable weight to such a seminal contribution, and supports the Executive Producer credit for such creators who remain engaged with the series in an ongoing supervisory capacity. Over the course of production, the Executive Producer is expected to serve as the primary point of contact with the network, studio, and/or production company regarding the development,

production, post-production and marketing of the series. During development of the pilot and/or series, the Executive Producer will supervise or participate in story or script meetings, approve all storylines, and supervise the creation of the s+8/+9��(/(2+�A�!.+��>+);:/<+��85*;)+8�=/22�9+2+):�or approve the hiring of all series directors, as well as the casting of all series regulars, providing in-person consultation with such personnel. S/he will similarly select or approve of the hiring of key members of the producing team, such as the production manager, director of photography, and composer. The Executive Producer must supervise or approve the series budget and production schedule. Within post-production/marketing phase, the Executive Producer will continue to consult with the network, studio and/or production company regarding such delivery requirement issues as final cuts, air dates, and standards & practices. S/he will typically select and/or approve the choice of post-production facilities and editors, providing in-person consultation with them. The Executive Producer should view and provide consultation on the dailies, and should view and appraise all cuts shown to the network or distributor. S/he will approve the final cut of each episode (including the main title sequence), and is typically consulted regarding publicity and promotional campaigns.

Subject to the control of the Owner, the Executive Producer in Television Series is expected to exercise decision-making authority over a majority of the following specific job functions:

� Consulted with the network, studio and/or production company regarding the development of the series.

� Negotiated the network license fees or any additional financing required to produce the series.

� �54)+/<+*�5,�'4*�58�9;6+8</9+*�:.+�)8+':/54�5,�:.+�9+8/+9��(/(2+�A � Selected and/or approved all Department Heads (e.g., Casting, Production Design, Post-

Production) and provided ongoing in-person consultation with them. � Supervised or partici6':+*�/4�9:58?�58�9)8/6:�3++:/4-9��'4*�'6685<+*�'22��/4�.5;9+A�

generated story outlines and scripts. � ;6+8</9+*�58�6'8:/)/6':+*�/4�,8++2'4)+�9:58?��6/:).�3++:/4-9A�'4*�9+2+):+*�'4*�58�

approved freelance script assignments, including approval of all freelance episodic writing deals.

� ;6+8</9+*�'4*�'6685<+*�'22�,/4'2��9.55:/4-�9)8/6:9�A � Supervised and participated in all department pre-production meetings. � Served as the primary point-of-contact for the network, studio and production company

entities for creat/<+�'4*��:54+A�/99;+9� � Selected and/or approved the hiring of all episodic directors and provided in person

consultation with them. � Selected and/or approved the casting or recasting of series regulars with the network,

production company and studio.

� Served as the primary point-of-contact for the network, studio, and production company entities for business and financial issues including license fee requirements, network breakage issues, etc.

� Negotiated the contracts for, and approved the actors hired on an episodic basis. � Provided in-person consultation with the principal cast. � Selected and/or approved the hiring of the unit production manager, director of

photography, visual and mechanical effects team and composer and provided ongoing, in-person consultation with them.

� Approved all set designs and set dressing for sets created and built for the ongoing series. � Selected and approved all members of the producing team, and supervised and

participated in the episodic production meetings. � Approved the choice of format (35mm, Super 35mm, 16mm, video, Hi-Def) and

rawstock. � Supervised and/or approved the preparation of the series amortization and pattern

budgets. � �6685<+*�:.+�9+8/+9C�5<+8'22�685*;):/54�9).+*;2+��/4)2;*/4-�9:'8:�*':+9��./':;9�9chedules,

shutdown days, etc. � Approved, first hand, the choice of stage and production sites when filming locally.

� Selected and/or approved the hiring of the editors and provided ongoing, in-person consultation with them.

� Served as the primary point of contact for the network, studio, and production company entities for delivery requirement issues including final cuts, air dates, show timings, and standards and practices.

� Selected and/or approved choice of post-production related facilities including lab, telecine house, etc.

� #/+=+*�:.+��*'/2/+9A�'4*�685</*+*�/4-person consultation with the director, post production supervisor & editor.

� Viewed and appraised the first cut shown to the network. � Participated in-person in the attainment and approval of the final cut of each episode. � ;6+8</9+*�'4*�58�'6685<+*�:.+��965::/4-A�5,�3;9/)�'4*�95;4*�+,,+):9� � �6685<+*�:.+�,/4'2��*;(A�5,�+').�+6/95*+� � Supervised and/or approved the main title sequence. � Provided ongoing and in-person consultation on the publicity and promotional

campaigns. � ;6+8</9+*�'4*�58�'6685<+*�:.+�9+8/+9��-'22+8?�9.55:9�A

1. The credit of Executive Producer is to be granted to the individual whose only reporting responsibility is to the entities financing and distributing the series.

2. Subject to the control of the Owner (see Rules of Arbitration, section I.B), the Executive Producer has final responsibility for the creative and business aspects of the production of the series, with direct participation in making decisions concerning a majority of the producing functions (see Section 3 for comprehensive list).

1. The Co-Executive Producer reports directly and immediately to the Executive Producer, from whom the Co-Executive Producer assumes direct supervisory responsibilities for above and below the line operations.

2. The credit of Co-Executive Producer is granted solely at the discretion of the Executive Producer (previous producing credits are not required).

3. The credit of Co-Executive Producer shall apply only to primary creative contributors to the series that qualify under one of three categories:

1. If performing services as a writer on the series, the contributor also must perform, in a decision-making capacity, a preponderance of the producing functions listed in PCOC Section 3; OR

2. If performing services as a director on the series, the contributor also must perform, in a decision-making capacity, a preponderance of the producing functions listed in PCOC Section 3; OR

3. �,�6+8,583/4-���85*;)+*��?A�9+8</)+9�54�:.+�9+8/+9��'4*�95�254-�'9�45�5:.+8�pers54�8+)+/<+9�:.+���85*;)+*��?A�)8+*/:�54�:.+�9+8/+9��:.+�)54:8/(;:58�3;9:�perform, in a decision-making capacity, a majority of the producing functions described in PCOC Section 3.

1. The Supervising Producer reports directly to the Exec. Producer and/or Co-Exec. Producer.

2. The credit of Supervising Producer is granted solely at the discretion of the Exec. Producer.

3. The credit of Supervising Producer shall apply only to primary creative contributors to the series that perform, in a decision-making capacity, a substantial number of producing functions.

4. The credit of Supervising Producer only shall apply to primary creative contributors to the series that qualify under one of three categories:

1. Having received the credit of Writer-Producer for no less than two full seasons of this or other series episodes that have been nationally telecast; OR

2. Having received the credit 5,��85*;)+8�58���85*;)+*��?A�,58�45�2+99�:.'4�:=5�,;22�seasons of this or other series episodes that have been nationally telecast; OR

3. As a director who has responsibility for supervising all episodic directors on the series.

1. The individual receiving the Produced By credit reports directly and immediately to the Executive Producer.

2. There never shall be more than one Produced By credit on any episode of a series. 3. The individual receiving the Produced By credit has the primary responsibility for the

logistics of the production of the series, from pre-production through delivery of each episode; all Department Heads report directly to the Produced By.

4. If the individual who performs the Produced By functions is granted the title of Co-Executive Producer, there shall be no Produced By credit afforded on the series.

1. The Producer/Co-Producer reports directly to the Supervising Producer. 2. The credit of Producer/Co-Producer is granted solely at the discretion of the Exec.

Producer. 3. The credit of Producer/Co-Producer shall apply only to primary creative contributors to

the series that perform, in a decision-making capacity, a substantial number of producing functions.

PR O DU C T I O N PRODUCTION SUPERVISOR/MANAGER 1. The Production Supervisor/Manager reports directly and immediately to the person performing the "Produced (?A�,;4):/549� 2. The Production Supervisor/Manager is responsible for the coordination and oversight of the production units assigned to him/her by the Produced By, including all off-set logistics, day-to-day production implementation, locations, facilities, equipment, budget, schedules and personnel.

POST PR O DU C T I O N CO-PRODUCER 1. The credit of Co-Producer/Associate Producer is to be granted to one to one individual who reports to the person who performs the produced By functions on the series. 2. The Co-Producer/Associate Producer has responsibility for the creative and business aspects of the post production of the series, with direct participation in making decisions concerning post production. POST PRODUCTION SUPERVISOR 1. The Post Production Supervisor reports directly to the Post Producer.

ASSOCIATE PRODUCER 1. The Associate Producer credit is granted solely on the decision of the Executive Producer, and is to be granted sparingly and only for those individuals who are delegated significant producing functions. 2. The Associate Producer is responsible for performing one or more functions delegated to him/her by the individual receiving the Produced By credit and the Production Manager or Co-Producer.

PRODUCTION COORDINATOR:

1. The Production Coordinator reports to the person(s) receiving :.+���85*;)+*�(?A��/4+��85*;)+8�credit, or the Production Supervisor/Manager or UPM.

2. The Coordinator interacts with various studio and production departments concerning any and all logistics of production and is responsible for facilitating production requirements including, but not limited to, equipment contracts, purchase orders, film inventory, insurance, day player contracts, crew deal memos, travel and shipping, call sheets, production reports, cast and crew lists, and compliance with various union report requirements.

2. The Post Production Supervisor is responsible for the coordination and oversight of the post production process, but not primarily as a production company executive.

POST PRODUCTION COORDINATOR

1. The Post Production Coordinator reports directly to the Post Production Supervisor and/or the Post Producer.

2. The Coordinator is responsible for facilitating post production functions as assigned by the Post Supervisor, which can involve interaction with various studio and post production departments concerning any and all aspects of the logistics of post production, such as working with the vendors, helping prepare day player contracts and crew deal memos, scheduling ADR, making travel arrangements, distributing paperwork, maintaining crew lists, etc.

1. The credit of Executive Producer is to be granted to the individual whose only reporting responsibility is to the entities financing and distributing the series.

2. Subject to the control of the Owner (see Rules of Arbitration, section I.B), the Executive Producer has final responsibility for the creative and business aspects of the production of the series, with direct participation in making decisions concerning a majority of the producing functions.

1. The Co-Executive Producer reports directly and immediately to the Executive Producer, from whom the Co-Executive Producer assumes direct supervisory responsibilities for above and below the line operations.

2. The credit of Co-Executive Producer is granted solely at the discretion of the Executive Producer (previous producing credits are not required).

3. The credit of Co-Executive Producer shall apply only to primary creative contributors to the series that qualify under one of three categories:

1. If performing services as a writer on the series, the contributor also must perform, in a decision-making capacity, a preponderance of the producing functions listed in PCOC Section 3; OR

2. If performing services as a director on the series, the contributor also must perform, in a decision-making capacity, a preponderance of the producing functions listed in PCOC Section 3; OR

3. �,�6+8,583/4-���85*;)+*��?A�9+8</)+9�54�:.+�9+8/+9��'4*�95�254-�'9�45�5:.+8�6+8954�8+)+/<+9�:.+���85*;)+*��?A�)8+*/:�54�:.+�9+8/+9��:.+�)54:8/(;:58�3;9:�perform, in a decision-making capacity, a majority of the producing functions described in PCOC Section 3.

1. The Supervising Producer reports directly to the Exec. Producer and/or Co-Exec. Producer.

2. The credit of Supervising Producer is granted solely at the discretion of the Exec. Producer.

3. The credit of Supervising Producer shall apply only to primary creative contributors to the series that perform, in a decision-making capacity, a substantial number of producing functions.

4. The credit of Supervising Producer only shall apply to primary creative contributors to the series that qualify under one of three categories:

1. Having received the credit of Writer-Producer for no less than two full seasons of this or other series episodes that have been nationally telecast; OR

2. �'</4-�8+)+/<+*�:.+�)8+*/:�5,��85*;)+8�58���85*;)+*��?A�,58�45�2+99�:.'4�:=5�,;22�seasons of this or other series episodes that have been nationally telecast; OR

3. As a director who has responsibility for supervising all episodic directors on the series.

1. The individual receiving the Produced By credit reports directly and immediately to the Executive Producer.

2. There never shall be more than one Produced By credit on any episode of a series. 3. The individual receiving the Produced By credit has the primary responsibility for the

logistics of the production of the series, from pre-production through delivery of each episode; all Department Heads report directly to the Produced By.

4. If the individual who performs the Produced By functions is granted the title of Co-Executive Producer, there shall be no Produced By credit afforded on the series.

PR O DU C T I O N PRODUCTION SUPERVISOR/MANAGER 1. The Production Supervisor/Manager reports directly to the person performing the Produced By functions. 2. The Production Supervisor/Manager is responsible for the coordination and oversight of the production units assigned to him/her by the Produced By, including all off-set logistics, day-to-day production implementation, locations, facilities, equipment, budget, schedules and personnel.

PRODUCER, CO-PRODUCER or SHOW PRODUCER

1. The Producer, Co-Producer, or Show Producer reports directly to

POST PR O DU C T I O N POST PRODUCER 1. The credit of Post Producer is to be granted to one individual who reports to the person who performs the Produced By functions on the series. 2. The Post Producer has responsibility for the creative and business aspects of the post production of the series, with a direct participation in making decisions concerning post production.

POST PRODUCTION SUPERVISOR

1. The Post Production Supervisor reports directly to the Post Producer.

2. The Post Production Supervisor is responsible for the coordination and oversight of the post production process, but not primarily as a production company executive.

the Executive Producer or Supervising Producer.

2. The Producer, Co-Producer or Show Producer is responsible for the preparation and production of a single complete episode of a series.

SEGMENT or F IELD PRODUCER

1. A Segment or Field Producer reports directly to the Executive Producer or Supervising Producer.

2. A Segment or Field Producer is responsible for producing one or more individual segments of a multi-segment production, also containing individual segments produced by others.

ASSOCIATE PRODUCER*

1. Reports directly to the Producer, Co-Producer, Show Producer, Segment Producer or Field Producer.

2. An Associate Producer is responsible for assisting the Producer, Show Producer, Segment Producer or Field Producer by performing those producing functions assigned to them. This does not include positions whose primary function is research or talent booking.

* May also be given the title of Associate Segment Producer or Associate Field Producer.

POST PRODUCTION COORDINATOR

1. The Post Production Coordinator reports directly to the Post Production Supervisor and/or the Post Producer.

2. The Coordinator is responsible for facilitating post production functions as assigned by the Post Supervisor, which can involve interaction with various studio and post production departments concerning any and all aspects of the logistics of post production, such as working with the vendors, helping prepare day player contracts and crew deal memos, scheduling ADR, making travel arrangements, distributing paperwork, maintaining crew lists, etc.

PRODUCTION COORDINATOR

1. The Production Coordinator reports directly to the Executive Producer, the individual receiving the Produced By credit, and/or the Production Manager or Co-Producer.

2. The Production Coordinator interacts with various studio and production departments concerning any and all logistics of production and is responsible for facilitating production requirements including, but not limited to, equipment contracts, purchase orders, film inventory, insurance, day player contracts, crew deal memos, travel and shipping, call sheets, production reports, cast and crew lists, and compliance with various union report requirements.

I. SCOPE OF THESE RULES

A. Rules Applicable to PGA Arbitrations These Rules shall govern any dispute submitted to arbitration by parties (defined below) who agree in writing to provide for arbitration by the Producers Guild of America. These Rules and any amendment of them shall apply in the form existing at the time the Producers Gu/2*�5,��3+8/)'��A���A��9+4*9�:.+��5:/,/)':/54�5,��8(/:8':/54��9++�9+):/54��������below).

B. Resolution of Disputes Concerning Credits These Rules set forth an economical '4*�+>6+*/:/5;9�685)+*;8+�(?�=./).�'4�5=4+8�58�685*;)+8��A�+:/:/54+8A��5,�'�theatrical 35:/54�6/):;8+�58�:+2+</9/54�685-8'3��A685*;):/54A��3'?�6+:/:/54�:.+�PGA for review of the producing credits for the purpose of determining whether 58�45:�:.+�685*;):/54C9�685659+*�)8+*/:9�*+</':+�,853�:.+����C9� '4):/54+*�Credits (defined below), and so as to avoid deceptive advertising or attribution 68'):/)+9����=4+8A�3+'49�:.+�5=4+8�5,�:.+�)56?8/-.:��685*;):/54�)536'4?��studio, distributor or other entity having the authority to designate the credits

appearing on the production. The PGA makes this process available to any producer or Owner, regardless of her/his membership in or professional affiliation =/:.�:.+�������������8(/:8':58��*+,/4+*�(+25=��=/22�542?�'2:+8�:.+��=4+8C9�proposed credits through a determination that the Owner has made an erroneous 58�*+)+6:/<+�;9+�5,�:.+����C9� '4):/54+*��8+*/:9�/4�2/-.:�5,�:.+�685*;)/4-�functions actually performed. Based on such determination, the PGA Arbitrator (defined below) is empowered to award the proper producing credits. The jurisdiction of the arbitrator is limited exclusively to the PGA Sanctioned Credits. The determination of the PGA Arbitrator shall be binding on the Petitioner, Owner and all the parties with whom Owner has a contractual relationship related to the production, subject only to the appellate procedures described in Article IV below.

C. PGA Sanctioned Credits Only the following producing credits shall be subject to '8(/:8':/54�6;89;'4:�:5�:.+9+��;2+9�������"�����&A�,58�:.+':8/)'2�35:/54�6/):;8+9�'4*���%��"!�#������"���A�,58�:+2+</9/54�685-8'ms (referred to as ����� '4):/54+*��8+*/:9A��

D. Credit Position In accordance with current industry practice, the primary producer credit shall occupy no less than third position within the credit roll, subordinate only to the credits of the director(s) and writer(s), respectively.

II. PROCEDURES FOR PREPARING FOR ARBITRATION

A. The Parties to the Arbitration A PGA arbitration may be initiated by either of two parties:

1. ���85*;)+8��A�85*;)+8-�+:/:/54+8A��3'?�*+3'4*�'8(/:8':/54�/,�9�.+�rendered producing services on a production and is contractually entitled to receive a PGA sanctioned credit on that production.

2. �4��=4+8��58�'4��=4+8C9�';:.58/@+*�+>+);:/<+�58�5,,/)+8��3'?�*+3'4*�arbitration in any circumstance involving PGA Sanctioned Credits on a production, or to preclude the possibility of legal action due to deceptive )8+*/:�'::8/(;:/54��A�=4+8-�+:/:/54+8A��

B. The Arbitration Petition To commence an arbitration, the Owner-Petitioner or Producer-Petitioner must submit an arbitration petition and other required documentation to the PGA (to the attention of the PGA Administrator) at 8530 $/29./8+��5;2+<'8*�� ;/:+�� ���+<+82?��/229���'2/,584/'�����A�8(/:8':/54��+:/:/54A���!.+��8(/:8':/54��+:/:/54�9.'22�685</*+�:.+�,5225=/4-��

1. the name and address of the Owner, including the telephone and fax 4;3(+89�5,�:.+��=4+8C9�'668568/':+�)54:'):�6+89549�

2. :.+��=4+8C9�9;--+9:+*�2/9:�5,�:.+����� '4):/54+*��8+*/:9�54�:.+�production (if available);

3. the names, phone and fax numbers, and email addresses for relevant parties to the arbitration, along with other primary participants on the production (e.g., writer(s), director(s), post production supervisor(s), and the key production executive and business affairs executive in charge of the production);

4. '�8+'954'(2+�9'362/4-�5,�:.+�*'/2?��)'22�9.++:9A�'4*��685*;):/54�8+658:9A�issued during the production; and

5. �+:/:/54+8C9�9;--+9:+*�).'4-+9�:5�:.+��=4+8C9�2/9:�5,�:.+����� '4):/54+*�Credits.

C. Productions Eligible for Arbitration Productions eligible for review shall include English language motion pictures and television programs intended for exploitation in the United States of America and where the Owner concerned has an established place of business within the United States. This arbitration process is not available for review of non-English-language productions or other foreign productions not having a United States distributor. The medium and genre in which the production is initially released in the United States shall determine which PGA Sanctioned Credits apply to the production.

D. Timeliness The Petitioner must submit the Arbitration Petition sufficiently in advance of the completion of the final answer print and duplicating materials, so that any proposed revision to the producing credits may be included in the production (and all marketing and publicity materials). The PGA will not accept an arbitration submitted after the completion and delivery of the production, unless such review is agreed to by the Owner or mandated by legal authority.

E. The PGA Administrator The PGA shall designate a representative to act as the ������*3/4/9:8':58�A�!.+������*3/4/9:8':58�9.'22�6+8,583�'22�'):9�'4*�)'88?�out all responsibilities set forth in these Rules for the PGA and all other acts reasonably required for the efficient administration of these arbitration procedures.

F. Mediated Resolution After receipt of the Arbitration Petition and supporting documentation, if the PGA Administrator determines that a mediated resolution is readily available, the PGA Administrator may contact the parties with a recommendation and thus avoid a formal arbitration. If all parties agree in writing :5�:.+������*3/4/9:8':58C9�3+*/':+*�8+952;:/54��/:�9.'22�(+�,/4'2�'4*�(/4*/4-�54�all parties, and have the same legal significance as an Arbitration Award (defined below).

G. Notification of Arbitration The PGA shall notify the Owner, the Petitioners and all producers designated by either the Owners or Petitioners as having entitlement :5�'����� '4):/54+*��8+*/:��5,�'�6+4*/4-�'8(/:8':/54��ANotification of �8(/:8':/54A��'4*�/4)2;*+�:.+��8(/:8':589��/9:��*+9)8/(+*�(+25=����:�58�'(5;:�:.+�same time, the PGA shall do the following: (i) request that all producers

designated by the Petitioner complete and return in an expedited fashion their own full statements concerning the actual services they performed on the production (the PGA has Qualification Forms to aid them in this process); (ii) request that the Owner provide a brief explanation for the type and order of credits assigned, ideally with reference to job functions performed, as well as provide the names, phone and fax numbers, and email addresses for all those persons with whom the Owner, its assignor, assignee or licensee, had contracted for PGA Sanctioned Credits on the production; and (iii) contact and send by email or fax Third Party Verification Forms (pre-printed and available at the PGA) to various participants involved with the production. Petitioner and other contractual parties consent to, and will not interfere with, the PGA contacting such third parties to obtain information and evidence for the arbitration process.

H. Selection of an Arbitrator

1. The PGA Administrator shall submit to all parties a list (ÒArbitrators ListÓ) of potential Arbitrators. The Arbitrators List shall be composed of established producers with substantial experience, with each individual possessing no fewer than two (2) PGA Sanctioned Credits in the medium or genre of the production under consideration.

2. Each party participating in an arbitration proceeding pursuant to these Rules shall have the right to strike named producers from the List provided the party has a reasonable and good faith belief that such stricken member(s) might possess prejudice against an individual or production under consideration. This right to strike shall be exercised, if at all, by communication with the PGA Administrator within 48 hours after the Notification of Arbitration was sent to the participating party, including reasoning supporting the request to strike.

3. The PGA Administrator shall select, from the eligible individuals on the Arbitrators List, no fewer than two (2) or more than three (3) producers who shall function with the authority of the PGA as the designated Arbitration Panel (the ÒPanelÓ) for the production in question. Each Panel shall be advised by the PGA Administrator as to proper procedures; however, substantive decisions shall be determined exclusively by the Panel. In order to prevent coercion or the exercise of undue influence on the Panel by outside interests, the identities of the selected Arbitrators shall be maintained in strict confidence.

4. Any Arbitrator considered for service on an Arbitration under these Rules shall recuse her/himself in advance of service if either said Arbitrator or the ArbitratorÕs immediate family, business associates or other personal affiliates have a financial or any other significant interest in the award or allocation of credit in the particular production being arbitrated, in the production itself, or represent another third party which has any direct interest in the outcome of the Arbitration. In the event of such recusal, the

PGA Administrator shall select another Arbitrator from the Arbitrators List.

5. In the event that the production in question is a film or long-form television production for which the director seeks credit as a producer, the PGA Administrator will use his/her best efforts to include at least one producer-director as an Arbitrator.

III. PROCEDURES FOR CONDUCTING AN ARBITRATION

A. Submission of Information to the Arbitrator The Arbitrator shall review the documentation supplied by the PGA Administrator and may, at its discretion, request additional information, including requests directed to any of the participants or to third parties involved with the production. Additionally, the Petitioner and Owner may submit statements and further documentation in support of their positions, to the PGA Administrator within 48 hours after �5:/,/)':/54�5,��8(/:8':/54�='9�9+4:��!.+�6'8:/+9�'8+�+4)5;8'-+*�:5�;9+�:.+����C9�Qualification Forms (covering motion pictures, long-form television, and television pilots and series), which provide helpful checklists and open-ended questions that enable a participant to fully recount their involvement and services rendered on the production. Memoranda, correspondence, or statements from /4*/</*;'29�/4<52<+*�/4�:.+�685*;):/54�'::+9:/4-�:5�'4�/4*/</*;'2C9�'):/<+�*/9).'8-+�5,�685*;)/4-�8+96549/(/2/:/+9�=/22�(+�359:�;9+,;2�/4�:.+��8(/:8':58C9�*+2/(+8':/549��Any information provided by third-party respondents shall be maintained by the PGA and delivered to the Arbitrator in confidence and not disclosed to any other third parties except as necessary to further the specific credit determination being arbitrated.

B. The Arbitration The PGA Administrator shall determine a time and location to conduct the arbitration, with due consideration given to expedite the arbitration process to meet timely delivery requirements for the production. The Arbitrator reserves the right to call or sequester third party witnesses if the Arbitrator feels there is a compelling reason to do so.

1. Consideration of Evidence and Standards. The Arbitrator shall consider all information supplied, giving such weight to the evidence as the Arbitrator may determine. In all arbitrations brought by a Producer-Petitioner, the burden of proof rests with the Producer-Petitioner to overcome the 68+9;36:/54�:.':�:.+��=4+8C9�)8+*/:�*+9/-4':/54�/9�'668568/':+�(?�establishing either her or his qualification for a PGA Sanctioned Credit or the */97;'2/,/)':/54�5,�'45:.+8�6'8:?C9����� '4):/54+*��8+*/:���4�'**/:/54�:5�)549/*+8/4-�:.+�*+,/4/:/549�'4*�05(�,;4):/549�685</*+*�,58�:.+����C9�Sanctioned Credits, the Arbitrator shall consider the provisions of this section III.B.(1):

a. Controlling producing credits by definition, not numerical limitation. Although these Rules are promulgated to curtail the

proliferation of producing credits, these Rules do not set any specific numerical limitations on PGA Sanctioned Credits.

b. Performing services in capacities other than producing. Creative contributors to a production whose traditional job duties overlap with the producing functions listed for a PGA Sanctioned Credit are not entitled to a PGA Sanctioned Credit as a matter of course. Such creative contributors who seek PGA Sanctioned Credit must meet the same standards of eligibility for PGA Sanctioned Credit as a producer: Subject only to the control of the Owner, the responsibility (in a decision-making capacity) for a majority of the producing functions appropriate to the credit sought. In addition, the following criteria must be applied to the respective contributors to determine eligibility for PGA Sanctioned Credit:

i. Writer: Contributions to the story or script are considered to be duties discharged as a writer, and are not counted :5='8*9�:.+�/4*/</*;'2C9�685*;)/4-�*;:/+9�

ii. Director: Because of the uniquely flexible nature of the producer-director collaboration in the creation of entertainment (particularly theatrical motion pictures and long-form television), many producing functions may also be performed by a director in the course of his/her performing directorial duties. However, this flexibility shall not be taken to entail that every director is therefore also a producer. Due to these unique circumstances, the arbitrator will utilize his/her best judgement in determining whether a director is eligible for producing credit. To receive such eligibility, it is understood that the director must have undertaken significant producing duties over and beyond what s/he would normally perform as a director. Examples of such involvement may include: seminal contributions to the development process; a demonstrated attachment to the production predating the production deal made with the Owner; chief responsibility for all budgetary concerns; securing significant financing; and playing a decisive role in marketing and distribution plans.

iii. Company Executive/Employee: To receive PGA Sanctioned Credit, a company executive/employee �A+>+);:/<+A��3;9:�*+3549:8'te a commitment of time and resources to the production of such significance that such commitment is tantamount to taking a leave of absence from his/her duties as an executive. Certain forms of entertainment production (e.g., animation) allow for sufficient flexibility that an executive may make significant

producorial contributions while still based in his/her office; however, credit eligibility still requires the demonstration of an overwhelming commitment to the production above and beyond duties discharged as an executive.

c. The stages of production��$.+4�)549/*+8/4-�'�6'8:/)/6'4:C9�producing contributions to a production, the Arbitrator will look to :.+�6'8:/)/6'4:C9�/4<52<+3+4:�/4�'�*+)/9/54-making capacity concerning at least a majority of the producing functions during the entire production process. By definition, some producers have more involvement in certain stages of production and less in others. However, when considering an award, the Arbitrator will deliberate on the participation through all stages of production, giving relative weight among the stages as follows: 35% for development, 20% for pre-production, 20% for production, and 25% for post production and marketing. These percentages are /4:+4*+*�'9�-;/*+2/4+9�:5�'99/9:�:.+��8(/:8':58C9�*+liberations and are not intended as an absolute standard for the determination of credit.

d. Television series showrunners. One exception to the weighted consideration above occurs in the case of television series showrunners who guide a successful series in its initial season(s), creating crucial templates for later seasons to follow, then depart the series, ceding showrunner duties to another producer. Such a producer will be deemed eligible for continued "Executive �85*;)+8A�)8+*/:�685</*+*�:.+?�3++:�:.+�,5225=/4-�)8/:+8/'�����They served as showrunner of the series through the completion of /:9�/4/:/'2�9+'954������!.+/8�)54:/4;+*���>+);:/<+��85*;)+8A�)8+*/:�meets with the approval of the series owner; and (3) They continue to provide in-person consultation services on the series.

e. Producers involuntarily removed from production. A further exception to the above conditions occurs in the case of producers who are involuntarily removed from the production process. Such producers shall be eligible for PGA Sanctioned Credit provided :.+?�3++:�'22�5,�:.+�,5225=/4-�)8/:+8/'���� :':;9�'9�:.+�6850+):C9�original producer, having initially obtained the underlying rights to the material and initially developed the original premise; 2) �85(':/<+�+</*+4)+�5,�:.+�/4*/</*;'2C9�/4<52;4:'8?�8+35<'2�,853�the production process (i.e., a producer risks forfeiture of eligibility if s/he chooses not to continue providing services to the production); and 3) That the writers hired by the producer retain any form of writing credit on the finished project, demonstrating :.+�9+3/4'2�/36'):�5,�:.+�58/-/4'2�685*;)+8C9�*+<+2563+4:�=581�

f. Producers working to the detriment of production. A further exception to the percentages given above occurs in the instance of credited producers who hinder the production through their unwelcome intrusion into aspects of the process outside of their appropriate sphere. Should the Committee determine that a producer has engaged in such detrimental behavior, it may, at its discretion, choose to deny eligibility to that producer despite his/her having otherwise met the standard of responsibility for a majority of the producing functions.

2. The Arbitration Award. Following the consideration of all relevant information and applicable guidelines, the Arbitrator shall make his/her final determination of the proper PGA Sanctioned Credits. The Arbitration Award shall be signed by the PGA Arbitrator and briefly state the reasons on which the Arbitration Award is based. The PGA shall notify (by telephone, email, certified post or fax) the Owner and Petitioner, as well as any other participant(s) whose producing credit(s) are modified from the �=4+8C9�/4/:/'2�*+9/-4':/54��5,�/:9��='8*�/4�'4�+>6+*/:+*�,'9./54��!.+�Arbitration Award shall be final and binding, and enforceable in any court having competent jurisdiction.

IV. APPEAL OF AN ARBITRATION

A. Grounds for an Appeal The Owner, the Petitioner or any party whose PGA Sanctioned Credit was changed by the Arbitrator from the Owne8C9�58/-/4'2�)8+*/:�*+9/-4':/54��3'?�8+7;+9:�'4�'66+'2�5,�:.+��8(/:8':58C9�*+)/9/54�� ;).�8+7;+9:9�must be in writing and filed with the PGA Administrator within 48 hours of the '66+22'4:C9�8+)+/6:�5,�45:/)+�5,�:.+��8(/:8':/54��='8*�(?�,'>��659:�58�+3'/2��The '66+22'4:C9�8+7;+9:�3;9:�9:':+�:.+�-85;4*9�5,�:.+�'66+'2�/4�8+'954'(2+�*+:'/2��!.+�only grounds for appeal are: (i) dereliction of duty on the part of the Arbitrator; (ii) exercise of undue influence on the Arbitrator; or (iii) availability of relevant and probative evidence, for valid reasons not previously available to the Arbitrator.

B. Procedure for an Appeal

1. The appeal shall be presented to the PGA Administrator, along with sufficient documentation to support the appeal and the Appellate Fee (described below), presented in a very timely manner.

2. �4��8(/:8':58�,58�:.+�'66+'2��A�66+22':+��8(/:8':58A��9.'22�(+�'665/4:+*�(?�the PGA Administrator from the previously approved Arbitrators List.

3. The Appellate Arbitrator shall review the documentation supplied by the appellant to the PGA Administrator along with the Arbitration Award. The Appellate Arbitrator shall determine whether or not, in the course of the Arbitration, grounds for an appeal have been met.

C. An Appellate Decision If the Appellate Arbitrator finds that the grounds for the appeal are sufficiently compelling, the appellate Arbitrator may reconsider the record of the Arbitration and make its final determination of the proper PGA Sanctioned Credits. The appellate decision shall be signed by the Appellate Arbitrator and shall briefly state the grounds for the original decision to grant the appeal and the reasons on which the appellate decision is based.

V. WAIVER OF CLAIMS

The PGA, the PGA Administrator, and any and all Arbitrators engaged pursuant to these Rules, including their agents, employees, and representatives, have elected to maintain and administer these Rules as a service to the entertainment community for the purpose of fostering the expeditious, private resolution of disputes involving producing credits and preventing deceptive advertising or promotional practices stemming from the misattribution of producing credits. Inasmuch as the involvement of all such parties is for such public purpose, it is in the public interest to avoid involving any such parties in disputes or claims concerning their conduct relating to arbitrations hereunder, since such disputes or claims would be likely to have a negative impact on the desire of parties to act in such public service capacities. Accordingly, subject to the applicable provisions of California law, all parties to each arbitration brought under these Rules acknowledge, consent and agree that the PGA, the Arbitrators hereunder, and the officers, employees, directors and agents of each of the foregoing, including the PGA Administrator and Arbitrator utilized under these Rules, shall not be liable in damages in any way to any party in connection with any arbitration brought or conducted under these Rules; and by accepting arbitration under these Rules, all parties hereby expressly and impliedly waive any and all claims or actions for money or other damages they may have now or at any time in the future against each and all of the foregoing parties relating to or in connection with arbitrations brought or responded to under these Rules; except that this paragraph shall not be deemed to include a waiver of a good faith claim which any party may have that an Arbitrator (i) shall have failed to promptly disclose to the parties such �8(/:8':58C9�145=/ng conflict of interest in a proceeding before such Arbitrator; and also (ii) acted in bad faith in making an Award under these Rules. All PGA Arbitrators have the immunity of a judicial officer from civil liability when acting in the capacity of arbitrator under any statute or contract. The immunity afforded by the Rules shall supplement and not supplant any otherwise applicable common law or statutory immunity.

VI.

APPENDIX: Recommended Contractual Language

"The parties to this Agreement agree to abide by the Code of Credits promulgated (?�:.+��85*;)+89��;/2*�5,��3+8/)'��C���C��'9�:.+?�3'?�(+�'3+4*+*�,853�:/3+�:5�:/3+���4?�)54:85<+89?�58�*/96;:+�)54)+84/4-�'�9)8++4�)8+*/:�5,�B685*;)+*�(?C�,58�

theatrical motion pictures, will be resolved pursuant to the PGA Rules Governing �8(/:8':/54�5,��85*;)/4-��8+*/:9��C�����;2+9C��/4��59��4-+2+9��5;4:?���'2/,584/'��Each party hereby waives any right to adjudicate any such controversy in any other court or forum. The result of the arbitration will be final and binding on the parties, '4*�0;*-3+4:�54�:.+������8(/:8':58C9�'='8*�3'?�(+�+4:+8+*�/4�'4?�)5;8:�.'</4-�jurisdiction. The parties submit to the jurisdiction of the courts of the State of California for the purpose of confirming any award rendered by the PGA Arbitrator. In order to further the arbitration process, the parties hereby consent to the PGA contacting third party participants in the production for the purposes of /4<+9:/-':/4-�'4?�)54:85<+89?�58�*/96;:+�)54)+84/4-�9'/*�685*;)/4-�)8+*/:9�A

The Producers Guild has proposed the following language for inclusion in all contracts for producing services. Please ask that it be inserted into your contracts going forward so as to ensure fair credit practices within your production.

"The parties to this Agreement agree to abide by the Code of Credits promulgated by the �85*;)+89��;/2*�5,��3+8/)'��C���C��'9�:.+?�3'?�(+�'3+4*+*�,853�:/3+�:5�:/3+���4?�)54:85<+89?�58�*/96;:+�)54)+84/4-�'�9)8++4�)8+*/:�5,�B685*;)+*�(?C�,58�:.+':8/)'2�35:/54�6/):;8+9��will b+�8+952<+*�6;89;'4:�:5�:.+������;2+9��5<+84/4-��8(/:8':/54�5,��85*;)/4-��8+*/:9��C�����;2+9C��/4��59��4-+2+9��5;4:?���'2/,584/'���').�6'8:?�.+8+(?�='/<+9�'4?�8/-.:�:5�'*0;*/)':+�'4?�such controversy in any other court or forum. The result of the arbitration will be final and (/4*/4-�54�:.+�6'8:/+9��'4*�0;*-3+4:�54�:.+������8(/:8':58C9�'='8*�3'?�(+�+4:+8+*�/4�'4?�)5;8:�having jurisdiction. The parties submit to the jurisdiction of the courts of the State of California for the purpose of confirming any award rendered by the PGA Arbitrator. In order to further the arbitration process, the parties hereby consent to the PGA contacting third party participants in the production for the purposes of investigating any controversy or dispute concerning said producing )8+*/:9�A

The Producers� Mark

!.+��85*;)+89C��'81�/9�'�*+9/-4':/54�:.':�'66+'89�,5225=/4-�:.+�4'3+9�5,�)+8:'/4�685*;)+89�8+)+/</4-�:.+���85*;)+*�(?A�)8+*/:�/4�35:/54�6/):;8+9� The Mark consists of the acronym of this Guild, in lowercase letters separated by periods: p.g.a.

!.+��85*;)+89C��'81�/9��96+)/,/)'22?��'�)+8:/,/)':/54�3'81� �9�9;).��/:�*5+94C:�/4*/)':+�'4?�affiliation with or membership in the Producers Guild; it simply indicates that the producing credit it follows meets the standards of the PGA: That the credited producer performed a majority of the producing duties on the film. Certification marks exist solely for the public good. The Producers Guild believes that audiences deserve to know which producers, among an often-extensive list of credited individuals and teams, actually did the work. !.+�685)+99�,58�/362+3+4:/4-�:.+��85*;)+89C��'81�,5225=9�:.+�:+362':+�2'/*�*5=4�(?�:.+��;/2*C9�9;))+99,;2�'='8*9�'8(/:8':/54�685)+99��:.5;-.�=/:.�'�,+=�9/-4/,/)'4:�*/,,+8+4)+9��:.+�primary distinction being an accelerated timeline. �58�:.+��85*;)+89C��'81�:5�(+�9;))+99,;2��:.+�

�;/2*�3;9:�.52*�+2/-/(/2/:?�*+:+83/4':/549�*;8/4-�'�,/23C9�659:-production process in order to *+:+83/4+�:.+�8+)/6/+4:9�5,�:.+��'81�68/58�:5�:.+�9:8/1/4-�5,�:.+�,/23C9�)8+*/:9� Following the receipt of a Notice of Credits from the relevant studio or distributor, Guild staff will invite credited producers to submit an eligibility form to receive the Mark. The form is, in most relevant respects, similar to the eligibility forms submitted by producers for consideration for awards. �2+'9+�45:+�:.':�8+)+/</4-�:.+��85*;)+89C��'81�/9�+4:/8+2?�56:/54'2� If for whatever reason a producer wishes not to have the Mark appended to her or his credit, that producer need not submit an eligibility form. Also note that at present, the PGA only will approve the Producers Mark for use in theatrical motion pictures; its applicability to television is still under consideration. After the PGA gathers eligibility forms and third-party verification forms (all of which are maintained in the strictest confidence) it will convene an eligibility determination. The rules governing such determinations are included below; we encourage all producers to review them. The Producers Mark simply exists as a means of certifying :.+����C9�8+)5-4/:/54�5,�:.+�.'8*�work of the producer. Pointedly, the Mark does NOT:

� �� �������������������������� Studios and distributors remain free to assign the credit to whomever they wish.

� Denigrate a given credit by its absence. As noted above, requesting the Mark is purely voluntary. �4�:.+�+<+4:�:.':�454+�5,�'�,/23C9�685*;)+89�8+7;+9:9�:.+��'81��54+�9.5;2*�45:�conclude that no one did the work of producing the motion picture.

� Exclude non-PG A members. Such members are not only eligible to receive the Mark (as they are our awards), but are welcome to serve on arbitration panels to determine the application of the Mark to their peers.