![]() Hitfilm pro voucher windows#Even France relaxed its notoriously strict rules regarding theatrical windows - which mandate a 36-month gap between a film’s cinema release and its streaming debut - to allow distributors to roll out releases straight to VOD. ![]() The Norwegian Film Institute introduced grants to help companies launch titles on transaction-based platforms and to support the marketing and promotion at virtual markets like the ones Cannes and AFM held in 2020. Belgium adjusted its theatrical subsidy plan to cover the costs of online distribution. To help traditional industry players adjust to a new all-digital environment, European film bodies have boosted distribution support for online releases. A new program, Neustart Kultur (New Start Culture), approved this summer, adds a further $1.2 billion (1 billion euros) in the form of targeted measures including increased subsidy support for cinemas and production companies. The German federal government passed a $61 billion (50 billion euros) aid package for freelancers, the self-employed and small businesses in the culture fields, distributing cash to individuals or companies with 10 or fewer employees to cover overhead. In Britain, a $2 billion Culture Recovery Fund included nearly $22 million in direct aid for more than 200 independent cinemas across England to help them weather the crisis. ![]() The many funding measures introduced in France included $61 million (50 million euros) of direct funding to theaters to compensate for lost box office revenue and another $200 million (165 million euros) in additional cash for the film subsidy body CNC to help shore up the sector and to keep cinemas, studios and distributors in business until the industry recovers. Hitfilm pro voucher tv#In Europe, which has a long tradition of government support for the arts, there have been numerous national programs rolled out to address the needs of the film and TV industries. Hitfilm pro voucher series#All the films and series that were put on hold have been completed or are now back in production.” “Thanks to government measures, all of that is back. That’s an excess of half a billion pounds that got switched off overnight,” notes John McVay, CEO of British producers trade body Pact. “In March, in the first coronavirus lockdown, we saw virtually all production across the U.K. A combination of tax breaks, increased subsidies, no-interest loans and programs specifically targeting the needs of the entertainment industry have been credited with keeping the global film and TV business afloat in 2020. Governments across Europe, as well as in Canada, Australia and some Asian countries, have held back the wave so far by moving fast at the beginning of the coronavirus crisis to stave off mass unemployment and prevent a financial meltdown.įurlough plans like those rolled out in Germany, the U.K., Canada and Japan supplemented salaries to let companies keep employees on the books even as national lockdowns made it impossible for them to work. ![]() “That’s when this year’s losses are going to show up on balance sheets and when we’re going to see a wave of companies go bust.” “2020 has been a rough year for most in the entertainment industry, but 2021 is when we’re going to really be hit,” notes one leading European film producer. These programs, and many more across the world, aim not only to repair the damage done to the global film and TV industry by the virus, but also to mitigate the hardship yet to come. When cinemas began reopening in the summer, the Korean Film Council spent millions on coupons that gave consumers, on average, a 60 percent discount on tickets. ![]() In South Korea, the focus has been on getting fans back to theaters. Ireland also has floated the idea of a universal basic income plan for the arts industry to help cushion the blow of any future crisis. Screen Ireland, anticipating that minority and other traditionally disadvantaged creatives would be hardest hit, boosted its Strategic State Development Fund, which supports projects focusing on diversity and inclusion, to $3.65 million (3 million euros). Programs such as the U.K.’s $676 million (500 million pounds) Film and TV Restart Scheme - and similar, smaller funds set up in Canada, Australia, France and Austria - hope to fill the gap left by insurance companies that, after massive losses at the start of the crisis, have pulled out of the pandemic coverage business. ![]()
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