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VIDEO GAME INDUSTRY RELEASES- BS DOCUMENTS TO BLAME SAG/AFTRA, FOR THE STRIKE.

From PR Newswire:

Video Game Companies today released copies of the Companies' and the Union's last proposals which show that the Companies matched SAG-AFTRA's requests for wages, benefits, and additional compensation before the Union called its strike. The documents also show that the Companies and the Union had reached agreement to collaboratively investigate vocal stress issues during the term of the next contract.

"These proposals exchanged across the table prove the Companies and SAG-AFTRA have largely agreed on the significant issues before us except for the label we have placed on the 'Additional Compensation,' which would be paid above and beyond our proposed 9% pay increase," said Scott J. Witlin of the law firm of Barnes & Thornburg, the chief negotiator for the Video Game Companies. "The documents also demonstrate that the Companies value performers and reached agreement with the Union on the issue of vocal stress."

Witlin reiterated that the Companies have been impressed by the research presented by SAG-AFTRA into the issue of vocal stress. The Companies attempted to address the concerns raised by the SAG-AFTRA bargaining committee during negotiations by offering performers innovative working arrangements including split sessions and multiple performer sessions, but those proposals were rejected by SAG-AFTRA leaders.  

"Among their proposals, the Companies offered to split a 4-hour recording session into two, two-hour portions with the second session to be performed within five days of the first session to ease the stress on performers, but this and other offers were rejected by SAG-AFTRA. This is an area that the parties have agreed to continue to collaboratively investigate during the term of the next contract. Exploring ways to further improve working conditions is something both sides should be committed to," Witlin added. 

The Video Game Companies released a chart and supporting documentation from both the Companies and SAG-AFTRA to demonstrate that the Companies' final proposal to SAG-AFTRA is almost identical to the Union's proposal. 

The chart validates the Companies' position that they have substantially met SAG-AFTRA's last proposal, including the topic of workplace safety. There is nearly no difference between the Companies' final proposal and the Union's proposal. The wages, additional compensation, pension and health contributions, vocal stress, stunt coordination, and transparency proposals are almost identical as summarized below: 

9 Percent Wage Hike

The Companies exceeded the Union's request for a 3% raise over each of the next three years by Companiesoffering a 9 percent up-front increase, but only if a new agreement is ratified by December 1.

Additional Compensation

In the Companies' final proposal, the Companies increased the maximum amount of Additional Compensation to match the amount of the Union's request for a 'contingent' compensation buy out of up to $950. While the Companies have held to their position that there will be no 'contingent' compensation, the Companies have proposed a schedule of "Additional Compensation" that largely matches SAG-AFTRA's last demand, including the total aggregated figure and the number of sessions necessary to earn that amount. This offer, too, must be ratified by December 1 to become effective. 

Pension and Health Contributions

The Companies agreed to the Union's request for a 0.5% increase and have agreed in principal regarding which of the benefit plans the money should be directed to.

Vocal Stress Issues

After the Union rejected the Companies' proposals concerning modifying voice over sessions to mitigate any risk of vocal stress, the parties agreed on forming a joint cooperative committee to study vocal stress issues. 

Stunt Coordination

The expired Interactive Media Agreement between the Companies and SAG-AFTRA already provides for a stunt coordinator to be on site for sessions that include stunts. While SAG-AFTRA made no new proposals in this area, it did seek further clarification about the use of stunt coordinators and both sides agreed to continue those discussions through the cooperative committee during the term of the new agreement. 

Transparency

The Union's proposal requested additional up front information when booking performers in video games to know more information (game title name, new role or a reprise of a previous role). The Companies enhanced their proposal to agree to provide the code name of the project and whether the performer will be asked to reprise a previous role. While SAG-AFTRA contends that the video game industry is the only industry not to require an employer to reveal the name of the project on which a performer is working, SAG-AFTRA has no such requirement in Television, Theatrical Motion Pictures or Animation agreements.  

Summary

Except for the label on the Companies' 'Additional Compensation' proposal, there are no significant material differences between the Companies' final proposal and the Union's last proposal. The wages, additional compensation, pension and health contributions, vocal stress, stunt coordination, and transparency proposals are almost identical. 

"The Union negotiating committee's continued public positioning of workplace safety as a rationale for striking these pro-Union Companies is disingenuous and paternalistic," Witlin said. "SAG-AFTRA should allow its affected members to vote on the Companies' final proposal and determine for themselves whether the semantic difference that does exist between 'additional compensation' and 'residual' is worth the costs of a strike."

USAIN BOLT TO GET DOCU-DRAMA IN THEATERS.

 In cinemas around the world on November 28, I AM BOLT will give audiences a unique portrait of the world's fastest man, Usain Bolt. With unprecedented access to the Olympic and sporting legend as he trains, travels, races and relaxes, the film also spotlights Bolt's other roles as best friend, teammate and son. I AM BOLT will be available on Digital HD and On Demand on November 29, 2016 and on DVD on December 6, 2016 from Universal Pictures Home Entertainment. 

With unparalleled access to all facets of his life on and off track, audiences will see for the very first time what being Usain Bolt is really like – from his grueling training schedule, major setbacks and challenges he faces in order to achieve his dreams on the global stage to his downtime with friends and family.

Featuring archive footage from Bolt's youth, in-depth interviews with those closest to him – his parents, best friends, agent, coach and fellow athletes – and fascinating footage shot by the man himself over a legacy-defining period in his career and life, I AM BOLT offers an intimate portrayal of a globally adored icon.

Commenting on the film's forthcoming release, Bolt said: "My aim with making this film is to show people how my life really is… What I've been through to get me where I am today, the ups and the downs, and an insight into what I am thinking and feeling.  I know a lot of people around the world feel like they know me already but I'm excited for everyone to see the real me in I AM BOLT."

The Triple Treble Olympic Gold medalist will mark his silver screen debut on November 28 by attending the film's world premiere in London's Leicester Square that night while international cinema audiences will be treated to an exclusive interview with Bolt following the main feature presentation.

Filmed on location at the Beijing World Championships, Rio Olympics, London Olympics and in Germany and Jamaica, I AM BOLT is produced by Fulwell 73, the creators of acclaimed documentaries Class of '92 and In the Hands of the Gods, in association with Doyen Global.  Co-directed by Gabe Turner and Ben Turner, I AM BOLTis produced by Leo Pearlman, Executive Produced by Simon Oliveira, Matthew Kay, Ricky Simms and Nugent Walker and distributed internationally by Universal Pictures Home Entertainment Content Group.

BONUS FEATURES ON DVD AND DIGITAL HD

• The Making of I Am Bolt

FILMMAKERS:Cast: Usain Bolt, Pelé, Chronixx, Neymar, Serene Williams, Lord Sebastian Coe, Ziggy Marley, Yohan Blake, Asafa Powell, Michael Johnson, Donovan Bailey 
Directed By: Benjamin Turner
Produced By: Leo Pearlman
Executive Produced By: Simon Oliveira, Matthew Kay, Ricky Simms, Nugent Walker, Doyen Global
Director of Photography: Patrick Smith 
Edited By: Paul Monaghan 
Music By: Michelle De Vries

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LAST DITCH EFFORT TO STOP SAG/AFTRA V. VIDEO GAME INDUSTY WAR.

Interactive Video Game Companies made a final offer to video game performers that included an immediate 9 percent wage hike if SAG-AFTRA union members ratify the offer by Dec. 1 as part of a Comprehensive Revised and Enhanced Final Package Proposal for a new three year contract. But the union is still scheduled to strike on Friday.
The Companies and SAG-AFTRA brought in a Federal Mediator Wednesday. "We had hoped this would be successful, but union leadership left mediation without providing a counteroffer. We urged union leaders to put the package to a vote of their membership, but union leaders refused," said Scott J. Witlin of the law firm of Barnes & Thornburg, the chief negotiator for the Companies.
The Companies' offer of an immediate 9 percent raise accelerates the 3 percent annual increase sought by SAG-AFTRA negotiators over a three-year period.

As an added component, the Companies also offered Additional Compensation to performers of up to $950 per game based upon the number of sessions a performer works on a particular game. This, too, is conditioned upon a Dec. 1 ratification by SAG-AFTRA members. Together with the wage hike, this package could increase overall compensation by up to 23 percent for typical sessions, and in some cases more.
"We improved our offer to demonstrate our willingness to reach a fair, mutually-beneficial agreement after 18 months of negotiations," Witlin added.
"We value our performers and their dedication," Witlin said. "The union has demanded a contingency fee based upon number of games sold or subscribers. Instead of that, we are offering to immediately reward the hard work of performers through this accelerated raise and Additional Compensation package."
In summary, if ratified by Dec. 1, the Comprehensive Revised and Enhanced Final Package Proposal would bring the typical 4-hour voice over session and on-camera day rate to $900 as well as providing the Additional Compensation of up to $950 per game depending upon the number of sessions worked.
SAG-AFTRA unilaterally announced on Sunday that it will begin a strike on Friday, Oct. 21. The Video Game Companies said they hoped an agreement would be reached, but want fans to know that the majority of upcoming games already in production will be unaffected by any SAG-AFTRA strike due to the nature of the "No Strike Provisions" of the collective bargaining agreement.
The parties largely reached agreement on other outstanding issues including vocal stress and stunt coordination and have made substantial progress on transparency, he said. "We appreciate the hard work SAG-AFTRA has put into studying workplace safety and vocal stress," Witlin added.
"We look forward to working with the performers and SAG-AFTRA to continue to explore ways to further enhance the working environment," he said. "Many of the Companies and people on our committee are the best evangelists for the use of SAG-AFTRA members in this industry. We hope SAG-AFTRA does not precipitously rush into a strike that will immediately and directly take money out of their members' pockets."

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CANDY CRUSH TO BE A $1 MILLION GAME SHOW ON CBS.

- CBS has ordered CANDY CRUSH, a new one-hour, live action game show series based on the globally renowned mobile game franchise. CBS, Lionsgate (NYSE:LGF) and King will join together on the new format created and executive produced by Matt Kunitz that will be distributed domestically by CBS Television Distribution and internationally by Lionsgate. 

In the game Candy Crush Saga, players match colorful candies in combinations of three or more to win Candy Crush Saga and its sister title, Candy Crush Soda Saga, are two of the top 10 grossing mobile games in the U.S. On average, 18 billion game rounds are played every month around the world.*

points, defeat obstacles and progress through more than 2,000 levels.

In the series, the game that has become a worldwide phenomenon comes to life as teams of two people use their wits and physical agility to compete on enormous, interactive game boards featuring next generation technology to conquer CANDY CRUSH and be crowned the champions. A host will be announced at a later date.

"We are huge fans of Candy Crush and, like so many others, we know the 'rush' of advancing to the next level of the game," said Glenn Geller, President, CBS Entertainment.  "We're excited to work with Lionsgate and King to adapt one of the world's most popular and entertaining game franchises for television and make it available to its massive, passionate fan base who can watch and play along at home."

"The Candy Crush franchise is a world-renowned property, so when the head of our interactive and games division, Peter Levin, brought this IP to Lionsgate, we instantly knew it would make an incredibly visual, physical and fun TV program," said Kevin Beggs, Chairman, Lionsgate Television Group. "CBS is a leader in unscripted television, which makes it the ideal home for CANDY CRUSH, and we're very happy to have Matt shepherding the production as we partner with the team at King on this series with the tremendous second-screen potential."

"We have a very entrepreneurial culture at Lionsgate, so we look for awesome worldwide IP like Candy Crush and work together across divisions to bring it to fans on every platform possible. Everyone who has played it knows that Candy Crush is an exciting, visual switcher game with great characters, and Matt and our alternative television team are working closely with Sebastian Knutsson and his creative team at King to bring it to life on CBS," said Peter Levin, President, Interactive Ventures and Games for Lionsgate, and executive producer on the series. Levin worked with Striker Entertainment's Russell Binder, King's licensing agent in the U.S., to facilitate licensing Candy Crush IP for this television show.

"The Candy Crush franchise lends itself perfectly to the kind of larger-than-life, physical game shows that I love to produce and CBS is the perfect home for it," said executive producer Matt Kunitz ("Wipeout," "Fear Factor"). "As a Candy Crush Saga player myself, I am excited to amp up the action and visuals in our huge Candy Crush Arena."

"The Candy Crush franchise has been loved by players around the world on mobile so it's very exciting to be working with Matt and the team to bring the fun and challenge of theCandy Crush games to television. We hope our players will be entertained by what is set to be a high-energy, challenging game show," said Sebastian Knutsson, Chief Creative Officer, King, and executive producer of CANDY CRUSH.

CANDY CRUSH will be produced by Pulse Creative in association with Lionsgate Television, King Ltd. and CBS Television Studios. Matt Kunitz, Peter Levin, Russell Binder, Nicki Sheard, VP Brand at King, and Sebastian Knutsson will serve as executive producers.  Knutsson is King's Chief Creative Officer and is one of the founders of the company.  He created Candy Crush Saga.

*Candy Crush Saga average monthly game rounds as of Sept. 2016.

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