His music credits include work with some of the biggest artists and companies around the world including the Boston Symphony Orchestra, the Boston Pops, Yo-Yo Ma, Bela Fleck, James Taylor, Edgar Meyer, Alison Kraus, Harry Connick Jr., Audra McDonald, The Emerson String Quartet, Itzhak Perlman, Andre Previn, and Maya Angelou to name a few. When not shooting photos, Erik runs a neighborhood CSA called the Plough & Stars Project.Īdam Johnson is a Grammy nominated audio engineer and producer. He has won numerous awards and is an adjunct faculty member at Boston University's Center for Digital Imaging Arts.Įrik Jacobs studied Photojournalism at Western Kentucky’s School of Journalism & Broadcasting.Įrik is also very passionate about sustainable agriculture. His editorial work can be seen at A sampling of Erik's photography clients includes: Intel, General Motors, Putnam Investments, The International Economic Alliance, Outward Bound, Time Magazine, Newsweek Magazine, The New York Times, The Wall Street Journal, The International Herald Tribune and The Boston Globe. His passion, however, is long-term documentary projects. He has extensive experience in portraiture, food, editorial work and corporate photography. Erik’s clients span all industries from journalistic outlets to international corporations.
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Her films have been screened and won awards at dozens of film festivals around the world, and her series about cystic fibrosis was the centerpiece of a months-long international advocacy and education campaign.ĭina’s technical and interpersonal skills, her ability to manage complex projects and multi-disciplinary teams, and her deep conviction to tell the hard stories combine to create a powerful leader committed to creating positive change.Įrik Jacobs is an award‐winning photographer who works regularly for many of the leading national and international publications. With a background in science and decades in journalism, Dina gravitated to telling complex medical and scientific stories, with special focus on rare diseases. Dina went on to win 3 more New England Emmy Awards including ‘Outstanding Documentary’ for her first documentary “Practice: Change - The Africa Yoga Project Story” in 2012.ĭina taught photography and video for years at Boston University College of Communication and Harvard University Extension, and has lectured widely at institutions in the United States. She was instrumental in starting The Boston Globe’s video department in 2008, and led the Globe to its first Emmy win in 2009. She is the owner and director of Anthem Multimedia, a video production company in Boston that specializes in short-form cinematic documentary work.ĭuring her 16 years as a staff photojournalist at The Boston Globe newspaper, Dina has done extensive documentary work around the globe, including in Kenya, Pakistan, Indonesia, Bolivia, and Haiti, and the Americas. They need to be booked at minimum wage (at the least) to access coverage in the case of an accident.Dina Rudick is a documentary filmmaker with deep roots in journalism and a passion for telling critical and complex stories.ĭina has won 4 Emmy Awards for her video and documentary work, as well as dozens of national photography awards during her decades-long career as a photojournalist and documentary filmmaker. the grip truck, are paid workers and not interns or volunteers.
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Make sure that drivers of any working vehicles, i.e. These considerations all fall under the general liability section of your film production insurance.
The video production insurance policy will cover the incident without involving anyone's personal car insurance policies.ĭo you have a owned sprinter or grip truck that is used for production? Will you be renting production trucks, picture vehicles, camera cars or moho and honeywagons? Let's say a crew member is driving the grip truck and gets in an accident.
The umbrella covers the possibility that more than one person is injured in the facility during filming or live shows. The standard minimum policy is 1 million dollars, and when the location is open to the public or sells tickets it quickly jumps into a 5 million umbrella. When tabulating general liability, remember that locations, including sound stages, require COIs. This coverage is required by most city/county permitting offices in order to obtain a permit. Cast and crew are exempt from this and covered separately through a workers compensation policy.
General liability covers bodily injury and property damage that occurs during the course of filming. Although film production insurance policies vary widely, you’ll always need general liability.
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