03/12/2015
OCULUS PRODUCTION CONSTITUTION AND BYLAWS
PREAMBLE
We, the Oculus Production Staff, with the aid of Almighty God and guidance of the Media Code of Ethics, do hereby solemnly swear to give quality service in a fair manner and give satisfaction with full integrity to fulfill our responsibility; do hereby promulgate and adopt this constitution.
ARTICLE I: NAME AND MEMBERSHIP
Section 1. Name
This production house herein established shall be known as the Oculus Production. Oculus is a Latin word which pertains to the eye.
Section 2. Membership
The production is composed of 9 bona fide students of Bicol University, College of Arts and Letters, specifically Broadcasting 2 students taking up the curriculum Writing for Radio and TV, regardless of their race, color, age, s*x, religion, disability or national origin. Members are formed by a count-off manner and will serve for 5 months or equivalent to the period of the whole second semester of A.Y. 2015-2016.
ARTICLE II: DECLARATION OF AIMS AND FUCTIONS
Section 1. Aims of the Production
The Oculus Production aims to:
a. Satisfy clients and audience by means of giving and presenting the best of all ideas.
b. Unlimit the minds of people. The production believes that plans inside imagination and dreams can be seen real and existing by people and/or clients.
c. Inspire people by giving them only the best programs that will bring knowledge and hope to audiences.
d. Take action. The Oculus Production aims not just to share, not just to present and not just to leave plans as plans. The production believes that dreams inside our imagination can come true. What the production practice is to plan, dream and imagine visions and possibilities that will later on turn into reality.
Section 2. Functions
1. Production House
a. To give quality service in a fair manner.
The Oculus Production commits to provide quality service in a fair manner by identifying issues and opportunities that will serve as a basis for the content and emphasis of the production output.
b. Give satisfaction with full integrity.
The Oculus Production wants to give satisfaction with full integrity by doing the best of all impossible ideas and concepts to meet the demands of the clients.
c. Fulfill the production’s responsibilities.
The production commits to do its responsibilities by giving their outmost capabilities and efforts in attaining the best of its work.
2. Production Staff
The production staff shall be composed of the following position including their duty:
PRODUCTION DEPARTMENT
Producer – MAE ANTONETTE G. MAMANTA
She is responsible for managing the production from start to finish. The producer develops the project from the initial idea, makes sure the script is finalized, arranges the financing and manages the production team that makes the film. The producer also coordinates the filmmaking process to ensure that everyone involved in the project is working on schedule and on budget.
Director – JAVIER C. ARPISTA
He is responsible for defining a coherent, consistent artistic interpretation (sometimes called a `concept' or `vision') for this production. This interpretation might need to be revised during the early stages of production meetings to accommodate casting or technical limitations and recognition of additional sub-concepts of the creative team.
He verbalizes the interpretation to the production staff to provide artistic coordination of their independent design efforts. Any specific technical requirements to accomplish this interpretation should be identified specifically as early in the process as possible to prepare all the things needed and make sure that there will be no problems encountered during the production.
The director is primarily responsible for overseeing the shooting and assembly of a film. A director works at the center of film production, but is inextricably linked with dozens of other people who get the job done together.
Production Manager – BLAISE HENRY C. ILAN
He supervises the physical aspects of the production including personnel, technology, budget, and scheduling. It is the Production Manager’s responsibility to make sure that the production stays on schedule and within its budget. He often works with the Director because he directly supervises the Production. He also makes the storyboard of what is to be produced. He works through all phases of the production to encourage the best from the production.
Script Writer – DOROTHY JOY P. MAULEON
She carefully crafts it; however, the screenwriter does far more than provide dialogue for the actors. He or she also shapes the sequence of events in a film to ensure that one scene transitions to the next so that the story will unfold logically and in an interesting way.
Like the producer, her role is generally overlooked by the movie-going public, yet is essential to the completion of any film. If there is no script, there is no movie.
ART DEPARTMENT
Production Designer – MAE ANTONETTE G. MAMANTA
She is working under the supervision of the director and in coordination with the Art Director. The Production Designer develops, coordinates, facilitates, and oversees the overall design of the production, specifically anything that will appear in front of the camera. The Production Designer acts as a supervisor to the makeup, hair, and wardrobe departments and as a consultant to the camera, art director and special effects. Specific duties will include:
Early development of attitude boards for characters, locations, scenes, etc.
Supervise the creation of title sequences and credits
Art Director – JUDYTH JIMENEZ
She is responsible for the production’s settings: the buildings, landscapes and interiors that provide the physical context for the artists. This person is responsible for acquiring props, decorating sets and making the setting believable.
The Art Director supervises the work of the construction crew, set decorating crew, and property department in conjunction with the director. Specific duties will include:
Participation in location scouting recces
Design of sets
Supervision of set construction and dressing
Coordination, via the art director, with the make-up artists, wardrobe, camera department.
CAMERA DEPARTMENT
Cinematographer – JAVIER C. ARPISTA
He is the head of the camera and lighting department of the Production. He makes decisions on lighting and framing of scenes in conjunction with the production's director. The director of photography, or DP, is responsible for capturing the script on film or video. The DP must pay attention to lighting and the camera's technical capabilities. When the director wants a shot to achieve certain visual or atmospheric qualities, the DP achieves it through his or her choice of lighting, film stock and careful manipulation of the camera. Specific duties will include:
Operation of cameras
Coordination of lighting, angle, motion control, media, settings, etc.
Camera Operator – DAN MARK P. ORDAN
He assists the Director of Photography in camera operation. Specific duties will include:
Operation of cameras
Focus marking & pulling
Maintenance and management of camera equipment
He operates the camera under the direction of the director of photography, or the film director, to capture the scenes on film.
SOUND DEPARTMENT
Sound Mixer– PRINCESS DIANA P. TABUG
She is head of the sound department on set, responsible for recording all sound during filming. This involves the choice of microphones, operation of a sound recording device, and sometimes the mixing of audio signals in real time.
The mixer, aka recordist, is the on-set/on-location sound engineer responsible for the recording of production sound and any sync-related on-set sound mixing and playback.
Specific duties include:
Supervising capture of audio onto various devices from various sources
Maintenance and management of on-set sound equipment
ELECTRICAL DEPARTMENT
Gaffer– LINCOOL ERIE LUMAPAS
He is the head of the electrical department, responsible for the design and ex*****on of the lighting plan for a production. Sometimes the gaffer is credited as "Chief Lighting Technician".
He is also called the lighting designer, he supervises set lighting in accordance with the requirements of the DP. Specific duties will include:
Lighting of sets and locations
Maintenance and management of lights and lighting equipment
Specialized electrical work
ADVERTISING DEPARTMENT
Advertising/Promotion Manager– NICOLE DENISSE BERCASIO
She is the one responsible for the Production’s social relationships, mainly the advertisements and promotions. She combines advertising with promotional deals to entice clients to set a deal with the production.
Specific duties include:
Plan advertising campaigns.
Measure ad effectiveness and optimize if needed.
Send promotions and monitor different social media platforms of the production.
ARTICLE III: RIGHTS OF THE PRODUCTION STAFF
The Oculus Production Staff has its rights to uphold on working under the production house. These rights will affect how they act and behave in the production team. These will help them to secure their individual rights while working inside the production house. Together with these rights are the responsibilities and consequences attached on it.
ARTICLE IV: MEDIA CODE OF ETHICS AND LAWS
The Oculus Production Staff will adhere and obey the Media Code of Ethics and Laws stated in the Philippine Constitution in relation to media on every transaction and practice of the Production house. The Production Staff will primarily do their duty as media practitioners as what is stated in the Media Code of Ethics, Broadcast Code of Ethics and Journalist Code of Ethics.
Section 1. Media Code of Ethics
The Media Code of Ethics says;
1. I shall be truthful, accurate and comprehensive in the representation of subjects.
2. I shall respect the integrity of the photographic moment and resist participation in staged photo opportunities (drawing).
3. I shall avoid stereotyping and represent reality without personal bias to race, creed, s*x and religious, political and cultural beliefs.
4. I shall treat all subjects with respect and dignity. I shall presume persons accused of crime of being innocent until proven otherwise. I shall avoid intruding on private moments of grief, crime or tragedy.
5. I shall not intentionally alter, contribute to or influence events being photographed.
6. I shall maintain the integrity of the images’ content and context during editing, being careful not to manipulate, add or alter.
7. I shall not pay, or reward materially, sources or subjects for information or participation.
8. I shall not let personal motives or interests influence me in the performance of my duties; I shall not accept gifts, favors, or compensation from those who might seek to influence coverage.
9. I shall avoid actions that can sabotage the efforts of other journalists.
10. I shall respect other individual’s intellectual and property rights to his or her images and not misrepresent them as my own.
11. I shall respect the confidentiality of my sources.
12. I shall resort only to fair and honest methods in my effort to obtain news, photographs or documents.
13. I shall defend the rights of access for all journalists and strive for total and unrestricted access to subjects and seek a diversity of viewpoints.
We shall strive by example and influence to maintain the spirit and high standards expressed in this code. Practitioners of this profession should continuously study their craft and the ethics that guide it.
Section 2. Broadcast Code of Ethics
The Broadcast Code of Ethics has its 33 articles, namely:
Art 1. News and Public Affairs
Art. 2. Analysis and Commentaries
Art. 3. Coverage Involving Children
Art. 4. Personal Attacks
Art. 5. Correcting Mistakes
Art. 6. Crime and Crisis Situations
Art. 7. Individual Rights
Art. 8. Political Propaganda
Art. 9. Public Complaints and Grievances
Art. 10. Personal Calls or Messages
Art. 11. Children’s Program and Welfare
Art. 12. Religion
Art. 13. Superstition and the Occult
Art. 14. Medical, Legal and Other Professional Advice
Art. 15. Music
Art. 16. Fund Raising
Art. 17. Quiz Shows, Contests, Public Participation Programs & Promotion
Art. 18. Gambling and Betting
Art. 19. National Development
Art. 20. Culture and Tradition
Art. 21. Respect for Law and Order
Art. 22. Discrimination
Art. 23. Mentally and Physically Challenged Persons
Art. 24. Crime and Violence
Art. 25. S*x, Obscenity and Po*******hy
Art. 26. Liquor, Ci******es, and Dangerous Drugs
Art. 27. On-Air Language
Art. 28. On-Air Decorum
Art. 29. Qualification of On-Air/Program Persons
Art. 30. Accreditation
Art. 31. Bribery
Art. 32. Blocktimers
Art. 33. Universal Ethical Standards
Section 3. Journalist Code of Ethics
The Journalist Code of Ethics says;
I. I shall scrupulously report and interpret the news, taking care not to suppress essential facts nor to distort the truth by omission or improper emphasis. I recognize the duty to air the other side and to correct substantive errors promptly.
II. I shall not violate confidential information on material given me in the exercise of my calling.
III. I shall resort only to fair and honest methods in my effort to obtain news, photographs and/or documents, and shall properly identify myself as a representative of the press when obtaining any personal interview intended for publication.
IV. I shall refrain from writing reports which will adversely affect a private reputation unless the public interest justifies it. At the same time, I shall fight vigorously for public access to information, as provided for in the Constitution.
V. I shall not let personal motives or interests influence me in the performance of my duties; nor shall I accept or offer any present, gift or other consideration of a nature which may cast doubt on my personal integrity.
VI. I shall not commit any act of plagiarism.
VII. I shall not in any manner ridicule, cast aspersions on, or degrade any person by reason of s*x, creed, religious belief, political conviction, cultural and ethnic origin.
VIII. I shall presume persons accused of crime of being innocent until proven otherwise. I shall exercise caution in publishing names of minors and women involved in criminal cases so that they may not unjustly lose their standing in society.
IX. I shall not take unfair advantage of a fellow journalist.
X. I shall accept only as tasks as are compatible with the integrity and dignity of my profession, invoking the “conscience clause” when duties imposed on me conflict with the voice of my conscience.
XI. I shall conduct myself in public or while performing my duties as a journalist in such manner as to maintain the dignity of my profession. When in doubt, decency should be my watchword.
Section 4. Laws in the Philippine Constitution Regarding Media
A. Broadcast
Under Section 11 of Article XII of the 1987 Constitution, “No franchise, certificate, or any other form of authorization for the operation of a public utility shall be granted, except to citizens of the Philippines or to corporations or associations organized under the laws of the Philippines.” Radio companies must file their applications to the National Telecommunications Commission (NTC) as well as an application for a legislative franchise, following administrative procedures specified by both houses of the legislature. The powers of the NTC are limited to the allocation of frequencies to television and radio stations, and do not extend to supervision over content. The NTC, whose members are appointed by the President, have the power to administer and enforce all laws, rules, and regulations in the
field of communications.
B. Film, Television, and Video
The regulation of film, television programs and videos are implemented through Presidential Decree No. 1986 which created the Movie and Television Review and Classification Board (MTRCB) which was placed under the Office of the President of the Philippines, and the Optical Philippine Press Freedom Primer, CMFR, 2007. PD No. 1986 Creating the Movie and Television Review And Classification BoardMedia Act of 2003 which introduced for the first time the idea of regulating the production of all optical discs, regardless of their content. The MTRCB is ostensibly a classificatory body. The board is empowered to approve or disapprove, delete portions from or prohibit the importation, export, production, copying, distribution, sale, lease, exhibition, and/or television broadcast of motion pictures, television programs and publicity materials which in the opinion of the Board are objectionable for being immoral, indecent, contrary to law and/or good customs, injurious to the prestige of the Philippines or its own people, or with a dangerous tendency to encourage the commission of violence or of a wrong or crime. Decisions of the Board classifying a film or television program as “X” or not for public exhibition is appealable to the Office of the President. In Soriano vs. Laguardia, the Supreme Court held that the power of review and prior approval of MTRCB extends to all television programs and is valid despite the freedom of speech guaranteed by the Constitution. RA 9239 An Act Regulating Optical Media, Reorganizing for this purpose the Videogram Regulatory Board, Providing Penalties Therefor, And for Other Purposes, February 10, 2004. Section 3(C) PD 1986. Soriano vs. Laguardia, G.R. No. 164785, April 29, 2009. Thus, all broadcast networks are regulated by the MTRCB since they are required to get a permit before they air their television programs. Consequently, their right to enjoy their freedom of speech is subject to that requirement. The Optical Media Board (OMB) has the power to evaluate the qualifications of any individual, establishment or other entity to engage in the mastering, manufacture or replication of optical media. For this purpose, the OMB shall require such person to substantiate its capability to engage in said activities. It also has the power to supervise regulate, grant, or renew licenses for specific periods, or deny, suspend, or cancel the same, subject to such conditions as it may impose.
Section 4 Article III Constitution, provides that, “No law shall be passed abridging the freedom of speech, of expression or of the press, or the right of the people to peaceably assemble and petition the government for redress of grievances.”
For the media to uphold women’s rights, Republic Act 9710 An Act Sec.14 Article II of the 1987 Philippine Constitution Philippine Constitutional Law, Principles and Cases Vol.1 by H.De Leon, 1999 Edition2 providing for the Magna Carta of Women urges, “Self-regulatory bodies, groups, and associations for media, television, cable, film, and advertising shall also ensure compliance with the Act and these Rules and Regulations.”
