Three Competition Standards and their Respective Evaluation Instruments for the Mexican Film Industry.
February 15, 2022
The National Chamber of the Cinematographic and Videogram Industry (CANACINE), issued a statement through which it was commented, among other things, that according to the leadership and participation of CANACINE, the Mexican Association of Filmmakers, A.C. (AMFI), professional associations and academics managed to develop the productive potential of human capital in the film industry, through standardization, normalization and certification of labor skills.
Likewise, three competition standards and their respective evaluation instruments were drafted for the film industry in our country, which were published in the Official Gazette of the Federation (numbers 13, 14 and 15 of the list of competition standards by The authority).
It is noted that the Technical Committee of the National Council for Standardization and Certification of Labor Competencies (CONOCER), published on December 15, 2021 in the Official Gazette an Agreement SO/IV-21/07, S, through which they approve the thirty-six standards of competition, and specifically three related to the film industry whose content and adherence to current regulations is the exclusive responsibility of CONOCER, since the following points are established:
In the standard marked with numeral 13, corresponding to the search for locations for the film and audiovisual industry, the Competence Standard is described as follows:
“The EC evaluates that it takes charge of the search for the location that will be set, complying with covering and supervising the necessary details and requirements”
The purpose of said standard is to serve as a reference for the evaluation and certification of people who perform the function of location search for the film and audiovisual industry. Where the person is the one who is in charge, together with the location manager, of searching and finding the appropriate locations for a filming following the regulations that are required for each location. Like the assistants, their number can vary during a production.
The foregoing, verifying the feasibility of places to use as a location and thus present only options that fall under the criteria of: access, permits, costs, dates and logistics.
For its part, the standard marked with numeral 14, is the one corresponding to the generation and follow-up of the documentation for the logistics of the departments: delivery, extras and technical equipment, and its description is as follows:
“This Competency Standard considers the evaluation of the function to generate and follow up on the documentation for the logistics of the departments in terms of cast, extras and technical equipment, which means the supervision and preparation of the cast, extras and crew to take them or send them to the set as soon as they are required”
Its purpose is to serve as a reference for the evaluation and certification of the people responsible for supervising the preparation of cast, extras and technical equipment to take them to the set as soon as they are required. They must also check that all the needs of the set are on time and anticipate the needs of future days.
The last of the three standards related to the film industry is the one marked with numeral 15, related to the placement of luminaires on set, distribution boxes and electrical lines, location and forums, and its description is as follows:
“This EC refers to the activities that the audiovisual electrical technician must carry out to guarantee that the set has the luminaires, and their corresponding distribution boxes and electrical lines”
The purpose of this standard is to serve as a reference for the evaluation and certification of the people who are responsible for the operation, review, supervision, delivery and reception of luminaires, distribution boxes, filters and power lines, for the development of audiovisual projects; as well as the detection of risks of possible damage to avoid them as far as possible.
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Luis Schmidt joined OLIVARES in 1991, became a partner in 1995, and has almost 40 years of legal experience, with a specialization in copyright in the business of entertainment and culture. He has represented the world’s leading companies in the music, film, television, book publishing, fine art, design, folklore, and software.