Generally, a film poster is a piece of artwork which is utilized to advertise a movie. These posters usually contain an image with text mentioning the movie title and names of the main actors. These days it also include a tag line, the name of the director and names of the characters. This is about a general movie poster which you see in the movie halls and in streets also. You can also see these posters on websites, DVD-packaging, advertisements in newspapers and in magazines. The motive of these posters is to make people know about the movie and to attract them to watch it. They do advertising and promotion in a very nice way.

These posters feature illustrations of a scene from a movie or they show an array of overlaid images from several scenes. Some film posters also use artistic interpretations of a scene or even the theme of the film which are represented in a very wide variety of artistic styles. These posters are produced in a large number of sizes to meet various advertising needs. Nowadays, due to their mass appeal and beauty, these posters have become the choice of individuals also. Many people are buying these artworks from various places to decorate them in their house.

Be it 2 Fast 2 Furious, A life less ordinary, Ben Hur, Akira, Alfie, Alien vs Predator, Alphaville, American Pie, Roman Holiday, Austin Power, Back To The Future, Batman And Robin, Batman Dark Night, Buffy the Vampire Slayer and friend, Bullet in the Head, Casablanca or Casino Royale, every famous movie in the form of film posters are available. If you want to buy them, then you can visit some of the poster websites. On these websites you can select, compare and buy. So, being the movie magic in your house.

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VIDEO EDITING: These days, owning a studio won’t cause you an arm or a leg as it used to be back in the days. With latest advancements in technology, a simple yet compact studio with every convenience could be erected in a matter of minutes; all that is needed is a computer, software like cyberLink power producer or any other good software for movie editing, and some other interface which time and space will not permit me to give in details, bingo! a video editing is born. One problem with this industry is daily many movies are churned out like hell and the market is inundated with un-edited or not properly edited movies, this is where you come in. your job is to collect as many video editing jobs as possible and you’ll sure be happy for reading and putting this to action

ANIMATION AND SPECIAL EFFECTS: One of the many problems the industry is faced with is a dearth of 3d animators, so having a good knowledge of this could mean that you are on your way in hitting the base of our proverbial cash cow and taking all the nutrients as you go. What I mean here is that as a 3D animator, special film effects needed in many productions will be created by you for fee that will eat deep into the pockets of the film maker as for a film to be very good and also enjoy high patronage, then a variety of animation cum special effects becomes inevitable and you the animator indispensable and above all your pockets constantly stashed with cash. One good thing is that you don’t need to be resident in Nigeria to be a part of this, no; as an international 3d animator all you need is a presence on the internet through your website and email and if you are good and highly recommended by top movie producers, then your studio will be inundated with jobs

VOICE-OVER ARTISTRY: Many people are blessed with so many talents and natural abilities, and among these talents include a good voice, a melodious or velvet voice preferably. The use of voice-over in many productions is fast becoming a trend and this is a very good development for any one who wants to earn a career from doing voice over. Many voice-over artists earn a sizable income running into six figures as their services are needed during and after the course of production for narrating of plots, intros, epilogues, and importantly for the premiering of the movie. So you can be a part of this industry and rake your fistful of dollars by just having a good natured voice.
Other opportunities in the industry include the following, which I will have loved to explain in details but space and time wont permit me to do this, but I wont hesitate to mention them;
-costume/tailoring

-make-up/hair dressing

-continuity

-still photography

-sound recording

-subtitling

-choreography

-stunts

And many others that springs up daily as the demand goes higher and production becomes more sophisticated, so take up the challenge, where you reside is never a barrier as the internet has come to stay with us; get up, get “nollywoodized” with dollars

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Labthink, the excellent provider of testing instruments and testing services, is devoted to provide most excellent and complete quality control solutions for pharmaceutical, foodstuff, cosmetics, packaging, printing, adhesive, automotive, petrochemistry, environment, biology, new energy, construction, aviation and electronic industries worldwide.

Labthink is devoted to share excellent quality testing and control techniques with global clients and is known for wide coverage of international testing standards. Labthink participates in the drafting of several important standards of food, pharmaceutical and packaging industries, and is the excellent partner of national certification institutes.

Labthink has also established cooperation with IGT, Rycobel, Metrotec, Chilton, Moroka and other renowned distributors to provide attentive and prompt technical services for her customers in more than 40 countries and regions.

Labthink aims at creating satisfactory value and professional services for her customers.

Labthink, think for you only!

Labthink Instruments Co., Ltd.

No. 144 Wuyingshan Road, Jinan 250031, China

Tracy Bao  info@labthink.cn

Tel: 0086 531 85061153  fax:0086 531 85812140

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For this type of movie, the producers may require an average-looking single family dwelling in which the film’s family will be experiencing some type of inner turmoil or crisis. Or, they may need a slightly dilapidated apartment building to lend their story the realistic atmosphere of inner city plight.

While studio craftsman and technicians can pull off some incredible effects and magical moments; this type of realism can only be found at Los Angeles film locations that actually exist.

Additionally, when a studio is producing a film, television program or commercial, time is money. And most executives don’t want to wait for a backdrop to be created from scratch; they would rather pay for a Los Angeles film location that’s already available and ready for filming. Therefore, studios of all sizes are constantly on the lookout for suitable film locations in Los Angeles or the surrounding area that conveniently fit within their script’s set descriptions and timeframe allowances.

For those individuals who register their property as a Los Angeles film location, their property will be made available for viewing through online databases like the one available from FiveStarFilmLocations.com. It is through these directories that many studio location scouts find their ideal Los Angeles film locations. Once your property is chosen as a film location, the studio will pay you a daily rate for the right to use it in their production. And depending on a number of factors, that could be quite a significant amount of money.

To learn more about making money by registering your property as a Los Angeles film location, visit FiveStarFilmLocations.com today or call 323-654-3900.

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A. Moisture Barrier Property Testing of BOPP Cigarette Film

High moisture barrier property performance is a must for cigarette package so as to avoid deterioration caused by moisture. At present, this factor is not fully noticed by the cigarette manufacturers. Labthink PARAM TSY-T1H is developed according to ASTM E96, ISO 2528 and other standards to test moisture transmission rate for materials. The lower WVTR the better. But, higher barrier property means more costs. Therefore, the common data is less than 10g/m2.day or 5g/m2.day.

B. Thickness of BOPP

Thickness of BOPP cigarette film is the basic film performance index. Uneven thickness would influence the tensile strength and permeability as well as the following procedures. Thicker cigarette film would have better stiffness with better visual performance. But, the cost would also be great. In order to find the balanced solution, high precision thickness tester is needed. Labthink PARAM CHY-C2 is the lab thickness tester with the precision up to 0.1um. When testing thickness in different directions, deviation must be controlled within 3% usually. Meanwhile, the edge thickness of BOPP film has to be measured.

C. BOPP Cigarette Film Tensile Strength, Elongation and Elastic Modulus

Cigarette package requires high tensile strength of BOPP films, which can greatly reduce the breakage during packaging process. Generally, 140N/mm2 vertically and 200N/mm2 crosswise are required. Elongation rate is for analysis of incision easiness of films. Cigarette packaging industry is different from other industries. Higher elongation rate is not better. Max. limitations of 200% vertically and 80% crosswise can guarantee easy incision and assembling smoothness. Other industries require those two indexes. But cigarette package requires more detailed requirements on incision easiness during high speed production. Therefore, Elastic Modulus testing is also put forward. Labthink PARAM XLW(PC) Auto Tensile Tester is the professional tester for film and its tensile strength with Elastic Modulus testing. Low Elastic Modulus would lead to worse stiffness, unsuccessful production procedure and inferior incision easiness as well as package breakage and film obstruction.

Commonly, Elastic Modulus is required to be above 2000N/mm2 for cigarette film. However, when testing Elastic Modulus, testing conditions and temperature must be emphasized. Otherwise, the results will fluctuate greatly. Therefore, testing condition must be stated.

D. The Heat Seal Strength of BOPP Cigarette Film

BOPP is required to have high heat seal strength and wider heat seal scope by the cigarette industry, so as to improve packing speed and proper operation. If the heat seal temperature is higher, it would lead to wrinkle because of increased BOPP film shrinkage. Therefore, proper heat seal temperature should be chosen so as to avoid unstable heat seal, wrinkle and other phenomena. The heat seal style of BOPP cigarette film is heat-pressure seal, that is, to heat seal at certain heat seal temperature, pressure and period. The heat seal testing is to test the minimum heat seal separating force after heat sealing. It is widely applied in the cigarette industry that Labthink PARAM HST-H3 Heat Seal Tester and PARAM XLW (PC) Auto Tensile Tester are used together. The heat seal strength of cigarette is normally required to be above 2.0N/15mm. Now, with the development of cigarette packing machine, low temperature heat seal film becomes more popular, which requires the heat seal strength above 1.5N/15mm.

E. BOPP Cigarette Film Coefficient of Friction Testing

The smoothness of BOPP cigarette film is one important index for BOPP films with is the testing requirements coming along with the high speed packing.

There are four kinds of situations that need coefficient of friction testing, namely, the coefficient of friction of the film and the metal side of the machine or the transfer belt; the inside side between films; the film inner side and the cigarette outer package; and the outer film side and the outer package. Of these four coefficients of friction, the first should be low so as to better transfer the cigarette package and improve packing speed.

The inside coefficient of friction should be a bit higher than that of the outer film and the machine metal side for precise location of film and cigarette package so as to improve heat seal quality and packing effects. The coefficient of film and outer paper box should be low for smooth insertion of cigarette packages. The testing speed is 100mm/min, or 150mm/min in US Standard. Labthink PARAM MXD-02 Coefficient of Friction Tester complies with many standards including US standards and international standards, and gets wide applications. Since the reference for cigarette film coefficient of friction varies, e.g., metal panel, cigarette box, inner and outer sides of films, etc., the coefficient of friction is normally between 0.2-0.6.

F. The Heat Shrinkage Testing for BOPP Cigarette Film

BOPP film heat shrinkage is mainly used for the evaluation of heat stability under different conditions or different factors. For rigid cigarette package, such rigid package has good support effect, around which high shrinkage film can be applied so as to achieve even and beautiful visual effects. Therefore, rigid package requires the heat shrinkage of BOPP cigarette film to be up to 8% to 12%.

But, deformation cause by high shrinkage rate is a problem for ordinary flexible cigarette package. Generally, the shrinkage rate is controlled within 3%-7%. For heat shrinkage testing of BOPP cigarette film, ASTM D 2732, or GB/T 13519 is applied. Take Labthink PARAM RSY-R2 Film Free Shrink Tester as an example; mark the vertical and crosswise lines on the specimen with clear indication of direction. Put the specimen in between the frame, and immediately emerge into 120±2C constant temperature medium for 20 seconds. Then, emerge the specimen into the prepared normal temperature bath for 5 seconds, and take it out. Lay horizontally and measure the vertical and crosswise size within 30 minutes. The measurement should be with accuracy up to 1 mm. At present, some companies heats 1 minute, 5 minutes or other conditions under 120C with different testing results.

G. BOPP Cigarette Film Abrasion Resistance Testing

With stricter requirements for abrasion resistance, inferior abrasion resistance performance would greatly influence the beauty of the cigarette package. The testing of abrasion resistance is to avoid scratch on the surface of the product caused by the contact of film surface and the machine; and to avoid wounds caused by film and outer package. Labthink PARAM MCJ-01A Rub Tester can be applied for the test. Take a piece of clean offset paper of 50mm width and 80g/m2 onto the rub tester. Cut a piece of BOPP cigarette of certain size and put on the rub platform. Set the rub times and start to see the abrasion.

Above all, there are many BOPP cigarette film testing items. When testing, relevant standards must be applied; or unified testing conditions for data comparison. Labthink, is willing to have further dialogues on BOPP film and its quality with professionals of the industry.

Labthink Instruments Co., Ltd.

No. 144 Wuyingshan Road, Jinan 250031, China

Tracy Bao  info@labthink.cn

Tel: 0086 531 85061153  fax:0086 531 85812140

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The Motion Picture Association of America first introduced a rating system due to the number of complains about the levels of violence, nudity, sex, and profanity in the motion pictures that were being produced in the United States.

The MPAA decided at the time that if anyone was going to regulate the content of the films being put out in the United States that they, not the government, would be the ones to do it.

The code first started out with the nickname the Hays Code, named after the man who invented it, but it later had to be revised to include a SMA or Suggested For Mature Audiences rating, which was intended to note that a film contained what most people would see as objectionable content.

Even though this first rating was introduced, which films it would apply to was not standardized and those film production companies that did not belong to the MPAA were not subject to this rating system.

From 1968 to 1970, the rating system only consisted of four different ratings: G, M, R, and X, with increasing levels of violence, sex, or profanity. This rating was changed to GP or General Patronage and then from GP to PG Parental Guidance in March of 1970.

The rating of PG-13 came around in the mid 1980′s, since there were a lot of films that were right on the line between the PG and the R rating. The PG-13 rating was created to fill in this gap.

The NC-17 rating came into existence on September 27th, 1990 and this rating replaced the X rating that had been used almost since the beginning of the ratings system. The X rating had become too synonymous with pornography and this was never intended.

The problem with NC-17 ratings for producers, however, is the fact that some movie store chains will not carry titles that carry its stamp. This has caused film studios to recently protest the NC-17 rating for films, stating that it makes their films almost worthless for widespread release, since many movie rental chains will not carry titles that are rated NC-17.

Recently the rating that has been coming under some fire is the R rating. It has a similar problem today that the PG and R ratings had that lead to the creation of the PG-13 rating back in the mid 1980′s in the sense that there are a large number of films that are considered to be just on the border between R and NC-17. Many parents believe that the R rating is a bit too broad and would like to see the rating split up into 2 groups: R and Hard R.

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Section 181
Previously, some costs of film production were recoverable through depreciation deductions spread over a period of years. However, the 2004 Tax Act added a new Section 181 to the Internal Revenue Code that allows a current deduction for the cost of “qualified film or television productions” in the year of the expenditure.
For any qualified film or television production that commences before January 1, 2010, a taxpayer may elect to deduct expenses in an amount not to exceed an aggregate cost of $15,000,000. The limitation is increased to $20,000,000 if a significant amount of the production expenditures are incurred in areas eligible for designation as a low-income community or eligible for designation by the Delta Regional Authority as a distressed county or isolated area of distress. A production is treated as commencing on the first date of principal photography.
The “aggregate cost” of a qualified film or television production may include all costs previously required to be capitalized, such as (a) development costs, (b) general and administrative costs, (c) depreciation of property used in production, and, (d) financing costs.
An individual or company who makes an investment into Section 181 qualified productions can take a 100% deduction of their investment against their passive income in the year their investment was made.
A deduction can be made against active income should the investment be made by or through a widely held C corporation. Originally set to expire December 31, 2008, the deduction was extended by TARP until December 31, 2009. Investments must be made before that date and the money invested into qualifying productions must be spent by the productions. For further specific information on Section 181 see below.

Example of Section 181 Deduction
For instance, should an individual or corporation that is taxed at a 35% tax rate have passive income to take a deduction against, then should that individual make a $10,000 investment into a qualified production or film fund, the actual net investment will be $6,500 since they can take a deduction against that full $10,000 against their passive income, and 35% of $10,000 is $3,500, which is the value of the deduction they can make in the year they make their investment.

Various State Production Incentives
Many states offer various film and video production incentives. These can be in the form of cash payments, tax credits, tax rebates, and waiver or reduction of sales and various other taxes. Some credits are transferable to other business entities. Every state is different, but usually the film production company must;
• Meet certain spend criteria
• Meet a minimum amount spent in state
• Be approved
• Submit applicable documents
• Go through an audit process

After production is complete and all conditions of the state’s requirements are met, the state then issues a refund in the form of a check, credit, or rebate. For further specific information on some individual states see below.

Example of State Production Incentive
In New Mexico (NM), which is considered a Tier 1 state by the film industry, a 25% tax credit for all production expenses and labor is given. There is no minimum spend. Should that same individual make a $10,000 investment into a qualified production in NM, then the actual net investment will be $7,500 since they are given a cash tax credit against the full amount of $10,000 spent in the state.
Example of Federal and State Film Incentives Combined
In the previous two examples an individual made an investment of $10,000 in a qualified film production. Section 181 allowed a first year deduction against taxes of $3,500. Since the production was filmed in New Mexico, the state paid a tax credit to the individual in the amount of $2,500. Together, these total $6,000. This results in an immediate return on investment of 60% to the individual ($6k is 605% of $10k).

Further specifics of Section 181
Section 181 also allows for all other recourse debt costs which are usually associated with film finance, a $10 million dollar film, where only $3.5 million is equity, an investor can deduct $3.5 million dollars against the $10 million, especially if the latter is mezzanine or gap finance.
A qualified film or television production may be a motion picture (whether released to theatres or directly to video, cassette or any other format), a miniseries, a scripted, dramatic television episode, or a movie of the week. In the case of a television series, only the first 44 episodes may qualify. Sexually explicit productions are excluded.
To qualify for the deduction, 75 percent of the total compensation of the production must be “qualified compensation”, meaning compensation for services performed in the United States by actors, directors, producers, and other relevant production personnel. There is no requirement that the individual be a U.S. citizen or resident. However, compensation does not include participations and residuals.
If the election to deduct the expenses is made, no other deduction for depreciation or amortization with respect to the qualified film or television production is allowed.
Only the owner of the qualified film or television production that pays the costs can take the Section 181 deduction. However, there is no requirement that the owner be the actual producer of the production. So even though the owner may subcontract production to another entity, as long as the owner retains the ownership rights over the production, the deduction should still be available. In addition, there can be multiple owners of the production. In that case, each owner would be allowed the deduction in proportion to the amount of his or her contributions.
Application of the Section 181 Deduction
The production activity should constitute a “trade or business”, therefore, the Section 181 deduction would be subject to the passive income/loss rules. Individuals and personal service corporations that do not “materially participate” in an activity (regular, continuous and substantial participation in the activity) can only deduct passive losses to the extent of “passive income.” Passive income generally includes income from real estate and other passive investments, and will include the income from the film, television show, etc. produced. Any passive losses not used can be carried forward and offset against passive income in subsequent years, or may be deductible against ordinary income if the loss is “freed up” (i.e., by sale or disposition of the passive activity asset). This would apply even if the future gain were long-term capital gain.
Therefore, in the initial year of production, the production costs would be deductible to the taxpayer under Section 181, but only against passive income. Any excess of the deduction (or “loss”) would carry forward and could be used to offset any ongoing income stream from the produced material. Presumably, if the produced material were sold in the same year as the costs were incurred, the deduction amount could be offset against the passive income from the gain on sale. If the produced material were sold in a subsequent tax year, the taxpayer could apply the loss carry forward from the first year against ordinary income and also be entitled to capital gain treatment of the proceeds of the sale of the produced material.
If the produced material is held for more than 1 year from the date of completion, the capital gain will be a long-term capital gain. There are no preferential capital gains rates for corporations, but if the taxpayer were an individual, the long-term capital gain rate would be 15% under current laws.
Potential limitations on the application or effect of the Section 181 deduction under existing tax law may include the “At-Risk Rules” (under which a taxpayer may only take a deduction for direct investment and borrowed amounts for which the taxpayer has ultimate direct recourse liability), the Alternative Minimum Tax (though as long as the production activity constitutes a trade or business (for individuals) or is deductible for purposes of calculating “earnings and profits” (corporations) the deduction should not trigger the alternative minimum tax) and established case law relating to the Internal Revenue Service’s ability to recast a transaction based on the doctrine of substance over form in a manner that would eliminate the tax benefits.
Effective for films placed in service after October 22, 2004, taxpayers may elect, on a film-by-film basis, to irrevocably adopt one of two approaches for the deduction of participations and residuals for the film. Participations and residuals are amounts that “by contract vary with the amount of income earned in connection with” the film (i.e., payables based on gross receipts, or box office bonuses). The taxpayer may elect to increase the adjusted tax basis of the film by the amount of participations and residuals that the taxpayer ultimately may owe based on an estimate of the income from the film during the first ten years after the film is placed in service. Alternatively, the taxpayer may elect to deduct the participations and residuals when paid.

Partial Income Exclusion for films produced in the US

The 2004 Tax Act also provides for an exclusion of a percentage of worldwide net income attributable to audio-visual works if at least 50% of the total compensation relating to production of the audio-visual work is compensation for services performed in the United States. The exclusion is 3% in 2005 and 2006, 6% from 2007 through 2009, and 9% thereafter. In no event may the exclusion exceed 50% of the total W-2 wages paid by the taxpayer during the applicable tax year. The exclusion also applies for purposes of the alternative minimum tax.
The exclusion applies regardless of the medium (i.e., theatrical, television, or DVD). Films will not qualify for this benefit if the film includes “visual depictions of actual sexually explicit conduct.”
Again, as with the Section 181 deduction, the income exclusion is limited to the owner of the film during production.

Further Specifics of State Film Production Incentives
Tier One States
New Mexico: Offers a 25% tax credit for all production expenses and New Mexico labor. The provisions have caused some concern that demand exceeds the labor pool, but a subsidiary of NBC Universal recently opened the largest equipment shop west of LA for TV, film and commercial productions.
Massachusetts: The state offers a 25% credit for production expenses above 50% of the total production costs ($7 million maximum). For Massachusetts production companies, an income and corporate excise tax credit is also available, equal to 20% of the production payroll (excluding payroll over $1 million) and 100% sales tax exemption.
Connecticut: The state offers a 30% credit for production expenses. Equipment brought into the state can qualify, provided it is used in the state. By allowing non-residents to qualify, productions can use New York labor and avoid some housing expenses.
Rhode Island: A 25% credit applies to all in-state spending in excess of $300,000, provided 51% of the production is shot in state.
Louisiana: A 25% credit on all expenditures, including non-resident labor, for work done in state and a 35% credit for payroll for Louisiana residents. An additional 40% credit can apply to infrastructure projects.
Tier Two States
North Carolina: A comprehensive tax credit, offsetting purchases, leases in state and wages paid to residents and non-residents for work performed in the state, seemed to put this state in the first tier.
Illinois: A 20% transferable tax credit, for state labor and expenditures, led to an increase in film and television work. Further, the state waives a 14.9% hotel bed tax, if occupied for 30 days. Already deep with talented and skilled labor, the credit seemed to create more work.
New York: A new 5% city tax credit adds to the 10% state tax credit and the unique and historic backdrops help to overcome the higher expenses of working in New York City.
Hawaii: Weather, setting and refundable tax incentives help overcome the limited size of the local crew. The state offers a 15% credit for a minimum of $200,000 in production costs on the island of Oahu, rising to 20% for work on the smaller islands. In the alternative, a separate 100% credit is available to the investors.
Florida: Great weather and talented and skilled local crews, are offset by a less generous credit and hurricane season. Florida offers a 15% credit for Florida expenses, goods purchased or leased, but a minimum qualifying project is $625,000 with a maximum reimbursement of $8 million.

Suggested links:
IRS Section 181
http://www.taxalmanac.org/index.php Sec._181._Treatment_of_Certain_Qualified_Film_and_Television_Productions
Federal, State, and International Production Incentives
http://www.entertainmentpartners.com/products_and_services/services/tax_incentives/

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A film or movie camera works by capturing a series of images. This is in contrast with still cameras that take a snapshot at a time. These series of images is called a “frame” and is achieved by using a sporadic mechanism. The frames are then replayed in a movie projector at a certain speed, known as “frame rate” (the number of frames by second). So actually, the film camera and your eyes and brain are responsible for creating the illusion of motion by merging the individual pictures. Commercial films like those produced in Hollywood uses the standardized frame rate of 24 frames per second while the standard width 35 millimeter. Other film formats that are also widely used include PAL, plays at 25 frames per second and NTSC (common in Japan and North America) at 29.97 frames/s. People in the movie industry find rendering from one format to another as one of the technical difficulties they have to face.

Majority of film cameras in the market do not capture the sound internally. The sound is record independently using a precision audio device. This setup is referred to as “double-system”. There is also the so-called single-system. These are new film cameras that have either an optical or magnetic recording apparatus inside. If you have seen those clapper boards in film production with the guy holding it and yelling these words “Title of the movie take 3 action”, they not jut simple boards. Aside from the fact that it normally starts a take it used as a reference point in synchronizing the picture with the sound. Furthermore, it allows scene and take numbers or any other important details to be included on the film itself. Currently, the most frequently applied system is unique identifier digits displayed on the border of the film. This whole process is accompanied by a computer editing system. Every film stock manufacturer has its own name for such identification system, Kodak call their version as KeyCode. There are cameras as well that have low-accuracy film systems. They are some dubbed as “non-sync” or MOS. MOS cameras are used in for second-unit work and other jobs that do not require standard filming speed. The most widely used 35 mm cameras today are Arriflex, Moviecam and Panavision versions. PhotoSonics is used in high speed filmmaking.

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The New Markets Tax Credit (NMTC) Program permits taxpayers to receive a credit against Federal income taxes for making qualified equity investments in designated Community Development Entities (CDEs). Substantially all of the qualified equity investment must in turn be used by the CDE to provide investments in low-income communities. The credit provided to the investor totals 39 percent of the cost of the investment and is claimed over a seven-year credit allowance period. In each of the first three years, the investor receives a credit equal to five percent of the total amount paid for the stock or capital interest at the time of purchase. For the final four years, the value of the credit is six percent annually. Investors may not redeem their investments in CDEs prior to the conclusion of the seven-year period.

An organization wishing to receive awards under the NMTC Program must be certified as a CDE by the Fund.

To qualify as a CDE, an organization must:

* be a domestic corporation or partnership at the time of the certification application;
* demonstrate a primary a mission of serving, or providing investment capital for, low-income communities or low-income persons; and
* maintain accountability to residents of low-income communities through representation on a governing board of or advisory board to the entity.

The FEDERAL HISTORIC PRESERVATION TAX INCENTIVES PROGRAM

The 20% tax credit Preservation Tax Incentives reward private investment in rehabilitating historic properties such as offices, rental housing, and retail stores. Abandoned or under-used schools, warehouses, factories, churches, retail stores, apartments, hotels, houses, and offices in many cities have been restored to life in a manner that retains their historic character. The Preservation Tax Incentives have also helped to create moderate and low-income housing in historic buildings.

Under the provisions of the Tax Reform Act of 1986, a 20% tax credit is available for the substantial rehabilitation of commercial, agricultural, industrial, or rental residential buildings that are certified as historic. The credit may be subtracted directly from federal income taxes owed by the owner.

The Historic Preservation Tax Credit Program benefits the owner, the occupants, and the community by:

o Encouraging protection of landmarks through the promotion, recognition, and designation of historic structures
o Increasing the value of the rehabilitated property and returning underutilized structures to the tax rolls
o Upgrading downtowns and neighborhoods and often increasing the amount of available housing within the community.

The American Jobs Creation Act Of 2004: 100% Federal Deductions + 20-30% State Tax Credits!

In the United States, the 2004 enactment of Section 181 of the Internal Revenue Code of 1986 (the “Code“) marked an unprecedented change in U.S. policy toward the phenomenon known as “Runaway
Production“.

Runaway Production refers to a film or television production that leaves one state or country to be filmed in another purely for economic reasons. This movement occurs because producers tend to film in the location where they can minimize production costs through tax incentives, cheaper labor.

Over the years, Canada has been the greatest beneficiary of U.S. runaway productions (according to some reports, Canada has claimed up to 80% of the U.S. runaways, generating an economic impact of $10.3 billion in production output in 1998 alone).

Section 181 represents the first time that the U.S. federal government has recognized this impact by passing tax legislation to actively combat the flight of film and television programming.

Section 181 permits a 100% write-off for the cost of certain audio-visual works, regardless of what media they are destined for (e.g., theatrical, television, DVD, etc.).

An individual or company who makes an investment into Section 181 qualified productions can take a 100% deduction of their investment against their passive (individual) or ordinary (as C Corporation) income in the year their investment was
made.

The deduction can be made against active income should the investment be made by or through a widely held C corporation. The law is in effect until December 31, 2009, therefore investments must be made before that date and the money invested into qualifying productions must be spent by then by the productions.

An example, should an individual or corporation that is taxed at a 35% tax rate have passive income to take a deduction against, then should that individual make a $1 Million investment into a qualified production or film fund, the actual net investment will be $650,000 since they can take a deduction against that full $1 Million against their passive income, and 35% of $1M is $350,000, which is the value of the deduction they can make in the year they make their investment. Therefore, 1M minus $350,000 is $650,000 which is the net amount of their investment into the qualified production.

However, an investor or Company can also receive an additional 15-30% in state tax credits on the entire budget of a film BEFORE profits and other exit strategies that Noci Pictures Entertainment has in place.

This clearly shows a premium in tax credit and tax liability deduction compared with the other Federal Tax Credit Programs available.

Further, The Section 181 and State Programs benefit the tax credit investor, the producers, and the community by offering:

In the Short Term:

1. 100% passive or ordinary income deductions under the IRS Section 181 “American Jobs Creation Act” for both individuals and corporate tax payers
2. 20%-30% in State Tax Credits (depending on state)
3. Economic Development
4. Job Creation, Including For Minorities And Women
5. ROI on Investment of 60-100% prior to revenues

In Medium-Long Term it would offer

1. hedge of revenues (after Section 181 and state incentives of 60-100% ROI) back to investors from individual or a slate of films
2. Discount of future taxation from income under Section 199 for a Section 181 investment

SECTION 199
Section 199 is the income section; it is called the manufacturing section of The American Jobs Creation Act, 2004. Film Production has been defined as a manufacturer but television is not. Section 199 does not apply to television.

This section says that any manufacturer (Film Production) can have some tax relief on money returned to the investor.
o from 2005 till 2007 the taxpayer is entitled to a 3% deduction
o from 2007 to 2010 they get a 6% reduction
o And from 2010 on the get a 9 % reduction.

For example, if an investor get $1.00 back on a investment in a movie after he has already written off 100%, then he will only be taxed on .94 cents if I he is given it back between 2007 to 2010. From 2010 on then an investor gets to pay taxes only on .91 cents and it stays at this 9% rate.

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