Major film productions are important, although the UK managed team who covered this smaller event had staff from six countries, reflecting the nature of our media sector.
The media industry generally and filming in particular have a reputation for judging, or choosing staff on ability, rather than nationality. There is concern on the ability of this open view to continue after Brexit.
In political declarations, or broader announcements, the government have stated an intention to negotiate on areas of importance for the film and TV sectors.
Proposals include participation in EU programs, such as Creative Europe. At the same time, officials have said the UK will not be participating in the next Creative Europe programme, starting in January 2021.
Confusion is inevitable at the early stages of international negotiation. Nobody knows where we will be in nine months time, when the Brexit transition period ends but there are reasonable conclusions to draw.
No indication has been given that media staff will be treated any differently, even though the industry relies on mobility.
The likelihood is that anyone coming to the UK to work for 90 days, or less will be fine, if they are from a non visa country. Others will need to apply for a visa under the tier 5 (creative and sporting) system.
A small number of industry leaders may be able to move to the UK via the Global Talent route, which requires exceptional evidence. For most people, if they are coming to to the UK permanently, a points system is likely to apply.
This is still being finalised but a job offer in a skilled profession, minimum salary levels and the ability to speak English are probable criteria. For visas of all types, fees and NHS surcharges may also apply.
Not all current benefits are EU related. Creative sector tax reliefs should not be affected by Brexit, a number of bilateral co-production treaties and the European Convention on Cinematic Production are governed by the Council of Europe, rather than the EU.
Similar applies to international treaties on copyright and other intellectual property laws, which are not dependent on the UK’s membership of the EU. There is however a likelihood that UK broadcasters to the EU will need a new licence.
The physical movement of broadcasting equipment across borders will also change. The current Japan – EU economic partnership makes special provision for the temporary movement of cinematographic equipment, perhaps this will be replicated.
If not, ATA carnets are ready to fill the gap and again, are not subject to EU oversight. As soon as we hear more about their use, or an alternative approach, we will keep you informed.