G
gtm1
Trying to get a normalized structure for Talent Management company
We are TALENT MANAGERS that represent TALENT (actors, singers, dancers,
models, writers, etc )
We usually work in conjunction with AGENTS at AGENCIES to get the ACTORS
AUDITIONS with CASTING DIRECTORS (CD's) that hopefully turn into CALLBACKS
and BOOKINGS.
Talent may have zero, one, or several different AGENCIES for Commercials,
TV, Film, Theater, Print, etc.
We get breakdown info via computer websites that will ideally populate the
PROJECT tables.
When an appointment notice is received, we want to send the appt info to
our talent via email and text message with a flag noting when the talent
confirms (they text, email or telephone their confirmations) and we have to
relay that confirmations or decline to the Casting Directors)
A few confusing items - the biz is comprised of nomads ie
CD's change locations and phone #'s regularly
CD may have separate address with different contact info for each PROJECT
AGENCIES are fairly stable, but AGENTS could use revolving doors (switch
AGENCIES, move to MANAGEMENT, etc)
AUDITIONS (or other APPOINTMENTS) are often at CASTING STUDIOS - often a
different address from the CD
CALLBACKS may be at a same or different location
PROJECTS are jobs for TALENT who are AUDITIONED by CD's
PROJECT INFO has details such as DIRECTOR, PRODUCER, WRITER - (may be same
person wearing several hats - or totally different) Also Project Type and
Payrate
PROJECT ROLES are the specific roles being auditioned for, inclusive of
details such as AGE, SEX, ETHNICITY
Our TALENT runs the gambit from 15 day old babies through retirees. There
may be siblings or children - some represented, some not - but it would be
useful to list family members for any contacts. (some contacts will be
personal, business, clients or all the above)
Identical TWINS, TRIPLETS and higher order multiples are like gold in the
biz and important to note this particular sibling relationship
When a job is booked, we track payments due - we bill/invoice for non union
jobs, and wait a month for union jobs to pay. Commercials usually have
residuals that we track based on cycles and holding fees.
Based on the above info, it appears there are
tblContacts
ContactID AN PK
FirstName
MiddleName
LastName
tblFamilyMember
FamilyMemberID AN PK
FamilyMemberType
tblMultiples
MultipleID [2-6 representing twins through sextuplets?]
MultipleType [Identical, Fraternal]
tblContactType
ContactTypeID AN PK
ContactDesc
tblAddresses
AddressID AN PK
StreetNumber
StreetName
SuiteNumber
City
State
Zip
tblBusinessName
BusinessID AN PK
BusinessName
BusinessType
tblTalentData
TalentDataID AN PK
DOB
HT
WT
HAIR
UnionMembership
etc
tblTalentSkills
TalentSkillsID AN PK
SkillType
SkillLevel
tblUnions
UnionID AN PK
UnionName
tblProjects
ProjectID AN PK
ProjectName
UnionAffiliation
tblProjectDetails (combine w/Projects or separate table?)
ProjectDetailsID AN PK
Producer
Writer
Director
AuditionDates
CallbackDates
ShootDates
ShootLocation
etc
tblProjectRoles
ProjectRolesID AN PK
RoleName
RoleRequirements (age, ethnicity, sex)
tblAppointments
AppointmentID AN PK
ApptType
ApptLocation
ApptTime
Then there are a few more tables for the accounting -
billing/AR payment tracking that I haven't gotten to yet - open to
suggestions.
FK's are missing - not sure how to incorporate, inclusive of relationships,
but it's apparent they are required
Should be able to create stats for clients - # of submissions, # auditions,
# callbacks, bookings etc, plus %'s and $ amounts with properly normalized
data.
relatively small amount of data -
There are about 2,500 total CD's & Agents.
Up to about 1,000 Actors
Total # contact names less than 25,000
Projects and ProjectRoles could grow to 100,000 or more, but obsolete
Projects & ProjectRoles can be removed regularly (when job is booked, or
after a few months)
Less than 20 users envisioned and rarely more than 5 at any given time.
I'm sure there are lots of missing pieces, so fire away with questions and
suggestions, bearing in mind my access virginity. (but quick learner)
Thanks in advance
We are TALENT MANAGERS that represent TALENT (actors, singers, dancers,
models, writers, etc )
We usually work in conjunction with AGENTS at AGENCIES to get the ACTORS
AUDITIONS with CASTING DIRECTORS (CD's) that hopefully turn into CALLBACKS
and BOOKINGS.
Talent may have zero, one, or several different AGENCIES for Commercials,
TV, Film, Theater, Print, etc.
We get breakdown info via computer websites that will ideally populate the
PROJECT tables.
When an appointment notice is received, we want to send the appt info to
our talent via email and text message with a flag noting when the talent
confirms (they text, email or telephone their confirmations) and we have to
relay that confirmations or decline to the Casting Directors)
A few confusing items - the biz is comprised of nomads ie
CD's change locations and phone #'s regularly
CD may have separate address with different contact info for each PROJECT
AGENCIES are fairly stable, but AGENTS could use revolving doors (switch
AGENCIES, move to MANAGEMENT, etc)
AUDITIONS (or other APPOINTMENTS) are often at CASTING STUDIOS - often a
different address from the CD
CALLBACKS may be at a same or different location
PROJECTS are jobs for TALENT who are AUDITIONED by CD's
PROJECT INFO has details such as DIRECTOR, PRODUCER, WRITER - (may be same
person wearing several hats - or totally different) Also Project Type and
Payrate
PROJECT ROLES are the specific roles being auditioned for, inclusive of
details such as AGE, SEX, ETHNICITY
Our TALENT runs the gambit from 15 day old babies through retirees. There
may be siblings or children - some represented, some not - but it would be
useful to list family members for any contacts. (some contacts will be
personal, business, clients or all the above)
Identical TWINS, TRIPLETS and higher order multiples are like gold in the
biz and important to note this particular sibling relationship
When a job is booked, we track payments due - we bill/invoice for non union
jobs, and wait a month for union jobs to pay. Commercials usually have
residuals that we track based on cycles and holding fees.
Based on the above info, it appears there are
tblContacts
ContactID AN PK
FirstName
MiddleName
LastName
tblFamilyMember
FamilyMemberID AN PK
FamilyMemberType
tblMultiples
MultipleID [2-6 representing twins through sextuplets?]
MultipleType [Identical, Fraternal]
tblContactType
ContactTypeID AN PK
ContactDesc
tblAddresses
AddressID AN PK
StreetNumber
StreetName
SuiteNumber
City
State
Zip
tblBusinessName
BusinessID AN PK
BusinessName
BusinessType
tblTalentData
TalentDataID AN PK
DOB
HT
WT
HAIR
UnionMembership
etc
tblTalentSkills
TalentSkillsID AN PK
SkillType
SkillLevel
tblUnions
UnionID AN PK
UnionName
tblProjects
ProjectID AN PK
ProjectName
UnionAffiliation
tblProjectDetails (combine w/Projects or separate table?)
ProjectDetailsID AN PK
Producer
Writer
Director
AuditionDates
CallbackDates
ShootDates
ShootLocation
etc
tblProjectRoles
ProjectRolesID AN PK
RoleName
RoleRequirements (age, ethnicity, sex)
tblAppointments
AppointmentID AN PK
ApptType
ApptLocation
ApptTime
Then there are a few more tables for the accounting -
billing/AR payment tracking that I haven't gotten to yet - open to
suggestions.
FK's are missing - not sure how to incorporate, inclusive of relationships,
but it's apparent they are required
Should be able to create stats for clients - # of submissions, # auditions,
# callbacks, bookings etc, plus %'s and $ amounts with properly normalized
data.
relatively small amount of data -
There are about 2,500 total CD's & Agents.
Up to about 1,000 Actors
Total # contact names less than 25,000
Projects and ProjectRoles could grow to 100,000 or more, but obsolete
Projects & ProjectRoles can be removed regularly (when job is booked, or
after a few months)
Less than 20 users envisioned and rarely more than 5 at any given time.
I'm sure there are lots of missing pieces, so fire away with questions and
suggestions, bearing in mind my access virginity. (but quick learner)
Thanks in advance