Terms of Service

1. Acceptance of These Terms

By reading this website, by sending an enquiry through the contact form, by emailing the dispatch desk or by confirming a booking of a stage day or a service, a person agrees to be bound by these Terms of Service. If someone does not agree with these Terms, that person should not use the site and should not place an order. Using the site for private reading only does not need an agreement, but the moment an enquiry or an order is submitted the Terms apply.

These Terms are offered by CDS AR HOLDINGS, LLC, a limited liability company operating from the address given in the next section. This document, together with the Privacy Policy and any written production agreement a client signs, forms the whole agreement that governs each visit and each booking. Where a statement in marketing material on the site conflicts with these Terms, these Terms win wherever the law allows that.

A booking of a stage service may also involve a separate production agreement that a client signs. Where such a document is more specific than these Terms, the specific document governs the details it sets out, and these Terms cover the general relationship that is not overridden by that document.

2. The Company and Contact Details

The entity that offers these Terms and provides the services described is a limited liability company located in the state of Utah in the United States. The public name used across the site is the developer and operating brand CDSARHold, which acts for and on behalf of the Company for the purposes of running the website and the dispatch desk.

The industry in which the Company works is computer systems design and related services, and the work performed is the technical production of visual and broadcast content, most often on a greenscreen stage or through augmented reality and virtual production techniques.

3. Scope of the Terms

These Terms apply to the website at https://www.cdsarhold.lat and to the stage and service bookings that begin on that site. They cover the whole chain from an enquiry to a delivered take, including the schedule, the price, the way files are handled and the limits on the responsibility of the Company.

Nothing in these Terms transfers to the Company the ownership of the content a client brings to the stage, and nothing in these Terms gives a client ownership of the proprietary tools the Company uses. The two groups of intellectual property are kept carefully apart and are described in their own sections below.

These Terms apply whether the client is a business, a studio, a brand team or a private individual, although the nature of the work means most bookings come from commercial customers. Where a regional consumer law grants a person rights that a business term cannot take away, that law continues to protect the person in the usual way.

4. The Services Offered

The Company offers virtual production services that return to a handful of core lines. A stage day provides an operating greenscreen stage with a cyclorama sweep, crew, dolly track, camera support and a live review village. Augmented reality work builds measured content that is tracked to the real floor of the stage. Real time compositing gives a finished frame at the village during the take rather than after the fact.

Further lines complete the picture: marker and tracking setups lay the physical grid that makes every virtual move honest; LED volume consultation plans the panels, power and signal path of a digital stage; and broadcast graphics integration wires live overlays into trucks and control rooms that have no time for a second guess.

The services in this list are described in fuller form on the Services page of this site. A booking is a contract to supply the agreed scope of one or more of these lines. The Company does not act as an agent for a talent or a third party crew, and any element outside the agreed scope is booked separately or arranged by the client.

5. Booking and Quotations

A booking begins with an enquiry to the dispatch desk or through the form on the contact page. The Company responds with a written quotation that names the scope, the stage date, the crew, the inclusions and the price asked. A booking is not firm until the Company confirms it in writing and, where payment is asked in advance, until the agreed deposit or payment is received.

Quotations are valid for the window stated on the quoted document, commonly thirty days, after which a quotation can be reissued at the day rate then current. A quotation holds a stage window for a short holding period so a producer can put together a call sheet with confidence. When that holding period passes without a confirmed order, the window is released for another client.

The dispatch desk states plainly what a given budget can and cannot buy, and will recommend more or less time honestly rather than selling a day that cannot hold the take. Any written confirmation of a booking states the agreed scope by exact reference so that later confusion about what is included is removed before the day begins.

6. Payment Terms

Payment for a stage day and for digital service lines is asked on the terms shown on the quotation and the invoice. For a first booking the deposit asked is normally fifty percent with the balance due before the media leaves the floor. For an approved repeat client the Company may offer payment on a clear due date stated on the invoice, but those terms are agreed in writing and are not assumed.

The Company accepts payment by the methods named on its invoice, which commonly include bank transfer and mainstream card processing through a payment provider. Payment details are taken by that provider and not stored on the Company systems in a way that exposes a full card number. Payment is rendered in United States dollars unless a written quotation from dispatch states otherwise.

Where a bill is not paid on time, the Company may pause work or hold deliverables until the account is current, and may add the late interest allowed by law at the rate stated on the invoice. Dispatch will always try to agree a clear payment plan before any hold or collection step is taken, because the aim is a working relationship, not a dispute.

7. Scheduling and Cancellation

A confirmed stage date is a promise on both sides. If the Client needs to move a date, the Company asks for as much notice as possible and will reschedule without a fee where a free window can be found and where notice is enough. Where a cancellation happens at very short notice and no replacement booking can fill the window, the deposit may be retained to cover the committed crew time.

If the Company must cancel a confirmed date, which happens only for the strongest reasons such as a building failure or a safety matter, the Company offers the next nearest free date at no extra cost or a full refund of anything paid, at the choice of the client. No client is ever left both unpaid and without a date over a cancellation that the Company caused.

Stage time is billed in the increments shown on the quotation, and a run that overruns the booked time can be billed at the agreed day rate split into the same increments. The crew note the end time on the call sheet so the final bill matches the floor that was really used.

8. Client Responsibilities

A client is responsible for the people and the content they bring onto the stage. The client makes sure that the talent, the crew they supply and any young performer on set have the clearances and the rights the shoot needs. The client also confirms that any logos, names, designs and releases used in the content are theirs to use and do not break the rights of another party.

Before a stage day, the client supplies the technical notes the shoot needs: the lens plans, the references, the source files and the preferred delivery format. The dispatch desk asks for these in an orderly list so nothing is hunted for on the morning of the shoot. Access to the stage is open to the client team and its agreed vendors, and guests are welcome with the studio notice the days run on.

The client is responsible for the safety of its own crew on the deck and follows the house rules of the stage for exits, fire lanes and load in. The Company provides the environment and the trained stage crew, but a working day trusts the people on the floor to look after each other in the way any professional set does.

9. Intellectual Property of the Company

The Company owns, or holds under licence, the tools and know how that make the work possible. This includes the stage plot, the tracking software and its configuration, the real time engines, the compositing setups, the calibration methods and every training document and internal process the Company has built. Nothing in a booking transfers any right in these tools to the client.

The look of the website, the word marks that belong to the Company and the design choices made for identifying the stage all remain the property of the Company, and a client may not take or reuse them beyond the licence given in writing. A right to use a deliverable for a shoot does not include a right to relabel the stage, the tools or the team as the clients own work.

Where the Company uses open or licensed technology inside a delivery, that technology keeps the terms of its own licence. The Company passes on the benefit of the licence it relies on and, where a licence requires it, makes available the notices or source that the licence sets out. The list of such a technology is available from the dispatch desk on request.

10. Client Content and Rights

Everything a client brings to the stage stays the content of the client. Schedules, storyboards, source files, talent footage and the final takes are the property of the client unless a written agreement says otherwise. The Company only uses client content to perform the agreed service and to keep the record the law and the business need, on the retention plan described in the Privacy Policy.

The client grants the Company the limited licence it needs to do the work: to receive, store, process, composite and deliver the content, and to keep a demonstration copy only where the publicity section below is agreed. That licence ends when the work ends, apart from the copies that the agreement lets the Company keep, and the client does not lose any right in the content by using the stage.

Where footage includes a real person who is not the client, the client is responsible for the release of that person. The standard broadcaster release forms that the industry uses are accepted practice and the dispatch desk can point a new client to the usual form, but the duty to gather the signed release sits with the client who books the day.

11. Deliverables and Buyout

A delivery is the finished set of files the quotation names, in the format, the frame rate and the standard the client asked for at booking. A delivery is complete when the named files are handed over or made available by the method agreed. Approval is asked in the normal way, and a small correction pass to a delivery the client has already accepted is offered without a fee where it is a genuine matter of quality.

Buyout of a take means the finished footage and stills produced on a paid stage day belong to the client for the use agreed, including the media, advertising and web use the client names in the plan. Buyout is described on the quotation where it applies, and Buyout for produced content is already included inside the standard stage day for the agreed use. A wider or worldwide use, an internet campaign that runs for several years, or a use inside a product that is sold is handled as an extra and is priced plainly in writing before the shoot rather than discovered after it.

Raw camera notes, survey data and operator logs are working documents. They can be handed to the client on request and, unless handed over, follow the retention plan of the Privacy Policy so that loose media does not sit on a shelf forever.

12. Acceptable Use

The website and the services are provided for lawful use only. A visitor may not try to break into the systems, may not overload the site, and may not use it to send harmful software or to gather data about other users in a dishonest way. The stage is a professional workplace, and conduct that puts people at risk is not tolerated on site.

Content that a client asks the Company to produce must not itself be unlawful. The Company will not help to make content that breaks the law of the place where the content will be shown or where the shoot happens. Where a request sits near that line, the dispatch desk will say so plainly and respectfully rather than accepting the money and blaming the client later.

This section does not tell a client what creative choice to make with the tools the Company owns. Creative freedom with lawful content is welcomed and encouraged; the limit is drawn only where the law draws the line and where the safety of the people on the deck is at stake.

13. Third Party Tools and Content

The Company uses third party tools to run parts of the operation, from hosting and mail to file transfer and payment. Each such tool has terms of its own between the tool owner and the user. Where a client directly uses such a tool, that agreement sits alongside these Terms. Where the Company supplies a tool as part of the service, the Company answers to the client for the delivery but cannot rewrite the rules of the tool owner.

Content from a library, a stock service or a client vendor that is intended for the final show is the responsibility of the client to license. The Company will flag any obvious gap it sees, but the full clearance of fonts, music, images and logos rests with the client who commissions the content, because only that client knows the full reach of the final use.

Where the plan changes the number of touches or the exact third party used after booking, dispatch confirms any cost change in writing before the work that uses the new tool begins, so the bill never surprises a producer after the fact.

14. Pre Production and Data

The survey data, tracking files and meshes prepared for a production describe the real geometry of the stage. They are prepared to the tolerance the shoot needs and are kept current so a return day does not redo the work. These files follow the retention plan of the Privacy Policy and are removed or returned when that plan ends.

Data that arrives before the shoot, such as source plates, references and client build files, is handled with the same care as the finished content. Nothing is altered beyond what the service agreement needs, and the original files are returned or deleted in line with the agreed window so a client can always find its own material.

The dispatch desk maintains a written record of what it holds, so a question about a file from a shoot that wrapped years ago gets an answer about where that file is and when it will be removed rather than a shrug. That record is private to the Company and its client and is not shared.

15. Publicity and Portfolio Use

The Company builds a reputation on the work it does, and it likes to show what can be done on the stage. A separate, clear line on the quotation asks whether the client is happy for a finished example to be used in the Company portfolio, on its site or in a showreel. No public use of a specific project happens without that agreement, and the answer does not change the price.

Where publicity is agreed, the Company limits what it shows to a finished take or a short clip that does not break a confidential plan, an unannounced campaign or the release terms of the talent. Where an agreement does not allow publicity, the Company keeps the work private and says nothing beyond the fact that a stage day was provided.

A client may change a publicity answer later by writing to the dispatch desk, and the Company will act on the new answer as soon as it reasonably can, including taking down a clip that has already been shown where it is within the Company power to do so.

16. Disclaimers and Warranty Limits

The website is provided on an as is and as available basis. The Company does its best to keep the pages reliable and correct but does not promise that the site will be free of every fault or error or available at every moment. Content on the site is guidance, and figures such as available stage days are indicative rather than a hard promise until a booking is confirmed.

The professional work of the Company is delivered with a standard of skill that a reasonable client in this industry would expect. Where a delivered take fails to meet that standard, the Company will correct it in the way a competent provider would rather than asking the client to pay again for the same repair. The stated quality standard does not cover a fault caused by material the client supplied that was wrong from the start.

These Terms limit the warranty to the express words of this section and to any separate production agreement. Any representation that goes beyond what a written quotation states is not a term of a booking, and a client who is told something different by a sales note should ask for it to be written into the quotation if it matters to the decision.

17. Limitation of Liability

To the fullest extent the law allows, the total responsibility of the Company for any claim that comes out of a booking or the use of the website is limited to the amount the client paid for the specific instance that gave rise to the claim. The Company bears no responsibility for lost profit, lost production or other indirect damage that a business client suffers, because these Terms are priced assuming that each side accepts its own business risk.

The limitation in this section does not limit the responsibility of the Company for harm caused by the negligence of the Company where the law forbids that limit, and does not apply to personal injury caused while a person is on the stage. Where a shoot leases third party equipment through the Company, the equipment provider own terms also apply to that hire, and the Company passes on the benefit of the limits the provider applies to its own gear.

Where the law of a consumer region would not allow a limit of liability that this section states for a private consumer, that limit is treated as removed but only to the extent it cannot apply, and the rest of these Terms keeps working normally.

18. Indemnification

A client agrees to keep the Company safe from claims and losses that arise directly from a failure of the client in the areas they control. This includes a claim that the content the client supplied breaks a right of someone else, a claim that a release the client was responsible for is missing, and a claim that a client crew member or a client vendor caused damage on the stage while under the day to day direction of the client.

The Company undertakes the same duty back to the client for claims that come purely from the fault of the Company, such as a breach of the proprietary steps described in these Terms by a Company employee. Each side answers for its own share and neither side funnels the others cost into the price of a simple stage day.

An indemnity applies only where the failing is genuine and causally tied to the specific claim, and the section does not turn these Terms into a blanket transfer of every risk onto one party. A claim that both sides contributed to is shared in proportion to the fault found.

19. Suspension and Termination

These Terms apply from the moment of a first accepted booking and continue until the booked work, its delivery corrections and any agreed retention are finished. Either side may end the relationship for a genuine breach that is not corrected after proper notice, or immediately where the breach is serious enough that waiting would cause real harm.

If the Company suspends an account for a matter of payment, it says so clearly and resumes once the account is current. If the Company ends the relationship because of a continuing breach by a client, it returns any deliverable the client has paid for and refunds the unused part of a deposit, minus the value of work already done, in a way that leaves neither side holding the other hostage.

The sections of these Terms that are meant to survive a booking, which are the sections on intellectual property of both sides, liability, indemnity, governing law and the delivery of completed files, continue to apply after the working relationship ends in the way the words of those sections intend.

20. Governing Law and Disputes

These Terms are governed by the laws of the state of Utah in the United States, without reference to choice of law rules that point elsewhere. The courts of Utah have jurisdiction over any dispute that arises between the parties, subject to the small and helpful note in the next paragraph about the way most disputes are never meant to reach a court at all.

The Company believes most disagreements come from a short message being read with a long wait in the middle. A client with a complaint should contact the dispatch desk first, and the Company answers with a named person within a clear window and works to a fair outcome. An exchange of plain notes resolves the large majority of production disagreements before any formal step is needed.

Where a dispute does reach a formal stage, the parties first try to settle it through a short negotiation, then through mediation where that can be arranged, before any claim is filed. Nothing in this section stops a party from seeking urgent relief where delay would cause a loss that could not be repaired.

21. Miscellaneous Provisions

If a part of these Terms is found to be unenforceable, that part is removed and the rest keeps its full effect. These Terms and any written confirmation form the whole agreement between the sides, and they replace any earlier talk or writing about the same matter. A heading in these Terms is there to help the reader and does not limit the words beneath it.

The Company may update these Terms from time to time, and the latest date at the top of this page is the current version. A client with a booking in hand is governed by the version current at the time the booking was confirmed, so a later change does not quietly alter a deal that has already been accepted.

No silence by the Company amounts to a waiver of a right, and no single exercise of a right stops a later exercise of the same right. These Terms are written in clear English on purpose, and a reader who wants a point explained in another language can ask the dispatch desk and will be given a fair explanation, though the English text remains the authoritative version.

22. How to Contact Us

Questions, corrections and disputes all begin at the dispatch desk. The Company answers enquiry, booking and legal mail through the same channel so nothing falls between two inboxes. A message about these Terms gets the same attention as a booking message, and a legal question is answered plainly or passed to the right person without a runaround.

These Terms work together with the Privacy Policy that is linked on every page of the site. Where these Terms discuss the way data and content are held, the Privacy Policy gives the fuller picture of retention, sharing and the rights of an individual. The developer CDSARHold and the Company answer as one operation under both documents.

Thank you for reading and for taking the stage seriously. A clear Terms page is part of running a respectful, professional floor, and the team looks forward to blocking, lighting, tracking, compositing and reviewing a take for you soon.