Shenzhen Yantian full-domain film and television base launched — what legal compliance points should film and television projects pay attention to when landing there?

On August 8, 2026, Yantian District in Shenzhen officially launched the "Digital-Intelligent Mountains and Seas · Light and Shadow Rainforest" all-domain film and television base, marking the establishment of China's first "rainforest-style" all-domain film and television industry cluster. The base relies on 116 real-scene resources, digital twins, virtual production, and an AI computing power platform, attempting to reshape the entire film and television industry chain. However, behind the industry's enthusiasm, legal issues such as contract review, intellectual property ownership, data security, and labor employment involved in the implementation of film and television projects often become hidden reefs that enterprises overlook. This article, from a lawyer's perspective, analyzes the legal compliance key points behind this hot event and provides practical guidance for participating enterprises.

1. With the implementation of film and television industry clusters, the risks in contract signing and IP licensing should not be underestimated.

The operation of film and television industry clusters hinges on collaboration among multiple parties: producers, technology providers, cultural tourism operators, distributors, and so on. Every link relies on contracts to define rights and obligations. In practice, we often see disputes arising from vague contract terms, for example: the scope of permission for on-location shooting is unclear, leading to use of scenes beyond the agreed area; or the authorization period and usage platforms for digital assets (such as 3D scenes and virtual characters) are not specified, triggering subsequent disputes over derivative development.

According to Article 470 of the Civil Code, the content of a contract is agreed upon by the parties and generally includes the subject matter, quantity, quality, price, performance period, liability for breach, and so on. Special attention must be paid to film and television project contracts, particularly regarding:

– **Integrity of the IP licensing chain**: A film or television work often involves multiple rights, such as adaptation rights of the original work, script copyright, music usage rights, and actors' portrait rights. If there are flaws in the licensing chain, the project may be unable to be distributed. For example, a crew was sued for infringement during later promotion because they had not obtained the copyright license for the interior decoration of the building at the real location.

– **Acceptance criteria for technical services**: In virtual production and AI computing power service contracts, the acceptance standards for technical deliverables, the number of revisions, and confidentiality obligations should be clearly defined. If the contract merely stipulates "provision of technical support," disputes over "whether the standards have been met" may easily arise later.

– **Breach Liability and Exit Mechanism**: Film and television projects have long cycles, and investor changes are frequent. The contract should predefine the method for calculating compensation in the event of a breach by one party, as well as liquidation clauses for when the project stalls.

Lawyer's advice: When signing contracts, companies should entrust professional lawyers to conduct due diligence, paying particular attention to IP rights burdens and historical litigation records, and include a "warranty against defects in rights" clause in the contract to ensure upstream rights are clear.

2. Digital Technology Empowers Film and Television, with Data Compliance and Cybersecurity Becoming New Focal Points

Yantian Base emphasizes "digital twin, virtual production, and AI computing power," which means that a large amount of data will be collected, stored, and computed. In the process of film and television production, this involves actors' facial features, motion capture data, 3D real-scene scanning information, and even audience interaction behavior data (such as large-scale interactive films). Such data may constitute sensitive personal information or biometric information under the Personal Information Protection Law.

According to Article 28 of the Personal Information Protection Law, once sensitive personal information is leaked, it may easily lead to damage to personal dignity or harm to personal and property safety. Processing such information requires specific purposes and sufficient necessity, and separate consent from the individual must be obtained. When film and television enterprises collect actor or public data, they must:

– **Explicit Notice**: Before filming or data collection, clearly inform users of the purpose of data use, retention period, and processing methods in a conspicuous manner.

– **Obtain separate consent**: Authorization must not be bundled into a "package" agreement; separate pop-up confirmation or a signed acknowledgment is required.

– **Cross-border data compliance**: If the project involves overseas release or collaboration with Hong Kong and Macau teams, data leaving the country must comply with the requirements of the Measures for Security Assessment of Data Cross-Border Transfer. For example, transferring production data to overseas servers may require a security assessment.

Additionally, the copyright ownership of AI-generated content (AIGC) remains controversial. If AI participates in scriptwriting or special effects generation, under the current Copyright Law, only human creations are protected. Enterprises need to clearly define the ownership of rights in AI-generated works within contracts to avoid subsequent copyright disputes.

Third, the employment models for film and television projects are diverse, and labor compliance and work-related injury risks need to be addressed simultaneously.

The film and television industry has flexible employment practices, often involving temporary actors, technical personnel, and outsourced teams. Yantian Base's "full-scene real-world" filming approach means extensive location work, with high-risk scenarios such as aerial work, water scenes, and explosive effects being common. Under the Labor Contract Law and the Work-Related Injury Insurance Regulations, enterprises must pay work-related injury insurance for employees with whom they have established labor relations. However, in practice, production crews often use "service contracts" to circumvent social insurance obligations, leading to compensation disputes after accidents.

Key compliance points:

– **Distinguishing labor relationships from service relationships**: If an employee is subject to the production team's management, receives remuneration on a monthly basis, and the work is continuous, judicial practice may still recognize it as a de facto labor relationship even if a "service contract" is signed (refer to the "Notice on Relevant Issues Concerning the Establishment of Labor Relationships"). The employer must bear the risk of compensation for failure to pay social insurance.

– **Safety guarantee for high-risk operations**: According to the Work Safety Law, the crew should provide safety protection measures and conduct safety training. If an accident occurs, the enterprise may face administrative penalties and civil compensation.

– **Protection of the rights and interests of actors and extras**: Minor actors must comply with the working hour regulations under the Law on the Protection of Minors; extras' remuneration should be paid in full and on time to avoid wage arrears disputes.

Lawyer's advice: Film and television enterprises should establish a compliant employment system, choose appropriate contract types based on the nature of the position, and purchase commercial accident insurance for temporary personnel as a supplement to work-related injury insurance.

4. Policy Dividends and Legal Boundaries: How Can Enterprises Leverage Without Overstepping?

The Yantian base offers industrial support policies, such as tax incentives, site subsidies, and fast-track approval channels. Enterprises should actively take advantage of these, but must remain compliant with policies and avoid the risk of "subsidy fraud." For example, at a film base in a certain region, companies once falsely inflated project costs to obtain subsidies and were subsequently held criminally liable.

Key Compliance Points:

– **Project Authenticity**: Projects applying for subsidies must be genuinely carried out, and the use of funds must comply with the declared purpose.

– **Intellectual Property Compliance**: When utilizing policies involving "Shenzhen-Hong Kong co-production" or "going global" projects, compliance with the Foreign Investment Law and the content review regulations of the overseas release location is required.

– **Environmental Protection and Cultural Relic Preservation**: If on-location shooting involves nature reserves or cultural relics and historic sites, relevant permits must be obtained; otherwise, it may violate the Environmental Protection Law or the Cultural Relics Protection Law.

"V. Legal Inspiration and Advice from Lawyers"

The launch of the Yantian全域 film and television base brings new opportunities to the film industry, but legal risks run through the entire project lifecycle. Enterprises should build a "firewall" from the following aspects:

– **Preliminary stage**: Engage lawyers to participate in contract negotiations and IP due diligence.

– **Mid-term**: Establish data compliance systems and employment standards.

– **Later stage**: Pay attention to the infringement clauses in the distribution contract and protect your rights in a timely manner.

Guangdong Zhiming Law Firm has深耕in the cultural and film legal field, offering one-stop legal services for film and television companies, including contract review, intellectual property protection, data compliance, and labor dispute resolution. We recommend that during the industry's rapid development period, companies should view legal compliance as a competitive advantage, not a cost. Only by building a solid legal foundation can they go far and steady on the track of light and shadow.