Film Production: Working with Unions
Film Production: Working with Unions
In this section, we will examine how a producer runs a SAG signatory production. While each union has its own specific rules, this discussion should give a good sense of how the overall process works.
SAG has a basic contract that contains all of the union rules. That contract is about the size of a novel, and a producer might never get around to reading it (that’s what the attorneys do!). The producer signs a signatory agreement. This is a short document that says (essentially) “I agree to follow all the rules in the (really long) SAG basic agreement.” Those rules address everything from how many hours actors can work in a row, to when lunch must be served, to how residuals are calculated, and many other aspects of employment. The rates that a producer must pay, whether the production can hire non-SAG labor, and many other questions depend on what kind of signatory agreement the producer signs. For example, the “Ultra-Low Budget” signatory agreement applies to films of with budgets less than $200,000 and requires a day rate of $100 for each performer, while the “Modified Low Budget” signatory agreement applies to films with budgets of less than $625,000 and requires a day rate of $268. SAG has specialized agreements for shorts, and even student films.
The details of the SAG signatory agreements change from time to time, so it is important to coordinate directly with SAG and make sure the production is in compliance with the appropriate agreement. Many of the details of the SAG agreements can be found online at the SAGIndie website. SAG suggests that producers contact their local SAG office at least 4 to 6 weeks prior to beginning production. A SAG representative can be very helpful, and it’s a good idea to keep in touch with SAG “early and often.”
Once the production has become a “SAG signatory production,” all the performers must sign a SAG form of employment agreement before the beginning of production, which a producer can get from the local SAG office. This agreement will address basic employment questions such as pay and hours. However, this agreement does not address intellectual property issues such as copyright ownership. For this reason, it is critical that the performers sign appropriate release forms in addition to the SAG employment contract.
Non-SAG talent do not sign the SAG employment agreement, however SAG will usually require that a production pay non-SAG talent at the same rate as SAG talent. For this reason, it is important for the production to have a non-SAG form of employment agreement in addition to the SAG form. SAG also requires producers to carefully keep track of which performers work which days and hours. A local SAG representative can help a production set up a system for keeping track of these details.
The key to success in union relationships is to begin communication well in advance of production and keep that communication open throughout the production.
Film Production Working with Unions - To learn more about this author, visit Daliah Saper's Website.
Like this article? Share it with your friends
The major unions for on-camera actors are SAG (for feature film) and the American Federation of Television and Radio Artists (”AFTRA,” generally for television, radio and commercial work). The major unions for crew are IATSE (International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts) and the Teamsters.
In this section, we will examine how a producer runs a SAG signatory production. While each union has its own specific rules, this discussion should give a good sense of how the overall process works.
SAG has a basic contract that contains all of the union rules. That contract is about the size of a novel, and a producer might never get around to reading it (that’s what the attorneys do!). The producer signs a signatory agreement. This is a short document that says (essentially) “I agree to follow all the rules in the (really long) SAG basic agreement.” Those rules address everything from how many hours actors can work in a row, to when lunch must be served, to how residuals are calculated, and many other aspects of employment. The rates that a producer must pay, whether the production can hire non-SAG labor, and many other questions depend on what kind of signatory agreement the producer signs. For example, the “Ultra-Low Budget” signatory agreement applies to films of with budgets less than $200,000 and requires a day rate of $100 for each performer, while the “Modified Low Budget” signatory agreement applies to films with budgets of less than $625,000 and requires a day rate of $268. SAG has specialized agreements for shorts, and even student films.
The details of the SAG signatory agreements change from time to time, so it is important to coordinate directly with SAG and make sure the production is in compliance with the appropriate agreement. Many of the details of the SAG agreements can be found online at the SAGIndie website. SAG suggests that producers contact their local SAG office at least 4 to 6 weeks prior to beginning production. A SAG representative can be very helpful, and it’s a good idea to keep in touch with SAG “early and often.”
Once the production has become a “SAG signatory production,” all the performers must sign a SAG form of employment agreement before the beginning of production, which a producer can get from the local SAG office. This agreement will address basic employment questions such as pay and hours. However, this agreement does not address intellectual property issues such as copyright ownership. For this reason, it is critical that the performers sign appropriate release forms in addition to the SAG employment contract.
Non-SAG talent do not sign the SAG employment agreement, however SAG will usually require that a production pay non-SAG talent at the same rate as SAG talent. For this reason, it is important for the production to have a non-SAG form of employment agreement in addition to the SAG form. SAG also requires producers to carefully keep track of which performers work which days and hours. A local SAG representative can help a production set up a system for keeping track of these details.
The key to success in union relationships is to begin communication well in advance of production and keep that communication open throughout the production.
Film Production Working with Unions - To learn more about this author, visit Daliah Saper's Website.
Like this article? Share it with your friends
 | |
 |
No article feedback found. |
| |
Leave Your Feedback |
 | |
| |||
Jay Kubassek(Jay's Full Bio: EvanCarmichael.com/jaykubassek) In five years, Canadian-born entrepreneur Jay Kubassek went from selling mufflers at a Midas franchise to revolutionizing Internet marketing with the 2004 launch of CarbonCopyPRO, a online marketing education company, now worth over $20 million with customers in over 160 countries.
As an independent film producer, his upstart film fund Aliquot Films is currently producing a films with Spike Lee and Abel Fererra (starring Ethan Hawke and Dennis Hopper.)
Jay's entrepreneurial spirit is irrepressible. He’s the owner of five companies, a professional speaker and trainer, international real estate developer/investor, extreme sport enthusiast and emerging philanthropist. Jay resides in NYC with his wife Jamie, son Milo and dog Cooper. Visit Jay's official website: www.JayKubassek.com - Visit Jay Kubassek's Website |
|||
John PowerJohn Power, founder of Biltmore Franchise Consulting, has extensive experience developing and marketing franchises and business opportunities. He has been in and around franchising for over twenty years. From 1980 through 1990 he conceptualized, organized, and developed the American Video Association. He grew AVA to 2,000 national members, before selling the company it 1990. It was later merged into another home video marketing company. From 2000 to 2005 he worked as a contract marketing and human resources consultant to several local and national companies. In 2005 Mr. Power began working as a franchise development consultant on a full-time basis. Since that time he has helped more than three dozen companies initiate and develop their franchising program. He notes that there are many companies interested in developing a franchise program, and who need his specialized assistance. Mr. Power is a “hands-on” franchise consultant. He said, “I am the ‘nuts and bolts’ person who tends to the details for my clients.” Mr. Power holds a B.S. degree with a major in Marketing. See: www.biltmorefranchise.com You may contact Mr. Power at: jpower@biltmorefranchise.co - Visit John Power's Website |
|||
David AchesonDavid Acheson is the founder of DCJA Consultancy. DCJA Consultancy is a management consultancy business specialising in B2B sales consultancy. They offer bespoke and packaged sales consultancy including Sales Optimisation Review, Interim Sales Management, Sales & Marketing Review, 1:1 Sales & Management Staff Analysis, Management Training, Solution Sales Training, Creation of New Pay Plan, KPI's, run Customer Feedback Campaigns, assist with Recruitment, Coaching, Appraisals and set up Strategic Marketing Campaigns. David spent his early career in accountancy and then moved into sales in 1982, working in Office Equipment, IT, Advertising, Training, Outsourcing and Consultancy. He has held many Senior Positions in SMBs and Global Organisations including Head of Sales Operations & Head of Business Development. His knowledge, skills and great experience of the Sales Industry has led to David making keynote speeches and running educational sessions to key businesses through organisations including The Chamber of Commerce and Business Link. - Visit David Acheson's Website |
|||
|
To learn more about the Evan Elite Author Program please contact us. | |||
 | |
|  |
Subscribe to Daliah's articles
 | |
|
|  |
 | |
|
| |
 | |||||||
|
 | ||
|
||
 |
||
 |
||
|
| ||
 |
| Have you written articles that would be of value to entrepreneurs? Become an expert on our site by publishing them! Expose yourself to a wide audience, drive more traffic to your website and get more sales! Click Here for details. |
|
|
 |
| Modeling the Masters: Learn the true secrets behind Walt Disney's business success factors & grow your company! Video produced by Phanta Media |
|
|
 |
"Learn straight from Evan how you can Make a Full Time Income (And More) from a Website"
Click Here To Learn More |
|
|
|
|
Get advice & tips from famous business owners, new articles by entrepreneur experts, my latest website updates, & special sneak peaks at what's to come!
|
|
|
 Management vs. Leadership Increase Performance Leadership 10 Questions for your sales rep Loyalty Strategies 10 Areas of Differentiation |
|
 | ||
 |
The Top 10 Guy Kawasaki Posts
Best Posts for Entrepreneurs | |
 |
Top 50 SEO Posts - 2007
Top SEO Posts of the Year | |
| ||
 | ||||
| ||||
|
| ||||
| ||||
|
|
|
|
|
||||||||||||
|
Email us your ideas on how to make our website more valuable! Thank you Sharon from Toronto Salsa Lessons / Classes for your suggestions to make the newsletter look like the website and profile younger entrepreneurs like Jennifer Lopez and Sean Combs!
|
|
|
