2014/2015
20th Edition
Media Services
500 S. Sepulveda Blvd.
Los Angeles, CA 90049
Media-Services.com/laborguide
Copyright © 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002,
2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014
All Rights Reserved
Editor in Chief
Andy Selsor
Contributing Editors
Kerri Pettit
Business Affairs
Zulema Montenegro
Business Affairs
Norman Marcus
Feature/TV Payroll Consultant
Table of Contents
Chapter 1.
Los Angeles
Chapter 2.
New York
Chapter 3.
Area Standards Agreement
Chapter 4.
DGA
Chapter 5.
SAG-AFTRA
Chapter 6.
WGA
Chapter 7.
AFM
Chapter 8.
Background Actors
Chapter 9.
Low Budget Agreements
Chapter 10.
Commercials
Chapter 11.
Insurance
Chapter 12.
Minors
Chapter 13.
Fringes
Chapter 14.
FAQs / Sample Timecards
Chapter 15.
Directory
Welcome
Welcome to the 2014/2015 edition of the Showbiz Labor Guide, the most
comprehensive production reference tool of its kind.
We work with our many industry experts and contacts to bring you the most
accurate information available, based only on ratified union contracts at the time
of publication.
Due to the mercurial nature of some industry contracts, occasionally there are
changes or corrections to rates and rules previously released. It is recommended
that you check for updates by clicking the Updates button in the software from
time to time.
Thank you for choosing the Showbiz Labor Guide as your first resource for
comprehensive production information.
Andy Selsor
Editor in Chief
Disclaimer - Important
Information contained in the rates database and this PDF is provided as a
reference tool only, and should not be construed as legal advice or binding in any
way. The only definitive source for union work rules and rate information is the
union or guild contract to which the producer is signatory.
Frequently Asked Questions About the Labor Guide*
Q: Why are some of the rates in the Showbiz Labor Guide expired?
A: Agreements are negotiated separately between each union/guild and a
collective group of producers. The agreements all have different expiration
dates; thus they are often out of sync with one another.
When rates are expired in the Labor Guide, it means that the particular union
had not reached a new agreement with producers at the time of publication.
We only publish rates that have been officially negotiated and ratified.
Q: Are the expired rates still valid? How should I handle them in my budget?
A: Most unions advise using the expired rates until new ones are negotiated.
However, be aware that in many cases, newly negotiated rates are applied
retroactively to the effective date of the new contract. This means that some
employees may be owed back pay for work done during that period.
To be safe, some producers will give themselves a “cushion” by budgeting
higher rates for employees whose union contracts have expired. The industry
standard for new contracts has come to be a 2-3% increase in minimum rates,
so some budgeters will simply add 2-3% to the previous rates to get a better
picture of their final payroll costs.
Be advised, however, that a 2-3% increase is by no means the rule. Recent
agreements have raised rates by 5%, by a set dollar amount, or in some cases,
not at all.
The best safeguard is to check with the union to see if new rates have become
recently available. Consult the Directory in the back of your Showbiz Labor
Guide for union contact information.
Q: What does it mean when rates are listed in the Guide as “extended”?
A: Generally this means that the minimums are extended indefinitely, and there
are no plans to negotiate new ones anytime soon. Be advised that the going
rates in these areas are often much higher than the official minimums.
*
For questions on employment law, payroll and production accounting, please see Chapter 14,
FAQs/ Sample Timecards.
LOS ANGELES
GUIDE TO USING THE RATE SCHEDULES ............................................................................................................................ 1 Minimum Rate Schedules ................................................................................................................................................. 1 Studio Zone Defined ......................................................................................................................................................... 2 Nearby Locations .................................................................................................................................................... 2 Distant Locations..................................................................................................................................................... 2 Map of Studio Zone ................................................................................................................................................. 3 LOCAL 40, INTERNATIONAL BROTHERHOOD OF ELECTRICAL WORKERS ..................................................................... 5 Studio Rules & Working Conditions .................................................................................................................................. 5 Overtime .................................................................................................................................................................. 5 Minimum Staffing - Studio ....................................................................................................................................... 5 Off Production Night Premiums .............................................................................................................................. 5 Holidays Not Worked .............................................................................................................................................. 5 Rest Period ............................................................................................................................................................. 6 Meal Penalties......................................................................................................................................................... 6 Distant Location Rules & Working Conditions .................................................................................................................. 7 Overtime .................................................................................................................................................................. 7 Minimum Staffing - Distant ...................................................................................................................................... 7 Idle Day Provisions ................................................................................................................................................. 7 Travel Time ............................................................................................................................................................. 7 Holidays Not Worked .............................................................................................................................................. 7 Rest Period ............................................................................................................................................................. 7 Meal Penalties......................................................................................................................................................... 8 LOCAL 44, PROPERTY ............................................................................................................................................................. 9 Studio Rules & Working Conditions .................................................................................................................................. 9 Minimum Staffing - Studio/ Nearby ......................................................................................................................... 9 Overtime .................................................................................................................................................................. 9 Off Production Night Premiums .............................................................................................................................. 9 Holidays Not Worked .............................................................................................................................................. 9 Rest Period ........................................................................................................................................................... 10 Meal Penalties....................................................................................................................................................... 10 Distant Location Rules & Working Conditions ................................................................................................................ 11 Minimum Staffing .................................................................................................................................................. 11 Overtime ................................................................................................................................................................ 11 Idle Day Provisions ............................................................................................................................................... 11 Travel Time ........................................................................................................................................................... 11 Holidays Not Worked ............................................................................................................................................ 11 Rest Period ........................................................................................................................................................... 11 Meal Penalties....................................................................................................................................................... 11 LOCAL 78, PLUMBERS AND PIPE FITTERS ......................................................................................................................... 13 Studio Rules & Working Conditions ................................................................................................................................ 13 Overtime ................................................................................................................................................................ 13 Off Production Night Premiums ............................................................................................................................ 13 Holidays Not Worked ............................................................................................................................................ 13 Rest Period ........................................................................................................................................................... 13 Meal Penalties....................................................................................................................................................... 14 Distant Location Rules & Working Conditions ................................................................................................................ 15 Overtime ................................................................................................................................................................ 15 Idle Day Provisions ............................................................................................................................................... 15 Travel Time ........................................................................................................................................................... 15 Holidays Not Worked ............................................................................................................................................ 15 Rest Period ........................................................................................................................................................... 15 Meal Penalties....................................................................................................................................................... 15 LOCAL 80, GRIPS / CRAFTS SERVICE.................................................................................................................................. 17 Studio Rules & Working Conditions ................................................................................................................................ 17 Showbiz Labor Guide 2014/2015
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Minimum Staffing .................................................................................................................................................. 17 Overtime ................................................................................................................................................................ 17 Off Production Night Premiums ............................................................................................................................ 17 Holidays Not Worked ............................................................................................................................................ 17 Rest Period ........................................................................................................................................................... 18 Meal Penalties....................................................................................................................................................... 18 Distant Location Rules & Working Conditions ................................................................................................................ 19 Minimum Staffing - Distant .................................................................................................................................... 19 Overtime ................................................................................................................................................................ 19 Idle Day Provisions ............................................................................................................................................... 19 Travel Time ........................................................................................................................................................... 19 Holidays Not Worked ............................................................................................................................................ 19 Rest Period ........................................................................................................................................................... 19 Meal Penalties....................................................................................................................................................... 19 LOCAL 399, INTERNATIONAL BROTHERHOOD OF TEAMSTERS, STUDIO TRANSPORTATION DRIVERS.................. 21 Studio Rules & Working Conditions ................................................................................................................................ 21 Overtime - Studio .................................................................................................................................................. 21 Holidays Not Worked ............................................................................................................................................ 21 Rest Period ........................................................................................................................................................... 21 Distant Location Rules & Working Conditions ................................................................................................................ 22 Minimum Staffing - Distant .................................................................................................................................... 22 Overtime Distant Location..................................................................................................................................... 22 Idle Day Provisions ............................................................................................................................................... 22 Travel Time ........................................................................................................................................................... 22 Holidays Not Worked ............................................................................................................................................ 22 Rest Period ........................................................................................................................................................... 22 Driver Meal Allowances ........................................................................................................................................ 22 Meal Penalties....................................................................................................................................................... 23 LOCAL 399, LOCATION MANAGERS ..................................................................................................................................... 24 Studio Rules & Working Conditions ................................................................................................................................ 24 Overtime ................................................................................................................................................................ 24 Holidays Not Worked ............................................................................................................................................ 24 Rest Period ........................................................................................................................................................... 24 Night Premium ...................................................................................................................................................... 24 Car Allowance ....................................................................................................................................................... 24 Distant Location Rules & Working Conditions ................................................................................................................ 25 Overtime ................................................................................................................................................................ 25 Holidays Not Worked ............................................................................................................................................ 25 Idle Day Provisions ............................................................................................................................................... 25 Location Allowance ............................................................................................................................................... 25 Work After Completion of Assignment .................................................................................................................. 25 Travel Days ........................................................................................................................................................... 25 LOCAL 399, CASTING DIRECTORS ....................................................................................................................................... 26 Studio Rules & Working Conditions ................................................................................................................................ 26 Recognition and Scope of Agreement .................................................................................................................. 26 Payment ................................................................................................................................................................ 26 Holidays................................................................................................................................................................. 26 Office Space, Equipment and Payroll Service Fees ............................................................................................. 26 Individual Negotiations .......................................................................................................................................... 26 Loan-Out Companies ............................................................................................................................................ 26 Union Membership and Reporting ........................................................................................................................ 27 LOCAL 600 INTERNATIONAL CINEMATOGRAPHERS GUILD ............................................................................................ 28 Studio Rules & Working Conditions ................................................................................................................................ 28 Minimum Staffing - Studio/ Nearby Locations ...................................................................................................... 28 Page II - Table of Contents L.A.
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Overtime ................................................................................................................................................................ 28 Holidays Not Worked ............................................................................................................................................ 28 Rest Period ........................................................................................................................................................... 28 Meal Penalties....................................................................................................................................................... 29 Distant Location - Rules & Working Conditions .............................................................................................................. 30 Minimum Staffing - Distant .................................................................................................................................... 30 Overtime ................................................................................................................................................................ 30 Holidays Not Worked ............................................................................................................................................ 30 Idle Day Provisions ............................................................................................................................................... 30 Travel Time ........................................................................................................................................................... 30 Rest Period ........................................................................................................................................................... 30 Meal Penalties....................................................................................................................................................... 31 LOCAL 600, PUBLICISTS ........................................................................................................................................................ 32 Studio Rules & Working Conditions ................................................................................................................................ 32 Overtime ................................................................................................................................................................ 32 Gold ....................................................................................................................................................................... 32 On Call .................................................................................................................................................................. 32 Holidays Not Worked ............................................................................................................................................ 32 Rest Period ........................................................................................................................................................... 32 Meal Penalties....................................................................................................................................................... 32 Distant Location Rules & Working Conditions ................................................................................................................ 33 Overtime ................................................................................................................................................................ 33 Rest Period ........................................................................................................................................................... 33 Idle Day Provisions ............................................................................................................................................... 33 Travel Time ........................................................................................................................................................... 33 Meal Penalties....................................................................................................................................................... 33 LOCAL 695, SOUND TECHNICIANS (Production) .................................................................................................................. 34 Studio Rules & Working Conditions ................................................................................................................................ 34 Overtime ................................................................................................................................................................ 34 Minimum Staffing - Studio/ Nearby Locations ...................................................................................................... 34 Off Production Night Premiums ............................................................................................................................ 34 Holidays Not Worked ............................................................................................................................................ 35 Rest Period ........................................................................................................................................................... 35 Meal Penalties....................................................................................................................................................... 35 Distant Location Rules & Working Conditions ................................................................................................................ 36 Minimum Staffing - Distant .................................................................................................................................... 36 Overtime ................................................................................................................................................................ 36 Idle Day Provisions ............................................................................................................................................... 36 Travel Time ........................................................................................................................................................... 36 Holidays Not Worked ............................................................................................................................................ 36 Rest Period ........................................................................................................................................................... 36 Meal Penalties....................................................................................................................................................... 37 LOCAL 695, PROJECTIONISTS .............................................................................................................................................. 38 Studio Rules & Working Conditions ................................................................................................................................ 38 Overtime ................................................................................................................................................................ 38 Night Premiums..................................................................................................................................................... 38 Holidays Not Worked ............................................................................................................................................ 38 Rest Period ........................................................................................................................................................... 38 Meal Penalties....................................................................................................................................................... 39 Distant Location Rules & Working Conditions ................................................................................................................ 40 Minimum Staffing - Distant .................................................................................................................................... 40 Overtime ................................................................................................................................................................ 40 Idle Day Provisions ............................................................................................................................................... 40 Travel Time ........................................................................................................................................................... 40 Showbiz Labor Guide 2014/2015
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Holidays Not Worked ............................................................................................................................................ 40 Rest Period ........................................................................................................................................................... 40 Meal Penalties....................................................................................................................................................... 41 LOCAL 700, EDITORS (Majors) ............................................................................................................................................... 42 Studio Rules & Working Conditions ................................................................................................................................ 42 Overtime ................................................................................................................................................................ 42 Minimum Staffing - Studio/ Nearby/ Distant .......................................................................................................... 43 Night Premiums..................................................................................................................................................... 43 Holidays Not Worked ............................................................................................................................................ 43 Rest Period ........................................................................................................................................................... 43 Meal Penalties....................................................................................................................................................... 43 Distant Location Rules & Working Conditions ................................................................................................................ 44 Overtime ................................................................................................................................................................ 44 Idle Day Provisions ............................................................................................................................................... 44 Travel Time ........................................................................................................................................................... 44 Holidays Not Worked ............................................................................................................................................ 44 Rest Period ........................................................................................................................................................... 44 Meal Penalties....................................................................................................................................................... 44 LOCAL 700, SOUND (Post Production) ................................................................................................................................... 45 Studio Rules & Working Conditions ................................................................................................................................ 45 Overtime ................................................................................................................................................................ 45 Night Premiums..................................................................................................................................................... 45 Holidays Not Worked ............................................................................................................................................ 46 Rest Period ........................................................................................................................................................... 46 Meal Penalties....................................................................................................................................................... 46 Distant Location Rules & Working Conditions ................................................................................................................ 47 Overtime ................................................................................................................................................................ 47 Idle Day Provisions ............................................................................................................................................... 47 Travel Time ........................................................................................................................................................... 47 Holidays Not Worked ............................................................................................................................................ 47 Rest Period ........................................................................................................................................................... 47 Meal Penalties....................................................................................................................................................... 48 LOCAL 700, SCREEN STORY ANALYSTS............................................................................................................................. 49 Studio Rules & Working Conditions ................................................................................................................................ 49 Overtime ................................................................................................................................................................ 49 Holidays Not Worked ............................................................................................................................................ 49 Rest Period ........................................................................................................................................................... 49 Meal Penalties....................................................................................................................................................... 49 LOCAL 705, IATSE MOTION PICTURE COSTUMERS .......................................................................................................... 51 Studio Rules & Working Conditions ................................................................................................................................ 51 Minimum Staffing - Studio/ Nearby ....................................................................................................................... 51 Overtime ................................................................................................................................................................ 51 Night Premiums..................................................................................................................................................... 51 Holidays Not Worked ............................................................................................................................................ 51 Rest Period ........................................................................................................................................................... 52 Meal Penalties....................................................................................................................................................... 52 Distant Location Rules & Working Conditions ................................................................................................................ 53 Minimum Staffing - Distant .................................................................................................................................... 53 Overtime ................................................................................................................................................................ 53 Idle Day Provisions ............................................................................................................................................... 53 Travel Time ........................................................................................................................................................... 53 Holidays Not Worked ............................................................................................................................................ 53 Rest Period ........................................................................................................................................................... 53 Meal Penalties....................................................................................................................................................... 54 Page IV - Table of Contents L.A.
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LOCAL 706, MAKE-UP ARTISTS AND HAIR STYLISTS ........................................................................................................ 55 Studio Rules & Working Conditions ................................................................................................................................ 55 Overtime ................................................................................................................................................................ 55 Minimum Staffing - Studio/ Nearby Locations ...................................................................................................... 55 Holidays Not Worked ............................................................................................................................................ 55 Rest Period ........................................................................................................................................................... 56 Meal Penalties....................................................................................................................................................... 56 Distant Location Rules & Working Conditions ................................................................................................................ 57 Minimum Staffing - Distant .................................................................................................................................... 57 Overtime ................................................................................................................................................................ 57 Idle Day Provisions ............................................................................................................................................... 57 Travel Time ........................................................................................................................................................... 57 Holidays Not Worked ............................................................................................................................................ 57 Rest Period ........................................................................................................................................................... 57 Meal Penalties....................................................................................................................................................... 58 LOCAL 724, STUDIO UTILITY EMPLOYEES.......................................................................................................................... 59 Studio Rules & Working Conditions ................................................................................................................................ 59 Overtime ................................................................................................................................................................ 59 Night Premiums..................................................................................................................................................... 59 Holidays Not Worked ............................................................................................................................................ 59 Rest Period ........................................................................................................................................................... 60 Meal Penalties....................................................................................................................................................... 60 Distant Location Rules & Working Conditions ................................................................................................................ 61 Overtime ................................................................................................................................................................ 61 Idle Day Provisions ............................................................................................................................................... 61 Travel Time ........................................................................................................................................................... 61 Holidays Not Worked ............................................................................................................................................ 61 Rest Period ........................................................................................................................................................... 61 Meal Penalties....................................................................................................................................................... 61 LOCAL 728, LIGHTING TECHNICIANS................................................................................................................................... 63 Studio Rules & Working Conditions ................................................................................................................................ 63 Minimum Staffing - Studio/ Nearby Location ........................................................................................................ 63 Overtime ................................................................................................................................................................ 63 Night Premiums..................................................................................................................................................... 63 Holidays Not Worked ............................................................................................................................................ 63 Rest Period ........................................................................................................................................................... 64 Meal Penalties....................................................................................................................................................... 64 Distant Location Rules & Working Conditions ................................................................................................................ 65 Overtime ................................................................................................................................................................ 65 Minimum Staffing - Distant .................................................................................................................................... 65 Idle Day Provisions ............................................................................................................................................... 65 Travel Time ........................................................................................................................................................... 65 Holidays Not Worked ............................................................................................................................................ 65 Rest Period ........................................................................................................................................................... 65 Meal Penalties....................................................................................................................................................... 66 LOCAL 729, SET PAINTERS AND SIGN WRITERS ............................................................................................................... 67 Union Rules & Working Conditions................................................................................................................................. 67 Overtime ................................................................................................................................................................ 67 Minimum Staffing - Studio/ Nearby Locations ...................................................................................................... 67 Night Premiums..................................................................................................................................................... 67 Holidays Not Worked ............................................................................................................................................ 67 Rest Period ........................................................................................................................................................... 68 Meal Penalties....................................................................................................................................................... 68 Distant Location Rules & Working Conditions ................................................................................................................ 69 Showbiz Labor Guide 2014/2015
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Overtime ................................................................................................................................................................ 69 Minimum Staffing - Distant .................................................................................................................................... 69 Idle Day Provisions ............................................................................................................................................... 69 Travel Time ........................................................................................................................................................... 69 Holidays Not Worked ............................................................................................................................................ 69 Rest Period ........................................................................................................................................................... 69 Meal Penalties....................................................................................................................................................... 70 LOCAL 755, OPERATIVE PLASTERERS AND CEMENT MASONS...................................................................................... 71 Studio Rules & Working Conditions ................................................................................................................................ 71 Overtime ................................................................................................................................................................ 71 Night Premiums..................................................................................................................................................... 71 Holidays Not Worked ............................................................................................................................................ 71 Rest Period ........................................................................................................................................................... 72 Meal Penalties....................................................................................................................................................... 72 Distant Location Rules & Working Conditions ................................................................................................................ 73 Overtime ................................................................................................................................................................ 73 Idle Day Provisions ............................................................................................................................................... 73 Travel Time ........................................................................................................................................................... 73 Holidays Not Worked ............................................................................................................................................ 73 Rest Period ........................................................................................................................................................... 73 Meal Penalties....................................................................................................................................................... 73 LOCAL 767, FIRST AID EMPLOYEES .................................................................................................................................... 75 Studio Rules & Working Conditions ................................................................................................................................ 75 Minimum Staffing - Studio/ Nearby Locations ...................................................................................................... 75 Overtime ................................................................................................................................................................ 75 Night Premiums..................................................................................................................................................... 75 Holidays Not Worked ............................................................................................................................................ 75 Rest Period ........................................................................................................................................................... 75 Meal Penalties....................................................................................................................................................... 76 Distant Location Rules & Working Conditions ................................................................................................................ 77 Minimum Staffing - Distant .................................................................................................................................... 77 Overtime ................................................................................................................................................................ 77 Idle Day Provisions ............................................................................................................................................... 77 Travel Time ........................................................................................................................................................... 77 Holidays Not Worked ............................................................................................................................................ 77 Rest Period ........................................................................................................................................................... 77 Meal Penalties....................................................................................................................................................... 77 LOCAL 800, ILLUSTRATORS AND MATTE ARTISTS ........................................................................................................... 79 Studio Rules & Working Conditions ................................................................................................................................ 79 Overtime ................................................................................................................................................................ 79 Night Premiums..................................................................................................................................................... 80 Holidays Not Worked ............................................................................................................................................ 80 Rest Period ........................................................................................................................................................... 80 Meal Penalties....................................................................................................................................................... 80 Layoff..................................................................................................................................................................... 80 Distant Location Rules & Working Conditions ................................................................................................................ 81 Overtime ................................................................................................................................................................ 81 Idle Day Provisions ............................................................................................................................................... 81 Travel Time ........................................................................................................................................................... 81 Holidays Not Worked ............................................................................................................................................ 81 Rest Period ........................................................................................................................................................... 81 Meal Penalties....................................................................................................................................................... 82 LOCAL 800, ART DIRECTORS ................................................................................................................................................ 83 Studio Rules & Working Conditions ................................................................................................................................ 83 Page VI - 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Minimum Staffing - Studio/ Nearby/ Distant .......................................................................................................... 83 Overtime ................................................................................................................................................................ 83 Holidays Not Worked ............................................................................................................................................ 83 Distant Location Rules & Working Conditions ................................................................................................................ 84 Overtime ................................................................................................................................................................ 84 Idle 6th and 7th Day Provisions ............................................................................................................................ 84 Travel Time ........................................................................................................................................................... 84 Rest Period ........................................................................................................................................................... 84 Holidays Not Worked ............................................................................................................................................ 84 LOCAL 800, SCENIC, TITLE AND GRAPHIC ARTISTS ......................................................................................................... 85 Studio Rules & Working Conditions ................................................................................................................................ 85 Overtime ................................................................................................................................................................ 85 Night Premiums..................................................................................................................................................... 85 Holidays Not Worked ............................................................................................................................................ 86 Rest Period ........................................................................................................................................................... 86 Meal Penalties....................................................................................................................................................... 86 Distant Location Rules & Working Conditions ................................................................................................................ 87 Overtime ................................................................................................................................................................ 87 Idle Day Provisions ............................................................................................................................................... 87 Travel Time ........................................................................................................................................................... 87 Holidays Not Worked ............................................................................................................................................ 87 Rest Period ........................................................................................................................................................... 87 Meal Penalties....................................................................................................................................................... 87 Studio Rules & Working Conditions ................................................................................................................................ 88 Overtime ................................................................................................................................................................ 88 Night Premiums..................................................................................................................................................... 88 Holidays Not Worked ............................................................................................................................................ 88 Rest Period ........................................................................................................................................................... 88 Meal Penalties....................................................................................................................................................... 89 Distant Location Rules & Working Conditions ................................................................................................................ 90 Overtime ................................................................................................................................................................ 90 Idle 6th and 7th day............................................................................................................................................... 90 Travel Time ........................................................................................................................................................... 90 Holidays Not Worked ............................................................................................................................................ 90 Rest Period ........................................................................................................................................................... 90 Layoff..................................................................................................................................................................... 90 Meal Penalties....................................................................................................................................................... 90 LOCAL 839, THE ANIMATORS GUILD ................................................................................................................................... 91 Studio Rules & Working Conditions ................................................................................................................................ 91 Minimum Call ........................................................................................................................................................ 91 On Call .................................................................................................................................................................. 91 Homework ............................................................................................................................................................. 91 Overtime ................................................................................................................................................................ 91 Holidays Not Worked ............................................................................................................................................ 91 Rest Period ........................................................................................................................................................... 91 LOCAL 871, PRODUCTION OFFICE COORDINATORS & ART DEPARTMENT COORDINATORS ................................... 92 Studio* ............................................................................................................................................................................. 92 Overtime ................................................................................................................................................................ 92 Holidays Not Worked ............................................................................................................................................ 92 Distant Location* ............................................................................................................................................................. 93 Overtime ................................................................................................................................................................ 93 Holidays Not Worked ............................................................................................................................................ 93 Idle Day Provisions ............................................................................................................................................... 93 Travel Time ........................................................................................................................................................... 93 Showbiz Labor Guide 2014/2015
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LOCAL 871, SCRIPT SUPERVISORS & CONTINUITY COORDINATORS ........................................................................... 94 Studio Rules & Working Conditions ................................................................................................................................ 94 Other Provisions, Preparation Pay and Wrap Time........................................................................................................ 95 Wrap Time ............................................................................................................................................................. 95 Minimum Staffing - Studio/ Nearby/ Distant .......................................................................................................... 95 Overtime ................................................................................................................................................................ 96 Holidays Not Worked ............................................................................................................................................ 96 Rest Period ........................................................................................................................................................... 96 Meal Penalties....................................................................................................................................................... 96 Distant Rules & Working Conditions ............................................................................................................................... 97 Overtime ................................................................................................................................................................ 98 Holidays Not Worked ............................................................................................................................................ 98 Idle Day Provisions ............................................................................................................................................... 98 Travel Time ........................................................................................................................................................... 98 Rest Period ........................................................................................................................................................... 98 Meal Penalties....................................................................................................................................................... 98 LOCAL 884, STUDIO TEACHERS AND WELFARE WORKERS ............................................................................................ 99 Studio Rules & Working Conditions ................................................................................................................................ 99 Minimum Staffing - Studio/ Nearby/ Distant .......................................................................................................... 99 Overtime ................................................................................................................................................................ 99 Holidays Not Worked ............................................................................................................................................ 99 Rest Period ........................................................................................................................................................... 99 Meal Penalties..................................................................................................................................................... 100 Distant Rules & Working Conditions ............................................................................................................................. 101 Overtime .............................................................................................................................................................. 101 Idle Day Provisions ............................................................................................................................................. 101 Travel Time ......................................................................................................................................................... 101 Holidays Not Worked .......................................................................................................................................... 101 Rest Period ......................................................................................................................................................... 101 Meal Penalties..................................................................................................................................................... 101 LOCAL 892, COSTUME DESIGNERS GUILD....................................................................................................................... 103 Studio Rules & Working Conditions .............................................................................................................................. 103 Overtime .............................................................................................................................................................. 103 Night Premiums................................................................................................................................................... 103 Holidays Not Worked .......................................................................................................................................... 104 Rest Period ......................................................................................................................................................... 104 Meal Penalties..................................................................................................................................................... 104 Distant Location Rules & Working Conditions .............................................................................................................. 105 Overtime .............................................................................................................................................................. 105 Idle Day Provisions ............................................................................................................................................. 105 Travel Time ......................................................................................................................................................... 105 Holidays Not Worked .......................................................................................................................................... 105 Rest Period ......................................................................................................................................................... 105 Meal Penalties..................................................................................................................................................... 106 LOS ANGELES BELOW THE LINE AGREEMENTS ............................................................................................................. 107 STRUCTURE/APPLICABILITY OF IATSE, TEAMSTER & BASIC CRAFT AGREEMENTS ................................................ 107 Basic and Local Agreements ........................................................................................................................................ 107 IATSE .................................................................................................................................................................. 107 Teamsters ........................................................................................................................................................... 107 Basic Crafts ......................................................................................................................................................... 107 IATSE Videotape Agreements ...................................................................................................................................... 107 Applicability ......................................................................................................................................................... 107 Classifications ..................................................................................................................................................... 107 Conditions ........................................................................................................................................................... 108 Page VIII - Table of Contents L.A.
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Teamsters, Basic Crafts, Location Managers..................................................................................................... 108 Side Letters ......................................................................................................................................................... 108 Long-Form Television Agreements..................................................................................................................... 108 Pilot/New One Hour Series Agreements ............................................................................................................ 108 DEFINITION AND OUTLINE OF GENERAL WORKING CONDITIONS ............................................................................... 108 Daily Employees ........................................................................................................................................................... 108 Weekly Employees ....................................................................................................................................................... 108 Scale Rates ................................................................................................................................................................... 109 Over Scale Schedules .................................................................................................................................................. 109 Classification and Working in a Higher Classification.................................................................................................. 109 Work Zones Defined ..................................................................................................................................................... 109 Studio .................................................................................................................................................................. 109 Studio Zone Locations ........................................................................................................................................ 109 Nearby Locations ................................................................................................................................................ 110 Distant Locations................................................................................................................................................. 110 Production Periods and On vs. Off Production Categories .......................................................................................... 110 Production Phases .............................................................................................................................................. 110 On vs. Off Production .......................................................................................................................................... 110 Workday/Workweek/Payroll Week................................................................................................................................ 110 Studio Workweek ................................................................................................................................................ 111 Change of a Workweek....................................................................................................................................... 111 Distant Location Workweek ................................................................................................................................ 111 Change and Cancellation of Calls/Layoff ..................................................................................................................... 111 Provisions of Some Specific Local Agreements ................................................................................................. 112 LOCAL 399 ............................................................................................................................................... 112 LOCAL 600 ............................................................................................................................................... 112 LOCALS 705/706 ...................................................................................................................................... 112 LOCAL 728 ............................................................................................................................................... 112 LOCAL 800 ............................................................................................................................................... 112 LOCAL 871 ............................................................................................................................................... 112 LOCAL 884 ............................................................................................................................................... 112 Payday ................................................................................................................................................................ 112 Benefits ............................................................................................................................................................... 112 Pension and Health and Welfare .............................................................................................................. 112 Vacation Pay ............................................................................................................................................. 113 Seniority Provisions for Vacation Pay ....................................................................................................... 113 Holiday Pay ............................................................................................................................................... 113 GENERAL PAYMENT PROVISIONS ..................................................................................................................................... 113 On Call Employees ....................................................................................................................................................... 113 Daily and Weekly Employment Conditions ................................................................................................................... 114 Overtime Increments ........................................................................................................................................... 114 Military Time ........................................................................................................................................................ 114 Daily Employees ................................................................................................................................................. 115 LOCAL 399 Drivers ................................................................................................................................... 115 LOCAL 695 Sound .................................................................................................................................... 115 LOCAL 706 Makeup/Hair .......................................................................................................................... 115 LOCAL 871 Script Supervisors and Continuity Coordinators ................................................................... 115 LOCAL 884 Studio Teachers .................................................................................................................... 115 Weekly Employees ............................................................................................................................................. 115 Pay Hours ..................................................................................................................................................................... 115 Premium Days/Idle Days Defined ................................................................................................................................. 116 Studio .................................................................................................................................................................. 116 Distant Location .................................................................................................................................................. 116 Golden Hours ................................................................................................................................................................ 116 Showbiz Labor Guide 2014/2015
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Commencement .................................................................................................................................................. 116 Seventh Day Golden Hours ................................................................................................................................ 117 Use of Golden Hours to Fulfill Weekly Guarantees ............................................................................................ 117 Other Golden Time Provisions ............................................................................................................................ 117 Golden Hours Charts .................................................................................................................................................... 117 Holidays......................................................................................................................................................................... 119 Holidays Not Worked .......................................................................................................................................... 119 Holidays Worked ................................................................................................................................................. 119 Meal Periods and Penalties .......................................................................................................................................... 119 Length ................................................................................................................................................................. 119 Deductibility ......................................................................................................................................................... 119 Intervals Between Breaks or Dismissal .............................................................................................................. 119 Non-Deductible Breakfasts ................................................................................................................................. 120 Meal Penalties..................................................................................................................................................... 120 French Hours ...................................................................................................................................................... 120 Driver Meal Allowances ...................................................................................................................................... 120 Night Work..................................................................................................................................................................... 120 Night Premiums by Union ................................................................................................................................... 120 Based on Call Time ................................................................................................................................... 121 Based on Time Worked ............................................................................................................................ 121 Rest Periods ........................................................................................................................................................ 121 Basic Crafts Employees (Other than Local 600, IATSE) .................................................................................... 121 LOCAL 600, IATSE ................................................................................................................................... 121 LOCAL 399 Teamsters ............................................................................................................................. 121 Forced Calls/Callback Guarantees ..................................................................................................................... 121 Forced Call (Rest Period Violation) .......................................................................................................... 121 Callback Guarantees ................................................................................................................................ 122 Fractional Payroll Weeks and Combinations of Studio and Distant Location Workweeks ................................ 122 LOCALS 700, 706 (Studio Only) ............................................................................................................... 122 LOCALS 600, 695, and 871 (Studio and Distant Locations) .................................................................... 122 Travel .................................................................................................................................................................. 123 Travel Time ............................................................................................................................................... 123 Travel Only ................................................................................................................................................ 123 Work and Travel/Travel and Work ............................................................................................................ 123 Over Scale Wage Guarantees ............................................................................................................................ 123 Other Payment Provisions ............................................................................................................................................ 124 Hazard Pay ......................................................................................................................................................... 124 Editorial Personnel .............................................................................................................................................. 124 Script Supervisors ............................................................................................................................................... 124 Camerapersons................................................................................................................................................... 124 CALIFORNIA WAGE ORDER FOR THE FILM INDUSTRY (Excerpts) ................................................................................. 125 Applicability ......................................................................................................................................................... 125 Overtime .............................................................................................................................................................. 125 10 Hours, Four Day Work Week ......................................................................................................................... 125 Extra Players ....................................................................................................................................................... 125 Reporting Time Pay ............................................................................................................................................ 125 Meal Periods ....................................................................................................................................................... 125 Rest Periods ........................................................................................................................................................ 126 LAYOFF OF EMPLOYEES (California) .................................................................................................................................. 126 SIDE LETTERS....................................................................................................................................................................... 127 PILOT/NEW ONE HOUR SERIES AGREEMENTS ............................................................................................................... 127 Pilots and First Year Production of Any Series, Except a Series With 7 or Fewer Episodes in the First Year .. 127 Series With 7 or Fewer Episodes in the First Year ............................................................................................. 127 Minimum Call ...................................................................................................................................................... 127 Page X - Table of Contents L.A.
Showbiz Labor Guide 2013/2014
LOS ANGELES
Overtime .............................................................................................................................................................. 127 Gold ..................................................................................................................................................................... 127 Vacation .............................................................................................................................................................. 128 Holiday ................................................................................................................................................................ 128 Mileage ................................................................................................................................................................ 128 LONG-FORM / ONE HOUR SERIES / PILOT AGREEMENTS ............................................................................................. 129 WORKING CONDITIONS ............................................................................................................................................. 129 Minimum Staffing ................................................................................................................................................ 129 Minimum Call ...................................................................................................................................................... 129 Overtime .............................................................................................................................................................. 129 Holidays Not Worked .......................................................................................................................................... 129 Vacation Pay ....................................................................................................................................................... 129 Meal Periods ....................................................................................................................................................... 130 Mileage ................................................................................................................................................................ 130 IATSE VIDEOTAPE ELECTRONICS SUPPLEMENTAL AGREEMENT ............................................................................... 131 Work Week .......................................................................................................................................................... 131 Daily Employees ................................................................................................................................................. 131 Weekly Employees ............................................................................................................................................. 131 Overtime .............................................................................................................................................................. 131 Daily Employees ................................................................................................................................................. 132 Weekly Employees ............................................................................................................................................. 132 Night Premium .................................................................................................................................................... 132 Rest Periods ........................................................................................................................................................ 132 Safety Training .................................................................................................................................................... 132 Digital Production .......................................................................................................................................................... 132 LOS ANGELES POLICE AND FIRE DEPARTMENT ............................................................................................................ 133 LAPD Minimum Rates ............................................................................................................................................................. 133 Meals ................................................................................................................................................................... 133 Overtime .............................................................................................................................................................. 133 California Highway Patrol (CHP)......................................................................................................................... 133 Holidays............................................................................................................................................................... 133 LOS ANGELES FIRE FIGHTERS .......................................................................................................................................... 134 Minimum Rates ............................................................................................................................................................. 134 Minimum Call ...................................................................................................................................................... 134 Overtime .............................................................................................................................................................. 134 Meals ................................................................................................................................................................... 134 Showbiz Labor Guide 2014/2015
Table of Contents L.A. - Page XI
LOS ANGELES
MINIMUM RATE SCHEDULES
GUIDE TO USING THE RATE SCHEDULES
Minimum Rate Schedules
a)
b)
c)
d)
e)
f)
g)
KEY
a)
- EXAMPLE Local xxx - Name
Studio/Distant Location Minimum Rates Effective mm/dd/yy - mm/dd/yy
Schedule
A
B
Employee Type
Daily
Weekly
5 days
Minimum Guarantee - Consecutive
Cumulative
54 hours
1 1/2 x after (hours)
8 and/or 40
40
Minimum Call (hours)
8
9
Occ. Code
Classification
Hourly
Hourly
/Weekly
Header
b)
Schedule
c)
d)
Employee Type
Minimum Guarantee
Consecutive:
Cumulative:
e)
1 1/2 x after (hours)
f)
Minimum Call
g)
Occ. Code
Classification
Hourly/Weekly
Hourly/Weekly or
Weekly/Hourly
5-Day Rate or
1-Day Rate
Showbiz Labor Guide 2014/2015
C
Weekly
On Call
Exempt
On Call
5-Day Rate
Local Number and Name - Indication of Studio or Distant Location Rates and
Effective dates for rates
Indicates wage schedule. Usually, “A” indicates Daily employee, “B” indicates
Weekly employee and “C” indicates Weekly “On Call” employee. However, there
are locals with varying schedules.
Daily or Weekly
Number of guaranteed consecutive days or weeks.
Number of guaranteed hours per week within the guaranteed consecutive days.
Consecutive indicates “weeks,” and Cumulative indicates “per week.” “On Call”
indicates the minimum guarantee is one week or one day, according to “Employee
Type.”
Indicates when overtime commences on a daily or weekly basis. If “Exempt” is
indicated, the employee is exempt from overtime except certain Local 776
employees (see “General Payment Provisions,” earlier in this chapter.)
Indicates the number of minimum hours per day for which employees must be
compensated.
Occupation Code
Job Title
Hourly Minimum Rate or Weekly Minimum Rate
The lower number is the Hourly Minimum Rate, the higher number is the Weekly
Guaranteed Minimum salary.
5-Day Guaranteed Minimum Rate for “On Call” employees. For Distant Location,
6th and 7th day remuneration must be added.
Los Angeles - Page 1
STUDIO ZONE
LOS ANGELES
Studio Zone Defined
The Studio Zone will be the area within a circle of 30 miles in radius from Beverly Blvd. and La Cienega Blvd., Los Angeles,
California. The Metro-Goldwyn-Mayer, Inc. Conejo Ranch property and Lake Castaic will be considered as within the Studio
Zone. (SEE MAP NEXT PAGE)
Nearby Locations
Nearby Locations are those locations outside the Studio Zone on which employees are not lodged overnight, but return to
the studio or home at the end of the workday.
Distant Locations
Distant Locations are locations on which the employee is required to remain away and be lodged overnight.
Page 2 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
STUDIO ZONE
Map of Studio Zone
The Studio Zone also includes Agua Dulce, Castaic (including Lake Castaic), Leo Carillo State Beach, Ontario International
Airport, Piru and Pomona (including the Los Angeles County Fair Grounds), MGM Conejo Ranch and Long Beach Dome.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 3
NOTES:
Page 4 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
LOCAL 40 - IBEW
LOCAL 40, INTERNATIONAL BROTHERHOOD OF ELECTRICAL WORKERS
Studio Rules & Working Conditions
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio
(Solely on the premises of a studio)
1st 5 days
8
9-14
>14E
6th day
14
>14E
7th day
14
>14E
Holiday
14
>14E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
>14E
6th day
14
>14E
7th day
14
>14E
Holiday
14
>14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
>12E
6th day
12
>12E
7th day
12
>12E
Holiday
12
>12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 2
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Any pay worked prior to or after one full week of employment may be prorated at 1/5 of the studio rate.
Minimum Staffing - Studio
No provision in contract.
Off Production Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
Daily
Weekly
On Call
8 hours
8 hours
1/5 of weekly rate
1/5 of flat rate
Showbiz Labor Guide 2014/2015
If paid as holiday occurs
Paid at end of show*
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Not subject to PH&W
Guaranteed hours subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Los Angeles - Page 5
LOCAL 40 - IBEW
LOS ANGELES
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
10.00
2nd half hour or fraction thereof
12.50
3rd half hour or fraction thereof and each succeeding
half hour or fraction thereof
15.00
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings, including night rate
premiums as payment for holidays not worked.
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 6 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
LOCAL 40 - IBEW
Distant Location Rules & Working Conditions
Overtime
On Production – Distant
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3 3/4x
5x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of 5 day rate x 1.5
7 PH&W hours
7th day
1/3 of 5 day rate
8 PH&W hours
Holiday
Add’l 1/6 of weekly scheduled rate + overscale
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
Any day worked prior to or after one full week of employment may be prorated at 1/6 of the Distant Location rate.
Minimum Staffing - Distant
No official provision in contract, but when production originates in Los Angeles and a conventional generator is taken from
Los Angeles, a Generator Operator is also sent.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
NOTE: The day of departure and the day of return will be considered distant location days.
Holidays Not Worked
Daily
Weekly
On Call
9.5
1/6 of flat rate x 1.5
1/6 of on-call rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 7
LOCAL 40 - IBEW
LOS ANGELES
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
Penalty
10.00
12.50
15.00
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 8 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PROPERTY - LOCAL 44
LOCAL 44, PROPERTY
Studio Rules & Working Conditions
Minimum Staffing - Studio/ Nearby
Theatrical: Prop Master, Assistant Prop Master. TV/Videotape: Prop Master
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio∆ (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off Production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Off Production Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night rate
premiums as payment for holidays not worked.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 9
LOCAL 44 - PROPERTY
LOS ANGELES
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Theatrical
7.50
10.00
Television
8.50
11.00
12.50
13.50
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
Page 10 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PROPERTY - LOCAL 44
Distant Location Rules & Working Conditions
Minimum Staffing
Prop Master (only if props are taken to location)
Set construction - Applicable to 11 Western states: A crew of Prop Makers including supervision must be taken from L.A.
Set Decoration - Customary practice the if the picture is subject to Basic Agreement, the Set Decorator comes from L.A.
Overtime
On Production (Distant)
Gold
Worked
1x
1 1/2x
2x
3x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of “on call” weekly rate
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On Call
9.5 hours
1/6 of weekly rate
Included in salary
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
Showbiz Labor Guide 2014/2015
Penalty
Los Angeles - Page 11
LOCAL 44 - PROPERTY
LOS ANGELES
1st half hour or fraction thereof
8.50
2nd half hour or fraction thereof
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 12 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PLUMBERS - LOCAL 78
LOCAL 78, PLUMBERS AND PIPE FITTERS
Studio Rules & Working Conditions
Overtime
Gold
On Production - Studio (Solely on the premises of a studio)
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
On Production - Bus to (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14E
Off Production / Report To (Off Production - solely on the premises of a studio/report to - within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Off Production Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. & 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
If paid as holiday occurs
Paid at end of show*
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Not subject to PH&W
Guaranteed hours subject to PH&W, Hol & Vac
Guaranteed hours subject to PH&W, Hol & Vac
Holidays Not Worked
Daily
Daily
Weekly
On Call
8 hours
8 hours
1/5 of weekly rate
1/5 of flat rate
Rest Period
Work Location
Studio
Report To Location
Bus To Location
Showbiz Labor Guide 2014/2015
On Production
9
10
9
Off Production
8
10
8
Los Angeles - Page 13
LOCAL 78 - PLUMBERS
LOS ANGELES
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
10.00
2nd half hour or fraction thereof
12.50
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
15.00
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night rate
premiums as payment for holidays not worked.
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 14 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PLUMBERS - LOCAL 78
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3 3/4x
5x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of flat rate
8 PH&W hours
Holiday
Add’l 1/6 of weekly scheduled rate + overscale
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
On Call
9.5
Add’l 1/6 of on-call rate
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
10.00
2nd half hour or fraction thereof
12.50
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
15.00
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
Showbiz Labor Guide 2014/2015
Los Angeles - Page 15
LOCAL 78 - PLUMBERS
LOS ANGELES
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 16 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
GRIPS/ CRAFTS SERVICE - LOCAL 80
LOCAL 80, GRIPS / CRAFTS SERVICE
Studio Rules & Working Conditions
Minimum Staffing
Feature/TV: Key Grip, 2nd Grip (Best Boy), Dolly Grip (Dolly Operator). No express provisions for Crafts Service, though it is
standard industry practice to have a Crafts Service person available on set during production.
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Off Production Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night rate
premiums as payment for holidays not worked.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 17
LOCAL 80 - GRIPS/ CRAFTS SERVICE
LOS ANGELES
Rest Period
Studio
Within 30 Mile Zone
Bus to Location
Off Production
8
10
8
On Production
9
10
9
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 18 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
GRIPS/ CRAFTS SERVICE - LOCAL 80
Distant Location Rules & Working Conditions
Minimum Staffing - Distant
No official rule. Industry practice is to take key personnel from L.A. if equipment is being taken: Key Grip, 2nd Grip, Dolly
Grip.
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
3x
4x
1st 6 days
8
9-14
>14E
7th Day
14
>14E
Holiday
14
>14E
On Call
1st 5 days
Flat rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of flat rate
8 PH&W hours
Holiday
1/3 of flat rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours
On-Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly
Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but not
at the Golden Hour rate, and cannot trigger the beginning of Golden Hours.
Travel beyond the minimum call and between 6 pm - 6 am, when sleeping
accommodations are provided, does not count as travel or work time.
Holidays Not Worked
Daily
Weekly
On Call
9.5 hours
1/6 of weekly rate
Included in salary
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half hour or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
Showbiz Labor Guide 2014/2015
Los Angeles - Page 19
LOCAL 80 - GRIPS/ CRAFTS SERVICE
LOS ANGELES
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 20 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
TEAMSTERS - LOCAL 399
LOCAL 399, INTERNATIONAL BROTHERHOOD OF TEAMSTERS, STUDIO
TRANSPORTATION DRIVERS
Studio Rules & Working Conditions
Overtime - Studio
On Production
Worked
1x
1 1/2x
2x
2 1/2x
3 3/4x
5x
1st 5 days
8
9-14
>14E
6th day
14
>14E
7th day
14
>14E
Holiday
14
>14E
On Production - Bus to
1st 5 days
8
9-14
>14E
6th day
14
>14E
7th day
14
>14E
Holiday
14
>14E
Off/On Production - Report to
1st 5 days
8
9-14
>14E
6th day
14
>14E
7th day
14
>14E
Holiday
14
>14E
On Call
60 PH&W hours
1st 5 days
Flat Rate
7 PH&W hours
1/5 of minimum studio scale x 1.5
6th day
8 PH&W hours
1/5 of minimum studio scale x 2
7th day
1/5 of minimum studio scale x 2
Holiday
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Holidays Not Worked
Hourly
Minimum call
Weekly
On Call
1/5 weekly
1/5 of flat rate
Paid as holiday occurs
or at end of show
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W unless paid at end of show
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 21
NOTES:
Distant Location Rules & Working Conditions
Minimum Staffing - Distant
Whenever equipment or livestock is taken from Los Angeles County to a Distant Location within Local 399 jurisdiction (12
Western States plus Canada), Drivers/Wranglers and a Captain must be hired from Los Angeles.
Overtime Distant Location
On Production
Gold
Worked
1x
1 1/2x
2x
2 1/2x
5x
1st 6 days
8/40
9-14
>14E
7th day
14
>14E
Holiday
14
>14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of minimum studio scale x 1.5
7 PH&W hours
7th day
1/3 of minimum studio scale
8 PH&W hours
Holiday
1/3 of minimum studio scale
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Hourly
Weekly
On Call
9.5
1/6 of weekly rate
1/6 of flat rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Driver Meal Allowances
If the employee is not provided meals at the Producer’s expense, they are to be paid a meal allowance as follows.
Meal Periods between 2:00 a.m. and 6:00 a.m.
7.50
Meal Periods after 10:00 a.m. but before 6:00 p.m.
10.00
Meal Periods after 6:00 p.m. but before 2:00 a.m.
12.50
Page 22 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
TEAMSTERS - LOCAL 399
A meal allowance of $40.00 per day goes to “off production” drivers who are tied to production (e.g., set dressing truck
drivers) and cook/drivers, provided that the driver works more than twelve (12) hours per day, not counting meal periods.
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half hour
Penalty
10.00
12.50
15.00
“Off Production” Employees - Ten Hour/Four Day Work Week: The Producer may schedule “off production” employees to
work on a daily basis with a ten (10) hour minimum call at straight time, provided the employee is guaranteed forty hours
within his/her work week and double time for the seventh day worked within his/her work week. The guaranteed pay of such
employees who absent themselves without the Producer’s consent may be reduced one-fourth of the weekly guarantee for
each day of absence.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 23
LOCAL 399 - LOCATION MGRS
LOS ANGELES
LOCAL 399, LOCATION MANAGERS
Studio Rules & Working Conditions
Assistant Location Managers are eligible for employment as Key Assistant Location Managers after completion of 150
actual days of employment within a three (3) year period.
Assistant Location Managers are eligible for employment as Location Managers after completion of 300 actual workdays
within a three (3) year period in either or both Assistant Location Manager classifications.
Once a Location Manager has been hired, the Employer may hire any of the above classifications. (Note: A Key Assistant
Location Manager who becomes eligible for employment as a Location Manager may nevertheless continue to be
employed as a Key Assistant Location Manager. However, once a Key Assistant Location Manager is employed as a
Location Manager, he/she may not be re-employed as a Key Assistant Location Manager or an Assistant Location
Manager until at least one year has elapsed from his/her first day of employment as a Location Manager. Likewise, a
Location Manager may accept employment as a Key Assistant or an Assistant, in which case he/she will not be eligible
for employment as a Location Manager for one (1) year).
Overtime
On Production - Studio
On Call
1st 5 days
6th day
7th day
Holiday
Flat Rate
1/5 of flat rate x 1.5
1/5 of flat rate x 2
1/5 of flat rate x 2
60 PH&W hours
7 PH&W hours
8 PH&W hours
Holidays Not Worked
On Call
1/5 of flat rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
Rest Period
8 hours, applies to all classifications.
Night Premium
None for “On Call” employees.
Car Allowance
$70 per day, no mileage reimbursement. Gasoline reimbursement subject to individual negotiation.
Page 24 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
LOCATION MGRS - LOCAL 399
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
On Call
1st 5 days
Flat Rate
6th day
1/5 of minimum studio scale x 1.5
7th day
1/3 of minimum studio scale
Holiday
1/3 of flat rate
On Call - Not Worked
6th day
1/12 of scheduled minimum studio on-call rate
7th day
1/12 of scheduled minimum studio on-call rate
60 PH&W hours
7 PH&W hours
8 PH&W hours
7 PH&W hours
8 PH&W hours
Holidays Not Worked
On Call
1/6 of flat rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
Idle Day Provisions
6th or 7th day not worked in the employee’s work week
On Call
1/12 of the weekly On Call rate, plus PH&W for 7 hours
on 6th day and 8 hours on 7th day
Location Allowance
$6 per day.
The rates for members of all three regional Local 600 councils are those listed below with the exception if certain types of
work is performed by members of the Eastern and Central Councils in “The Corridor” on the East Cost (see Local 600 New
York for details). With a few exceptions, working conditions are identical for members of the three councils. Exceptions are
listed in the relevant Chicago and New York chapters.
Work After Completion of Assignment
If a Location Manager or Assistant Location Manager renders services following completion of assignment at the request of
and with authorization of the Producer, employee will be paid 1/10 of the weekly rate for 4 hours or less, or 1/5 of the weekly
rate for more than 4 hours of work.
Travel Days
Day of departure to a distant location and the day of return from a distant location are considered "distant location days,"
meaning that they are to be compensated just like any other day worked on distant location, regardless of whether the
employee performs any work. Because the time spent traveling is considered a day worked, pension and health
contributions must be paid for such days.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 25
LOCAL 399 - CASTING DIRECTORS
LOS ANGELES
LOCAL 399, CASTING DIRECTORS
Studio Rules & Working Conditions
Recognition and Scope of Agreement
This Agreement shall be applicable to all Freelance Casting Directors and Freelance Associate Casting Directors who are
working in the City of New York or in the County of Los Angeles, or who are hired in the City of New York or the County of
Los Angeles to perform services outside those locations (but within the United States) in the production of live action
theatrical motion pictures or live action prime time television motion pictures.
Employer may elect to cover under this Agreement Freelance Casting Directors and Freelance Associate Casting Directors
on productions other than the type described above, provided they are employed within the defined geographical area.
This Agreement is not applicable to Freelance Casting Directors or Freelance Associate Casting Directors engaged in hiring
Background Actors nor does it apply to Casting Directors and Associate Casting Directors engaged on other than a
freelance basis.
Payment
Payment for services performed in the payroll week beginning on Sunday and ending on the following Saturday shall be
made on Thursday of the following payroll week (holiday weeks excluded). The regular pay day will be on Friday for
employees working on distant location. The parties confirm that any day worked by an employee in a partial workweek may
be prorated at the rate of one-fifth (1/5) of the weekly rate for each day worked.
Holidays
New York:
New Year's Day, Presidents' Day (third Monday in February), Good Friday, Memorial Day, Independence Day, Labor
Day, Thanksgiving, the day after Thanksgiving and Christmas
Los Angeles:
New Year's Day, Presidents' Day, Memorial Day, Independence Day, Labor Day, Columbus Day, Thanksgiving Day, the
day after Thanksgiving and Christmas
Weekly employees will not have their weekly rate of pay reduced in the event they do not work on a recognized holiday that
falls during a workweek.
Office Space, Equipment and Payroll Service Fees
The employee and Employer may negotiate with respect to office space, equipment and payroll service fees. Disputes with
respect to whether such space and/or equipment has been provided, or whether reimbursement for such expenses has
been made in accordance with the terms of any agreement reached, shall be subject to grievance and arbitration
procedures. However, claims with respect to the adequacy or quality of the space and/or equipment shall not be subject to
grievance and arbitration.
Individual Negotiations
Nothing herein shall prevent any individual covered by this Agreement from negotiating directly with an Employer and
entering into an individual agreement with respect to terms and conditions of employment.
Loan-Out Companies
During such time as an employee is engaged by a borrowing Employer through the employee's loan-out company, the
borrowing Employer shall make pension and health contributions directly to the Motion Picture Industry Health and Pension
Plan on behalf of the employee so employed. Contributions may not be made by loan-out companies. The parties
Page 26 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
CASTING DIRECTORS - LOCAL 399
acknowledge that the Employer's policy concerning the engagement of an employee through a loan-out company may
change and that nothing herein shall obligate the Employer to engage an employee through a loan-out company.
Union Membership and Reporting
Every employee subject to this Agreement must become and remain a member in good standing of either Studio
Transportation Drivers Local #399 or Theatrical Drivers and Helpers of Local Union #817 on the 30th day following his/her
first day of employment or the effective date of the current Agreement, whichever is later.
If Employer is informed by the appropriate Local that any such employee has failed to join the union after written notification,
Employer is required to discharge the employee within three (3) business days, unless the employee remedies such default
within that time.
Employer is required to notify the appropriate Union within fourteen (14) business days of a newly-hired employee covered
by this Agreement. Notice must include the employee's full name, address and social security number.
Employees who heretofore have been members of one of the Unions, no matter what their current membership status, shall
be deemed in compliance with this Article by the payment of the periodic dues uniformly required of other members
classified as Casting Directors.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 27
LOCAL 600 - CAMERA
LOS ANGELES
LOCAL 600 INTERNATIONAL CINEMATOGRAPHERS GUILD
Studio Rules & Working Conditions
Minimum Staffing - Studio/ Nearby Locations
Features: Directory of Photography, Camera Operator, 1st Assistant Camera, Still Photographer.
TV: Same, but Still Photographer only required if still shots are to be used.
Overtime
Gold
Worked
1x
1 1/2x
2x
3x
4x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E*
6th day
12
12E*
7th day
12
12E*
Holiday
12
12E*
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location
1st 5 days
8
9-14
14E*
6th day
14
14E*
7th day
14
14E*
Holiday
14
14E*
Off Production / Report To (Off Production - solely on the premises of a studio/report to within the zone)
1st 5 days
8
9-12
12E*
6th day
12
12E*
7th day
12
12E*
Holiday
12
12E*
* The first hour of golden time, or any fraction thereof, is rounded to the hour.
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Holidays Not Worked
Daily
Daily
Weekly
*
8 hours
8 hours
1/5 of weekly rate
If paid as holiday occurs
Paid at end of show*
Paid as holiday occurs
Subject to PH&W
Not subject to PH&W
Guaranteed hours subject to PH&W,
Hol & Vac
A daily scheduled employee will receive 3.719% of his/her annual straight time earnings.
Rest Period
D.P./Camera Operator
Portrait/Still Photographer
Technician/Asst Cam/Loader
11
10
9
The applicable rest period for D.P.’s and operators may be reduced by one hour for exterior night shoots or if unusual
circumstances require. Once per month, the rest period may be reduced by one hour for camera operators paid for a full 5
day week who are employed on back-to-back multi-camera shows.
Page 28 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
CAMERA - LOCAL 600
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 29
LOCAL 600 - CAMERA
LOS ANGELES
LOCAL 600 INTERNATIONAL CINEMATOGRAPHERS GUILD
Distant Location - Rules & Working Conditions
Minimum Staffing - Distant
Features: Directory of Photography, Camera Operator, 1st Assistant Camera, Still Photographer.
TV: Same, but Still Photographer only required if still shots are to be used.
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
3x
4x
1st 6 days
8/40
9-14
14E*
7th day
14
14E*
Holiday
14
14E*
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
*
The first hour of golden time, or any fraction thereof, is rounded to the hour.
Holidays Not Worked
Daily
Weekly
9.5 hours
1/5 of weekly rate
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Idle Day Provisions
6th or 7th day not worked in the employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight time, at the minimum
wage rate (not work time) plus PH&W for 8 hours.
Travel Time
Travel Only - Daily & Weekly Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Rest Period
D.P./Camera Operator
10
Portrait/Still Photographer
9
Technician/Asst Cam/Loader
9
The applicable rest period for D.P.’s and operators may be reduced by one hour for exterior night shoots or if unusual
circumstances require. Once per month, the rest period may be reduced by one hour for camera operators paid for a full 5
day week who are employed on back-to-back multi-camera T.V. shows, produced by the same studio.
Page 30 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
CAMERA - LOCAL 600
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 31
LOCAL 600 - PUBLICISTS
LOS ANGELES
LOCAL 600, PUBLICISTS
Studio Rules & Working Conditions
Overtime
All time and one-half, “not less than one and one-half,” double time, Golden Hour pay and pay for the sixth or seventh day
worked in an employee’s workweek and holidays in excess of the Regular Basic Hourly Rate are paid as overtime
compensation and will not be compounded.
Overtime paid on a daily basis will be computed at the Regular Basic Hourly Rate in effect when the overtime occurs.
Time and one-half will be paid for the employee’s sixth day of work within a workweek. Double time will be paid for the
employee’s seventh day of work within a workweek. All employees are paid at their scheduled Regular Basic Hourly Rates.
The minimum call is eight (8) hours.
In the event that any daily employee who is not on a regularly-scheduled workweek works six (6) days, starting with the first
day worked, within a seven (7) consecutive day period, he/she will be paid time and one-half for the sixth day worked.
Gold
No clauses per Local Agreement.
On Call
1st 5 days
6th day
7th day
Holiday
Flat Rate
1/5 of flat rate x 1.5
1/5 of flat rate x 1.5
1/5 of flat rate x 2
60 PH&W hours
7 PH&W hours
8 PH&W hours
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of on-call rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night rate
premiums as payment for holidays not worked.
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Theatrical
7.50
10.00
Television
8.50
11.00
12.50
13.50
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
Page 32 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PUBLICISTS - LOCAL 600
LOCAL 600, PUBLICISTS
Distant Location Rules & Working Conditions
Overtime
Schedule B Employees
The guaranteed pay of Schedule B employees for full six-day distant location workweeks will be based on fifty-seven (57)
cumulative hours, with time and one-half payable for each hour worked in excess of forty (40) in any workweek. The
minimum call for each day other than the sixth or seventh day worked in an employee’s workweek on distant location,
whether worked or not, will be eight (8) hours.
Fractional workweeks will be prorated as follows: The minimum call is nine and one-half (9 1/2) hours per day, with time and
one-half payable after six and two-thirds (6 2/3) hours.
For the seventh day worked in an employee’s workweek and holidays worked, employee will receive double time. The
minimum call is eight (8) hours.
Schedule C Distant Location Allowance: $6.
NOTE: The day of departure and the day of return will be considered distant location days.
Rest Period
8 hours.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour of fraction thereof
3rd half hour of fraction thereof and each succeeding half
hour or fraction thereof
Showbiz Labor Guide 2014/2015
Penalty
7.50
10.00
12.50
Los Angeles - Page 33
LOCAL 695 - SOUND (PROD)
LOS ANGELES
LOCAL 695, SOUND TECHNICIANS (Production)
Studio Rules & Working Conditions
Overtime
Gold
On Production - Studio (Solely on the premises of a studio)
Worked
1x
1.5x
2x
3x
4x
1st 5 days - Y1-Y3 (a)
9
10-12
12E
1st 5 days - Y4-16 (a)*
9/40
9/40
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days - Y1-Y3 (a)
9
10-14
14E
1st 5 days - Y4-16 (a)*
9/40
9/40
14E
6th day
12
14E
7th day
14
14E
Holiday
14
14E
Worked
1x
1.5x
2x
3x
4x
Off Production / Report To (Off Production - solely on the premises of a studio/report to within the zone)
1st 5 days - Y1-Y3 (a)
9
10-12
12E
1st 5 days - Y4-Y16 (a)*
9/40
9/40
6th day
12
12E
7th day
12
12E
Holiday
12
12E
(Cont’d next page)
On Call
1st 5 days
Flat Rate
6th day
1/5 of flat rate x 1.5
7th day
1/3 of the weekly on-call rate
Holiday
1/5 of flat rate x 2
* 1 ½ x: 9 on a partial workweek; 40 on a full work week.
60 PH&W hours
7 PH&W hours
8 PH&W hours
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Minimum Staffing - Studio/ Nearby Locations
Features/TV: Mixer, Boom Operator, Utility Sound Technician
Off Production Night Premiums
Off Production Night Premiums
Hours Worked Between
8:00 pm and 1:00 am
1:00am and 6:00 am
Page 34 - Los Angeles
Premium
10% of studio hourly rate
20% of studio hourly rate
Showbiz Labor Guide 2014/2015
LOS ANGELES
SOUND (PROD) - LOCAL 695
Holidays Not Worked
Daily
Daily
Weekly
On-Call
8 hours
8 hours
1/5 of weekly rate
1/5 of on-call rate
If paid as holiday occurs
Paid at end of show*
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Not subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Maintenance of Radio Transmitters and/or Receivers: Operating maintenance of radio transmitters and/or receivers will be
performed by persons subject to this Agreement, licensed by F.C.C. Class 2 or better.
Pay for such operating maintenance will not be less than the appropriate rate provided in the wage scales for classifications
#8131 (Y-6) through Micro Boom Operator #8151 (Y-8).
Radio transmitters and/or receivers and/or "walkie-talkies" may be used by any person in the employ of the Producer.
F.C.C. regulations are to be strictly observed.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 35
LOCAL 695 - SOUND (PROD)
LOS ANGELES
LOCAL 695, SOUND TECHNICIANS (Production)
Distant Location Rules & Working Conditions
Minimum Staffing - Distant
Features/TV: Mixer, Boom Operator, Utility Sound Technician
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days - Y1-Y3 (a)
9
10-14
14E
1st 6 days - Y4-Y16 (a)
9/40
9/40
14E
7th day
14
14E
Holiday
14
14E
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal periods.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On-Call
9.5 hours
1/6 of weekly rate
Included in salary
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Page 36 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
SOUND (PROD) - LOCAL 695
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
Penalty
7.50
10.00
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 37
LOCAL 695 - PROJECTIONISTS
LOS ANGELES
LOCAL 695, PROJECTIONISTS
Studio Rules & Working Conditions
Overtime
Gold
On Production - Studio (Solely on the premises of a studio)
Worked
1x
1 1/2x
2x
3x
4x
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Production / Report To (Off-Production - Solely on the premises of a studio / report to within the zone)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Night Premiums
Time Worked
If worked between 8:00 p.m. and 1:00 a.m.
If worked between 1:00 a.m. and 6:00 a.m.
Premium
add 10% to hourly rate
add 20% to hourly rate
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
A daily scheduled employee will receive 3.719% of his/her annual straight time work time earnings, including night rate
premiums, as payment for holidays not worked.
Rest Period
Work Location
Studio
Report To Location
Bus To Location
Page 38 - Los Angeles
On Production
9
10
9
Off Production
8
10
8
Showbiz Labor Guide 2014/2015
LOS ANGELES
PROJECTIONISTS - LOCAL 695
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 39
LOCAL 695 - PROJECTIONISTS
LOS ANGELES
LOCAL 695, PROJECTIONISTS
Distant Location Rules & Working Conditions
Minimum Staffing - Distant
Projectionist (only if equipment is sent from studio)
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of flat rate
8 PH&W hours
Holiday
1/6 of on-call rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employees’ workweek
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On Call
9.5
1/5 of weekly rate
1/5 of flat rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Page 40 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PROJECTIONISTS - LOCAL 695
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding
half hour or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 41
LOCAL 700 - EDITORS (INDEPENDENTS)
LOS ANGELES
LOCAL 700, EDITORS (Majors)
Studio Rules & Working Conditions
Employees in Classifications Z-5, Z-6 and Z-10: For determining the appropriate Service Bracket of employees in
classification Z-5, Z-6 and Z-10 in the wage scales, all previous employment in the motion picture industry will be credited.
No such employee will be required to repeat any Service Bracket with any Producer.
The minimum rate of pay of employees in classifications Z-5, Z-6 and Z-10 will be periodically advanced in accordance with
the previous schedule of Service Brackets. Each Service Bracket period will be 120 days of accrued employment in the
respective classification or the lapse of 6 calendar months, whichever period of time is the greater.
An Assistant Editor, when advanced to the classification of Sound Editor, Music Editor, or Librarian, will receive the
appropriate hourly rate in the advanced classification equal to his/her current rate, or if such rate is not provided in such
advanced classification, then the next rate higher than his/her current rate will be applicable and the Service Bracket
provisions will apply.
***** When any Music Editor or Sound Editor is assigned complete charge of the work in his/her classification and the Head
Music Editor or Head Sound Editor, as the case may be, does not directly supervise such work, then such Music Editor
or Sound Editor will be paid the rates set forth in Schedule F.
Overtime
Gold
On Production - Studio (Solely on the premises of a studio)
Worked
1x
1 1/2x
1st 5 days
8
9-12
1st 5 days - Schd. C & F
48.6
48.6
1st 5 days - Schd. B-1,
40.0
40.0
C-1 & E
6th day
12
7th day
Holiday
2x
12E
12E
12E
3x
4x
12E
12
12
12E
12E
Gold
Off Production / Report To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
1st 5 days - Schd. C & F
48.6
48.6
14E
1st 5 days - Schd. B-1,
40.0
40.0
14E
C-1, E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 2
8 PH&W hours
Holiday
1/5 of flat rate x 2
Gold (Z-1 On-Call)
1st 5 days - 2x for Z-1 “on-call” class only, golden hours are calculated on the basis of the hourly rates for Schedule C.
6th Day - 3x for Z-1 “on-call” class only, golden hours are calculated on the basis of the hourly rates for Schedule C.
Page 42 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
EDITORS (INDEPENDENTS) - LOCAL 700
7th Day - 4x for Z-1 “on-call” class only, golden hours are calculated on the basis of the hourly rates for Schedule C.
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Minimum Staffing - Studio/ Nearby/ Distant
Feature/TV: See contract. General rule requires an Editor and Assistant Editor. Film editors and their assistants must be
assigned from the day principal photography begins until the final dubbing. Music and Sound Editors may be assigned as
needed.
Night Premiums
Time Worked
If worked between 8:00 p.m. and 1:00 a.m.
If worked between 1:00 a.m. and 6:00 a.m.
Premium
add 10% to hourly rate
add 20% to hourly rate
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings, including night premiums
as payment for holidays not worked.
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Theatrical
7.50
10.00
Television
8.50
11.00
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding
half hour or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 43
LOCAL 700 - EDITORS (INDEPENDENTS)
LOS ANGELES
LOCAL 700, EDITORS (Majors)
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
1st 6 days - Scd F
54.0
54.0
14E
1st 6 days - Scd B-1 & C-1
40.0
40.0
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of on-call rate x 1.5
7 PH&W hours
7th day
1/3 of on-call rate
8 PH&W hours
Holiday
1/6 of on-call rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
Idle Day Provisions
6th or 7th day not worked in the
employee’s workweek
Daily & Weekly Employees
Allowance of 4 hours pay at straight time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
Travel Time
Travel Only - Daily & Weekly
Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but not
at the Golden Hour rate, and cannot trigger the beginning of Golden Hours.
Travel beyond the minimum call and between 6 p.m. - 6 a.m., when sleeping
accommodations are provided, does not count as travel or work time.
NOTE: The day of departure and the day of return will be considered distant location days.
Holidays Not Worked
Daily
Weekly
On Call
9.5
1/6 of weekly rate
1/6 of on-call rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half
Page 44 - Los Angeles
Penalty
7.50
10.00
12.50
Showbiz Labor Guide 2014/2015
LOS ANGELES
EDITORS (INDEPENDENTS) - LOCAL 700
hour or fraction thereof
LOCAL 700, SOUND (Post Production)
Studio Rules & Working Conditions
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH & W hours
6th day
1/5 of flat rate x 1.5
7 PH & W hours
7th day
1/5 of flat rate x 2
8 PH 7 W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Sound and music editorial personnel will be guaranteed two consecutive days off after nineteen (19) consecutive days of
work. With respect to other editorial personnel, other than on location, Producer will guarantee, if requested by the
employee, no less than two (2) days off after twenty-one (21) consecutive days of work. The two (2) days must be taken at
a mutually agreed-upon time, but no later than seven (7) days following the expiration of the twenty-one (21) day period.
The two (2) days need not be consecutive; however, if the employee so desires, every effort will be made to make the days
consecutive.
In the event of a violation of the foregoing paragraph, the Producer will pay to the aggrieved employee a penalty of onequarter (1/4) of one day’s pay for each day worked after such employee is entitled to time off as stated previously until the
employee actually receives time off as required. For the purpose of this provision, one day of pay will be deemed to be onefifth of the minimum weekly or on-call rate applicable to the employee’s classification.
Night Premiums
Time worked
If worked between 8:00 p.m. and 1:00 a.m.
If worked between 1:00 a.m. and 6:00 a.m.
Showbiz Labor Guide 2014/2015
Premium
add 10% to hourly rate
add 20% to hourly rate
Los Angeles - Page 45
LOCAL 700 - EDITORS (INDEPENDENTS)
LOS ANGELES
Holidays Not Worked
Daily
Daily
Weekly
On Call
8 hours
8 hours
1/5 of weekly rate
1/5 of flat rate
If paid as holiday occurs
Paid at end of show*
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Not subject to PH&W
Guaranteed hours subject to PH&W, Hol & Vac
Guaranteed hours subject to PH&W, Hol & Vac
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
13.50
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings, including night rate
premiums, as payment for holidays not worked.
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 62 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 46 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
EDITORS (INDEPENDENTS) - LOCAL 700
LOCAL 700, SOUND (Post Production)
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
1st 6 days - Scd. C
40
40
14E
1st 6 days - Scd. D
54
54
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of on-call rate
8 PH&W hours
Holiday
1/6 of on-call rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight time, at the minimum
wage rate (not work time) plus PH&W for 8 hours.
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work time.
Holidays Not Worked
Daily
Weekly
On Call
9.5 hours
1/6 of weekly rate
Included in salary
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 47
LOCAL 700 - EDITORS (INDEPENDENTS)
LOS ANGELES
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding
half hour or fraction thereof
12.50
Meal periods commence within 6 hours following first call; however, not earlier than 2 hours after employee reports to work,
succeeding meal periods for the same employee will commence within 6 hours after the end of the preceding meal period.
Note: Not more than one meal period will be deducted from work time for an employee during the minimum call. A second
meal period may be deducted for those employees who work in excess of one and one-half hours past minimum call.
Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to complete the
camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 48 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
STORY ANALYSTS - LOCAL 700
LOCAL 700, SCREEN STORY ANALYSTS
Studio Rules & Working Conditions
Overtime
Studio**
Gold
Worked
1x
1 1/2x
2x
3x
4x
1st 5 days
40
40
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night premiums
as payment for holidays not worked.
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
Theatrical
7.50
10.00
Television
8.50
11.00
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 49
NOTES:
Page 50 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
STORY ANALYSTS - LOCAL 700
LOCAL 705, IATSE MOTION PICTURE COSTUMERS
Studio Rules & Working Conditions
Minimum Staffing - Studio/ Nearby
Feature/TV: One wardrobe person must be on the set if wardrobe services are required.
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours and subtract them
before deducting meal period. Does not apply to television “On Production” employees whose work occurs solely on
the premises of a studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Night Premiums
Hours worked between
8:00 pm and 1:00 am
1:00 am and 6:00 pm
Premium
10%
20%
of studio hourly rate
of studio hourly rate
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Guaranteed subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night premiums
as payment for holidays not worked.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 51
NOTES:
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 52 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
STORY ANALYSTS - LOCAL 700
LOCAL 705, IATSE MOTION PICTURE COSTUMERS
Distant Location Rules & Working Conditions
Minimum Staffing - Distant
Other than the 17 Eastern Seaboard states, wardrobe personnel must be taken from Hollywood.
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of on-call rate x 1.5
7 PH&W hours
7th day
1/3 of on-call rate
8 PH&W hours
Holiday
1/6 on-call rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On Call
9.5 hours
1/6 of weekly rate
Included in salary
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 53
NOTES:
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 54 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
MAKE-UP AND HAIR - LOCAL 706
LOCAL 706, MAKE-UP ARTISTS AND HAIR STYLISTS
Studio Rules & Working Conditions
Overtime
Gold
On Production - Studio (Solely on the premises of a studio)
Worked
1x
1 1/2x
2x
3x
4x
1st 5 days
8
9-12
12E
1st 5 days- Scd. B
48.6
48.6
12E
1st 5 days - Scd. C
54
54
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
1st 5 days - Scd. B
48.6
48.6
14E
1st 5 days - Scd. C
54
54
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Production / Report To (Off Production - solely on the premises of a studio)/(Report to - within the zone)
1st 5 days
8
9-12
12E
1st 5 days - Scd. C
48.6
48.6
12E
1st 5 days - Scd. D
54
54
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of on-call rate x 1.5
7 PH&W hours
7th day
1/5 of on-call rate x 1.5
8 PH&W hours
Holiday
1/5 of on-call rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Minimum Staffing - Studio/ Nearby Locations
When Makeup Artists and Hairstylists are employed, must be hired pursuant to Industry Experience Roster.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night rate
premiums as payment for holidays not worked.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 55
LOCAL 706 - MAKE-UP AND HAIR
LOS ANGELES
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 56 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
MAKE-UP AND HAIR - LOCAL 706
LOCAL 706, MAKE-UP ARTISTS AND HAIR STYLISTS
Distant Location Rules & Working Conditions
Minimum Staffing - Distant
Generally, Key-rated personnel should be taken from Los Angeles, particularly when actors are brought from there.
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
10
10
14E
1st 6 days - Scd. B & C
60
60
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of on-call weekly rate
8 PH&W hours
Holiday
1/3 of on-call weekly rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On-Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m.,
when sleeping accommodations are provided, does not count as travel or
work time.
Holidays Not Worked
Daily
Weekly
On Call
10 hours
1/6 of weekly rate
1/6 of flat rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 57
LOCAL 706 - MAKE-UP AND HAIR
LOS ANGELES
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 58 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
STUDIO UTILITY - LOCAL 724
LOCAL 724, STUDIO UTILITY EMPLOYEES
Studio Rules & Working Conditions
Overtime
Gold
On Production - Studio (Solely on the premises of a studio)
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
On Production - Bus to (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
Off Production / Report To (Off production - solely on the premises of a studio) / (Report to - within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night premiums
as payment for holidays not worked.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 59
LOCAL 724 - STUDIO UTILITY
LOS ANGELES
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
10.00
2nd half hour or fraction thereof
12.50
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
15.00
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 60 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
STUDIO UTILITY - LOCAL 724
LOCAL 724, STUDIO UTILITY EMPLOYEES
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
2 1/2x
5x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of flat rate
8 PH&W hours
Holiday
Add’l 1/5 of weekly scheduled rate
+ overscale
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On Call
9.5
1/6 of weekly rate
1/6 of flat rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
Showbiz Labor Guide 2014/2015
Penalty
10.00
12.50
15.00
Los Angeles - Page 61
LOCAL 724 - STUDIO UTILITY
LOS ANGELES
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 62 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
LIGHTING - LOCAL 728
LOCAL 728, LIGHTING TECHNICIANS
Studio Rules & Working Conditions
Minimum Staffing - Studio/ Nearby Location
Feature/TV: Chief Lighting Technician (Gaffer), 1st Assistant (Best Boy)
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH & W hours
6th day
1/5 of flat rate x 1.5
7 PH & W hours
7th day
1/5 of flat rate x 1.5
8 PH 7 W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight time earnings including night rate premiums
as payment for holidays not worked.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 63
LOCAL 728 - LIGHTING
LOS ANGELES
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 64 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
LIGHTING - LOCAL 728
LOCAL 728, LIGHTING TECHNICIANS
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of flat rate
8 PH&W hours
Holiday
1/3 of flat rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
NOTE: The day of departure and the day of return will be considered distant location days.
Minimum Staffing - Distant
No express provisions; however, when lighting equipment other than camera batteries is brought from Hollywood, it is
industry practice that at least one person from Local 728 be taken to handle and operate such equipment.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On Call
Minimum call
1/6 of weekly rate
1/6 of flat rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 65
LOCAL 728 - LIGHTING
LOS ANGELES
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 66 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PAINTERS - LOCAL 729
LOCAL 729, SET PAINTERS AND SIGN WRITERS
Union Rules & Working Conditions
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
Daily
Flat rate
12 PH&W hours
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Minimum Staffing - Studio/ Nearby Locations
Features/TV: No minimum staffing requirements in contract; however, any painting must be done by a Local 729 painter.
Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night rate
premiums as payment for holidays not worked.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 67
LOCAL 729 - PAINTERS
LOS ANGELES
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 68 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PAINTERS - LOCAL 729
LOCAL 729, PAINTERS
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of flat rate
8 PH&W hours
Holiday
1/3 of flat rate
Daily
Flat rate
12 PH&W hours
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
Minimum Staffing - Distant
When set painting is to be done at a distant location site within the 13 western states, and the production originated in Los
Angeles, a nucleus crew of Painters must be sent from Los Angeles.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On Call
9.5 hours
1/6 of weekly rate
1/6 of flat rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 69
LOCAL 729 - PAINTERS
LOS ANGELES
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 70 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PLASTERERS - LOCAL 755
LOCAL 755, OPERATIVE PLASTERERS AND CEMENT MASONS
Studio Rules & Working Conditions
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night rate
premiums as payment for holidays not worked.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 71
LOCAL 755 - PLASTERERS
LOS ANGELES
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
10.00
2nd half hour or fraction thereof
12.50
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
15.00
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 72 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
PLASTERERS - LOCAL 755
LOCAL 755, OPERATIVE PLASTERERS AND CEMENT MASONS
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
2 1/2x
5x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/2 x 1.5
8 PH&W hours
Holiday
Add’l 1/6 of flat rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours.
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On Call
9.5
1/6 of weekly rate
1/6 of flat rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
Showbiz Labor Guide 2014/2015
Penalty
10.00
12.50
15.00
Los Angeles - Page 73
LOCAL 755 - PLASTERERS
LOS ANGELES
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 74 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
FIRST AID - LOCAL 767
LOCAL 767, FIRST AID EMPLOYEES
Studio Rules & Working Conditions
Minimum Staffing - Studio/ Nearby Locations
Feature/TV: A First Aid person must be present on set at all times. Jurisdiction of Local 767 is the 12 Western States (WA,
OR, CA, ID, NV, AZ, MT, WY, CO, NM, UT and TX).
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Guaranteed hours not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night rate
premiums as payment for holidays not worked.
Rest Period
Work Location
Studio
Report To Location
Bus To Location
Showbiz Labor Guide 2014/2015
On Production
9
10
9
Off Production
8
10
8
Los Angeles - Page 75
LOCAL 767 - FIRST AID
LOS ANGELES
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 76 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
FIRST AID - LOCAL 767
LOCAL 767, FIRST AID EMPLOYEES
Distant Location Rules & Working Conditions
Minimum Staffing - Distant
A Local 767 First Aid person from Los Angeles must be present on the set for all distant location shooting within the 12
Western States (WA, OR, CA, ID, NV, AZ, MT, WY, CO, NM, UT and TX).
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight time, at the minimum
wage rate (not work time) plus PH&W for 8 hours.
Travel Time
Travel Only - Daily & Weekly Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
9.5 hours
1/5 of weekly rate
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
Showbiz Labor Guide 2014/2015
Los Angeles - Page 77
LOCAL 767 - FIRST AID
LOS ANGELES
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Studio Footnotes
1.
Weekly Employee: Employees under this schedule will be paid at the scheduled Regular Basic Hourly Rate for the first
forty (40) hours of the five (5) day workweek and not less than one and one-half (1-1/2) times such basic hourly rate of
pay for all time over forty (40) hours in such workweek, with a guarantee that the employee will receive, for regular time
and for such overtime as the necessities of the business may demand, a sum not less than the scheduled guarantee
for each five (5) day workweek.
2.
The guaranteed pay of weekly employees who absent themselves without the employer’s consent may be reduced
one-fifth (1/5) of the weekly guarantee for each day of absence.
3.
A combination of employment under studio and distant location schedules may be used to fulfill the weekly guarantee
of five (5) days for studio employment.
Distant Footnotes
1.
Weekly Employees: Employees under this schedule will be paid at the scheduled Regular Basic Hourly Rate for the
first forty (40) hours of the six (6) day workweek and not less than one and one-half (1-1/2) times such basic hourly rate
of pay for all time over forty (40) hours in such workweek, with a guarantee that the employee will receive, for regular
time and for such overtime as the necessities of the business may demand, a sum not less than the scheduled weekly
guarantee for each six (6) day workweek.
2.
The guaranteed pay of weekly employees who absent themselves without the employer’s consent may be reduced
one-sixth (1/6) of the weekly guarantee for each day of absence.
Page 78 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
ILLUSTRATORS - LOCAL 800
LOCAL 800, ILLUSTRATORS AND MATTE ARTISTS
Studio Rules & Working Conditions
Assistant Matte Artists may not be employed in excess of the following ratio in relation to total Matte Artists employed by the
Producer:
Number of Matte Artists Employed
Asst. Matte Artists
1
1
3
2
5
3
7
4
Etc.
Etc.
Junior Illustrators may not be employed in excess of the following ratio in relation to total Production Illustrators or Illustrators
employed by the Producer:
Number of Production Illustrators
or Illustrators Employed
Junior Illustrators
1 through 2
1
3 through 4
2
5 through 6
3
7 through 8
4
Etc.
Etc.
Assistant Illustrators may not be employed in excess of the following ration in relation to total Production Illustrators or
Illustrators and Junior Illustrators employed by the Producer:
Number of Production Illustrators
or Illustrators and Junior
Illustrators Employed
Apprentice Illustrators
1 through 6
1
7 through 12
2
13 through 18
3
Etc.
Etc.
An employee hired under the “On Call” schedule for less than 5 days and so notified at the time of employment will be paid
at the daily rate for each day worked, not to exceed 4 days.
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
(cont’d)
Showbiz Labor Guide 2014/2015
5x
Los Angeles - Page 79
LOCAL 800 - ILLUSTRATORS
LOS ANGELES
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so subtract Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Guaranteed hours Subject to PH&W, Hol & Vac
* Daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night rate
premiums as payment for holidays not worked.
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Layoff
Producer must give at least 3 days notice before laying off an illustrator (weekly only).
Page 80 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
ILLUSTRATORS - LOCAL 800
LOCAL 800, ILLUSTRATORS AND MATTE ARTISTS
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of flat rate
8 PH&W hours
Holiday
1/3 of flat rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so subtract Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On Call
9.5 hours
1/6 of weekly rate
1/6 of flat rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 81
LOCAL 800 - ILLUSTRATORS
LOS ANGELES
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 82 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
ART DIRECTORS - LOCAL 800
LOCAL 800, ART DIRECTORS
Studio Rules & Working Conditions
Minimum Staffing - Studio/ Nearby/ Distant
Art Director, assigned either on the date of delivery of the script or upon the first conference on the script, whichever is
earlier.
Overtime
On Call - Studio
1st 5 days
6th day
7th day
Holiday
Flat Rate
1/5 of on-call rate x 1.5
1/5 of on-call rate x 1.5
1/5 of on-call rate x 2
60 PH&W hours
7 PH&W hours
8 PH&W hours
Holidays Not Worked
On Call
1/5 of on-call rate
Showbiz Labor Guide 2014/2015
Paid as holiday occurs
Subject to PH&W, Hol & Vac
Los Angeles - Page 83
LOCAL 800 - ART DIRECTORS
LOS ANGELES
LOCAL 800, ART DIRECTORS
Distant Location Rules & Working Conditions
Overtime
On Call - Distant
1st 5 days
6th day
7th day
Holiday
Flat Rate
1/5 of on-call rate x 1.5
1/3 of on-call flat rate
1/6 of on-call rate x 2
60 PH&W hours
7 PH&W hours
8 PH&W hours
NOTE: The day of departure and the day of return will be considered a distant location day.
Idle 6th and 7th Day Provisions
On Call
6th or 7th day not worked in the employee’s work week
1/12 of the weekly On Call rate, plus PH&W for 7 hours
on 6th day and 8 hours on 7th day
Travel Time
Travel Only - On Call Employees
1/6 of the minimum On Call Rate
Rest Period
8 hours.
Distant Location Allowance = $6.00.
Holidays Not Worked
On Call
1/6 of on-call rate
Page 84 - Los Angeles
Paid as holiday occurs
Subject to PH&W, Hol & Vac
Showbiz Labor Guide 2014/2015
LOS ANGELES
SCENIC ARTISTS - LOCAL 800
LOCAL 800, SCENIC, TITLE AND GRAPHIC ARTISTS
Studio Rules & Working Conditions
**
In the event the Producer wishes to engage the services of a Trainee Title Artist, the following conditions will prevail:
1. The duties of a Trainee will be: cleaning brushes and Title glasses, mixing paint, coating and trimming cards, filing,
running errands, etc. For the first 6 months of employment, he/she will not do lettering or art work for commercial
purposes; and
2. A Trainee may be employed after the first Journeyperson. Nine more Journeymen must be employed before
another Trainee is employed. The ratio of 5 Journeymen to 1 Trainee will prevail thereafter.
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so subtract Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Showbiz Labor Guide 2014/2015
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Los Angeles - Page 85
LOCAL 800 - SCENIC ARTISTS
LOS ANGELES
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
On Call
1/5 of flat rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings inlcuding night rate
premiums as payment for holidays not worked.
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 86 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
SCENIC ARTISTS - LOCAL 800
LOCAL 800, SCENIC, TITLE AND GRAPHIC ARTISTS
Distant Location Rules & Working Conditions
Overtime
Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/3 of flat rate
8 PH&W hours
Holiday
1/3 of flat rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
NOTE: The day of departure and the day of return will be considered the start location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours
On-Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - On Call Employees
1/6 of the minimum On Call Rate
Holidays Not Worked
Daily
Weekly
On Call
8 hours
1/6 of weekly rate
1/6 of flat rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 87
LOCAL 800 - SET DESIGNERS
LOS ANGELES
LOCAL 800, SET DESIGNERS AND MODEL BUILDERS
Studio Rules & Working Conditions
Junior Set Designers will not be employed in excess of one such Junior for each two Senior Set Designers employed by
Producer.
Producer may employ one Assistant Set Model Builder or one Apprentice Set Model Builder for each one Senior Set Model
Builder so employed.
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; Report To Within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so subtract Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings inlcuding night premiums
as payment for holidays not worked.
Rest Period
Work Location
Studio
Report To Location
Bus To Location
Page 88 - Los Angeles
On Production
9
10
9
Off Production
8
10
8
Showbiz Labor Guide 2014/2015
LOS ANGELES
SET DESIGNERS - LOCAL 800
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 89
LOCAL 800 - SET DESIGNERS
LOS ANGELES
LOCAL 800, SET DESIGNERS AND MODEL BUILDERS
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
any meal periods.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle 6th and 7th day
6th or 7th day not worked in the employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight time, at the minimum
wage rate (not work time) plus PH&W for 8 hours.
Travel Time
Travel Only - Daily & Weekly Employees
Pay at straight time (4 hour min., 8 hour max.)
Holidays Not Worked
Hourly
Weekly
Minimum call
1/6 of weekly rate
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Layoff
Producer must give 3 days notice before laying off a Set Designer (weekly).
Meal Penalties
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 90 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
ANIMATORS - LOCAL 839
LOCAL 839, THE ANIMATORS GUILD
Studio Rules & Working Conditions
Minimum Call
Daily
Weekly
4 hours; including 6th and 7th day
4 hours 6th and 7th day (minimum guarantee 40 hours)
On Call
If a weekly employee receives more than 110% of applicable Journeyperson rate, he/she may, at the Producer’s option and
by mutual consent, be considered an “on-call” employee.
Homework
Homework for employees currently employed on a weekly basis will be voluntary. Applicable overtime will be paid.
Contributions to PH&W will include hours worked or guaranteed on homework assignments.
Overtime
Studio
Gold
Worked
1x
1 1/2x
2x
3x
4x
1st 5 days
8
9-14
>14E
6th day
14
>14E
7th day
All day
Holiday
All day
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Holidays Not Worked
Hourly
Hourly
Weekly
On Call
8 hours
8 hours
Straight time pay for 8 hours
1/5 of flat rate
Paid as holiday occurs
Paid at end of show
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Not subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 91
LOCAL 871 - POC/ PROD ACCT
LOS ANGELES
LOCAL 871, PRODUCTION OFFICE COORDINATORS & ART
DEPARTMENT COORDINATORS
Studio*
Schedule
Employee Type
Minimum Guarantee - Consecutive
Cumulative
1 1/2x after (hours)
Minimum Call (hours)
C
Weekly
On Call
Exempt
On Call
Occ.
Code
Classification
5-Day Rate
7705
Prod. Office Coordinator
Negotiable
7706
Asst. Prod. Office Coordinator
Negotiable
7707
Art Department Coordinator
Negotiable
* There are currently no official minimum rates for these classifications negotiated with the AMPTP.
Overtime
On Call - Studio
1st 5 days
6th day
7th day
Holiday
Flat Rate
1/5 of flat rate x 1.5
1/5 of flat rate x 2
1/5 of flat rate x 2
60 PH&W hours
7 PH&W hours
8 PH&W hours
Holidays Not Worked
On Call
Page 92 - Los Angeles
1/5 of flat rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
Showbiz Labor Guide 2014/2015
LOS ANGELES
POC/ PROD ACCT - LOCAL 871
LOCAL 871, PRODUCTION OFFICE COORDINATORS &
ART DEPARTMENT COORDINATORS
Distant Location*
Schedule
Employee Type
Minimum Guarantee - Consecutive
Cumulative
1 1/2x after (hours)
Minimum Call (hours)
C
Weekly
On Call
Exempt
On Call
Occ.
Code
Classification
5-Day Rate
7705
Prod. Office Coordinator
Negotiable
7706
Asst. Prod. Office Coordinator
Negotiable
7707
Art Department Coordinator
Negotiable
* There are currently no official minimum rates for these classifications negotiated with the AMPTP.
Overtime
On Call - Distant
1st 5 days
6th day
7th day
Holiday
Flat Rate
1/5 of flat rate x 1.5
1/3 of flat rate
1/3 of flat rate
60 PH&W hours
7 PH&W hours
8 PH&W hours
Holidays Not Worked
On Call
1/6 of flat rate
Paid as holiday occurs
Subject to PH&W, Hol & Vac
Idle Day Provisions
6th or 7th day not worked in the employee’s work week
On Call
1/12 of the weekly On Call rate, plus PH&W for 7 hours
on 6th day and 8 hours on 7th day
Travel Time
Travel Only - On Call Employees
Travel & Work Combined
Showbiz Labor Guide 2014/2015
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Los Angeles - Page 93
LOCAL 871 - SCRIPT
LOS ANGELES
LOCAL 871, SCRIPT SUPERVISORS & CONTINUITY COORDINATORS
Studio Rules & Working Conditions
*
For determining the appropriate classification of the presently employed Script Supervisors, each such employee's
previous experience as a Script Supervisor in the Motion Picture Industry, not to exceed three years, will be certified by
the union. For this purpose, one year will be deemed to mean a total of 200 days, not necessarily consecutive, of
actual employment as a Script Supervisor, or the lapse of one calendar year, whichever is the longer period of time.
*** 1. Weekly Employees: Employees under this schedule will be paid at the scheduled Regular Basic Hourly Rate for
the first forty (40) hours at the five-day workweek and not less than one and one-half (1-1/2) times such basic
hourly rate of pay for all time over forty (40) hours in such workweek, with a guarantee that the employee will
receive, for regular time and for such overtime as the necessities of the business may demand, a sum not less
than the scheduled weekly guarantee for each five-day workweek.
2. The guaranteed pay of weekly employees who absent themselves without the employer’s consent may be reduced
one-fifth (1/5) of the weekly guarantee for each day of absence.
3. A combination of employment under studio and distant location schedules may be used to fulfill the weekly
guarantee of five (5) days for studio employment.
#
When a Script Supervisor, currently employed, is assigned by the employer to be responsible for supervision of the
work of one or more Script Supervisors, such employee will be paid an additional ten percent (10%) of the #7703 rate.
This is not applicable when a person is initially employed as a Script Supervisor to supervise at a rate not less than
#7703 plus ten percent (10%) of the #7703 rate. The foregoing will not apply in any case where an employee assumes
the responsibility of supervising other employees on his/her own initiative and without the specific approval of the
Producer. Additional compensation will be paid only for the period that the Script Supervisor supervises or is
responsible for the work of a second Script Supervisor.
Date Compensation Begins: From the date of delivery of any portion of a theatrical or long-form television (over sixty
minutes) script, or upon a mutually agreed-upon start date which has been set forth in a deal memo.
Shooting with Two Cameras Simultaneously: When two or more cameras are utilized for a substantial part of the day of
shooting and only one Script Supervisor is employed, said Script Supervisor will be paid, as an allowance, an additional flat
sum of forty dollars ($40.00) for that day. This provision does not apply to the multiple-camera format of the type referred to
in the industry as a “three-camera show” or a “four-camera show.”
Substantial Part of the Day: For purposes of this provision only, is defined as the simultaneous utilization, including set-up
time spent by Script Supervisors, of two (2) or more cameras for fifty percent (50%) or more of the shooting day.
Shooting Day: For the purposes of this provision only, is defined as the elapsed time between the call and the set wrap,
excluding meal time(s).
The information as to the time worked by the Script Supervisor or on utilization involving two or more cameras will be
submitted by the Script Supervisor on a currently-required report furnished to the Producer.
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Showbiz Labor Guide 2014/2015
LOS ANGELES
SCRIPT - LOCAL 871
Other Provisions, Preparation Pay and Wrap Time
Preparation for Free Television Pictures
Schedule
A
Minutes of air time including
30 minutes
commercials
or less
but more than
Day(s) pay
1
B
60 minutes
or less
C
90 minutes
or less
(but more
than 30)
2½
(but more
than 60)
5
D
179
minutes or
less
(but more
than 90)
8
E
180
minutes or
more
10
Preparation Pay is recognized as work hours guaranteed or hours worked. Health and Welfare, Pension, Holiday and
Vacation Payments are based on the following schedule:
Allowance Per Picture
Schedule
A
B
C
D
E
Air time minutes incl.
30 min. or less 60 min. or less 90 min. or less
179 min. or
180 min. or
commercials
less
more**
but more than
30
60
90
Day(s) pay
1
2½
5
8
10
Min. Hours/Days
10.8* x 1
10.8* x 2 ½
10.8* x 5
10.8* x 8
10.8* x 10
* Reference "Fractional Payroll Weeks" the minimum guarantee is ten and eight-tenths (10.8) hours per day.
Preparation Pay for Limited Series Productions (Mini-Series)
Preparation pay for a single television production of more than one hundred eighty minutes shown over more than one day
or night will be: (1) three hours, or 180 minutes, equals ten days of preparation pay; or (2) each hour thereafter equals 2
days of preparation pay.
Health and welfare, pension, holiday and vacation payments are based: (1) two days pay: 10.8 hours x 2; or (2) ten days
pay: 10.8 hours x 10.
Preparation Pay for Theatrical Motion Pictures
The previous schedules relating to preparation time are subject to the following conditions: (1) Payment of preparation pay
will be made to the employee not later than Thursday of the second payroll week following the payroll week in which such
allowance is earned; and (2) preparation pay is recognized as work hour guaranteed or hours worked. Health and Welfare,
Pension, Holiday and Vacation payments will be paid per previous examples.
Wrap Time
Sufficient wrap time will be given Script Supervisors after daily production to complete the required reports for the producer
up to a maximum of the following:
2 hour TV show
30 minutes
1 hour TV show
1 hour
Theatrical films
1 hour
The time will not be exceeded unless prior approval is obtained from the production office.
Minimum Staffing - Studio/ Nearby/ Distant
Script Supervisor required when shooting with a script.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 95
LOCAL 871 - SCRIPT
LOS ANGELES
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
6
7-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so subtract Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings, including night rate
premiums as payment for holidays not worked.
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 96 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
SCRIPT - LOCAL 871
LOCAL 871, SCRIPT SUPERVISORS & CONTINUITY COORDINATORS
Distant Rules & Working Conditions
#
When a Script Supervisor, currently employed, is assigned by the employer to be responsible for supervision of the
work of one or more Script Supervisors, such employee will be paid an additional ten percent (10%) of Occ. Code 7703
rate. This is not applicable when a person is initially employed as a Script Supervisor to supervise at a rate not less
than Occ. Code 7703 plus ten percent (10%) of the #7703 rate. The foregoing will not apply in any case where an
employee assumes the responsibility of supervising other employees on his/her own initiative and without the specific
approval of the Producer. The additional compensation will be paid only for the period that the Script Supervisor is
assigned to supervise or be responsible for the work of a second Script Supervisor.
The distant location minimum rates for cumulative Weekly Schedule B employment will apply for full 6 consecutive day work
weeks of distant location employment only.
*
See footnote under Studio Minimum Rates.
*** 1. Weekly Employees - Employees under this schedule will be paid at the scheduled Regular Basic Hourly Rate for
the first forty (40) hours at the six-day workweek and not less than one and one-half (1-1/2) times such basic hourly
rate of pay for all time over forty (40) hours in such workweek, with a guarantee that the employee will receive, for
regular time and for such overtime as the necessities of the business may demand, a sum not less than the
scheduled weekly guarantee for each six-day workweek.
2. The guaranteed pay of weekly employees who absent themselves without the employer’s consent may be reduced
one-sixth (1/6) of the weekly guarantee for each day of absence.
3. A combination of employment under studio and distant location schedules may be used to fulfill the weekly
guarantee of five (5) days for studio employment or six (6) days for distant location employment.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 97
LOCAL 871 - SCRIPT
LOS ANGELES
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
6/40
7-14
14E
7th day
14
14E
Holiday
14
14E
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
Holidays Not Worked
Hourly
Weekly
Minimum call
1/6 of weekly rate
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Idle Day Provisions
6th or 7th day not worked in the employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight time, at the minimum
wage rate (not work time) plus PH&W for 8 hours.
Travel Time
Travel Only - Daily & Weekly Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half hour
or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 98 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
TEACHERS - LOCAL 884
LOCAL 884, STUDIO TEACHERS AND WELFARE WORKERS
Studio Rules & Working Conditions
Minimum Staffing - Studio/ Nearby/ Distant
If minor is employed on a production shooting within the state of California, or originating from California: A California
Teacher-Welfare Worker with proper California state teaching credentials must be hired on the production unit.
Overtime
Gold
On Production - Studio (Solely on the premises of a studio)
Worked
1x
1 1/2x
2x
3x
4x
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of on-call rate x 1.5
7 PH&W hours
7th day
1/5 of on-call rate x 1.5
8 PH&W hours
Holiday
1/5 of on-call rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so subtract Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Holidays Not Worked
Daily
8 hours
If paid as holiday occurs
Subject to PH&W
Daily
8 hours
Paid at end of show*
Not subject to PH&W
Weekly
1/5 of weekly rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
On Call
1/5 of on-call rate
Paid as holiday occurs
Guaranteed hours subject to PH&W, Hol & Vac
* A daily scheduled employee will receive 3.719% of his/her annual straight work time earnings including night premiums
as payment for holidays not worked.
Rest Period
Work Location
Studio
Report To Location
Bus To Location
Showbiz Labor Guide 2014/2015
On Production
9
10
9
Off Production
8
10
8
Los Angeles - Page 99
LOCAL 884 - TEACHERS
LOS ANGELES
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 100 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
TEACHERS - LOCAL 884
LOCAL 884, STUDIO TEACHERS AND WELFARE WORKERS
Distant Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of on-call rate x 1.5
7 PH&W hours
7th day
1/3 of on-call rate
8 PH&W hours
Holiday
1/3 of on-call rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours
On-Call
1/10 day pay of the scheduled
minimum (5 day scale weekly wage
rate) plus PH&W for 7 hours on 6th
day and 8 hours on 7th day
Travel Time
Travel Only - On Call Employees
1/6 of the minimum On Call Rate
Holidays Not Worked
Daily
Weekly
On Call
8 hours
1/6 of weekly rate
1/6 of on-call rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Meal Penalties
Time Past Required Interval
Penalty
1st half hour or fraction thereof
7.50
2nd half hour or fraction thereof
10.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
Showbiz Labor Guide 2014/2015
Los Angeles - Page 101
LOCAL 884 - TEACHERS
LOS ANGELES
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 102 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
COSTUME DESIGNERS - LOCAL 892
LOCAL 892, COSTUME DESIGNERS GUILD
Studio Rules & Working Conditions
**
Assistant Costume Designers are employees designated by Producer to work as assistants to Costume Designers,
under the supervision and direction of such Costume Designers.
#
On television productions, if a Costume Designer is hired under this Agreement on a daily basis, the Producer must
engage a person not on the payroll of that production. For each day so worked, Producer will submit contributions to
the Pension and Health Plans on behalf of the Costume Designer based on twelve hours.
In hiring daily schedule Costume Designers, Producer will give preference of employment to qualified Costume Designers
as provided in Local 892 Agreement.
Overtime
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of on-call rate x 1.5
7 PH&W hours
7th day
1/5 of on-call rate x 1.5
8 PH&W hours
Holiday
1/5 of on-call rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
A weekly employee who works more than 3 days is paid for a full week.
Night Premiums
Called to work between:
6:00 a.m. and 8:00 p.m.
8:00 p.m. and 4:00 a.m.
4:00 a.m. and 6:00 a.m.
Showbiz Labor Guide 2014/2015
Premium
10%
20%
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Los Angeles - Page 103
LOCAL 892 - COSTUME DESIGNERS
LOS ANGELES
Holidays Not Worked
Daily
Daily
Weekly
On Call
8 hours
8 hours
1/5 of weekly rate
1/5 of flat rate
If paid as holiday occurs
Paid at end of show*
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Not subject to PH&W
Guaranteed hours subject to PH&W, Hol & Vac
Guaranteed hours subject to PH&W, Hol & Vac
Rest Period
Work Location
Studio
Report To Location
Bus To Location
On Production
9
10
9
Off Production
8
10
8
Meal Penalties
Time Past Required Interval
Theatrical
Television
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
12.50
13.50
NOTE: Meal periods will commence within 6 hours following first call; however, not earlier than 2 hours after employee
reports to work, succeeding meal periods for the same employee will commence within 6 hours after the end of the
preceding meal period. Note: Not more than one meal period will be deducted from work time for an employee during the
minimum call. A second meal period may be deducted for those employees who work in excess of one and one-half hours
past minimum call. Exception: Meal period may be extended to 6 1/2 hours without penalty when used for wrapping up or to
complete the camera take(s) in progress, until print quality is achieved. Such extension will not be scheduled nor automatic.
Page 104 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
COSTUME DESIGNERS - LOCAL 892
LOCAL 892, COSTUME DESIGNERS GUILD
Distant Location Rules & Working Conditions
Overtime
On Production - Distant
Gold
Worked
1x
1 1/2x
2x
4x
1st 6 days
8/40
9-14
14E
7th day
14
14E
Holiday
14
14E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of on-call rate x 1.5
7 PH&W hours
7th day
1/3 of on-call rate
8 PH&W hours
Holiday
1/3 of on-call rate
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period.
NOTE: The day of departure and the day of return will be considered distant location days.
Idle Day Provisions
6th or 7th day not worked in the
employee’s work week
Daily & Weekly Employees
Allowance of 4 hours pay at straight
time, at the minimum wage rate (not
work time) plus PH&W for 8 hours
On Call
1/12 of the weekly On Call rate, plus
PH&W for 7 hours on 6th day and 8
hours on 7th day
Travel Time
Travel Only - Daily & Weekly Employees
Travel Only - On Call Employees
Travel & Work Combined
Pay at straight time (4 hour min., 8 hour max.)
1/6 of the minimum On Call Rate
Travel time within the minimum call is paid as work time and counts toward
Golden Hours. Travel beyond the minimum call is paid as work time but
not at the Golden Hour rate, and cannot trigger the beginning of Golden
Hours. Travel beyond the minimum call and between 6 p.m. - 6 a.m., when
sleeping accommodations are provided, does not count as travel or work
time.
Holidays Not Worked
Daily
Weekly
On Call
8 hours
1/6 of weekly rate
1/6 of on-call rate
Paid as holiday occurs
Paid as holiday occurs
Paid as holiday occurs
Subject to PH&W
Subject to PH&W, Hol & Vac
Subject to PH&W, Hol & Vac
Rest Period
8 hours.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 105
LOCAL 892 - COSTUME DESIGNERS
LOS ANGELES
Meal Penalties
Time Past Required Interval
1st half hour or fraction thereof
2nd half hour or fraction thereof
3rd half hour or fraction thereof and each succeeding half
hour or fraction thereof
Page 106 - Los Angeles
Penalty
7.50
10.00
12.50
Showbiz Labor Guide 2014/2015
LOS ANGELES
GENERAL PROVISIONS
LOS ANGELES BELOW THE LINE AGREEMENTS
INTRODUCTION
The craftsmen and technicians who work in motion picture and television production in Los Angeles are represented by two
major labor groups: The International Alliance of Theatrical and Stage Employees (IATSE), and its twenty four West Coast
Studio Locals, and the Teamsters LOCAL 399 and Basic Crafts Unions (40, 78, 724, 755). These two major labor groups
enter into agreements with the Alliance of Motion Picture and Television Producers (AMPTP), which negotiates on behalf of
the major studios and many other independent production entities. These agreements are usually negotiated for terms
spanning several years with regularly scheduled increases.
STRUCTURE/APPLICABILITY OF IATSE, TEAMSTER & BASIC CRAFT
AGREEMENTS
Basic and Local Agreements
IATSE
The fundamentals of the agreement between most of the Hollywood Local IATSE Unions and the AMPTP are set forth in
the Producer-I.A.T.S.E. and M.P.M.O Basic Agreement (the “Basic Agreement”).
In addition to the Basic Agreement, each union has its own local agreement. Those agreements specify covered
occupations, wage scales, minimum schedules, overtime provisions, and other working conditions. The Basic Agreement
and local agreements are collectively referred to as the “Film Agreements.”
Teamsters
The LOCAL 399 Studio Transportation Agreement covers transportation and related personnel. There also is a separate
agreement covering location managers.
Basic Crafts
The Basic Crafts Unions consist of Local 40 International Brotherhood of Electrical Workers (IBEW); Local 78 Plumbers and
Pipe Fitters, Local 724 Laborers, and Local 755 Plasterers and Cement Masons. The Basic Crafts bargain collectively, but,
unlike the IATSE, they have no umbrella agreement. The terms and conditions for each union are contained in their
respective local agreements, and each agreement must be signed by the producer in order to cover those classifications.
IATSE Videotape Agreements
Applicability
The Videotape Electronic Supplemental Agreement (Videotape Agreement) supplements the Basic and local agreements.
It sets forth separate classifications and wage scales for On Production personnel. Off Production work is governed by the
Film Agreements. The Videotape Agreement has different overtime provisions, rest periods, and working conditions, than
the Film Agreements.
Classifications
The Videotape Agreement recognizes two specific categories of employees: “Stagecraft Dept.” and “Technical Dept.” The
two generic job classes, “Other Technical Dept. Person” and “Other Stagecraft Dept. Person,” cover those stage and
technical classifications not otherwise specified in the Videotape wage scales. For those occupations not provided in the
Videotape wage scales, one will need to refer to the local agreements for scale rates. For example, Studio Teachers cannot
be classified as stage hands or technicians, and a separate scale rate is not provided for them in the Videotape Agreement.
The local agreement rates must therefore be used.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 107
GENERAL PROVISIONS
LOS ANGELES
Conditions
The unions have maintained that any provisions in their local agreements which are not modified by the Videotape
Agreement must be applied to tape shows. For example, the industry practice is to pay the full hour of gold to
camerapersons and multi-camera allowances to script supervisors when engaged on tape shows. Generally, where the
Videotape Agreement is “silent,” one must look to the Film Agreements for guidance.
Teamsters, Basic Crafts, Location Managers
There is no supplemental videotape agreement for the Teamsters and Basic Crafts. Work on videotaped shows falls under
their local agreements.
Side Letters
In response to the financial pressures in the television production marketplace and the resultant increase in non-union
production, the Unions and the AMPTP developed agreements which provide concessions in wages and/or working
conditions for specific kinds of television productions.
Long-Form Television Agreements
Negotiated with the 1993 Agreement, the Long-Form Television agreements (Long-Form Agreement(s)) were adapted from
the NBC Productions Agreement with the IATSE. Separate memoranda have been negotiated for IATSE, Teamster, and
Basic Crafts classifications. These agreements can be used for all programs which are at least 90 minutes in length,
whether produced on film or video tape. They may be applied to all programs produced primarily in Los Angeles; however,
subject to individual negotiation, application in other locales may be possible. They cover on and off-production work during
preproduction and production periods. Post-production work is covered by the Film or Videotape Agreements.
The Long-Form Agreements provide concessions in rates, conditions, and benefits. Any IATSE classifications not
contained in the Long-Form Agreement wage scales may be negotiated by the Producer individually with each employee.
No vacation/holiday pay or mileage allowances are payable under the Long-Form Agreements.
Pilot/New One Hour Series Agreements
The Pilot and New One Hour Series Agreements apply to Los Angeles-produced pilots of any length and to new one hour
series television production. Applicability in other locales is subject to individual negotiation. They may be applied to any
series whose first episode began production after the conclusion of the 1994 negotiations. If the show’s first season
produced 7 or fewer episodes, the wage rollback is extended to the second season as well. The agreements also eliminate
vacation/holiday pay to employees on pilots and first year one hour series.
These agreements, which provide wage rollbacks, to the previous period’s wage scales for all pilots and the first season of a
new one-hour series, are designed to get new one-hour series “off the ground.”
DEFINITION AND OUTLINE OF GENERAL WORKING CONDITIONS
Daily Employees
Daily schedule employees are hired day to day. They usually have an 8 hour minimum call in the studio and a 9.5 hour
minimum call on distant location.
Weekly Employees
Weekly schedule employees are hired for a minimum of 1 week. Employees in these categories, in addition to having
specified minimum calls per day, have a number of hours guaranteed cumulatively per 5 day studio week or per 6 day
distant location week.
Weekly schedules usually provide a guarantee of 40 hours or more per week. Time and one half is payable after 40 hours
weekly, but in some schedules it commences later.
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Showbiz Labor Guide 2014/2015
LOS ANGELES
GENERAL PROVISIONS
Scale Rates
Each schedule and job classification has a specified minimum rate. This rate is expressed as an hourly rate for daily
employees and as both a weekly and an hourly rate for weekly employees.
Where both daily and weekly employment schedules are available, the hourly scale rates for daily schedule employment are
higher than the hourly scale rates for cumulative weekly schedule employment.
Minimum salaries for “On-Call” employees are for a specified number of days, regardless of hours; therefore, no hourly rate
exists for these employees. However, for the purpose of contributions to the Pension, Health and Welfare funds, a specific
number of hours per day or week is associated with “On Call” salaries.
Over Scale Schedules
Employment deals which provide guaranteed hours in excess of the contractual minimum are commonly negotiated
between employees and producers, both in daily and weekly categories. However, one must look to the wage scale to
determine when to pay time and one half.
Several contracts permit some application of over scale amounts to overtime and other payments. In most cases, however,
over scale rates are used in the same way a scale rate would be used. That is, the over scale rate is the basic rate used to
calculate overtime, Golden Time, etc.
Classification and Working in a Higher Classification
Employees must be notified at the time of their employment under which classification, wage schedule, and wage
agreement, i.e., Basic, Long-Form, etc. they are being employed.
In the event an employee works in a higher classification for at least 2 hours in a day, the higher rate will apply to the entire
shift.
The above rule also applies to employees working on more than one type of production in the same day. For example, an
employee hired under the Long-Form Agreement who performs services on a feature film for 2 hours or more is covered by
the rates, terms and working conditions of the Film Agreement for that shift.
For Teamsters 399 only, if the employee works less than 2 hours in a higher classification, the employee receives the
higher rate for time actually worked in the higher classification.
Work Zones Defined
Studio
A studio location is traditionally defined as being on the premises of one of the major studios or production facilities.
However, subject to individual negotiation, the unions have usually agreed to designate another site a “studio” when that
site is the place where the majority of production is to occur.
Studio Zone Locations
The studio zone is defined as the area within a 30 mile radius from the intersection of Beverly Boulevard and La Cienega
Boulevard in Los Angeles. In addition, the studio zone includes the MGM Conejo Ranch property and, for railroad locations,
the Piru (relocated from Newhall) train site. The Producer may require employees to report directly to work anywhere within
the studio zone. Under the Pilot/New One Hour Series language, the unions have agreed to not unreasonably refuse the
Producer’s request to have employees report to a reasonable distance outside the 30 mile zone.
If the Producer requires employees to report to the location, they must usually be given a mileage payment. “Drive to
money” is calculated at $.30 per mile based on the round trip distance from the studio to the site. However, no “drive to
money” is payable under the Long-Form Agreement. For pilots and new one hour series (first, second, and all successive
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GENERAL PROVISIONS
LOS ANGELES
seasons), no “drive to” money is payable to employees who report anywhere within a 10 mile radius determined at the
beginning of each season by the Producer.
Work time commences and ceases at the location. The Producer must transport employees to and from any other locations
required later that day.
Nearby Locations
Nearby locations are those locations close enough to the studio to permit the Producer to transport the crew to and from
location daily. Work time commences and ends at the pick up point or studio.
Studio, Nearby and Studio Zone locations are all governed by the Studio Wage Scales and Working Conditions of the
applicable agreement.
Distant Locations
Distant locations are those locations where employees are required to remain away and be lodged overnight. The
employees’ necessary traveling expenses, meals, lodging and accidental death insurance must be provided by the
Producer. Work on distant locations and travel days to and from location are governed by the Distant Location Wage
Scales and Working Conditions.
Production Periods and On vs. Off Production Categories
Throughout the agreements, reference is made to 5 different terms which are not specifically defined anywhere in the Film
Agreements. Because these terms are not clearly defined, there is considerable inconsistency in how they are interpreted
and applied by producers and unions.
Production Phases
The first group of terms refers to the creation phases of a production. Pre-production is generally defined as the time period
before principal photography commences. Production is defined as the time period during which principal photography
occurs, including wrap time. Post-production refers to the editorial, optical, scoring and other processes used to create the
finished product. Although post-production primarily occurs after the footage is shot, some post-production will begin during
the principal photography phase.
On vs. Off Production
The second group of terms refers to the employee’s relationship to principal photography. If an employee’s duties are
fundamentally linked to the rolling of the cameras, the employee is considered to be on-production. An employee is
considered off-production if the employee’s schedule and work effort is not directly linked to principal photography.
Examples of on-production employees include makeup artists, grips, production sound mixers, craft service, and camera
operators. Examples of off-production employees include art directors, scoring sound mixers, set construction staff, and
matte artists.
Workday/Workweek/Payroll Week
A workday is defined by the call, not by the clock or the calendar. In most circumstances, a workday, which starts on one
calendar day and runs into the next is credited to the first calendar day. However, there are two exceptions to this rule.
First, if an on-production employee’s 5th day of work is a Friday and his/her shift commences after 8:00 p.m. and overlaps
into Saturday, the hours worked on the calendar Saturday are paid at time and a half. Secondly, hours actually worked on a
calendar holiday are payable at the holiday rate.
Under the Videotape Agreement and the 839 Cartoonists Agreement, a workday starting on one calendar day and running
into the next calendar day is always credited to the first calendar day.
The payroll week consists of days worked from Sunday through Saturday. However, the workweek consists of any 5
consecutive days out of any 7 consecutive days. Therefore, the payroll week and the workweek may not necessarily be the
same 7 day period.
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GENERAL PROVISIONS
Studio Workweek
The regular studio workweek consists of any 5 consecutive days out of any 7 consecutive days, commencing with the first
of such 5 days. However, the 5 consecutive day requirement will not apply upon the commencement of any regularly
scheduled 5-day-per-week shift. (For example, on starting a new shift, a schedule that provides for an employee to work on
Monday and Tuesday, with Wednesday and Thursday as the regular days off, and is followed by work on Friday through the
following Tuesday does not violate the 5 consecutive days requirement.) Time-and-1/2 will be paid for the employee’s sixth
day of work within a workweek. Double time will be paid for the employee’s seventh day of work within a workweek (except
for “On Call” employees). Travel days will be counted towards consecutive days worked.
Change of a Workweek
Once during the production of a motion picture, or in the case of episodic television, once during hiatus (i.e., break in
principal photography of a series lasting at least 1 week), the Producer may shift the workweek for employees working on
production without incurring extra costs, by adding 1 or 2 days off consecutive with the 6 and/or 7 days off the prior
workweek and/or by shifting a workweek, commencing on a Tuesday to a workweek commencing on a Monday, provided
that the intervening Sunday is a day off. For “off-production” employees, shifts in the workweek will be governed by three
alternatives:
1.
The Producer and the employee agree to work at straight time without having 2 days off; or,
2.
The Producer may require employees to take an additional day off, thereby avoiding premium pay; or,
3.
The Producer must pay the employee 1 1/2x if the employee is required to work on the day which would otherwise be
the employee’s day off. In the event an employee is absent on a regularly scheduled workday, and such employee
offers to work an additional day in such workweek to compensate for the day of absence, such employee will be paid at
straight time for such “make up” day.
In addition to the workweek shift procedures outlined above, the producer may request to shift the workweek of production
employees without incurring additional costs when a production travels to a new city.
Distant Location Workweek
The regular distant location workweek consists of any 6 consecutive days out of any 7 consecutive days, commencing with
the first of such 6 days. However, the 6 consecutive day requirement will not apply upon the commencement of any
regularly-scheduled 6-day-per-week shift.
Change and Cancellation of Calls/Layoff
There are many variations among the local agreements with reference to notice requirements for change and cancellation of
calls and layoffs. It is recommended that you refer directly to the local agreements for guidance. Some common provisions
follow. Termination for cause is not subject to the following layoff provisions:
1.
Off Production: An employee not personally notified of discharge at the end of their shift who reports for work at the
next regular (not 6th or 7th day) shift is considered to have a minimum call. Employees will be notified of layoff 2 hour
before the end of shift wherever possible.
2.
No calls may be canceled after an off production employee has been dismissed for the day and has left the studio
premises. Call times may be changed or canceled up to 8:00 p.m. of the weekday evening preceding the call or with 6
hours notice on the day of the call, provided the notice is given after 7:00 a.m. on the day of the call.
3.
If, at the time of a call, the employee called is not on the employer’s payroll, such call may not be canceled, whether on
or off production (language not present for LOCAL 876 and 884). Most agreements stipulate that the Union will be
notified of layoff and/or work call at the earliest time reasonably possible. There will be no stand-by or relay calls.
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GENERAL PROVISIONS
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Provisions of Some Specific Local Agreements
LOCAL 399
Calls may be canceled before 8:00 p.m. or changed before 10:00 p.m. of the day preceding a regular call or changed within
2 hours of the call, provided that notice is given after 6:00 a.m. on that day.
LOCAL 600
Daily employees may inquire by 5:00 p.m. and be advised by 6:00 p.m. of a regular day whether they will be employed the
following day. Calls on any day for any employee may be postponed with 12 hours notice. Calls may be canceled within 12
hours notice for any calls for daily employees and for 7th day calls for weekly employees. Calls for the first day of a new
workweek for daily employees must be canceled by 6:00 p.m. (or by dismissal time, if earlier) of the preceding 5th day.
LOCALS 705/706
Morning calls for any day for daily employees and for 6th/7th days for weekly employees may be canceled prior to 7:00 p.m.
for LOCAL 706 and 8:00 p.m. for LOCAL 705. Otherwise, calls may be canceled with 6 hours notice. A daily LOCAL 706
employee not personally notified prior to 7:30 p.m. that they are not to report the following day is considered to have a call
for the next regular day.
LOCAL 728
Calls for regular days will not be changed after 8:00 p.m. of the day preceding the call for on production employees without
studio lot seniority. 6th and 7th day calls for weekly employees (on or off production) may be canceled up to 8:00 p.m. the
night before the call.
LOCAL 800
Art Directors - No cancellation of call provisions. Requires 5 working days notice of layoff.
Illustrators (weekly) - Requires 3 days notice.
LOCAL 871
Any morning calls for a daily employee and for the 7th day for a weekly employee may be canceled prior to 8:30 p.m. the
night before. Otherwise, calls may be canceled within 6 hours notice or changed if notified within 6 hours of dismissal. For
features, Script Supervisors should receive 2 weeks notice prior to the start date and one week’s pay if production is
subsequently postponed or canceled. Under Long-Form, they will receive a total of one week’s prep pay if canceled.
LOCAL 884
No layoff provisions. Calls placed with the office for teacher referrals may be canceled before
2:00 p.m. with no liability. If canceled after 2:00 p.m., a minimum call is payable unless other employment is obtained.
Payday
Regular payday is on Thursdays in the studio (on Fridays in most holiday weeks) and on Fridays on distant location. If an
employee is laid off he/she must be paid by the employer’s next regular payday following the layoff. An employee who is
fired must be paid at time of firing or the paycheck must be mailed within 24 hours, excluding Saturdays, Sundays, and
holidays. IATSE 44 Property Agreement prohibits mailing a member’s paycheck unless specifically requested by the
employee. However, industry practice is to mail the final check unless the employee requests it to be held for pick-up.
Benefits
Pension and Health and Welfare
All of the Unions represented in this section participate in the Motion Picture Industry Pension and Health Plans.
Contributions are made based upon the employee’s hours worked or guaranteed, whichever is greater. See “On Call”
employee section for rules governing “On Call” contributions.
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GENERAL PROVISIONS
Vacation Pay
Vacation pay is earned in one calendar year for use in the next calendar year. However, the vacation pay provisions are
designed to meet the needs of both freelance and regular employees. Freelance employees are generally paid for their
vacation pay at the time it is earned in the employee’s weekly paycheck. Some producers have longstanding arrangements
whereby vacation pay is held until March 15 of the year following the year in which the vacation pay was earned. Regular
studio employees receive paid vacation.
Employees on a daily schedule are to be paid 4% of their straight time earnings, including hours worked at night premiums
at straight time. Weekly and “On-Call” employees are to be paid 4% of their weekly guaranteed earnings.
Seniority Provisions for Vacation Pay
Employees who work for a Producer for 8 consecutive eligible years, with an aggregate of 1600 straight time days during
that time, receive 50% additional time and money for vacation pay. Daily employees with such seniority receive 6.2762%
instead of 4%.
Holiday Pay
Generally, Holiday Pay is accrued during production. If a holiday or holidays occur during production, the employee is paid
the unworked holiday and the amount paid for such holiday(s) is deducted from the accrued holiday pay. If, at the end of the
employee's work on the production, there is a balance left in the accrued holiday pay, this amount will be paid to the
employee. Some producers have longstanding arrangements whereby holiday pay is held until March 15 of the year
following the year in which the holiday pay was earned.
GENERAL PAYMENT PROVISIONS
On Call Employees
”On Call” employees are paid a guaranteed weekly wage based on 5 days of employment. Partial workweeks preceding or
following a full week of employment for weekly “On Call” employees may be pro-rated at 1/5th of the weekly rate per day in
the studio & at 1/6th of the weekly rate per day on distant locations. However, in weeks which combine studio & distant
location employment, the employee must receive no less than the 5 day studio rate for any 5 consecutive work days within
the payroll week.
Daily “On Call” schedules have been established for LOCAL 44 Set Decorators & Construction Coordinators, LOCAL 729
Foreperson Painters, LOCAL 705 Costume Designers & Assistant Costume Designers.
“On Call” employees are excluded from all overtime, Golden Hour, meal penalty, night rate, night premium, and forced call
provisions with the exception of “On Call” Z-1 Film Editors (occupation codes 4121, 4123, 4125 and 4131). These editors
receive Golden Time pay per the Golden Hours Chart. Unless otherwise negotiated, the Golden Time is payable at the
scale hourly rate in effect for their classification under Schedule C.
The hours to be reported to the Motion Picture Industry Pension and Health Plans for “On-Call” employees are specified in
the Basic Agreement as follows:
Number of Days
Hours Reported Daily
1-4 worked
12
5 worked
60
6 worked
67
7 worked
75
for 6th days idle on location
7
for 7th days idle on location
8
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GENERAL PROVISIONS
LOS ANGELES
Payment of Additional Days (based on 5 day weekly rate in effect, including Over scale amounts, if any):
Studio
Distant
6th day worked
1 1/2x 1/5th
1 1/2x 1/5th
7th day worked
1 1/2x 1/5th*
2 x 1/6th
Travel to or from location
not applicable
1/6th
Holidays not worked
1/5th
included in regular salary
Holidays worked
2 x 1/5th
1/6th additional
* “On Call” Editors receive 2 x 1/5th
Idle 6th and 7th days on location are payable at 1/2 day of pay at the contract wage rate, or 1/12th of the 5 day weekly rate.
If an “On Call” employee (other than an Editor) who commenced work on the previous calendar day is instructed to work
past 1:00 a.m. into a 6th or 7th day, or a holiday, and their elapsed time is at least 15 hours, they are considered to have a
call for that 6th or 7th day or holiday. Working into the calendar 6th or 7th day or holiday does not otherwise effect
compensation.
“On Call” Distant Location Allowances: “On Call” employees on distant location receive an allowance of $6.00 per day.
Daily and Weekly Employment Conditions
Overtime Increments
All overtime is calculated in 6 minute increments, otherwise referred to as “tenths” of the hour.
Tenths
Minutes Included in Tenth
1
1
2
3
4
2
7
8
9
10
3
13
14
15
16
4
19
20
21
22
5
25
26
27
28
6
31
32
33
34
7
37
38
39
40
8
43
44
45
46
9
49
50
51
52
10
55
56
57
58
5
11
17
23
29
35
41
47
53
59
6
12
18
24
30
36
42
48
54
60
Military Time
For clarity, many accountants use (and payroll companies prefer) “military times” indicated on time cards. Military time is
indicated in a 24 hour clock as opposed to using a.m. and p.m. (e.g., in military time, 8:24 p.m. is 2024).
AM
PM
0100
1
1300
0200
2
1400
0300
3
1500
0400
4
1600
0500
5
1700
0600
6
1800
0700
7
1900
0800
8
2000
0900
9
2100
1000
10
2200
1100
11
2300
1200
12
2400
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GENERAL PROVISIONS
Daily Employees
The vast majority of daily schedule employees are paid according to the same provisions. Most daily employees receive a
minimum call of 8 hours in the studio and 9.5 hours on distant location for all regular workdays and holidays. Employees
are paid overtime at time and one-half after 8 hours daily and after 40 hours weekly. The following reflects all exceptions to
these rules:
LOCAL 399 Drivers
A special minimum call of 4 hours is permitted under studio conditions on the 6th and 7th days for the emergency pickup or
delivery of scripts or the pickup or delivery of passengers or film at air, railroad or bus terminals.
LOCAL 695 Sound
Employees receive time and one-half after 9 hours daily, studio or distant, with a minimum call of 9 hours in the studio and
9.5 hours on distant location. Those employees not working in Mixer or Supervising Engineer categories receive time and
one-half after 9 hours daily and after 40 hours weekly.
LOCAL 706 Makeup/Hair
On distant locations only, time and one-half after 10 hours with a minimum call of 10 hours.
LOCAL 871 Script Supervisors and Continuity Coordinators
Daily employees receive time and one-half after 6 hours, with a studio minimum call of 10 hours and a distant location
minimum call of 10.5 hours.
LOCAL 884 Studio Teachers
Minimum calls are 8 hours on distant location.
Weekly Employees
The following charts reflect the minimum calls, weekly guaranteed hours and weekly guaranteed “pay hours” for all weekly
schedule employees. See “On Call” employees.
Pay Hours
”Pay Hours” include the compounding effect of the commencement of time-and-a-half in the guarantee. For example, Grips
LOCAL 80 weekly guarantee in the studio is 54 hours with time-and-a-half payable after 40 hours. 40 straight hours “pays”
40 pay hours at the employee’s regular rate. The 14 remaining hours of the guarantee are payable at 1 1/2x since overtime
commences after 40 hours in this wage schedule. These 14 hours “pay” 21 hours at the regular hourly rate (14 x 1.5 = 21).
40 plus 21 is 61 pay hours. Thus, 54 pays 61 in this schedule.
Weekly Guarantee Schedules by Local Union (Studio)
Minimum Call
Guarantee
6
40
7
40
8
40
7
43.2
7
43.2
7
45
9
54
9
54
8
48.6
8
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48.6
Pays
40
40
40
44.8
43.2
47.5
61
54
48.6
52.9
Unions Applicable
800 Title Artists
700, 706 Wigmakers
790, 847, 854, 892 Sketch Artist
767, 695P, 767, 700 (Z-5 and below)
600 (1931 and above*)
700 Asst. Editors
44, 80, 705, 728, 871
706 (5722 and above)
600 (1931 and above*), 695 (Y-3 and above),
706 (5731 and below), 700 Z-1 and Z-5cc/ff
600 (1941 and below), 695 (Y-4 and below),
706 Apprentices, 40 Sound Crew
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GENERAL PROVISIONS
LOS ANGELES
Weekly Guarantee Schedules by Local Union (Distant Location)
Minimum Call
Guarantee
Pays
Unions Applicable
6
40
40
790 Matte Artists
6
48
52
790 Illustrators
8
48
48
600 (1 1/2x after 9/day or 54/wk*)
8
54
54
695 (Y-3 and above)
8
57
58.5
700 Z-1 and Z-5cc/ff
8
57
65.5
695 (Y-4 and below), 695P, 767, 700, 40 (Sound Crew)
8
60
60
706
8
60
70
44,80,705, 728, 871
* Refer to LOCAL 600 agreement for restrictions and applicability.
The minimum calls specified previously are not usually 1/5th or 1/6th of the weekly guaranteed hours. Weekly guarantees
are cumulative over the 5 or 6 day work week. For example, a weekly set lighting employee working in the studio who
works 9 hours per day for the first 2 days and 12 hours per day for the next three days will only be compensated for 54
hours.
Premium Days/Idle Days Defined
Premium and idle days for “On Call” employees are described in the “On Call” section in this chapter. The following applies
to daily and weekly schedule employees only.
Studio
Premium days are defined as the 6th and 7th days worked in the workweek and holidays worked. 6th and 7th day minimum
calls are 8 hours. Minimum calls for holidays worked are governed by the minimum calls contained in the wage scales.
6th and 7th days worked in the studio by other than “On Call” employees are payable at time and one-half and double time,
respectively.
Distant Location
The day of departure and/or return are considered distant location days. The regular distant location workweek consists of
any 6 out of 7 consecutive days. On distant location, employees are guaranteed compensation for all 7 days, whether
worked or not. Minimum calls for days one through 6 are as noted in the wage scales. Seventh days and holidays worked
are premium days, payable at double time. Seventh day minimum calls are 8 hours. Holiday worked minimum calls are as
per the wage scales.
6th days are considered straight time days. However, the 6th day is usually paid at time and one half due to weekly
overtime requirements. Seventh days worked are payable at double time. Holidays are generally paid at double time.
Idle 6th and 7th days on distant location are paid via a non-work time allowance of 4 hours pay at the applicable straight
time scale rate with PH&W contributions based upon 8 hours per day.
Golden Hours
Commencement
Golden Time commences for daily and/or cumulative weekly schedule employees either after the specified number of hours
worked (after the deduction of meal periods) or after the specified number of hours elapsed (after the start time), depending
on the conditions applicable. Once an employee is in Golden Time, no night premiums or night rates apply. Meal periods
which fall after the specified number of hours elapsed are not deductible and must be paid at the Golden Hour rate.
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GENERAL PROVISIONS
Seventh Day Golden Hours
If an employee reaches the 7th day Golden Hour rate and continues to work past midnight on the 7th day, the 7th day
Golden Hour rate continues until the employee is dismissed for at least 4 hours (one-half of the applicable rest period for
600 employees). If dismissed for at least 4 hours but not for the full rest period, the employee reverts to the regular
weekday Golden Hour rate until they are given a full rest period.
Use of Golden Hours to Fulfill Weekly Guarantees
There is considerable controversy concerning the use of Golden Hours to fulfill weekly guarantees. Some Producers pay
Golden Time above and beyond the weekly guarantee. This practice facilitates the proper crediting of weekly guaranteed
wages to the accumulation of vacation and holiday pay. However, industry practice on this point varies widely.
Other Golden Time Provisions
LOCAL 600 Camera: All employees working under the LOCAL 600 agreement are guaranteed at least one hour of Golden
Time if they work into Golden Time. After the first hour, Golden Time is calculated in 6 minute increments.
LOCAL 700 Editors: Time spent in going to, attending, and returning from previews will be work time and will accrue against
the time when Golden Hours begin, but no Golden Time will be paid for such services. However, if an employee is required
to report for work immediately upon return to the studio and 14 hours have elapsed since his/her call time, Golden Hours will
commence upon his/her return to work.
Golden Hours Charts
The following charts show the commencement of and rate at which Golden Time is payable under all contracts and
conditions:
GOLDEN HOURS CHARTS (Studio)
Day 1-5
Day 6
Day 7/Holiday
IATSE
Film
2x/12 Elapsed
3x/12 Elapsed
4x/12 Elapsed
Film On Prod TV*
2x/12 Worked
3x/12 Worked
4x/12 Worked
Long-Form TV
2x/14 Elapsed
2x/14 Elapsed
2x/All Day
Pilot/New 1 Hr
2x/12 Worked
3x/12 Worked
4x/12 Worked
#40, 78, 724 and 755
Film
2x/14 Elap On Prod
3x/14 Elap On Prod
5x/14 Elap On Prod
2x/12 Elap Off Prod
3x/12 Elap Off Prod
4x/12 Elap Off Prod
On Prod TV*
2x/14 Worked
3x/14 Worked
4x/14 Worked
Long-Form TV
2x/14 Elapsed
2x/14 Elapsed
2x/All Day
Pilot/New 1 Hr
2x/14 Elap On Prod
3x/14 Elap On Prod
4x/14 Elap On Prod
2x/12 Wkd Off Prod
3x/12 Wkd Off Prod
4x/12 Wkd Off Prod
#399
Film
2.5x/14 Elapsed
3.75x/14 Elapsed
5x/14 Elapsed
Long-Form TV
2x/14 Elapsed
2x/14 Elapsed
2x/All Day
Pilot/New 1 Hr
2.5x/14 Elapsed
3.75x/14 Elapsed
5x/14 Elapsed
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GENERAL PROVISIONS
GOLDEN HOURS CHARTS (Report to Location)
Day 1-5
IATSE
Film
2x/12 Elapsed
Film On Prod TV*
2x/12 Worked
Long-Form TV
2x/14 Elapsed
Pilot/New 1 Hr
2x/12 Worked
#40, 78, 724 and 755
Film
2x/12 Elapsed
On Prod TV
2x/12 Worked
Long-Form TV
2x/14 Elapsed
Pilot/New 1 Hr
2x/12 Worked
#399
Film
2.5x/14 Elapsed
Long-Form TV
2x/14 Elapsed
Pilot/New 1 Hr
2.5x/14 Elapsed
LOS ANGELES
Day 6
Day 7/Holiday
3x/12 Elapsed
3x/12 Worked
2x/14 Elapsed
3x/12 Worked
4x/12 Elapsed
4x/12 Worked
2x/All Day
4x/12 Worked
3x/12 Elapsed
3x/12 Worked
2x/14 Elapsed
3x/12 Worked
4x/12 Elapsed
4x/12 Worked
2x/All Day
4x/12 Worked
3.75x/14 Elapsed
2x/14 Elapsed
3.75x/14 Elapsed
5x/14 Elapsed
2x/All Day
5x/14 Elapsed
Day 6
Day 7/Holiday
GOLDEN HOURS CHARTS (Bus to Location)
Day 1-5
IATSE
Film
2x/14 Elapsed
Film On Prod TV*
2x/14 Worked
Long-Form TV
2x/14 Elapsed
Pilot/New 1 Hr
2x/14 Elapsed
#40, 78, 724 and 755
Film
2.5x/14 Elapsed
On Prod TV*
2.5x/14 Worked
3x/14 Elapsed
3x/14 Worked
3x/14 Elapsed
3x/14 Elapsed
4x/14 Elapsed
4x/14 Worked
2x/All Day
4x/14 Elapsed
3.75x/14 Elapsed
3.75x/14 Worked
Long-Form TV
Pilot/New 1 Hr
2x/14 Elapsed
2.5x/14 Elapsed
2x/14 Elapsed
3.75x/14 Elapsed
4x/14 Elapsed
5x/14 Worked
#755-4x/14 Worked
2x/All Day
5x/14 Elapsed
#755-4x/14 Elapsed
#399
Film
Long-Form TV
Pilot/New 1 Hr
2.5x/14 Elapsed
2x/14 Elapsed
2.5x/14 Elapsed
3.75x/14 Elapsed
2x/14 Elapsed
3.75x/14 Elapsed
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5x/14 Elapsed
2x/All Day
5x/14 Elapsed
Showbiz Labor Guide 2014/2015
LOS ANGELES
GENERAL PROVISIONS
GOLDEN HOURS CHARTS (Distant Location)
Day 1-6
Day 7/holiday
IATSE
Film
2x/14 Elapsed
4x/14 Elapsed
On Prod TV*
2x/14 Worked
4x/14 Worked
Long-Form TV
2x/14 Elapsed
2x/All Day
Pilot/New 1 Hr
2x/12 Elapsed
4x/12 Elapsed
#40, 78, 724 and 755
Film
2.5x/14 Elapsed
4x/14 Elapsed
On Prod TV
2.5x/14 Worked
5x/14 Worked
Long-Form TV
2x/14 Elapsed
2x/All Day
Pilot/New 1 Hr
2.5x/14 Elapsed
5x/14 Elapsed
#399
Film
2.5x/14 Elapsed
5x/14 Elapsed
Long-Form TV
2x/14 Elapsed
2x/All Day
Pilot/New 1 Hr
2.5x/14 Elapsed
5x/14 Elapsed
* “On Prod TV” refers to television productions made pursuant to the “Film Agreement” regulations which provide for
hours worked towards gold, not hours elapsed.
Holidays
There are nine recognized holidays: New Year’s Day, President’s Day, Good Friday, Memorial Day, Independence Day,
Labor Day, Thanksgiving and the day after, and Christmas Day. If any of these holidays fall on a Saturday in studio
conditions, the preceding Friday will be considered the holiday. In both the studio and on distant locations, holidays which
fall on Sunday will be recognized on the following Monday.
Holidays Not Worked
Daily schedule employees in the studio and on nearby locations are not entitled to receive pay for holidays not worked.
Daily employees on distant location do receive pay for a minimum call at straight time as a work time allowance. Weekly
employees always receive a work time credit equal to their minimum call and 1/5th of their studio weekly rate (or 1/6th of
their distant location rate) as pay for holidays not worked. See “Holiday Pay” in this Chapter.
Holidays Worked
Daily employees receive double time for holidays worked until the commencement of Golden Time. There is no additional
premium after 8 hours. Hours worked on a holiday by weekly employees are included as work time. In addition, the
employee receives pay at their regular basic hourly rate for the number of hours worked, but not less than the minimum call.
See “Holiday Pay” in this Chapter.
Meal Periods and Penalties
Length
Meal periods will be not less than 30 minutes and not more than one hour in length. Meal periods of less than 30 minutes
do not qualify as meal periods and cannot be deducted from work time. For meal periods of more than one hour, only one
hour can be deducted from work time.
Deductibility
Only one meal period may be deducted from an employee’s contractually mandated minimum call. A second meal period
may be deducted from work time for those employees who work in excess of the minimum call. There is a work time
guarantee of 1 ½ hours following the end of the second meal unless the meal is supplied at the producer’s expense.
Intervals Between Breaks or Dismissal
Interval Rules: The first meal period (not including “non-deductible breakfasts”) must commence no earlier than 2 hours and
no later than 6 hours following the call time. Succeeding meal periods (or dismissal) must commence within 6 hours after
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GENERAL PROVISIONS
LOS ANGELES
the end of the previous meal period. Failure to meet these interval requirements requires payment of meal penalties to
affected employees.
Grace Period: There is a 12 minute grace period prior to imposition of meal penalties. However, this grace period does not
permit scheduling of meal periods every 6.2 hours.
Extension of Interval: If necessary to wrap up, complete a take in progress, or similar, the 6 hour interval may be extended
to 6.5 hours. The grace period cannot be added to this extension. This extension cannot be scheduled.
Non-Deductible Breakfasts
A “non-deductible breakfast” (NDB) is often scheduled for those employees who start work earlier than the rest of the crew.
To qualify as an NDB, the employees must be given a hot meal, and their 30 minute break must not be deducted from work
time.
Meal Penalties
Meal Penalty allowances are paid separate and apart from any guarantees. As the length of the interval violation increases,
so does the penalty for each half hour. Penalties are calculated individually, by occurrence, not cumulatively throughout the
workday. If a meal penalty is in progress, once the employee is given a meal break, the calculation for the penalty for the
next meal restarts at the first half hour payment level.
IATSE
Time Past Required Interval
Theatrical
TV*
1st half hour or fraction thereof
7.50
8.50
2nd half hour or fraction thereof
10.00
11.00
3rd half hour or fraction thereof and each succeeding
half hour or fraction thereof
12.50
13.50
* Studio only. On Distant Location, pay Theatrical penalty rates.
Teamster/Basic Crafts
10.00
12.50
15.00
French Hours
With the approval of the majority of the crew, “French Hours” may be instituted on a daily basis for “on production”
employees in studio or distant locations, for either film or video tape shows. In “French Hours,” food is provided throughout
the day, and no specific meal breaks are called. No deduction will be made from work time for eating, and no meal
penalties are payable.
Driver Meal Allowances
The Teamsters LOCAL 399 Transportation Drivers contract stipulates that if the employee is not provided meals at the
Producer’s expense, they are to be paid a meal allowance as follows:
Meal Periods Between 2:00 a.m. and 6:00 a.m.
7.50
Meal Periods after 10:00 a.m. but before 6:00 p.m.
10.00
Meal Periods after 6:00 p.m. but before 2:00 a.m.
12.50
Night Work
Night premiums apply only to off-production employees, and they never apply to “On Call” employees. Night premiums are
provided on hours actually worked (not just guaranteed), according to the specifics below. Night premiums are not payable
on Golden Hours, nor do they apply on Distant Locations.
Night Premiums by Union
Based on Call Time
Based on Time Worked
No Provision
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Locals 40, 44, 78, 80, 399, 724, 727, 728, 729, 755, 767, 800, 892
Locals 695, 700, 705
Locals 600, 706, 800, 839, 871, 884
Showbiz Labor Guide 2014/2015
LOS ANGELES
GENERAL PROVISIONS
Based on Call Time
Calculated based upon off-production employee’s call time (most common).
Called to work between:
Premium
6:00 a.m. and 8:00 p.m.
10%
8:00 p.m. and 4:00 a.m.
20%
4:00 a.m. and 6:00 a.m.
20%
On Time Worked
Between 8:00 p.m. and 6:00 a.m.
All time worked
Time worked until 6:00 a.m.
Based on Time Worked
Differential payable for time worked during the specified hours, regardless of call time:
Time worked
Premium
If worked between 8:00 p.m. and 1:00 a.m.
add 10% to hourly rate
If worked between 1:00 a.m. and 6:00 a.m.
add 20% to hourly rate
Rest Periods
The required time off following dismissal from one day’s work to the start of the next day’s call to work is as follows:
Basic Crafts Employees (Other than Local 600, IATSE)
Work Location
Studio
Report To Location
Bus To Location
Distant Location
On Production
9
10
9
8
Off Production
8
10
8
8
LOCAL 600, IATSE
Studio
Distant
D.P./Camera Operator
11
10
Portrait/Still Photographer
10
9
Technician/Asst Cam/Loader
9
9
The applicable rest period for D.P.’s and operators may be reduced by one hour for exterior night shoots or if unusual
circumstances require. Once per month, the rest period may be reduced by one hour for camera operators paid for a full 5
day week who are employed on back-to-back multi-camera shows.
LOCAL 399 Teamsters
8 hour rest period requirement in the studio and on distant location.
Forced Calls/Callback Guarantees
In the event an employee’s guaranteed rest period is not completed before he/she is called back to work, the employee is
said to be on a “forced call.” Payment is calculated, in part, based on the number of intervening hours.
Forced Call (Rest Period Violation)
If intervening time is less than 4 hours, the employee is paid as if he/she had no break at all. That is, all intervening time of
less than 4 hours is considered work time, and such time may be used to fulfill the callback guarantee and counts toward
the calculation of premium pay.
If the intervening time is 4 hours or more, it is not counted as work time and may not be used as part of the callback
guarantee. However, previous and subsequent work time is added together for computation of premium pay. Therefore, if
an employee stopped working in Golden Time, he/she or she resumes in Golden Time until a full rest period is given.
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GENERAL PROVISIONS
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Callback Guarantees
Daily Employees
Weekly Employees
Days 1-5 and Day 6 on Distant
4 hrs at 1 1/2x, 1 1/2x thereafter
1/2 minimum call
Studio 6th Day/7th day/Holidays
3 hrs at 2x, 2x thereafter
1/2 minimum call
There are no call back guarantee provisions in the LOCAL 600 agreement and none for LOCAL 399 or LOCAL 854 on
distant locations.
Fractional Payroll Weeks and Combinations of Studio and Distant Location Workweeks
(Weekly Employment Schedules Only)
Most of the weekly schedule contracts provide that, if the employee “absents himself” without the Producer’s consent, the
weekly guarantee may be reduced by 1/5th in the studio and 1/6th on distant locations for each day of absence. Weekly
guarantees may be prorated for employees who perform less than one week of services at the beginning or end of their
employment period. However, a few local Unions define fractional payroll week provisions for other than “On Call”
employment. They are LOCALS 600, 695, 706, 700, 818, and 871.
LOCALS 700, 706 (Studio Only)
These contracts provide daily guarantees of employment and define when time and one half commences.
Union/Schedule
Regular Days/Holidays Not Worked
Holidays Worked
706-B
9.7 guarantee/day - 1 1/2x after 9.7
8 hours at 2x
706-C
10.8 guarantee/day - 1 1/2x after 10.8
8 hours at 2x
700-C or F
9.7 guarantee/day - 1 1/2x after 9.7
9.7 hours at 2x
LOCALS 600, 695, and 871 (Studio and Distant Locations)
The provisions which follow are only applicable to the following classifications:
600
Applicable only to 1901, 1911, 1921, and 1931.
695
Applicable only to 8101, 8170, 8103, 8172, 8105, 8171, 8109, and 8173.
871
Applicable to Schedule B weekly employees only.
Any 5 distant location days or combination distant and studio days in the same distant location workweek are computed on
the basis of a full 5 day studio workweek. However, the 6th day in the workweek on distant location in such combination is
a straight time day.
For any combination of 4 or less consecutive studio and distant location days in a fractional week, the following provisions
apply:
1.
2.
3.
4.
Four (4) day or fewer distant location weeks; and,
If employment terminated on the day of return; and,
If the employee was employed for a full 6 day distant location workweek; and,
In the immediately preceding workweek.
Otherwise, 4 or fewer distant location days in a fractional payroll week are computed under the Fractional Studio week
provisions.
Fractional Studio Week Daily Guarantees of Employment
Regular Days/Holidays
Holidays
Union/Schedule
not Worked
Worked
600-B
8.6 guar/day - 1 1/2x after 9.3
8.6 hours at 2x
600-C
9.7 guar/day - 1 1/2x after 9.7
9.7 hours at 2x
600-D
8.0 guar/day - 1 1/2x after 8
8 hours at 2x
695-B
9.7 guar/day - 1 1/2x after 9.7
9.7 hours at 2x
871-B
10.8 guar/day - 1 1/2x after 8
8 hours at 2x
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LOS ANGELES
GENERAL PROVISIONS
Fractional Distant Location Week Guarantees of Employment
Union/Schedule
Guarantee
600-B
8 hours guaranteed per day - 1 1/2x after 9
600-C
9 hours guaranteed per day - 1 1/2x after 9
695-B or C
9 hours guaranteed per day - 1 1/2x after 9
871-B
10 hours guaranteed per day - 1 1/2 after 8
Travel
The employee’s necessary traveling expenses, meals and lodging must be made available at the producer’s expense. For
travel anywhere in the United States, Canada and Mexico, the producer must furnish air transportation to and from distant
location. For travel outside the U.S., Canada and Mexico, employees must be furnished business class air transportation. If
business class is not available, employees must travel first class. Producer must make best efforts to furnish and maintain,
during travel time, reasonably comfortable riding conditions in the class of transportation provided, avoiding overcrowding
and providing proper space for baggage and tools. Employee is required to use producer’s form of transportation to distant
location. Airline tickets should be made refundable only to the producer.
Travel Time
Travel days are considered distant location days and are paid in accordance with distant location provisions.
Travel Only
On any day on which an employee travels only (including holidays), the employee will receive an allowance of 4 hours of
pay at straight time or pay for time actually traveled, whichever is greater, but in no event more than 8 hours of pay at
straight time with PH&W contributions on flat 8 hours. “On Call” employees receive 1/6th of their weekly “On Call” rate as
work time.
Work and Travel/Travel and Work
Travel time within the minimum call is paid for as work time and counts towards the commencement of Golden Time but is
never itself paid for at the Golden Hour rate. Travel time outside the minimum call is deemed work time, but it is not used to
calculate the commencement of Golden Hours. However, travel time outside the minimum call which falls between the
hours of 6 p.m. and 6 a.m., when sleeping accommodations are provided, is not considered travel time or work time.
Examples (using a minimum call of 9.5 hours):
1.
On day of departure, employee travels 10 hours, then works 5.5 hours. All hours are work time, and 15 hours are
computed toward Golden Time; or,
2.
On day of return, employee works 8 hours then travels 7 hours. All hours are deemed work time, but only 9.5 hours are
computed toward Golden Time. PH&W is paid on all hours.
Over Scale Wage Guarantees
Most contracts specify that the rates of pay for over scale employees will not be reduced by reason of the agreements.
However, for 600, 695, 706, 700, and 800, the amount of the excess can be applied to certain types of payments:
1.
600: For 1901, 1911, 1921 and 1931 only. Over scale excess will be applicable to overtime, holiday premium pay, 7th
day and travel allowances, hazards and temperature bonus. It will not be applied against 6th/7th days worked, meal
penalties, or golden hours.
2.
695: For 8101, 8103, 8172, 8105, and 8171 only. Over scale excess will be applicable to night premiums, overtime,
holiday time, location computation, and allowances for hazards or temperature bonus. It will not be applied against
premium 6th/7th days worked, meal penalties, or golden hours.
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GENERAL PROVISIONS
LOS ANGELES
3.
706: Over scale excess will be applied to overtime, holiday time, location computation, allowances for hazards and
temperature bonus and not to premium 6th/7th days worked, meal penalties or golden hours.
4.
700: For exempt employees only. Over scale excess will be applied to holiday time and location computation, but not
against premium 6th or 7th days worked, golden hours, meal penalties, or distant location allowances.
5.
800: Over scale excess will be applied to airplane flight allowances but not to 6th/7th days worked or per diem
allowances.
Other Payment Provisions
Hazard Pay
Employees performing their work in a specialized assignment such as flying in an aircraft, diving in a submarine, Scuba,
skin diving, or other hazardous circumstances are paid a hazard allowance of $60.00 per event up to a maximum of
$180.00 per day. Camerapersons receive a minimum of $60.00 with no specified maximum, and they must be provided
with $250,000 in accidental death and dismemberment insurance for each day of specialized work assignments.
Editorial Personnel
Sound and music editorial personnel are guaranteed 2 consecutive days off after 19 consecutive days of work.
Except on location, other editorial personnel who so request must be given at least 2 non-consecutive days off after 21
consecutive days of work. The 2 days must be taken at a mutually-agreed time, but no later than 7 days after the expiration
of the 21 day period. Every effort must be made to permit the days to be consecutive if the employee so desires.
If the foregoing provisions are violated, the Producer will pay a penalty of one-quarter of one day of pay for each day worked
from when the employee is entitled to the time off until the employee actually receives the required time off.
Script Supervisors
Script supervisors receive preparation pay based on the length of the program. See the wage scales for details. If they are
supervising 2 or more cameras simultaneously on the same day, they receive an additional “multi-camera” allowance of
$40.00 per day.
Camerapersons
For 600 Camera Operators, who are temporarily reclassified to Director of Photography, the employee will receive a
minimum of one week’s salary at not less than the minimum rates and guarantees of a Director of Photography. A waiver of
this provision may be sought under distant location conditions and under other unusual circumstances.
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LOS ANGELES
GENERAL PROVISIONS
CALIFORNIA WAGE ORDER FOR THE FILM INDUSTRY (Excerpts)
IWC Order No. 12-2000 Regulating Wages, Hours, and Working Conditions in the Motion Picture Industry (“Order”).
Applicability
This order will apply to all persons employed in the motion picture industry including extra players, teachers and welfare
workers, except employees who are employed in administrative, executive or professional capacities (as those terms are
defined under state law); actors, employees directly employed by the state or county, incorporated city or town or other
municipal corporation; outside sales persons; any person in the employer’s immediate family.
Overtime
One and one-half the regular rate of pay for hours worked more than eight in any workday or 40 hours in any work week or
more than five days in any workweek.
Employees may be employed up to a maximum of 16 hours, including meal periods in any one day from the time they report
until dismissed, provided they are compensated as follows:
1.
2.
3.
4.
1 1/2 x after eight up through twelve hours; and,
for the first 8 hours in the 7th consecutive day worked; and,
double time after 12 consecutive hours in any work day and after the first eight hours in the 7th consecutive day; and,
overtime payments are not compounded.
10 Hours, Four Day Work Week
The regulation allows 2/3 of players to elect in writing to work ten hour, four day weeks so long as each employee receives
two consecutive days off. Under a four day week the employer is not required to pay overtime premiums for the 9th and 10th
hours worked in any work day, however, the overtime provisions do apply after that.
Extra Players
Extra players receive overtime at 1 1/2x for 9th and 10th hours and 2x for all hours worked thereafter. Weekly overtime
provision also apply.
Extras must be paid at the time of dismissal or by check mailed within 24 hours. Thereafter includes Saturday, Sundays and
holidays.
Costume fitting: Extra players who are required to be fitted at place of employment or at costumers will receive a full days’
pay if not given employment in the production for which the extra was fitted.
Interviews or auditions which exceed 12 hours in length will be paid for at not less than the minimum wage.
Night work, wet work or dangerous work: Employer must notify extra at time of call. If employer fails to do so, extra will have
option to refuse to work and will be paid for all time consumed.
Reporting Time Pay
Employees told to report to work and do report to work but are not put to work will be paid for half the usual scheduled work,
but no less than two hours or more than four hours, excluding force majeure or other events not in employer’s control.
Uniforms, Equipment, Wardrobe: Employers who require uniform, equipment or wardrobe must provide and maintain same,
except with respect to equipment if employee is receiving at least 2 x minimum wage.
Meal Periods
Not less than 30 minutes, not more than one hour after not more than six hours worked. Subsequent meal periods will be
called no later than six hours after termination of the preceding meal period. Employees who work “on duty” meal periods
must be paid as work time.
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GENERAL PROVISIONS
LOS ANGELES
Rest Periods
Ten minutes for every four hours, unless employee’s total daily time is less than 3.5 hours.
To obtain the official posting, you can call 415.972.8844 and it will be mailed to you. You can also request copies by writing
to the Department of Industrial Relations, Public Information Office, P.O. Box 420603, San Francisco, CA 94142-0603. An
Internet version can be viewed at /www.media-services.com/toolbox/california.htm
Children employed in the entertainment industry are further protected by the California Child Labor laws. See the Minors
chapter.
LAYOFF OF EMPLOYEES (California)
The California law has recently been amended and now stipulates that an employer who lays off an employee engaged in
the production of motion pictures is considered as having made immediate payment of wages when the employee is paid by
the next regular payday following the layoff. This applies only to employees who “retain eligibility for re-employment with the
employer.” If an employee is discharged, meaning “the unconditional termination of employment of an employee,” the final
payment must be made within 24 hours, excluding Saturdays, Sundays and holidays.
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L.A. SIDE LETTERS
PILOTS/ NEW 1 HOUR SERIES
SIDE LETTERS
PILOT/NEW ONE HOUR SERIES AGREEMENTS
The Pilot and New One Hour Series Agreements apply to Los Angeles-produced pilots of any length and to new one hour
series television production. Applicability in other locales is subject to individual negotiation. These agreements may be
applied to any series whose first episode began production after the conclusion of the 1994 negotiations. They provide
wage rollbacks to the previous period’s wage scales for all pilots and for the first season of a new one hour series. If the
show’s first season was seven or fewer episodes, the wage rollback is extended to the second season as well. The
agreements also eliminate vacation/holiday pay to employees on pilots and first year one hour series.
Pilots and First Year Production of Any Series, Except a Series With 7 or Fewer Episodes in
the First Year
The rates for the first year of production for New One-Hour Episodic Television Series and Pilots (including 2 hour pilots for
which a firm series commitment exists at the time of production of the pilot) which are produced in Los Angeles are the prior
year’s rates. For the period 8/3/08 - 7/31/09*, the rates are the Film Agreement rates for the period 7/29/07 - 8/2/08. After
the first year, the current wages will apply.
Series With 7 or Fewer Episodes in the First Year
The rates for the first two years of production for New One-Hour Episodic Television Series and Pilots (including 2 hour
pilots for which a firm series commitment exists at the time of production of the pilot) which are produced in Los Angeles are
the prior year’s rates. For the period 8/3/08 - 7/31/09*, the rates are the Film Agreement rates for the period 7/29/07 - 8/2/08.
After the first year, the current wages will apply.
*
Unclear at time of publication whether this provision would be applicable in 2012-2015 Basic Agreement. Contact
AMPTP for clarification.
Minimum Call
8 hours.
Overtime
1 1/2x after 8 hours.
Gold
Studio
#40, 78, 724 and 755:
#399:
Report to Location
#40, 78, 724 and 755:
#399:
Bus to Location
#40, 78, 724 and 755:
#399:
Distant Location
#40, 78, 724 and 755:
#399:
Showbiz Labor Guide 2014/2015
Day 1-5
2x/12 Worked
2x/14 Elap On Prod
2x/12 Wkd Off Prod
2.5x/14 Elapsed
Day 1-5
2x/12 Worked
2x/12 Worked
2.5x/14 Elapsed
Day 1-5
2x/14 Elapsed
2.5x/14 Elapsed
2.5x/14 Elapsed
Day 1-6
2x/12 Elapsed
2.5x/14 Elapsed
2.5x/14 Elapsed
Day 6
3x/12 Worked
3x/14 Elap On Prod
3x/12 Wkd Off Prod
3.75x/14 Elapsed
Day 6
3x/12 Worked
3x/12 Worked
3.75x/14 Elapsed
Day 6
3x/14 Elapsed
3.75x/14 Elapsed
3.75x/14 Elapsed
Day 7/Holiday
4x/12 Worked
4x/14 Elap On Prod
4x/12 Wkd Off Prod
5x/14 Elapsed
Day 7/Holiday
4x/12 Worked
4x/12 Worked
5x/14 Elapsed
Day 7/Holiday
4x/14 Elapsed
5x/14 Elapsed
#755: 4x/14 Elapsed
5x/14 Elapsed
Day 7/holiday
4x/12 Elapsed
5x/14 Elapsed
5x/14 Elapsed
Los Angeles - Page 127
PILOTS/ NEW 1 HOUR SERIES
L.A. SIDE LETTERS
Vacation
1st year of series, and pilot
2nd year of series
Thereafter
No vacation pay
2%
4%
Holiday
1st year of series, and pilot
2nd year of series
Thereafter
No holiday pay
1.8595%
3.719%
Mileage
No mileage is due for locations inside a 10 miles radius as designated by the Producer at the beginning of each season.
For locations outside such 10 miles radius, the provisions of the Basic Agreement apply.
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L.A. SIDE LETTERS
PILOTS/ NEW 1 HOUR SERIES
LONG-FORM / ONE HOUR SERIES / PILOT AGREEMENTS
Long-form agreements can be used for all television programs which are 90 minutes or longer, whether produced on film or
video tape. They may be applied to all programs produced primarily in Los Angeles; however, subject to individual
negotiation, application in other locales may be possible. They cover on and off production work during preproduction and
production periods.
Any IATSE classifications not contained in the Long-Form Agreement Wage Scales may be negotiated by the Producer
individually with each employee, except for post-production which is covered by the Film or Videotape Agreements.
Script Supervisors hired on a daily basis will receive 1 ½ x after six hours.
WORKING CONDITIONS
Minimum Staffing
Script Supervisor
Art Director
Set Construction
Grips
Electricians
Set Dressing
Property
Greens Person
Craft Service
Production Painter
First Aid
Special Effects
Wardrobe
Makeup
Hair
Camera
Sound
1
1
As needed
4
4
3
2
As needed
1
As needed
As needed
As needed
2
1
1
4, unless DP, with Local 600's permission, operates, then it is 3
2
Minimum Call
8 hours.
Overtime
Worked
1st 5 days
6th day
7th day
Holiday worked
1x
8
1 1/2 x
9-13
1-13
Gold (2 x )
14E
14E
All hours
All hours
Holidays Not Worked
Producer will not be required to pay the percentage of salaries for the specified contractual holidays; however, any
employee working on such holiday will be paid double time. Weekly employees will be paid for any holiday not worked
during their period of employment.
Vacation Pay
None.
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WORKING CONDITIONS
L.A. SIDE LETTERS
Meal Periods
Meal periods are as noted in the Local Agreements; however, the time to break for a meal may, at the Director’s request, be
extended one-half hour. Notice of such delay must be given no later than 1 hour before the meal period and the extension
may not be scheduled.
Mileage
None.
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LOS ANGELES
VIDEOTAPE SUPPLEMENTAL
IATSE VIDEOTAPE ELECTRONICS SUPPLEMENTAL AGREEMENT
The jurisdiction of the Videotape Electronic Supplemental Basic Agreement covers services performed in Los Angeles
County or employees hired by the Producer in Los Angeles County to perform services within the limits of the United States,
its territories and Canada in connection with the production of videotape electronic recordings.
Work Week
Consists of any five consecutive days out of seven consecutive days.
Daily Employees
For dramatic programs with 4 or more episodes: Movies of the week (other than pilots); Novel form programs, and pilots, if 7
days notice is given to the Union, Saturday and Sunday 1 ¼ hours for 8; 1 ½ after 8.
For other programs, Saturday and Sunday are straight-time days, unless such day is the employee's 6th or 7th consecutive
day worked.
Weekly Employees
Saturday and Sunday are straight-time days. Work in excess of 8 hours daily, 40 hours weekly or 6th or 7th consecutive
days worked are compensated at one and one-half time.
Overtime
Time is computed in 6 minute segments. There is an 8 hour minimum call in the studio and on location. Employees receive
1 ½ hourly rate after 8 and/or 40 hours. Golden hours will be based on hours worked, rather than elapsed hours, for
production only in the studio and in zone locations and nearby locations.
Gold
Worked
1x
1 1/2x
2x
2 1/2x
3x
3 3/4x
4x
5x
On Production - Studio (Solely on the premises of a studio)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
Holiday
12
12E
On Production - Bus To (Studio zone location and/or combination of studio zone location and nearby location)
1st 5 days
8
9-14
14E
6th day
14
14E
7th day
14
14E
Holiday
14
14E
Off Prod / Report To (Off Production - solely on the premises of a studio; report to within the zone)
1st 5 days
8
9-12
12E
6th day
12
12E
7th day
12
12E
12E
Holiday
12
12E
On Call
1st 5 days
Flat Rate
60 PH&W hours
6th day
1/5 of flat rate x 1.5
7 PH&W hours
7th day
1/5 of flat rate x 1.5
8 PH&W hours
Holiday
1/5 of flat rate x 2
E = Elapsed hours, including meal periods. Meals cannot be deducted in Gold, so calculate Gold hours before deducting
meal period. Does not apply to television “On Production” employees whose work occurs solely on the premises of a
studio or at a zone location, or at a combination of a studio and a studio zone and/or nearby location.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 131
VIDEOTAPE SUPPLEMENTAL
LOS ANGELES
Daily Employees
For dramatic programs with 4 or more episodes: Movies of the week (other than pilots); Novel form programs, and pilots, if 7
days notice is given to the Union, Saturday and Sunday 1 ¼ hours for 8; 1 ½ after 8.
For other programs, Saturday and Sunday are straight-time days, unless such day is the employee's 6th or 7th consecutive
day worked.
Weekly Employees
Saturday and Sunday are straight-time days. Work in excess of 8 hours daily, 40 hours weekly or 6th or 7th consecutive
days worked are compensated at one and one-half time.
Night Premium
Night Premiums are only applicable for post-production employees.
Hours worked between:
8 p.m. and Midnight
Midnight and 7 a.m.
Premium
10% of hourly rate
20% of hourly rate
Rest Periods
Studio
Report to location
Bus to location
Distant location
8 hours
10
9
8
Safety Training
Effective July 1, 2003, a four (4) hour minimum call shall apply for any day on which an employee, at the request of an
individual Producer, reports for safety training. A daily “on call” employee who reports for safety training shall be paid onehalf (1/2) of the daily “on call” rate for each such day; a weekly “on call” employee shall be paid one-tenth (1/10) of the
weekly “on call” rate for each such day.
Digital Production
Digital production of half-hour primetime dramatic programs is dictated by the IATSE Supplemental Digital Production
Agreement. All other digital productions are covered either by the Basic Agreement or the Videotape Supplemental.
Page 132 - Los Angeles
Showbiz Labor Guide 2014/2015
LOS ANGELES
POLICE AND FIRE
LOS ANGELES POLICE AND FIRE DEPARTMENT
LAPD Minimum Rates
Rank
Off-Duty Police Officer in Uniform
Police Motorcycle (Daily Rental)
* No new rates available at time of publication.
Effective 1/1/13
51.16
75.00
Meals
There is no deduction for meal time. Meal time is considered work time.
Overtime
There is some confusion in the entertainment Industry regarding overtime provisions for off-duty police officers providing
services in connection with productions. The Memorandum of Understanding among the LA Police Protective League,
Board of Police Commissioners and the City Administrative Office, effective from July 1, 2003 through June 30, 2006,
provides for time-and-a-half for off-duty police officers working in excess of 8 hours in connection with a production, but
does not provide for double time after 12 hours. However, California Wage and Hour law requires that employees receive
double time after 12 hours.
In August 2000, the AMPTP issued a notice to producers which states: "The State of California Department of Industrial
Relations, Division of Labor Standards Enforcement and the Industrial Welfare Commission are of the opinion that off-duty
and retired police officers employed in the motion picture industry, under the requirements of the film permits issued by the
City of Los Angeles, are not subject to the orders of the IWC and there is no agreement by the City of Los Angeles or the
AMPTP for the payment of double time for hours worked in excess of twelve."
In the past few years, there have been several class action lawsuits filed in connection with this issue. To limit potential
liability for police officer overtime claims, production companies should consider either engaging police officers for 8-10 hour
shifts or paying double time after 12 hours. Please be advised that production companies may be obligated to indemnify
payroll companies if they decide to pay police officers at the time and a half rate after 12 hours. It is recommended that
production companies consult with their counsel regarding this issue.
California Highway Patrol (CHP)
**
The California Highway Patrol has jurisdiction over freeways and certain other designated surface streets. For
jurisdiction information, call the CHP at 818-240-8200.
Holidays
Holiday rates are applicable to any day the city employees are on holiday or the City Hall offices are closed.
Showbiz Labor Guide 2014/2015
Los Angeles - Page 133
NEW YORK
LOCAL 52, STUDIO MECHANICS ............................................................................................................................................. 1 Jurisdiction ........................................................................................................................................................................ 1 Working Conditions ........................................................................................................................................................... 1 Minimum Crew ........................................................................................................................................................ 1 Calls ........................................................................................................................................................................ 1 Day Call (Independents) ......................................................................................................................................... 1 Night Call (Independents) ....................................................................................................................................... 1 Overtime ............................................................................................................................................................................ 1 Majors...................................................................................................................................................................... 1 Independents .......................................................................................................................................................... 2 Cancel or Postpone................................................................................................................................................. 2 Workweek................................................................................................................................................................ 2 Meal Periods ..................................................................................................................................................................... 2 Majors...................................................................................................................................................................... 2 Independents .......................................................................................................................................................... 2 Meal Allowances - New York and Vicinity............................................................................................................... 2 Meal Penalties......................................................................................................................................................... 3 Turnaround ........................................................................................................................................................................ 3 Majors...................................................................................................................................................................... 3 Independents .......................................................................................................................................................... 3 Payment .................................................................................................................................................................. 3 Hazardous Work ..................................................................................................................................................... 3 Nearby Location Report Zone ........................................................................................................................................... 4 Twenty-five Mile Zone ............................................................................................................................................. 4 Nearby Locations .................................................................................................................................................... 4 Distant Location Report Zone ........................................................................................................................................... 4 Per Diem - Majors and Independent ....................................................................................................................... 4 Travel Days/Idle Days on Distant Location ............................................................................................................. 4 Unworked Holidays - Majors ............................................................................................................................................. 4 LOCAL 161, SCRIPT SUPERVISORS, PRODUCTION OFFICE COORDINATORS ............................................................. 5 Jurisdiction ........................................................................................................................................................................ 5 Prep Time .......................................................................................................................................................................... 5 Calls .................................................................................................................................................................................. 5 Day Call (Independents) ................................................................................................................................................... 5 Night Calls (Independents) ............................................................................................................................................... 5 Overtime (Majors) ............................................................................................................................................................. 5 Features .................................................................................................................................................................. 5 Television Motion Pictures ...................................................................................................................................... 5 Overtime (Independents) .................................................................................................................................................. 6 Special Terms (Independents) .......................................................................................................................................... 6 Cancel or Postpone................................................................................................................................................. 6 Workweek.......................................................................................................................................................................... 6 Meal Periods (Majors) ....................................................................................................................................................... 6 Meal Penalties (Majors) .......................................................................................................................................... 7 Meal Periods - Independent .................................................................................................................................... 7 Meal Penalties - Independents ............................................................................................................................... 7 French Hours .......................................................................................................................................................... 7 Meals At A Studio.................................................................................................................................................... 7 Rest Period ............................................................................................................................................................. 7 Rest Period Violation .............................................................................................................................................. 7 Payment Provisions ................................................................................................................................................ 7 Hazardous Work ............................................................................................................................................................... 7 Multi-Camera Work ........................................................................................................................................................... 8 Reporting Zones................................................................................................................................................................ 8 New York Metropolitan Area: .................................................................................................................................. 8 Report To ...................................................................................................................................................... 8 Showbiz Labor Guide 2014/2015
New York - Page I
NEW YORK
Nearby Location ............................................................................................................................................ 8 Mileage .......................................................................................................................................................... 8 Outside the New York Metropolitan Area ............................................................................................................... 8 Production Zone ............................................................................................................................................ 8 Nearby Location ............................................................................................................................................ 8 Mileage .......................................................................................................................................................... 8 Local, Nearby and Distant Hires ............................................................................................................................. 8 Distant Location Special Conditions (Majors) ......................................................................................................... 8 Employer Fringe Benefits.................................................................................................................................................. 9 LOCAL 600 EASTERN REGION, INTERNATIONAL PHOTOGRAPHERS GUILD ................................................................ 10 Amendment Agreement .................................................................................................................................................. 10 Overtime ................................................................................................................................................................ 10 Turnaround ............................................................................................................................................................ 10 Rest Period Violation .................................................................................................................................. 10 Holidays................................................................................................................................................................. 10 Report To (NYC) ................................................................................................................................................... 10 Nearby Locations .................................................................................................................................................. 10 Mileage .................................................................................................................................................................. 10 Employer Fringe Benefits...................................................................................................................................... 10 Rates for Independents................................................................................................................................................... 11 Jurisdiction ...................................................................................................................................................................... 11 Minimum Crew ...................................................................................................................................................... 11 Calls ...................................................................................................................................................................... 11 Overtime ................................................................................................................................................................ 11 Cancel or Postpone............................................................................................................................................... 12 Workweek.............................................................................................................................................................. 12 Meal Periods ......................................................................................................................................................... 12 Meal Penalty ............................................................................................................................................... 12 Rest Period ........................................................................................................................................................... 12 Rest Period Violation .................................................................................................................................. 12 Payment ................................................................................................................................................................ 12 Hazardous Work ................................................................................................................................................... 12 Nearby Location Report Zone ............................................................................................................................... 12 Distant Location Report Zone ......................................................................................................................................... 13 Travel to Distant Location ..................................................................................................................................... 13 Holidays................................................................................................................................................................. 13 Employer Fringe Benefits...................................................................................................................................... 13 LOCAL 700 MOTION PICTURE EDITORS GUILD, EASTERN REGION ............................................................................... 14 Jurisdiction ...................................................................................................................................................................... 14 Agreements ..................................................................................................................................................................... 14 Minimum Crew ...................................................................................................................................................... 14 Overtime ................................................................................................................................................................ 14 Cancel or Postpone............................................................................................................................................... 14 Workweek.............................................................................................................................................................. 14 Meal Periods ......................................................................................................................................................... 14 Turnaround (Independents) .................................................................................................................................. 14 Turnaround (Majors) ............................................................................................................................................. 14 Payment ................................................................................................................................................................ 15 Nearby Location Report Zone ............................................................................................................................... 15 Distant Location Report Zone (Independents)...................................................................................................... 15 Distant Location Report Zone (Majors) ....................................................................................................... 15 Distant Location Special Conditions ..................................................................................................................... 15 Special Terms ....................................................................................................................................................... 15 Distant Location Requirements (Independent) ..................................................................................................... 15 Distant Location Requirements (Majors) .................................................................................................... 15 Employer Fringe Benefits...................................................................................................................................... 15 Page II - New York
Showbiz Labor Guide 2014/2015
NEW YORK
Holidays................................................................................................................................................................. 15 LOCAL 764, WARDROBE ATTENDANTS............................................................................................................................. 16 Jurisdiction ...................................................................................................................................................................... 16 Minimum Crew ...................................................................................................................................................... 16 Calls ...................................................................................................................................................................... 16 Day Call (Independents) ....................................................................................................................................... 16 Night Calls (Independents) ................................................................................................................................... 16 Overtime (Majors) ................................................................................................................................................. 16 Overtime (Independents) ...................................................................................................................................... 16 Cancel or Postpone............................................................................................................................................... 16 Workweek.............................................................................................................................................................. 16 “Star” Waiver (Majors) ........................................................................................................................................... 17 Meal Periods (Majors) ........................................................................................................................................... 17 Meal Penalties (Majors) .............................................................................................................................. 17 Meal Periods (Independents) ................................................................................................................................ 17 French Hours (Majors) ................................................................................................................................ 17 Meals At A Studio........................................................................................................................................ 17 Rest Period ........................................................................................................................................................... 18 Rest Period Violation ............................................................................................................................................ 18 Payment ................................................................................................................................................................ 18 Nearby Location Report Zone ............................................................................................................................... 18 Distant Location Report Zone ............................................................................................................................... 18 Distant Location Special Conditions ..................................................................................................................... 18 LOCAL 798, MAKE-UP ARTISTS AND HAIR STYLISTS ........................................................................................................ 19 Jurisdiction ...................................................................................................................................................................... 19 Calls ...................................................................................................................................................................... 19 Night Calls ............................................................................................................................................................. 19 Overtime ................................................................................................................................................................ 19 Cancel or Postpone............................................................................................................................................... 19 Workweek.............................................................................................................................................................. 19 Meal Periods ......................................................................................................................................................... 19 Meal Allowances ................................................................................................................................................... 19 Turnaround ............................................................................................................................................................ 20 Payment ................................................................................................................................................................ 20 Nearby Location Report Zone ............................................................................................................................... 20 Distant Location Report Zone ............................................................................................................................... 20 Distant Location Special Conditions ..................................................................................................................... 20 Special Terms (Independents) .............................................................................................................................. 20 Employer Fringe Benefits...................................................................................................................................... 20 LOCAL 817, TEAMSTERS ....................................................................................................................................................... 21 Daily and Weekly Hours........................................................................................................................................ 21 Minimum Staffing .................................................................................................................................................. 21 Day Calls ............................................................................................................................................................... 21 Night Calls ............................................................................................................................................................. 21 Rest Period ........................................................................................................................................................... 21 Meal Periods ......................................................................................................................................................... 21 Meal Allowances ................................................................................................................................................... 21 LOCAL 817 - CASTING DIRECTORS...................................................................................................................................... 22 Recognition and Scope of Agreement .................................................................................................................. 22 Payment ................................................................................................................................................................ 22 Holidays................................................................................................................................................................. 22 Office Space, Equipment and Payroll Service Fees ............................................................................................. 22 Individual Negotiations .......................................................................................................................................... 22 Loan-Out Companies ............................................................................................................................................ 22 Union Membership and Reporting ........................................................................................................................ 23 LOCAL 829, UNITED SCENIC ARTISTS ................................................................................................................................. 24 Showbiz Labor Guide 2014/2015
New York - Page III
NEW YORK
Jurisdiction ...................................................................................................................................................................... 24 Minimum Crew ...................................................................................................................................................... 24 Calls ...................................................................................................................................................................... 24 Day Call (Independents) ....................................................................................................................................... 24 Night Calls (Independents) ................................................................................................................................... 24 Night Premium (Majors) ........................................................................................................................................ 24 Overtime (Majors) ................................................................................................................................................. 24 Overtime (Independents) ...................................................................................................................................... 24 Cancel or Postpone............................................................................................................................................... 24 Workweek.............................................................................................................................................................. 24 Meal Periods (Majors) ........................................................................................................................................... 25 Meal Penalty (Majors) ................................................................................................................................. 25 Turnaround ............................................................................................................................................................ 25 Payment ................................................................................................................................................................ 25 Nearby Location Report Zone ............................................................................................................................... 25 Distant Location Report Zone ............................................................................................................................... 25 Distant Location Special Conditions ..................................................................................................................... 25 Special Terms (Independents) .............................................................................................................................. 26 POLICE AND FIRE ................................................................................................................................................................... 27 Police............................................................................................................................................................................... 27 Fire .................................................................................................................................................................................. 27 Page IV - New York
Showbiz Labor Guide 2014/2015
NEW YORK
STUDIO MECHANICS - LOCAL 52
LOCAL 52, STUDIO MECHANICS
Jurisdiction
Majors: New York, New Jersey, Pennsylvania (excluding Pittsburgh and the area within a 50 mile radius of Pittsburgh),
Connecticut and Delaware.
Independents: New York, New Jersey, Pennsylvania, Delaware and Connecticut.
Working Conditions
Minimum Crew
Majors:
Independent:
Necessary Department Heads: Additional as needed per work to be done. Sound Department:
Mixer and Boom Man, Utility as needed.
Department Heads: Additional as needed per work to be done. Sound Department: Mixer,
Boom Man, and Utility.
Calls
Notify next day's start before dismissal on prior work day. Rigging crews or sound crews can be on separate calls.
Day Call (Independents)
May - September, 6 a.m. - 6 p.m.; October- April, 6 a.m. - 3 p.m. Year round interior or studio, 6 a.m. - 6 p.m.
Night Call (Independents)
6 p.m. - 2 a.m. start. Night calls are paid on the basis of 6 hours of work for 8 hours pay. Overtime is calculated on the
basis of 1/6 of a day's pay being the hourly rate.
Overtime
Majors
In 1/10 hour increments
Theatrical, within 50 mile zone
First 5 days with day-time start
6th Day
7th Day and Holidays
Theatrical, outside 50 mile zone but w/in NY & NJ /
Television anywhere in NY & NJ
First 5 days with day-time start
6th Day
7th Day and Holidays
Theatrical in CT, DE or PA
First 5 days
6th Day
7th Day and Holidays
Television in CT, DE or PA
First 5 days
6th Day
7th Day and Holidays
Showbiz Labor Guide 2014/2015
1x
8
1½x
9-12
12
2x
13-14
13-14
14
2½x
>14
>14
>14
8
9-12
12
>12
>12
14
>14
8
9-12
12
>12
>12
All hours
8
9-14
14
>14E
>14E
All hours
New York - Page 1
LOCAL 52 - STUDIO MECHANICS
NEW YORK
Independents
Contact Local 52 for overtime terms.
Cancel or Postpone
Notify by 3:00 p.m. prior work day.
Workweek
Any five consecutive days out of seven consecutive days. One time during the production of a motion picture, the Producer
may shift the workweek, without incurring added costs, by adding one or two days off consecutive with the sixth and/or
seventh days of the prior workweek and/or by shifting a workweek commencing on Tuesday to a workweek commencing on
Monday, provided that the intervening Sunday is a day off. In episodic television, the Producer may shift the workweek
once during a hiatus period only.
Meal Periods
Majors
First meal within 6 hours from call. Succeeding meals within 6 hours from the end of the prior meal. Meal periods are not
less than 1/2 hour and no more than 1 hour.
An unscheduled 12 minute grace period for production efficiency may be called prior to imposing any meal penalty.
A 30 minute unscheduled grace period may be given at wrap. The 12 minute and 30 minute grace periods may not be
combined.
30 minute non-deductible breakfast (NDB) may be given.
Independents
First meal within 6 hours from call. Succeeding meals within 6 hours from the end of the prior meal. Meal periods are 1
hour which can be reduced to 1/2 hour if a hot meal is provided by the Producer
Meal Allowances - New York and Vicinity
Majors
Breakfast
Lunch
Dinner
$4.00
$5.50
$9.00
Independent
Breakfast
Lunch
Dinner
$6.00
$7.00
$12.00
Page 2 - New York
7 AM or before
Beyond 6 hours of call
If not dismissed by 7 PM
Showbiz Labor Guide 2014/2015
NEW YORK
STUDIO MECHANICS - LOCAL 52
Meal Penalties
Majors
Theatrical
TV Motion Pictures
Work in Philadelphia
Independents
1st meal of the day
2nd meal of the day
3rd meal of the day
1st 1/2 hour or fraction thereof
2nd 1/2 hour or fraction thereof
3rd and each succeeding 1/2 hour or
fraction thereof
1st 1/2 hour or fraction thereof
2nd 1/2 hour or fraction thereof
3rd 1/2 hour or fraction thereof
4th and each succeeding 1/2 hour or fraction
thereof
3rd and each succeeding 1/2 hour or fraction
thereof
1st 1/2 hour or fraction thereof
2nd 1/2 hour or fraction thereof
3rd and each succeeding 1/2 hour or fraction
thereof
1st 1/2 hour or fraction thereof
2nd and each succeeding 1/2 hour or
fraction thereof
1st and each succeeding 1/2 hour or fraction
thereof
10.00
15.00
1 hour pay at the
prevailing rate
7.50
8.50
18.50
1 hour pay at the
prevailing rate
18.50
10.00
15.00
1 hour pay at the
prevailing rate
15.00
1 hour pay at the
prevailing rate
1 hour pay at the
prevailing rate
Turnaround
Majors
9 hours. Penalty for invaded hours is 2x for invaded hours.
For theatrical motion pictures shooting within the fifty-mile zone: If employee worked in excess of 14 hours Elapsed,
Turnaround time is increased to 10 hours. 2 ½ x straight time rate is paid upon resumption of work, until a 10 hour rest
period is given.
For theatrical motion pictures shooting outside the fifty-mile zone or on any television movie: If employee worked in excess
of 14 hours Elapsed, Turnaround time is increased to 10 hours. The rate in effect at dismissal is paid upon resumption of
work, until a 10 hour rest period is given.
Independents
10 hours. 34 hours after a 6-day week, or a single day off. 50 hours after a 5-day week, or two consecutive days off.
Penalty for invaded hours is 1 1/2x added to the employees last hourly rate of the prior day, but not to exceed 3 1/2x, for the
invaded hours only. If employee worked in excess of 14 hours on day prior to rest period invasion, 3x until a 10 hour rest
period is given.
Payment
Paid Friday for all straight time including that Friday plus overtime from prior Wednesday through Tuesday. Check cashing
provided when no week day off. This may change for the majors contract. Payments may not be made to corporations.
Hazardous Work
Majors:
Independents:
Aerial, underwater, work in combat zones: add $40 per flight, maximum of $80 per day.
2x applicable work rate. Minimum 4 hours. 4-8 hours, pay 8 hours. Over 8 hours, on an hourby-hour basis.
Showbiz Labor Guide 2014/2015
New York - Page 3
LOCAL 52 - STUDIO MECHANICS
NEW YORK
Nearby Location Report Zone
Twenty-five Mile Zone
Any location within a 25 mile radius of Columbus Circle, other than Sandy Hooks, NJ. This can, with union approval, be
extended to 30 miles. When reporting to a location within the 25 (or 30) mile zone, call time starts and ends at the location.
Nearby Locations
Reporting outside the 25 (or 30) mile zone, mileage of $0.30 is payable from the perimeter bound by 125th Street and the
Battery to location. Call time and dismissal times are at a mutually agreed upon point.
For calls before 6:00 a.m. and dismissal after 6:00 p.m., transportation must be provided between the location and a
convenient point in Manhattan between 125th Street and the Battery.
Distant Location Report Zone
Any location within 50 miles of New York City, requiring overnight lodging. When not housed, calls start at departure from
New York City and ends upon arrival in New York City.
Beyond 50 miles overnight housing is mandatory. Calls start and end at hotel/motel.
Per Diem - Majors and Independent
Distant Location
Majors
Breakfast
4.50
Lunch
6.50
Dinner
9.00
Meals provided by producer may be deducted at current rates.
Independent
8.00
12.00
25.00
Travel Days/Idle Days on Distant Location
Majors:
4 hours or time actually traveled, whichever is higher, but no more than 8 hours. Idle days, 4 hours pay at
1x, 8 hours PH&W
Independents: Minimum 8 hours. Idle days, 8 hours at 1x, 8 hours PH&W
Unworked Holidays - Majors
Employee to receive 3.719% of his annual straight time work earnings as compensation for holidays not worked. Exceptions
exist for 1-Hour Episodic Series; see agreement for details.
Page 4 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
SCRIPT - LOCAL 161
LOCAL 161, SCRIPT SUPERVISORS, PRODUCTION OFFICE
COORDINATORS
Jurisdiction
Maine, New Hampshire, Vermont, Massachusetts, Connecticut, Rhode Island, New York, New Jersey, Pennsylvania,
Maryland, Delaware, Virginia, West Virginia, North Carolina, South Carolina, Georgia, Florida and the District of Columbia.
Prep Time
Minimum one week prep for both Script Supervisor and POC. Rehearsal time not considered prep time.
1 day prior to the first episode of the season on 2-hour TV shows. 2 days prior to the first episode of the season on 1-hour
TV shows.
Calls
Notify next day's start at least 10 hours prior to call or prior to dismissal on previous workday, whichever is later. Script
supervisor's call no later than shooting call of director.
Day Call (Independents)
Day call, outdoor locations: May - Sept. 6 a.m. - 6 p.m.; Oct. - April 6 a.m. - 3 p.m. Call begins on hour or 1/2 hour. On
Overnight Distant Location: flexible call times.
Night Calls (Independents)
May - Sept. 6pm - 6am; Oct - Apr 3pm - 6am.
Compensation is 8 hours pay for 6 hours worked.
Overtime (Majors)
In 1/10-Hour Increments.
Features
Employees employed in New York, New Jersey and Connecticut
1½x
1x
First 5 days
8
9-12
6th day
12
7th day
2x
13-14
13-14
14
2½x
>14
>14
>14
Employees employed in Delaware, Maine, Massachusetts, New Hampshire, Pennsylvania, Rhode Island, Vermont, and
Washington D.C.
1x
1½x
2x
2½x
First 5 days
8
9-12
>12
6th day
12
>12
7th day
14
>14
Television Motion Pictures
Employees employed in NY, NJ, CT, DL, ME, MA, NH, PA, RI, VT, D.C.
1½x
1x
First 5 days
8
9-12
6th day
12
7th day
Showbiz Labor Guide 2014/2015
2x
>12
>12
14
2½x
>14
New York - Page 5
LOCAL 161 - SCRIPT
NEW YORK
Overtime (Independents)
1x
1½x
2x
2½x
First 5 days
8
9-12
13-14
over 14
6th day
12
13-14
over 14
7th day
14
over 14
At work commencing outside the regular work hours is payable at 1 1/2x except that w work shift commenced after 2 a.m.
and prior to 6 a.m. is payable at 1 1/2x only for the time worked before 6 a.m.
Special Terms (Independents)
If Local 161 members are used for at least 66% of principal photography (not including added scenes or retakes) in the New
York Zone, then start time is flexible, and overtime is based on hours worked rather than elapsed hours.
Cancel or Postpone
New York based features: Employer will give at least 2 weeks notice prior to start date. Pay one week's pay to Script
Supervisor employed on other than daily basis, when bound, orally or in writing to a definite production to start at an
approximately set date if production canceled or postponed more than 2 weeks. Cannot terminate "run-of-production"
employee prior to completion of production except for drunkenness, dishonesty or incompetence.
Workweek
Any five days out of seven. One time during the production of a motion picture, the Producer may shift the workweek,
without incurring added costs, by adding one or two days off consecutive with the sixth and/or seventh days of the prior
workweek and/or by shifting a workweek commencing on Tuesday to a workweek commencing on Monday, provided that
the intervening Sunday is a day off. In episodic television, the Producer may shift the workweek once during a hiatus period
only.
Meal Periods (Majors)
Meal periods are not less than 1/2 hour and no more than 1 hour.
First meal not more than 5 hours from call; subsequent meals not more than 6 hours after the end of the prior meal break.
No more than one meal period can be deducted from work time for an employee during the minimum call. A second meal
period may be deducted for employees who work in excess of the minimum call and is guaranteed 12 hours work after the
second meal period. This guarantee does not apply when such meal is supplied at the producer’s expense.
The meal interval may be extended 1/2 hour (1 hour for television) without penalty when used for wrap or to complete
camera take(s) up in progress, until print quality is achieved. This extension may not be scheduled or automatic. The 12
minute grace period (above) may not be combined with this extension.
If a crew member is given a reasonable meal (NDB) appropriate to the time of day, without deduction the time eating (30
minutes) from work time, then the first meal may be six hours after the conclusion of such meal.
Meal penalties may not be imposed by crew members working without direct employer supervision when given the
prerogative to arrange his/her meal periods.
Page 6 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
SCRIPT - LOCAL 161
Meal Penalties (Majors)
10.00
15.00
1 hour at prevailing rate
Features
DE, ME, MA, NH, PA,
RI, VT, D.C.
6.50
7.50
17.50
1 hour at prevailing rate
1 hour at prevailing rate
Features
NY, NJ, CT
First 1/2 hour or fraction thereof
2nd 1/2 hour or fraction thereof
3rd 1/2 hour or fraction thereof
4th 1/2 hour or fraction thereof and each
succeeding 1/2 hour
All Television
6.50
7.50
17.50
1 hour at prevailing
rate
Meal Periods - Independent
First period no sooner than 2 hours, no later than 6 hours from call.
If catered, break can be only 1/2 hours.
Meal Penalties - Independents
First 1/2 hour or fraction thereof
2nd 1/2 hour or fraction thereof
3rd 1/2 hour or fraction thereof and each
succeeding 1/2 hour or fraction thereof
First Meal Period
10.00
1 hour at prevailing rate
Second Meal Period
1 hr at prevailing rate
1 hour at prevailing rate
1 hour at prevailing rate
1 hour at prevailing rate[
Special Terms
10.00
15.00
1 hour at prevailing
rate
French Hours
If the majority of the crew consents, “French Hours” may be instituted at the producer’s request. An employee’s consent to
the use of “French Hours” may not be condition of employment.
Meals At A Studio
Meals need not be provided for employees working at a studio.
Rest Period
Majors: 9 hours, Independents: 8 hours.
Rest Period Violation
Penalty for invaded hours is 2x for invaded hours. If short rest period after 14 or more elapsed hours, then 2 2x until 8
hours rest is completed, not counting Script Supervisor's time worked after "camera wrap" which will be paid at prevailing
overtime rate.
Payment Provisions
Majors - Paid Friday for all work through and including prior Friday. Daily employee paid within seven calendar days of
termination.
Independents - Paid Friday for all work through and including prior Friday. Daily employee paid everything owed on the day
of dismissal with the except the current day’s overtime.
Check cashing provided when no week day off.
Hazardous Work
Aerial, underwater, work in combat zones: add $40 per flight, maximum of $80 per day. Applies while inspecting,
rehearsing or photographing on aerial flights.
Showbiz Labor Guide 2014/2015
New York - Page 7
LOCAL 161 - SCRIPT
NEW YORK
Multi-Camera Work
If two or more film cameras are in operation 50% or more of the shooting day, excluding meal time(s), then Script
Supervisor is paid additional flat $40 for that day.
Reporting Zones
New York Metropolitan Area:
Report To
Within a 25 mile radius of Columbus Circle (other than Sandy Hook, N.J.). Start and dismissal times begins at location. No
mileage or travel payment is required. The union may grant a waiver to expand the radius to 30 miles.
Nearby Location
Outside the 25 (or 30) mile Report-To-zone. This does not include overnight or distant locations. Work time includes travel
time from a mutually agreed upon location point bound by the perimeter 125th Street and the Battery, or travel time from the
perimeter of the area bound by 125th and the Battery and the nearby location is added to the call time. If Producer provides
transportation and employee opt to use it, there is no travel (or waiting time) due.
Mileage
$0.30 per mile to and from the nearby location and the perimeter bound by 125th Street and the Battery.
Outside the New York Metropolitan Area
Production Zone
A circle which has a radius of 30 miles measured from the employers production office.
Nearby Location
Travel time and mileage to and from the edge of the 30 mile radius unless producer provides transportation. All employees
housed at Producer’s expense must be transported to and from location.
Mileage
$0.30 per mile.
Local, Nearby and Distant Hires
A Local Hire’s principal residence is within 75 miles of the production location.
A Nearby Hire’s principal residence is outside of 75 miles of the production location but within the states of NY, NJ, CT, DE,
ME, MA, NH, PA, RI, VT or D.C. Employees are to be paid a daily living allowance of $45 ($315 per week).
A Distant Hire’s principal residence is outside the geographical definition of a Nearby Hire. Employees are to be provided
with reasonable single occupancy hotel accommodations. Employer can request employees to sign a written statement
attesting to their principal residency. A false statement of residency may result in immediate discharge.
Distant Location Special Conditions (Majors)
Idle 6th and 7th day, pay 4 hours minimum rate plus pension and welfare for 8 hours.
Producer will provide a meal allowance if no regular meal is furnished while employee is traveling.
Page 8 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
SCRIPT - LOCAL 161
Employer Fringe Benefits
See Fringes chapter.
Showbiz Labor Guide 2014/2015
New York - Page 9
LOCAL 600 - CAMERA
NEW YORK
LOCAL 600 EASTERN REGION, INTERNATIONAL PHOTOGRAPHERS GUILD
IATSE Camera Locals 644, 659 and 666 has been merged into Local 600. All camera work throughout the United States is
covered by the West Coast Agreement (see the Los Angeles chapter) with certain exceptions, listed below:
Amendment Agreement
Available to productions shooting in “the Corridor”: Connecticut, Delaware, the District of Columbia, Maryland,
Massachusetts, New Jersey, New York, Pennsylvania and Washington D.C.
For employees hired under the Amendment Agreement and working in the Corridor, the rates below will apply. Other rates
are applicable for Amendment Agreement productions shooting outside the Corridor but still within Local 600 East
jurisdiction. See Amendment Agreement for details.
Overtime
First 5 days
6th day
7th day
Holidays worked (no holiday % pay)
Holiday not worked on Distant in Corridor (daily
employee)
Holiday not worked on Distant in Corridor (weekly
employee)
Holiday Travel in Corridor
1x
8
1½x
8-12
12
2x
13-14E
13-14E
1-14E
1-14E
2½x
>14E
>14E
>14E
>14E
8
1/5 of weekly scale
2x except when travel is start of assignment, then 1x rate
Turnaround
10 hours.
Rest Period Violation
Invaded hours paid at rate in effect when dismissed. If employee worked in excess of 14 hours on day prior to rest period
invasion, the rate in effect at dismissal is paid until a 10 hour rest period is given.
Holidays
New Year’s Day, President’s Day, Memorial Day, Independence Day, Labor Day, Columbus Day, Veteran’s Day,
Thanksgiving Day, day after Thanksgiving and Christmas.
These holidays apply when working under the Corridor Agreement outside the Corridor.
Report To (NYC)
Within a 25 mile radius of Columbus Circle (other than Sandy Hook, N.J.) Start and dismissal times begins at location. No
mileage or travel payment is required. The union may grant a waiver to expand the radius to 30 miles.
Nearby Locations
Outside the 25 (or 30) mile Report-To zone. This does not include overnight or distant locations.
Work time includes travel time from a mutually agreed upon location point bound by the perimeter 125th Street and the
Battery, or travel time from the perimeter of the area bound by 125th and the Battery and the nearby location is added to the
call time.
Mileage
$0.30 per mile to and from the nearby location and the perimeter bound by 125th Street and the Battery.
Employer Fringe Benefits
See Fringes chapter.
Page 10 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
CAMERA - LOCAL 600
Rates for Independents
Local 600 East sets rates for Independents on a per-show basis. To get rates for an independent project, contact the Local
600 Eastern Region office at 212-647-7300.
Jurisdiction
Maine, New Hampshire, Vermont, New York, Massachusetts, Connecticut, Rhode Island, New Jersey, Pennsylvania,
Maryland, Delaware, District of Columbia, Virginia, West Virginia, North Carolina, South Carolina and Puerto Rico.
Minimum Crew
Features and Television Movies
Director of Photography
Operator
1st Assistant Camera
2nd Assistant Camera
Television Series
Director of Photography
Operator
1st Assistant Camera
2nd Assistant Camera
Still Photographer *
Still Photographer **
**Any member of the camera crew may be assigned to
* Still Photographers are required on each day of
use the Polaroid camera for internal reporting purposes.
Principal Photography when all or the major portion of
A still photographer is required for all Polaroids for
photography is in the Local 600 (Eastern Region)
advertising, publicity or other commercial purposes.
jurisdiction. In all other cases, a still person is required
where still photography is required and when principal
cast members are used.
Minimum crew requirements are different for composite process photography, inserts and short subjects. Contact Local 600
East Region for further information.
Calls
Notify next day's start before 4:00 p.m. prior work day. On shooting days, all members of a camera crew must have the
same call time, except the Still Photographer whose call can be 2 hours earlier or later than the camera crew. Call for
camera crews for additional cameras can be different from the main camera crew. Only one Director of Photography is
required when more than one camera is used on the same set.
Day Call
Studio or Interior
Exterior
Year round
6 a.m. - 6 p.m.
May 1 - September 30
6 a.m. - 6 p.m.
October 1 - April 30
6 a.m. - 3 p.m.
Night Call*
May 1 - September 30
6 p.m. - 2 a.m.
October 1 - April 30
3 p.m. - 2 a.m.
* Night calls are paid on the basis of 6 hours of work for 8 hours pay. Overtime is calculated on the basis of 1/6 of a day's
pay being the hourly rate.
Overtime
in 1/4 units
First 5 days with day-time start
6th day
7th day
Holidays
Night-time start (overtime based on 1/6 of
day’s pay being hourly rate)
Work commenced after 2 a.m. but prior to 6
a.m.
Showbiz Labor Guide 2014/2015
1x
8
1½ x
9-12E
12E
6 for 8
7-12E
2x
13-14E
13-14E
14E
14E
13-14E
2½ x
>14E
>14E
>14E
>14E
>14E
All hours until
6 a.m.
New York - Page 11
LOCAL 600 - CAMERA
NEW YORK
Cancel or Postpone
Notify by 1:00 p.m. prior work day, cannot cancel "run-of-picture" except if paid in full and for "just cause."
Workweek
Any five days out of seven. One time during the production of a motion picture, the Producer may shift the workweek,
without incurring added costs, by adding one or two days off consecutive with the sixth and/or seventh days of the prior
workweek and/or by shifting a workweek commencing on Tuesday to a workweek commencing on Monday, provided that
the intervening Sunday is a day off. In episodic television, the Producer may shift the workweek once during a hiatus period
only.
Meal Periods
All meals not less than 3 or later than 6 hours from call or return from last meal. Meal periods are 1 hour, unless Producer
provides hot catered 1/2 hour meal.
Meal Penalty
1st meal of the day
1st 1/2 hour or fraction thereof
$10
2nd 1/2 hour or fraction thereof
$15
Past 1 hour’s delay
2x the rate in effect for each 1/2 hour delay
2nd meal of the day
1st 1/2 hour or fraction thereof
$15
Past 1/2 hour delay
2x the rate in effect for each 1/2 hour delay
Food supplied by producer, without taking time out, not considered a meal period.
Rest Period
Between shooting days
5 day shooting week weekend
6 day shooting week weekend
10 hours
50 hours
28 hours
Rest Period Violation
Penalty for invaded hours is 2x until worked 14 elapsed hours. If short rest period after 14 or more hours work, then 2 1/2x
(3 x for 2nd assistant camera persons on television series) until 10 hours rest is completed.
Payment
Paid Friday for all straight time including that Friday plus overtime from prior Wednesday through Tuesday. Check cashing
provided when no week day off.
Hazardous Work
Aerial, underwater, mine shafts, speeding vehicles, motorcycles, while flying in combat zone, close to explosives, radiation,
aircraft landings/take-offs: add $60 per flight. Applies while inspecting, rehearsing or photographing on aerial flights.
Nearby Location Report Zone
125th Street to Battery. Start at location, end where public transport is available. 6 a.m. - 6 p.m. only, includes 4 boroughs;
if additional travel time to/from nearest subway station needed, time paid as agreed per Production Manager and Shop
Steward.
Page 12 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
CAMERA - LOCAL 600
Distant Location Report Zone
Travel to Distant Location
Work and travel 1st 5 work days
Work and railroad travel to or from location
6th consecutive workday
7th consecutive workday or holiday
Travel only
Travel before 8:30
a.m. or after 5:30 p.m.
1 1/2x (max 4 hours)
Addt’l 4 hours pay at 1x
1 1/2x (if start of assignment, 1x)
2 x (if start of assignment, 1x)
8 hrs pay at 1x
Holidays
New Year’s Day, President’s Day, Memorial Day, Independence Day, Labor Day, Columbus Day, Veterans Day,
Thanksgiving Day, the day after Thanksgiving and Christmas Day.
Employer Fringe Benefits
See Fringes chapter.
Showbiz Labor Guide 2014/2015
New York - Page 13
LOCAL 700 - EDITORS
NEW YORK
LOCAL 700 MOTION PICTURE EDITORS GUILD, EASTERN REGION
Jurisdiction
Maine, New Hampshire, Vermont, New York, Massachusetts, Connecticut, Rhode Island, New Jersey, Pennsylvania,
Maryland, Delaware, District of Columbia, Virginia, West Virginia, North Carolina, and South Carolina.
Agreements
There are two agreements, the Independent Contract and the Majors' Contract. The Majors' Contract applies only to
productions produced by: Warner Bros., Inc. Columbia Pictures, Paramount Pictures, Twentieth Century Fox Film Corp.,
and Metro-Goldwyn-Mayer Pictures, Inc.
Minimum Crew
No minimum staffing requirements, but usual staffing on feature is 3 persons in 35mm (Editor, Assistant, ERA), possibly 2
persons in 16mm (Editor, Assistant). For sound editing, teams of 2 (Sound Editor and Assistant Sound Editor) are usually
brought in (the shorter the job, the more teams).
Overtime
Independents
Monday thru Friday
Saturday, Sunday, and Holidays
Majors
1st 5 days in workweek
6th day in workweek
7th day in workweek
1x
8
1 1/2x
9-12
8
1 1/2x
9-12
12E
2x
13-16
12
2x
13-14E
13-14E
14E
3x
>16
>12
2 1/2x
>14E
>14E
>14E
Cancel or Postpone
Notify by 2:30 p.m. prior work day.
Workweek
Independent Contract: Monday to Friday.
Majors' Contract: Any five days out of seven for whole crew. One time during the production of a motion picture, the
Producer may shift the workweek, without incurring added costs, by adding one or two days off consecutive with the sixth
and/or seventh days of the prior workweek and/or by shifting a workweek commencing on Tuesday to a workweek
commencing on Monday, provided that the intervening Sunday is a day off. In episodic television, the Producer may shift
the workweek once during a hiatus period only. Sound and music personnel guaranteed 2 days off after 19 consecutive
days of work. Other editorial personnel guaranteed 2 days off after 21 consecutive days of work. Penalty is 1/4 of one day's
pay at the minimum rate for each day worked until day off is granted.
Meal Periods
First meal not less than 3 nor later than 6 hours from call, subsequent meals at 3 to 6 hour intervals. Meal periods are 1
hour. Penalty is for each hour delay or fraction, paid at 1x hourly rate. Not applicable when employee is self scheduled.
Turnaround (Independents)
10 hours between consecutive day shifts, 30 hours after a 6 day workweek, 50 hours after a 5 day work week
If short rest period, invaded hours paid at rate of most recent previous work plus one-half times employee's prevailing rate
for all invaded hours.
Turnaround (Majors)
10 hours between consecutive day shifts. If short rest period, invaded hours paid at 2x.
Page 14 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
EDITORS - LOCAL 700
Payment
Paid Friday for all straight time including that Friday plus overtime from prior Wednesday through Tuesday.
Nearby Location Report Zone
125th Street to Battery. Start at location, end where public transport is available. 6 a.m. - 6 p.m. only, includes 4 boroughs;
if additional travel time to/from nearest subway station needed, time paid as agreed per P.M. and Shop Steward.
Distant Location Report Zone (Independents)
Outside 50 mile radius of Columbus Circle or New York City.
Distant Location Report Zone (Majors)
Overnight assignment outside New York City.
Distant Location Special Conditions
Day Calls
Overtime
Meal Penalty
Transportation
Lodging
Meals
5 a.m. to 3 p.m.
9th - 12th hours at 1 1/2x
1st 1/2 hour $15
Economy or Tourist permitted
First class
Provided or paid; Breakfast - 4.50, Lunch - 6.50, Dinner - 9.00
Special Terms
Terms are negotiable for non-NYC based productions, shoot of less than 2 weeks and 2nd Unit photography.
Distant Location Requirements (Independent)
Idle Saturday and/or Sunday paid at 1x rate for 8 hours, plus P&W for 8 hours.
First class transportation (tourist or economy).
Travel time considered as time worked up to 8 hours.
Lodging or allowance for lodging, the same rate as other crew members of comparable status and no less than $40 per day
for board.
Distant Location Requirements (Majors)
No Idle pay for 6th and/or 7th day in workweek not worked.
Travel time considered as time worked up to 8 hours.
Reasonable allowance for board and first class lodging but no less than other crew members of comparable status.
Employer Fringe Benefits
See Fringes chapter.
Holidays
New Year's Day
Memorial Day
Columbus Day
Christmas Day
Showbiz Labor Guide 2014/2015
President’s Day
Independence Day
Veteran's Day
President’s Day
Labor Day
Thanksgiving Day
Day After Thanksgiving
New York - Page 15
LOCAL 764 - WARDROBE
NEW YORK
LOCAL 764, WARDROBE ATTENDANTS
Jurisdiction
Within 50 mile radius from Columbus Circle and including all of Long Island. Can be hired in area of jurisdiction and
transported to distant location.
Minimum Crew
One male and one female Wardrobe Supervisor.
Calls
Notify next day's start prior to dismissal.
Day Call (Independents)
May - September
October - April
Year Round
Outdoors
Outdoors
Interior or Studio
6 a.m. - 6 p.m.
6 a.m. - 3 p.m.
6 a.m. - 6 p.m.
Night Calls (Independents)
May - September
Indoors year round or outdoors
6 p.m. - 4 a.m.
October - April
Outdoors
3 p.m. - 4 a.m.
Paid minimum 4 hours worked at 1 1/2x, after 12 elapsed hours pay 2x, after 14 elapsed hours pay 2 1/2x.
Overtime (Majors)
In 1/10 hour units
FEATURES
First five days
6th day
7th day
TELEVISION
First five days
6th day
7th day
1x
1 1/2x
2x
2 1/2x
8
9-12
12
13-14
13-14
14
>14
>14
>14
8
9-12
12
>12
>12
14
>14
2x
13-14E
13-14E
14E
2 1/2x
>14E
>14E
>14E
Overtime (Independents)
In ½ hour units - Independents
First five days
6th day
7th day
1x
8
1 1/2x
9-12
12
Cancel or Postpone
Notify by 3:00 p.m. prior work day.
Workweek
Any five consecutive days out of seven consecutive days. One time during the production of a motion picture, the Producer
may shift the workweek, without incurring added costs, by adding one or two days off consecutive with the sixth and/or
seventh days of the prior workweek and/or by shifting a workweek commencing on Tuesday to a workweek commencing on
Monday, provided that the intervening Sunday is a day off. In episodic television, the Producer may shift the workweek
once during a hiatus period only.
Page 16 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
WARDROBE - LOCAL 764
The producer is allowed to have a round-trip shift in the workweek - i.e., Monday through Friday schedule may be switched
to Tuesday through Saturday schedule and return to a Monday through Friday schedule.
“Star” Waiver (Majors)
The producer may engage a dresser, not covered by the Local 764 agreement, to perform wardrobe work for a star
performer, without having to engage a corresponding person covered by the Local 764 agreement. However, such dresser
must have a prior working relationship with the star performer. Such dresser may not perform work for all the persons on
the production. The union must be notified when this provision will be utilized.
Meal Periods (Majors)
Meal periods are not less than ½ hour and no more than 1 hour.
First meal not more than 6 hours from call; subsequent meals not more than 6 hours after the end of the prior meal break.
No more than one meal period can be deducted from work time for an employee during the minimum call. A second meal
period may be deducted for employees who work in excess of the minimum call and is guaranteed 12 hours work after the
second meal period. This guarantee does not apply when such meal is supplied at the producer’s expense.
An unscheduled 12 minute grace period may be called for production efficiency prior to imposition of any meal penalties.
This grace period is not intended for everyday use.
The meal interval may be extended ½ hour (1 hour for television) without penalty when used for wrap or to complete camera
take(s) up in progress, until print quality is achieved. This extension may not be scheduled or automatic. The 12 minutes
grace period (above) may not combined with this extension.
If a crew member is given a reasonable meal (NDB) appropriate to the time of day, without deducting the time eating (30
minutes) from work time, then the first meal may be six hours after the conclusion of such meal.
Meal penalties may not impose by crew members working without direct employer supervision when given the prerogative
to arrange his/her meal periods.
Meal Penalties (Majors)
1st 1/2 hour or fraction thereof
2nd 1/2 hour or fraction thereof
3rd 1/2 hour or fraction thereof
4th 1/2 hour or fraction thereof and
each succeeding 1/2 hour
Features
$10.00
15.00
1 hour at prevailing rate
1 hour at prevailing rate
Television
$6.50
7.50
17.50
1 hour at prevailing rate
Meal Periods (Independents)
First meal not less than 3 or later than 6 hours from call; second meal not less than 3 or more than 6 hours after end of first
meal break. No more than one meal break can be deducted from pay while employee is being paid straight time. Meal
periods are 1 hour, unless producer provides hot catered 1/2 hour meal.
Penalty is 1 hour straight time pay for each hour or fraction. Food supplied by producer without taking time out not
considered a meal period. Meals given after midnight are paid meal periods.
French Hours (Majors)
If the majority of the crew of consent, “French Hours” may be instituted at the producer’s request. An employee’s consent to
the use of “French Hours” may not be a condition of employment.
Meals At A Studio
Meals need not to be provided for employees working at a studio.
Showbiz Labor Guide 2014/2015
New York - Page 17
LOCAL 764 - WARDROBE
NEW YORK
Rest Period
Ten hours.
Rest Period Violation
If short rest period, invaded hours are payable at 2x. If the employee has worked more than 14 hours, invaded hours are
payable at 2 1/2x.
Payment
All straight-time or guaranteed wages at the end of each week. Overtime and penalties will be paid at the end of the
following week.
Nearby Location Report Zone
Any location within a 30-mile radius of Columbus Circle other than Sandy Hook, NJ is considered the report-to zone. Start at
location, end where public transport is available. 6 a.m. - 6 p.m. only, includes 4 boroughs; if additional travel time to/from
nearest subway station needed, time paid as agreed per PM and Shop Steward.
Distant Location Report Zone
Outside 50 mile radius of Columbus Circle or outside of Long Island.
Distant Location Special Conditions
Transportation
Lodging
Meals
Page 18 - New York
Economy or Tourist permitted
First Class
Provided or paid. Breakfast - 8.00, Lunch - 12.00, Dinner - 25.00
Showbiz Labor Guide 2014/2015
NEW YORK
MAKE-UP AND HAIR - LOCAL 798
LOCAL 798, MAKE-UP ARTISTS AND HAIR STYLISTS
Jurisdiction
Maine, New Hampshire, Vermont, Massachusetts, Connecticut, Rhode Island, New York, New Jersey, Pennsylvania,
Maryland, Delaware, Virginia, West Virginia, North Carolina, South Carolina, Georgia, Florida and the District of Columbia.
The weekly rate for a temporary employee hired by the week is 5x the applicable daily rate.
Calls
Any 8 of 24 hours. Notify next day's start prior to dismissal. Call begins on hour or 1/2 hour.
Night Calls
All work commencing between 2 a.m. and 6 a.m. shall be paid at 1 ½ x employees regular basic hourly rate until 6 a.m.
After 6 a.m., the remainder of the first 8 hours of work performed is paid at employee’s regular hourly rate. After 8 hours
total work time, normal Overtime provisions apply.
Overtime
In 1/2 hr units
1st 5 days
6th day
7th day
Holiday Worked
1x
8
1½x
9-12
8
2x
13-14E
9-12
8
8
2½x
14-16E
13-14E
9-14E
9-14E
3x
>16E
>14E
>14E
>14E
Cancel or Postpone
Notify by 1:00 p.m. prior work day, cannot cancel "run-of-picture" except if paid in full, except for "just cause."
Workweek
The workweek is any five days out of seven.
One time during the production of a motion picture, the Producer may shift the workweek, without incurring added costs, by
adding one or two days off consecutive with the sixth and/or seventh days of the prior workweek and/or by shifting a
workweek commencing on Tuesday to a workweek commencing on Monday, provided that the intervening Sunday is a day
off.
In episodic television, the Producer may shift the workweek once during a hiatus period only.
Meal Periods
First meal not less than 3, or later than 6 hours from call; second meal not less than 3, or more than 6 hours after end of first
meal break.
No more than one meal break can be deducted from pay while employee is being paid straight time.
Meal periods are 1 hour, unless Producer provides hot catered 1/2 hour meal. Penalty is $10 for 1st 1/2 hour, $15 for 2nd
1/2 hour, then 2x prevailing rate for each additional 1/2 hour. Food supplied by producer without taking time out not
considered a meal period. Meals given after midnight are paid meal periods.
Meal Allowances
In NYC (Nearby Locations): B= $6, L=$7, D=$12
Outside NYC (Distant Locations): B=$8, L=$12, D=$25
Showbiz Labor Guide 2014/2015
New York - Page 19
LOCAL 798 - MAKE-UP AND HAIR
NEW YORK
Turnaround
10 hours. 5 day week: 50 hours or 2 consecutive days off. 6 day week: 34 hours. Penalty for invaded rest period is 1 ½ x
added to employee’s last hourly rate of the previous day, but not to exceed 3 ½ x, for the invaded hours only. However, if
more than 14 elapsed hours were passed the previous day and there is less than a 10 hour rest period, employee shall
receive 3x his regularly hourly rate until the rest period has been provided.
Payment
Paid Friday for all straight time including that Friday plus overtime from prior Wednesday through Tuesday. Check cashing
provided when no week day off.
Nearby Location Report Zone
NYC: 125th Street to Battery. Start at location, end where public transport is available.
6 a.m. - 6 p.m. only, includes 4 boroughs; if additional travel time to/from nearest subway station needed, time paid as
agreed per PM and Shop Steward.
Distant Location Report Zone
If lodged overnight.
Distant Location Special Conditions
Overtime
Transportation
Lodging
Meals
After 8 - 12 hours at 1 1/2x
Economy or Tourist permitted
First class
Provided or paid. Breakfast - 8.00; Lunch - 12.00; Dinner - 25.00
Special Terms (Independents)
If Local 798 members are used for at least 66 2/3% of principal photography (not including added scenes or retakes) then
completely flexible start time, overtime based on hours worked not elapsed hours, pension contribution is $65.00 per day in
the aggregate for each employee.
Employer Fringe Benefits
Contribution
Welfare fund
Pension
Annuity
Page 20 - New York
Per Hour Worked (Max 8 hours)
$5.57
$4.46
$8.66/day + 5% Straight Time hourly scale rate
Showbiz Labor Guide 2014/2015
NEW YORK
TEAMSTERS - LOCAL 817
LOCAL 817, TEAMSTERS
Daily and Weekly Hours
Daily rates are for 7 hours. Overtime at 2x (start time must be 8:00 or 8:30 a.m.)
Weekly rates are for 64 hours. Captains are 70 hours.
Weekly overtime is based on 1 ½ x for 35 - 60 hours, 2x for 60 - 70 hours, and 2 ½ x for over 70 hours per week. Overtime
is counted in one hour units.
Before start of job, producer must decide whether drivers will be on daily or cumulative weekly plan. Most choose weekly
plan. In current contract, daily hires on weekly plan may be paid either as daily or weekly. On weekly plan, daily rate is 1/5
weekly, up to 13 hours, 2x after. On the 64 hour cumulative week, if a driver works 4 days, must be paid for a full week.
(Note: There is also a studio week/5 day/60 cumulative hour rate. On this plan, drivers who work 4 days also must be paid
a full week.)
Minimum Staffing
Captain, others as needed. Two persons are required for any heavy equipment or truck over 18 feet.
Day Calls
April - October
November - March
Call begins on hour or ½ hour.
5 a.m. - 9:30 a.m.
6 a.m. - 10:30 a.m.
Night Calls
4 p.m. - 4 a.m. Pay 2x, 4 hour minimum. 4 p.m. Friday and before 4 a.m. Monday, 4 hour minimum call at 2x.
If night work is more than 4 hours, a meal must be provided or $6.00 meal money and a meal period given with no loss of
pay.
Rest Period
No minimum number of hours, no penalties.
Meal Periods
All meals not less than 3, or later than 6 hours from call; subsequent meals at 6 hour intervals. For subsequent meals, time
is paid. Meal periods are 1 hour. Penalty is 1 hour pay at 2x. Meal allowance is $20 per day in town, no penalties.
Meal Allowances
Breakfast
Lunch
Dinner
Showbiz Labor Guide 2014/2015
5.00
6.50
8.50
New York - Page 21
LOCAL 817 - CASTING DIRECTORS
NEW YORK
LOCAL 817 - CASTING DIRECTORS
Recognition and Scope of Agreement
This Agreement shall be applicable to all Freelance Casting Directors and Freelance Associate Casting Directors who are
working in the City of New York or in the County of Los Angeles, or who are hired in the City of New York or the County of
Los Angeles to perform services outside those locations (but within the United States) in the production of live action
theatrical motion pictures or live action prime time television motion pictures.
Employer may elect to cover under this Agreement Freelance Casting Directors and Freelance Associate Casting Directors
on productions other than the type described above, provided they are employed within the defined geographical area.
This Agreement is not applicable to Freelance Casting Directors or Freelance Associate Casting Directors engaged in hiring
Background Actors nor does it apply to Casting Directors and Associate Casting Directors engaged on other than a
freelance basis.
Associate Casting Directors may be employed on an “on call” or hourly basis.
Payment
Payment for services performed in the payroll week beginning on Sunday and ending on the following Saturday shall be
made on Thursday of the following payroll week (holiday weeks excluded). The regular pay day will be on Friday for
employees working on distant location. The parties confirm that any day worked by an employee in a partial workweek may
be prorated at the rate of one-fifth (1/5) of the weekly rate for each day worked.
Holidays
New York:
New Year's Day, Presidents' Day (third Monday in February), Good Friday, Memorial Day, Independence Day, Labor
Day, Thanksgiving, the day after Thanksgiving and Christmas
Los Angeles:
New Year's Day, Presidents' Day, Memorial Day, Independence Day, Labor Day, ColumbusDay, Thanksgiving Day, the
day after Thanksgiving and Christmas
Weekly employees will not have their weekly rate of pay reduced in the event they do not work on a recognized holiday that
falls during a workweek.
Office Space, Equipment and Payroll Service Fees
The employee and Employer may negotiate with respect to office space, equipment and payroll service fees. Disputes with
respect to whether such space and/or equipment has been provided, or whether reimbursement for such expenses has
been made in accordance with the terms of any agreement reached, shall be subject to grievance and arbitration
procedures. However, claims with respect to the adequacy or quality of the space and/or equipment shall not be subject to
grievance and arbitration.
Individual Negotiations
Nothing herein shall prevent any individual covered by this Agreement from negotiating directly with an Employer and
entering into an individual agreement with respect to terms and conditions of employment.
Loan-Out Companies
During such time as an employee is engaged by a borrowing Employer through the employee's loan-out company, the
borrowing Employer shall make pension and health contributions directly to the Motion Picture Industry Health and Pension
Plan on behalf of the employee so employed. Contributions may not be made by loan-out companies. The parties
acknowledge that the Employer's policy concerning the engagement of an employee through a loan-out company may
change and that nothing herein shall obligate the Employer to engage an employee through a loan-out company.
Page 22 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
CASTING DIRECTORS - LOCAL 817
Union Membership and Reporting
Every employee subject to this Agreement must become and remain a member in good standing of either Studio
Transportation Drivers Local #399 or Theatrical Drivers and Helpers of Local Union #817 on the 30th day following his/her
first day of employment.
If Employer is informed by the appropriate Local that any such employee has failed to join the union after written notification,
Employer is required to discharge the employee within three (3) business days, unless the employee remedies such default
within that time.
Employer is required to notify the appropriate Union within fourteen (14) business days of a newly-hired employee covered
by this Agreement. Notice must include the employee's full name, address and social security number.
Employees who heretofore have been members of one of the Unions, no matter what their current membership status, shall
be deemed in compliance with this Article by the payment of the periodic dues uniformly required of other members
classified as Casting Directors.
Showbiz Labor Guide 2014/2015
New York - Page 23
LOCAL 829 - SCENIC ARTISTS
NEW YORK
LOCAL 829, UNITED SCENIC ARTISTS
Jurisdiction
The five boroughs of New York, Nassau County on Long Island, and the area of the state of New Jersey known as the
Meadowlands. Members often work outside this area all the way from Maine down to Florida throughout the East Coast.
Minimum Crew
Pre-production-shooting: Art Director, Costume Designer Construction or Shooting: Chargeman Scenic Artist Construction
and Shooting: Chargeman Scenic Artist, Journeyman Scenic Artist at the Chargeman’s rate of pay assigned to Shooting
Crew.
Calls
Notify next day's start before dismissal on prior work day.
Day Call (Independents)
Year round, interior or exterior, 6 a.m. - 6 p.m.
Night Calls (Independents)
Start 6 p.m. - 12 midnight. Four hour minimum at 2x. "Six for Eight": If start after midnight, night calls are paid on the basis
of six hours of work for eight hours pay. Overtime is calculated on the basis of 1/6th of a day's pay being the hourly rate.
Night Premium (Majors)
Off production scenic artists given call times commencing between 8 p.m. and 4 a.m. are paid an additional 15% for the
entire shift.
Overtime (Majors)
In 1/10 hour units
1x
8
8
First 5 days, Theatrical
First 5 days, Television
6th day
7th day (4 hrs minimum)
Holiday worked
1 1/2x
9-12
9-12
8
2
12-14
over 12
9-12
All hours
All hours
2 1/2x
over 14
over 12
Overtime (Independents)
In 1/2 hour units
First 5 days
Work between 2 a.m. and 6 a.m.
6th day
7th day
Holiday worked
1x
8
1 1/2x
9-12
All hours
1-12
2
12-14E
2 1/2x
over 14E
12-14E
1-8E
1-8
over 14E
8-12E
over 8
3x
Over 16E
Cancel or Postpone
Notify by 2:30 p.m. prior work day.
Workweek
Any five days out of seven. One time during the production of a motion picture, the Producer may shift the workweek,
without incurring added costs, by adding one or two days off consecutive with the sixth and/or seventh days of the prior
workweek and/or by shifting a workweek commencing on Tuesday to a workweek commencing on Monday, provided that
Page 24 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
SCENIC ARTISTS - LOCAL 829
the intervening Sunday is a day off. In episodic television, the Producer may shift the workweek once during a hiatus period
only. For weekly employees up to three days is prorated, four days earns the week.
Meal Periods (Majors)
Six hours after call or end of prior meal.
An unscheduled 12 minute grace period may be called for production efficiency prior to imposition of any meal penalties.
This grace period is not intended for everyday use.
The meal interval may be extended 1/2 hour (1 hour for television) without penalty when used for wrap or to complete
camera take(s) up in progress, until print quality is achieved. This extension may not be scheduled or automatic. The 12
minutes grace period (above) may not combined with this extension.
If a crew member is given a reasonable meal (NDB) appropriate to the time of day, without deducting the time eating (30
minutes) from work time, then the first meal may be six hours after the conclusion of such meal.
Meal penalties may not impose by crew members working without direct employer supervision when given the prerogative
to arrange his/her meal periods.
Meal Penalty (Majors)
Features
Television
First ½ hour or fraction thereof
10.00
6.50
Second ½ hour or fraction thereof
15.00
7.50
Third ½ hour or fraction thereof
1 hr pay at prevailing rate
17.50
Fourth ½ hour or fraction thereof and each
1 hr pay at prevailing rate
1 hr rate at prevailing rate
succeeding ½ hour or fraction thereof
All meals not less than 3, or later than 6 hours from call or return from last meal. Meal periods are 1 hour, unless Producer
provides hot catered 1/2 hour meal. Penalty is for each 1/2 hour delay, pay for 2x.
Turnaround
10 hours. If short rest period 2.5x to be added to rate for invaded hours; after 14 hours work starts next day at 2.5x and
remains at that rate until 10 hour rest period is allowed.
Payment
Paid Thursday for all straight time for current week, including that Friday, plus overtime from prior week.
Check cashing provided when no week day off.
Nearby Location Report Zone
125th Street to Battery. Start at location, end where public transport is available.
6 a.m. - 6 p.m. only, includes four burroughs; if additional travel time to and from nearest subway station needed, time paid
as agreed per PM and Shop Steward.
Distant Location Report Zone
Outside 50 mile radius of Columbus Circle or outside of Long Island.
Distant Location Special Conditions
Day Calls
Overtime
Meal Penalty
Transportation
Lodging
Meals
Showbiz Labor Guide 2014/2015
5 a.m. to 3 p.m.
9th - 12th hours at 1 1/2x.
1st 1/2 hour at $15.
Economy or Tourist permitted.
First class.
Provided or paid: Breakfast - 4.50: Lunch - 6.50: Dinner - 9.00
New York - Page 25
LOCAL 829 - SCENIC ARTISTS
NEW YORK
Special Terms (Independents)
Terms negotiable for non-NYC based productions, shoot of less than 2 weeks and 2nd Unit photography.
Page 26 - New York
Showbiz Labor Guide 2014/2015
NEW YORK
SCENIC ARTISTS - LOCAL 829
POLICE AND FIRE
Police
There is no charge for the utilization of Police in New York City.
Fire
Contact the Film Commission for requirements.
Showbiz Labor Guide 2014/2015
New York - Page 27
AREA STANDARDS AGREEMENT
IATSE Area Standards Agreement ............................................................................................................................................. 1
“MARYLAND RATE” GUIDE............................................................................................................................................. 1
“Maryland” Rates (7/29/12 - 7/31/15)...................................................................................................................... 2
“NON-MARYLAND RATE” GUIDE ................................................................................................................................... 3
“Non-Maryland” Rates (7/29/12 - 7/31/15) .............................................................................................................. 4
Washington D.C. (7/29/12 - 7/31/15) ...................................................................................................................... 5
Maine, Massachusetts, New Hampshire, Rhode Island and Vermont (7/29/12 - 7/31/15) .................................... 5
Working Conditions ........................................................................................................................................................... 5
Workweek ............................................................................................................................................................... 5
Workday .................................................................................................................................................................. 5
Overtime .................................................................................................................................................................. 5
Rest Period ............................................................................................................................................................. 5
Rest Period Violation............................................................................................................................................... 6
Local, Nearby and Distant Hires ............................................................................................................................. 6
Per Diem ................................................................................................................................................................. 6
Meal Periods ........................................................................................................................................................... 6
Meal Penalties............................................................................................................................................... 6
Start and Dismissal Times ...................................................................................................................................... 7
Travel Only Days (Including Holidays).................................................................................................................... 7
Cancellation of Call ................................................................................................................................................. 7
Holidays................................................................................................................................................................... 7
Enabling Clause ................................................................................................................................................................ 7
Employer Fringe Benefits.................................................................................................................................................. 8
“Maryland” Fringe Rates ................................................................................................................................................... 8
“Non-Maryland” Fringe Rates ........................................................................................................................................... 8
Other Area Fringes............................................................................................................................................................ 9
Contact Info for IATSE Locals Included in the Area Standards Agreement ..................................................................... 9
Showbiz Labor Guide 2014/2015
Area Standards Table of Contents - Page I
NOTES:
Area Standards Table of Contents - Page II
Showbiz Labor Guide 2014/2015
AREA STANDARDS AGREEMENT
IATSE Area Standards Agreement
IATSE has a common agreement for areas not covered by the Basic Agreement or the New York production Locals.
“MARYLAND RATE” GUIDE
The “Maryland Rate” Guide applies to several geographical locations listed on the following page under “Maryland” Rates.
CONSTRUCTION, PAINT AND SCENIC
Rate
WARDROBE
Rate
Coordinator
Negotiable
Wardrobe Supervisor
Negotiable
Draftsperson
Third
Costume Designer
Negotiable
Foreman
Key
Key Wardrobe/ Lead Set Wardrobe
Key
Gang Boss
Second
Costumer/Buyer/Stylist
Third
Shop Crafts Person
Third
Set Costumer
Third
Prop/ Model Makers
Third
Key Tailor/Fitter
Second
Construction Divers
Third
Seamstress/Tailor/Stitcher/Sewer
Third
GRIPS
Rate
Buyer
Second
Tool Person
Third
Key Grip
Key
Key Scenic Artist
Negotiable
Best Boy Grip
Second
Scenic Foreperson
Key
Dolly Grip
Second
Set Painter
Third
Crane Operator
Third
Scenic Artist
Third
Grip
Third
Sign Painter/Writer
Second
Pre-Rigger
Third
ELECTRIC
On Set Painter
Second
Sculptor/Plasterer
Third
Gaffer
Key
Utility Technician*
Utility
Best Boy Electric
Second
PROPS
Generator Operator
Second
Prop Master
Key
Electrician
Third
Assistant Prop Master/ Prop Assistant
Second
Board Operator (lighting)
Second
Buyer
Third
Pipe Rigging
Third
SPECIAL EFFECTS
Prop Weapons
Second
On Set Picture Cars/Boats
Third
Special Effects Coordinator
Key
Marine Coordinator
Second
Effects Asst/ Charge Person
Second
Boat Handlers
Third
Addi’l Effects/ Powder Person
Third
Prop Person
Third
Divers
Second
SET DRESSING
SOUND
Set Decorator
Negotiable
Mixer/ Recordist
Key
Lead Person
Key
Boom Persons/ Assistant
Second
Draper/ Upholsterer
Third
Cable Person
Third
VIDEO ASSIST
Buyer
Key
First Dresser
Second
VTR/ Playback
Key
Dressers, On Set, Off Set Swing Gang
Third
Video Assist
Third
GREENS
CRAFTS SERVICE
Greens Person Foreman
Key
Key Craft Service
Second
First Greens
Second
Assistant Craft Service
Third
HAIR AND MAKEUP
On Set Greens
Third
SCRIPT SUPERVISOR
Key Makeup**
Key
Script Supervisor/Continuity**
Key
Assistant Makeup**
Second
FIRST AID
Key Hair Stylist**
Key
First Aid/Paramedic
Second
Assistant Hair Stylist**
Second
* Utility persons may be hired at the rate of 1 utility person for each 5 full journeymen hired in the Construction
Department (journeymen do not include the forepersons and gang boss classifications). This ratio will be suspended
Showbiz Labor Guide 2014/2015
Area Standards Agreement - Page 1
AREA STANDARDS AGREEMENT
for the striking of scenery after the last day of principal photography. No strike personnel will have their current wage
diminished as a result of this provision.
**
If hired locally, unless otherwise represented by another IATSE Local Union.
“Maryland” Rates (7/29/12 - 7/31/15)
For California (outside San Diego, outside the jurisdiction of Local 16 and outside the scope of the Basic
Agreement), Florida, Maryland and Michigan*, the “Maryland rate” applies:
7/29/12 - 8/3/13
All Other Television
Theatrical
Pilots, LF, 1st year of
1-Hour Series
Keys
$34.88
$32.27
$34.25
Second
31.62
29.63
30.94
Third
29.63
27.64
28.99
Utility
25.67
25.00
25.67
Theatrical
Keys
Second
Third
Utility
$35.58
32.25
30.22
26.18
8/4/13 - 8/2/14
Pilots, LF, 1st year of
1-Hour Series
$32.92
30.22
28.19
25.50
All Other Television
$34.94
31.56
29.57
26.18
8/3/14 - 7/31/15
All Other Television
Pilots, LF, 1st year of
1-Hour Series
Keys
$36.29
$33.58
$35.64
Second
32.90
30.82
32.19
Third
30.82
28.75
30.16
Utility
26.70
26.01
26.70
* Within Wayne County, Michigan, the first two persons hired locally in the Grip, Electric and Property departments
should be paid at the Key and Second rates, respectively.
Theatrical
Area Standards Agreement - Page 2
Showbiz Labor Guide 2014/2015
AREA STANDARDS AGREEMENT
“NON-MARYLAND RATE” GUIDE
This guide applies to several geographical locations listed on the following page under “Non-Maryland” Rates.
CONSTRUCTION, PAINT AND SCENIC
Rate
WARDROBE
Rate
Coordinator
Negotiable
Wardrobe Supervisor
Negotiable
Draftsperson
Third
Costume Designer
Negotiable
Foreman
Key
Key Wardrobe/ Lead Set Wardrobe
Second
Gang Boss
Second
Assistant Key
Third
Shop Crafts Person
Third
Costumer/Buyer/Stylist
Third
Prop/ Model Makers
Third
Set Costumer
Third
Construction Divers
Third
Seamstress/Tailor/Stitcher/Sewer
Third
GRIPS
Buyer
Second
Tool Person
Third
Key Grip
Key
Key Scenic Artist
N/A
Best Boy Grip
Second
Scenic Foreperson
Second
Dolly Grip
Second
Set Painter
Third
Crane Operator
Third
Scenic Artist
Second
Grip
Third
Sign Painter/Writer
Second
Pre-Rigger
Third
ELECTRIC
On Set Painter
Second
Sculptor/Plasterer
Third
Gaffer
Key*
Utility Technician**
Utility
Best Boy Electric
Second
PROPS
Generator Operator
Second
Prop Master
Key
Electrician
Third
Assistant Prop Master/ Prop Assistant
Second
Board Operator (lighting)
Second
Prop Weapons
Second
Pipe Rigging
Third
SPECIAL EFFECTS
On Set Picture Cars/Boats
Third
Marine Coordinator
Second
Special Effects Coordinator
Key*
Boat Handlers
Third
Effects Asst/ Charge Person
Second
Buyer
Third
Addi’l Effects/ Powder Person
Third
Prop Person
Third
Divers
Second
SET DRESSING
SOUND
Set Decorator
Key*
Mixer/ Recordist
Key*
Lead Person
Second
Boom Persons/ Assistant
Second
Draper/ Upholsterer
Third
Cable Person
Third
VIDEO ASSIST
Buyer
Third
First Dresser
N/A
VTR/ Playback
Key*
Dresser, On Set, Off Set Swing Gang
Third
Non-Record Video/ Video Assist
Third
GREENS
CRAFT SERVICE
Greens Person Foreman
Key
Key Craft Service
Second
First Greens
Second
Assistant Craft Service
Third
MAKEUP AND HAIR
On Set Greens
Third
SCRIPT SUPERVISOR
Key Makeup***
Key*
Script Supervisor/Continuity***
Key*
Assistant Makeup***
Second
FIRST AID
Key Hair Stylist***
Key*
First Aid/Paramedic
Second
Assistant Hair Stylist***
Second
* Television rates negotiable for these categories.
** Utility persons may be hired at the rate of 1 utility person for each 5 full journeymen hired in the Construction
Department (journeymen do not include the forepersons and gang boss classifications). This ratio will be suspended
for the striking of scenery after the last day of principal photography. No strike personnel will have their current wage
diminished as a result of this provision.
*** If hired locally, unless otherwise represented by another IATSE Local Union.
Showbiz Labor Guide 2014/2015
Area Standards Agreement - Page 3
AREA STANDARDS AGREEMENT
“Non-Maryland” Rates (7/29/12 - 7/31/15)
For Alabama, Alaska, Arkansas, Colorado, Georgia, Idaho, Indiana, Iowa, Kansas, Kentucky, Louisiana, Minnesota,
Mississippi, Missouri, Montana, Nebraska, Nevada (outside of Las Vegas), New Mexico, North Carolina, North
Dakota, Ohio*, Oklahoma, Oregon, Pittsburgh (PA), Puerto Rico**, San Diego, South Carolina, South Dakota,
Tennessee, Texas, U.S. Virgin Islands, Utah, Virginia, Washington State, West Virginia, Wisconsin and Wyoming,
the “non--Maryland rate” applies:
7/29/12 - 8/3/13
All Other Television
Theatrical
Pilots, LF, 1st year of
1-Hour Series
Keys
$30.29
Negotiable
Negotiable
Second
27.64
26.47
27.00
Third
25.00
23.89
24.37
Utility
22.37
21.29
21.72
Theatrical
Keys
Second
Third
Utility
$30.90
28.19
25.50
22.82
Theatrical
Keys
Second
Third
Utility
$31.52
28.75
26.01
23.28
8/4/13 - 8/2/14
Pilots, LF, 1st year of
1-Hour Series
Negotiable
27.00
24.37
21.72
8/3/14 - 7/31/15
Pilots, LF, 1st year of
1-Hour Series
Negotiable
27.54
24.86
22.15
All Other Television
Negotiable
27.54
24.86
22.15
All Other Television
Negotiable
28.09
25.36
22.59
*
Within Cayahoga County, Ohio, the first two persons hired locally in the Grip, Electric and Property departments shall
be paid at the Key and Second rates, respectively.
**
Drivers must be included in the bargaining unit in Puerto Rico and the Transportation Coordinator should be paid at the
Key rate. The Transportation Captain is paid at the Second rate and all drivers are paid at the Third rate.
Area Standards Agreement - Page 4
Showbiz Labor Guide 2014/2015
AREA STANDARDS AGREEMENT
Washington D.C. (7/29/12 - 7/31/15)
7/29/12 - 8/3/13
8/4/13 - 8/2/14
8/3/14 - 7/31/15
Theatrical
Television
Theatrical
Television
Theatrical
Television
Keys
$39.85
$38.87
$40.65
$39.65
$41.46
$40.44
Second
36.86
35.58
37.60
36.29
38.35
37.02
Third
33.24
32.27
33.90
32.92
34.58
33.58
Utility
28.72
26.35
29.29
26.88
29.88
27.42
* The first two persons hired locally in the Grip, Electric and Property departments should be paid at the Key and Second
rates, respectively.
Maine, Massachusetts, New Hampshire, Rhode Island and Vermont (7/29/12 - 7/31/15)
Keys
Second
Third
Utility
7/29/12 - 8/3/13
Theatrical
Television
Negotiated
Maryland Rates
$34.25
Maryland Rates
31.62
Maryland Rates
25.99
Maryland Rates
8/4/13 - 8/2/14
Theatrical
Television
Negotiated
Maryland Rates
$34.94
Maryland Rates
32.25
Maryland Rates
26.51
Maryland Rates
8/3/14 - 7/31/15
Theatrical
Television
Negotiated
Maryland Rates
$34.64
Maryland Rates
32.90
Maryland Rates
27.04
Maryland Rates
Working Conditions
Workweek
A workday is any 5 or 6 consecutive work days out of any 7 consecutive calendar days commencing with the first day
worked. The 6th day worked need not be consecutive when the employer has established a regular workweek consisting of
5 days.
The workweek may be shifted 2 times without incurring additional costs during principal photography. For episodic
television, the workweek may be shifted 2 times between the commencement or resumption of production and a cessation
of principal photography or the series for least one week. Any workweek shift will be subject to a minimum 32 hour rest
period.
Workday
8 hours excluding meal periods.
A workday starting in one calendar day and running into the next calendar day is credited to the first day except where a
work shift overlaps into a holiday or from a holiday into the next day. In those cases where the hours worked on the
calendar holiday are payable at 2x.
Overtime
In 1/10 hour units
Features
First 5 days
6th day
7th day
holidays worked
1x
8 and/or 40
1 1/2x
over 8
12
Television
2x
over 12
over 12
All hours
All hours
over 14
over 14
All hours
All hours
Rest Period
9 hours.
Showbiz Labor Guide 2014/2015
Area Standards Agreement - Page 5
AREA STANDARDS AGREEMENT
Rest Period Violation
All invaded hours are payable at additional straight time.
Local, Nearby and Distant Hires
A Local Hire’s principal residence is within 75 miles of the production location.
A Nearby Hire’s principal residence is outside of 75 miles of the production location but within the jurisdiction of the
respective Studio Mechanics Local Union. For productions located in a state that doesn’t contain a Studio Mechanics Local
(the states of Alabama, Kentucky and Arkansas), or in a state in which the Studio Mechanics Local does not have
jurisdiction throughout the state, a Nearby Hire’s principal residence is outside the 75 mile radius of the respective
production location, but is within the state in which the production is located.
Nearby Hire employees are to be paid a daily living allowance of $45 ($315 per week).
A Distant Hire’s principal residence is outside the geographical definition of a Nearby Hire. Distant hires are to be provided
with reasonable single occupancy hotel accommodations.
Employer can request employees to sign a written statement attesting to their principal residency. A false statement of
residency will result in immediate discharge.
Per Diem
Payable to Distant Hires
Breakfast
8.50
Lunch
13.00
Dinner
26.00
Any meals provided by the Producer may be deducted at these rates.
Meal Periods
First meal no earlier than 2 hours or later than 6 hours from call. Succeeding meals within 6 hours from the end of the prior
meal. Meal periods are not less than ½ hour and no more than 1 hour.
Employees called up to 2 hours earlier than the regular crew may be provided with a non-deductible hot breakfast and time
to sit and eat (within 1 hour before or after the regular crew call). Employees provided a non-deductible breakfast will have
the first deductible meal period due at the same time as the meal is due for the regular crew.
An unscheduled 12 minute grace period to complete a camera set-up in progress may be called prior to imposing any meal
penalty.
A 30 minute unscheduled grace period may be given at wrap if the employee is dismissed within ½ hour. If the employee is
not dismissed within the ½ hour extension, meal penalty is computed from the end of the 6th hour following the previous
meal. The 12 minute and 30 minute grace periods may not be combined.
Meal Penalties
1st 1/2 hour or fraction thereof
8.50
2nd 1/2 hour or fraction thereof
11.00
3rd 1/2 hour or fraction and each succeeding 1/2 hour or fraction thereof
13.50
If the majority of the crew approve, “French Hours” may be instituted on a daily basis. An employee’s consent to the use of
a “French Hours” meal system will not be a condition of employment.
Area Standards Agreement - Page 6
Showbiz Labor Guide 2014/2015
AREA STANDARDS AGREEMENT
Start and Dismissal Times
Local & Nearby Hires
Distant Hires
Set-to-set.
Mileage of $0.30 is only payable when employee is
requested to use their vehicle outside of the 30 mile
production zone.
Portal-to-portal.
In all cases, this will be based on the time of travel from
the housing accommodations provided to the Distant
Hires generally and the applicable production location.
Travel Only Days (Including Holidays)
4 hours at straight time or time actually traveled, but no more than 8 hours of straight time pay.
Cancellation of Call
If notification isn’t given by 6 p.m. of prior day’s work, employee is due an 8 hour minimum.
Holidays
New Year’s Day
Presidents’ Day
Good Friday
Memorial Day
Independence Day
Labor Day
Thanksgiving Day
The Day After Thanksgiving
Christmas Day
A holiday falling on a Sunday is observed the following Monday. A holiday falling on a Saturday is observed the preceding
Friday except that during 6th day workweeks, Saturday holidays will be recognized on Saturday.
Pay for unworked holidays is 8 hours straight time. To be eligible for unworked holiday pay, an employee must work the
scheduled workday before and the scheduled workday after the holiday. If the next scheduled workday after the holiday
follows a hiatus of 1 week or more, no holiday pay is payable.
There is no holiday pay for unworked holidays on Long-Form television productions, pilots or the first season of any onehour television series.
Enabling Clause
On each production, on a case-by-case basis, the Employer or the Union may request certain modifications to the terms
and provisions of the Area Standard Agreement which are production-specific. The Union or the Employer, as applicable,
will give consideration to such modifications and make reasonable efforts to respond to the other party within 3 business
days of the receipt of the request. Any such modifications to the agreement will be by a Letter of Understanding.
Showbiz Labor Guide 2014/2015
Area Standards Agreement - Page 7
AREA STANDARDS AGREEMENT
Employer Fringe Benefits
Contributions are to be made to either the IATSE National Annuity and Health Plan or the Entertainment Industry Flex Plan
in the following amounts:
“Maryland” Fringe Rates
For California (outside San Diego, outside the jurisdiction of Local 16 and outside the scope of the IATSE Basic
Agreement and West Coast Local Agreements), Florida, Maryland and Ohio*, the “Maryland” fringe rates apply:
7/29/12 - 8/3/13
8/4/13 - 8/2/14
8/3/14 - 7/31/15
Theatrical
TV
Theatrical
TV
Theatrical
TV
Health & Welfare
$65.00
$65.00
$70.00
$70.00
$75.00
$75.00
Annuity
19.00
15.00
19.00
15.00
19.00
15.00
Pension (Def. Ben.)
11.00
11.00
11.00
11.00
11.00
11.00
Total
$95.00
$91.00
$100.00
$96.00
$105.00
$101.00
* Pension contributions for employees in Ohio should be made to the Local 27 Pension Plan.
“Non-Maryland” Fringe Rates
For Alabama, Alaska, Arizona, Arkansas, Colorado, Georgia, Idaho, Indiana, Iowa, Kansas, Kentucky, Louisiana,
Michigan (outside Wayne County), Minnesota, Mississippi, Missouri, Montana, Nebraska, Nevada (outside Las
Vegas), New Mexico, North Carolina, North Dakota, Oklahoma, Pittsburgh (PA), Puerto Rico, San Diego (CA), South
Carolina, South Dakota, Tennessee, Texas, U.S. Virgin Islands, Utah, Virginia, West Virginia, Wisconsin and
Wyoming, the “non-Maryland” fringe rates apply:
7/29/12 - 8/3/13
8/4/13 - 8/2/14
8/3/14 - 7/31/15
Theatrical
TV
Theatrical
TV
Theatrical
TV
Health and Welfare
$61.00
$61.00
$66.00
$66.00
$71.00
$71.00
Annuity
17.00
13.00
17.00
13.00
17.00
13.00
Pension (Def. Ben.)
11.00
11.00
11.00
11.00
11.00
11.00
Total
$89.00
$85.00
$94.00
$90.00
$99.00
$95.00
Area Standards Agreement - Page 8
Showbiz Labor Guide 2014/2015
AREA STANDARDS AGREEMENT
Other Area Fringes
Washington, D.C.
7/29/12 - 8/3/13
$107.00
97.00
Features
Television
8/4/13 - 8/2/14
$112.00
102.00
8/3/14 - 7/31/15
$117.00
107.00
Maine, Massachusetts, New Hampshire, Oregon, Rhode Island, Vermont and WA State
7/29/12 - 8/3/13
$104.00
Features
Television
8/4/13 - 8/2/14
$109.00
“Maryland” fringe rates apply
8/3/14 - 7/31/15
$114.00
Las Vegas
7/29/12 - 8/3/13
8/4/13 - 8/2/14
8/3/14 - 7/31/15
$63.32
$68.32
$73.32
8% gross, payable to IATSE Local 720 Joint Trust Fund
Health & Welfare
Pension
Hawaii
7/29/12 - 8/3/13
8/4/13 - 8/2/14
8/3/14 - 7/31/15
Welfare*
$41/ day + $2.10/hr
$46/ day + $2.10/hr
$51/ day + $2.10/hr
Annuity/ Pension
$10/ day + $2.10/hr
$10/ day + $2.10/hr
$10/ day + $2.10/hr
*Per day contribution paid to the Local 665 Health and Welfare Trust Fund. All other regions pay into the IATSE National
Fund.
Contact Info for IATSE Locals Included in the Area Standards Agreement
Michigan
Local 38
www.iatseLocal38.org
Phone 313-368-0825
Fax 313-368-1151
Illinois
Local 476
www.iatse476.org
Phone 773-775-5300
Florida
Local 477
www.ia477.org
Phone 305-594-8585
Fax 305-597-9278
Louisiana and Southern
Mississippi
Local 478
www.iatse478.org
Phone 504-486-2192
Fax 504-483-9961
New Mexico
Local 480
www.iatseLocal480.com
Phone 505-986-9512
Fax 505-986-9513
Mid-Atlantic States/Virginia,
West Virginia
Local 487
www.iatse487.org
Phone 800- 394-4811
Fax 410-683-3939
Tennessee, North
Mississippi
Local 492
www.iatse492.com
Phone 888- 492- 8366
Fax 410-2039738
Atlanta, Georgia
Local 479
www.iatse479.org
Phone 404-885-9134
Fax 404-876-1837
Savannah, Georgia, North
Local 491
Carolina and South Carolina iatse491.com
Showbiz Labor Guide 2014/2015
Phone 910-343-9408
Fax 910-343-9448
Area Standards Agreement - Page 9
NOTES:
Area Standards Agreement - Page 10
Showbiz Labor Guide 2014/2015
DGA
INTRODUCTION......................................................................................................................................................................... 1 Minimum Staffing Requirements ............................................................................................................................. 1 Second Unit Work ................................................................................................................................................... 1 Distant Locations..................................................................................................................................................... 1 Deal Memorandum.................................................................................................................................................. 1 BASIC AGREEMENT (7/1/14 - 6/30/17)..................................................................................................................................... 2 Directors ............................................................................................................................................................................ 2 Theatrical Motion Pictures ...................................................................................................................................... 2 Free Television Pictures ......................................................................................................................................... 3 Network Prime Time...................................................................................................................................... 3 Non-Network or Network Non-Prime Time ................................................................................................... 3 Pilot and Spinoff Films ............................................................................................................................................ 4 Network Prime Time...................................................................................................................................... 4 De Facto Pilot.......................................................................................................................................................... 4 Series Without Pilot ................................................................................................................................................. 4 Development Services ............................................................................................................................................ 4 Location Shoots for Multiple Episodes of Dramatic Series............................................................................................... 5 Excerpts from a Free Television Program ........................................................................................................................ 5 Theatrical Motion Picture Excerpt Used in Interactive Programs ........................................................................... 5 Recap Fee ............................................................................................................................................................... 5 Flashback Fee......................................................................................................................................................... 5 Unit Production Managers, Assistant Directors and Technical Coordinators .................................................................. 6 Term Contracts ....................................................................................................................................................... 6 AD/UPM Combination ............................................................................................................................................. 6 Technical Coordinators ........................................................................................................................................... 6 Production Fee ........................................................................................................................................................ 6 Daily Rate for Employees Employed on a Daily Rate ............................................................................................ 6 WORKING CONDITIONS ........................................................................................................................................................... 7 Preparation Time..................................................................................................................................................... 7 Replacement ........................................................................................................................................................... 7 Overtime - Assistant Directors and UPMs ........................................................................................................................ 7 Work On Two Calendar Days in Single Shift .......................................................................................................... 8 Distant Location Incidental Allowance .................................................................................................................... 8 Holidays, Sixth and Seventh Days Worked ............................................................................................................ 8 Directors ........................................................................................................................................................ 8 Assistant Directors, UPMs and Technical Coordinators............................................................................... 8 Holidays Not Worked .................................................................................................................................... 9 Vacation Pay ................................................................................................................................................. 9 Rest Period ............................................................................................................................................................. 9 Rest Period Violation .............................................................................................................................................. 9 Miscellaneous Allowances .................................................................................................................................... 10 Discharge for Unsatisfactory Performance (Capricious Discharge) ..................................................................... 10 Completion of Assignment Pay ............................................................................................................................. 10 Underwater Work and Air Flight ............................................................................................................................ 10 Pension, Health and Welfare Plans ...................................................................................................................... 10 Insurance............................................................................................................................................................... 11 Travel Class .......................................................................................................................................................... 11 DGA TRAINEE PROGRAM ...................................................................................................................................................... 11 Trainee Rest Period .................................................................................................................................... 11 FREELANCE LIVE AND TAPE TELEVISION AGREEMENT (7/1/14 - 6/30/17) ..................................................................... 12 Directors .......................................................................................................................................................................... 12 Dramatic Programs ............................................................................................................................................... 12 Variety Programs .................................................................................................................................................. 12 Segments .................................................................................................................................................... 13 Quiz and Game Shows ......................................................................................................................................... 13 Showbiz Labor Guide 2014/2015
Table of Contents DGA - Page I
DGA
Quiz and Game Network Prime Time ......................................................................................................... 13 Quiz and Game Shows Non-Network Prime Time ..................................................................................... 13 Strip Programs ...................................................................................................................................................... 13 Dramatic - Non-Network and Network Non-Prime Time (Per Show) ......................................................... 13 Variety - Non-Network or Non-Prime Time (Five Per Week)...................................................................... 14 Quiz and Game - Non-Network or Non-Prime Time (5 Per Week) ............................................................ 14 Pilots and Spinoff Programs ................................................................................................................................. 14 Network Prime Time - Dramatic, Variety, Quiz and Game Shows ............................................................. 14 De Facto Pilot.............................................................................................................................................. 14 Series Without Pilot ..................................................................................................................................... 15 Series Bonus ............................................................................................................................................... 15 Associate Directors and Stage Managers ...................................................................................................................... 15 Preparation Time................................................................................................................................................... 15 Working Conditions ......................................................................................................................................................... 15 Overtime ................................................................................................................................................................ 15 Single Camera Tape Programs .................................................................................................................. 15 Other than Single Camera Tape Programs ................................................................................................ 16 Other than Prime Time Dramatic Programs ............................................................................................... 16 Sixth and Seventh Day Worked ............................................................................................................................ 16 Prime Time Dramatic Programs ................................................................................................................. 16 Other Than Prime Time Dramatic Programs .............................................................................................. 16 Holidays................................................................................................................................................................. 16 Holidays Not Worked .................................................................................................................................. 16 Holidays Worked - Director ......................................................................................................................... 16 Prime Time Dramatic Programs ................................................................................................................. 16 Other Than Prime Time Dramatic Programs .............................................................................................. 16 Holiday and Vacation Pay ..................................................................................................................................... 17 Rest Period ........................................................................................................................................................... 17 Prime Time Dramatic Programs ................................................................................................................. 17 Rest Period Violation .................................................................................................................................. 17 Other Than Prime Time Dramatic Programs .............................................................................................. 17 Distant Location Incidental Allowance .................................................................................................................. 17 Completion of Assignment Pay ............................................................................................................................. 17 Capricious Discharge ............................................................................................................................................ 18 Discharge Without Cause ..................................................................................................................................... 18 BASIC CABLE........................................................................................................................................................................... 19 High Budget Dramatic Programs .................................................................................................................................... 19 All DGA Employees Except Directors and Second Unit Directors ............................................................. 19 SIDELETTER ON PROGRAMS PRODUCED FOR NEW MEDIA........................................................................................... 20 Derivative New Media Productions ................................................................................................................................. 20 Staffing Requirements .......................................................................................................................................... 20 Wages, Terms and Conditions ............................................................................................................................. 20 Original “Made for New Media” Productions................................................................................................................... 20 Staffing Requirements .......................................................................................................................................... 20 Wages, Terms and Conditions ............................................................................................................................. 20 Experimental New Media Productions ............................................................................................................................ 20 Page II - Table of Contents DGA
Showbiz Labor Guide 2014/2015
DGA
INTRODUCTION
INTRODUCTION
The wage scales and working conditions of directors and their immediate subordinates are principally defined by the
Directors Guild of America, Inc. (DGA) in two agreements: the Basic Agreement (BA) and the Freelance Live and Tape
Television Agreement (FLTTA). The former deals with motion pictures recorded on film, the latter with programs produced
live and/or recorded on videotape. Coverage extends to those employees who either work on projects based in the United
States and executed in the U.S. or Canada or are employed by producer in the U.S. specifically to work on a production
based outside of the U.S. Depending upon the agreement in question, such employees are classified as follows:
BASIC AGREEMENT
Director
Unit Production Manager (UPM)
First Assistant Director
Second Assistant Director
Technical Coordinator
FLTTA
Director
Associate Director (AD)
Stage Manager (SM)
Minimum Staffing Requirements
Unit Production Manager, First Assistant Director, and Second Assistant Director.
Second Unit Work
Where a second accredited Director is assigned, the First Assistant Director (or a Second Assistant Director at the pay of a
First Assistant Director) must also be assigned. If a First Assistant Director is assigned to direct the second unit, a Second
Assistant Director (or a First Assistant Director) must be assigned at the rate of the First Assistant Director. Furthermore,
First Assistant Director and a Second Assistant Director must be assigned where 20 or more persons are employed to be
photographed.
Distant Locations
An employee's address listed with the Guild is the determining factor in the calculation of distant location pay and benefits.
Employer must verify a Guild members address at the time he/she is employed by checking the employment address
printed on the membership card. Guild members may only change address once every 12 months. Notice must be in writing
and may not go into effect until 60 days after the notice. For employees hired for the first time under the BA or FLTTA
Agreements, the Employer must, within three days after employment, obtain documentation of the Employees home
address by getting at least one of the following: voter registration, automobile registration, mortgage statement and
telephone or other utility bill.
Second Assistant Directors not on the qualification list, hired on distant location, may only be hired if residing within a 75
mile radius of the production office (or the location if there is no production office). Otherwise, the Second Assistant Director
must be on the qualification list.
If a Director is sent outside the United States for photographing of principal photography, then a First Assistant Director will
also be employed from the United States unless there is a foreign labor restriction, quota or law prohibits. The Employer will
give the Guild prompt written notice where a First Assistant Director cannot be taken due to the foregoing conditions.
Deal Memorandum
Following the oral confirmation between Employer and a Director, Unit Production Manager (UPM), Assistant Director (AD)
or Technical Coordinator (TC) of the rate of compensation and the starting date for proposed employment, the Employer will
deliver a "Deal Memorandum" to the Guild and to the Director, UPM, Assistant Director or Technical Coordinator prior to his
or her employment. Deal memos can be obtained via DGA's fax-on-demand documents (310) 289-5355.
Showbiz Labor Guide 2014/2015
DGA - Page 1
BASIC AGREEMENT
DGA
BASIC AGREEMENT (7/1/14 - 6/30/17)
Directors
Theatrical Motion Pictures
Guaranteed
Employment*
Prep Time*
Low Budget (to $500,000)
8 weeks
2 weeks
1 week
Medium Budget ($500,000 to
$1,500,000)
10 weeks
2 weeks
1 week
Type of Picture
High Budget ($1,500,000+)
Term
Cutting Time***
10 weeks
2 weeks
1 week
20 or more out of 26
weeks or any
multiple of such
None
None
1 week and 1 day
per film
2 days
None
1 week or 1 day
****
None
Trailers, Talent Tests & Promos
Freelance Shorts &
Documentaries
Second Units
*
Guaranteed Period of Employment - In the event of a change or substitution of a Director, the substituting Director will
only be guaranteed the unexpired portion of the previous Director’s guarantee, at not less than double minimum
compensation for the work performed.
**
Preparation time will be added to guaranteed employment period for Directors employed at a weekly salary of double
minimum or less who will receive full salary during such preparation time.
*** Cutting allowance will also be added to guaranteed employment period for Directors receiving double minimum or less,
who will receive full salary during such cutting allowance time.
**** One day preparation for one days’ shooting; two days preparation for two or three days shooting; three days’
preparation for four or more days shooting. However, this preparation time requirement will not apply to any
unplanned units or emergencies, or where preparation time is not needed because the Director of the second unit
work has been working on the production in a different Guild capacity covered by the terms of the BA or FLTTA.
Daily Rate - The daily rate for daily employment will be one-fourth of the weekly rate payable for the particular type of
picture. The daily pro-rata rate for weekly employment following the guaranteed period will be 1/5 of the Director's weekly
rate. Directors may only be employed on daily basis in specific circumstances, such as second units, trailers, added
scenes, etc.
Page 2 - DGA
Showbiz Labor Guide 2014/2015
DGA
BASIC AGREEMENT
Free Television Pictures
Network Prime Time
ABC, CBS, NBC and FBC
Length
30 min***
60 min***
90 min
120 min
*
**
Guaranteed Days**
7 (4/3)
15 (8/7)
25 (13/12)
42 (27/15)
One day preparation for one days’ shooting; two days preparation for two or three days shooting; three days’
preparation for four or more days’ shooting. However, this preparation time requirement will not apply to any
unplanned units or emergencies
Parenthesis = Days included which need not be consecutive.
*** “Supersized” episodes: If a ½ hour or 1 hour prime time episode is extended (“supersized”) up to 15 minutes beyond
the usual time period for such a series, director’s initial compensation is to be the regular rate for that time period plus
50% of the difference between that rate and the next highest rate. Three days are added to the guaranteed period for
½ hour series, five days are added for 1 hour series.
Non-Network or Network Non-Prime Time
Type of Employment/Length of Film
Guaranteed Days*
(Shooting Prep)
Term Contract - 20 of 26 weeks or multiples thereof
None
Trailers & Promos - Weekly
See Section 10-110
Trailers & Promos – Daily
See Section 10-110
7 minutes or less
1 day
8 - 15 minutes
16 - 30 minutes
6 days (3/3)
1 hour
6 days (3/3)
90 minutes
12 days (6/6)
91 - 120 minutes
18 days (9/9)
1 day (for each add’l film)
24 days (12/12)
Second Units
* Guaranteed days (shooting/prep) time. Total guaranteed days shown are the maximum allowed for the applicable rate.
The first number in the parenthesis indicates the maximum number of shooting days allowed within the total number
of guaranteed days.
(Allowed 2 films during guaranteed period. For third and subsequent film, an additional 3 days pro rata compensation,
for which employer will be entitled to an additional 3 consecutive days per film.)
Compensation beyond Guarantee - In computing compensation to a Director originally employed on a weekly basis for a
fractional week following the guaranteed period, the rate per day will be one-fifth of the Director's weekly rate. Weekly
salary is computed by dividing the minimum guarantee per show by the number of days guaranteed and multiplying that
amount by 5 days.
2nd Unit Director will be compensated at the weekly rate applicable to the program for which he is employed (including pilot
or spinoff films), or on a daily basis at ¼ the applicable weekly rate for each day so employed.
For a double length episode of an episodic series, a serial Director may be employed at 200% of minimum and 200% of the
guaranteed days appearing in the schedule above. For Network Prime Time programs in excess of two hours, the minimum
Showbiz Labor Guide 2014/2015
DGA - Page 3
BASIC AGREEMENT
DGA
and guaranteed days will be computed at the two-hour rate plus pro rata of the one-hour schedule; and the additional days
may be allocated between shooting and preparation time at Employer's discretion.
Directors employed under term contract who, during such term, direct a Network Prime Time Show(s) will be adjusted to the
Network Prime Time Show rate for the period of time spent in directing such show(s). This is provided, however, that the
Employer will be entitled to offset against such an adjustment, all compensations paid under such a contract for the period
of time the Director is not assigned to direct any motion picture hereunder.
If a television motion picture is produced for Non-Prime Time Network broadcast under a budget equivalent of that of a
similar type of television motion picture produced for Network Prime Time broadcast, the Director's salary will be paid at the
applicable Network Prime Time rate.
Pilot and Spinoff Films
In connection with pilots and spinoff episodes for Network Prime Time, the director will be paid the following compensation:
Network Prime Time
Guaranteed Length
½ hour
1 hour
1½ hours
2 hours
Excess Days
Days
14
24
34
50
De Facto Pilot
If a television series is produced based upon characters in a television program not originally intended as a pilot or spinoff
episode, the Director will be paid the difference between the compensation originally paid and the applicable pilot fee set
forth above. Only one such payment will be made for any new series. If there is more than one Director entitled to
payment, the Guild will determine the allocation.
Where a theatrical motion picture is used as a pilot for the sale of a television series (where no actual pilot is produced), the
Director of such theatrical motion picture is entitled to additional compensation as set forth above. This provision will not
apply where such Director is paid the minimum theatrical rate plus double the minimum television rate for the actual series
length. If the Director was paid in excess of the theatrical minimum but less than the theatrical plus double minimum
television rate, then the Director will be paid the difference between the amount set forth above and the amount originally
paid.
Series Without Pilot
In connection with the first produced film of an open-faced series which is ordered without a pilot, minimum will be 150% of
scale.
Development Services
If a Director, at the request of an Employer, renders services in supervising development of a screenplay or teleplay (as
distinguished from reviewing or commenting upon a completed teleplay) for a prime time dramatic program of 90 minutes or
longer with the option to direct, and if such option is not exercised or if the director is replaced or the production is
abandoned, he or she will receive the following compensation at the time a movie or television program based on such
screenplay/teleplay is produced, if at all, provided one or more of the writers supervised by such Director in development is
accorded writer credit and provided further, the Company realizes revenues from the production. Payments made to the
Director in connection with development will apply towards the minimum compensation.
Page 4 - DGA
Showbiz Labor Guide 2014/2015
DGA
BASIC AGREEMENT
Location Shoots for Multiple Episodes of Dramatic Series
When a Director directs a scene or scenes from a network prime time one-hour TV show on location, such Director will be
paid 150% of the daily rate. If such shooting is in excess of five hours, one day of prep is due.
Excerpts from a Free Television Program
Employer will pay for each excerpt a one-time-only sum to the Director(s) determined by the Guild to be entitled to such
compensation and prorated as determined by the Guild.
Theatrical Motion Picture Excerpt Used in Interactive Programs
A one-time only fee of $2,500 is due to Director for excerpts used in interactive programs such as video games. This fee
does not cover payments that may be otherwise due for the use of excerpts on DVDs included with board games.
Recap Fee
$230 for each minute or fraction thereof exceeding 90 seconds when utilizing on a program up to 60 minutes; 120 seconds
for programs over 60 minutes.
Flashback Fee
or each minute or fraction thereof in excess of 30 seconds.
Note: Information on director’s holiday, vacation, hazard, 6th and 7th day pay are covered in Working Conditions.
Showbiz Labor Guide 2014/2015
DGA - Page 5
BASIC AGREEMENT
DGA
Unit Production Managers, Assistant Directors and Technical Coordinators
Term Contracts
A minimum of 23 out of 26 weeks or multiples thereof.
AD/UPM Combination
(studio or location) = 125% of UPM salary and may only work on one picture at a time.
Technical Coordinators
Type of Employment
Days Guaranteed
½ hour show
3
Two ½ hour shows (back to back)
5
Weekly
5
Daily
1
Note: For pilots and one-hour dramatic series within their first 2 production seasons, rates will be those in effect during the
previous period.
Production Fee
Producer will pay a production fee to all UPMs, First Assistant Directors and Key Second Assistant Directors working in
conjunction with a shooting unit for all days. Starting with commencement of principal photography or second unit
photography, if separate, and continuing until completion of principal photography or second unit photography, as the case
may be, the production fee will be calculated on the basis of the weekly amounts set forth below. Production fee will not be
payable for those days on which photography is suspended or not in progress by reason of the following circumstances: (1)
suspension of production for "force majeure; (2) sixth day in a studio workweek not worked; (3) seventh day in Employee's
workweek not worked; (4) unplanned interruptions in photography of five consecutive days or more; and (5) interruptions in
photography where Producer gives not less than 24 hours advance notice to the employee.
The foregoing notwithstanding, in so-called three-camera shows, one day of rehearsal or camera blocking will be added in
the computation of the days for which the production fee is payable.
Note: For pilots and one-hour dramatic series within their first 2 production seasons, production fees will be those in effect
during the previous period.
The production fee is not payable to any Second Second AD or Additional Second AD.
The production fee will be included in the computation of Pension Plan and Health and Welfare Plan payments but will be
excluded from all other computations, such as rest period violation payments, completion of assignment pay, etc.
Daily Rate for Employees Employed on a Daily Rate
Minimum payment will be ¼ of the applicable weekly studio or location rate including ¼ of the applicable production fee.
Page 6 - DGA
Showbiz Labor Guide 2014/2015
DGA
BASIC AGREEMENT
WORKING CONDITIONS
Preparation Time
Length of Film
TV Films*
15 minutes or less in length
16-30 minutes in length inclusive
Guaranteed Preparation Days Per Film
1st Assistant Director
2nd Assistant Director
1 ½ days
3 days each
31-60 min. in length inclusive
6 days each
61-90 minutes in length inclusive
91-180 minutes length inclusive
Theatrical Features
Shorts
10 days each
15 days each
15 days each
2 days each
1 day each
2 days if pilot or 1st episode
2 days each
3 days if pilot or 1st episode
5 days each
7 days each
7 days each
1 day each
Replacement
UPM
1st A.D.
2nd A.D.
Only if not already assigned to the show.
*
5 Days
5 Days
2 Days
In the event a television motion picture or mini series which is shot consecutively has a running time in excess of three
hours, then additional preparation time will be allowed as follows:
First Assistant Director: two days’ preparation time will be added for each hour of running time in excess of three
hours up to a maximum of ten hours; and if the running time exceeds 10 hours, then one day preparation time will be
added for each hour of running time in excess of ten.
Second Assistant Director: one additional day of preparation for each hour of running time in excess of three hours to
a maximum of ten hours of running time.
Such above preparation time, where applicable, will be guaranteed only to the first assigned First Assistant Director
and the first assigned Second Assistant Director, as the case may be, on any such film.
Subject to director’s availability, some non-consecutive days of preparation may be applied to producer’s obligation
for TV films 60 minutes or less; see Basic Agreement for details.
Overtime - Assistant Directors and UPMs
UPM and Additional Second Assistant Director - After 16 hours and for each four-hour period or fraction thereof, payment
will be an additional day's salary.
First Assistant Director - The workday for a First Assistant Director starts at the general crew call and ends at the time of
camera wrap. On distant locations, travel time is added to the end of the workday.
Other than Multi-Camera Stage Shows
Over 14 hours, but less than 16 hours = ½ day's salary.
Over 16 hours, but less than 20 hours = the above plus additional ½ day's salary.
Showbiz Labor Guide 2014/2015
DGA - Page 7
BASIC AGREEMENT
DGA
In addition to the above, if over 20 hours, a day's salary for each four-hour period or portion thereof.
Multi-Camera Stage Shows
First Assistant Director - If over 16 hours worked, an additional day's salary for each four-hour period or portion thereof.
Second Assistant Directors - The workday for Key Second Assistant Directors and Second Assistant Directors start at the
earlier of the general crew call, make-up personnel call or hairdressing personnel call and ends one-half hour after camera
wrap in the studio or local location or one hour after camera wrap at a distant location. On distant locations, travel time is
added to the end of the workday.
Other than Multi-Camera Stage Shows
Studio or local location over 13 hours but less than 16 hours = ½ day's salary.
Distant location over 14 hours but less than 16 hours = ½ day's salary.
In addition to the above, if over 16 hours, an additional day's salary for each four-hour period or portion thereof.
Work On Two Calendar Days in Single Shift
An Assistant Director, UPM or Technical Coordinator who works 14 hours and past 1:00 a.m. into a 6th or 7th day and is not
given a 33 hour rest period for 1 day off or 50 hour rest period for two days off is due payment for second calendar day at 6th
or 7th day rate as appropriate.
Distant Location Incidental Allowance
UPMs and Assistant Directors will receive in addition to their current studio rate, a distant location incidental allowance of
$18.00 per day, payable at the same time and in the same manner as the per diem allowance.
Holidays, Sixth and Seventh Days Worked
For the purpose of determining Directors, UPMs, Assistant Directors or Technical Coordinators premium pay for a sixth
and/or seventh day worked, an unworked holiday is counted as a day worked.
Directors
For a sixth day worked in a studio workweek (i.e., either of the two designated days off in an employee’s five-day workweek)
the Director is paid the lower of 150% of contracted pro rata daily salary or 200% of scale. However, if the Director is
employed on a "flat" deal, said Director is only entitled to one-fifth of contracted weekly salary.
Holiday or 7th Day Worked
* In addition to base salary.
7/1/11 - 6/30/14
2,961*
Travel or scouting on the sixth, seventh or holiday worked in a studio workweek will be compensated by payment of pro rata
daily employment only.
Directors receiving more than 300% of minimum compensation may agree to waive additional pay for travel.
Assistant Directors, UPMs and Technical Coordinators
For a sixth day worked in a studio workweek, employee will be paid 150% of gross daily salary if daily employee; or one-fifth
of gross weekly salary for weekly employees.
For a seventh day worked in an employee's workweek, employee will be paid 200% of gross daily salary if daily employee;
or one-fifth of gross studio weekly salary if weekly employee.
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Showbiz Labor Guide 2014/2015
DGA
BASIC AGREEMENT
The production fee, if applicable, will be included in the pro rata calculation for sixth or seventh day worked or holiday pay.
Holidays Not Worked
As compensation for holidays not worked, freelance or term Assistant Directors, UPMs and Technical Coordinators receive
3.719% of total salary paid during employment. A freelance employee’s payment is due at the end of production; term
employees are paid by April 15 in the calendar year subsequent to the calendar year in which such earnings are
accumulated, offset by any unworked holidays actually paid.
For UPMs and ADs working on a single-camera pilot or episode of a one-hour series during the first year of the series,
Unworked Holiday pay will be reduced by 50%.
Vacation and completion of assignment pay are excluded from this calculation.
Vacation Pay
Each Assistant Director, UPM and Technical Coordinator will receive 4% of total salary as earned vacation pay upon layoff,
dismissal or following a one-year period from the anniversary date of employment, whichever is the earliest.
For UPMs and ADs working on a single-camera pilot or episode of a one-hour series during the first year of the series,
vacation pay will be reduced to 2%.
Rest Period
Director: 11 Hours.
In the event the time elapsing between wrap on one day and the time the Director is required to be on the set the following
day, or the call of the Director of Photography on the following day, whichever is later, is less than 11 hours, Employer will
make a contribution to the Directors Guild of America Educational Fund and Benevolent Foundation. $750 for each such
incursion into the rest period of the Director, but no payment will be due hereunder unless the Director of Photography
receives forced call payment.
Assistant Directors, UPMs, Technical Coordinators and Trainees: 9 hours.
At the studio and nearby locations, the rest period starts one hour after the company wrap and ends one hour prior to the
next shooting call of such shooting unit; for the Second Assistant Director the rest period ends at the earlier of the first
make-up call or the general crew call.
At distant locations, the rest period starts one hour after the company wrap plus normal travel time from the shooting site to
the production office and ends one hour prior to the next company leaving call of such shooting unit. If there has been a
permissible upgrading from Second Assistant Director to First Assistant Director or UPM, please refer to Basic Agreement
for rulings and example.
Rest Period Violation
For Assistant Directors, UPMs and Technical Coordinators, additional compensation will be computed as follows:
If such rest period is more than 4 ½ hours, he or she will be entitled to receive ¼ day's salary for each hour that such rest
period is less than 9 hours.
If such rest period is 4 ½ hours or less he or she will be entitled to receive ¼ day's salary for each hour worked from the end
of such invaded rest period until commencement of a full nine-hour rest period, deducting from such payment only the
actual hours of rest given to Employee during the forced call.
For Trainees, rest period violations will be paid at additional straight time for invaded hours or partial hours.
Showbiz Labor Guide 2014/2015
DGA - Page 9
BASIC AGREEMENT
DGA
Miscellaneous Allowances
Distant Location Allowance: $20.00
Dinner Allowance: $28.00
Use of automobile: Current IATSE rate per mile
Discharge for Unsatisfactory Performance (Capricious Discharge)
UPMs, Assistant Directors, Associate Directors and Stage Managers employed for at least three consecutive weeks must
receive at least two working days notice of unsatisfactory performance in advance of any discharge other than for cause. If
the Employer fails to give this notice and discharges the Employee, the Employer must pay one week and two days salary
in addition to any other termination pay due the employee. If over 50% of assignment has been completed, then 3 weeks
completion of assignment pay is due.
Completion of Assignment Pay
Due at the completion of final assignment, payment is based on actual salary (including over scale but excluding production
fees and rest period violations). Payment is calculated by totaling all compensation and dividing the total thereof by the
number of weeks worked.
Freelance, First and Key Second Assistant Directors (excluding additional Second ADs), UPMs and Technical Coordinators
receive 1 week's salary for 2 or more consecutive weeks of employment and 22 days pay for less than 2 weeks worked
unless employed on a daily basis for less than 5 days.
In the case of First and Key Second Ads working on multiple camera shows, such payments received for Hiatus Weeks
during the course of the season will be treated as salary and subject to pension, health, vacation and unworked holiday pay
(see Article 24 of the Basic Agreement). These employees are still entitled to non-pensionable COA pay at the conclusion of
the season.
Calculating Completion of Assignment pay:
Add employee’s salary, any over scale payments and paid holidays, then divide by the number of weeks worked. If a partial
week, divide by tenths of a week.
Example: $14,869 / 6.6 (6 week, 3 day) = $2,257
Pay either the amount calculated or one week’s salary at the highest category assigned, whichever is greater. In the above
example, the employee would receive the calculated amount ($2,257).
Vacation pay, production fee (if separated), extended pay, 1st period violations and unpaid holidays are not included when
calculating completion of assignment pay.
Underwater Work and Air Flight
Directors and First or Second Assistant Directors receive $170 per flight or dive in connection with a picture being
photographed in flight or under water.
Pension, Health and Welfare Plans
See "Fringes." Pension, Health and Welfare are calculated on the employee’s salary. The term “salary” means the gross
salary, excluding the following:
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Showbiz Labor Guide 2014/2015
DGA
BASIC AGREEMENT
Salaries in excess of $200,000 for pension calculation, $250,000 for health & welfare, in connection with any single
theatrical motion picture (this ceiling will apply to a Director’s salary payable for theatrical exhibition of a television
film);
A Director’s salary in excess of $200,000 for any one television motion picture in excess of the initial compensation
actually paid for such television motion picture or in excess of 250% of applicable minimum compensation, whichever
amount is greater. With respect to television motion pictures, all residual compensation will be included until the
ceiling is reached, if at all;
Vacation, severance or completion of assignment pay;
Penalties, allowances, distant location per diem, aircraft flight or underwater work allowances;
Cost of transportation or living expenses paid to or on behalf of the Employee; and,
Travel insurance.
Insurance
The company is to provide for all covered employees accidental death and dismemberment insurance in the following
amounts: $200,000 (non-air), $250,000 (air) and $350,000 (helicopter) per airplane with seven or less people.
Travel Class
Coach air travel is allowed for domestic flights (and flights to Vancouver/Toronto) of less than 1,000 miles when the flight is
non-stop from departure to final destination. Elevated coach class is required when available.
All other flights must be business class or higher. If business class is not available, first class is required. Baggage fees and
in-flight meals for coach travel will be reimbursed upon request, if submitted with receipts within 30 days after flight.
DGA TRAINEE PROGRAM
Los Angeles based producers will contribute .5% of gross DGA payroll to the DGA Producer Training Program Trust Fund.
The Directors Guild has established a Producer Training Plan for training a sufficient number of qualified Assistant Directors
and UPMs to meet the needs of the industry. This program provides the methods for placing such qualified persons as
Assistant Directors.
*
Each period will consist of 100 cumulative days of actual on-the-job training.
**
Employees under this schedule will be paid at the scheduled Regular Basic Hourly Rate for the first 40 hours of the
workweek and not less than 1½x such basic hourly rate of pay for all time over 40 hours. However, for Employers
who absent themselves without the consent of the Employer, payment may be reduced 1/5th of the weekly guarantee
for each day of absence.
Trainee Rest Period
9 hours from dismissal to next day’s call time. Invaded hours to be paid at addition straight time or portion thereof.
Showbiz Labor Guide 2014/2015
DGA - Page 11
VIDEOTAPE (FLTTA)
DGA
FREELANCE LIVE AND TAPE TELEVISION AGREEMENT (7/1/14 - 6/30/17)
Directors
Dramatic Programs
Program Type and Running Time
NETWORK PRIME TIME
0-15 minutes
16-30 minutes
31-60 minutes***
61-90 minutes***
91-120 minutes**
NON-NETWORK OR NETWORK NON-PRIME TIME (HIGH BUDGET)
0-15 minutes
16-30 minutes
31-60 minutes***
61-90 minutes***
91-120 minutes**
NON-NETWORK OR NETWORK NON-PRIME TIME (LOW BUDGET)
0-15 minutes
16-30 minutes
31-60 minutes***
61-90 minutes***
91-120 minutes**
Included Days*
4
7 (1)
15 (2)
25 (4)
42 (7)
3
6 (1)
12 (2)
24 (4)
25 (5)
2
4
5
6
7
Variety Programs
This category includes specials such as beauty pageants and awards programs. Also included are parades for which
broadcast rights are purchased and which include variety acts employed by and staged by the Company. Other parades are
classified as "All Other."
Program Type and Length
Included Days*
NETWORK PRIME TIME VARIETY SERIES
0-15 minutes
3
16-30 minutes
5 (1)
31-60 minutes**
9 (2)
61-90 minutes***
18 (4)
Over 90 minutes
24 (5)
NETWORK PRIME TIME VARIETY SPECIAL
0-30 minutes
10 (2)
31-60 minutes**
18 (4)
61-90 minutes**
36 (8)
Over 90 minutes
48 (10)
NON-NETWORK OR NETWORK NON-PRIME TIME VARIETY (HIGH BUDGET)
0-15 minutes
3
16-30 minutes
6 (1)
31-60 minutes**
9 (2)
61-90 minutes**
14 (4)
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DGA
VIDEOTAPE (FLTTA)
Over 90 minutes
18 (5)
NON-NETWORK OR NETWORK NON-PRIME TIME VARIETY (LOW BUDGET)
0-15 minutes
2
16-30 minutes
4
31-60 minutes**
5
61-90 minutes**
6
Over 90 minutes
7
Segments
Length
Included Days
Less than 5 minutes by an add'l Director
1
NOTE: If segment is equal to one half or more of the entertainment portion the Director will receive the applicable minimum
for the program.
Quiz and Game Shows
Quiz and Game Network Prime Time
Program Length
(including FBC)
0-15 minutes
16-30 minutes
31-60 minutes
61-90 minutes
Included Days
2
3
4
5
Quiz and Game Shows Non-Network Prime Time
Program Length
0-15 minutes
16-30 minutes
31-60 minutes
61-90 minutes
Included Days
2
3
4
5
Strip Programs
Dramatic - Non-Network and Network Non-Prime Time (Per Show)
Program Length
0-15 minutes
16-30 minutes
31-60 minutes
Showbiz Labor Guide 2014/2015
Included Days
1
2
3
DGA - Page 13
VIDEOTAPE (FLTTA)
DGA
Variety - Non-Network or Non-Prime Time (Five Per Week)
Program Length
Included Days
0-15 minutes
16-30 minutes
31-60 minutes
Over 60 minutes
3
6
7
8
Quiz and Game - Non-Network or Non-Prime Time (5 Per Week)
Program Length
0-15 minutes
16-30 minutes
31-60 minutes
Over 60 minutes
Included Days
3
6
7
8
The minimum fee for a replacement Director will be one-fourth of the applicable five-time-a-week fee.
A Director who is employed on a basis other than five times per week will receive a percentage of the applicable five per
week rate as follows:
Number of Programs
Applicable %
1 per week
40%
2 per week
60%
3 per week
75%
4 per week
85%
6 per week
120%
7 per week
140%
Pilots and Spinoff Programs
Network Prime Time - Dramatic, Variety, Quiz and Game Shows
% of Applicable Program Fee For
% of Applicable Included Days For Program
Length
Program Type
Type
½ Hour
285%
200%
1 Hour
220%
165%
1½ Hour
170%
135%
2 Hours
140%
120%
For each additional hour over 2 hours, the applicable Network Prime Time program minimum rates based on the one hour
rate will be payable. Days in excess of maximum will be prorated to actual salary but no less than 200% of applicable rate
for additional days. For all other pilots and spinoffs the Director will be paid no less than 100% of the applicable program
fee. If pilot or spinoff is subsequently aired, Director will receive an additional 100%.
De Facto Pilot
If a television series is produced based upon characters in a television program not originally intended as a pilot or spinoff
episode, the Director will be paid the difference between the compensation originally paid and the applicable pilot fee set
forth above. Only one such payment will be made for any new series. If there is more than one Director entitled to
payment, the Guild will determine the allocation.
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Showbiz Labor Guide 2014/2015
DGA
VIDEOTAPE (FLTTA)
Where a theatrical motion picture is used as a pilot for the sale of a television series (where no actual pilot is produced), the
Director of such theatrical motion picture is entitled to additional compensation as set forth previously. This provision will not
apply where such Director is paid the minimum theatrical rate plus double the minimum television rate for the actual series
length. If the Director was paid in excess of the theatrical minimum but less than the theatrical plus double minimum
television rate, then the Director will be paid the difference between the amount set forth previously and the amount originally
paid.
Series Without Pilot
In connection with the first produced film of an open-ended series which is ordered without a pilot, minimum will be 150% of
scale.
Series Bonus
If an open-ended series is sold subsequent to the production of a pilot film in any of the forms above, or if such series is
based on a theatrical motion picture, then the Director of the pilot or spinoff of the film introducing the character(s) will be
entitled to additional aggregate series bonus payments for each production year.
Associate Directors and Stage Managers
Preparation Time
A preparation day means a day of employment on which there is no camera blocking, taping or live production.
Length
# of Programs on which continuing
Guaranteed Prep Day(s)
of Picture
employment is assigned
AD
SM
15 minutes or less
1 day
1 day
16-30 minutes
1 or more
3 days
2 days
2 or more
2 days
1 day
31-60 minutes
1 or more
5 days
3 days
2 or more
3 days
2 days
Over 60 minutes
5 days
5 days
Preparation time, where applicable, will be guaranteed only to first assigned Associate Director and Stage Manager.
Working Conditions
Overtime
Single Camera Tape Programs
Associate Director - The workday for an Associate Director on camera rehearsal and taping days starts at the general crew
call and ends at the end of camera rehearsal or taping. On distant locations, travel time is added to the end of the workday.
Over 14 hours but less than 16 = 1½ day's salary.
Over 16 hours but less than 20 = 1½ day’s salary plus additional. ½ day's salary.
In addition to the above, if over 20 hours, a day's salary for each 4-hour period or portion thereof.
Stage Manager - The workday of a Stage Manager starts at the earlier of the general crew call, make-up personnel call or
hairdressing personnel call and ends ½ hour after camera rehearsal or taping ends or 1 hour after camera rehearsal or taping
ends at a distant location. On distant locations, travel time is added to the end of the workday.
Showbiz Labor Guide 2014/2015
DGA - Page 15
VIDEOTAPE (FLTTA)
DGA
Studio or location over 13 hours, but less than 16 hours = ½ day's salary
Distant location over 14 hours, but less than 16 hours = the above plus an additional ½ day's salary.
In addition, if over 16 hours, an additional day's salary for each four hour period or portion thereof.
On days other than camera rehearsal or taping or if the combined number of Associate Directors and Stage Managers is at
least 3, an Associate Director or Stage Manager whose workday exceeds 16 hours will receive an additional day's salary for
each four hour period or portion thereof over 16 hours.
Other than Single Camera Tape Programs
Associate Director and Stage Manager - After 16 hours, and for each four hour period or fraction thereof, payment will be an
additional day's salary.
Other than Prime Time Dramatic Programs
Daily/Weekly - Hours in excess of 8 per day or 40 per week will be paid at 1½ times.
Daily/Weekly Flat - Hours in excess of 12 per day or 40 per week will be at overtime rates set per year.
Weekly and Weekly Flat employees on distant location also receive 8 hours at straight time for each scheduled day off
during an out of town assignment provided that no traveling occurs and no work is performed on day off.
Sixth and Seventh Day Worked
Prime Time Dramatic Programs
For each sixth day worked, employees will receive an additional 150% of daily salary or one-fifth of weekly salary.
For each seventh day worked, employee will receive 200% of daily salary or one-fifth of weekly salary.
Other Than Prime Time Dramatic Programs
An employee who works a sixth or seventh day will be paid at time-and-one-half of the pro rata hourly rate for all hours
worked on a weekly (flat) with a minimum payment of 150% of a day's pay.
Holidays
New Year’s Day, Presidents’ Day, Good Friday, Memorial Day, Independence Day, Labor Day, Thanksgiving Day, the day
after Thanksgiving, Christmas Day.
Holidays Not Worked
Holidays not worked are counted as a day worked for salary purposes.
Holidays Worked - Director
The Director will receive 1/5 of their weekly salary plus $2,961 for every holiday worked.
Prime Time Dramatic Programs
Holidays worked in Studio = 200% of daily salary.
Holidays worked Distant Location = 1/5 of Studio Weekly salary.
Other Than Prime Time Dramatic Programs
If a holiday is worked, the Associate Director or Stage Manager will receive an additional ½ of actual pro rata daily salary
including production fees if applicable.
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Showbiz Labor Guide 2014/2015
DGA
VIDEOTAPE (FLTTA)
Holiday and Vacation Pay
Holiday Pay - 3.719% of annual compensation.
Vacation Pay - 4% of total salary (due at end of assignment).
Rest Period
Prime Time Dramatic Programs
9 Hours.
At the studio and nearby locations, the rest period starts one hour after company wrap and ends one hour prior to the next
shooting call of such shooting unit; for the Second Assistant Director the rest period ends at the earlier of the first make-up
call or the general crew call.
At distant locations, the rest period starts one hour after the company wrap plus normal travel time from the shooting site to
the production office and ends one hour prior to the next company leaving call of such shooting unit.
Rest Period Violation
There will not be deemed to be any invasion of rest period unless such rest period, as defined previously, is less than nine
hours. If such rest period is less than nine hours, additional compensation will be computed as follows:
a) If such rest period is more than 4 ½ hours, he or she will be entitled to receive ¼ day's salary for each hour that such
rest period is less than 9 hours.
b) If such rest period is 42 hours or less he or she will be entitled to receive ¼ day's salary for each hour worked from the
end of such invaded rest period until commencement of a full nine-hour rest period, deducting from such payments
only actual hours of rest given to employee during the forced call.
Other Than Prime Time Dramatic Programs
9 hours - If rest period is less than 9 hours, the Associate Director and Stage Manager will be entitled to time and one-half
for each hour, computed in quarter hour segments. For employees on a daily flat or weekly flat rate, additional payment will
be equal to one-third of the applicable overtime rate computed in quarter hour segments.
Distant Location Incidental Allowance
Associate Directors and Stage Managers will receive in addition to their studio rate, a distant location incidental allowance of
$16.00 per day, payable at the same time and in the same manner as the per diem allowance.
Completion of Assignment Pay
Completion of Assignment Pay is based on actual salary paid and will be computed by totaling all compensation earned and
dividing the total by number of weeks worked.
Production fee and rest period violations are not included in this calculation.
All freelance Associate Directors and Stage Managers on Prime Time Dramatic Programs are entitled, upon completion of
assignment the following:
a) If employed at least four days per week for two or more consecutive weeks, one week's salary or if worked less than
two weeks, 2½ day's salary; or,
Showbiz Labor Guide 2014/2015
DGA - Page 17
VIDEOTAPE (FLTTA)
DGA
b) If employed two or three days per week for at least 3 consecutive weeks, one-twentieth of minimum weekly rate for
each day worked since the last layoff up to a maximum equal to the minimum weekly rate.
The maximum payable in any single season is six plus the final payment.
Capricious Discharge
All Associate Directors and Stage Managers employed on a weekly basis for at least 3 consecutive workweeks should be
made aware of problems with the performance at least two days prior to being replaced. If such employee is replaced other
than for cause, without the 2 days notice, s/he will be entitled to 1 week plus 2 days salary in addition to any other payments
due.
Discharge Without Cause
If an Associated Director or Key Stage Manager who worked 4 or 5 days per week has completed 50% of the episodes in a
single television series order of 13 or more episodes (excluding options) is replaced without good cause, the Company must
pay 3 weeks completion of assignment pay equal to three times 1/20th of the weekly rate for each workday in the
consecutive weeks worked, but no more than three times the weekly minimum.
Page 18 - DGA
Showbiz Labor Guide 2014/2015
BASIC CABLE
DGA
BASIC CABLE
High Budget Dramatic Programs
Directors
Length
BA
½ Hour
½ Hour
½ Hour, Season 2+
1 Hour
1 Hour
1 Hour, Season 2+
1.5 Hour
2 hours
Budget
Guaranteed Included Days Prep/Shoot
$550k - 1.425 M
1.425 M - 1.8 M
> 1.8 M
$1 M - 2.4 M
2,383,744
> 3.4 M
> 2.75 M
2.75 M first 2 hrs,1.375 M
each add’l hr
3/3
3/4
3/4
7/7
7/7
7/7
9/9
15/27
FLTTA
16 - 30 min
$476,749
6 (1)*
31 - 60 min
893,904
12 (2)*
61 - 90 min
2,383,744
24 (4)*
91 - 120 min
2,383,744
27 Shoot, 15 Prep
* Days in parenthesis need not be consecutive.
† The DGA reserves the right to divert one-quarter percent (0.25%) of the salary increases in the 3rd year of the
agreement, instead applying it to increases in the health and/or pension plan contribution rate. This option was
exercised in the 2nd year, raising salaries 1.75% instead of 2% for the period 7/1/12 - 6/30/13.
All DGA Employees Except Directors and Second Unit Directors
Length
½ hr
1 hr
2 hrs
Budget Limitations*
% of BA or FLTTA Minimums
428,490 to 665,231
83.5%
803,419 to 1,219,590
83.5%
2,142,450 to 3,880,513
83.5%
Each additional hour or portion thereof
Over 2 hrs
83.5%
1,219,590 or less
* Productions with budget totals in excess of the above limitations are payable at 100% of the BA or FLTTA.
All working conditions and employer’s fringe benefit contributions are according to the BA or FLTTA.
Showbiz Labor Guide 2013/2014
DGA - Page 19
NEW MEDIA SIDELETTER
DGA
SIDELETTER ON PROGRAMS PRODUCED FOR NEW MEDIA
Derivative New Media Productions
A “derivative New Media production” is a production for New Media based on an existing TV motion picture or program
covered by either the BA or FLTTA that was originally produced for “traditional” media such as free TV, basic cable or pay
TV.
Staffing Requirements
For derivative productions of BA-covered dramatic shows, a Director must be employed. For derivative productions of
FLTTA-covered shows, a Director must be employed except in those situations in which a Director would not be
required to be employed if the show were made for free TV. The job is considered separate from any work done on the
original production, and a separate deal memo must be submitted to the DGA specifying the salary and terms of
employment.
UPM’s and Assistant Directors employed on the original production of a BA-covered show may be assigned to the
derivative production as part of their regular work day, and such work will count toward triggering overtime on the
original production. If a UPM or AD is hired exclusively for a derivative production, then terms and conditions are as set
forth below. The same parameters apply to Associate Directors and Stage Managers for FLTTA-covered shows.
Wages, Terms and Conditions
Many terms and conditions are negotiable, including initial and deferred compensation, if any. However, residuals and
excerpt fees may be due for certain uses; see the guild’s New Media Re-Use Sideletter for more information. The
Director also must receive a “Directed by” credit on screen if anyone else receives screen credit on the New Media
production. Standard Fringe rates apply.
Original “Made for New Media” Productions
Original “Made for New Media” productions include all motion pictures and programs made for initial distribution on the
Internet, mobile devices or any other New Media platform known as of July 1, 2011.
Staffing Requirements
For original “Made for New Media” productions of motion pictures and dramatic series, a Director must be employed.
For original productions of variety programs, quiz and game programs, and all other programs, a Director must be
employed except in those situations in which a Director would not be required to be employed if the show were made
for free TV.
Wages, Terms and Conditions
Many terms and conditions are negotiable, including initial and deferred compensation, if any. However, residuals and
excerpt fees may be due for certain uses; see the guild’s New Media Re-Use Sideletter for more information. The
Director also must receive a “Directed by” credit on screen if anyone else receives screen credit on the New Media
production. Standard Fringe rates apply.
Experimental New Media Productions
Coverage for qualified Experimental New Media Productions is voluntary. To qualify as “Experimental,” a production must:
1.) Be an original New Media production for which the actual cost of production is either:
a.) $15,000 or less per minute of program material as exhibited,
b.) $300,000 or less per single production as exhibited, or
c.) $500,000 or less per series of productions produced for a single order; AND
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Showbiz Labor Guide 2014/2015
DGA
NEW MEDIA SIDELETTER
2.) Not utilize an employee in any DGA-covered category who has previously been employed under a DGA collective
bargaining agreement.
“Actual cost” consists of all direct costs incurred in connection with the production. There are a limited number of exclusions,
such as development costs, overhead charges, financing costs, contingency of up to 10%, cost of the completion bond,
marketing expenses, etc.
Showbiz Labor Guide 2013/2014
DGA - Page 21
SAG-AFTRA
Agreements and Jurisdiction....................................................................................................................................................... 1 Overtime Ceilings (Money Breaks) ......................................................................................................................... 1 Flat Deal Money Breaks.......................................................................................................................................... 1 SCHEDULE A - DAY PERFORMER .......................................................................................................................................... 2 Rules and Working Conditions ......................................................................................................................................... 2 Overtime Ceiling (Money Break) = 2x Minimum Daily Rate ................................................................................... 2 Overtime .................................................................................................................................................................. 2 6th and 7th Days ....................................................................................................................................................... 2 Rest Period ............................................................................................................................................................. 2 Rest Invasion .......................................................................................................................................................... 2 Holidays................................................................................................................................................................... 2 Travel Time ............................................................................................................................................................. 2 Night Work............................................................................................................................................................... 3 Work Past Midnight ................................................................................................................................................. 3 Meal Penalties......................................................................................................................................................... 3 Rehearsals .............................................................................................................................................................. 3 Retakes, Added Scenes, Looping, Etc. .................................................................................................................. 3 Stunt Adjustments ................................................................................................................................................... 3 Wardrobe Fittings .................................................................................................................................................... 3 Wardrobe and Make-up Tests ................................................................................................................................ 4 Wardrobe Reimbursement ...................................................................................................................................... 4 SCHEDULE B - WEEKLY FREELANCE PERFORMERS ......................................................................................................... 5 $4,800 or less per week ($5,000 as of 7/1/15) and less than $32,000 per television picture ................................ 5 $6,000 or less per week ($6,200 as of 7/1/15) and less than $65,000 per theatrical picture ................................ 5 Rules and Working Conditions ......................................................................................................................................... 5 Overtime Ceilings (Money Breaks) = $4,400 (TV), $5,500 (Theatrical) ................................................................. 5 Overtime .................................................................................................................................................................. 5 6th and 7th Days ....................................................................................................................................................... 5 Rest Period ............................................................................................................................................................. 5 Rest Invasion .......................................................................................................................................................... 5 Holidays................................................................................................................................................................... 5 Prorating .................................................................................................................................................................. 6 Travel Time ............................................................................................................................................................. 6 Night Work............................................................................................................................................................... 6 Work Past Midnight ................................................................................................................................................. 6 Meal Penalties......................................................................................................................................................... 6 Rehearsals .............................................................................................................................................................. 7 Retakes, Added Scenes, Looping, Etc. .................................................................................................................. 7 Stunt Adjustment ..................................................................................................................................................... 7 Wardrobe Fittings .................................................................................................................................................... 7 Wardrobe and Make-up Tests ................................................................................................................................ 7 Wardrobe Reimbursement ...................................................................................................................................... 7 3 DAY PLAYERS - TELEVISION ............................................................................................................................................... 8 Rules and Working Conditions ......................................................................................................................................... 8 Overtime ............................................................................................................................................................................ 8 SCHEDULE C - WEEKLY FREELANCE PERFORMERS ......................................................................................................... 9 Rules and Working Conditions ......................................................................................................................................... 9 Overtime .................................................................................................................................................................. 9 6th and 7th Days ....................................................................................................................................................... 9 Rest Period ............................................................................................................................................................. 9 Rest Invasion .......................................................................................................................................................... 9 Holidays................................................................................................................................................................... 9 Prorating ................................................................................................................................................................ 10 Travel Time ........................................................................................................................................................... 10 Showbiz Labor Guide 2014/2015
Table of Contents SAG - Page I
SAG-AFTRA
Meal Penalties....................................................................................................................................................... 10 Rehearsals ............................................................................................................................................................ 10 Retakes, Added Scenes, Looping, Etc. ................................................................................................................ 10 Stunt Adjustment ................................................................................................................................................... 10 Wardrobe Fittings .................................................................................................................................................. 10 Wardrobe Reimbursement .................................................................................................................................... 11 Work Past Midnight ............................................................................................................................................... 11 SCHEDULE F - CONTRACT, MULTIPLE PICTURE, “DEAL,” MULTI-PART ......................................................................... 12 Rules and Working Conditions ....................................................................................................................................... 12 Overtime - TV ........................................................................................................................................................ 12 Overtime - Theatrical............................................................................................................................................. 12 6th and 7th Days ..................................................................................................................................................... 12 Rest Period ........................................................................................................................................................... 12 Rest Invasion ........................................................................................................................................................ 13 Holidays................................................................................................................................................................. 13 Prorating .......................................................................................................................................................................... 13 Travel Time ........................................................................................................................................................... 13 Meal Penalties....................................................................................................................................................... 13 Rehearsals ............................................................................................................................................................ 13 SCHEDULE G - SINGERS ....................................................................................................................................................... 14 Rules and Working Conditions ....................................................................................................................................... 14 Overdubbing.......................................................................................................................................................... 14 Sweetening ........................................................................................................................................................... 14 Contractors ............................................................................................................................................................ 14 SCHEDULE H - STUNT PERFORMERS ................................................................................................................................. 15 Rules and Working Conditions ....................................................................................................................................... 15 Payment ................................................................................................................................................................ 15 “Consecutive Employment” ................................................................................................................................... 15 Additional Stunt Work............................................................................................................................................ 15 Overtime, Premium Pay and Travel Time............................................................................................................. 15 SCHEDULE I - AIRPLANE PILOTS ......................................................................................................................................... 16 Rules and Working Conditions ....................................................................................................................................... 16 Location Rates ...................................................................................................................................................... 16 Overtime ................................................................................................................................................................ 16 6th and 7th Days ..................................................................................................................................................... 16 Holidays Worked ................................................................................................................................................... 16 Extremely Hazardous Flying ................................................................................................................................. 16 SCHEDULE J - DANCERS ....................................................................................................................................................... 17 Rules and Working Conditions ....................................................................................................................................... 17 Definition ............................................................................................................................................................... 17 Hazardous Activity ................................................................................................................................................ 17 Footwear ............................................................................................................................................................... 17 Breaks ................................................................................................................................................................... 17 SCHEDULE K - STUNT COORDINATORS ............................................................................................................................. 18 Rules and Working Conditions ....................................................................................................................................... 18 Part I (No Flat Deal) .............................................................................................................................................. 18 Overtime - No Flat Deal ........................................................................................................................................ 18 Rest Period ........................................................................................................................................................... 18 Rest Invasion ........................................................................................................................................................ 18 Daily Check ........................................................................................................................................................... 18 Part II (Flat Deals) ................................................................................................................................................. 19 Rest Period ........................................................................................................................................................... 19 Rest Invasion ........................................................................................................................................................ 19 General Provisions .................................................................................................................................................................... 20 Page II - Table of Contents SAG
Showbiz Labor Guide 2014/2015
SAG-AFTRA
Late Payments ................................................................................................................................................................ 20 Transportation ................................................................................................................................................................. 20 Union Security ................................................................................................................................................................. 20 Penalties and Fines ........................................................................................................................................................ 20 Preference of Employment ............................................................................................................................................. 22 Taft/Hartley Report .......................................................................................................................................................... 23 Studio Zone Employment................................................................................................................................................ 25 Los Angeles Studio Zone ...................................................................................................................................... 25 New York Studio Zone .......................................................................................................................................... 25 San Francisco Studio Zone................................................................................................................................... 25 Other Studio Zones ............................................................................................................................................... 25 Consecutive Employment ............................................................................................................................................... 25 Adjustment of Background Actor to Day Player ............................................................................................................. 26 Conversion of Day Player to Weekly Status ................................................................................................................... 26 Reuse of Photography or Sound Track .......................................................................................................................... 26 Trailers ............................................................................................................................................................................ 26 Pension and Health Plans............................................................................................................................................... 26 Air Travel Insurance ........................................................................................................................................................ 26 Emergency Suspension “Force Majeure” (Except for Schedule A Players) .................................................................. 27 NETWORK CODE .................................................................................................................................................................... 28 Compensation ................................................................................................................................................................. 28 Dramatic Non-Prime Time Programs (Other than Serials) ............................................................................................. 28 Serials (All Principal Performers Excluding Announcers)............................................................................................... 28 Principal Performers.................................................................................................................................................................. 29 Non-Dramatic Programs ................................................................................................................................................. 29 Multiple Performances Airing in One Calendar Week (Strip Shows) ............................................................................. 29 Performers - 5 lines or less ............................................................................................................................................. 30 Single Program Performance (Other than Serials) ............................................................................................... 30 Serials (Single and Multiple Performances in One Calendar Week).................................................................... 31 Background Actors ................................................................................................................................................ 31 Single Program Appearance - Variety ........................................................................................................ 31 Serials (Single and Multiple Appearances in One Calendar Week) ........................................................... 31 Upgrade of Background Actor ........................................................................................................................................ 32 Stand-Ins or Dance-Ins ......................................................................................................................................... 32 Group Dancers - 3 or More ............................................................................................................................................. 32 Group Singers Off-Camera ............................................................................................................................................. 32 Group Dancers ...................................................................................................................................................... 33 Group Singers ....................................................................................................................................................... 33 Announcers - Off-Camera (More Than 10 Lines) ........................................................................................................... 33 Announcers - Off-Camera (10 Lines or Less)................................................................................................................. 34 Non-Commercial Openings, Closings and Musical Signatures...................................................................................... 34 SIDELETTER ON PROGRAMS MADE FOR NEW MEDIA ..................................................................................................... 35 Coverage and Scope ...................................................................................................................................................... 35 Compensation and Terms............................................................................................................................................... 35 “High Budget SVOD Programs” Defined ........................................................................................................................ 35 Length of Program ................................................................................................................................................ 36 “High Budget” Threshold as Initially Exhibited* .......................................................................................... 36 Compensation ....................................................................................................................................................... 36 Other Terms and Conditions ................................................................................................................................. 36 Reuse .............................................................................................................................................................................. 37 TELEVISION ANIMATION AGREEMENT ................................................................................................................................ 38 Limitations on Voices ...................................................................................................................................................... 38 Pick-up Lines................................................................................................................................................................... 38 Workweek ....................................................................................................................................................................... 39 Showbiz Labor Guide 2014/2015
Table of Contents SAG - Page III
SAG-AFTRA
Scripts ............................................................................................................................................................................. 39 Auditions.......................................................................................................................................................................... 39 Merchandising ................................................................................................................................................................. 39 Additional Compensation for Reruns .............................................................................................................................. 39 Theatrical Release for Academy Award Consideration .................................................................................................. 40 Page IV - Table of Contents SAG
Showbiz Labor Guide 2014/2015
SAG-AFTRA
Agreements and Jurisdiction
The term of the Producer/SAG-AFTRA Codified Basic Agreement ("SAG-AFTRA Basic Agreement") and the SAG-AFTRA
Television Agreement ("SAG Television Agreement") is July 1, 2014 to June 30, 2017. Please note that while SAG and
AFTRA merged to form SAG-AFTRA effective March 30, 2012, legacy agreements with AFTRA stay in effect.
SAG-AFTRA jurisdiction covers productions in the United States or any commonwealth, territory or possession of the United
States in which the Guild has an established branch.
Principal performers covered under this agreement include performers, professional singers, stunt performers, stunt
coordinators, airplane and helicopter pilots and puppeteers and dancers. Background Actors are also covered, please see
that section.
Overtime Ceilings (Money Breaks)
SCHEDULE A
SCHEDULE B
SCHEDULE C
SCHEDULE F
Guaranteed Less Than $40k
SCHEDULE H, PART I - Stunt
Performer Daily
SCHEDULE H, PART II - Stunt
Performer Weekly
Television
Theatrical
SCHEDULE K, PART I - Stunt
Coordinator Daily
3-DAY TELEVISION PERFORMER
Trailer Money Breaks
7/1/14 – 6/30/15
$1,760
4,400 (TV)
5,500 (TH)
4,400 (TV)
5,500 (TH)
7/1/15 - 6/30/16
$1,812
4,400 (TV)
5,500 (TH)
4,400 (TV)
5,500 (TH)
7/1/16 - 6/30/17
$1,866
4,400 (TV)
5,500 (TH)
4,400 (TV)
5,500 (TH)
4,400
4,400
4,400
$1,760
$1,812
$1,866
4,400
5,500
4,400
5,500
4,400
5,500
$1,760
$1,812
$1,866
3,000
3,250
3,000
3,250
3,000
3,250
7/1/14 – 6/30/15
7/1/15 - 6/30/16
7/1/16 - 6/30/17
5,393
1,368
5,555
1,409
5,722
1,451
1,037
2,813
3,143
3,988
1,068
2,897
3,237
4,108
1,100
2,984
3,334
4,231
Flat Deal Money Breaks
STUNT COORDINATORS THEATRICAL
Per Week
Per Day
STUNT COORDINATORS TELEVISION
Per Day
3-Day (½ Hour or 1 Hour)
3-Day (1 ½ Hour or 2 Hours)
Per Week
Showbiz Labor Guide 2014/2015
SAG-AFTRA - Page 1
SCHEDULE A
SAG-AFTRA
SCHEDULE A - DAY PERFORMER
Rules and Working Conditions
Overtime Ceiling (Money Break) = 2x Minimum Daily Rate
Overtime
Calculated in 1/10 hr units
Performer earning 2x scale or less
Performer earning more than 2x scale
1x
8
8
1 1/2x
9-10
Over 8
2x
Over 10
6th and 7th Days
Studio
Overnight
Worked
Performer’s 6th Day*
1 1/2x
Straight Time, min. 8 hours
Performer’s 7th Day*
2x
2x
Idle
Performer’s 6th Day (Idle)
1 day’s straight pay
*For work on any other 6th or 7th day worked, such as the 6th day of the Studio workweek but not the Performer’s 6th day, pay
will be at straight time. Performers who earn more than $1,474 per day receive premium pay based on $1,474.
When a Performer is paid for a day or days not worked because of a “hold,” those “hold days” are used for the purpose of
calculating premium pay for the 6th or 7th day worked.
Rest Period
Daily - 12 hours (for theatrical, may be shifted to 11 hours for any 2 non-consecutive days on Overnight Location).
Weekly - 36 or 56 hours, may be reduced to 54 hours when performer’s first call time of the next week is 6 a.m. or later.**
** Other exceptions exist, see SAG-AFTRA contract.
Rest Invasion
Lesser of 1 day’s pay or $900.
Holidays
New Year’s Day, Presidents Day, Good Friday, Memorial Day, July 4th, Labor Day, Thanksgiving Day, Friday after
Thanksgiving, Christmas Day.
Holidays Worked - 2x day rate, no ceilings.
Holidays Not Worked - 1 day’s pay on Overnight Location. For Studio, if Performer works the day before and the day after
the holiday, continuous employment rule will apply, except when the holiday falls on the 6th day of the Studio workweek.
Travel Time
Travel Only - In general, paid as straight time, maximum 8 hours per day.*
Travel and Work - All hours considered work time, but overtime caused by travel will be paid at 1 1/2x rather than 2x.
Travel on Any 7th Day or Holiday - Paid at 1 1/2x.
* Other travel provisions exist; see SAG-AFTRA contract.
Page 2 – SAG-AFTRA
Showbiz Labor Guide 2014/2015
SAG-AFTRA
SCHEDULE A
Night Work
There is no premium for night work (between the hours of 8 pm and 6 am) except:
A performer who is called solely to do looping or ADR work during post-production will be paid a premium of 10% of his/her
hourly rate for each straight time hour of night work. However, the premium will not be due if the work was scheduled at
night to accommodate the performer. Night premium pay is not due on any overtime hours.
Work Past Midnight
When a freelance performer works after 12:01 a.m. of any day, he is considered to have worked on that day for the purpose
of the Studio 5-day work week or Overnight Location 6-day workweek. However, no premium is due for working past
midnight into a premium day, such as a 7th day or holiday.
When the performer works past midnight on the last day of his engagement, compensation for such work past midnight will
be 1/5 his weekly rate as a base salary for that day. However, subject to the overtime provisions, when the total
engagement for any week of the performer’s services is night work and the last day of such week goes past midnight, the
work past midnight does not count as an additional day. For this purpose, night work is defined as a call for 4:00 p.m. or
later.
Meal Penalties
Time Past Required Interval
Penalty
1st 1/2 hour or fraction
25.00
2nd 1/2 hour or fraction
35.00
3rd and each additional ½ hour or fraction
50.00
The performer’s first meal is due within 6 hours of first call time; succeeding meals must begin within 6 hours after the end of
the preceding meal period. (If performer is given a 15-minute non-deductible meal within the first 2 hours of call time, the
first deductible meal is due within 6 hours of the end of that meal.) There will be a 12-minute unscheduled grace period
before a meal penalty is imposed. If upon expiration of the 6 hour period the camera is in the actual course of photography,
the take may be completed without violation. In such a case, the 12-minute grace period does not apply.
Rehearsals
Rehearsals are counted as work time, but cannot trigger consecutive employment on a motion picture. However,
consecutive employment does apply during the rehearsal period. Performer is to be paid the same daily rate contracted to
be paid during photography.
Retakes, Added Scenes, Looping, Etc.
If begun within 4 months of termination of employment (6 months for theatrical, pilots and longform TV), services are
compensated at the original daily rate or prorated weekly rate, only for days actually worked.
A performer may be recalled to loop (record soundtrack) for a 4-hour session at 1/2 the pro rata daily rate. If session
exceeds 4 hours, a full day of pro rata salary is due.
Stunt Adjustments
Unless a rate is agreed to upon hiring, a Performer will receive an additional amount equal to a Stunt Performer’s minimum
for any day on which he performs a stunt. Overtime will be based on the aggregate amount.
Wardrobe Fittings
Day Performers
Prior to Work Day Fitting
1 hour minimum call;
additional time paid in 15
minute increments*
* Performers guaranteed over $1,200 per day not entitled to such compensation.
Showbiz Labor Guide 2014/2015
Work Day Fitting
Same as work time
Fitting, Not Used
1 day’s pay
SAG-AFTRA - Page 3
SCHEDULE A
SAG-AFTRA
Wardrobe and Make-up Tests
Day Performers
Work Day Fitting
Same as work time
Prior to Work Day Fitting
1 hour minimum call;
additional time paid in 15
minute increments*
* Performers guaranteed over $1,200 per day not entitled to such compensation.
Fitting, Not Used
1 day’s pay
Wardrobe Reimbursement
If a performer supplies his own wardrobe at producer’s request, the following amounts will be paid to the performer for
cleaning and reimbursement.
Wardrobe Type
Reimbursement
$17.00
Formal Wear
$36.00
Police Uniform
$11.50/outfit
All Other Wardrobe
Page 4 – SAG-AFTRA
Showbiz Labor Guide 2014/2015
SAG-AFTRA
SCHEDULE B
SCHEDULE B - WEEKLY FREELANCE PERFORMERS
$4,800 or less per week ($5,000 as of 7/1/15) and less than $32,000 per television picture
$6,000 or less per week ($6,200 as of 7/1/15) and less than $65,000 per theatrical picture
Rules and Working Conditions
Overtime Ceilings (Money Breaks) = $4,400 (TV), $5,500 (Theatrical)
Overtime
Calculated in 1/10 hr units
TV
1 1/2x
Daily
Weekly
1x
10
8
2x
Over 10
Over 8*
1x
10
44/wk**
Weekly - Overnight Location
8
Over 8*
48/wk***
Theatrical
1 1/2x
2x
Over 10
Over 44,
less any
daily OT**
Over 48,
less any
daily
OT***
* On any 2 days in a performer’s work week, this 1 1/2x overtime rate will not apply.
** Hours worked on 6th and 7th consecutive days are not to be used in calculation.
*** Hours worked on 7th consecutive day are not to be used in calculation.
6th and 7th Days
Worked
6th Day
Studio
+1/2 day premium
Overnight
4 hrs. straight time, worked or
not
7th Day
+1 day premium
+1 day premium
When a Performer is paid for a day or days not worked because of a “hold,” those “hold days” are used for the purpose of
calculating premium pay for the 6th and 7th day worked.
Rest Period
Daily
Weekly
12 hours (for theatrical, may be shifted to 11 hours for any
2 non-consecutive days on Overnight Location
36 or 56 hours, may be reduced to 54 hours when
performer’s first call time of the next week is 6 a.m. or
later.****
**** Other exceptions exist, see SAG-AFTRA contract.
Rest Invasion
Lesser of 1 day’s pay or $950.
Holidays
New Year’s Day, President’s Day, Good Friday, Memorial Day, July 4th, Labor Day, Thanksgiving Day, Friday after
Thanksgiving, Christmas Day.
Holidays Worked - 1 day’s additional premium, with the following exceptions:
In the case of 6 days worked in a Studio workweek, if the holiday falls on the 6th day, total additional premium pay for the
week will be only 1 day; if the holiday falls on any other day worked, total additional premium pay will be 1 1/2 days (1 for
Showbiz Labor Guide 2014/2015
SAG-AFTRA - Page 5
SCHEDULE B
SAG-AFTRA
holiday + 1/2 for 6th day). In the case of 7 days worked in a Studio workweek, if the holiday falls on the 6th or 7th day, total
premium pay for the week will be only 2 days; if the holiday falls on any other day worked, total premium pay will be 2 1/2
days (1 for holiday + 1 for 7th day + 1/2 for 6th day). These premiums are in addition to payment for days actually worked
beyond the 5-day guarantee.
On Overnight Location, holiday hours worked (up to 10) will count toward the Performer’s 48-hour week.
Holidays Not Worked - No deductions on Overnight Locations.
Prorating
When prorating the workweek to determine an additional day of pay, prorating is based on 1/5 of the performer’s weekly
base rate, whether on Studio or Overnight Location workweek. However, this will not in any way change the performer’s
weekly base rate for either the Studio or Overnight Location workweek.
Travel Time
Travel Only - In general, paid as straight time, maximum 8 hours per day.*
Travel and Work - All hours considered work time, but overtime caused by travel will be paid at 1 1/2x rather than 2x.
Travel on Any 7th Day or Holiday - 1 day’s pay plus premium of 1/2 day’s pay.
* Other travel provisions exist; see SAG-AFTRA contract.
Night Work
There is no premium for night work (between the hours of 8 pm and 6 am) except:
A performer who is called solely to do looping or ADR work during post-production will be paid a premium of 10% of his/her
hourly rate for each straight time hour of night work. However, the premium will not be due if the work was scheduled at
night to accommodate the performer. Night premium pay is not due on any overtime hours.
Work Past Midnight
When a freelance performer works after 12:01 a.m. of any day, he is considered to have worked on that day for the purpose
of the Studio 5-day work week or Overnight Location 6-day workweek. However, no premium is due for working past
midnight into a premium day, such as a 7th day or holiday.
When the performer works past midnight on the last day of his engagement, compensation for such work past midnight will
be 1/5 his weekly rate as a base salary for that day. However, subject to the overtime provisions, when the total
engagement for any week of the performer’s services is night work and the last day of such week goes past midnight, the
work past midnight does not count as an additional day. For this purpose, night work is defined as a call for 4:00 p.m. or
later.
Meal Penalties
Time Past Required Interval
1st 1/2 hour of fraction
2nd 1/2 hour of fraction
3rd and each additional 1/2 hour of fraction
Penalty
25.00
35.00
50.00
The performer’s first meal is due within 6 hours of first call time; succeeding meals must begin within 6 hours after the end of
the preceding meal period. (If performer is given a 15-minute non-deductible meal within the first 2 hours of call time, the
first deductible meal is due within 6 hours of the end of that meal.) There will be a 12-minute unscheduled grace period
before a meal penalty is imposed. If upon expiration of the 6 hour period, the camera is in the actual course of photography,
the take may be completed without violation. In such a case, the 12-minute grace period does not apply.
Page 6 – SAG-AFTRA
Showbiz Labor Guide 2014/2015
SAG-AFTRA
SCHEDULE B
Rehearsals
Rehearsals are counted as work time, but cannot trigger consecutive employment on a motion picture. However,
consecutive employment does apply during the rehearsal period. Performer is to be paid a pro rata of the same weekly rate
contracted to be paid during photography.
Retakes, Added Scenes, Looping, Etc.
If begun within 4 months of termination of employment (6 months for theatrical, pilots and longform TV), services are
compensated at the original daily rate or prorated weekly rate, only for days actually worked. Day performer conditions
apply, unless the producer guarantees in writing one week of employment, in which case weekly performer conditions apply.
Stunt Adjustment
Unless a rate is agreed to upon hiring, a Performer will receive an additional amount equal to a Stunt Performer’s minimum
for any day on which he performs a stunt. Overtime will be based on the aggregate amount.
A performer may be recalled to loop (record soundtrack) for a 4-hour session at 2 the pro rata daily rate. If session exceeds
4 hours, a full day of pro rata salary is due.
Wardrobe Fittings
Freelance Weekly
Performers
Workday Fitting
Same as work time
Prior to Workday
4 hrs free on 2 days, for
each week worked.
Excess time paid as 1 hr
minimum, then in 15minute increments
Fitted, Not Used
1 day’s pay for each day
of fitting
Wardrobe and Make-up Tests
Freelance Weekly Performers
Prior to Workday Test
1 unpaid test day, per week the
performer works, each additional test
day is paid at 1/2x the pro rata daily
rate.
Tested, Not Used
1/2 day’s pay
Wardrobe Reimbursement
If a performer supplies his own wardrobe at producer’s request, the following amounts will be paid to the performer for
cleaning and reimbursement:
Wardrobe Type
Formal wear
Police Uniform
All other wardrobe
Showbiz Labor Guide 2014/2015
Reimbursement
$17.00
36.00
11.50/outfit
SAG-AFTRA - Page 7
3 DAY PLAYERS
SAG
3 DAY PLAYERS - TELEVISION
Rules and Working Conditions
Overtime Ceiling (Money Break) = $3,000 per day
Overtime
Calculated in 1/10 hr units
Daily = 2x after 10 hours
Cumulative = 1 1/2 x after 24 hours, less any daily overtime paid.
Example:
Monday
Tuesday
Wednesday
Total
C Straight hours
C Daily OT
Cumulative OT =
11.0 (1 hr @ 2x)
9.6
7.4
28.0
24.0
1.0 (Monday)
3.0 hours
Note: A 3 Day Player working more than 3 days is subject to an additional 8 hours per day added to the initial 24 hour
threshold for calculating cumulative overtime.
Page 8 – SAG-AFTRA
Showbiz Labor Guide 2014/2015
SAG-AFTRA
SCHEDULE C
SCHEDULE C - WEEKLY FREELANCE PERFORMERS
More than $4,800 per week ($5,000 as of 7/1/15) but less than $32,000 per television picture
More than $6,000 per week ($6,200 as of 7/1/15) but less than $65,000 per theatrical picture
Rules and Working Conditions
Overtime
Calculated in 1/10 hr units
Over 10 hours/day
Weekly ceiling
Top hourly rate (@ 1x)
Note: There is no weekly overtime such as provided for in Schedule B.
TV
2x
4,400
$100/hr
Theatrical
2x
5,500
$125/hr
6th and 7th Days
Worked
Performer’s 6th Day *
Studio
Overnight
No additional pay,
Additional day+1/2 day’s premium or
regular OT applies
$475 ($500 as of 7/1/15), whichever
is less
Additional day+1 day’s premium or
Performer’s 7th Day *
Additional day+1 day’s premium or
$950 ($1,000 as of 7/1/15),whichever
$950 ($1,000 as of 7/1/15),
is less
whichever is less
* For work on any other 6th or 7th day, such as the 6th day of the Studio workweek but not the Performer’s 6th day, pay will
be at straight time.
Example: Performer works 7 consecutive days in a Studio workweek. Performer is entitled to an additional 2 days’ pay for
the 6th and 7th days worked, plus the lesser of 1 ½ day’s premium or $1,425 ($1,500 as of 7/1/15). Total for the week would
be the lesser of:
8 ½ days’ pay or 7 days’ pay plus $1,425 ($1,500 as of 7/1/15).
When a Performer is paid for a day or days not worked because of a “hold,” those “hold days” are used for the purpose of
calculating premium pay for the 6th or 7th day worked.
Rest Period
Daily: 12 hours (for theatrical, maybe shifted to 11 hours for any 2 non-consecutive days on Overnight Location).
Weekly: 36 or 56 hours, may be reduced to 54 hours when performer’s first call time of the next week is 6 a.m. or later. **
** Other exceptions exist, see SAG-AFTRA contract.
Rest Invasion
Lesser of 1 day’s pay or $950.
Holidays
New Year’s Day, Presidents Day, Good Friday, Memorial Day, July 4th, Labor Day, Thanksgiving Day, Friday after
Thanksgiving, Christmas Day
Holidays Worked - 1 day’s additional premium, with the following exceptions:
In the case of 6 days worked in a Studio workweek, if the holiday falls on the 6th day, total premium pay for the week will be
only 1 day; if the holiday falls on any other day worked, total premium pay will be 1 ½ days (1 for holiday + ½ for 6th day). In
Showbiz Labor Guide 2014/2015
SAG-AFTRA - Page 9
SCHEDULE C
SAG-AFTRA
the case of 7 days worked in a Studio workweek, if the holiday falls on the 6th or 7th day, total premium pay for the week will
be only 2 days; if the holiday falls on any other day worked, total premium pay will be 2 ½ days (1 for holiday + for 7th day +
½ for 6th day). These premiums are in addition to payment for days actually worked beyond the 5-day guarantee.
Holidays Not Worked - No deductions on Overnight Locations.
Prorating
When prorating the workweek to determine an additional day of pay, prorating is based on 1/5 of the performer’s weekly
base rate, whether on Studio or Overnight Location workweek. However, this will not in any way change the performer’s
weekly base rate for either the Studio or Overnight Location workweek.
Travel Time
Travel Only - In general, paid as straight time, maximum 8 hours per day.*
Travel and Work - All hours considered work time, but overtime caused by travel will be paid at 1 ½ x rather than 2x.
Travel on Any 7th Day or Holiday - 1 day’s pay plus premium of ½ day’s pay.
* Other travel provisions exist; see SAG-AFTRA contract.
Meal Penalties
Time Past Required Interval
Penalty
1st 1/2 hour or fraction
$25.00
2nd 1/2 hour or fraction
35.00
3rd and each additional 1/2 hour or fraction
50.00
The performer’s first meal is due within 6 hours of first call time; succeeding meals must begin within 6 hours after the end of
the preceding meal period. (If performed is given a 15-minute non-deductible meal within the first 2 hours of call time, the
first deductible meal is due within 6 hours of the end of that meal.) There will be a 12-minute unscheduled grace period
before a meal penalty is imposed. If upon expiration of the 6 hour period the camera is in the actual course of photography,
the take may be completed without violation. In such a case, the 12-minute grace period does not apply.
Rehearsals
Rehearsals are counted as work time, but cannot trigger consecutive employment on a motion picture. However,
consecutive employment does apply during the rehearsal period. Performer is to be paid a pro rata of the same weekly rate
contracted to be paid during photography.
Retakes, Added Scenes, Looping, Etc.
It begun within 4 months of termination of employment (6 months for theatrical, pilots and longform TV), services are
compensated at the original daily rate or prorated weekly rate, only for days actually worked. Day performer conditions
apply, unless the producer guarantees in writing one week of employment, in which case weekly performer conditions apply.
A performer may be recalled to loop (record sound track) for a session of up to 4 hours at 1/2 the pro rata daily rate. If
session exceeds 4 hours, a full day of pro rata salary is due.
Stunt Adjustment
Unless a rate is agreed to upon hiring, a Performer will receive an additional amount equal to a Stunt Performer’s minimum
for any day on which he performs a stunt. Overtime will be based on the aggregate amount.
Wardrobe Fittings
Freelance Weekly Performers
Page 10 – SAG-AFTRA
Wardrobe Fitting
Same as work time
Prior to Workday
No provision in contract
Fitted, Not Used
1 day’s pay for each day
of fitting
Showbiz Labor Guide 2014/2015
SAG-AFTRA
SCHEDULE C
Wardrobe Reimbursement
If a performer supplies his own wardrobe at producer’s request, the following amounts will be paid to the performer for
cleaning and reimbursement.
Wardrobe type
Reimbursement
$17.00
Formal wear
36.00
Police Uniform
11.50/outfit
All other wardrobe
Work Past Midnight
When a freelance performer works after 12:01 a.m. of any day, he is considered to have worked on that day for the purpose
of the Studio 5-day workweek or Overnight Location 6-day workweek. However, no premium is due for working past
midnight into a premium day, such as a 7th day or holiday.
When the performer works past midnight on the last day of his engagement, compensation for such work past midnight will
be 1/5 his weekly rate as a base salary for that day. However, subject to the overtime provisions, when the total
engagement for any week of the performer’s services is night work and the last day of such week goes past midnight, the
work past midnight does not count as an additional day. For this purpose, night work is defined as a call for 4:00 p.m. or
later.
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SAG-AFTRA - Page 11
SCHEDULE F
SAG-AFTRA
SCHEDULE F - CONTRACT, MULTIPLE PICTURE, “DEAL,” MULTI-PART
Who it applies to:
Category
Contract Performer
Definition
Employed under contract
at a salary
TV Threshold
More than $4,650/wk
Theatrical Threshold
More than $6,000/wk
Multiple Picture Performer
Employed for 2 or more
pictures per year, services
are non-exclusive
More than $4,650/wk
or guaranteed $32,000 or
more per picture
More than $6,000/wk or
guaranteed $60,000 or
more per picture
Deal Performer
Employed for 1 or more
pictures at a guaranteed
salary
Guaranteed $32,000 or
more per picture
Guaranteed $65,000 or
more per picture
Performer in Multi-part
Closed End Television
Picture
Mini-series performer
More than $4,650/wk and
guaranteed $40,000 or
more per picture
N/A
Rules and Working Conditions
Overtime - TV
Calculated in 1/10 hr units
Performers guaranteed under $40,000
Over 10 hours/day
Weekly ceiling
Top hourly rate (@ 1x)
Note: There is no weekly overtime such as provided for in Schedule B.
TV
2x
$4,400
$100/hr
Overtime - Theatrical
Not provided for in Schedule F; see Prorating.
6th and 7th Days
Worked
Performer’s 6th Day *
Studio
Lesser of additional day’s pay or $950
($1,000 as of 7/1/15), plus lesser of 1/2 day
premium or $475 **
Overnight
No additional pay, regular OT applies
Lesser of additional day’s pay or $950
($1,000 as of 7/1/15), plus lesser of 1 day
Lesser of additional day’s pay or $950, plus
premium or $950 ($1,000 as of 7/1/15)
lesser of 1 day premium or $950 **
* For work on any other 6th or 7th day, such as the 6th day of the Studio workweek but not the performer’s 6th day, pay will
be at straight time.
Performer’s 7th Day *
** Except in a single picture television agreement guaranteeing less than $50,000; in this case, Performer’s 6th and 7th days
are paid as provided for in Schedule C.
Rest Period
Daily: 12 hours (for theatrical, may be shifted to 11 hours for any 2 non-consecutive days on Overnight Location).
Weekly: 36 or 56 hours, may be reduced to 54 hours when performer’s first call time of the next week is 6 a.m. or later.***
*** Other exceptions exist, see SAG-AFTRA contract.
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SAG-AFTRA
SCHEDULE F
Rest Invasion
Lesser of 1 day’s pay or $950.
Holidays
New Year’s Day, Presidents Day, Good Friday, Memorial Day, July 4th, Labor Day, Thanksgiving Day, Friday after
Thanksgiving, Christmas Day.
Holidays Worked - 1 day’s additional premium, with the following exceptions.
In the case of 6 days worked in a Studio workweek, if the holiday falls on the 6th day, total premium pay for the week will be
1 day; if the holiday falls on any other day worked, total premium pay will be 1 1/2 days (1 for holiday + 1/2 for 6th day). In
the case of 7 days worked in a Studio workweek, if the holiday falls on the 6th or 7th day, total premium pay for the week will
be 2 days; If the holiday falls on any other day worked, total premium pay will be 2 1/2 days (1 for holiday + 1 for 7th day +
1/2 for 6th day).
Holidays Not Worked - No deductions on Overnight Locations.
Prorating
When prorating the workweek to determine an additional day of pay, prorating is based on 1/5 of the performer’s weekly
base rate, whether on Studio or Overnight Location workweek. However, this will not in any way change the performer’s
weekly base rate for either the Studio or Overnight Location workweek.
When a Performer is guaranteed $60,000 or more per theatrical picture ($65,000 for Deal Performers) or $32,000 or more
per TV picture, prorating for days over the guaranteed period will be negotiated through individual bargaining.
Travel Time
Travel Only - In general, paid as straight time, maximum 8 hours per day. *
Travel and Work - All hours considered work time, but overtime caused by travel will be paid at 1 1/2x rather than 2x.
Travel on Any 7th Day or Holiday - 1 day’s pay plus premium of 2 day’s pay.
* Other travel provisions exist; see SAG-AFTRA contract.
Meal Penalties
Time Past Required Interval
Penalty
1st 1/2 hour or fraction
$25.00
2nd 1/2 hour or fraction
35.00
3rd and each additional 1/2 hour or fraction
50.00
The performer’s first meal is due within 6 hours of first call time; succeeding meals must begin within 6 hours after the end of
the preceding meal period. (If performer is given a 15-minute non-deductible meal with the first 2 hours of call time, the first
deductible meal is due within 6 hours of the end of that meal.) There will be a 12-minute unscheduled grace period before a
meal penalty is imposed. If upon expiration of the 6 hour period the camera is in the actual course of photography, the take
may be completed without violation. In such a case, the 12-minute grace period does not apply.
Rehearsals
Rehearsals are counted as work time, but cannot trigger consecutive employment on a motion picture. However,
consecutive employment does apply during the rehearsal period. Performer is to be paid a pro rata of the same weekly rate
contracted to be paid during photography.
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SAG-AFTRA - Page 13
SCHEDULE G
SAG
SCHEDULE G - SINGERS
Rules and Working Conditions
This schedule applies to professional singers who are employed primarily to sing either as a solo or in a group requiring
unison or harmony. Non-professional singing, such as by background actors, is excluded from this definition.
Note: Except as provided for below, all provisions of the applicable schedule will apply (Schedule A for singers employed by
the day; Schedules B, C or F for singers employed by the week, etc.).
Overdubbing
When a singer re-records over the singer’s original track containing the same material as recorded on the original track, the
rate for the overdubbing alone is 1/3 (33 1/3%) of the pro rata rate. There is no limitation on the number of tracks that can be
overdubbed.
Sweetening
When a singer records over that singer’s original track with new or variant material, the rate, with or without overdubbing, is
1x (100%) of the pro rata rate. There is no limitation to the number of tracks that can be sweetened.
Contractors
A contractor is required on all engagements for groups of three or more singers, except in the case of an established group
or act. The contractor must be present at all times during the session and, except where precluded, be a performing
member of the singing group.
Instances that would preclude the contractor being a performing member would be the hiring of a children’s singing group
and a case in which the sex of the group precludes the use of the contractor’s singing performance.
In any case, the contractor is considered a member of the group for all contract purposes, and is covered by the provisions
of the agreement for singers.
For groups of 3-8, contractor receives +50% of the weekly (3-8) group singers’ rate.
For groups of 9 or more, contractor receives +100% of the weekly (9+) group singers’ rate.
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SAG
SCHEDULE H
SCHEDULE H - STUNT PERFORMERS
Rules and Working Conditions
Note: Except as provided for below, all provisions of the applicable schedule will apply (Schedule A for Performers
employed by the day; Schedules B, C or F for Performers employed by the week; etc.)
Schedule Breaks
Part II (Follows Schedule B Rules)
Less than $5,000 per week TV
Less than $6,200 per week Theatrical
Part III (Follows Schedule C Rules)
More than $5,000 per week TV
More than $6,200 per week Theatrical
Payment
Payment of Stunt Performers is governed by whatever schedule is applicable; Schedule A for Day Performers, Schedule B,
C or F for Weekly Performers, etc.
“Consecutive Employment”
If a Stunt Performer plays a role or has dialogue, he is entitled to continuous employment as provided for in Schedule A of
the Basic Agreement. Barring this exception, a Stunt Performer is not entitled to continuous employment.
Additional Stunt Work
Should a producer require stunt work beyond that which was agreed to by the Performer, the Performer has the right to
negotiate additional compensation for the additional work. Negotiation may take place either before or after the stunt is
performed.
Overtime, Premium Pay and Travel Time
All overtime and premium pay for a Stunt Performer will be based on aggregate compensation, which is adjusted to include
compensation for additional stunt work as listed above. However, for the purposes of calculating travel time, only base
compensation will be used.
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SAG-AFTRA - Page 15
SCHEDULE I
SAG
SCHEDULE I - AIRPLANE PILOTS
Rules and Working Conditions
Note: Except as provided for below, provisions of Schedule H - Stunt Performers will apply.
Location Rates
Location is here defined as any airport or air field where flying may be actually performed.
Daily
$1,463
Weekly
3,137
Flying/ Taxiing adjustment *
965
* Applies only to weekly rate, for each day pilot is required to taxi or fly an airplane.
Overtime
Calculated in 1/10 hour units
Pilots
Daily or Weekly
1x
8 hours/day
1 1/2 x
Over 8, no ceiling
Note: All pilots, whether on a daily or weekly basis, will be paid Overtime on a daily basis only.
6th and 7th Days
Worked
Pilot’s 6th day
Pilot’s 7th day
Studio or Location
1 1/2 x hourly rate for that day
2x hourly rate for that day
Holidays Worked
2x hourly rate for that day.
Extremely Hazardous Flying
Flying that has been classified as extremely hazardous may be compensated with an additional fee, to be negotiated
between Pilot and Producer. If agreement has not been made before the stunt is performed, the matter will be settled by
conciliation between the Producer and SAG-AFTRA, based on past practices.
Such additional compensation will be included with other compensation for the day for the purpose of computing daily
overtime.
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SAG
SCHEDULE J
SCHEDULE J - DANCERS
Rules and Working Conditions
Note: Except as provided for below, all provisions of the applicable schedule will apply (Schedule A for dancers employed
by the day; Schedules B, C or F for dancers employed by the week, etc.).
Exception: Consecutive employment does not apply to dancers.
Definition
For the purposes of this schedule, “dancers” include swimmers and skaters, when the performance is choreographed.
Hazardous Activity
Payment is $100 per day, with a minimum of $125 if only 1 day’s services are required. “Wire flying” will in all instances be
considered hazardous. Under certain circumstances, the following may also be considered hazardous:
 Knee work, including rolling, spinning, falling, balancing, hinging, walking, turning and/or performing a choreographed
routine on the knees
 Performing complex aerial acrobatics
 Dancing on slippery surfaces (other than ordinary dance floors)
 Dancing on stony and hard surfaces, such as concrete, asphalt, gravel, marble, tile or sand
 Dancing on raked stages, elevated platforms and staircases
 When the dancer is required to support more than one other person in any manner which affects safe performance of the
dance routine
 When sight or breathing is impaired by circumstances, such as the use of a mask or presence of fog, smoke or fire
Footwear
Any dancer who is directed to and reports with his or her own footwear will be paid $10.80 per day for each pair of shoes
utilized in performance.
Breaks
Dancers will have at least 10 minutes rest during each hour of actual rehearsal or shooting, unless shooting is of a
continuous nature. If so, at choreographer’s discretion, dancers may continue until a total of 90 minutes have elapsed, after
which a 15 minute break is due.
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SAG-AFTRA - Page 17
SCHEDULE K
SAG-AFTRA
SCHEDULE K - STUNT COORDINATORS
Rules and Working Conditions
Note: Except as provided for below, all provisions of the applicable schedule will apply (Schedule A for coordinators
employed by the day; Schedules B, C or F for coordinators employed by the week, etc.).
Part I (No Flat Deal)
Overtime - No Flat Deal
Calculated in 1/10 hr units
Daily
Coordinator making
$1,390/day or less
1x
8
1 1/2 x
9-10
2x
Over 10
Over 8 *
8
Coordinator making over
$1,390/day
Weekly
Coordinator
44 (48 Overnight Loc.)
Over 44 (48 Overnight Loc.)
* For the purposes of such calculations, the maximum daily rate will be 2x day performer minimum rate.
Rest Period
9 hours, from one hour after dismissal at set until first call thereafter.
Rest Invasion
Lesser of 1 day’s pay or $900 ($950 for weekly employees).
Daily Check
A Stunt Coordinator employed by the day will receive separate checks for each day of employment.
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SAG-AFTRA
SCHEDULE K
Part II (Flat Deals)
There will be no overtime, premium or penalty pay due for Stunt Coordinators employed under a “flat deal” contract. The
“flat deal” minimums include payment for on-camera work, but do not cover residuals for on-camera stunt work.
Rest Period
9 hours, from one hour after dismissal at set until first call thereafter.
Rest Invasion
Lesser of 1 day’s pay or $900 ($950 for weekly employees).
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SAG-AFTRA - Page 19
GENERAL PROVISIONS
SAG-AFTRA
General Provisions
Late Payments
Day players are to be paid within 5 business days.
Weekly performers will be paid on the regular studio pay day (Thursday, if no regular studio pay day has been designated)
for services rendered up to and including the preceding Saturday.
The penalty is $10 per day up to $200 for 20 days, excluding Saturdays, Sundays and holidays.
Upon written notice of such violation, if the Producer is still delinquent, Producer will have 5 business days to issue payment
including late payments.
In the event payment is still not made, further late payment charges in the amount of $2.50 per calendar day retroactive to
the date of receipt of notice of nonpayment, will continue to accrue until the delinquent payment including late payment
charges is fully paid.
If there is a dispute over the amount due the performer, and the Producer pays the undisputed amount on time, there will be
no late payment charge during the pendency of the dispute.
Transportation
Coach class air travel is permissible in the following circumstances:
1.
Domestic non-stop flights that are less than 1,000 airline miles
2.
Non-stop flights between Los Angeles and Vancouver
3.
Any non-stop flights of less than 1,000 miles between the U.S. and Vancouver or Toronto
4.
If a substantial number of the company is being transported
5.
If 6 or more performers travel together in the same class on the same flight
6.
For auditions and interviews
In all of the above situations, producer must provide elevated coach class (e.g. Economy Plus, Extended Leg Room, etc.)
when available. Performers traveling coach class must be reimbursed for baggage fees and in-flight meals if receipts are
submitted within 30 days after the flight.
All other flights must be business class when available and, if not available, first class. Charter flights may be used which
provide substantially equivalent accommodations.
Union Security
Taft-Hartley - First time employment of a non-member must be reported to SAG-AFTRA in writing within 15 days in the
studio and 25 days on overnight location, giving the non-member's name, social security number, first date of employment
and reason for selection. See Taft Hartley Report Form.
Employment of a non-member who previously worked under SAG-AFTRA jurisdiction becomes a "must pay" prior to
completion of production.
In order to verify a performer's status (i.e. "must pay" or member in good standing) contact SAG-AFTRA Station 12 prior to
each player's start date.
Liquidated damages (to the union) for employment in violation of these provisions is $500.00.
Penalties and Fines
Following are 14 major areas in which penalties (or fines) will be assessed against Producers who violate the agreements.
In some cases a penalty is payable to SAG-AFTRA; in other cases to the performer.
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SAG-AFTRA
GENERAL PROVISIONS
Reporting Taft-Hartley Waiver (Union Security Violation-$500). Failure to report or filing report late the first time
employment of a non member of SAG-AFTRA within 15 days after employment begins (25 days for players hired at
overnight location).
Prevention - Notify SAG-AFTRA in writing. Include player’s name, address, social security number, date of first
employment for your company, and rate of pay and guarantee.
Hiring a “Must Pay” (Union Security Violation-$500). Employing a non-member who previously worked under SAG-AFTRA
jurisdiction and who is or will become a “Must Pay” before work has been completed on your production.
Prevention - Verify the union status of actor by contacting SAG-AFTRA station 12 prior to each player’s start date. A
“Must Pay” must become in good standing before commencing work on your film.
Member Not in Good Standing (Union Security Violation-$500). Employing a SAG-AFTRA member who is not in good
standing.
Prevention - Verify status in advance by contacting SAG-AFTRA Station 12. A delinquent member must correct status
before employment begins.
Preference of Employment ($400, $500, $700). Failure to give preference to “qualified professional performers,” or failure
to employ a non-professional who meets one of the exceptions to the rule.
Prevention - Recognized exceptions to the preference rule are listed under “Preference of Employment.”
Employment of a member of the production staff ($500, $600, $800). The SAG-AFTRA Agreement provides that
Producer will not employ members of the Producer’s casting or production staff to work as actors in the film. Certain
exceptions are recognized: e.g. animal handlers, performer/director, performer/writer, Performer/Producer engaged by
written contract prior to commencement of principal photography and bona fide emergency situations on location.
Safety Violation ($900). Failure to provide safe conditions for performers (when working with dangerous animals,
explosives, etc.).
Reuse of film from another production without negotiating for the right to such use. Penalty equal to three times
player’s original salary for the number of days work used, or in certain cases, damages may be awarded by judgment.
Failure to honor contractual billing agreement. Penalties range to the limit of the Schedule B weekly rate, currently
$5000. In some cases performers are entitled to seek damages via arbitration or to seek equitable relief (including recall and
correction of prints).
Rest period violation ($950 max. per day for weekly employees; $900 for daily employees). The SAG-AFTRA agreements
require a 12-hour rest period between work days (in certain instances the rest period may be reduced to 11 or 10 hours),
and an extended 36, 54, or 56-hour rest period between consecutive work weeks. The penalty for violating these provisions
is one day’s salary up to a maximum of $950 for weekly employees and one day’s salary up to a maximum of $900 for daily
employees.
Meal period violation. Players are to receive a meal period no less often than every six hours. Penalties are imposed for
each 1/2 hour of violation or fraction thereof and are cumulative.
Late payment of salary ($10 min. to $200 max. for 20 working days). The agreement requires that day players be paid
within five working days. All other performers must be paid no later than Thursday for all work performed in the week ending
the preceding Saturday. Additional penalties beyond $200 will be assessed once the Guild or the player provides written
notice, and if the deficiency is not corrected within five business days.
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SAG-AFTRA - Page 21
GENERAL PROVISIONS
SAG-AFTRA
Doubling performers in violation of the SAG-AFTRA Basic Agreement (applies to day players earning more than
$1000/day and to all other players). The performer’s remedy is to seek damages via arbitration.
Prevention - Before an offer of employment is made, the Producer must be satisfied that the performer can meet the
necessary requirements of the role (e.g. the performer’s speaking voice must be acceptable, inasmuch as it may not be
doubled except under very limited circumstances).
Failure to use registered background actors for hazard work ($215 for the first violation, $350 for the second and each
succeeding violation on a production). The penalties do not apply if there is bona fide dispute as to whether the work is
“hazardous” or is “stunt work.”
Failure to deliver a written contract to a freelance weekly player ($10 min. to $200 max for 20 working days). A written
contract must be delivered to performer by the first date of employment or no later than four days after a full agreement on
terms has been reached, whichever date is later. The penalty provisions are similar to late penalty provisions, therefore
additional penalties beyond $200 will be assessed if non-compliance continues.
In any case of willful misrepresentation or falsification of facts by the Producer, the above damages will be doubled.
Preference of Employment
Preference of employment will be given to "qualified professional performers" who are reasonably and readily available to
the Producer for employment in the locality where the Producer's studio is based. The definition of a "qualified professional
performer" is a person who has had prior employment as a motion picture performer at least once during the period of three
years prior to the date of proposed employment.
Requirements under this provision do not alter or modify the Producer's exclusive right to hire whomever Producer chooses.
However, Taft-Hartley notification (as noted under Union Security) must be filed with the union.
The standard exceptions to the preference of employment provision contained in the 1998 Basic Agreement (General
Provisions, paragraph 14, section D) are as follows:
1.
Member of a "name" specialty group;
2.
Important, famous, well-known or unique persons, or persons with special skills and abilities who portray themselves;
3.
Background actors adjusted for non-script lines or stunts;
4.
Military or government personnel who must be used because government restrictions prevent utilization of
non-authorized persons;
5.
Persons with special skills and ability, or special or unusual physical appearance required for the film where there are
no qualified professionals available with the same skill or appearance;
6.
First employment of a professional who can show sufficient training and/or experience for an acting career and that he
intends to pursue such a career and be available for work;
7.
Children under 18;
8.
Owner or operator of unique vehicle or equipment that is not available to producer without employing owner or
operator;
9.
Stunt coordinators; and
10. Body doubles.
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SAG-AFTRA
GENERAL PROVISIONS
Liquidated damages (payable to the union) for non-compliance are:
$500.00 - Day Players
$600.00 - 3-Day Players
$800.00 - Freelance Weekly Performers
Taft/Hartley Report
Following is a sample “Taft/Hartley Report” in a format that SAG-AFTRA is likely to accept. The notice to SAG-AFTRA
should include the appropriate section number of the “Preference” clause and include language similar to that stated in the
appropriate section.
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SAG-AFTRA - Page 23
GENERAL PROVISIONS
SAG-AFTRA
SAG-AFTRA
TAFT/HARTLEY REPORT
ATTENTION
RÉSUMÉ ATTACHED
PHOTO ATTACHED
EMPLOYMENT INFORMATION:
NAME
SOCIAL SECURITY NO.
ADDRESS
AGE (If minor)
CITY/STATE
ZIP
PHONE
EMPLOYER INFORMATION:
NAME
ADDRESS
CIRCLE ONE - AD AGENCY / PROD. CO. / STUDIO
CITY/STATE/ZIP
PHONE
EMPLOYMENT INFORMATION:
CIRCLE ALL THAT APPLY - CONTRACT: DAILY / 3-DAY / WEEKLY
CIRCLE ALL THAT APPLY - CATEGORY: ACTOR / SINGER / STUNT / OTHER
WORK DATE(S)
SALARY
PRODUCTION TITLE
PROD./COMM'L#
SHOOTING LOCATION (City/State)
Reason For Hire (be specific):
Employer is aware of General Provisions, Section 14 of the Basic Agreement that applies to Theatrical and Television
production, and Schedule B of the Commercials Contract, wherein Preference of Employment will be given to qualified
professional actors (except as otherwise stated). Employer will pay to the Guild as liquidated damages, the sums indicated
for each breach by the Employer of any provision of those sections.
SIGNATURE
DATE
Producer or Casting Director (circle one)
PHONE
PLEASE BE CERTAIN RÉSUMÉ LISTS ALL TRAINING AND/OR EXPERIENCE IN THE ENTERTAINMENT
INDUSTRY.
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SAG-AFTRA
GENERAL PROVISIONS
Studio Zone Employment
Los Angeles Studio Zone
A 30-mile radius from the intersection of Beverly and La Cienega Boulevards, as well as Agua Dulce, Castaic (including
Lake Castaic), Leo Carillo State Beach, Moorpark, Ontario International Airport, Piru and Pomona (including the Los
Angeles County Fairgrounds) and such other territory (such as the present Columbia Ranch and Disney Ranch) as is
generally recognized as being within the studio zone. Player will be compensated for travel within the L.A. Studio Zone at
$.30 per mile from Producer’s studio to the place of reporting and back. Supervised parking paid for by Producer is required
for “report to” calls other than at a studio.
Reasonable requests for hotel accommodations are to be granted to performers required to report for work at locations in
Agua Dulce, Castaic (including Lake Castaic), Leo Carillo State Beach, Moorpark, Ontario International Airport, Piru and
Pomona (including the Los Angeles County Fairgrounds) that are more than four (4) miles from the perimeter of the thirtymile zone.”
Exception to the requirement to pay mileage for performers employed on theatrical motion pictures who are required to
report for work at a site within thirty (30) mile studio zone which is within a ten (10) mile radius of a point designated by the
producer, provided the producer gives prior notice to the guild of the point so designated. Commencing outside the ten (10)
mile radius, a mileage allowance will be paid.
New York Studio Zone
A 25-mile radius from Columbus Circle, not including Sandy Hook, NJ. Performers may be asked to report to a studio or
location within an 8-mile radius; outside of 8 miles, performers must be provided courtesy transportation to and from a
pickup spot between 125th Street and South Ferry in Manhattan, “when convenient public transportation is not readily
available.”
San Francisco Studio Zone
A 30-mile radius from the intersection of Market and Powell Streets. Performers are to be transported by Producer to any
site outside the Studio Zone (such travel time is work time).
Other Studio Zones
Most SAG-AFTRA branch cities have established their own zones of 25 to 30 miles. Contact each office for complete
information.
Consecutive Employment
Day players will be paid for all consecutive work or hold days during principal photography. However, Producer and
performer may agree to recalls on or after a specific date following 14 days (TV episodic) or 10 days (Theatrical and other
T.V.) from termination of original employment. If player is recalled prior to the 14 or 10 day stipulation compensation will be
paid for all intervening days.
The exceptions to this rule are retakes, added scenes, looping, dubbing process photography shots, trailers and foreign
versions. If recalled within 6 months after completion of principal photography, player must work for the same pro rata
salary as originally employed.
Furthermore, rehearsal time does not trigger consecutive employment if a performer engaged for a long-form television
program or a theatrical production is paid for rehearsal at the same rate as for photography. The foregoing will be subject to
the performer's general availability, not limited to professional availability; performer must be given an “on or about” or firm
start date as required by the Agreement; and consecutive employment applies during the rehearsal period.
Intervening days between work on two episodes of the same series do not trigger consecutive employment.
“Major role” performers have special conditions; see contract for full details.
Showbiz Labor Guide 2014/2015
SAG-AFTRA - Page 25
GENERAL PROVISIONS
SAG-AFTRA
Adjustment of Background Actor to Day Player
An extra may be adjusted to a day player for non-scripted dialogue or stunts.
Compensation will be the pro-rata salary for the time worked as a background actor calculated in units of tenths of an hour,
plus the full SAG-AFTRA day player minimum.
Hours as background actor @ $118 per day = 2 ½ hours
Hours as day player @ $880 per day = 5 hours
Total Pay = $29.50 for background actor work plus day player rate of $880.00 = $909.50
Overtime, if any, will commence to accrue after performer has rendered 8 hours of work as a day player.
EXAMPLE
Conversion of Day Player to Weekly Status
At any time, either before or after a day player commences work, the Producer will have the option of converting such
performer, with written notice, to a weekly engagement. The date notice is delivered to performer will be the first day of
his/her weekly employment. However, performer will be paid for such day, including overtime, as a day player. If notice is
received after noon, conversion to weekly status will not be effective until the next work day.
Reuse of Photography or Sound Track
No part of the photography or sound track will be used other than the picture for which performer was employed without
separately bargaining with the performer prior to the time of reuse for at least day player minimum. Producers are allowed
to reuse photography and soundtrack without bargaining or compensation to performers in pre- and post-Oscar and Emmy
Award programs between the announcement of nominations and light days following the Oscar or Emmy Award program.
The union may, at its discretion, grant waivers for reuse in public service, educational and like programs.
If Producer fails to separately negotiate, performers will be entitled to damages equivalent to 3 times the amount originally
paid the performer for the number of days of work covered by the material used. If the Producer and SAG-AFTRA are
unable to find the performer within a reasonable amount of time, the Producer may use the photography or sound track
without penalty.
Trailers
Full day player rates will be paid to performers employed in trailers for use on television and in theaters. For services
performed in a television trailer to promote a continuing series, the day player rate covers 13 weeks of use.
Producer will have the right to make a "tease" trailer in addition to the full length trailer, for theatrical use or 1 additional
edited shorter version for each 13 week television trailer.
Any performer who appears as a star or featured performer in a theatrical or individual T.V. episode or T.V. picture who,
during employment, performs in a trailer for such picture will not be entitled to additional payment.
No additional compensation will be payable for use of any portion of a motion picture, or for use of scenes photographed
simultaneously with a separate camera, utilized as a trailer.
Pension and Health Plans
See Fringes chapter.
Air Travel Insurance
Air Travel Insurance must be provided by Producer, or player must be notified in advance of travel in order to separately
purchase air travel insurance. (Player will be reimbursed for the normal cost of premiums upon providing a receipt.)
Page 26 – SAG-AFTRA
Showbiz Labor Guide 2014/2015
SAG-AFTRA
GENERAL PROVISIONS
Emergency Suspension “Force Majeure” (Except for Schedule A Players)
This provision applies to:
1.
Freelance Weekly Performers (Schedule B and Schedule C);
2.
Three Day Performers (TV Schedule B and TV Schedule C);
3.
Multiple Picture Performers subject to Schedule B conditions (but excluding performers whose guaranteed salary is
$10,000 or more for each picture under a multiple picture contract); and,
4.
Term Contract Performers (Schedule E but not Schedule F).
General Rule: If the production is suspended, prevented or postponed by reason of fire, accident, strike, riot, act of God or
public enemy, or by any executive or judicial order, or postponed by reason of the illness of any other member of cast or of
the director, performer will be placed on 1/2 salary for the first 3 weeks of prevention, suspension or postponement.
During the first week of suspension, Producer will notify the performer in writing if the production is to be further suspended
or if production is to be canceled.
After 3 weeks of suspension a performer may terminate the employment unless the Producer thereafter pays full salary to
the performer during any continuance of the suspension.
If Producer later terminates the production due to illness of another member of the case or of the director, performer will be
paid full salary for services previously rendered, plus 1/2 salary for the period of suspension, plus one week’s salary. There
will be no further obligation to performer even if the payments stated above are less than the original guarantee.
If a production resumes more than 3 weeks after termination but within 6 months, the performer must return at same prorata salary (after six months the salary is negotiable), subject to performer’s availability.
For series contract performers:
Performer may be placed on 1/2 salary for the first 5 weeks of suspension or for the period required to produce the
remainder of the performer’s minimum guarantee, whichever is shorter.
After 5 weeks of suspension the performer may terminate employment unless the Producer thereafter pays full salary to the
performer for the remainder of the then-current guaranteed employment period. If Producer exercises this option and makes
full payment to the performer, performer is obligated to provide services laid out in his or her contract once the suspension
has been lifted, on the same terms. These full-salary payments are creditable toward the performer’s continued
compensation and minimum episode guarantee, while the ½ salary payments are not creditable.
If a performer has already reached his or her minimum episodic guarantee at the time of force majeure, the performer will
not be entitled to ½ salary during suspension of production, nor is the performer entitled to terminate the service contract.
There are many more details and exceptions to the force majeure clause listed in the agreement; please see contract for full
details.
Showbiz Labor Guide 2014/2015
SAG-AFTRA - Page 27
NETWORK CODE
SAG-AFTRA
NETWORK CODE
Compensation
The program fee paid to a performer covers both actual taping and rehearsal time. Additional rehearsal pay is calculated
working backward from final tape day to the first day of rehearsal.
For programs of more than two hours in length, the fee will be the applicable two-hour rate, plus, for each half hour or part
thereof over and above two hours, a sum equal to the difference between the applicable 90-minute rate and applicable 120minute rate.
The following rates cover all non-prime time and all variety programs.
Dramatic Non-Prime Time Programs (Other than Serials)
Principal Performers - Performers who speak more than five lines. Singing and Dancing, Soloist and Duos; Announcers,
On-Camera Regardless of Lines; Stunt Persons; Puppeteers.
Included
Program
Rehearsal
Included
Regular
Min.
Min. Session
Length
Hours
Rehearsal
Rehearsal
Daily Call
Days
in Minutes
Performer/
Days
Days
Hours
Announcer
0-5
1.5/1.5
1
1
1.5
Over 5 - 15
3/3
1
1
2
3
Over 15 - 30
10/7
2
3
2
4
Over 30 - 45
10/12
3
4
2
4
Over 45 - 60
18/12
3
4
2
4*
Over 60 - 90
26/17
4
5
2
4*
Over 90-120
34/22
5
6
2
4*
Extra Rehearsal: $25.00
*
For performers only, on shows of one hour or longer, minimum daily call is six hours on one camera day.
Rehearsal time beyond minimum session pro-rated in ½-hour increments.
Serials (All Principal Performers Excluding Announcers)
Single program and multiple performances in a serial in one calendar week.
Performers employed under this table may be guaranteed employment in one or more episodes of a serial per week, or
guaranteed employment in a number of episodes within a fixed period (e.g. 10 episodes in 12 weeks as a "running part"
and/or guaranteed employment as a "term" player for 10 out of 13 weeks). Payment for excess work days is calculated at
the end of each reconciliation period.
Program
Length
in Minutes
0-5
Over 5-15
Over 15-30
Over 30-45
Page 28 – SAG-AFTRA
Included
hours
per day
Reconciliation
Fee*
8
8½
9
$300.00
300.00
300.00
Showbiz Labor Guide 2014/2015
SAG-AFTRA
Over 45-60
Over 60-90
NETWORK CODE
9
9
300.00
400.00
*
Exception - Under the following conditions, all overtime will be paid at the same rate as for the first two hours of
overtime; during the first six months of a new serial which is one hour or more in length; during the first three months
of a new serial which is less than one hour in length; for six weeks after the length of a serial has been increased (e.g.
from 30 to 45 minutes); and for six weeks after a serial program has moved to a different studio complex.
**
Reconciliation fee is applicable to principal performers. At the end of each two week reconciliation period, player will
receive a reconciliation fee for the number of days of work which are greater than the number of Program Fees
payable for the two-week period. Reconciliation period for term contract players is 26 weeks.
Work on six or seven days in a given work week - Minimum call is four hours at the same rate stated as for the first two
hours of OT. Work beyond the number of included hours listed above is at the same work overtime rate stated as for 3
hours and beyond.
Principal Performers
Non-Dramatic Programs
Single Program Performances: Principal Performers; Singing and Dancing; Solos and Duos; Announcers On-Camera;
regardless of lines.
Included
Program
Rehearsal
Included
Regular
Length
Performer/
Rehearsal
Rehearsal
Min. Session Min. Daily Call
in Minutes
Announcer
Days
Days
Days
Hours
0-5
Over 5 - 15
3/3
1
1
2
3
Over 15 - 30
10/7
2
3
2
4
Over 30 - 45
10/12
3
4
2
4
Over 45 - 60
18/12
3
4
2
4*
Over 60 - 90
26/17
4
5
2
4
Over 90-120
34/22
5
6
2
4
Extra Rehearsal: $25.00 per hour. Rehearsal time beyond minimum session is pro-rated in ½ hour increments.
*
For performers only, on shows of one hour or longer, minimum daily call is six hours on one camera day.
Multiple Performances Airing in One Calendar Week (Strip Shows)
Applicable to non-dramatic programs for performers and announcers on-camera.
Program
Included
Included
Regular
Length
Rehearsal
Rehearsal
Rehearsal
in Minutes
Hours
Days
Days
15 MINUTES OR LESS
1
3
1
1
2
7
2
0
3
11
3
0
4
15
4
0
5
19
5
0
OVER 15 TO 30 MINUTES
1
10
2
2
16
4
Showbiz Labor Guide 2014/2015
SAG-AFTRA - Page 29
NETWORK CODE
SAG-AFTRA
3
22
5
4
28
6
5
34
7
OVER 30 TO 45 MINUTES
1
10
2
3
2
16
4
3
3
22
5
2
4
28
6
1
5
34
7
0
OVER 45 TO 60 MINUTES
1
18
3
4
2
22
5
4
3
28
6
3
4
32
6
3
5
38
7
2
OVER 60 TO 90 MINUTES
1
26
4
5
2
28
5
6
3
34
6
5
4
36
7
4
5
40
7
4
OVER 90 TO 120 MINUTES
1
34
5
6
2
36
7
6
3
40
7
6
4
40
7
6
5
40
7
6
Extra Rehearsal: $25.00 per hour. Rehearsal time beyond minimum session pro-rated in ½-hour increments.
Performers - 5 lines or less
Single Program Performance (Other than Serials)
Program
Included
Minimum
Minimum
Length in
Rehearsal
Included
Regular
Session
Daily Call
Minutes
Hours
Days
Days
Hours
Hours
0-5
Over 5-15
3
1
0
2
3
Over 15-30
5
1
0
2
4
Over 30-45
8
2
0
2
4
Over 45-60
8
2
0
2
4
Over 60-90
10
2
0
2
4
Over 90-120
12
2
0
2
4
Extra Rehearsal: $25.00 per hour. Rehearsal time beyond minimum session pro-rated in ½ hour increments.
Page 30 – SAG-AFTRA
Showbiz Labor Guide 2014/2015
SAG-AFTRA
NETWORK CODE
Serials (Single and Multiple Performances in One Calendar Week)
Performers employed under this table may be guaranteed employment in one or more episodes of a serial per week.
Payment for excess work days is calculated at the end of each reconciliation period.
Program Length
in Minutes
Included Hours Per Day
Reconciliation Fee *
0-5
5 to 15
8
145.00
15+ to 30
8½
145.00
30+ to 45
9
145.00
45+ to 59
9
145.00
60+ to 90
9
170.00
* The rates specified in the second column above will be applicable to all overtime hours worked during the first six months
of a new serial program one hour or more in length, the first three months of a new serial program less than one hour in
length, the first six weeks after the length of a serial program has been increased, or the first six weeks after a serial
program has moved to a different studio complex. The rates specified under Reconciliation Fee above will not be
applicable in those circumstances.
Background Actors
Single Program Appearance - Variety
Program
Length in
Minutes
5 or less
5 to 15
15+ to 30
30+ to 45
45+ to 60
60+ to 90
90+ to 120
Included
Rehearsal
Hours
Included
Days
Regular
Days
Minimum
Session
Hours
Minimum
Daily Call
Hours
2
7.5
8
8
10
13
1
1
2
2
2
2
0
0
0
0
0
0
2
2
2
2
2
2
2
4
4
4
4
4
Extra Rehearsal: $11.00 an hour. Rehearsal time beyond minimum session pro-rated in ½-hour increments.
Serials (Single and Multiple Appearances in One Calendar Week)
Background Actors employed under this table may be guaranteed employment in one or more episodes of a serial per
week. Payment for excess work days is calculated at the end of each reconciliation period.
Program
Length in
Minutes
Included
Hours
Per Day
OT$
First 2 hours
OT$
3 hours and
above
Reconciliation
Fee
5 or less
5 to 15
15+ to 30
30+ to 45
45+ to 60
60+ to 90
8
8½
9
9
9
17.00
17.00
17.00
17.00
17.00
22.00
22.00
22.00
22.00
22.00
71.00
71.00
71.00
71.00
94.00
When 20 or more extras are employed on a program per day, all extras may by paid 20% less than the applicable program
fee.
Showbiz Labor Guide 2014/2015
SAG-AFTRA - Page 31
NETWORK CODE
SAG-AFTRA
For all other Background Actors see "Background Actor" Chapter.
* Reconciliation fee is applicable to five line or less performers and extra players. At the end of each two week
reconciliation period, player will receive a reconciliation fee for the number of days of work which are greater than the
number of Program Fees payable for the two-week period.
Upgrade of Background Actor
Upgrade to five-line-or-less category if extra is addressed individually by a principal, is alone in a scene, or speaks
individually as part of a group or crowd, and it there is more than minimal direction and portraying an essential story point.
If extra does not speak, but portrays a major role (e.g. Children of a Lesser God), the upgrade is to principal performer.
Stand-Ins or Dance-Ins
Compensation is $24.00 per hour, with a minimum call of one hour per session (two hours if engaged solely as a stand-in or
dance-in and not a member of the cast or as a member of the cast on a day which is not a rehearsal or performance day);
or, the understudy rate if bargained for in advance. A stand-in/dance-in required to memorize any material will be classified
as understudy.
Group Dancers - 3 or More
Program
minimum
Length in
5 or less
Over 5-15
Over 15-30
Over 30-60
Over 60-90
Over 90-120
Included
Rehearsal
Hours
Included
Days
Regular
Days
Min.
Session
Hours
Min.
Daily Call
Hours*
8
19
29
35
35
2
4
5
6
6
0
0
0
0
0
3
3
3
3
3
3
3
5
5
5
Extra Rehearsal: $25 per hour. Rehearsal time beyond minimum session pro-rated in ½-hour increments. Hazardous
Activity: $80.00/day minimum, but not less than $100 per program.
* On all additional rehearsal days worked or credited, the minimum session or minimum daily call will be six hours;
provided, however, that a meal period of not more than two hours may be given without breaking the session.
** Minimum daily call is six hours on one camera day for shows of one hour of longer.
Step Out by a group dancer who performs as a member of a small size group for 16 or more consecutive bars: pay the
lesser group rate. Such reclassification will not operate to reduce the size of the overall group with respect to fees payable
to the remainder of the group.
Dancers who sing or lip sync will be paid a doubling fee.
Group Singers Off-Camera
This table applies to programs of all lengths.
Number of
Included
Included
Performers
Rehearsal Hours
Days
Page 32 – SAG-AFTRA
Regular
Days
Minimum
Session Hours
Showbiz Labor Guide 2014/2015
SAG-AFTRA
Solo-Duo
3-8
9+
NETWORK CODE
4
4
4
1
1
1
4
4
4
4
4
4
Extra Rehearsal: $22.00 per hour for each additional hour of work up to the 8th hour, thereafter $33.00 per hour. Overtime
for off-camera singers pro-rated in ¼ hour increments.
Contact SAG-AFTRA for Step-Outs.
Group Dancers
When a member of a dancing group of three or more is requested to render contractor services, the dancer will be paid an
additional minimum fee including compensation for extra rehearsal, overtime, etc.
Group Singers
Every group of three or more singers will have a member of the group appointed to perform contractor services.
Compensation is as follows:
Contractor for 3-15 Singers - An additional 50% of the full applicable minimum fee, including compensation for extra
rehearsal sweetening, multi-tracking, etc.
Contractor for 16 or More Singers - An additional 100% of the applicable minimum fee including compensation for
extra rehearsal, sweetening, multi-tracking, etc.
Announcers - Off-Camera (More Than 10 Lines)
Program
Length in
Minutes
0-5
Over 5-15
Over 15-30
Over 30-45
Over 45-60
Over 60-90
Over 90-120
Included
Rehearsal
Hours
Included
Days
Regular
Days
Minimum
Session
Hours
Minimum
Daily Call
Hours*
2
3
4
4
5
6
1
1
1
1
2
2
0
0
1
1
0
0
2
2
2
2
2
2
2
3
2
2
3
3
Extra Rehearsal: $25.00 per hour.
Rehearsal time beyond minimum session pro-rated in ½-hour increments.
Multiple Performances in One Calendar Week, Same Show
2 performances per week at 1-¾x the single rate
3 performances per week at 2-¼x the single rate
4 performances per week at 2-¾x the single rate
5 performances per week at 3x the single rate
Showbiz Labor Guide 2014/2015
SAG-AFTRA - Page 33
NETWORK CODE
SAG-AFTRA
Announcers - Off-Camera (10 Lines or Less)
Announcers employed for openings and closings, lead-ins and lead-outs, billboards, promotional or public service
announcements, so long as the aggregate line count is 10 lines or less, will be paid the rates stated below. Payment for
such services will be in addition to any payment for services as a commercial performer or announcer.
Program
Included
Minimum
Minimum
Length in
Rehearsal
Included
Regular
Session
Daily Call
Minutes
Hours
Days
Days
Hours
Hours*
0-5
Over 5-15
2
1
0
2
2
Over 15-30
3
1
0
2
3
Over 30-45
4
1
1
2
2
Over 45-60
4
1
1
2
2
Over 60-90
5
2
0
2
3
Over 90-120
6
2
0
2
3
Extra Rehearsal: $25.00 per hour. Rehearsal time beyond minimum session pro-rated in ½ hour increments.
Multiple Performances in One Calendar Week, Same Show
2 performances per week at 1-¾x the single rate
3 performances per week at 2-¼x the single rate
4 performances per week at 2-¾x the single rate
5 performances per week at 3x the single rate
Non-Commercial Openings, Closings and Musical Signatures
(Not applicable to announcers)
A performer engaged under a term contract for a series (regardless of salary rate), or engaged in a serial and guaranteed
$10,000 or more under a term contract for 13 weeks may consent to perform in non-commercial openings, closings and
signatures without added compensation. Such material (or actual production footage) may be used in any episodes
produced while the player is under contract. A player required to perform such services on a day when he is not otherwise
required to perform on the program will be paid at least $100.00.
A performer not under continuing contracts will be paid for use of his services in any episode in which he is not otherwise
employed.
Page 34 – SAG-AFTRA
Showbiz Labor Guide 2014/2015
SAG-AFTRA
NEW MEDIA SIDELETTER
SIDELETTER ON PROGRAMS MADE FOR NEW MEDIA
Coverage and Scope
Applicable to performers and background actors employed on audio-visual entertainment programs made for the Internet,
mobile devices or any other “New Media” known at the date of ratification (June 10, 2009). “Performers” include singers,
stunt performers, stunt coordinators, airplane and helicopter pilots, professional dancers, professional puppeteers and body
doubles.
Three types of New Media productions are covered:
Derivative New Media Productions
A production for New Media based on an existing motion picture or program produced for “traditional” media (excluding
Basic Cable), to the extent that such production was covered under the terms of the Basic Agreement or Television
Agreement.
Original New Media Productions
For which there is no existing motion picture or program which was originally produced for “traditional” media (excludes
Basic Cable).
Experimental New Media Productions
Any Original New Media Production:
1) For which the actual cost of production does not exceed:
a) $15,000 per minute of program material as exhibited, and
b) $300,000 per single production as exhibited, and
c) $500,000 per series of programs produced for a single order
AND
2) Does not utilize a “covered performer,” as specifically defined by the agreements.
Guild coverage of Experimental New Media productions are at the producer’s option. If the producer chooses to cover the
production, all applicable provisions for Original New Media productions will apply.
Compensation and Terms
All compensation is subject to negotiation between the producer and the performer.
If a “New Media” production is never released in New Media and is instead exhibited in traditional media format, the
performers and background actors employed must be paid the difference, if any, between the compensation they were paid
for the New Media production and the compensation that would have been due under the SAG-AFTRA Basic Agreement or
Television Agreement, whichever is applicable.
Credit - Performers must be accorded credit if any other person receives credit on the production. Credits may appear in the
corner of the screen, and “click-through” credits are acceptable.
Fringes - Fringe rates for television performers will apply to performers on covered New Media productions.
“High Budget SVOD Programs” Defined
This part of the sideletter is applicable only to original and derivative dramatic new media productions made for initial
exhibition on a subscription video-on-demand consumer pay platform which meet the following “high budget” criteria:
Showbiz Labor Guide 2014/2015
SAG-AFTRA - Page 35
NEW MEDIA SIDELETTER
SAG-AFTRA
Length of Program
“High Budget” Threshold as Initially Exhibited*
20-35 Minutes $1,300,000 and above
36-65 Minutes $2,500,000 and above
66 Minutes or more $3,000,000 and above
* Programs less than 20 minutes are not considered “high budget” for the purpose of this Sideletter, regardless of their
budgets.
Compensation
Minimum initial compensation for performers employed on a High Budget SVOD Program shall be the applicable rates
under the SAG-AFTRA Television Agreement.
Other Terms and Conditions
Except as otherwise provided herein, the terms and conditions applicable to High Budget SVOD Programs shall be those
applicable under the SAG-AFTRA Codified Basic Agreement of 2014 and the 2014 SAG-AFTRA Television Agreement to
dramatic programs made for network prime time, subject to the following clarifications and modifications:
(a) A High Budget SVOD Program between 20 and 35 minutes in length shall be treated as a 30-minute program; a High
Budget SVOD Program between 36 and 65 minutes shall be treated as a 60-minute program; a High Budget SVOD
Program between 66 and 95 minutes shall be treated as a 90-minute program; and a High Budget SVOD Program 96
minutes or longer shall be treated as a 120-minute program.
(b) The “major role” performer provisions in the Television Agreement shall not apply.
(c) Reuse of Photography or Sound Track
(i) Promotional reuse of photography or sound track from a High Budget SVOD Program in all media shall be governed
exclusively by the provisions of the Sideletter Re: Exhibition of Motion Pictures Transmitted Via New Media relating to
promotional use.
(ii) Non-Promotional Reuse of Photography or Sound Track
(A) Non-Promotional Reuse of Photography or Sound Track in New Media
1) For non-promotional reuse of photography or sound track from one episode of a High Budget SVOD series in another
episode of the same series, Section 36 of the Television Agreement shall apply, except that the performer may agree to
reuse at the time of employment.
2) For any other non-promotional reuse of photography or sound track of a High Budget SVOD Program in New Media, the
reuse provisions of Section 3 of the Sideletter Re: Exhibition of Motion Pictures Transmitted Via New Media shall apply (i.e.,
the High Budget SVOD Program shall be treated as a “television motion picture” for purposes of such provisions).
(B) Non-Promotional Reuse of Photography or Sound Track Other than in New Media
Section 36 of the Television Agreement shall apply to the reuse of photography or sound track from a High Budget SVOD
Program in any medium other than New Media (e.g., in traditional media), except that the performer may agree to reuse at
the time of employment.
(iii) In no event shall the Producer be required to bargain and/or make payment for reuse of photography or sound track
from a High Budget SVOD Program if it would not be required to do so under Section 36 of the Television Agreement or the
Sideletter Re: Exhibition of Motion Pictures Transmitted Via New Media.
(d) It is understood that the advance payment of residuals provision in Section 18(d) of the Television Agreement allows the
crediting of all residuals payable for the reuse of a High Budget SVOD Program, regardless of whether the residuals are a
fixed or percentage payment.
(e) For a High Budget SVOD Program intended for initial exhibition on a subscription video-on-demand consumer pay
platform with fewer than 15 million subscribers, or a High Budget SVOD Program intended for initial exhibition on a
subscription video-on-demand consumer pay platform with 15 million or more subscribers that is budgeted at less than
$2,000,000 ($2,100,000 effective July 1, 2016) for a program between 20 and 35 minutes in length, $3,700,000 ($3,800,000
effective July 1, 2016) for a program between 36 and 65 minutes in length, $4,000,000 for a program between 66 and 95
minutes in length and $3,000,000 or more but less than $4,500,000 (plus $2,250,000 for each additional 35 minutes or
portion thereof) for a program 96 minutes or more in length, the following additional modifications shall apply:
(i) Producer may credit amounts in excess of 65% of the minimum, but not to exceed the minimum, against any other
compensation otherwise due to a series or term contract performer (e.g., overtime, penalties, and residuals, regardless of
whether the threshold for advance payment of residuals has been met). Such crediting shall not apply to background actors
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SAG-AFTRA
NEW MEDIA SIDELETTER
or performers other than series or term contract performers. (Note that this crediting is in addition to the rights of crediting of
residuals provided in Paragraph 4.(d) of this Sideletter.)
Following is an example of such crediting: A series contract performer engaged on a 62-minute High Budget SVOD program
made for initial exhibition on a subscription video-on-demand consumer pay platform with fewer than 15 million subscribers
for which principal photography commences on July 1, 2015, is guaranteed employment on 7 episodes at the rate of $5,000
per episode. Up to $1,477.35 (i.e., 35% of the minimum salary rate of $4,221 per episode) may be credited against any
other compensation otherwise due. If the series contract performer works 14 hours and is due four (4) hours of overtime at
$200 per hour, the Producer may credit $800, leaving $677.35 available to be credited against any other compensation due
to the performer.
If the same High Budget SVOD Program is made available for a second year on the same platform, the series contract
performer would be entitled to a residual of $701.10, calculated as 30% of the residual base of $2,337 (which residual base
is 65% of the series contract performer's total actual compensation up to 65% of the network prime time rerun ceiling).
Assuming that $100 is left to be credited from the total amount available for crediting under this provision (i.e., $1,477.35),
the series contract performer would receive payment for $601.10 in residuals.
(ii) On days for which the Television Agreement requires premium pay for travel, such travel time shall be compensated at
straight time with respect to employment covered hereunder.
(f) In recognition that programs made for New Media involve a new and evolving form of production and may not be subject
to the same production model as applies to traditional television motion pictures, thereby rendering possible the use of
alternative preparation and shooting methods and schedules, the Union agrees to consider in good faith requests for
waivers to facilitate the use of such alternative methods and schedules on High Budget SVOD Programs when appropriate.
Reuse
There are many rules governing the reuse of New Media material, and residuals due for such use. Please contact the Media
Services Residuals Department with any questions regarding New Media residuals: 310-471-9348.
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SAG-AFTRA - Page 37
ANIMATION AGREEMENT
SAG-AFTRA
TELEVISION ANIMATION AGREEMENT
Subject to the following exceptions, the included work time per session will be 4 hours. Time worked in excess of the 4
hours included work time per session will be paid at a straight-time hourly rate (equal to one-eighth (1/8th) of the minimum
session fee provided in Section 1 A) for each hour or portion thereof up to and including the eighth (8th) hour. Time worked
in excess of 8 hours will be paid in accordance with the overtime provisions for day performers under the TV agreement.
The exceptions are:
1.
Included work time for the initial session of any series in any broadcast season will be 8 hours.
2.
Included work time for a session for a series episode of more than 30 minutes in length will be 6 hours.
3.
Included work time for a session for a non-episodic program will be 6 hours for a program of 30 minutes in length and 8
hours for a program of more than 30 minutes.
4.
Included work time for an automated dialogue replacement (ADR) session will be 6 hours. If, however, a performer is
employed for an ADR session due to his/her unavailability for the principal recording session, then the included work
time for that performer will be 8 hours.
In those instances where the included work time is six hours (as in the previous exceptions), time worked in excess of the 6
hours included work time will be paid at a straight-time hourly rate (equal to 1/8th of the minimum session fee provided
previously) for each hour or portion thereof up to and including the eighth hour. Time worked in excess of 8 hours will be
paid in accordance with the overtime provisions for day performers under the TV agreement.
Limitations on Voices
Films or Segments of Films 10 Minutes or Less in Length
Voice actors may perform up to three voices in each film or segment. For each voice over such three voices, voice actors
will be paid an additional fee.
Films or Segments of Films Over 10 Minutes in Length
Voice actors may perform up to three voices in each film or segment. For performing more than three voices, voice actors
will be paid an additional full session fee which will entitle the Producer to require the performer to perform up to three
additional voices.
Additional Compensation for a Third Voice
As to films or segments of films over 10 minutes in length, an additional payment of 10% will be payable for the third voice in
each group of 3 performed (e.g. 3rd voice, 6th voice, etc.).
Pick-up Lines
At a Pick-Up Session
A voice actor may be requested to attend a session called for the sole purpose of performing pick-up lines from previous
episodes of a series and may provide an unlimited number of pick-up lines in a two hour session for a single full minimum
session fee.
At a Regular Session
A voice actor may be requested to record unlimited pickup lines from previous episodes for no additional compensation if
such recording of pick-up lines takes no more than one hour at a session at which the performer is engaged to perform
principal recording.
Recording or Lead-Ins, Lead-Outs, Bumpers and Wraparounds
Voice actors who are paid for or guaranteed at least 50% of the episodes ordered in a particular production period for a
particular series may be required to record, without additional compensation, lead-ins, lead-outs, bumpers and or
wraparounds which may be used with any episode of the series produced within any production period during which the
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SAG-AFTRA
ANIMATION AGREEMENT
performer satisfies the foregoing test. Such lead-in, lead-outs, bumpers and/or wraparounds must be done in the performers
“character” voice (which includes performers own voice, when performer's natural voice is the “character” voice) and must
be recorded during the same session as the recording for an episode or episodes.
A “production period” for the purpose hereof, is the period of time required to complete principal recording for the number of
episodes ordered by a license as set forth in a licensing agreement. Each option for additional episodes will constitute a
separate production period.
Workweek
For the purpose of this agreement, the following “special situation” will apply to voice actors employed hereunder:
1.
A voice actor employed hereunder will be paid at time and one-half, if such work is performed on a Saturday, or at
double-time. If such work is performed on a Sunday, unless such work is scheduled on Saturday or Sunday to
accommodate the schedule of any performer. In the latter case, all such performers will be compensated at straight
time.
Scripts
Whenever possible, voice actors will receive their scripts not later than 24 hours before their work calls, but in no event will
performers receive their scripts later than commencement of their work call.
Auditions
An audition must be scheduled by Producer for a specific time and the voice actor or his/her representative will be notified
thereof. A call to the performer's representative will be deemed sufficient.
A voice actor called for a fourth audition for the same role will be paid a minimum fee of $51.50 for the first 2 hours. For all
time in excess of 2 hours the voice actor will be paid $12.88 for each one-half hour unit.
Merchandising
Utilization of a voice actor’s voice from sound track recorded pursuant to this agreement in games, dolls, toys and other
products will be separately negotiated with the voice actor prior to such use.
Additional Compensation for Reruns
Producer may require rerun rights in advance by paying voice actor at the time of employment a separate and additional
compensation in the following amounts:
1.
If Producer desires to acquire rerun rights up to and including the 10th run, including a second run over a network in
prime-time, said network prime-time run will be paid at the rate according to the SAG-AFTRA TV Agreement; and, for
all remaining runs, an additional sum of not less than 138% of total applicable minimum compensation.
2.
If Producer desires to acquire rerun rights up to and including the 10th run, including 2nd and 3rd network runs in
prime-time said two network prime-time runs will be paid at the full rate according to the SAG-AFTRA TV Agreement
(See Residuals Chapter); and, for all remaining runs, an additional sum of not less than 100% of total applicable
minimum compensation.
3.
If Producer desires to acquire rerun rights up to and including the 10th run, including reruns over a television network
other than prime-time network runs, not less than 185% of the performer's total applicable minimum salary will be
paid;
4.
If Producer desires to acquire rerun rights up to and including the 10th run in syndication, not less than 170% of the
performer's total applicable minimum salary will be paid.
5.
If Producer acquires only syndication rerun rights up to and including the 10th run and thereafter the film is rerun over a
television network other than in prime time, performer will be paid an additional 15% of the performer's total applicable
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SAG-AFTRA - Page 39
ANIMATION AGREEMENT
SAG-AFTRA
minimum salary and, upon such payment being made, Producer will have the same rerun rights as provided above.
However, if Producer acquires only syndication rerun rights and thereafter the film is given a network prime-time run,
such runs will be paid according to the SAG-AFTRA TV Agreement (See Residuals Chapter).
In applying the "special one-hour residual formula" to longform animated television films television films of 30 minutes or
less in length may not qualify for application of such formula by combining such forms with others to create a "long-form"
television film.
It is the intent of the foregoing that, in all cases, network prime-time runs will be paid in full as noted in the Residuals
Chapter and that no provision for buy out may include more than the 10th run. Any run beyond the 10th run must be paid
per the SAG-AFTRA TV Agreement.
Theatrical Release for Academy Award Consideration
Producer may theatrically release, for one week or less, a television motion picture for the purpose of Academy Award
consideration for Best Animated Short Film, without any additional compensation due to the voice actor(s) who performed in
the TV movie.
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WGA
WRITERS GUILD OF AMERICA ................................................................................................................................................ 2 INTRODUCTION......................................................................................................................................................................... 2 THEATRICAL .............................................................................................................................................................................. 2 Payment Schedule ............................................................................................................................................................ 2 Purchases from a Professional Writer .............................................................................................................................. 2 Optioned Material .............................................................................................................................................................. 2 Television Release Prior to Theatrical Release................................................................................................................ 2 Script Publication on DVD................................................................................................................................................. 2 TELEVISION ............................................................................................................................................................................... 3 Installments ................................................................................................................................................... 3 OTHER THAN NETWORK PRIME TIME ............................................................................................................... 3 Installments ................................................................................................................................................... 3 Made for Pay-TV or Videocassette/Disc ....................................................................................................... 3 Additional Television Writing Services .................................................................................................................... 3 Back-Up Scripts ............................................................................................................................................ 3 Bible .............................................................................................................................................................. 3 Segments ...................................................................................................................................................... 4 Use of Theatrical Clips .................................................................................................................................. 4 Interactive Reuse Compensation.................................................................................................................. 4 Purchases of Literary Material ...................................................................................................................... 4 Optioned Material .......................................................................................................................................... 4 Sequel Payments .......................................................................................................................................... 4 Character Spin-off Payments ........................................................................................................................ 5 Recurring Character Payments .................................................................................................................... 5 Separation of Rights ............................................................................................................................................... 6 Reacquisition of Literary Material ........................................................................................................................... 6 Participating Writer to View Cut Shown to Company ............................................................................................. 6 OUT OF RESPECT FOR AND RECOGNITION OF ........................................................................................................ 7 Call Sheet and Staff Directories or Crew Lists - Theatrical and Television............................................................ 7 Premieres, Press Junkets and Festivals - Theatrical ............................................................................................. 7 Cast/Crew Events - Theatrical and Television........................................................................................................ 7 Press Kits/Laserdiscs/DVDs - Theatrical and Television ....................................................................................... 7 Filmographies on Laserdiscs/DVDs/Web Sites - Theatrical and Television .......................................................... 7 WHAT EVERY PRODUCER NEEDS TO KNOW............................................................................................................. 8 Prior to Commencement ......................................................................................................................................... 8 While Services Are Performed ................................................................................................................................ 8 Upon Completion of Principal Photography............................................................................................................ 9 After the Film Is Released..................................................................................................................................... 10 SIDELETTER ON PROGRAMS PRODUCED FOR NEW MEDIA........................................................................................... 11 Derivative New Media Productions ................................................................................................................................. 11 Initial Compensation ............................................................................................................................................. 11 Other Terms and Conditions ................................................................................................................................. 11 Written Contract of Employment ........................................................................................................................... 11 Screen Credit ........................................................................................................................................................ 11 Residual Compensation ........................................................................................................................................ 11 Original New Media Productions .................................................................................................................................... 11 Initial Compensation ............................................................................................................................................. 11 Other Terms and Conditions ................................................................................................................................. 11 Screen Credit ........................................................................................................................................................ 12 Residual Compensation ........................................................................................................................................ 12 Sequel Payments for Original New Media Productions........................................................................................ 12 Showbiz Labor Guide 2014/2015
Table of Contents WGA - Page I
WGA
WRITERS GUILD OF AMERICA
INTRODUCTION
The employment of writers in the entertainment industry is governed by the Writers Guild of America (WGA) 2008 Theatrical
and Television Basic MBA. The term of the MBA is for a period of three years from 5/2/14 - 5/1/17.
In general, the Agreement applies to writers who are to render services in the United States, Canada or whose deals were
negotiated in the United States, to writers who live in the United States and are transported abroad to perform writing
services. Coverage extends to most forms of writing, from original story and screenplay to simple polishes.
THEATRICAL
Payment Schedule
Upon commencement of writing services, writer is to be paid, as an advance, not less than 10% of the agreed installment
which is payable on delivery of the first material. This payment is to be made not later than the regular payday in the week
following the day the writer is instructed to commence. Balance payable on delivery of material is to be paid within seven
days after delivery. Payment will not be contingent upon the acceptance or approval of the Company or upon any other
contingency such as the obtaining of financing.
Purchases from a Professional Writer
The Flat Deal minimums will apply to purchases of literary material from a Professional Writer as that term is specifically
defined in the Basic Agreement.
Optioned Material
A Company may option literary material from a professional writer for a period of 18 months upon payment of 10% of
minimum. Each renewal period of 18 months requires an additional 10% of minimum.
Television Release Prior to Theatrical Release
If a writer is employed at a theatrical minimum, and the picture is released on free TV before being released theatrically, the
writer must receive a salary adjustment so that the higher of either the theatrical or television minimum is paid.
Script Publication on DVD
A one-time publication fee of $5,000 will be paid to the credited writers, allowing the producer to publish the script on DVD.
This fee is due regardless of whether the producer actually publishes the script or releases a DVD of the film.
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WGA
TELEVISION
Installments
Teleplay Only
First Draft
Final Draft
Story and Teleplay
Story
First Draft
Final Draft
Pilots
60% of Agreed Compensation, but not less than 90% of min.
Balance of Agreed Compensation
30% of Agreed Compensation
40% of Agreed Compensation or the difference between the Story Installment and 90%
of minimum, whichever is greater
Balance of Agreed Compensation
10% of the first installment (as an advance against such first installment) upon
commencement of services. The applicable minimum for a pilot story or story and
teleplay is 150% of the applicable minimums listed above.
OTHER THAN NETWORK PRIME TIME
Pension and health contributions must be paid on all employment. Additional terms, including residuals for Basic Cable
reruns, exist for high budget dramatic made-for-Basic-Cable programs. Terms for other made-for-Basic-Cable programs
must be negotiated on a project-by-project basis with the guild. Contact the guild for details.
Installments
Story
Teleplay
First Draft
Final Draft
Pilots
30% of Agreed Compensation
40% of Agreed Compensation or the difference between the Story installment and 90% of
minimum, whichever is greater
Balance of Agreed Compensation.
10% of the first installment (as an advance against such first installment) upon commencement of
services. The applicable minimum for a pilot story or story and teleplay is 150% of the applicable
minimum listed above.
Made for Pay-TV or Videocassette/Disc
The minimum initial compensation for a writer will be the same as the applicable minimum initial compensation for a free
television program. Where the program is of a type generally produced for network prime time, the network prime time rates
are to be utilized.
Additional Television Writing Services
Back-Up Scripts
Applicable minimum compensation for a Back-Up Script (story and/or teleplay) is 115% of the minimum compensation for
story and/or teleplay.
Bible
The minimum basic compensation for a bible will be 4x the applicable minimum compensation for a format only.
Compensation previously paid for the format may be applied against such minimum.
NOTE: A discount of 20% is applicable if Bible is intended for non-network or non-prime time.
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WGA
Segments
For any program of a dramatic television series of more than 30 minutes in length which consists of self-contained
segments of various lengths (whether or not such segments are intercut within each program) the aggregate minimum
compensation will be 175% of the applicable minimum compensation for story and teleplay set forth previously. Writers
employed to write segments for use in such programs will be compensated at the following rates:
Compensation as % of aggregate
Length of Segment
Total Length of Program
minimum Compensation
60 MINUTES OR LESS
0-8 minutes
16-2/3%
(but more than 30 minutes)
8-15 minutes
20%
15-20 minutes
25%
20-30 minutes
40%
90 MINUTES OR LESS
0-8 minutes
10%
(but more than 60 minutes)
8-15 minutes
12-1/2%
15-20 minutes
16-2/3%
20-30 minutes
27-1/2%
30-60 minutes
40%
Should the total minimum compensation payable to the writers of the segments pursuant to the schedule be less than the
aggregate minimum compensation specified above, the difference will be distributed among the segment writers in
proportion to the segment compensation set forth previously. In said distribution the Company may credit to an individual
writer any over scale payment paid to such writer.
The applicable minimums for rewrites will be 25% of the segment minimum as determined in accordance with the previous
formula.
Program fees only apply to network (ABC, CBS, NBC, and FBC) prime time episodic series. Unless one or more writers
has negotiated an irreducible program fee, there is a limit of 3 in total per episode produced, which is split between the
eligible writers if there are more than 3 eligible writers.
Use of Theatrical Clips
The use of excerpts (clips) from a theatrical motion picture or television program in another theatrical motion picture or
television program requires payment to the guild for distribution to the credited writers. For details, contact the WGA.
Interactive Reuse Compensation
The contract contains provisions governing additional compensation for reuse of MBA-covered writing in interactive
programs. Contact the WGA Contract Department for information.
Purchases of Literary Material
The minimums are applicable to purchases of previously unexploited material from a Professional Writer (as defined in the
Basic Agreement).
Optioned Material
Company may option literary material from a “Professional Writer" for an initial period of up to 180 days upon payment of
5% of minimum and 10% for each period of up to 180-day period thereafter.
Sequel Payments
If a Company commences exploitation of the television sequel (i.e., series) rights in connection with material to which
separation of rights applies, the writer or writers entitled to separation of rights must be paid certain minimum sequel
payments for each sequel episode.
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WGA
Character Spin-off Payments
Character Spin-off payments equal to the above sequel payments are payable to the writer who introduces a new character
in a serial, episodic, anthology or one-time show if such character becomes the central character in a new serial or episodic
series.
Recurring Character Payments
Recurring character payments are payable to the writer who introduces a new character in an episodic series for each
episode in which such character appears.
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Table of Contents WGA - Page 5
WGA
Separation of Rights
As is the case with most employees in the entertainment field, a writer's compensation is determined by the type of service
rendered, and the length, type, and broadcast time of the resulting program. In addition, because of the unique and creative
nature of the services which writers provide, their rights and compensation are also controlled by issues concerning the
separation of rights. Very simplistically, if a writer invents an original format, story, or story and teleplay, not relying on
written material furnished by his employer, and it is determined that he is entitled to “story by,” “screen story by,” or "written
by" television or screen credit, he retains certain rights, related to exploitation, in said story.
Generally, these rights take two forms:
1.
A reversion, i.e., if the company which has purchased the story does not exploit it in specified areas within a certain
period of time, the right (which had been exclusively that of the company) reverts back to the author (often, albeit, on
a shared basis); and,
2. The right to additional compensation, often taking the form of a percentage payment, upon such exploitation by the
employer.
The rights retained differ between the theatrical and television segments of the industry, with far more rights reserved to
authors in the latter group. In the area of theatrical motion pictures, the basic rights retained are those of publication and
dramatic presentation, the right to receive sequel payments, and the right to perform the first rewrite of the original material.
Within the sphere of television motion pictures, the major rights so reserved are theatrical film, radio, dramatic, live
television exploitation, publication, merchandising, and certain sequel rights. In some instances, the rights may belong
exclusively to one party; in others, they may be shared.
Reacquisition of Literary Material
The writer may reacquire theatrical literary material upon expiration of the five-year period following the later of Producer's
purchase or license of the covered literary material or completion of the writer's services rendered in connection with the
material, if such material is not in active development. The writer’s two-year period to reacquire the material will commence
upon written notice from the writer to the company. Such notice may be given at any time during the 5 years immediately
following the company’s expiration.
Participating Writer to View Cut Shown to Company
A new provision establishes a “Writer’s Viewing Period,” during which each participating writer has a right to see a cut of the
film. The scheduling of the viewing period is at the Company’s discretion, but the Company must ensure that the writer has
an opportunity to see the film in sufficient time so that the writer’s editing suggestions can be implemented.
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WGA
OUT OF RESPECT FOR AND RECOGNITION OF
Call Sheet and Staff Directories or Crew Lists - Theatrical and Television
Out of respect for an in recognition of the writer’s contribution, up to three interviews or writer teams will be listed on the call
sheet adjacent to the listing of either the producer(s) or director. The company will send copies of the call sheets to the
currently employed writer; however, the inclusion of the writers’ names on the call sheet is not to be construed as an
invitation to be on the set.
Out of respect for and in recognition of the contribution of all participating writers on the project, all such writers will be listed
in staff directories/crew lists.
Premieres, Press Junkets and Festivals - Theatrical
Unless notified otherwise by the company, the credited writer(s) of a theatrical motion picture will be invited to attend the
domestic premiere of the picture or the domestic film festival at which the picture is first exhibited, and will be invited to
participate in the domestic press junket (if there is one) for the motion picture. The company will furnish first class
transportation and accommodations if the writer(s) is/are required to travel more than 150 miles.
Cast/Crew Events - Theatrical and Television
All participating writers will be invited to attend cast/crew events, but the company will not be required to provide
transportation or accommodations for such writers.
Press Kits/Laserdiscs/DVDs - Theatrical and Television
In recognition of the writer’s essential contribution to the creative process, the company will include the identity, background
and filmography of the credited writer(s) in standard print and electronic press kits for the picture, if such information about
the director is also included.
Each credited writer will be interviewed for the purpose of including material about the writer(s) in the standard electronic
and print press kits for the motion picture or on DVDs or laserdiscs if the company interviews the director for the same
purpose.
Filmographies on Laserdiscs/DVDs/Web Sites - Theatrical and Television
If the domestic version of the laserdisc or DVD containing the motion picture, or the Internet web page dedicated to the
motion picture, contains a filmography of the director, it will also contain a filmography of the credited writer(s).
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Table of Contents WGA - Page 7
WGA
WHAT EVERY PRODUCER NEEDS TO KNOW
Using the services or purchasing a script from a writer is quite different from using the services of a crew or cast member.
The Writers Guild of America has two booklets entitled “What Every Producer Need to Know,” one for Longform Television
and Pilots and one for Theatrical Motion Pictures. The information contained in the two booklets is reprinted with their
permission. We have taken the liberty of combining the two with annotation when there are differences between the
publications. We have omitted references to MBA article numbers and Longform Television Guideline numbers. If you
need the specific article or guideline numbers, please contact the WGA.
Prior to Commencement

Specific Terms: Before instructing the writer to commence services, clarify the services the writer is to perform. Clarify
the number of steps and the amount of money to be paid for each step. For example, establish up front if the writer
will be asked to write a separate story, or if the writer will go directly to screenplay (teleplay).

Deal Negotiated: Do not instruct the writer to commence writing services (or allow anyone else to instruct) without
ensuring that the deal is in place (i.e., the essential deal points have been agreed to). Do not instruct the writer to
continue services (or allow anyone else to) if the deal is not clearly in place. Instructing the writer to perform services
(by an agent of the Company with actual or apparent authority) or accepting material constitutes employment and
agreement that all conditions precedent have been met (i.e., conditions which the Company claims muse be met
before a deal is in place).

Commencement Monies: After a Company representative and/or producer has instructed the writer to commence
services, immediately complete all necessary paperwork to ensure the writer is paid commencement monies, by the
next regular payday in the week following the week in which the writer is instructed to commence, at WGA minimum
or the amount negotiated in the writer’s individual contract, if more than the minimum.

Speculative Writing: Do not ask the writer to perform any services payment for which is contingent upon acceptance or
approval of the material, receipt of financing, or any event other than performance of writing services. This is
prohibited “speculative writing.”

Additional for Longform Television: When discussing potential employment, writers must meet with representatives
empowered by the Company to make the final creative decision to engage writers. Be aware that two meetings at the
request of the Company will constitute a story commitments and the writer must be compensated for that story at the
applicable minimum compensation.

Other Writers: Notify the writer of any writers previously on the project, and/or of any other materials upon which the
work is to be based. Also notify the writer of any writers hired to write simultaneously. (See also “Subsequent
Writers,” #19).

Delivery of Materials: Notify the writer of the name(s) of the person(s) who may authorize the writer to write, and where
and to whom delivery of material is to be made. Include such information in the writer’s contract and provide written
notice to the writer and the guild of any change.

Writer Meetings: Give the writer the opportunity to meet with the producer to have a meaningful discussion concerning
the translation of the writer’s vision to the screen. Arrange a meeting between the writer and director upon the
assignment of the director.

Guild Copies: Send a copy of the writer’s contract (and any amendments) to the WGA Contracts Department.
While Services Are Performed

Worklists: Send weekly worklists to the Guild’s Membership Department listing all writers employed and/or all writers
from whom literary material was acquired.
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WGA

Pension and Health: Send pension contributions to the Producer-Writers Guild Pension Plan, and health contributions
to The Writers Guild-Industry Health Fund. [Note: The Pension Plan and Health Fund are separate from the WGA.
Requests for employer reporting forms and questions regarding the Plan and Fund should be directed to their offices
at 818.846.1050 or 1015 North Hollywood Way, Burbank, Ca. 91505.]

Payment on Delivery: Payment of no less than WGA minimum is due for each piece of literary material written under
employment or purchased, and must be paid within 48 hours of delivery, but not more than 7 days following deliver.
Late payment of 1.5% per month will accrue immediately thereafter. If the writer was originally hired to perform
writing services or a low budget theatrical or television motion picture and the budget later increases, confirm
compensation still meets or exceeds the MBA minimum applicable to the new budget level. If not, additional
compensation must be paid.

Producer Notes: Ensure the writer is given clear notes (preferably a single set) and, when possible, in advance of any
meetings to discuss the notes.

Purchase of Original Material and First Rewrite: If purchasing or optioning an original screenplay or teleplay, offer first
rewrite to the original writer.

Additional for Theatrical: If no other writer has been hired, and there is a change of element (e.g., new director or
principal performer), offer the original writer one additional set of revisions.

Cover Page: Include the name of each writer on the project on the script cover page until writing credits are
determined by the guild. Once the guild has made a final determination of writing credits, only the names of the
credited writers will appear on the cover page of the material.

No Uncompensated Writing: Pay for each piece of material requested and delivered. Do not request or expect
uncompensated rewrites or polishes.

Delivery to Person(s) Listed in Contract: Do not request or encourage the writer to deliver literary material to anyone
other than the person(s) named in the writer’s contract. Instruct employees not to accept deliver if not authorized to
do so.

Writers Participation: Facilitate the participation of the writer in the production process (i.e., seek the writer’s input).

Errors and Omissions: Make sure the writer is covered under the Errors & Omissions policy for the project.

Subsequent Writers: If requested by the writer, inform the writer of any subsequent writers.
Upon Completion of Principal Photography

Notice of Tentative Writing Credits: Send completed Notice of Tentative Writing Credits and a copy of the Final
Shooting Script to all participating writers on the project and the Guild. Participating writers are writers who were
employed to perform writing services or who sold material under WGA jurisdiction for the project. The Company must
list on the Notice the names of all participating writers and propose the writing credit the Company in good faith
believes to be an accurate credit. (The Notice should be sent directly to the writer unless the writer elects that the
Notice be sent to the writer’s current agent.) In the event of a credit arbitration, send three copies of all literary
material to the guild.

Viewing the Cut: Give all participating writers an opportunity to view a cut of the film in sufficient time so that any
editing suggestions made by the writer concerning the film, if approved, could be reasonably and effectively
implemented.

Additional for Longform Television: If, in lieu of a viewing, the Company is provided with a videocassette copy of the
cut, the writer must also receive a videocassette copy of the cut.
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Table of Contents WGA - Page 9
WGA

Publicity and Promotion: Include the writer in all aspects of publicity and promotion. This includes press kits, previews
and premieres. For theatrical, it also includes film festivals and press junkets.

Novelizations (Theatrical): If the Company wishes a novelization to be published, notify the guild prior to entering into
any publication deal in order to have the guild name the negotiating writer. The Company will include all writing credits
in any published version of the screenplay or novelization of the screenplay.

Advertising (Longform Television): Include the guild-determined writing credit in all publicity and advertising, including
trailers. Prior to final determination of credits, include the good faith credit in all advertising and publicity.

Advertising (Theatrical): Include the guild-determined writing credit in all publicity and advertising including trailers, and
submit all advertising and press kits to the guild in advance of publication for review. Prior to final determination of
credits, include the good faith credit in all advertising and publicity.
After the Film Is Released

Writer’s Videocassette (Theatrical): Give each credited writer a videocassette copy of the film provided it is
manufactured for sale on videocassette (not to be contingent on any condition other than the final credit
determination).

Residuals: Pay appropriate residuals as the film is released to various markets (free television, pay television, basic
cable, videocassettes, CD-ROM, multimedia games, etc.).

Licensing and Assumption Agreements: If the project is sold or licensed to another company, complete appropriate
distribution or buyer’s assumption agreements and send copies to WGA Contracts Department.
Page 10 - WGA Table of Contents
Showbiz Labor Guide 2014/2015
WGA
SIDELETTER ON PROGRAMS PRODUCED FOR NEW MEDIA
Derivative New Media Productions
A “derivative New Media production” is a production for New Media based on an existing TV motion picture or program that
was originally produced for “traditional” media such as free TV, basic cable or pay TV.
Initial Compensation
Compensation must be paid for a derivative New Media production, separate from compensation for writing services
performed for the original production. Minimum initial compensation is the rate applicable to a 2 minute program.
Please the rates database of the Showbiz Labor Guide for compensation minimums.
Other Terms and Conditions
All other terms and conditions negotiable, except for the following Articles which carry over from the MBA:
6) Guild Shop (General)
7) No Strike No Lock-out Clause (General)
10) Grievance and Arbitration
11) Grievance and Arbitration Rules and Procedures
12) Court Proceedings
13.B.9) Time of Payment
17) Pension Plan and Health Fund
35) Recognition and Agreement (General)
Written Contract of Employment
Company must tender a written contract of employment to the writer within 10 days following the commencement of
employment and send a copy to the guild within 1 week of receiving the executed contract.
Screen Credit
Company must submit a Notice of Tentative Writing Credits to the guild and participating writers as soon as practicable
upon completion of principal photography.
Residual Compensation
Initial compensation for a derivative New Media production covers 13 weeks of use on free-to-consumer (advertisersupported) New Media platforms, and a separate 26 weeks of use on any consumer-pay New Media platform. Beyond
these periods, and for exhibition on other platforms, various levels of residual payments are due; see agreement for
details.
Original New Media Productions
Original “Made for New Media” productions include all motion pictures and programs made for initial distribution on the
Internet, mobile devices or any other New Media platform known as of February 13, 2008.
Initial Compensation
Please see minimum compensation for High Budget SVOD programs in the rates database of the Showbiz Labor
Guide.
Other Terms and Conditions
All other terms and conditions negotiable, except for the following Articles which carry over from the MBA:
6) Guild Shop (General)
7) No Strike No Lock-out Clause (General)
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Table of Contents WGA - Page 11
WGA
10) Grievance and Arbitration
11) Grievance and Arbitration Rules and Procedures
12) Court Proceedings
13.B.9) Time of Payment
17) Pension Plan and Health Fund
35) Recognition and Agreement (General)
Company must tender a written contract of employment to the writer within 10 days following the commencement of
employment and send a copy to the guild within 1 week of receiving the executed contract.
Screen Credit
Company must submit a Notice of Tentative Writing Credits to the guild and participating writers as soon as practicable
upon completion of principal photography.
Residual Compensation
Initial compensation for an original New Media production covers 26 weeks of use on consumer-pay New Media
platforms, and unlimited exhibition on free-to-consumer (advertiser-supported) New Media platforms. Beyond this
period and for exhibition on other platforms, various levels of residual payments are due; see agreement for details.
Sequel Payments for Original New Media Productions
Sequel payment
Page 12 - WGA Table of Contents
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1,187
5/2/15 - 5/1/16
1,223
5/2/16 - 5/1/17
1,260
Showbiz Labor Guide 2014/2015
AFM
AMERICAN FEDERATION OF MUSICIANS (AFM) .................................................................................................................. 1 INTRODUCTION......................................................................................................................................................................... 1 THEATRICAL PICTURES & TELEVISION FILM ....................................................................................................................... 3 RECORDING MUSICIANS ............................................................................................................................................... 3 Double Sessions ............................................................................................................................................................... 3 Electronic Musical Devices (multi-tracking rates) ............................................................................................................. 3 Doubling (electronic) ............................................................................................................................................... 3 General Working Conditions ............................................................................................................................................. 3 Holiday Work ........................................................................................................................................................... 3 Vacation .................................................................................................................................................................. 3 Payment/Late Payment Penalties........................................................................................................................... 3 Standby Calls .......................................................................................................................................................... 4 Session Quorum ..................................................................................................................................................... 4 Leader or Solo Performer ....................................................................................................................................... 4 Orchestra Manager (Contractor) ............................................................................................................................. 4 Night Premiums....................................................................................................................................................... 4 Double Sessions ..................................................................................................................................................... 4 Boren Rule .............................................................................................................................................................. 4 Doubling .................................................................................................................................................................. 4 Multiple Parts .......................................................................................................................................................... 5 Holds ....................................................................................................................................................................... 5 Cartage.................................................................................................................................................................... 5 Pre-Scoring for Theatrical Motion Pictures ............................................................................................................. 5 Minutes of Music Recorded .................................................................................................................................... 5 Supplemental Markets .................................................................................................................................. 5 Minimum Recording Hours Required for Television Film Series ............................................................................ 6 Additional Working Conditions ................................................................................................................................ 6 Rest Periods .................................................................................................................................................. 6 Meal Penalties............................................................................................................................................... 6 Calls .............................................................................................................................................................. 6 Cancellation .................................................................................................................................................. 6 PRODUCTION MUSICIANS (NON-RECORDING) .......................................................................................................... 7 Meal Periods ........................................................................................................................................................... 7 Sideline Musicians ............................................................................................................................................................ 8 Canceled Calls ........................................................................................................................................................ 8 Night Premiums....................................................................................................................................................... 8 Interviews ................................................................................................................................................................ 8 Meal Penalty ........................................................................................................................................................... 8 Wardrobe Fittings .................................................................................................................................................... 8 Leader ..................................................................................................................................................................... 8 Intentional Recording .............................................................................................................................................. 8 Doubling (Sideline Musicians)................................................................................................................................. 8 Orchestra Manager ................................................................................................................................................. 8 Sound Track Album .................................................................................................................................................................... 9 Sound Track Album Conversion ....................................................................................................................................... 9 Sound Track Albums - Alternate Pay Method .................................................................................................................. 9 LOW BUDGET MOTION PICTURE AND TV FILM .................................................................................................................. 11 Scope .............................................................................................................................................................................. 11 Low Budget Ceilings ....................................................................................................................................................... 11 Additional Low Budget Categories (Theatrical Only) ...................................................................................................... 11 $15 Million and Under Pictures ............................................................................................................................. 11 $2 Million and Under Pictures ............................................................................................................................... 11 Call .................................................................................................................................................................................. 11 TELEVISION VIDEOTAPE ....................................................................................................................................................... 12 Showbiz Labor Guide 2014/2015
AFM Table of Contents - Page I
AFM
Recording Musicians ....................................................................................................................................................... 12 General Provisions .......................................................................................................................................................... 12 Pension, Health & Welfare .................................................................................................................................... 12 Cancellations......................................................................................................................................................... 12 Multiple Sponsors.................................................................................................................................................. 12 Rest Periods .......................................................................................................................................................... 12 Meal Periods ......................................................................................................................................................... 12 Incomplete Tracks ................................................................................................................................................. 12 Leader ................................................................................................................................................................... 12 Contractor.............................................................................................................................................................. 12 Premium Pay ................................................................................................................................................................... 12 Make-Up and Costuming ...................................................................................................................................... 13 Radio Simulcast .................................................................................................................................................... 13 Bank Acts .............................................................................................................................................................. 13 News and Magazine Programs............................................................................................................................. 13 Excerpts ................................................................................................................................................................ 14 Late Penalties ....................................................................................................................................................... 14 Calls ...................................................................................................................................................................... 14 Reuse (in the U.S. and Canada) ..................................................................................................................................... 14 INDUSTRIAL FILMS ................................................................................................................................................................. 15 Overtime .......................................................................................................................................................................... 15 Rest Period ..................................................................................................................................................................... 15 Pension ........................................................................................................................................................................... 15 Health and Welfare ......................................................................................................................................................... 15 Premiums ........................................................................................................................................................................ 15 Doubling .......................................................................................................................................................................... 15 Cartage............................................................................................................................................................................ 15 Late Payment Penalty ..................................................................................................................................................... 15 General Rules ................................................................................................................................................................. 15 Night Premiums............................................................................................................................................................... 16 Saturdays, Sundays and Holidays .................................................................................................................................. 16 Cancellation .................................................................................................................................................................... 16 ELECTRONIC MEDIA GUIDELINES FOR PUBLICITY PROGRAMS..................................................................................... 17 Internet Streaming................................................................................................................................................. 17 Direct Broadcast Satellite (DBS) ........................................................................................................................... 17 DTV ....................................................................................................................................................................... 17 Foreign Use ........................................................................................................................................................... 17 Non Variety Programs ........................................................................................................................................... 17 Transcribing Sketches from MIDI/Data Files ........................................................................................................ 17 Creating Scores from MIDI/Data Files .................................................................................................................. 17 Extracting Instrumental Parts from MIDI/Data Files ............................................................................................. 17 Music Preparation ........................................................................................................................................................... 18 Composers ............................................................................................................................................................ 18 Arrangers/Orchestrators ....................................................................................................................................... 18 Copyists................................................................................................................................................................. 18 Librarians and Proofreaders ................................................................................................................................. 18 Page II - AFM Table of Contents
Showbiz Labor Guide 2014/2015
INTRODUCTION
AFM
AMERICAN FEDERATION OF MUSICIANS (AFM)
INTRODUCTION
The American Federation of Musicians (AFM) represents the interests and rights of those musicians rendering services in
the production of motion pictures, television programs, videotape shows, commercials, documentary and phonograph
recordings through the following agreements:
1.
AFM Basic Theatrical Motion Picture Agreement (Basic Agreement) as amended: theatrical features which are initially
released in theatrical exhibition; or,
2.
AFM Television Film Agreement (Television Agreement) as amended: "television movies," as the term is commonly
understood; or,
3.
AFM Television Videotape Agreement (Video Agreement): programs produced for syndication or network television
broadcasting; or,
4.
AFM Television and Radio Commercial Announcements Agreement (Commercial Agreement) as amended: jingles and
spot announcements made in connection for television or radio broadcast; or,
5.
AFM Industrial Films Agreement: films of a documentary and/or industrial nature which are not intended for exhibition
on television or in theaters where admission is charged; and/or,
6.
AFM Sound Recording Agreement.
These agreements, the cornerstone of which is that all films produced in the United States or Canada must also be scored
(if at all) in the United States or Canada, are between the individual Producers and the AFM, (the exclusive collective
bargaining agent for the musicians). AFM members are not permitted to work for Producers (or their licensees) who have
not signed the appropriate agreement, nor may Producer signatories (nor their licensees) hire musicians who are not current
members in good standing of the AFM.1 Generally, the agreements cover services rendered in the United States and
Canada. The AFM Local for Los Angeles is Local 47, for New York City it is Local 802, for Nashville it is Local 257, for
Chicago it is Local 10-208, and for Toronto it is Local 149.
Musicians, with few exceptions, are divided into four basic categories based upon the type of function they perform. They
are:
1.
Recording Musicians: those musicians whose performance is actually recorded; or,
2.
Production Musicians: those musicians who perform during rehearsals; or,
3.
Sideline Musicians: those musicians who merely pretend to play an instrument. If they also engage in a pantomime
sequence essential to the plot, they are said to have a silent bit. If they speak, they are said to have a speaking bit
and must be paid parity scale with actors. If their performances are recorded they must be paid recording scale in
addition to the sideline scale; or,
4.
Music Preparation: including orchestrators, arrangers, copyists, librarians, and proof readers.
NOTE: A Non-AFM musician may participate one time per year only by claiming the “Taft-Hartley” Law. For subsequent
work, AFM membership is required.
1
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AFM - Page 1
AFM
INTRODUCTION
a.
The Orchestrator assigns, in the form of an orchestra score, the various voices (including instruments) of a
written composition, the melodic, harmonic and rhythmic structure of which has already been established by the
composer.
b.
The Arranger is often synonymous with orchestrator, but specifically, his job is to adapt the composer's music to
the timing constraints of the musical score in order to complete the rhythmic structure, and accordingly he may
do harmonizing, revoicing, and in some cases embellishing.
c.
The Copyist provides finished scores and parts for use by musicians or conductors. The copyist is given the
score sheet by the arranger or orchestrator and then separates each individual part. This includes transposition
to different keys where necessary, and sometimes involves transcription (referred to as a "take down") from
tape.
d.
The Librarian is in charge of the music library and directs clerical and research work in connection with all
musical requirements.
e.
The Proofreader makes certain the copyist, arranger, orchestrator or composer has made no errors.
NOTE: A Composer is not covered by AFM agreements.
Page 2 - AFM
Showbiz Labor Guide 2014/2015
THEATRICAL AND TV FILM
AFM
THEATRICAL PICTURES & TELEVISION FILM
RECORDING MUSICIANS
Double Sessions
Engagement of two sessions, completed within 8 hours of call time, may be divided into two periods at convenience of
studio, with not less than one hour between sessions.
When more than a double session of recording is continuous without a break of at least one hour, a penalty of one hour at
minimum rates must be paid to each musician.
Electronic Musical Devices (multi-tracking rates)
At the Producer's election, a musician who is employed (other than on a "package deal" basis) to play an electronic musical
device(s) will be paid at the existing rates set forth in the agreements (hereinafter referred to as "real time rates") or at the
minimum hourly rates (hereinafter referred to as "multi-tracking rates"): The Producer must elect the rate at the time of the
call and must specify the guaranteed length of the call (3 hr. minimum).
Doubling (electronic)
Use of multiple electronic musical devices in conjunction with any electronic musical instrument such as synthesizers, EVI,
or EWI, will count in the aggregate as three doubles.
General Working Conditions
Holiday Work
Unless working on location, musicians are to be paid double the scale rate when required to work on the following legal
holidays: New Year's Day, Memorial Day, Independence Day, Labor Day, Thanksgiving Day and Christmas Day. Saturday
and Sunday will be treated as regular work days unless they are the employee's 6th and 7th day worked. Compensation will
then be at time and one half.
Vacation
Vacation pay is computed at the rate of 4% of a musician's straight-time earnings. A maximum of 10 days vacation may be
earned annually.
Payment/Late Payment Penalties
Payment is due within 15 working days following a session. If payment is not made within this period, the following late
payment charges will apply:
Days
Penalty
0-15
0
16-30
6%
31-60
10%
61-90
50%
After the 90th business day and a 2nd written notice of delinquent payment, if payment is not made within 15 days, the
penalty becomes 50% + 10% for each 30 day period.
Late payment charges will not be required when Producer's failure or delay in paying results from: a) the employee's failure
or delay in furnishing a W-4 (or I-9) Form; b) a bona fide emergency; or c) a bona fide dispute as to the amount due,
provided that written notice of such dispute is filed with the Local within five (5) business days following receipt of bills or the
Form B Contract.
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AFM - Page 3
AFM
THEATRICAL AND TV FILM
Standby Calls
Standby calls are not permitted.
Session Quorum
There is no minimum or maximum number of musicians required for a session.
Leader or Solo Performer
If a musician performs alone or serves as leader, he is to be paid twice the straight-time rate (200%).
Orchestra Manager (Contractor)
If 10 or more recording musicians (including leader) are used in any one session, an orchestra manager will be appointed. A
contractor receives double the side musician scale. The contractor must be present at all sessions during the entire
engagement.
Night Premiums
Work performed after midnight will be paid at 150% of scale (until 8 A.M.).
Work performed between midnight and 8 A.M. and beyond the hold hour is paid at 165% of scale.
Work hours beyond an eight-hour span and performed between midnight and 8 A.M. will be paid at 200% of scale.
The 7th hour of recording within the 8-hour span before midnight pays 120% of scale.
Double Sessions
A double session (i.e., two three-hour sessions) is to be completed within eight hours, with a minimum break of one
hour. Work beyond six hours within an eight-hour period will be paid at 120% of straight-time rate in 15-minute units. If
required to remain after eight elapsed hours (whether worked or not) musicians will be paid at 150% of straight-time rate in
15-minute units.
Boren Rule
The “Boren Rule” states that a producer may not call two single sessions in the same day for the same motion picture (or
the same television episode) utilizing the same conductor and musicians, in order to avoid the “time-spread” penalty that
applies to double sessions.
When two or more recording sessions occur on the same day for the same picture, the rate for all sessions on such picture
will be based on the rate applicable to the session in which the highest number of recording musicians were employed;
otherwise the applicable rate schedule is determined by the number of musicians required each day.
Doubling
A musician is entitled to additional compensation if he is required to play more than one instrument (excluding certain
groups of instruments which are generally classed as one) during a recording session. Performers are to be paid at the
following rates:
1st Double
2nd and each additional double
50% of basic rate
20% of basic rate
NOTE: Leaders and Contractors are paid for doubles at sideman scale.
Rules for computing doubling fees:
The first instrument played in a single (3-hour) or double (6-hour) session determines the basic instrument for that
session.
Page 4 - AFM
Showbiz Labor Guide 2014/2015
THEATRICAL AND TV FILM
AFM
If a musician is required to double, he/she will be entitled to doubling compensation for not less than one 3-hour
session.
In a double session (6-hours) where one or more instrument doubling occurs in the first 3 hours, and the musician
commences the fourth hour with a doubling instrument, such instrument will be considered as the first double for the
second 3-hour period.
Multiple Parts
An additional 100% of the applicable session rate will be paid for each extra part/track (over-dub).
Holds
Single sessions, guaranteed longer calls, and double sessions: The Producer has a one-hour "hold" with respect to single
(i.e., three-hour) sessions and guaranteed longer calls. During such hour, musicians are paid at straight-time rates
(computed in 15-minutes intervals); work in excess of the hour is compensated at 150% the straight-time rate (again
computed in intervals of 15 minutes). In the event a guaranteed call exceeds 5 hours (but is less than a double session), the
guaranteed call and hold period combined shall not exceed 6 hours.
Cartage
If instruments are brought by public carrier, the Producer will pay such carrier directly. If private transportation is used, the
Producer will pay the following rates:
Harp
String Bass, Tuba, Drums, all heavy or bulky amplifiers, Baritone Saxophone,
Cello, Bass Saxophone, Contra Bass Clarinet, Contra Bassoon, Accordion,
Baritone Horn and Contra Bass Trombone.
30.00
12.00
Pre-Scoring for Theatrical Motion Pictures
Musicians who record music for theatrical features, which is later used in playbacks at pre-production rehearsals, will be
paid a one-time only premium of 10% of their appropriate minimum scale straight-time rate. Such premium will be subject to
Pension Fund contributions.
Minutes of Music Recorded
In dramatic television only, when more than the authorized amount of finished music (15 minutes per 3-hour session) is
recorded during a session, payment for the excess will be based on a ½ hour's pay at the applicable rate, including
premiums, for each 2½ minutes of music.
Supplemental Markets
The provisions relating to supplemental markets differ, but basically, musicians performing on film or videotape are entitled
to additional compensation if the production in which they performed is redistributed by means of video cassette, DVD, paytype CATV or pay television. (See Residuals Chapter.)
Showbiz Labor Guide 2014/2015
AFM - Page 5
AFM
THEATRICAL AND TV FILM
Minimum Recording Hours Required for Television Film Series
Minimum Scoring Hours Required
Non-Dramatic Pictures
13, ½-hour films
12 scoring hours
13, 1-hour films
36 scoring hours
13, 1½-hour films
54 scoring hours
Dramatic Pictures
13, ½-hour films
15 scoring hours
13, 1-hour films
39 scoring hours
13, 1½-hour films
59 scoring hours
13, 2-hour films
78 scoring hours
NOTE: Scoring hour requirements for fewer than 13 episodes will be pro-rated on the basis of the above schedule.
Additional Working Conditions
Rest Periods
Ten minutes per hour away from the stand are required. At no time can a musician be required to perform more than 90
consecutive minutes on the stand.
Meal Penalties
When more than 6 hours of recording occurs without a break of at least one hour, a penalty of 1 hour at the minimum scale
will be paid each musician.
Calls
Generally musicians should be notified of their expected performance by 6 p.m. of the day preceding such performance. All
calls must be reported in advance of the recording session to the appropriate Federation Local.
Cancellation
A call for underscoring may be canceled upon a 96 (or more) hours notice. A call for pre-recording may be canceled upon a
notice of 48 (or more) hours.
Page 6 - AFM
Showbiz Labor Guide 2014/2015
THEATRICAL AND TV FILM
AFM
PRODUCTION MUSICIANS (NON-RECORDING)
Meal Periods
A meal break of at least 1 hour will be called no later than 6 hours after reporting for work; subsequent meal periods will be
called not later than 6 hours after expiration of the previous meal period. Penalty: straight time allowance at the scheduled
regular basic hourly rate for the length of the delay (minimum allowance of ½ hour).
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AFM - Page 7
AFM
THEATRICAL AND TV FILM
Sideline Musicians
Canceled Calls
Half day wages unless musician is notified before 6 p.m. of the previous day.
Night Premiums
Work performed between 12 midnight and 1 a.m.
Work performed between 1 a.m. and 6 a.m.
10% additional
20% additional
Interviews
Allowance for 1½-hour interview
Additional interview time is paid in 1½ hour increments.
31.04
Meal Penalty
First meal must be taken within 6 hours of start time. Second meal must be within 6 hours of first meal. The penalty due for
each ½ hour meal delay (or fraction thereof) is one hour of pay at straight time rates.
Wardrobe Fittings
On a day prior to the work call the musician will receive payment of $41.38 for a minimum of 2 hours of time; additional time
should be paid at the hourly rate in units of 30 minutes.
Leader
If there are two or more sideline musicians, one will be construed as leader, and paid twice scale.
Intentional Recording
If a sideline musician is intentionally recorded (as opposed to a leakthrough, i.e., inadvertent recording of a sideline
musician), he/she is to be paid the recording scale for a minimum 3-hour session in addition to any other payments entitled
to hereunder.
A sideline musician who performs live recording on camera within a 3-hour session will be paid the recording scale for a
minimum 3-hour session in addition to any other payments he /she is entitled.
Doubling (Sideline Musicians)
First Double
Second and Each Additional Double
25% of basic scale
10% of basic scale
Orchestra Manager
If there are 10 or more sideline musicians (including leader), an orchestra manager is to be appointed. An orchestra
manager who also performs as a sideline musician will be paid twice the minimum rate of pay applicable for the session; a
non-performing orchestra manager will be paid the minimum rate of pay applicable to the non-doubling sideline musicians
employed in the session.
Page 8 - AFM
Showbiz Labor Guide 2014/2015
SOUND TRACK
AFM
Sound Track Album
Sound Track Album Conversion
Payment for record albums produced from theatrical motion pictures and television film scores must be made within 45
working days of release of the album.
Musicians will receive new use payment for record albums produced from theatrical motion pictures and television film
scores. Payments are based upon actual minutes of recorded music used on the album. Minimum payment is a 3-hour
session rate which covers the use of up to 15 minutes of music. Each additional 5 minutes of music used triggers payment
of ½ hour overtime.
Musicians who received over scale for the original recording session are entitled only to scale for the new use
payments. Any additional services rendered at the original recording (i.e., doubling, over-dubs, etc.) are paid at the
applicable compensation.
Sound Track Albums - Alternate Pay Method
As an alternative to the existing sound track album provisions, the Producer may elect to compensate musicians who
rendered services in making the original sound track as follows:
Payments:
1.
When contract is filed (i.e. when sales reach 15,000 units), an amount equal to fifty percent 50%) of the scale wages
(plus AFM Employers’ Pension Fund contributions but not including health and welfare contributions) that would have
been paid pursuant to the then-effective Sound Recording Labor Agreement;
3.
An amount equal to an additional fifty percent (50%) of the SRLA scale wages (plus pension) for sales in excess of
50,000 units; and
4.
An amount equal to an additional twenty percent (20%) of the SRLA scale wages (plus pension) for sales in excess of
100,000 units.
15% Discount for Certain Soundtracks. The Producer or its Licensee is entitled to a 15% discount from the rates in (1)
above (payments due on release) for soundtrack records that use 40 minutes or more of music originally recorded for the
motion picture; and utilize 75 or more musicians (excluding orchestrators and music preparation musicians) for whom
payment is due.
Conditions
1.
The following logo or credit must be provided on the jacket or other packaging accompanying the record:
(i)
The AFM logo or credit to “The American Federation of Musicians.”
(ii)
The instrumental musicians who performed on the largest recording session from which a cue is extracted for
the soundtrack record must be credited by name and instrument (the largest session is the one utilizing the
most musicians; if more than one has the identical “largest” number, the Producer or its Licensee will identify
from which session the credits will be determined). Such musicians may be grouped by instrumental categories.
(iii)
The Leader/Conductor, Orchestra Manager, Orchestrator(s), Librarian, and Music Prep Service/Supervising
Copyist must be credited by name and position.
(iv)
Any inadvertent error or omission with regard to credits required under (ii) and (iii) above will not be deemed a
violation of this Article 8D provided that the Producer or its Licensee has made a reasonable effort to comply
with those provisions.
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AFM - Page 9
AFM
SOUND TRACK
2.
An “organization name credit” that has been approved by the AFM must be placed on the front or back cover in a type
size that is no less than 50% of the type size used for the composer credit unless no applicable organization name
credit exists; provided that the entity that owns the organization name has agreed to hold harmless and indemnify the
Producer and/or its Licensee from and against any action arising out of the authorized use of such organization
names.
3.
The Producer or its Licensee must provide the AFM with 75 copies of the commercially released soundtrack recording
as soon as practicable upon its release.
4.
If a Producer or its Licensee fails to satisfy any of the foregoing requirements, the special rates will not apply.
Page 10 - AFM
Showbiz Labor Guide 2014/2015
LOW BUDGET
AFM
LOW BUDGET MOTION PICTURE AND TV FILM
(May not be utilized in Canada.)
Scope
These provisions are applicable only to motion pictures that fall within the guidelines set forth below, as certified by the head
of production in the week prior to the first scoring session. In the event the final estimated cost exceeds the listed amounts
within 30 days of release, additional payment equal to the wages and benefits of the full amount that would have been paid
under the full budget provisions shall become due.
Low Budget Ceilings
Theatrical motion pictures (final cost)
12,000,000 - 45,000,000*
Motion pictures for Basic Cable, Pay TV, or 90 Min.+ (per Program Hour)
5,000,000
Motion pictures Released to Video Cassette and 61 Min.+ (per Program Hour)
7,500,000
Longform motion pictures made for Pay TV but budgeted higher than the threshold
above, and non-longform (less than 90 minutes) motion pictures made for Basic
Cable or Pay TV
* See additional low budget theatrical categories below.
Case-by-case
Additional Low Budget Categories (Theatrical Only)
$15 Million and Under Pictures
At least one session must employ 15 or more musicians (including Leader and Contractor). All pictures produced under this
provision will be treated as having their initial release in theatrical exhibition.
OR
$2 Million and Under Pictures
At least one session must employ 7 or more musicians (including Leader and Contractor). All pictures produced under this
provision will be treated as having their initial release in theatrical exhibition.
Call
All musicians shall be notified when they are initially engaged that such engagement is subject to “Low-Budget” provisions.
Showbiz Labor Guide 2014/2015
AFM - Page 11
AFM
TV VIDEOTAPE
TELEVISION VIDEOTAPE
Recording Musicians
General Provisions
Pension, Health & Welfare
Pension
Health & Welfare
10% of scale wages
$16 per day/per show with weekly maximum of $80
Cancellations
No cancellations or postponements less than 4 days prior to the date of the call.
Multiple Sponsors
$7 per musician per ½ hour.
Rest Periods
10 minutes per hour, with no more than two rest periods combined. Except in the case of taping live or airing live, a penalty
of 50% of the applicable rehearsal rate shall be imposed for the period commencing when the musicians were initially
entitled to a rest period (i.e., after two hours in the chair plus a 5-minute grace period) and continuing until the musicians are
released for their rest period. Penalties shall be imposed in 15-minute units.
Meal Periods
For work beyond 6 consecutive hours without a meal break of at least 1 hour, a penalty shall be imposed equal to 2 hours at
the applicable rehearsal rate plus ½ hour at the straight time rehearsal rate for each additional ½ hour delay.
Incomplete Tracks
For “self-contained groups” - air rate for the show.
To the recording and music preparation musicians who made the original recording - air rate plus minimum guaranteed
rehearsal.
To the “in studio” orchestra - an additional 2 hours rehearsal for the first track used and 1 additional hour rehearsal for each
additional track used, except when the unique music sounds produced by the track of the “Guest Group” cannot effectively
be reproduced by the “in-studio” orchestra.
Leader
Double scale.
Contractor
When an orchestra consists of 6 or less playing musicians a contractor shall not be required. When an orchestra consists of
from 7 to 14 playing musicians either a playing or non-playing contractor shall be employed and be paid as follows:
Non-playing contractor = 150% of applicable scale.
Playing contractor = double the applicable scale.
When an orchestra consists of 15 or more musicians (including leader), the non-playing contractor shall be paid double
scale for the first broadcast use.
Premium Pay
For all work beyond an 8-hour span between 8:00 A.M. and 12 midnight: 150% in 15-minute units.
Page 12 - AFM
Showbiz Labor Guide 2014/2015
TV VIDEOTAPE
AFM
For all work between 12 midnight and 8:00 A.M.: 150% in 15 minute units.
For all work beyond an 8-hour span between 12 midnight and 8:00 A.M.: 200% in 15-minute units.
For all work on holidays - 200%: New Year's Day; President's Day; Memorial Day; Labor Day; Thanksgiving; and,
Christmas.
Make-Up and Costuming
$20.00 per musician.
Radio Simulcast
½ hour Program
1 hour Program
Each additional ½ hour
27.50
36.30
8.80
Bank Acts
The Federation will be given notice by the company of all bank act sessions (i.e., an act made for a program other than the
one for which the musician was engaged). The company will also give notice to the Federation of the program in which the
bank act is broadcast.
Bank acts will be made for a particular program series and cannot be used in a Variety Special show.
There must be a live orchestra engaged on every show in which bank acts are to be exhibited.
Musicians performing on a bank act will be paid for the actual hours worked on such bank act and in addition, for a threehour minimum call.
Musicians who perform on a bank act and are not engaged for the program in which the bank act is exhibited will
additionally receive the air rate for the program plus an amount to equal the minimum guaranteed rehearsal hours
applicable to said program.
Re-use payments for musicians who perform on a bank act and are not engaged for the program in which the bank act is
exhibited will be based on the air rate plus minimum rehearsal hours required for such program.
Re-use payments for arrangers, orchestrators and copyists who prepare music for a bank act will be based on actual wages
earned at scale but in no event will an arranger or orchestrator receive more than that of the leader nor a copyist receive
more than that of an instrumentalist.
News and Magazine Programs
Music in a news or magazine piece may only be used with the picture with which it was originally scored.
The total music in any one segment is not to exceed two minutes. If more than two minutes used, the half-hour ”other
program” air rate will be paid to the musicians.
If the music is not directly related to the story being covered or is part of the general background, payment will not be
required.
When the music is part of an event such as a parade, sports presentation or other public spectacle, payment will not be
required.
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AFM - Page 13
AFM
TV VIDEOTAPE
Excerpts
Use of excerpts (clips) containing music taken from television programs or motion picture films will require a payment to all
rendering a musical service on the original production equal to 50% of the applicable air rate of the program in which the
excerpt (clip) is being utilized. There will be a maximum payment equal to the two-hour variety show air rate.
When the excerpts (clips) are utilized in a Strip Variety Program Anniversary Show, the payment will be equal to the 12-hour
Strip Variety Program air rate.
When an excerpt (clip) consists of a complete production number, the payment will be that of the minimum guarantee for the
program in which the clip is utilized (air rate plus guaranteed rehearsal hours), with a maximum payment equal to a two-hour
program.
The foregoing does not apply to compilation programs. For such instances, Producer will make separate arrangements with
the Federation.
Late Penalties
Wages are due and payable within 15 business days after original performance.
Time is computed from the date payment is due. Figures are inclusive and only business days are counted.
16-30
31-50
51-80
Each additional 30 days
Days Late
1-5
6-10
11-15
beyond 50
Penalty
5%
72%
10%
15%
25%
50%
10%
Calls
Musicians will be notified of any change of more than two hours of a scheduled call by at least 6 p.m. of the second prior
day before time of call. In the case of the final day of taping, notice must be given by 6 p.m. of the prior day.
Musicians are to be notified prior to the first day of rehearsal of the starting and finishing time of each day's call.
For specials, the starting time of a call for a day of air (live) or the last day of taping may not be changed after 12:00 noon of
the previous day, if the change is for more than 2 hours. On all other days, no such change of more than 2 hours may be
made prior to 12:00 noon of the second prior day.
If more than one hour (excluding a meal period of not more than one hour) elapses between the end of any session and the
beginning of all following sessions on the same day, a minimum of two hours will be guaranteed, and paid, for such latter
sessions.
Reuse (in the U.S. and Canada)
Upon a second or subsequent showing of any program made under this agreement, the following
percentage payments shall be made to each musician based on his/her scale earnings:
Percentage
Run
2nd
75%
3rd
75%
4th
50%
5th
50%
6th
50%
7th
10%
8th and each subsequent run
5%
Arrangers, Orchestrators, and Production Musicians receive reuse percentages of their scale earnings to a maximum of
150% of the reuse payment to the leader.
Copyists and Librarians receive reuse percentages of their scale earnings to a maximum of 150% of the reuse payment to
the instrumentalists.
Page 14 - AFM
Showbiz Labor Guide 2014/2015
INDUSTRIAL FILMS
AFM
INDUSTRIAL FILMS
Non-Theatrical, non-television
Since the Documentary and Industrial Films Agreement has many of those provisions found in the Basic Theatrical Motion
Picture Agreement, only provisions which are both significant and different will be mentioned.
Overtime
Overtime must immediately follow a regular session. All hours non-continuous will be charged as additional sessions.
A musician may be required to remain up to one hour beyond the minimum two hour call. The first ½ hour of such “hold”
period will be paid at the basic hourly rate in 15 minute increments. The last ½ hour of such “hold” period and any
subsequent time until dismissed will be paid at 150% of the basic rate.
Rest Period
An intermission of 10 minutes per hour away from the stand is required. Two rest periods can be combined to make one 20
minute period.
Pension
Pension contribution is 10% of all earnings, computed at scale, and to be paid to the AFM EP Fund.
Health and Welfare
$21.00 as of 12/1/05.
Premiums
Work performed between midnight and 1:00 a.m. will be paid at 10% additional premium. Work performed between 1:00
a.m. and 6:00 a.m. will be paid at 20% additional premium. Saturday, Sunday, New Year's Day, Memorial Day,
Independence Day, Labor Day, Thanksgiving Day, and Christmas Day will be paid at 200%.
Doubling
First Double
2nd and each additional double
50% of basic scale
20% of basic scale
Cartage
Harp, String Bass, Timpani, Keyboards
All other instruments
30.00
12.00
Late Payment Penalty
Payment is due within 15 working days. Time is computed from date payment was due (only business days are counted):
Days
16-30
31-60
61+
Penalty
5%
10%
50%
(+10% for each 30-day period after 60 days provided notice is given)
General Rules
If the Employer requires the services of non-recording single musicians, arrangers, orchestrators, copyists, proofreaders or
librarians, the Wage Scales, Hours of Employment and Working Conditions in effect at the time of such employment
pursuant to the Theatrical Motion Picture Agreement For Independent Motion Picture Producers to which Federation is a
party will govern such employment.
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AFM - Page 15
AFM
INDUSTRIAL FILMS
Night Premiums
12:00 a.m. to 1:00 a.m.
1:00 a.m. to 6:00 a.m.
10% additional per hour
20% additional per hour
Saturdays, Sundays and Holidays
2x scale rate for work on Saturdays, Sundays, and the following legal holidays: New Year’s Day, Memorial Day,
Independence Day, Labor Day, Thanksgiving Day and Christmas Day.
Cancellation
A session, once called, will not be canceled, postponed or otherwise rescheduled less than 96 hours prior to the date of the
session. In an emergency, a session may be canceled, postponed, or rescheduled upon shorter notice with the consent of
the Office of the President of the Federation.
Page 16 - AFM
Showbiz Labor Guide 2014/2015
ELECTRONIC MEDIA
AFM
ELECTRONIC MEDIA GUIDELINES FOR PUBLICITY PROGRAMS
Internet Streaming
A producer opting for Table 2 use may also use the program or any portion thereof on a Web site or other online service
during the time of the cycle, provided that there is no charge to the consumer for the download. If download charges are to
be assessed, the AFM must be notified and a new provision negotiated.
Symphony, Opera and Ballet programs are excluded from this provision.
Direct Broadcast Satellite (DBS)
Programs under the Public Television Agreement may be released for Direct Satellite Broadcast provided the musicians
were initially paid the following minimums:
½ hr program - program rate plus 1 hr rehearsal
1 hr program - program rate plus 2 hrs rehearsal
1 ½ hr program or longer - program rate plus 3 hrs rehearsal
If the above minimums were not paid initially, programs may be released in perpetuity by paying each musician whose
music is included in the programs at the rate of $7.50.
Symphony, Opera and Ballet programs are excluded from this provision.
DTV
Digital television programs produced under the Public Television Agreement may be broadcast on a multicasting basis on
digital bands divided into four separate signals and may also be released on digital cable in exchange for payment of the
initial minimum compensation.
Foreign Use
Programs may be broadcast on an unlimited basis outside of the U.S. and Canada by paying 45% of the original total wage
scale payments (including air time plus all rehearsal hours).
Non Variety Programs
For episodic, dramatic, non-dramatic and documentary series or programs, terms and conditions of the Television Film
Agreement may be utilized MIDI/Data Files
Transcribing Sketches from MIDI/Data Files
The page rate for transcribing sketches from midi/data files: $21.88.
In the event that modifications, alterations or other additional work on the midi/data file must be performed in order to
generate the sketch, then a rate of $36.09 per hour for such time spent is added to the page rate.
A minimum of 4 hours is required in this category.
Creating Scores from MIDI/Data Files
The page rate for creating scores from midi/data files is not less than the existing orchestration page rates.
In the event that modifications, alterations or other additional work on the Midi/Data file must be performed in order to
generate the sketch, then a rate of $36.09 per hour for such time spent is added to the page rate.
A minimum of 4 hours is required in this category.
Extracting Instrumental Parts from MIDI/Data Files
The page rate for extracting parts from Midi/Data files is not less than the existing copyist page rates.
In the event that modifications, alterations or other additional work on the midi/data file must be performed in order to
generate the sketch, then a rate of $36.09 per hour for such time spent is added to the page rate.
A minimum of 4 hours is required in this category.
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AFM - Page 17
MUSIC PREP & ORCHESTRATION
AFM
Music Preparation
Due to the complex nature of this type of work, please refer to the individual contracts for scale rates.
Composers
Composers are outside the jurisdiction of the AFM. They are customarily paid a flat fee for the composition or through a
package deal that may include the union scale due for any AFM-covered services they perform (e.g., conducting,
orchestrating, arranging).
Arrangers/Orchestrators
Depending upon the situation, arrangers/orchestrators may be paid by the hour (for miscellaneous assignments), or by the
page rate.
Copyists
Copyists are paid by the page rate or by the hour (for miscellaneous assignments).
The supervising copyist is a copyist who secures the services of other copyists. He/she is paid his/her normal fee plus 25%
of the entire copying bill.
Librarians and Proofreaders
Librarians and proofreaders may be paid on an hourly, daily or weekly basis.
Page 18 - AFM
Showbiz Labor Guide 2014/2015
BACKGROUND ACTORS
FEATURES AND TELEVISION .................................................................................................................................................. 1 Introduction ................................................................................................................................................................................. 1 Hiring Procedures – SAG-AFTRA .................................................................................................................................... 1 Studio Zones - West Coast ............................................................................................................................................... 1 Television (Longform) ............................................................................................................................................. 1 Theatrical................................................................................................................................................................. 1 Studio Zones - New York .................................................................................................................................................. 1 Television ................................................................................................................................................................ 1 Theatrical................................................................................................................................................................. 1 Inserts - Los Angeles and New York ................................................................................................................................ 1 Work Day........................................................................................................................................................................... 1 Workweek ......................................................................................................................................................................... 1 Wet, Snow, or Smoke Work .............................................................................................................................................. 2 Body Make-Up, Skull Cap or Hair Goods ......................................................................................................................... 2 Wardrobe Allowance ......................................................................................................................................................... 2 Interviews .......................................................................................................................................................................... 2 Omnies .............................................................................................................................................................................. 2 Background Actor Required to Bring Additional Equipment ............................................................................................. 2 Overtime ............................................................................................................................................................................ 3 Rest Break ........................................................................................................................................................................ 3 Sixteen-Hour Rule ............................................................................................................................................................. 3 Sixth Day, Seventh Day and Holidays .............................................................................................................................. 3 West Coast - Studio Workweek .............................................................................................................................. 3 New York - Studio Workweek ................................................................................................................................. 3 Distant Location ................................................................................................................................................................ 3 Working in a Higher Classification .................................................................................................................................... 3 Canceled Calls .................................................................................................................................................................. 3 Weather Permitting Calls .................................................................................................................................................. 3 Meal Periods and Penalties .............................................................................................................................................. 3 ADDITIONAL WORKING CONDITIONS .................................................................................................................................... 4 Minors................................................................................................................................................................................ 4 Turnaround for Special Ability Background Actors Asked to Dance ................................................................................ 4 Hazardous Work ............................................................................................................................................................... 4 Damage to Wardrobe or Property ..................................................................................................................................... 4 Accident Insurance ........................................................................................................................................................... 4 Sanitary Provisions ........................................................................................................................................................... 4 Agency Fees ..................................................................................................................................................................... 4 Health and Welfare Fund .................................................................................................................................................. 4 Reclassification of Background Actor as Actors ............................................................................................................... 5 NON-UNION BACKGROUND ACTORS COMPENSATION...................................................................................................... 6 Minimum Wages as of 9/1/14 ................................................................................................................................. 6 Overtime .................................................................................................................................................................. 6 Minors...................................................................................................................................................................... 6 Showbiz Labor Guide 2014/2015
Background Actors Table of Contents - Page I
BACKGROUND ACTORS
FEATURES AND TELEVISION
Introduction
Background actors in the motion picture and television industry are represented by two labor groups: Screen Actors Guild
(SAG); and American Federation of Television and Radio Artists (AFTRA).
Hiring Procedures – SAG-AFTRA
Los Angeles, San Francisco, San Diego, Las Vegas, Sacramento and Hawaii:
Studio Zones - West Coast
Los Angeles - 30 miles from the corner of Beverly and La Cienega and an additional sub zone extending 75 miles from
same.
San Francisco - 25 mile radius from Market and Powell Streets.
Sacramento - 25 mile radius.
San Diego - City limits.
Las Vegas - 15 mile radius from the Clark County Courthouse.
Hawaii - State of Hawaii.
Television (Longform)
Covers up to 21 background actors (excluding dancers) per day before producer may hire non-union background actors.
One stand-in per day will not be included in the count of covered background actors.
Theatrical
Covers up to 57 background actors (excluding dancers) per day before producer may hire non-union background actors. Up
to five stand-ins per day will not be included in the count of covered background actors.
Studio Zones - New York
Television
Covers up to 25 background actors per day before Producer may hire non-union background actors. Stand-ins will not be
included in the count of covered background actors.
Theatrical
Covers up to 85 background actors per day before producer may hire non-union background actors. Stand-ins will not be
included in the count of covered background actors.
Professional dancers are covered as principal performers under SAG Basic Agreement, Group Singers and Dancers.
Inserts - Los Angeles and New York
Background actors may perform up to 5 inserts for a single photoplay or one or more episodes in the same series in one
day, for no additional pay when notified in advance.
Work Day
Background actors will be allowed to work on more than one production for the same producer in a given day without
additional payment. Overtime will be paid after 8 hours. For background actors under 18 years of age, see “Minors Work
Hours and Rest Time.”
Workweek
Studio Workweek: 5 consecutive days out of any 7 overnight. Location: 6 consecutive days out of any 7.
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Background Actors - Page 1
BACKGROUND ACTORS
Wet, Snow, or Smoke Work
A background actors who is required to get wet or to work in snow or smoke will receive additional compensation of $14.00
per day. This additional rate will be included as part of the basic rate for calculating overtime. An background actor will not
be entitled to such adjustment if the wearing of swim wear, surfing gear or snow apparel is required for the scene when
crowd waivers are utilized (after requirement of union background actors are met.)
Body Make-Up, Skull Cap or Hair Goods
A background actor who is directed to and does have body make-up or oil applied to more than 50% of his or her body
and/or is required to wear a rubber skull cap or hair goods affixed with spirit gum, and/or is required to wear his own natural
beard as a condition of employment or is required to furnish his/her own wig, will be entitled to an addition al $18.00 per day,
which will be included as part of the basic rate for calculating overtime.
Wardrobe Allowance
When a background actor reports to work in a specified wardrobe and brings one or more changes at the Producer's
request, the background actor will be entitled $9.00 for the first change and $6.25 for additional changes. The allowance for
formal attire, furs, national dress costumes, white palm beach or tropical suits, uniforms or period wardrobes will be $18.00.
Any general background actor who is required and furnish a police uniform at producer’s request shall be paid an
allowance of $36.00.
Interviews
Performer is to be paid a minimum of two hours at his regular rate. For additional time background actors are paid in units of
2 hours at the rate of hire. If, within any period of interview time, any recording or photography, still or otherwise, is done for
use in any production, the background actor will be paid the agreed daily wage, except that still pictures used exclusively for
identification of the player or wardrobe may be taken by producer without making such payment. If a performer is required to
bring wardrobe, car or accessories to an interview he/she will receive payment as listed below under "Background Actor
Required to Bring Additional Equipment.”
Omnies
A background actor who speaks atmospheric words, commonly known in the industry as "walla wallas," is entitled to the
basic wage for the particular call.
Background Actor Required to Bring Additional Equipment
When requested to bring specified items, a background actor will be paid the applicable allowance listed below. If the player
is required to bring wardrobe, car or accessories to a costume fitting or an interview, he/she will receive ½ of the applicable
daily allowance.
Automobile
35.00
Trailer
19.00
Skates or Skateboards
5.50
Bicycle
12.00
Golf Clubs and Bag
12.00
Moped
15.00
Motorcycle
35.00
Police Motorcycle
50.00
Pet (per pet)
23.00
Camera or Luggage (per piece)
5.50
Tennis Racquet (if not part of wardrobe allowance)
5.50
Skis (include boots and Poles)
12.00
Binoculars or Opera Glasses
5.50
Large Portable Radio
5.00
The Producer will negotiate with the background actor over a rate supplying any prop for which a rate is not specified in the
schedule above.
Page 2 - Background Actors
Showbiz Labor Guide 2014/2015
BACKGROUND ACTORS
Overtime
1x
West Coast
8
New York
8
* Over 16 hours, see Sixteen-Hour Rule below.
1½x
9-12
9-10
2x
13-16*
11-16*
Rest Break
Ten minute rest break per hour or fifteen minutes per ninety minutes actual rehearsal or shooting.
Sixteen-Hour Rule
Background actors employed in excess of 16 hours (including meal periods which are normally not included, travel time,
and actual time required to turn in wardrobe or property), will be paid a penalty of one day's pay (at that day's rate) for each
excess hour or fraction thereof. Such penalty will be paid at straight time, unless penalty occurs on sixth or seventh
consecutive work day or holiday.
Sixth Day, Seventh Day and Holidays
West Coast - Studio Workweek
Work on a Saturday and/or Sunday is paid at straight time, unless such weekend day is the player's 6th or 7th for a given
producer. Then the player will be paid at 1½x for Saturday and 2x for Sunday. A background actor employed on the day
before and the day after a holiday will be paid at straight time for holidays not worked; 2x for holidays worked.
New York - Studio Workweek
A background actor will be paid 1½x for work on a Saturday in which the producer has designated as a regular day off. 2x is
paid for the 7th day or for work on a Sunday in a studio workweek which Sunday is a regular day off. A background actor
employed on the day before and the day after a holiday will be paid straight time for the holiday not worked.
Distant Location
A background actor is paid straight time on a distant location for the 6th day, worked or not. The 7th day is paid at 2x.
Holidays not worked are paid at straight time; holidays worked are paid at 2x.
Working in a Higher Classification
A player is entitled to be paid at the highest level of his work for that day irrespective of the length of time actually worked at
such higher level.
Canceled Calls
The producer will have the right to cancel a call for any of the following reasons: illness in principal cast; fire, flood, or other
similar catastrophe; government regulations or order issued due to a national emergency. In the event of any such
cancellation, unless the producer cancels the call before 6 p.m. of the day preceding the call, he will pay the background
actor compensation for ½ day's pay.
Weather Permitting Calls
When scheduled photography is canceled because of weather conditions, background actors reporting pursuant to a
weather permitting call, will be paid ½ day's pay, which will entitle the Producer to hold the background actor for not more
than four hours. The background actor will receive a ¼ check for each additional two hours or fraction thereof.
Meal Periods and Penalties
Meal periods will not be less than a half hour or more than one hour. Not more than one meal period will be deducted from
work time during the first eight hours. The first meal period will be called not later than six hours from the time of call; the
Showbiz Labor Guide 2014/2015
Background Actors - Page 3
BACKGROUND ACTORS
second not later than six hours after expiration of the first; and on distant location only, six hours from time of call. Should
such time limits not be followed, background actors will be entitled to be paid the following penalties:
1st ½ hour delay or fraction
7.50
2nd ½ hour or fraction
10.00
each additional ½ hour or fraction
12.50
Producer is allowed a 12 minute grace period before assessment of penalties for first ½ hour but only when meal period has
not already been postponed by the “take in progress” exception.
Travel: In general, travel time will be treated as time worked. If work is to be performed away from the studio but within the
studio zone, the producer may either furnish transportation from the studio to such location or pay the background actor
$.30 per mile for the background actor to provide his own transportation. The Producer will pay traveling and living
expenses if a background actor is required to work at a distant location.
ADDITIONAL WORKING CONDITIONS
Minors
Hours of work and safety protection is the same for minors working as background actors as it is for minors working as
performers. See the Minors chapter.
If work is performed in a state where the child labor laws are more protective for the welfare of children than the union
provisions, the state regulations are in effect.
Turnaround for Special Ability Background Actors Asked to Dance
Producers will provide 10 hours rest period and where practicable, 12 hours.
Hazardous Work
A background actor agreeing to perform hazardous work is entitled to additional compensation, the amount of which is to be
agreed upon prior to performance.
Damage to Wardrobe or Property
An employee is entitled to compensation if his belongings are damaged during the course of employment.
Accident Insurance
If the producer requires the background actor to travel by air, he will purchase for such employee a minimum of $50,000 of
accident insurance for death or dismemberment.
Sanitary Provisions
The producer will supply:
Pure drinking water
Suitable number of seats on each set or location
Dressing rooms in which background actors may change their clothes in comfort and privacy
Lockers or other provisions for safeguarding employee's belongings, and
Adequate toilet facilities.
Agency Fees
Producer will pay any agency fees.
Health and Welfare Fund
SAG or AFTRA pension apply (see Fringes chapter).
Page 4 - Background Actors
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BACKGROUND ACTORS
Reclassification of Background Actor as Actors
Groups of persons working as background actors, when required to speak dialogue in unison, will be reclassified as actors
except in the following cases:
When in groups of five or more they are required to utter in unison exclamatory words or phrases, as distinguished from a
line of dialogue, or they are required to speak in unison traditional or commonplace dialogue which the ordinary person
might be presumed to know: for example, The Pledge of Allegiance to the Flag, The Lord's Prayer, or, for youngsters, the
Boy Scout Oath or Motto; or,
Groups of 15 or more background actors photographed as a group and speaking lines in unison will not be reclassified to
the acting category unless required to memorize the lines prior to reporting to the place of work.
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Background Actors - Page 5
BACKGROUND ACTORS
NON-UNION BACKGROUND ACTORS COMPENSATION
The minimum a background actor can be paid per hour is the higher of federal or state minimum wage. Several states, and
the District of Columbia, have minimum wages above the federal minimum wage:
Minimum Wages as of 9/1/14
Federal
Alaska
Arizona
California
Colorado
Connecticut
District of Columbia
Florida
Illinois
Maine
Massachusetts
Michigan
Missouri
Montana
Nevada
New Mexico
Ohio
Oregon
Rhode Island
Vermont
Washington
$7.25
7.75
7.90
9.00
8.00
8.70
9.50
7.93
8.25
7.50
8.00
8.15
7.50
7.90 *4.00 for employers grossing $110,000 or less
8.25 if no health benefits provided; $7.25 if provided
7.50
7.95 *7.25 for employers grossing $292,000 or less
9.10
8.00
8.73
9.32
Overtime
Background actor must be paid the higher of federal or state overtime provisions. Only a few states have overtime
regulations that differ from the federal requirements. Federal regulations require 1 ½x after 40 hours work in a work week.
Non-union background actors working in California are covered by Wage Order 12-80. (See the Los Angeles Chapter.) The
9th and 10th hour is paid at 1½x. All hours worked after 10 are paid at 2x.
Minors
State and federal child labor laws must be adhered to when minors are employed as background actors.
Page 6 - Background Actors
Showbiz Labor Guide 2014/2015
LOW BUDGET
LOW BUDGET ............................................................................................................................................................................ 1 CEILINGS.................................................................................................................................................................................... 1 Theatrical Motion Pictures ................................................................................................................................................ 1 Television .......................................................................................................................................................................... 1 IATSE - Low Budget Theatrical Agreement ................................................................................................................................ 2 Los Angeles and Production Cities ................................................................................................................................... 2 Working Conditions ................................................................................................................................................. 2 Work Week .............................................................................................................................................................. 2 Minimum Calls ......................................................................................................................................................... 2 Rest Period ............................................................................................................................................................. 2 Overtime .................................................................................................................................................................. 2 Meal Penalties......................................................................................................................................................... 2 Distant Location ...................................................................................................................................................... 2 Travel Allowance ..................................................................................................................................................... 2 Fringes IATSE Low Budget 1/1/14 - 12/31/16 ........................................................................................................ 3 DGA............................................................................................................................................................................................. 4 Production Costs ......................................................................................................................................................................... 5 Break Even .................................................................................................................................................................................. 5 Overtime for AD’s and UPM’s ..................................................................................................................................................... 5 Levels 1B, 2 and 3 ............................................................................................................................................................ 5 Level 4 ............................................................................................................................................................................... 5 SAG ............................................................................................................................................................................................. 7 Standard Low Budget Theatrical Agreement.................................................................................................................... 7 Requirements .......................................................................................................................................................... 7 Minimum Salaries.................................................................................................................................................... 7 Working Conditions ................................................................................................................................................. 8 Overtime .................................................................................................................................................................. 8 Travel ...................................................................................................................................................................... 8 Background Actors .................................................................................................................................................. 8 Overtime, Premium Pay and Penalties ................................................................................................................... 8 Consecutive Employment ....................................................................................................................................... 8 Rehearsal Payments............................................................................................................................................... 8 Waiver of 6th and/or 7th Day Shooting Schedules ................................................................................................. 9 Pension and Health Contributions .......................................................................................................................... 9 Modified Low Budget Agreement...................................................................................................................................... 9 Requirements .......................................................................................................................................................... 9 Diversity in Casting Incentive .................................................................................................................................. 9 Background Actors Incentive .................................................................................................................................. 9 Minimum Salaries.................................................................................................................................................... 9 Working Conditions ............................................................................................................................................... 10 Ultra Low Budget Agreement .......................................................................................................................................... 10 Requirements ........................................................................................................................................................ 10 Minimum Salaries.................................................................................................................................................. 10 Background Actors ................................................................................................................................................ 10 Working Conditions ............................................................................................................................................... 11 Short Film Letter Agreement ........................................................................................................................................... 11 Requirements ........................................................................................................................................................ 11 Exclusions ............................................................................................................................................................. 11 Minimum Salaries.................................................................................................................................................. 11 Production Requirements ..................................................................................................................................... 11 Application for SAG Short Film Letter Agreement ...................................................................................... 11 Production Time Reports ............................................................................................................................ 11 Employment Contracts ................................................................................................................................ 12 Travel .................................................................................................................................................................... 12 Overtime ................................................................................................................................................................ 12 Showbiz Labor Guide 2013/2014
Low Budget Table of Contents - Page I
LOW BUDGET
WGA .......................................................................................................................................................................................... 13 Page II - Low Budget Table of Contents
Showbiz Labor Guide 2013/2014
IATSE
LOW BUDGET
LOW BUDGET
CEILINGS
There is no agreement between the various unions and guilds as to what constitutes “Low Budget.” The amounts range
from half a million dollars to over ten million.
Theatrical Motion Pictures
Ceilings
15,000,000
6,000,000
1,100,000
2,600,000
3,750,000
11,000,000
Varies
2,500,000
3,750,000
625,000
200,000
50,000
2,500,000
AFM
Direct to Video Cassette
DGA
IATSE
SAG - Standard Low Budget
SAG - Diversity in Casting Incentive
SAG - Modified Low Budget
SAG - Ultra Low Budget
SAG - Short Film
WGA Features
Television
AFM
WGA
Long Form, Per Program Hour
Other than Network Prime time
WGA
Non-Prime time Network
15 min
30 min
60 min
75 min
90 min
120 min
15 min
30 min
60 min
75 min
90 min
120 min
Ceiling
1,971,000
150,000
215,000
300,000
400,000
500,000
900,000
60,000
100,000
200,000
260,000
340,000
450,000
AFM has a provision for cost overruns in their “low budget” formula. The rest of the labor organizations require that a
production who exceeds the firm “low budget” amount must pay the difference between the “low budget” rates and regular
rates.
Showbiz Labor Guide 2014/2015
Low Budget - Page 1
LOW BUDGET
IATSE
IATSE - Low Budget Theatrical Agreement
Los Angeles and Production Cities
Working Conditions
Work Week
Any 5 or 6 consecutive days within 7 consecutive days.
Minimum Calls
During pre-production and production, minimum call is 8 hours excluding meals.
On a prep day involving only a production meeting, or on a wrap only day, minimum call is 4 hours. If the 4 hours are
exceeded on such a day, minimum becomes 8 hours excluding meals.
On a travel only day, minimum call is 4 hours, with a maximum of 8 hours, paid as a straight time allowance.
Rest Period
10 hours for both on- and off-production employees. If at least 7 hours of rest are provided, employee is paid for the
invaded hours at additional straight time. If less than 7 hours rest are provided, employee must be paid at the rate in effect
at time of dismissal, plus additional straight time, until a 10 hour rest period has been provided.
Overtime
Computed in 1/10th hourly units.
Days 1-5
6th Day
7th Day/Holiday
1x
8
1 1/2x
8-14
14
2x
Over 14
Over 14
All hours
Meal Penalties
Time Past Required Interval
Penalty
7.50
1st half hour or fraction thereof
10.00
2nd half hour or fraction thereof
12.50
3rd half hour or fraction and each succeeding half hour or fraction
First meal must commence no earlier than 3 hours and no later than 6 hours from first call time. Meals are to be at least 2
hour, but no more than 1 hour in length. Only 1 meal may be deducted from an employee’s work time during the minimum
call. A second meal may be deducted for those employees who work beyond the minimum call.
Distant Location
The terms and conditions of the IATSE Basic Agreement applicable to Distant Location Provisions are in effect for
employees hired under the Low Budget Agreement.
Travel Allowance
Producer is not required to pay a travel allowance (“drive-to money”) for work locations within or outside the Studio Zone,
provided they are not overnight locations.
Page 2 - Low Budget
Showbiz Labor Guide 2014/2015
IATSE
LOW BUDGET
Fringes IATSE Low Budget 1/1/14 - 12/31/16
Aggregate contributions per day:
Tier 1
Tiers 2 & 3
2014
$83
85
2015
$88
90
2016
$93
95
For those hired within the geographical jurisdiction of production city locals having their own established benefit plans that
meet certain IATSE requirements, the contributions are:
2014
2015
2016
Ultra Low Budget
$90
$95
$100
Tier 1
97
102
107
Tier 2
114
119
124
Tier 3
118
123
128
Showbiz Labor Guide 2014/2015
Low Budget - Page 3
LOW BUDGET
DGA
DGA
LEVEL 1
BUDGET $1,100,000 OR LESS
Director’s initial compensation, daily rate and prep time subject to individual negotiation.
AD/UPM - No Vacation, Unpaid Holiday, Completion of Assignment or dinner allowance.
1A. No minimum salary for films budgeted under $500,000
1B. 33% of scale, no production fee for films budgeted > $500,000 up to $1,100,000
All guild working conditions apply including provisions of arbitration, Pension and Health Plan contribution rates,
credits, supplemental markets and Director’s Creative Rights except:
Director’s Cutting Time - same number of days as shoot with a minimum of 20 days.
AD/UPM receive reduced Extended Workday payments.
LEVEL 2
BUDGET > $1,100,000 up to $2,600,000
Director’s salary subject to negotiation between employee and employer.
AD/UPM - No Vacation, Unworked Holiday, Completion of Assignment Pay or dinner allowance.
a. Minimum of 50% of applicable weekly salary in the Basic Agreement. Production Fee $25 per week.
b. Daily salary computed at 1/4 of weekly rate. Production Fee $6 per day.
c. Any 2nd AD will be hired at 50% of weekly salary for Additional 2nd AD in BA. No Production Fee.
Director’s Cutting Time - same number of days as shoot with a minimum of 20 days.
AD/UPM receive reduced Extended Workday payments.
LEVEL 3
BUDGET >$2,600,000 UP TO $3,750,000
Director’s minimum salary is $75,000 for a minimum guarantee of 13 weeks. 2nd Unit Director: $1500/day.
AD/UPM - No Vacation, Unworked Holiday or dinner allowance. Completion of Assignment per Basic
Agreement. Minimum salary is 60% of scale.
a. UPM/1st AD Production Fee is $200 per week.
b. Key 2nd AD Production Fee is $150 per week.
Director’s Cutting Time - 8 weeks. Waiver of Director’s minimum compensation will be considered for first time
directors of theatrical motion pictures.
AD/UPM receive reduced Extended Workday payments.
LEVEL 4
BUDGET >$3,750,000 to $11,000,000
Director’s salary will be 75% of scale for films budgeted between $3,750,000 and $8.5 million (Levels 4A and
4B). 90% of scale for films budgeted between $8.5 million and $11 million (Level 4C).
AD/UPM - No Vacation, Unworked Holiday or dinner allowance. Completion of Assignment per Basic
Agreement.
4A. AD/UPM - For films budgeted between $3,750,000 and $5,500,000:
Minimum salary is 70% of scale. Production Fee is 70%.
4B. AD/UPM - For films budgeted between $5,500,000 and $8,500,000:
Minimum salary is 80% of scale. Production Fee is 80%.
4C. AD/UPM - For films budgeted between $8.5 million and $11 million:
Minimum salary is 90% of scale. Production Fee is 90%.
Director’s Cutting Time - 10 weeks (per Basic Agreement). Waiver of Director’s minimum compensation will be
considered for first time directors of theatrical motion pictures.
Page 4 - Low Budget
Showbiz Labor Guide 2014/2015
DGA
LOW BUDGET
AD/UPM receive reduced Extended Workday payments.
The guild will review terms and conditions for films budgeted under $500,000 on a case-by-case basis.
Please contact the DGA for questions about your individual project.
Production Costs
Defined as all direct and indirect costs of production, excluding interest payments, contingent talent payments, and cost of
completion bond. If all or part of employee’s salary has been deferred under this plan, if the picture’s costs later go over the
limits described herein, all salary deferred under this agreement becomes immediately due and payable.
Break Even
Described as the point at which the Producer’s total gross receipts equal 200% of the production costs. The Producer’s total
gross receipts are 100% of the distributor’s absolute gross receipts derived from the exploitation of any rights to or in
connection with the motion picture in all markets and media less distribution fees and less expenses for prints and
advertising which shall not exceed 40% of distributor’s gross receipts; provided, however, that as to domestic home video
market, when Producer is not the Distributor. Producer’s total gross receipts shall consist of 100% of the monies actually
received by the Producer or its subsidiaries and affiliates as a production entity (but not as a distributor or exhibitor).
Overtime for AD’s and UPM’s
Levels 1B, 2 and 3
Position
1st AD
Hours Worked
>14 hours
Penalty
Add’l ¼ day’s salary for each 2 hours
or portion worked beyond
2nd AD
>13 hours if only one 2nd AD;
>16 hours if 2 or more 2nd AD’s
Add’l ¼ day’s salary for each 2 hours
or portion worked beyond
Position
UPM
Hours Worked
>16 hours
Penalty
Add’l full day’s salary for each 4
hours worked beyond
1st AD
14+ to 16 hours
Add’l ½ day’s salary
16+ to 20 hours
20+ hours
Another add’l ½ day’s salary
Another add’l full day’s salary for
each 4 hour period or fraction
13+ to 16 hours (studio or “report to”)
14+ to 16 hours (distant or “bus-to”)
16+ hours
Additional ½ day’s salary*
Level 4
Key 2nd AD (when only one 2nd AD is
assigned to shooting unit)
Another add’l full day’s salary for
each 4 hour period or fraction
All 2nd AD’s (when 2 or more 2nd AD’s
assigned to shooting unit)
16+ hours
Another add’l full day’s salary for
each 4 hour period or fraction
Position
1st AD
Workday Begins
General Crew Call
Workday Ends
Camera Wrap (plus travel time on
distant location or “bus-to” location).
Showbiz Labor Guide 2014/2015
Low Budget - Page 5
LOW BUDGET
Key 2nd AD & 2nd 2nd AD
Page 6 - Low Budget
DGA
Earlier of: General Crew Call,
Makeup Personnel Call or Hair
Dressing Personnel Call
½ hour after Camera Wrap in studio;
1 hour after Camera Wrap at “report
to,” “bus-to” and distant locations
(plus travel time to distant location or
“bus-to” local location).
Showbiz Labor Guide 2014/2015
SAG
LOW BUDGET
SAG
Effective 7/1/05*
* Note: No new rates released as part of current agreement; previous rates deemed still to be in effect.
Standard Low Budget Theatrical Agreement
Requirements
1.
Total budget of less than $2,500,000 including all deferments. Shoot entirely in the United States.
2.
Initial theatrical release.
3.
Finished film must be 80 minutes or longer.
4.
"Total production costs" will mean all above and below the line costs, including deferred compensation. Producer must
submit to the Guild a budget, scripts, contracts and any other relevant information which the Guild may require
to verify that such picture qualifies as a Low Budget Theatrical Picture.
Minimum Salaries
CLASSIFICATION
Day Performer
Daily Stunt Performer
Weekly Performer*
Weekly Stunt Performer*
DAILY SINGER RATE
Solo & Duo
Groups 3-8
Groups 9 or more
Mouthing 1-16
Mouthing 17 or more
Sweetening (with or without over dubbing) add'l per day
Over dubbing only, an additional
CONTRACTOR RATE
Three (3) to eight (8) singers - an add'l one-half check
Nine (9) or more singers - an additional full check
WEEKLY SINGER RATE
Solo and Duo
Group 3-8
Group 9 or more
"Step Out" (per day) - up to 15 cumulative bars
"Step Out" (per day) - 16+ cumulative bars or, if detained 1 hour+ after
group released to perform solo/duo-any length
CONTRACTOR RATE
3 to 8 singers
9 or more singers
AIRPLANE PILOTS - STUDIO RATES
Daily
Weekly*
Showbiz Labor Guide 2014/2015
Effective 7/1/05
504
504
1,752
1,880
544
478
417
400
313
+100%
+33-1/3%
240
417
1,752
1,607
1,461
272
544
803
1,461
673
1,880
Low Budget - Page 7
LOW BUDGET
SAG
CLASSIFICATION
Effective 7/1/05
AIRPLANE PILOTS - LOCATION RATES
Daily (includes taxiing and flying)
877
Weekly*
1,880
Weekly taxiing/flying daily adjustment
579
* The above weekly rates apply to the five day "studio week" only. The six day overnight location week, the performer
will automatically receive an additional four hours overtime at straight time rates. The weekly rate stated on the
employment contact will be the five day studio week rate whether an overnight location is involved or not. All overtime
will be computed on the five-day studio week rate.
Stunt Coordinators
Rates for daily, weekly and “flat deal” stunt coordinators are the same as those in the Basic Agreement and are updated
each year. See SAG chapter for current rates.
All money breaks and schedule breaks in the Basic Agreement, including those applicable to stunt coordinators employed
on a flat deal, are applicable to Performers employed under the SAG Low Budget Agreement.
Working Conditions
Overtime
Provisions and premium pay are the same as in the Basic Agreement; however, under the Modified Low Budget Agreement
all overtime for daily and weekly performers will be paid at 1 1/2x up to 12 hours. Beyond 12 hours, overtime will be paid at
2x. On days of rehearsal only, no overtime payment is due.
Travel
Basic Agreement provisions apply, with the exception that performers will be considered on “overnight location” when they
are required to remain away from their principal place of residence overnight for one or more nights. Producer must pay for
travel time, as well as transportation costs, lodging and per diem.
Background Actors
The first 30 extra performers each day will be employed under the terms of the current applicable background actors
agreement. SAG may be amiable to reduce the number of Extras employed under the background actors agreement.
Overtime, Premium Pay and Penalties
Premium pay and penalties will be computed and paid to all performers as provided in the basic agreement. However, all
daily overtime for day performers and weekly performers (but not for background actors) through the 12th hour of the
performers day will be paid at time and one half. Daily overtime beginning with the 13th work hour will be paid at double
time.
Consecutive Employment
The Guild waives the application of its consecutive employment rules for day performers and weekly performers; however,
weekly performers must be employed and paid in units of no less than one full week. Additional days in the final partial
workweek for a weekly performer may be prorated at 1/5th of the weekly base rate for each day.
Consecutive rules are not waived when performers are on overnight locations.
Rehearsal Payments
On days involving rehearsal only (no other work) will be paid at straight time rates.
Page 8 - Low Budget
Showbiz Labor Guide 2014/2015
SAG
LOW BUDGET
Waiver of 6th and/or 7th Day Shooting Schedules
Provided each performer is given at least 56 consecutive hours off (36 consecutive hours on overnight locations) in each
seven days and subject each performers prior written consent producer may call performers (other than extra performers)
for work on the 6th and 7th day.
Pension and Health Contributions
Performers: 14.8% Ceiling: $200,000
Extras and Stand-ins: 14.5%
Modified Low Budget Agreement
Requirements
1.
Total budget of less than $625,000 including all deferments.
2.
Shoot entirely in the United States.
3.
Initial theatrical release.
4.
Finished film must be 80 minutes or longer.
5.
Producer must submit to the Guild a budget, scripts, contracts and any other relevant information which the Guild may
require to verify that such picture qualifies as a Modified Low Budget Theatrical Picture Minimum Salaries.
Diversity in Casting Incentive
The total production cost maximum may be increased to $937,500 if the producer has demonstrated diversity in casting by
meeting the following criteria: 50% of the total speaking roles and 50% of the total days of employment are cast with
performers who are members of the following four (4) protected groups: performers of color, women, senior performers,
and/or performers with disabilities. 20% of roles and days of work for performers of color: Black, Latino, Asian-Pacific and/or
Native Americans.
Background Actors Incentive
The total production cost maximum may be increased by $100,000 for employing a specified number of background actors.
See Modified Low Budget Agreement for details.
Minimum Salaries
CLASSIFICATION
Day Performer
Daily Stunt Performer
Weekly Performer*
Weekly Stunt Performer*
SINGER - DAILY
Solo & Duo
Groups 3-8
Groups 9 or more
Mouthing 1-16
Mouthing 17 or more
Sweetening (with or without over dubbing) add'l per day
Over dubbing only, an additional
SINGERS - WEEKLY (5 DAY WEEK)
Solo and Duo
Group 3-8
Showbiz Labor Guide 2014/2015
Effective 7/1/05
268
268
933
1,001
289
255
222
216
167
+100%
+33 1/3%
933
856
Low Budget - Page 9
LOW BUDGET
CLASSIFICATION
Group 9 or more
"Step Out" (per day) - up to 15 cumulative bars
"Step Out" (per day) - 16+ cumulative bars, or if detained 1 hour+ after
group released to perform solo/duo-any length
CONTRACTOR RATE
3 to 8 singers
9 or more singers
DANCERS - DAILY
Solo & Duo
Groups 3-8
Groups 9 plus
DANCERS - WEEKLY (5-DAY WEEK)
Solo & Duo
Groups 3-8
Groups 9 plus
SAG
Effective 7/1/05
778
145
289
+50%
+100%
268
234
205
933
848
782
Stunt Coordinators
Rates for daily, weekly and “flat deal” stunt coordinators are the same as those in the Basic Agreement and are updated
each year. See SAG chapter for current rates.
Working Conditions
See the Standard Theatrical Low Budget Agreement.
Ultra Low Budget Agreement
Requirements
Applies to live-action features which are not produced primarily for commercial exploitation. Not intended for pictures made
for television broadcast, cable, or DVD/Video markets. Explicity excludes animated projects and music videos.
Total budget of less than $200,000 excluding all deferments. In no event shall the budget, including deferrals, exceed
$500,000. All deferrals must be reported to the guild with the budget figures.
Shoot entirely in the United States.
Producer must submit to the Guild a budget, scripts, contracts and any other relevant information which the Guild may
require to verify that such picture qualifies as Ultra Low Budget.
Producer has the right to distribute the film theatrically. If the film is distributed outside the theatrical market, residuals must
be paid to performers in accordance with the Basic Agreement.
Minimum Salaries
All Performers except Stunt Coordinators
Stunt Coordinators
Per Day
100.00
Current Basic Agreement minimums
Background Actors
The agreement covers no background actors, except when professionals are hired as background actors. If professionals
are hired, they are covered by the current SAG agreement.
Page 10 - Low Budget
Showbiz Labor Guide 2014/2015
SAG
LOW BUDGET
Working Conditions
See Theatrical Low Budget Standard Agreement.
Short Film Letter Agreement
Intended for noncommercial short films, which can be used as showcases of the filmmakers’ work, and can also be
submitted for competition in festivals and the Academy Awards. Producer will be allowed to distribute the short in a paying
movie theater for a limited amount of time in order to qualify for such awards.
Requirements
1. Maximum total budget $50,000.
2. Maximum running time 35 minutes.
3. Maximum shooting schedule: 30 days principal photography (not including retakes, added scenes and looping).
4. Shoot entirely in the United States.
Exclusions
Projects intended for commercial distribution of any kind, as well as trailers or demos produced for the purpose of
fundraising. May be displayed on one public access channel for not more than one year from first run date.
Minimum Salaries
Deferred.
Production Requirements
Application for SAG Short Film Letter Agreement
Producer must submit the following not less than one (1) month prior to the date Producer intends to start work
with professional performers to the nearest Guild office.
A) Copy of the final shooting script. A treatment is not sufficient.
B) Detailed budget listing all deferred and current expenses necessary to produce the Short Film. A cover sheet is not
sufficient.
C) Shooting schedule
D) A completed Information Sheet from the Producer indicating the following:
i. Title
ii. Start date
iii. Estimated wrap date
iv. Intended number of actual shooting days
v. Medium to be used
vi. Current expenses
vii. Crew salary deferrals
viii. Above the line (other than performers) deferrals
ix. Equipment, stock and processing deferrals
x. Total budget
xi. Sources of financing
xv. Intended distribution
Production Time Reports
Producer shall complete Production Time Reports in ink detailing the specific time of reporting, travel, beginning and end of
meals and dismissal on set. The professional performers shall review and sign the Production Time Report at the end of
each day.
Showbiz Labor Guide 2014/2015
Low Budget - Page 11
LOW BUDGET
SAG
Employment Contracts
Each professional performer must receive the Short Film Agreement Employment Contract for execution by the end of
his/her first day of work on the Short Film. A copy of this Short Film Agreement must be delivered to the professional
performer and performer's representative not later than the first day of work.
Travel
Basic Agreement provisions apply, with the exception that performers will be considered on “overnight location” when they
are required to remain away from their principal place of residence overnight for one or more nights. Producer must pay for
travel time, as well as transportation costs, lodging and per diem. Such payments may not be deferred.
Overtime
Time worked over 8 hours, up to 12 will be paid at 1 1/2x the straight time rate, all of which may be deferred. Time worked
beyond 12 hours will be paid at 2x the straight rate, which may not be deferred. Such overtime payments will be based on
the current minimum rates of the Modified Low Budget Agreement.
Page 12 - Low Budget
Showbiz Labor Guide 2014/2015
SAG
LOW BUDGET
WGA
Low budget ceiling for WGA is $5 million for features and varying ceilings for television productions.
Showbiz Labor Guide 2014/2015
Low Budget - Page 13
COMMERCIALS
The Showbiz Commercial Labor Guide, complete with rates and rules, is now offered as a
PDF through payroll company Media Services.
If you’re interested in obtaining a PDF copy, please contact:
New York
Steve Bizenov
(646) 829-0702
[email protected]
Los Angeles
Steven Fishman
(310) 440-9674
[email protected]
INSURANCE
INTRODUCTION......................................................................................................................................................................... 1
Loss Control and Loss Prevention Services..................................................................................................................... 1
Insurance Premiums ......................................................................................................................................................... 1
SYNOPSIS OF PRODUCTION INSURANCE COVERAGES.................................................................................................... 2
Extended Pre-Production Cast Insurance ........................................................................................................................ 2
Cast Insurance .................................................................................................................................................................. 2
Essential Element Cast Insurance.................................................................................................................................... 2
Negative Film and Videotape............................................................................................................................................ 3
Faulty Stock, Camera or Processing ................................................................................................................................ 3
Props, Sets & Wardrobe ................................................................................................................................................... 3
Miscellaneous Equipment................................................................................................................................................. 3
Third Party Property Damage Liability .............................................................................................................................. 3
Extra Expense................................................................................................................................................................... 3
Errors & Omissions (Producers Liability) .......................................................................................................................... 3
Commercial (Comprehensive) General Liability ............................................................................................................... 4
Business Automobile Liability & Physical Damage .......................................................................................................... 4
Foreign General Liability and Contingent Automobile Liability ......................................................................................... 4
Excess Liability/Umbrella Liability..................................................................................................................................... 4
Workers Compensation & Employers Liability.................................................................................................................. 4
Foreign Workers Compensation ....................................................................................................................................... 5
Non-Owned Aircraft Liability & Hull................................................................................................................................... 5
Non-Owned Watercraft (Protection & Indemnity) Liability & Hull ..................................................................................... 5
Animal Mortality & Extra Expense .................................................................................................................................... 5
Railroad Protective Liability............................................................................................................................................... 5
Adverse Weather Extra Expense...................................................................................................................................... 5
Money & Currencies Crime Package................................................................................................................................ 5
Guild/ Union/ Non-Union Travel Accident......................................................................................................................... 5
GUILD/ UNION REQUIRED TRAVEL ACCIDENT BENEFITS.................................................................................................. 6
Who is Covered?............................................................................................................................................................... 6
What is the Amount?......................................................................................................................................................... 6
What are the Coverages? ................................................................................................................................................. 6
What Is the Standard Aggregate Limit of Liability?........................................................................................................... 6
CURRENT GUILD/UNION REQUIREMENTS ................................................................................................................. 6
PGA (Producers Guild of America)......................................................................................................................... 6
DGA (Directors Guild of America)........................................................................................................................... 6
SAG (Screen Actors Guild) ..................................................................................................................................... 6
WGA (Writers Guild of America) ............................................................................................................................. 6
Studio Transportation/Drivers, Local 399 ............................................................................................................... 7
AFM (American Federation of Musicians) .............................................................................................................. 7
AFTRA (American Federation of TV & Radio Artists)............................................................................................. 7
IATSE (International Alliance of Theatrical Stage Employees) .............................................................................. 7
LOCAL 52, NEW YORK................................................................................................................................ 7
LOCAL 161, NEW YORK.............................................................................................................................. 7
LOCAL 600, WESTERN REGION - CAMERA ............................................................................................. 7
LOCAL 600, CENTRAL REGION - CAMERA .............................................................................................. 8
LOCAL 600, EASTERN REGION - CAMERA .............................................................................................. 8
LOCAL 476, CHICAGO - STUDIO MECHANICS......................................................................................... 8
Showbiz Labor Guide 2013/2014
Insurance Table of Contents - Page I
INSURANCE
INTRODUCTION
Insurance may be one of the last arrangements you make before your pre-production period starts, but it is one of the most
important decisions you will execute. Insurance should be acquired before you rent a production office, hire personnel, rent
vehicles and/or equipment, arrange location site rentals/filming locations, or enter into contractual obligations.
The relationship with a qualified insurance broker will facilitate the insurance buying process. A qualified entertainment
insurance broker should:
Be accessible at all times of the day and night, especially in cases of extreme emergency.
Have existing relationships with the entertainment insurance marketplace.
Have experience in the entertainment industry, especially in the type of production or activity in which you are
involved.
Have the technology and experience to issue certificates of insurance in an expeditious and knowledgeable manner.
Have the experience and technology to handle claims in an expeditious and knowledgeable manner.
Once the broker selection process has been completed, you will need to provide a copy of your final script, budget and
shooting schedule. Subsequently, it may become necessary to provide additional information regarding limits desired or
required, stunts and pyrotechnics. In addition, you may have to provide information regarding the use of animals, aircraft,
watercraft, or railroads. Special insurance is usually required for these special hazards, and a surcharge or additional
premium is normally charged, based upon the usage and exposures declared.
Loss Control and Loss Prevention Services
One of the most important keys to a successful insurance program is a strong loss control and loss prevention program.
The key to a strong loss control and prevention program is the capability to identify potential loss exposures, analyze and
quantify current controls (programs), and assist in the development and implementation of action plans to reduce those
exposures as much as possible.
To accomplish this, the loss control consultant must have technical expertise in script breakdowns, years of "hands-on"
production experience, familiarity with industry personnel, and a knowledge of insurance carrier issues and expectations.
You should strongly consider seeking such assistance whenever your production involves:
Stunts
Special Effects
Aircraft or Watercraft
Exotic Animals
Distant or Extreme Location Work
Pyrotechnics
It should be noted that the lack of these exposures doesn't mean that you should not take steps to implement a safety
program in your production. Despite the perception by some that these present the greatest risks, most accidents and
injuries occur during normal production activities.
Insurance Premiums
The cost of insurance for motion picture and/or television film or videotape productions can vary depending upon certain
variables including (but not limited to):
Showbiz Labor Guide 2013/2014
Insurance - Page 1
INSURANCE
$
$
$
$
$
$
$
Size of the budget
Location of the principal photography
Length of principal photography
Ages and number of cast members insured
Limits required for the various lines of insurance coverages
Unusual exposures including aircraft, watercraft, animals or railroads
Stunts or pyrotechnics
Normally, prior to the commencement of principal photography and upon binding of coverage, a deposit premium is made,
based upon the estimated cost of the above listed criteria. At the conclusion of post production, a physical audit is
performed (by an auditor from the insurance company) of the actually incurred production costs and an additional premium
may be generated dependent upon any changes from the original criteria and estimates.
SYNOPSIS OF PRODUCTION INSURANCE COVERAGES
MOTION PICTURE/TELEVISION (FILM AND VIDEOTAPE)
THE FOLLOWING "SYNOPSIS OF MOTION PICTURE/TELEVISION (FILM & VIDEOTAPE) PRODUCTION INSURANCE
COVERAGES" IS PROVIDED SOLELY FOR GENERAL INFORMATION PURPOSES, AND IS NOT INTENDED TO BE A
COMPLETE DESCRIPTION OF POLICY TERMS AND CONDITIONS, OR REPRESENT ANY EXCLUSIONS
THEREFROM. IT IS OBLIGATORY THAT THE PRODUCTION REPRESENTATIVE CONTACT A QUALIFIED
ENTERTAINMENT INSURANCE BROKER PRIOR TO PRODUCTION PLANNING IN ORDER TO DISCUSS, PLAN, AND
ARRANGE THE PRODUCTION INSURANCE POTENTIALLY REQUIRED.
Extended Pre-Production Cast Insurance
If required, a separate pre-production policy can be issued to extend the "normal" pre-production period on specified artists
and/or the director of the project. This coverage is normally accomplished on critical individuals whose unavailability could
cause monetary loss if the project were abandoned or seriously delayed due to their illness or injury. Each covered person
must complete and pass a physical examination (the cost of which is usually borne by the production company) and, if
approved by Underwriters, can be accepted for coverage, subject to a specified deductible. The premium cost is based
upon the length of the period for which insured, the age of the insured person, and the designated sum (limit) for which
insured (potential cost of any claim).
Cast Insurance
Serves to indemnify the production company for the net loss sustained, or for the extra expense necessary to commence,
continue, or complete principal photography of an insured production, due to death, injury or illness of any insured artist or
director. Insured persons are initially covered for "accidents only", until such time as they are medically examined and they
complete a medical questionnaire. The carrier will then expand upon the coverage to include illness, if the person qualifies,
based upon the medical examination results, and the questionnaire. Coverage may also be extended to include kidnaping of
any insured artist or director, and bereavement due to death of an immediate family member thereof. Cast Insurance
normally begins four weeks prior to the first camera day. However, additional time can be purchased in the form of Extended
Pre-Production Cast Coverage Stop Date, it is important to verify that the principal players will have sufficient time to finish
your project before starting their next one. Otherwise, the insurance company may not honor a loss that does not allow at
least 7-14 days time between projects for the principal players. This may occur under the cast insurance, essential element
or extra expense sections of the Production Insurance Policy.
Essential Element Cast Insurance
It is becoming increasingly more common for distributors or financial entities to require Essential Element Cast Coverage on
one or more "key performers" in a production. This coverage gives the production company the right to abandon a
production (as opposed to the insurance company) should the essential element cast participant become incapacitated to
the point where they can not complete the production. This coverage is subject to an additional premium charge.
Page 2 - Insurance
Showbiz Labor Guide 2013/2014
INSURANCE
Negative Film and Videotape
This coverage protects against the direct physical loss, damage, or destruction, to the recording medium (film, tape, cels,
etc.). This coverage does not cover a loss caused by fogging; faulty camera or sound equipment; faulty developing, editing
or processing; manipulation by the cameraman; exposure to light, dampness or temperature changes; error in judgement in
exposure, lighting or sound recording; or from the use of an incorrect type of raw film stock or tape. Coverage continues up
until an answer print is made.
Faulty Stock, Camera or Processing
Covers the loss, damage, or destruction of the recording medium (film, tape, cels, etc.) caused by or resulting from fogging
or the use of faulty materials (including cameras or videotape recorders), faulty sound equipment, or faulty developing.
Faulty coverage does not include loss caused by errors of judgement in exposure, lighting or sound recording; from the use
of incorrect type of raw stock; or faulty manipulation by the cameraman. Faulty Stock, Camera or Processing Coverage
may only be purchased with Negative Film and Videotape Coverage.
Props, Sets & Wardrobe
Provides coverage on props, sets, scenery, costumes, wardrobe, and similar theatrical property against risks of direct
physical loss, damage or destruction during the specified production period, subject to certain policy exclusions. Coverage
may include loss of use of the property of others, for which the production is legally liable.
Miscellaneous Equipment
Covers against risks of direct physical loss, damage or destruction, subject to certain policy exclusions, to camera
equipment, sound and lighting equipment, portable electrical equipment and generators, mechanical effects equipment, grip
equipment, and similar miscellaneous equipment owned or rented by the production company. Coverage can be extended
to provide Physical Damage Coverage (Comprehensive & Collision Coverage) to production vans, honey wagons, or other
production vehicles, sometimes upon payment of additional premium. Coverage may include loss of use of property of
others, for which the production company is legally liable.
Third Party Property Damage Liability
Provides legal liability coverage for damage to, or destruction of, property belonging to others (including loss of use of the
property) while the property is in the care, custody or control of the production company, and is used or to be used in an
insured production. Third Party Property Damage Liability Insurance is not included under a Commercial or Comprehensive
General Liability Policy. Property Damage Liability written as a part of a Commercial/Comprehensive General Liability
Insurance Policy, excludes damage to any property in the production company's care, custody or control.
Extra Expense
Indemnifies the production company for any extra expense incurred as a direct result of interruption, postponement, or
cancellation of a declared production as a direct and sole result of loss or damage of property or facilities contracted by the
production company (props, sets, wardrobe, miscellaneous equipment or third party property) in connection with the
production insured. This coverage may include losses due to generator failures.
Errors & Omissions (Producers Liability)
Provides legal liability coverage, including defense, against claims alleging unauthorized use of titles, format, ideas,
characters, and plots; plagiarism; and unfair competition. Also provides coverage for alleged liable, slander, defamation of
character or invasion of privacy. Punitive damages are not covered. This coverage will usually be required by distributors,
prior to the release of any theatrical or television production.
Showbiz Labor Guide 2013/2014
Insurance - Page 3
INSURANCE
Commercial (Comprehensive) General Liability
Provides legal liability coverage for claims from third parties involving bodily injury or property damage (excluding property in
the production's care, custody or control) arising out of the filming of the picture. Coverage may sometimes include the use
of owned and/or non-owned, hired, loaned, or donated vehicles (both on and off camera vehicles). This coverage will be
required prior to filming on any city or state highways, or any location sites which require filming permits. Coverage does not
apply to use of any aircraft, watercraft, or foreign (outside of the United States) activities, which must be separately insured.
(Certain watercraft may be eligible for endorsement to the policy upon insurer's approval).
Business Automobile Liability & Physical Damage
If the production company is purchasing vehicles and/or is planning to hire, borrow, or rent private passenger vehicles and
production vehicles, a Business Automobile Policy will be required covering owned, non-owned, hired, loaned or donated
vehicles. This coverage provides liability insurance which protects the production company from lawsuits emanating from
incidents resulting in bodily injury or property damage claims caused by employees during the filming, or the course and
scope of company business.
Physical Damage Coverage (Comprehensive & Collision) may also be included under this policy or Miscellaneous
Equipment (under certain situations), at an additional premium cost.
Owned vehicles may also be eligible for additional coverages including Uninsured/Underinsured Motorists, Drive Other Car,
Medical Payments, and Rental Reimbursement.
Foreign General Liability and Contingent Automobile Liability
Provides bodily injury and property damage coverages for liability arising out of accidents and fortuitous occurrences
outside of the United States of America and Canada. The coverage will be required if the production company will have any
foreign filming activities.
Excess Liability/Umbrella Liability
Provides additional limits of coverage above Commercial/Comprehensive General Liability, Automobile Liability and
Employers Liability, and in some cases Third Party Property Damage Liability Coverage. If needed, Foreign General &
Automobile Liability, Foreign Employers Liability, Watercraft Liability and Aircraft Liability may be scheduled (with
Underwriters prior approval) as well. Excess Liability or Umbrella Liability is recommended whenever a production has
scheduled many stunts or special effects, or whenever permits require occurrence and aggregate limits in excess of the
$1,000,000 limit normally maintained.
Workers Compensation & Employers Liability
This coverage is required by state law, and applies to all temporary or permanent cast, production crew, or office
"employees". The policy provides coverage for medical, disability or death benefits to any cast, crew, or office "employee"
who becomes ill or who is injured in the course of his/her employment. Individuals who consider themselves "independent
contractors" or "sub-contractors" will usually be held to be employees (as far as Workers Compensation is concerned), and
failure to carry this insurance can result in having to pay any benefits required under the law, plus penalties. On location,
coverage is generally held to apply on a 24-hour basis while "employees" are away from their homes. Workers
Compensation Insurance may be obtained in one of three ways, depending on the state in which the production company is
shooting, and the "employees" state of hire: 1) a private insurance company; 2) a state fund; or 3) through an entertainment
industry payroll service. Many production companies utilize the services of a payroll service, as the payroll service can not
only perform the duties of payment of crew and talent (including the payment of any payroll taxes, royalties & residuals), but
they also provide Workers Compensation Insurance since these individuals are technically "employees" of the payroll
company itself.
Page 4 - Insurance
Showbiz Labor Guide 2013/2014
INSURANCE
Foreign Workers Compensation
Provides Workers Compensation Insurance coverage for United States hires and/or third Country Nationals, when filming
outside of the United States. Employees benefits are based upon their state or country of hire. It is important to verify that
the foreign Workers Compensation covers for the repatriation of all employees in the event that they get sick or injured while
out of the country. The repatriation coverage will pay for the expenses incurred for transporting the employee back to the
United States so that they will get proper medical care.
Non-Owned Aircraft Liability & Hull
This coverage is usually required when an airplane or helicopter is rented, leased or borrowed for use as a picture craft or
for aerial photography. Hull Coverage for the body of the craft itself, and Passenger Liability may also be obtained.
Once an employee of the production company is aboard a watercraft on any of the navigable U.S. waters, the Workers
Compensation coverage is now subject to the United States Jones Act and subject to more comprehensive coverage
requirements. Your insurance professional should be cognizant of this fact and is obligated to provide your company with
this important coverage.
Non-Owned Watercraft (Protection & Indemnity) Liability & Hull
This coverage is usually required whenever a watercraft vessel is rented, leased or borrowed for use as a picture vessel, or
for waterborne photography. Hull Coverage for the vessel itself and Passenger/Crew Liability may also be obtained.
Animal Mortality & Extra Expense
This coverage provides indemnification to the production company for the pre-established value of an animal who becomes
deceased during a production or for the net loss sustained due to the illness, injury, death or destruction of an animal used
in conjunction with a production. Values of animals must be established in advance, and current Veterinarian Certificates
are required for full Animal Mortality Insurance Coverage. Animal Extra Expense Insurance Coverage would provide a
"cast-type coverage" for insured animals that would reimburse the out-of-pocket expense incurred as a result of the
interruption, postponement or cancellation of the production resulting from injury, death or illness to the animal so insured.
Railroad Protective Liability
Can be required by a railroad when a production is utilizing the railroad's property. Coverage includes Bodily Injury Liability,
Property Damage Liability, and Physical Damage to Property of the railroad or adjacent thereto.
Adverse Weather Extra Expense
This coverage provides for extra expense incurred by the interruption, delay or abandonment of the production due to
adverse weather conditions at the location, which reasonably and necessarily prevent filming or taping from taking place.
Money & Currencies Crime Package
This coverage provides for actual physical loss of funds during production (i.e., petty cash) against robbery, theft,
embezzlement or forgery of checks or negotiable instruments.
Guild/ Union/ Non-Union Travel Accident
Provides travel accident coverages as required by the guild or union contracts to which the production company is
signatory. Coverage is blanket, and the pre-established limits meet all signatory requirements. Coverage may also be
extended to full time non-union employees, up to a benefit limit of $50,000 each.
Showbiz Labor Guide 2013/2014
Insurance - Page 5
INSURANCE
GUILD/ UNION REQUIRED TRAVEL ACCIDENT BENEFITS
Who is Covered?
Members of guilds/unions established for persons associated with the entertainment industry.
Persons who are employed on a full-time basis and compensated for their services by the insured, and are non-guild/union
members.
What is the Amount?
Up to $350,000 per person, or as specified in the respective Guild/Union Bargaining Agreement. Principal sum (nonguild/union): $50,000 per person.
What are the Coverages?
Accidental death and dismemberment while on the business of the production company arising from activities involving:
Fixed Wing Aircraft
Helicopter/Rotorcraft
Land or Water Conveyance
Underwater Filming
24 Hour Business Conditions, and
Hazardous Conditions
What Is the Standard Aggregate Limit of Liability?
$10,000,000 per occurrence/accident.
CURRENT GUILD/UNION REQUIREMENTS
PGA (Producers Guild of America)
Air-fixed wing
Helicopter
Other means of Travel
100,000
100,000
50,000
DGA (Directors Guild of America)
Air-fixed wing
Helicopter
Other means of Travel
Underwater
250,000
350,000
200,000
350,000
SAG (Screen Actors Guild)
Air-fixed wing*
Helicopter*
*During photography $1,050,000 or 2,000,000
150,000
250,000
WGA (Writers Guild of America)
Air-fixed wing
Helicopter
Other means of Travel
Page 6 - Insurance
250,000
350,000
200,000
Showbiz Labor Guide 2013/2014
INSURANCE
Studio Transportation/Drivers, Local 399
Air-fixed wing
Helicopter
Other means of Travel
100,000
100,000
100,000
AFM (American Federation of Musicians)
Air-fixed wing
Helicopter
Common Carrier, ground
*No coverage for private passenger
100,000
100,000
*100,000
AFTRA (American Federation of TV & Radio Artists)
Any and all travel, including 24 hour business travel
200,000
IATSE (International Alliance of Theatrical Stage Employees)
Air-fixed wing
Helicopter
Other means of travel
24 hour coverage
Hazardous conditions
50,000
100,000
50,000 (if working away from home
base)
50,000 (if working away from home
base)
100,000 (for which hazardous pay is
received)
LOCAL 52, NEW YORK
Hazardous Work and Insurance
In the event that any sound person, electrician, property person, shop craftsperson or grip is assigned to work involving
aerial flights, any underwater work, work in mine shafts, work above the first floor outside or on top of buildings in those
areas not normally open to public use, demolition or explosive work, work on top of moving vehicles where protective metal
railings are not provided, work in or upon out-rigging affixed to moving vehicles, or work while riding in speeding racing cars
or moving motorcycles, they will, for the duration of such assignment, be covered by a personal accident insurance policy,
insuring against death and/or dismemberment, in the amount of two hundred thousand dollars ($200,000) and providing for
a weekly indemnity of three hundred dollars ($300)* in the event of total disability, as such term is commonly understood in
the insurance field, for a period of not more than fifty-two weeks.
NOTE: For "commercial production", the amounts of insurance are to be $100,000 and $150.00 per week.
LOCAL 161, NEW YORK
Flight Insurance
100,000
LOCAL 600, WESTERN REGION - CAMERA
Air-fixed wing
Helicopter
Other means of Travel
Hazardous conditions
*Includes transportation furnished by producer, for which hazardous pay is received.
Showbiz Labor Guide 2013/2014
100,000
100,000
100,000
*100,000
Insurance - Page 7
INSURANCE
LOCAL 600, CENTRAL REGION - CAMERA
Hazardous work
250,000
LOCAL 600, EASTERN REGION - CAMERA
Producer will contribute $0.75 per day per cameraperson to the International Photographers Welfare Fund Local #644, to
aid in funding on the job accidental deaths, dismemberment, and weekly indemnity insurance.
LOCAL 476, CHICAGO - STUDIO MECHANICS
Hazardous work
Page 8 - Insurance
250,000
Showbiz Labor Guide 2013/2014
MINORS
SAG-AFTRA RULES .................................................................................................................................................................. 1 General Rules ................................................................................................................................................................... 1 Definition of Minor ............................................................................................................................................................. 1 Auditions and Fittings ........................................................................................................................................................ 1 Engagement ...................................................................................................................................................................... 1 Supervision ....................................................................................................................................................................... 1 Play Area ........................................................................................................................................................................... 2 Return Transportation - Location Work............................................................................................................................. 2 Work Hours and Rest Time............................................................................................................................................... 2 Unusual Physical, Athletic or Acrobatic Activity................................................................................................................ 3 Child Labor Laws .............................................................................................................................................................. 3 Minors First Employment .................................................................................................................................................. 3 Inconsistent Terms ............................................................................................................................................................ 3 CALIFORNIA CHILD LABOR LAWS - SUMMARY .................................................................................................................... 4 Coogan Account Rules - Please Note ............................................................................................................................. 4 Permit To Employ Minors .................................................................................................................................................. 4 Requirements To Employ Minors ..................................................................................................................................... 4 Trust Fund Requirements ................................................................................................................................................. 5 Requirements for Production Companies ......................................................................................................................... 5 Blanket Permits ................................................................................................................................................................. 5 Meals ................................................................................................................................................................................. 5 Travel Time ....................................................................................................................................................................... 5 Turnaround ........................................................................................................................................................................ 5 Studio Teachers ................................................................................................................................................................ 5 School Waivers ................................................................................................................................................................. 6 Wardrobe, Looping Publicity and Personal Appearances ................................................................................................ 6 Waivers For Extensions .................................................................................................................................................... 6 Babies ............................................................................................................................................................................... 6 Hours ................................................................................................................................................................................. 6 Hours for Minors................................................................................................................................................................ 7 NEW YORK CHILD LABOR LAWS - SUMMARY ...................................................................................................................... 8 New York Child Performer and Trust Act.......................................................................................................................... 8 To Whom It Applies ................................................................................................................................................. 8 Permits .................................................................................................................................................................... 8 Trust Accounts ........................................................................................................................................................ 8 Education ................................................................................................................................................................ 8 Child Performer Permit Applications (Background) .......................................................................................................... 8 Guidelines for Child Performer Permits ............................................................................................................................ 9 Working Hours .................................................................................................................................................................. 9 Children Aged 3 months - 6 months ....................................................................................................................... 9 Children 7 months - 3 years .................................................................................................................................... 9 Children 4 years - 6 years ....................................................................................................................................... 9 Children 7 years and Over ...................................................................................................................................... 9 Set Conditions ....................................................................................................................................................... 10 Other Locales ............................................................................................................................................................................ 11 Showbiz Labor Guide 2014/2015
Table of Contents Minors - Page I
MINORS
SAG-AFTRA
SAG-AFTRA RULES
General Rules
Guidelines when minor children are employed are designed to insure that the performance environment is proper for the
minor, and that the conditions of employment are not detrimental to the health, safety, education, or morals of the minor,
according to the State Penal Code where the work is performed. The general understanding of the working conditions for
Minors is based on Full Staffing, including on-site First Aid (a Registered Nurse for Infants), and a Set Teacher. A state-bystate database is available free of charge on the www.sag.org website by clicking on “Resources” (on the right) and scrolling
down to Young Perf. Data Base, then selecting the state you want to access.
Definition of Minor
Any performer, including extras, under the age of 18, except:
1. Performer who has satisfied the compulsory education laws of the state
2. Performer is married
3. Performer is in the military
4. Performer is legally emancipated (unless specified, educational requirements are mandatory for 3 hours per day)
Auditions and Fittings
Calls for auditions and fittings for children of school age will be after school hours, provided such calls are complete prior to
8:00 P.M. Two adults must be present at and during any such call involving a minor. Producer will conduct interviews in a
manner that protects the health, well-being and dignity of the minor.
Engagement
Producer will advise parent of the minor of terms and conditions of the employment (studio, location, estimated hours,
hazardous work, special abilities required, etc.) to the extent they are known at the time of the hiring.
Prior to the first date of the engagement, parent will obtain, complete and submit to the Producer or his/her representative
the appropriate documents required by state and local law related to the employment of the minor.
When Producer employs a minor or minors and uses the facilities of Station 12 in connection with such employment,
producer will advise Station 12 of the name(s) of any minors(s) to be employed, and the date and location of such
employment, to the extent known.
Supervision
Parent must be present at all times and will have the right, subject to Production requirements, to be within sight and sound
of the minor. The presence of the parent will not interfere with the production. Parent will not bring other minors not engaged
by Producer to the studio or location.
Parent will accompany minor to wardrobe, makeup, hairdressing and dressing room facilities. No dressing room will be
occupied simultaneously by a minor and an adult performer or by minors of the opposite sex.
No minor will be required to work in a situation that places the minor in clear and present danger to life or limb. If a minor
believes he or she to be in such a dangerous situation after having discussed the matter with the stunt coordinator and
parent, then the minor will not be required to perform in such situation regardless of the validity of his or her belief.
When a Producer engages a minor, Producer must designate one individual on each set to coordinate all matters relating to
the welfare of the minor and will notify the minor's parent of the name of such individual. In California, the Studio Teacher is
given the ultimate authority for “the health, safety and morals of the Minor.” Prior consultations with the Teacher, Parents
and First Aid employee (s) is always good policy.
Showbiz Labor Guide 2014/2015
Minors - Page 1
SAG-AFTRA
MINORS
Guardian must be at least 18 years of age and have the written permission of the minor's parent(s) to act as guardian,
including medical authorization.
When a minor is required to travel to and from a location, the Producer will provide the minor's parent with the same
transportation, lodging and per diem meal allowance provided to the minor.
Whenever Federal, State or Local laws so require, a qualified child care person (e.g., LPN, RN or social worker), will be
present on the set during the workday.
Any performer under the age of 17 will have the right to be accompanied by a parent or guardian at all times.
Play Area
Producer will provide a safe and secure place for minors to rest and play.
Return Transportation - Location Work
If a minor is at location, Producer will provide return transportation promptly following the end of his/her work day.
Work Hours and Rest Time
The work day for minors will begin no earlier than 7:00 A.M. for studio productions (6:00 a.m. for location productions) and
will end no later than the time specified below.
For minors under 6 years of age - 7:00 p.m.
For minors 6 years of age and older - 8:00 p.m. on days preceding school days and 10:00 p.m. on days preceding
non-school days.
Babies: California has returned to the “old” infant rules for babies 15 days to 6 months. Two two-hour filming periods are
permitted: 9:30 a.m. to 11:30 a.m., and 2:30 p.m. to 4:30 p.m. This new old rule is under review. Waivers may be granted.
Maximum work time for a minor will not exceed that provided by the laws of the state governing his/her employment, but in
no event exceed the maximum work time listed below.
Age
15 days-5 years
6-8 years
9-15 years
16-17 years
Studio
Start no earlier
than
7 a.m.
7 a.m.
7 a.m.
7 a.m.
Location
Start no earlier
than
6 a.m.
6 a.m.
6 a.m.
6 a.m.
Day preceding
school day,
end no later
than
7 p.m.
8 p.m.
8 p.m.
8 p.m.
Day preceding
non-school
day, end no
later than
7 p.m.
10 p.m.
10 p.m.
10 p.m.
Maximum work
time, excl.
meal time, incl.
5 min. breaks
6 p.m.
8 p.m.
9 p.m.
10 p.m.
A minor will receive a 12-hour rest break (turnaround) at the end of his/her work day and prior to the commencement of
his/her next day of work for the same employment. Exceptions (with the consent of parent).
Where a performer arrives at the place of lodging on an overnight location after 9:00 p.m. and does not work that night, the
rest period may be 10 hours instead of 12 hours.
Where a performer is on an overnight location and is to be transported to and from a sub-location, the rest period may be
reduced to the extent of travel time to and from the sub-location, but in no event by more than 2 hour at the beginning and 2
hour at the end of such day. If the rest period is reduced to 10 hours, no additional 2 hour may be deducted at the
beginning of the work day. The first call at the lodging for work (including make-up, hair, wardrobe, or travel) determines the
time of the first call for the next day for the purpose of computing the rest period.
Page 2 - Minors
Showbiz Labor Guide 2014/2015
MINORS
SAG-AFTRA
The union will follow a liberal policy in granting waivers for any exception to the foregoing provisions if the parent has been
fully informed of the circumstances and has granted advance consent.
Unusual Physical, Athletic or Acrobatic Activity
A minor may be asked to perform unusual physical, athletic or acrobatic activity or stunts, provided that the minor and the
parent represent that the minor is fully capable of performing such activity and the parent grants prior written consent.
Always check with the AFTRA/SAG Stunt Review Committee.
If the nature of the activity so requires, a person qualified by training and/or experience with respect to the activity involved
will be present at the time of production. Producer will supply any equipment needed and/or requested for safety reasons.
Child Labor Laws
Producer agrees to determine and comply with all applicable child labor laws governing the employment of the minor and, if
one is readily available, will keep a summary of said laws in the production office.
Any provision of SAG Rules which is inconsistent and less restrictive than any other child labor law or regulation in the
applicable state or other jurisdiction will be deemed modified to comply with such laws or regulations.
Minors First Employment
At or before the time the employment contract of any minor is delivered to the parent, Producer will provide parent with a
copy of the working conditions contained in SAG's Section AA. This provision will not apply with respect to any minor who
has been previously employed under a SAG Contract.
Inconsistent Terms
Section AA provisions will prevail over any inconsistent and less restrictive terms contained within SAG's contract which
would be applicable to the employment of the minor, but such terms will be ineffective only to the extent of such
inconsistency without invalidating the remaining sections.
For more information about employing minors under the SAG regulations, consult the “Young Performers” and "Young
Performers Database" sections on SAG's homepage at www.sag.org. The database is a complete listing of current state
laws with regard to hiring minors.
Showbiz Labor Guide 2014/2015
Minors - Page 3
CALIFORNIA
MINORS
CALIFORNIA CHILD LABOR LAWS - SUMMARY
Coogan Account Rules - Please Note
The minor's check and Coogan deposit have to be cut within 15 days of employment. Parents must attach Coogan account
information to the Department of Labor (DoL) work permit within ten days of issuance. A producer or payroll company that
has not been provided with Coogan account information, and has no place to send the Coogan check, is now required to
hold that money in trust, transferring it to the Actors Fund after 180 days, which has become the de facto trustee of all
unclaimed Coogan money.
While a work permit will be issued without Coogan account information, it will expire in ten days if the information is not
attached. However, it is not necessary for parents to open a Coogan account prior to audition or employment, and any
requirement or condition to do so is unlawful. For help in opening a Coogan Account you can access
www.childreninfilm.com for a list of cooperating financial institutions.
For the latest information on the evolving Coogan rules, please visit www.minorcon.org.
Permit To Employ Minors
The employer (Production Company) must have a permit to employ minors on file with the Division of Labor Standards
Enforcement California State Rules (DLSE). Proof of insurance is required. There is no fee. Permit is valid for up to six
months.
Requirements To Employ Minors
A Permit Application must be completed, which can be obtained at any DLSE office by mail or in person. Applications no
longer need production company signatures. Physicals are no longer required unless requested by the DLSE. However, it
is unlawful to employ infants under the age of one month, unless a licensed physician affirms that the baby was carried full
term, was of normal birth weight, is at least 15 days old, is sufficiently developed, including the infant’s lungs, eyes, heart
and immune system, and is physically capable of handling the stress of filmmaking.
A child no longer is required to appear for the first permit. Renewals may be mailed.
All minors under 18 years (unless graduated from high school or completed high school requirements) must obtain a Work
Permit, valid up to six months. If of school age, minors must show proof of satisfactory grades. Usually defined as a “C”
grade or better in each subject. (The most recent report card is acceptable during vacations.) High school graduates should
bring proof of graduation when reporting to the set.
Whenever a child's regular school is in session, three hours of schooling (excluding breaks) are required daily between 8:00
A.M. and 4:00 P.M. Increments of less than twenty minutes are not accepted as time toward the three hours. The child
should bring school assignments and supplies. Many schools are now on a year-round schedule. Production companies
can no longer assume all children are on a vacation schedule during the summer and should check with the child's agent to
avoid scheduling problems.
An emancipated minor who has not completed high school requirements still needs three hours of school unless the court
specifically exempts him/her from Title 8 and the Education Code. If this is not specifically stated and the minor is under 16
years, a studio teacher is required. Studio teachers are required for minors under 16 years for education only.
A minor who has completed all high school requirements does not need a studio teacher and may be treated as an adult.
A parent or guardian must be present with all minors and within sight or sound at all times. If the minor is accompanied by
another adult acting as guardian, or if the minor is over 16 years and alone, the parent should be sure to provide a written
medical authorization to allow for treatment in the event of an injury or accident.
Page 4 - Minors
Showbiz Labor Guide 2014/2015
MINORS
CALIFORNIA
Trust Fund Requirements
For any contract entered into after January 1, 2000, California State Law (SB 1162) requires that a minimum of 15% of a
minor’s gross earnings is deposited in a trust or savings account for the benefit of the minor.
It is the parent’s or guardian’s responsibility to provide information to the production company regarding the trust account
within 10 days.
This requirement does not prevent a parent, guardian or production company from submitting a minor’s contract to Superior
Court.
Requirements for Production Companies
All rules and regulations must be observed by production companies when employing minors, whether they be principals on
a long-term basis or extras for one day only.
Production companies will be held accountable and responsible for observing all rules and regulations for all minors under
18 years. Additionally, both production companies and parents are legally responsible for obeying regulations for the
employment of babies under the age of one month.
Blanket Permits
Large groups of minors such as ball teams, marching bands, children in institutions, etc., may be granted a Blanket Permit
rather than individual permits. Appropriate services of studio teachers in addition to a parent or guardian for every twenty
minors must be provided (One teacher per every Ten Students on schooldays). Blanket permits are good only for the
particular production for which they are issued and for limited periods of time. Call the DLSE in the area where production
will take place for blanket permit procedure.
Meals
Meal periods can be for a minimum of 2 hour and extend the minor's day by a maximum of 2 hour. The day may not be
extended by a longer meal period. The meal break must be by the 6th hour from the minor's call time. If an hour is given for
the meal break, the second 2 hour, if reasonable, may be used for school or rest.
Travel Time
All time traveling from a studio to location and back is part of the minor's production day. (To minimize loss of work hours,
consider a "report to" local location.)
When on a distant location requiring an overnight stay, the travel time up to 45 minutes each way between "hotel" and
location is not counted as work time provided that the company furnishes transportation. This is a general rule and subject
to reasonable changes by the studio teacher depending upon the age of the minor and the working and travel conditions.
Turnaround
Twelve hours must elapse between a minor's dismissal time and call time (or school reporting time) the next day. If less
than twelve hours, the minor must be schooled at the employer's place of business or another designated place.
Studio Teachers
A Studio Teacher is a certified teacher who holds valid Elementary and Secondary California teaching credentials and who
has passed a written exam given by the DLSE. Certification is valid for three years.
Studio teachers are responsible for education of minors under 18 years, and for the health, safety and welfare of minors
under 16 years. A studio teacher can refuse to allow a child to work on a set or location which jeopardizes his health, safety
and/or morals. Such a decision may be immediately appealed to the Labor Commissioner, who may confirm or
countermand this action.
Showbiz Labor Guide 2014/2015
Minors - Page 5
CALIFORNIA
MINORS
When school is in session, there will be one studio teacher for every ten minors. When school is not in session, there will be
one studio teacher for every twenty minors.
The studio teacher is paid by the employer.
A production company cannot discriminate against any studio teacher for carrying out responsibilities in regard to health,
safety and morals or for filing an oral or written complaint with DLSE.
California residents who are minors, employed by a California based employer, working pursuant to contractual
arrangements made in California, must have a California Studio Teacher when working in another state.
School Waivers
Minors between 14 years and 18 years of age who are still attending school may work up to eight hours a day without
schooling if permission is granted by school authorities. If a minor works on a day he attends his own school, six hours is
deducted from his total time allowed on the set.
A child is permitted to attend his own regular school prior to reporting to his place of employment. The time spent in school
will be considered six hours regardless of how long the child actually spends at his own school. The required one hour rest
and recreation is included in that six hour period. Then, depending upon the age of the minor, he will be permitted to be at
the place of employment for 2 ½ hours (if between 6 years and 8 years), or 3 1/2 hours (if between 9 years and 15 years),
or 4 ½ hours (if over 16 years). These hours at the place of employment include one half hour meal break.
Wardrobe, Looping Publicity and Personal Appearances
Minor must be accompanied by a parent or guardian. If a minor under 16 is not called to the set, but is called for a period of
up to one hour for looping, promotional publicity, personal appearances or wardrobe, when minor's school is not in session,
studio teacher need not be present.
Waivers For Extensions
Requests for extensions beyond the hours prescribed by law may be made to the Labor Commissioner and submitted in
writing 48 hours in advance to the Los Angeles Division of Labor Standards Enforcement, State of California, Regional
Manager, 13215 E. Penn Street, Suite 300, Whittier, CA 90602.
Babies
To provide appropriate conditions for babies under six months, it is recommended to have a crib, sterile garments, and
blankets, in a quiet area at a comfortable temperature.Contact Local 767, Studio First Aid for Infant Guidelines at (818) 6555341.
When a baby under six months is used on days when school is in session, a separate studio teacher should be provided in
addition to the studio teacher required for school age children. For babies fifteen days to six weeks old, there must be a
studio teacher and a nurse for every three babies. For babies six weeks to six months old there must be a studio teacher
and a nurse for every ten babies.
All babies from fifteen days to six months may be at the place of employment for a maximum of two hours. Babies may
normally be called to work between 9:30 - 11:30 A.M. and 2:30 - 4:30 P.M. Seek a waiver if the infant hours are too
restrictive from the DLSE.
A baby cannot be exposed to a light of greater than 100 foot candlelight intensity for more than thirty seconds at a time.
Hours
Work (production) hours are defined as hours when a minor is directed by any of the production company to make-up,
wardrobe, rehearsal, light, stand-in, etc.
Page 6 - Minors
Showbiz Labor Guide 2014/2015
MINORS
CALIFORNIA
All minors over six months of age can be employed between the hours of 5:00 a.m. and 10:00 p.m. (Unless an extension is
granted). A minor may work until 12:30 a.m. on all nights preceding non-school days.
Hours for Minors
Age
15 days-6 mos.
6 mos.-2 yrs
2 yrs.-5 yrs.
6 yrs.-8 yrs.
9 yrs.-15 yrs.
16 yrs. -17 yrs.
Time on Set
2 hours
4 hours
6 hours
8 hours
8 hours
9 hours
9 hours
10 hours
10 hours
Work Time
20 mins.
2 hours
3 hours
4 hours
6 hours
5 hours
7 hours
6 hours
8 hours
School
3 hours
vacation
3 hours
vacation
3 hours
vacation
R and R
100 mins.
2 hours
3 hours
1 hour
2 hours
1 hour
2 hours
1 hour
2 hours
Meal
2
2
2
2
2
2
2
2
2
Total*
2½ hours
4½ hours
6½ hours
8½ hours
8½ hours
9½ hours
9½ hours
10½ hours
10½ hours
Make-up and hair dressing done in home by make-up artists or hair stylist is work time.
Travel time may in some instances be considered work time.
Showbiz Labor Guide 2014/2015
Minors - Page 7
NEW YORK
MINORS
NEW YORK CHILD LABOR LAWS - SUMMARY
New York Child Performer and Trust Act
The New York Child Performer and Trust Act of 2003 went into effect on March 28, 2004. Much like California's "Coogan"
laws, it establishes guidelines for the protection of child performers working throughout the entertainment industry in New
York state.
To Whom It Applies
The new law applies to all minor performers working in New York state, whether residents of the state or not. In addition, it
applies to work performed in any other state by a New York state resident minor.
Permits
All employers of child performers are required to have a valid Certificate of Eligibility to Employ Child Performers. Even if a
payroll service is the employer of record, the New York Department of Labor requires that the employer in control of the
talent obtain the certificate. Certificates cost $350 and are valid for three years. They can be downloaded at
www.labor.state.ny.us/child/index.htm.
In addition, all child performers must have a valid Employment Permit for a Child Performer.
Trust Accounts
Parents are now required to open trust accounts for minor performers. They must notify employers of the establishment of
these accounts within 15 days of employment. Employers are required to deposit at least 15% of the minor performer's
earnings into his or her trust account within 30 days of the last day of employment if the minor is working 30 days or less, or
at the end of each payroll period if work is for more than 30 days. In the event a parent does not open a trust account for the
minor, the employer must deposit the funds with the New York state controller's office.
Education
Education by a certified teacher is to be supplied on entertainment jobs that take a child away from his or her school on
school days. Details on employer-provided set teachers were still being negotiated at time of publication. Some work (single
day commercial shoots, "voiceover" work, etc.) may not require an on-set teacher. Check with the Department of Labor for
specific guidelines on any shoot. New Educational “Regents” Standards in New York may require a Set Teacher from Day
One.
Note: Be advised that changes to New York state law regarding minors were still being interpreted at time of publication.
For the most current information, visit www.labor.state.ny.us and click on “Child Performer Center.”
Until such interpretation has been worked out, it is recommended that production companies follow the Screen Actors Guild
regulations governing the employment of minors, as mandated in the Basic Theatrical Agreement, which has been in force
since 1980.
Child Performer Permit Applications (Background)
Arts and Cultural Affairs Law requires that a Child Performer Permit be issued for each child under 16 for any type of show
business work (excluding schools, churches, etc.) whether or not the child is being paid.
In New York City, responsibility for issuing Child Performer Permits has been delegated by the Mayor to Special Services for
Children (SSC) of the New York City Resources Administration.
No Permit will be issued which is harmful to the welfare, development or proper education of such child. Written consent by
the parent or guardian is required.
Page 8 - Minors
Showbiz Labor Guide 2014/2015
MINORS
NEW YORK
Guidelines for Child Performer Permits
Note: The guidelines are intended primarily as a framework within which to review Permit applications. Where conditions
differ other than those specified below, a Permit may still be issued, provided that SSC has determined conditions will not be
harmful to the welfare, development and proper education of the child.
Working Hours
Children under 3 months of age will NOT be issued a Permit.
Children Aged 3 months - 6 months
May be on the set for a total of 6 hours per day.
Should not work more than a total of 2 working hours per day.
Should not work more than 30 minutes at a time, with provision for a sufficient number of breaks to assure that the child
does not become fatigued.
Should not work more than 2 days in any given week.
Bright lights may be used at 30 second intervals only.
Parent or guardian must be present.
Children 7 months - 3 years
May be on the set for a total of 7 hours per day.
Should not work more than a total of 4 working hours per day.
Should not work more than 30 minutes at a time, with provision for a sufficient number of breaks to assure that the child
does not become fatigued.
Should not work more than 3 days in any given week.
Parent or guardian must be present.
Children 4 years - 6 years
May be on the set any 8 hours per day, to begin any time between 7:00 a.m. and 2:00 p.m.
Should not work more than a total of 6 working hours per day.
Should not work more than 30 minutes at a time, with provision for a sufficient number of breaks to assure that the child
does not become fatigued.
Parent/Guardian, or a responsible adult over 18 with whom a child is familiar on a routine basis, is to be present.
Children 7 years and Over
May work any 8 hours per day to begin any time between 7:00 a.m. and 2:00 p.m.
Should receive 15 minute breaks every hour.
Parent/Guardian, or a responsible adult over 18 with whom a child is familiar on a routine basis, is to be present.
Showbiz Labor Guide 2014/2015
Minors - Page 9
NEW YORK
MINORS
Set Conditions
The parent/guardian or responsible adult (depending on the age of the child), should be present at all times while the child is
working, and should have the right to be within sight and sound of the child. He/she should also be able to accompany the
child to wardrobe, make-up, hair dressing and dressing room facilities.
The producer should provide a safe and secure place for children to rest and play. Pressure is not to be placed upon a child
to continue working if a child is fatigued. Provision is to be made for a crib or playpen, when age is appropriate, as well as
food and diapers. A child's established feeding routine must be maintained.
Time frames are more flexible for stage performances and on going film appearances, where children are tutored, and
school attendance in the morning is not a factor.
Page 10 - Minors
Showbiz Labor Guide 2014/2015
MINORS
OTHER LOCALES
Other Locales
Though many states have now adopted Coogan-type trust account laws, other rules regarding minors vary from state to
state. Information on child labor laws by state can be found at the U.S. Department of Labor website:
www.dol.gov/whd/state/childentertain.htm
Showbiz Labor Guide 2014/2015
Minors - Page 11
NY ELIGIBILITY CERTIFICATE
Page 12 - Minors
MINORS
Showbiz Labor Guide 2014/2015
MINORS
Showbiz Labor Guide 2014/2015
NY ELIGIBILITY CERTIFICATE
Minors - Page 13
FRINGES
FRINGE RATES.......................................................................................................................................................................... 1 INTRODUCTION......................................................................................................................................................................... 1 2014 PAYROLL TAXES.............................................................................................................................................................. 1 UNION AND GUILD CONTRIBUTIONS ..................................................................................................................................... 2 Screen Actors Guild (SAG) ............................................................................................................................................... 2 American Federation of Radio & Television Artists (AFTRA) ........................................................................................... 2 Directors Guild of America (DGA) ..................................................................................................................................... 3 Writers Guild of America (WGA) ....................................................................................................................................... 3 American Federation of Musicians (AFM) ........................................................................................................................ 4 Los Angeles ...................................................................................................................................................................... 4 IATSE, Teamsters, Basic Crafts (7/29/12 - 7/31/15) .............................................................................................. 4 Chicago ............................................................................................................................................................................. 4 MPIPHP Contributions By Rate Group ............................................................................................................................. 5 Non-Affiliates (Excludes IAP%)............................................................................................................................... 5 Eastern/ Central (Excludes IAP of 6%) ................................................................................................................... 5 Active Health Only - AFM (Excludes IAP%) ........................................................................................................... 5 Area Standards Agreement Fringe Rates ........................................................................................................................ 5 “Maryland” Fringe Rates ................................................................................................................................................... 5 “Non-Maryland” Fringe Rates ........................................................................................................................................... 6 Other Area Fringes.................................................................................................................................................. 7 Other Area Fringes............................................................................................................................................................ 7 PAYROLL TAX WITHHOLDING EXPLANATION ...................................................................................................................... 7 U.S. Citizen ............................................................................................................................................................. 7 Services Performed in U.S............................................................................................................................ 7 Services Performed Outside U.S. ................................................................................................................. 7 Resident Aliens ....................................................................................................................................................... 8 Services Performed in U.S............................................................................................................................ 8 Services Performed Outside the U.S. ........................................................................................................... 8 Non-Resident Aliens ............................................................................................................................................... 8 Services Performed in U.S............................................................................................................................ 8 Services Performed Outside of U.S. ............................................................................................................. 8 Foreign Corporation ................................................................................................................................................ 8 Services Performed in U.S............................................................................................................................ 8 Services Performed Outside U.S. ................................................................................................................. 8 States Without SIT Withholding .............................................................................................................................. 8 States With SDI Withholding ................................................................................................................................... 8 States With SUI Withholding ................................................................................................................................... 8 MILEAGE AND PER DIEM ......................................................................................................................................................... 9 Reporting ....................................................................................................................................................... 9 Withholding ................................................................................................................................................... 9 Standard Per Diem Rate for Meals and Incidental Expenses ...................................................................... 9 Pension, Health and Welfare Explanation ........................................................................................................................ 9 CANADA ..................................................................................................................................................................................... 9 Effective Fringe Benefit & Payroll Tax Rates .................................................................................................................... 9 List of Countries with United States Tax Treaty ....................................................................................................................... 10 Showbiz Labor Guide 2014/2015
Table of Contents Fringes - Page I
FRINGES
FRINGE RATES
INTRODUCTION
Fringe rates refer to the employer's share of payroll taxes which include social security (FICA), state unemployment
insurance (SUI) and federal unemployment insurance (FUI); property damage and public liability insurance; workers'
compensation insurance; and where applicable, vacation and holiday pay and contributions to pension and welfare funds.
Generally, the fringe rate is determined as a percentage of the employee's gross wages and paid directly to the appropriate
tax agency, insurance carrier and guild or union trust fund.
2014 PAYROLL TAXES
Paid by employer on behalf of employee in addition to
Employer Contribution
2014 Ceilings
gross wages.
Percentage
Federal Payroll Taxes (OASDI)
6.2%
$117,000
Federal Payroll Taxes (Medicare)
1.45%*
None
Federal Unemployment Insurance (FUI)
0.6%**
$7,000
State Unemployment Insurance (SUI)
Varies***
Varies***
* Additional Medicare tax of 0.9 percent applies only to employee’s wages in excess of $200,000 in a calendar year. The
additional withholding begins in the pay period in which wages exceed $200,000 and continues through the end of the
calendar year.
**
6.0% minus 5.4%, if state unemployment insurance is paid on time and accurately. Otherwise, full 6% due. In some
states, FUI is now at a higher rate than listed here, due to defaults from those states in paying back loans to the FUI
fund.
**
State Unemployment varies dependent on employer (payroll service) and state. Contact your payroll service for rates.
Showbiz Labor Guide 2014/2015
Fringes - Page 1
FRINGES
GUILDS
UNION AND GUILD CONTRIBUTIONS
Contributions listed here are for film and TV productions only.
A note about residuals and fringes: Please note that pension and health plan payments vary on above the line residuals.
Sometimes the contributions are in addition to the residual, sometimes the residual is inclusive of P&H, and sometimes no
P&H is due on the residual payment. This varies by guild/union and also by the particular type of product and the reuse
market.
Screen Actors Guild (SAG)
Features
Television
½ hour programs
1 hour programs
1 ½ hour programs
2 hour programs
Mini Series
Pension/ Health &
Welfare
17.3%
17.3*%
Effective
Ceiling
7/1/14
7/1/14
232,000
15,000 per episode**
24,500 per episode***
33,000 per episode
40,000 per episode
40,000 per part on 3 hours or less multi-part picture
not to exceed an aggregate of 200,000 per entire
multi-part picture
Background Actors
17%
7/1/14
15% for all performers and background actors employed during the first two (2) seasons of any new one (1) hour
series, the pilot or presentation for which was produced prior to 7/1/14 (15.5% for those produced and first exhibited
after 7/1/14)
** For “Supersized” episodes (those which run over 33 minutes), ceiling will be adjusted to the figure halfway between the
½ hour ceiling and the 1 hour ceiling.
*** For “Supersized” episodes (those which run over 63 minutes), ceiling will be adjusted to the figure halfway between the
1 hour ceiling and the 1 ½ hour ceiling.
*
American Federation of Radio & Television Artists (AFTRA)
Health & Retirement
Effective
Ceiling
16.6%
2/26/12
200,000 per episode
½ hour Serials
230,000 per episode
1 hour Serials
250,000 per calendar year
Non-dramatic
17.3*%
7/1/14
Exhibit A and Sitcoms*
15,000 per episode
½ hour programs
24,500 per episode
1 hour programs
33,000 per episode
1 ½ hour programs
40,000 per episode
2 hour programs
* 13.5% for all performers and background actors employed during the first two (2) seasons of any new one (1) hour
series, the pilot or presentation for which was produced prior to 7/1/11 (15% for those produced and first exhibited after
7/1/11)
Page 2 - Fringes
Showbiz Labor Guide 2014/2015
GUILDS
FRINGES
Directors Guild of America (DGA)
Pension
Health
Directors
5.5%
All others
5.5%
Effective
7/1/14
10.5%
10.5%
7/1/14
Vacation
Holiday
Qualifying
List - East
Ceiling
200,000 Theatrical
200,000 Longform
200,000 Multi-part
Other TV, 2 ½ x the applicable minimum or the agreed
upon compensation, whichever is greater
400,000 Theatrical (350,000 UPMs, 250,000 all others)
200,000 Longform
200,000 Multi-part
Other TV, 2 ½ x the applicable minimum or the agreed
upon compensation, whichever is greater
4%
3.719%
1/4 of 1%
1/8 of 1%
Training
3/8 of 1%
Fund
Note: Additional 14.5% Heath contribution due on all Vacation pay and Completion of Assignment pay.
Writers Guild of America (WGA)
Features
Television
Pension
8.5%
8.5*%
Health & Welfare
8.5%
8.5%
Effective
5/2/14
5/2/14
Ceiling
225,000 (450,000 for a team of 3 writers)
The aggregate of 2 1/2x the applicable minimum
compensation or; the initial compensation agreed
upon in the individual employment contract;
provided, in no event in excess of $225,000
($450,000 for a team of 3 writers) to be included in
gross compensation with respect to non-episodic,
non- serial television films or multi-part, closed-end
series, 120 minutes or more in length. For serials,
the ceiling is $350,000 per company per calendar
year ($700,000 for a team of 3 writers).
For the purpose of calculating the "applicable
minimum compensation" on prime time network
programs, the "other than network prime time" story
and or teleplay rates apply.
*
6.25% for pilots and first season of one-hour series.
Showbiz Labor Guide 2014/2015
Fringes - Page 3
FRINGES
GUILDS
American Federation of Musicians (AFM)
Theatrical, TV Film
Videotape
Industrials/
Documentaries
Sound Recording
Pension
(% of Scale)
10.9%
10%
10%
11%
Health & Welfare
$2.5450 per hour, 12 hour minimum ($30.54)
$16.00 per day/per show, max. $80 per week
$15.54 per session
Vacation
4%
$22.00 first service
$16.50 each additional service that day
Los Angeles
IATSE, Teamsters, Basic Crafts (7/29/12 - 7/31/15)
Pension & Welfare:
4.0450
Active Health
0.3710
Retiree Health
1.2665
Pension
0.3050
Individual Account (reallocated to
Active Health)
$5.9875 per hour worked or guaranteed, whichever is greater*
Contract Services Administration Trust
Fund:
$0.0075 per hour worked or guaranteed, whichever is greater**
Film Lab, Costume Houses
$.0975 “
Location Managers
$.0400 “
Animation Guild
$0.2600 “
All other IA/Basic Crafts*
Individual Account Plan - IATSE
6% of scale
IAP Teamsters
6% of scale
IAP Basic Crafts
6% of scale
IAP Casting Directors
4% of scale (thru 9/30/12)
IAP Videotape Supplemental
6%
Vacation
4% based on straight time wages / weekly on guaranty
Holiday
3.719% based on straight time wages / weekly on guaranty
* Not needed for Local 871 Accountants/Assistant Accountants. (POCs, Asst. POCs and Art Dept. Coordinators are now
covered.)
Chicago
Union
IATSE 476
Expl
Check off
3%
Annuity
Journeyman Apprentice
Training Fund (JATF)
IBT 727
$5.20/hr*
$7/hr *
$2.50/wk
Vision
$0.13/hr
Legal
* All hours worked. Features capped at 12 hours per day per worker, TV capped at 10 hours per day per worker.
Page 4 - Fringes
Pension
$3.20/hr *
H&W
$5.75/hr*
Other
$12.00/day
.25% gross wages
Showbiz Labor Guide 2014/2015
CREW
FRINGES
MPIPHP Contributions By Rate Group
Non-Affiliates (Excludes IAP%)
LOCAL
N/A
N/A
Group
General NonAffiliates
Designated
Producers,
Assoc. Producers
& Executives
ACTIVE HEALTH
PENSION
RETIREE HEALTH
$5.8500
$0
1.2665
$0.3710
COMPOSITE TOTAL:
$7.4875
Employee:
Employer:
* 60 hours per week regardless of actual hours or days worked.
Eastern/ Central (Excludes IAP of 6%)
LOCAL
600
700
52
161
N/A
N/A
Group
Eastern/ Central
Photographers
Editors, Post-production
Sound
Studio Mechanics
AICP Studio Mechanics
Script Supvsrs, POC’s
Music Video Production
Agreement
Commercial IATSE
INDIVIDUAL ACCOUNT
Effective 8/3/14
$6.8100
$1.3500
$0
2.1670
$0.3050
COMPOSITE TOTAL:
$11.61
ACTIVE HEALTH
RETIREE HEALTH
PENSION
Employee:
Employer:
Active Health Only - AFM (Excludes IAP%)
LOCAL
47
Group
AFM
ACTIVE HEALTH
COMPOSITE TOTAL
$4.0450
$4.0450
Area Standards Agreement Fringe Rates
Contributions are to be made to either the IATSE National Annuity and Health Plan or the Entertainment Industry Flex Plan
in the following amounts:
“Maryland” Fringe Rates
For California (outside San Diego, outside the jurisdiction of Local 16 and outside the scope of the IATSE Basic
Agreement and West Coast Local Agreements), Florida, Maryland and Ohio*, the “Maryland” fringe rates apply:
7/29/12 - 8/3/13
8/4/13 - 8/2/14
8/3/14 - 7/31/15
Theatrical
TV
Theatrical
TV
Theatrical
TV
Health & Welfare
$65.00
$65.00
$70.00
$70.00
$75.00
$75.00
Annuity
19.00
15.00
19.00
15.00
19.00
15.00
Pension (Def. Ben.)
11.00
11.00
11.00
11.00
11.00
11.00
Total
$95.00
$91.00
$100.00
$96.00
$105.00
$101.00
Showbiz Labor Guide 2014/2015
Fringes - Page 5
FRINGES
*
CREW
Pension contributions for employees in Ohio should be made to the Local 27 Pension Plan.
“Non-Maryland” Fringe Rates
For Alabama, Alaska, Arizona, Arkansas, Colorado, Georgia, Idaho, Indiana, Iowa, Kansas, Kentucky, Louisiana,
Michigan (outside Wayne County), Minnesota, Mississippi, Missouri, Montana, Nebraska, Nevada (outside Las
Vegas), New Mexico, North Carolina, North Dakota, Oklahoma, Pittsburgh (PA), Puerto Rico, San Diego (CA), South
Carolina, South Dakota, Tennessee, Texas, U.S. Virgin Islands, Utah, Virginia, West Virginia, Wisconsin and
Wyoming, the “non-Maryland” fringe rates apply:
7/29/12 - 8/3/13
8/4/13 - 8/2/14
8/3/14 - 7/31/15
Theatrical
TV
Theatrical
TV
Theatrical
TV
Health and Welfare
$61.00
$61.00
$66.00
$66.00
$71.00
$71.00
Annuity
17.00
13.00
17.00
13.00
17.00
13.00
Pension (Def. Ben.)
11.00
11.00
11.00
11.00
11.00
11.00
Total
$89.00
$85.00
$94.00
$90.00
$99.00
$95.00
Other Area Fringes next page.
Page 6 - Fringes
Showbiz Labor Guide 2014/2015
CREW
FRINGES
Other Area Fringes
Other Area Fringes
Washington, D.C.
Features
Television
7/29/12 - 8/3/13
$107.00
97.00
8/4/13 - 8/2/14
$112.00
102.00
8/3/14 - 7/31/15
$117.00
107.00
Maine, Massachusetts, New Hampshire, Oregon, Rhode Island, Vermont and WA State
Features
Television
7/29/12 - 8/3/13
$104.00
8/4/13 - 8/2/14
$109.00
“Maryland” fringe rates apply
8/3/14 - 7/31/15
$114.00
Las Vegas
Health & Welfare
Pension
7/29/12 - 8/3/13
8/4/13 - 8/2/14
8/3/14 - 7/31/15
$63.32
$68.32
$73.32
8% gross, payable to IATSE Local 720 Joint Trust Fund
Hawaii
7/29/12 - 8/3/13
8/4/13 - 8/2/14
8/3/14 - 7/31/15
Welfare*
$41/ day + $2.10/hr
$46/ day + $2.10/hr
$51/ day + $2.10/hr
Annuity/ Pension
$10/ day + $2.10/hr
$10/ day + $2.10/hr
$10/ day + $2.10/hr
*Per day contribution paid to the Local 665 Health and Welfare Trust Fund. All other regions pay into the IATSE National
Fund.
PAYROLL TAX WITHHOLDING EXPLANATION
U.S. Citizen
Services Performed in U.S.
All employee withholding taxes including FIT, FICA, SIT, CIT and SDI and employer FUTA and SUTA.
Services Performed Outside U.S.
Canada, United Kingdom and most other countries: withhold every tax except FIT. Voluntary FIT withholding is allowed
upon the request of the employee. Most countries, including Canada, require withholding foreign taxes - rates will vary by
country and province.
U.S. Corporations working in other countries do not require withholding U.S. taxes. However, foreign taxes must be
withheld. Most countries treat loan out corporations the same as the individual for tax purposes.
Showbiz Labor Guide 2014/2015
Fringes - Page 7
FRINGES
WITHHOLDING
Resident Aliens
Services Performed in U.S.
Treat same as U.S. citizen performing services in U.S.
Services Performed Outside the U.S.
Withhold FIT, FICA, SIT, CIT. Do not withhold SDI. Do not pay employer FUI and SUI.
Non-Resident Aliens
Services Performed in U.S.
Same as resident alien.
Services Performed Outside of U.S.
No taxes withheld.
Foreign Corporation
Services Performed in U.S.
Withhold FIT and SIT. Do not withhold FICA, SIT, SDI or employer’s FUI and SUI.
Services Performed Outside U.S.
No withholding required.
Payment of wages to a non-resident alien employee is subject to federal and state graduated withholding. However, a nonresident alien employee is allowed only single one (S1) exemption for both federal and state. A non-resident alien may be
exempted from FICA withholding if he presents his employer with a Certificate of Coverage for Social Security benefits from
his resident country.
A resident of Canada or Mexico employed wholly in the U.S. is allowed the same number of exemptions as a U.S. citizen.
States Without SIT Withholding
Alaska, Florida, Nevada, New Hampshire, South Dakota, Tennessee, Texas, Washington and Wyoming.
States With SDI Withholding
California, Hawaii, New Jersey, New York, Puerto Rico and Rhode Island.
States With SUI Withholding
Alaska, New Jersey and Pennsylvania.
Page 8 - Fringes
Showbiz Labor Guide 2014/2015
WITHHOLDING
FRINGES
MILEAGE AND PER DIEM
The IRS standard mileage rate for deductible transportation expenses paid or incurred on or after January 1, 2014, has
been set at $.56 (56 cents) per mile for all miles of use for business purposes.
Reporting
If payments are made in excess of prescribed federal limits, the employer involved should report them on Form W-2
segregated between the portion that is allowable (i.e., federal limit) and the portion which is taxable (i.e., total paid allowable = taxable). The allowable portion will be reported on form W-2 for information purposes only, while the taxable
portion will be included with other forms of gross compensation (e.g., salary, box rentals, etc.) that are required to be
reported for purposes of computing an individual’s tax liability.
Withholding
Since July 1, 1990, withholding has been invoked on the taxable portion of these types of payments. For example, if a daily
per diem allowance of $150 were provided in a location where the federal limit amounted to $100, the taxable portion (i.e.,
$50) would be added with other income subject to withholding (e.g., salary). Federal rates (i.e., an allowable amount) for
per diem and mileage can be obtained from the IRS or your payroll company.
Standard Per Diem Rate for Meals and Incidental Expenses
The IRS and your payroll company have a list of federal allowable amounts for specific localities. If a specific locale is not
listed, the standard CONUS rate is applicable, $83 for lodging and $46 for meals and incidentals.
A complete listing of all localities can be found on the Internet at www.gsa.gov/perdiem.
Pension, Health and Welfare Explanation
Union and guild pension, health and welfare payments, and when applicable, vacation, holiday and other payments are
based on a percentage of gross wages or a fixed amount per hour or day of work. Some vacation pay is paid to the
employee, some into a trust fund established by the collective bargaining agreements. Specifics are listed in the rate books.
Guild contributions are simpler to calculate, because most are based on a percentage of gross salary.
CANADA
Effective Fringe Benefit & Payroll Tax Rates
The percentages for Canadian fringe rates include: Vacation pay, Holiday Pay, Union Pension, Health & Welfare, Union
Assessment, Canada Pension Plan, Unemployment Insurance, and Workers’ Compensation.
For the most current Canada fringe rates for the various provinces, please contact the Toronto office of the Canadian Film &
Television Production Association (CFTPA) at 416-304-0280 or go to www.cftpa.ca.
Showbiz Labor Guide 2014/2015
Fringes - Page 9
FRINGES
TREATIES
List of Countries with United States Tax Treaty
Armenia
Australia
Austria
Azerbaijan
Bangladesh
Barbados
Belarus
Belgium
Bulgaria
Canada
China
Cyprus
Czech Republic
Denmark
Egypt
Estonia
Finland
France
Georgia
Germany
Greece
Hungary
Iceland
India
Indonesia
Ireland
Israel
Italy
Jamaica
Japan
Kazakhstan
Korea
Kyrgyzstan
Latvia
Lithuania
Luxembourg
Malta
Mexico
Moldova
Morocco
Netherlands
New Zealand
Norway
Pakistan
Philippines
Poland
Portugal
Romania
Russia
Slovak Republic
Slovenia
South Africa
Spain
Sri Lanka
Sweden
Switzerland
Tajikistan
Thailand
Trinidad
Tunisia
Turkey
Turkmenistan
Ukraine
United Kingdom
Uzbekistan
Venezuela
These exemptions generally do not apply to the earnings of public entertainers such as actors, musicians, etc., if their
pay exceeds a certain ceiling, which differs for the various countries. For a complete explanation of U.S. Tax Treaties,
download IRS Publication “U.S. Tax Treaties” (Publication 901) from the IRS web site, http://www.irs.gov.
Page 10 - Fringes
Showbiz Labor Guide 2014/2015
FAQs
FREQUENTLY ASKED QUESTIONS
Q: May an employee agree to work for less than the minimum wage?
A: No. The minimum wage is an obligation of the employer and cannot be waived by any
agreement, including collective bargaining agreements. Any legislation written to protect an
employee may not be violated by agreement between the employer and employee.
Q: Why can’t I guarantee my crew a certain number of hours worked each day?
A: According to the California Labor Code Section 500-510, all non-exempt employees must be
paid 1 ½ times their regular rate of pay for all hours actually worked after 8 hours per day; 2X
after 12 hours.
Q: May an employee waive his or her right to overtime pay?
A: No. California law requires that an employee be paid all overtime, whether authorized or not. No
agreement, written or otherwise, can waive this obligation.
Q: Do I have to pay my non-union employees Holiday pay?
A: California law does not require that an employer provide its employees with paid holidays.
Hours worked on holidays, Saturdays and Sundays are treated like hours worked on any other
day of the week, unless the employee is a member of a union which recognizes holidays.
Q: How do I know whether to classify a worker as an employee or an independent
contractor?
A: There are several criteria, but the most significant factor to be considered is whether the
employer has control or the right to control the worker, both in terms of the work done and the
manner and means by which it is to be performed. In the entertainment industry, most workers
are considered employees. Consult with your payroll company for exceptions.
Q: How is a work week defined in the state of California?
A: A work week defined by the California Labor Code and the IWC, is any seven consecutive 24hour periods, starting with the same calendar day each week, beginning at any hour on any
day, so long as it is fixed and regularly recurring.
Q: Which cities are not covered by the Basic Hollywood Agreement and negotiate their own
agreements?
A: New York, Chicago, St. Louis, Cleveland, Detroit, San Francisco, Washington D.C. and
Orlando.
FAQs
Q: I have an employee who worked 44 hours in a state that follows federal law. In addition
to his regular rate of $10.00 per hour, he was given a bump of $50. How would that be
paid?
A: 44 hours X $10.00 = $440.00 + $50.00 = $490.
$490 divided by 44 hours = $11.14 = regular rate of pay
$11.14 X .5 = $5.57 Overtime premium rate
$5.57 X 4 hours OT = $22.28 Premium for overtime
$490.00 + $22.28 = $512.28 Total weekly pay
Q: What information is required on a pay stub?
A: Varies by state. There are substantial differences between California and New York.
CALIFORNIA
Gross & net earnings
Hours worked at each hourly rate for hourly employees
Overtime hours worked during previous pay period if corrected in current pay period.
Deductions
Pay period dates
Employees name and last 4 digits of the SS#
Employers name & address
NEW YORK:
Gross & net earnings
Deductions
Explanation of wage computation if requested
Q: What is the AMPTP and their function?
A: The Alliance of Motion Picture & Television Producers (AMPTP) is a multi-employer bargaining
unit representing the major and independent studios and producers. Most people working in the
entertainment industry belong to a union or a guild. Each union, as the collective bargaining
unit, negotiates an agreement with industry employees every three to four years.
Q: What exactly is a “signatory”?
A: A signatory is an employer who has signed a collective bargaining agreement with a union,
committing that employer to abide by all the conditions of employment in that contract. A
signatory may be a production company, a network, an agency or a payroll company.
Q: How is holiday accrual calculated?
A: Let’s assume the employee is a weekly distant earning $3,000/week.
$3,000 x 3.719% = $111.57
When a holiday occurs, 1/7th of $3,000 ($428.57) comes out of the holiday accrual to pay for
the holiday. The $111.57 still goes into the accrual because of the guaranteed $3,000/week.
The net effect would be $317 going out of the accrual ($428.57 - $111.57).
FAQs
Q: Which Locals make up the Basic Crafts?
A: Local 40 - Electrical workers
Local 78 - Plumbers and Pipe Fitters
Local 724 - Studio Utility
Local 755 - Plasterers and Cement Masons
Local 399 - Teamsters, Location Managers and Casting Directors
Q: How does the Occupation Code work?
A: The MPIPHP have developed a unique four-digit code for each specific job classification. Every
employee receiving benefits must be reported with this numeric code to ensure contributions.
Occ Code = Local + Classification + Schedule
Q: What are the rules for paying night premiums?
A: Night premiums are paid only to “off production” employees. On-production and distant location
employees do not get night premiums.
If called to work between 6am and 8pm, there is a 10% premium for work performed after 8pm.
If called to work between 8pm and 4am, there is a 20% premium for all time worked.
If called to work between 4am and 6am, there is a 20% premium for work until 6am, with no
premium after 6am.
Night premium should be included as part of the hourly rate in computing overtime.
Q: What is the difference between Car Allowance & Mileage Reimbursement?
A: The basic difference is that with mileage reimbursement, the individuals may be compensated
at a specific rate per business mile driven as determined by their employer. With a car
allowance, individuals receive a fixed dollar amount per month from their employer to cover
vehicle expense. In some companies, those receiving a car allowance may be able to get
mileage reimbursement. With mileage reimbursement and car allowance, any required vehicle
maintenance is the responsibility of the vehicle owner. In both cases, the individual is required
to purchase their own insurance.
Q: What are the rules for a Fluctuating Workweek?
A: There must be an understanding between the employer and employee that the employee will
be paid using the fluctuating workweek method.
The workweek of the employee must be fluctuating one.
The employee must be paid a fixed salary regardless of the number of hours worked each
week. Employees who are paid an hourly wage do not qualify.
FAQs
The salary must be sufficiently large enough so that the regular rate of pay will never drop
below the minimum wage.
In addition to his or her salary, the employee must be paid overtime premiums for any
hours worked over 40 in the workweek. The overtime premium rate is 50% of the regular
rate of pay for the workweek.
Q: How do I prorate a weekly guarantee?
A: If an on-call IA employee has a 60 hour weekly guarantee, any day worked in a partial
workweek, either before or after one full week of employment, may be prorated at the rate of
1/5th of the studio weekly rate for each studio workday.
Example - If the employee starts to work on a Thursday and works the following Monday
through Friday, the first two days of work are prorated at 2/5th the weekly rate. The following
Monday through Wednesday fulfill the guaranteed one full week of employment. The final two
days, Thursday and Friday, are prorated at 2/5th the weekly guarantee.
Q: What are Supplemental Taxes?
A: Most states demand that State Income Tax be withheld whenever a person is performing work
in that state, even if the person's permanent residence is in another state. For example, if an
employee lives in California but works in North Carolina, and the California State Tax is higher
than North Carolina State Tax, North Carolina taxes are withheld in full and California taxes are
withheld for the difference between the North Carolina tax and what would have been the total
California Tax.
Q: What are the different types of tax credits, and how are they defined?
A: Jurisdictions offering incentives administer and process these through the filing of an income
tax return by the production company.
The most common are:
Refundable Tax Credits - These credits are refunds paid after the production company
has filed an income tax return. They consist of excess production credits remaining after all
income taxes are paid.
Transferable Tax Credits - The production company is allowed to sell their tax credits to
local taxpayers, or indirectly through brokers.
Rebates - These are funds paid to the production company, directly from the state’s film
office and not processed through income tax returns.
Up Front - These funds are provided by local investors or taxpayers in exchange for
favorable local tax treatment.
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DIRECTORY
PRODUCER ORGANIZATIONS ................................................................................................................................................ 1
UNION AND GUILD DIRECTORY ............................................................................................................................................. 1
Los Angeles Unions ................................................................................................................................................ 2
San Francisco Unions ............................................................................................................................................. 4
New York Unions .................................................................................................................................................... 4
Florida Unions ......................................................................................................................................................... 5
Louisiana Unions..................................................................................................................................................... 5
Chicago Unions ....................................................................................................................................................... 5
0BCANADIAN UNIONS AND GUILDS ................................................................................................................................. 6
Association of Canadian Television & Radio Artists (ACTRA) ............................................................................... 6
Directors Guild of Canada (DGC) ........................................................................................................................... 7
Alberta ..................................................................................................................................................................... 8
Atlantic..................................................................................................................................................................... 8
British Columbia ...................................................................................................................................................... 8
Manitoba.................................................................................................................................................................. 9
Ontario..................................................................................................................................................................... 9
Quebec .................................................................................................................................................................... 9
Saskatchewan ......................................................................................................................................................... 9
FILM COMMISSIONS ............................................................................................................................................................... 10
1BU.S. FILM COMMISSIONS ............................................................................................................................................. 10
2BCANADIAN FILM COMMISSIONS ................................................................................................................................. 19
Showbiz Labor Guide 2014/2015
Directory Table of Contents - Page I
DIRECTORY
PRODUCER ORGANIZATIONS
ALLIANCE OF MOTION PICTURE AND TELEVISION PRODUCERS (AMPTP)
15503 Ventura Blvd., Encino, CA 91436
www.amptp.org
ASSOCIATION OF INDEPENDENT COMMERCIAL PRODUCERS (AICP)
NATIONAL: 3 West 18th St., 5th Floor, New York, NY 10011
LA: 650 N. Bronson Ave., Ste. 223B, Los Angeles, CA 90004
www.aicp.com
CONTRACT SERVICES ADMINISTRATION TRUST FUND (CSATF)
15503 Ventura Boulevard, Encino, CA 91436
www.csatf.org
818-995-3600
212-929-3000
Fax: 212-929-3359
323-960-4763
Fax: 323-960-4766
818-995-0900
UNION AND GUILD DIRECTORY
DIRECTORS GUILD OF AMERICA, INC.
7920 Sunset Blvd., Hollywood, CA 90046
110 W. 57th St., New York City, NY 10019
400 N. Michigan Ave., Suite 307, Chicago, IL 60611
www.dga.org
WRITERS GUILD OF AMERICA, INC.
WGA, West, Inc., 7000 W. 3rd Street, Los Angeles, CA 90048
WGA, East, Inc., 555 W. 57th St., Ste. 1230
New York City, NY 10019
www.wga.org, www.wgaeast.org
SCREEN ACTORS GUILD
5757 Wilshire Blvd., L.A., CA 90036
360 Madison Ave., 12th Floor, New York, NY 10017
1 East Erie, Suite 650, Chicago, IL 60601
www.sag.org
AMERICAN FEDERATION OF MUSICIANS (AFM)
3550 Wilshire Blvd., Suite 1900, Los Angeles, CA 90010
1501 Broadway, Suite 600, Paramount Bldg., N.Y.C., NY 10036
1717 K St. NW, Suite 500, Washington, DC 20036
MUSICIANS LOCAL UNIONS:
LOCAL 47: 817 North Vine Street, Los Angeles, CA 90038
LOCAL 802: 322 W. 48th Street, New York City, NY 10036
www.afm.org
AMERICAN FEDERATION OF TELEVISION AND RADIO ARTISTS (AFTRA)
5757 Wilshire Blvd., 9th Floor, Los Angeles, CA 90036
260 Madison Ave., New York City, NY 10016
1 East Erie, Suite 650., Chicago, IL 60611
310-289-2000
212-581-0370
312-644-5050
323-951-4000
212-767-7800
323-954-1600
212-944-1030
312-573-8081
213-251-4510
212-869-1330
202-463-0772
323-462-2161
212-245-4802
323-634-8100
Fax: 323-634-8194
212-532-0800
Fax: 212-532-2242
312-573-8081
Fax: 312-573-0318
www.aftra.org
Showbiz Labor Guide 2014/2015
Directory - Page 1
DIRECTORY
PRODUCERS GUILD OF AMERICA
8530 Wilshire Blvd., Suite 450, Beverly Hills, CA 90211
Email: [email protected]
www.producersguild.org
310-358-9020
Fax: 310-358-9520
Los Angeles Unions
IATSE AND MPMO (West Coast Office)
10045 Riverside Dr., Toluca Lake, CA 91602
www.iatse.lm.com
818-980-3499
Fax: 818-980-3496
AFL-CIO
213-381-5611
2130 W. James M. Wood Blvd., Los Angeles, CA 90006
www.aflcio.org
LOCAL 33, THEATRICAL AND TELEVISION STAGE EMPLOYEES (Live Theater)
1720 West Magnolia Blvd., Burbank, CA 91506
(Not part of the Basic Agreement)
LOCAL 40, I.B.E.W. (ELECTRICAL WORKERS)
5643 Vineland Ave., North Hollywood, CA 91601
(Basic Crafts union. Not affiliated with IATSE - requires separate agreement)
LOCAL 44, AFFILIATED PROPERTY CRAFTSMEN
12021 Riverside Drive, Valley Village, CA 91607
818-841-9233
818-762-4239
818-769-2500
Fax: 818-769-3111
LOCAL 78, PLUMBERS AND PIPE FITTERS
213-688-9090
1111 James M. Wood Blvd., Los Angeles, CA 90015
Fax: 213- 627-4624
(United Association of Journeymen and Apprentices of the Plumbers and
Pipe Fitting Industry of the United States and Canada.)
(Basic Crafts union. Not affiliated with IATSE - requires separate agreement)
LOCAL 80, MOTION PICTURE CRAFT SERVICE
2520 W. Olive, Burbank, CA 91505
818-526-0700
Fax: 818-526-0719
LOCAL 161, SCRIPT SUPERVISORS
630 Ninth Avenue, Suite 1103, New York, NY 10036
212-977-9655
Fax: 212-977-9609
LOCAL 399, STUDIO TRANSPORTATION DRIVERS (TEAMSTERS)
P.O. Box 6017, North Hollywood, CA 91603
(Not affiliated with IATSE - requires separate agreement)
818-985-7374
LOCAL 600, WESTERN COUNCIL, INTL PHOTOGRAPHERS GUILD
7755 Sunset Blvd., Los Angeles, CA 90046
www.cameraguild.com/
323-876-0160
Fax: 323-876-6383
LOCAL 695, INTERNATIONAL PRODUCTION SOUND TECHNICIANS
5439 Cahuenga Blvd., N. Hollywood, CA 91601
www.695.com
818-985-9204
Fax: 818-760-4681
Page 2 - Directory
Showbiz Labor Guide 2014/2015
DIRECTORY
LOCAL 700, MOTION PICTURE EDITORS GUILD Western Region
Local 700 - Post Production Sound Technician
Local 700 - Story Analysts
Local 700 - Projectionists
7715 Sunset Blvd., Suite 200, Los Angeles, CA 90046,
www.editorsguild.com
323-876-4770
Fax: 323-876-0861
LOCAL 700, SCREEN STORY ANALYSTS
323-801-2201
Fax: 323-801-2202
LOCAL 705, MOTION PICTURE COSTUMERS (WARDROBE)
4731 Laurel Canyon Blvd., Ste. 201, Valley Village, CA 91607
818-487-5663
Fax: 818-487-5655
LOCAL 706, MAKE-UP ARTIST AND HAIR STYLIST
828 N. Hollywood Way, Burbank, CA 91505
818- 295-3933
Fax: 818-295-3930
LOCAL 724, STUDIO UTILITY EMPLOYEES
6700 Melrose Ave., Hollywood, CA 90038
(Basic Crafts union. Not affiliated with IATSE - requires separate agreement)
323-938-6277
LOCAL 728, STUDIO ELECTRICAL LIGHTING TECHNICIANS
1001 W. Magnolia Blvd., Burbank, CA 91506
818-954-0728
Fax: 818-954-0732
LOCAL 729, SET PAINTERS AND SIGN WRITERS
1811 W. Burbank Blvd., Burbank, CA 91506
818-842-7729
Fax: 818-846-3729
LOCAL 755, PLASTERERS AND CEMENT FINISHERS
13949 Ventura Blvd. Suite 305, Sherman Oaks, CA 91403
(Basic Crafts union. Not affiliated with IATSE - requires separate agreement)
LOCAL 767, MOTION PICTURE FIRST-AID EMPLOYEES
243 South Beachwood Dr., Burbank, CA 91506?
www.iatse767.org
LOCAL 800, ILLUSTRATORS AND MATTE ARTISTS
13245 Riverside Dr., Suite 300, Sherman Oaks, CA 91423
818-379-9711
818-891-6448
Fax: 818-846-0727
818-784-6555
Fax: 784-2004
LOCAL 800, SCENIC AND TITLE ARTISTS
11969 Ventura Blvd., #204, Studio City, CA 91604
818-762-9995
Fax: 818-762-9997
LOCAL 800, SOCIETY OF MOTION PICTURE ART DIRECTORS
11969 Ventura Blvd., Suite 200, Studio City, CA 91604
Email: [email protected]
www.ialocal800.org
818-762-9995
Fax: 818-762-9997
Showbiz Labor Guide 2014/2015
Directory - Page 3
DIRECTORY
LOCAL 839, ANIMATORS GUILD
4729 Lankershim Bvld., North Hollywood, 91602
www.mpsc839.org
818-766-7151
Fax: 818-586-4805
LOCAL 847, SET DESIGNERS AND MODEL BUILDERS
13245 Riverside Dr., #300A, Sherman Oaks, CA 91423
818-784-6555
Fax: 818-784-2004
LOCAL 871, SCRIPT SUPERVISORS
11519 Chandler Blvd., North Hollywood, CA 91601
PRODUCTION OFFICE COORDINATORS
ACCOUNTANTS AND ART DEPARTMENT COORDINATORS
ARE PART OF IATSE BUT NOT AUTOMATICALLY INCLUDED
IN THE BASIC AGREEMENT
818-509-7871
Fax: 818-506-1555
LOCAL 884, MOTION PICTURE STUDIO TEACHERS AND
WELFARE WORKERS
Box 461467, L.A., CA 90046
www.studioteachers.com
LOCAL 892, COSTUMER'S DESIGNERS GUILD
4730 Woodman Ave., #430, Sherman Oaks, CA 91423
Email: [email protected]
310-652-5330
Fax: 213-650-3792
818-905-1557
Fax: 818-905-1560
San Francisco Unions
LOCAL 16, IATSE
240 Second Street, 1st Floor, San Francisco, CA 94105
www.local16.org
415-441-6400
Fax: 415-243-0179
LOCAL 85, TEAMSTERS
2660 Newhall St., #205, San Francisco, CA 94105
415-344-0085
Fax: 415-543-8585
New York Unions
LOCAL 52, STUDIO MECHANICS
326 W. 48th Street, New York City, NY 10036
Email: [email protected]
www.iatselocal52.org
212-399-0980
Fax: 212-315-1073
LOCAL 161, SCRIPT SUPERVISORS
630 9th Ave, New York City, NY 10036
212-977-9655
Fax: 212-977-9609
LOCAL 600, INTL PHOTOGRAPHERS GUILD, EASTERN COUNCIL
80 Eighth Avenue, 14th Floor New York, NY 10011
www.cameraguild.com
212-647-7300
Fax: 212-647-7317
LOCAL 700, EDITORS GUILD, EASTERN REGION
165 W. 46th Street, Suite 900, New York, NY 10036
www.editorsguild.com
212-302-0700
Fax: 212-302-1091
Page 4 - Directory
Showbiz Labor Guide 2014/2015
DIRECTORY
LOCAL 764, WARDROBE ATTENDANTS
545 West 45th , 2nd Floor, New York City, NY 10036
212-957-3500
Fax: 212-957-3232
LOCAL 798, MAKE-UP ARTISTS
152 W. 24th Street, New York City, NY 10011
212-627-0660
Fax: 212-627-0664
LOCAL 817, THEATRICAL TEAMSTERS
1 Hollow Lane, Lake Success, Long Island, NY 11042
516-365-3470
Fax: 516-365-2609
LOCAL 829, UNITED SCENIC ARTISTS
150 E. 58th Street, 24th Floor, New York, NY 10155
212-752-4428
Fax: 212-832-2165
LOCAL 1212, IBEW (ELECTRICAL WORKERS)
225 W. 34th St., Rm. 1120, New York, NY 10122
212-354-6770
Fax: 212-819-9517
Florida Unions
LOCAL 385, TEAMSTERS
126 N. Kirkman Road, Orlando, FL 32811
407-298-7037
LOCAL 769, TEAMSTERS
12365 W. Dixie Hwy., N. Miami, FL 33161
305-642-6255
Fax: 305-891-5896
LOCAL 477, STUDIO MECHANICS
10705 N.W. 33th Street, Suite 110, Miami, FL 33172
305-594-8585
Fax: 305-597-9278
LOCAL 600 (666) INTERNATIONAL PHOTOGRAPHERS
7463 Windermere Rd., #A, Orlando, FL 32835
www.cameraguild.com
407-295-5577
Fax: 407-295-5335
Louisiana Unions
LOCAL 478 STUDIO MECHANICS
432 N. Anthony Street, Suite 305, New Orleans, LA 70119
www.iatse478.org
504-486-2192
Fax: 504-483-9961
LOCAL 568 TEAMSTERS SHREVEPORT
920 Grimmett Drive, Shreveport, LA 71137
www.teamsters568.com
318-222-4681
LOCAL 270 TEAMSTERS NEW ORLEANS
2207 Royal Street, New Orleans, LA 70117
504-945-3152
Chicago Unions
LOCAL 110, PROJECTIONISTS
230 W. Montrose St., #2511, Chicago, IL 60606
Showbiz Labor Guide 2014/2015
312-443-1011
Fax: 312-443-1012
Directory - Page 5
DIRECTORY
LOCAL 476, STUDIO MECHANICS
6309 N. Northwest Highway, Chicago, IL 60631
773-775-5300
Fax: 773-775-2477
LOCAL 600, INTL PHOTOGRAPHERS GUILD, CENTRAL COUNCIL
1411 W. Peterson Avenue, Suite 102, Park Ridge, IL 60068
847-692-9900
Fax: 847-692-5607
LOCAL 727, INTL BROTHERHOOD OF TEAMSTERS
5940 Montrose Avenue, Chicago, IL 60634
773-685-0340
LOCAL 769, THEATRICAL WARDROBE ATTENDANTS
182 W. Bryant, Palatine, IL 60067
847-732-6326
Fax: 847-991-0466
LOCAL 780, MOTION PICTURE EDITORS
6301 N. Northwest Highway, Chicago, IL 60631
773-775-5020
Fax: 773-775-5771
LOCAL 10-208, CHICAGO FEDERATION OF MUSICIANS
656 West Randolph, Chicago, IL 60661
312-782-0063
CANADIAN UNIONS AND GUILDS
0B
Association of Canadian Television & Radio Artists (ACTRA)
National
625 Church St., 3rd Fl., Toronto, ON M4Y 2G1
www.actra.ca
416-489-1311
800-387-3516
Fax: 416-489-8076
British Columbia District Council (See UBCP)
Calgary (ACTRA Southern Alberta Performers Guild)
Mount Royal Place, 1414-8th Street S.W., Ste. 260
Calgary, AB T2R 1J6
www.actracalgary.com
403-228-3123
Fax: 403-228-3299
Edmonton (ACTRA Northern Alberta Performers Guild)
Ste. 302, 10324 82nd Ave., Edmonton, AB T6E 1Z8
Email: [email protected]
www.actraedmonton.com
403-433-4090
Fax: 403-433-4099
Maritimes (ACTRA Maritimes Performers Guild)
1660 Hollis St., Ste. 103, Halifax, N.S. B3J 1V7
Email: [email protected]
www.actramaritimes.ca
902-420-1404
Fax: 902-422-0589
Montreal (ACTRA Montreal Performers Guild)
530-1450 City Councillor Street, Montreal, P.Q. H3A 2E6
Email: [email protected]
www.actramontreal.ca
514-844-3318
Fax: 514-844-2068
Page 6 - Directory
Showbiz Labor Guide 2014/2015
DIRECTORY
Newfoundland-Labrador (ACTRA Newfoundland/Labrador Performers
Guild)
127 Queen=s Rd., PO Box 575, St. John=s, Nfld. A1C 5K8
Email: [email protected]
www.actra.ca/stjohns/
709-722-0430
Fax: 709-722-2113
Ottawa (ACTRA Ottawa Performers Guild)
130 Slater Street, Suite 808, Ottawa, ON K1P 6E2
www.actraottawa.ca
613-565-2168
Fax: 613-565-4367
Saskatchewan (ACTRA Saskatchewan Performers Guild)
1808 Smith Street, Suite 212, Regina, SK S4P 2N4
Email: [email protected]
www.actra.ca/sask/
306-757-0885
Fax: 306-359-0044
Toronto (ACTRA Toronto Performers Guild)
625 Church St., 1st & 2nd Fl., Toronto, ON M4Y 2G1
Email: [email protected]
www.actratoronto.com
416-928-2278
Fax: 416-928-2852
Winnipeg (ACTRA Winnipeg Performers Guild)
203-245 McDermot Ave., Winnipeg, MB R3B 0S7
Email: [email protected]
www.actra.ca/winnipeg/
204-339-9750
Fax: 204-947-5664
Directors Guild of Canada (DGC)
National
Directors Guild of Canada, National Office
La Guilde Canadienne Des Realisateurs
1 Eglinton Avenue East, Suite 604, Toronto, ON M4P 3A1
Email: [email protected]
www.dgc.ca
416-482-6640
Toll Free: 888-972-0098
Fax: 416-482-6639
Alberta District Council
2526 Battleford Avenue, S.W., Suite 133, Calgary, AB T3E 7J4
www.dgcadc.ca
403-217-8672
Fax: 403-217-8678
Atlantic Regional Council
1657 Barrington Street, Suite 333, Halifax, NS B3J 2A1
www.dgc-ns.com
902-492-3424
Fax: 902-492-2678
B.C. District Council
1152 Mainland Street, Suite 430
Vancouver, BC V6B 4X2
www.dgcbc.com
604-688-2976
Fax: 604-688-2610
Manitoba District Council
138 Portage Avenue East, Suite 507
Winnipeg, MB R3C 0A1
Email: [email protected]
www.dgcmanitoba.ca
204-940-4300
Fax: 204-942-2610
Showbiz Labor Guide 2014/2015
Directory - Page 7
DIRECTORY
Ontario District Council
890 Yonge Street, 9th Floor
Toronto, ON M4W 3P4
www.dgcodc.ca
416-925-8200
Fax: 416-925-8400
Quebec District Council
4067 Boulevard St-Laurent, Suite 200
Montreal, PQ H2W 1Y7
Email: [email protected]
514-844-4084
Fax: 514-844-1067
Saskatchewan District Council
2440 Broad St., Ste. W213B
Regina, SK, Canada, S4P 4A1
Email: [email protected]
www.dgcsask.com
306-757-8000
Fax: 306-757-8001
Alberta
LOCAL 210 IATSE Stage Employees
10428-123 St., Edmonton, Alberta T5N 1N7
www.iatse210.com
Email: [email protected]
780-423-1863
Fax: 780-426-0307
LOCAL 212 IATSE Stage Employees
141-2526 Battleford Avenue SW, Calgary, T3E 7J4
www.iatse212.com
403-250-2199
Fax: 403-250-9769
Atlantic
LOCAL 849, IATSE Production Technicians
15 McQuade, 2nd Fl., Lake Crescent
Halifax, NS B3F 1C4
902-425-2739
Fax: 902-425-7696
British Columbia
ASSOCIATION OF CANADIAN FILM
CRAFTSPEOPLE (A.C.F.C.)
#108, 3993 Henning Dr., Burnaby,, B.C. V5C 6P7
www.acfcwest.com
Email: [email protected]
604-299-2232
Fax: 604-299-2243
LOCAL 891 IATSE Production Technicians
1640 Boundary Road, Burnaby, B.C. V5K 4V4
www.iatse.com/
604-664-8910
Fax: 604-298-3456
LOCAL 155, TEAMSTERS
490 East Broadway, Vancouver, B.C. V6J 1X3
604-876-8898
Fax: 604-873-1595
UNION OF B.C. PERFORMERS (UBCP)
856 Homer Street, #300
Vancouver, B.C., V6B 2W5
Email: [email protected]
www.ubcp.com
604-689-0727
Fax: 604-689-1145
Page 8 - Directory
Showbiz Labor Guide 2014/2015
DIRECTORY
LOCAL 669, IATSE INTERNATIONAL
PHOTOGRAPHERS
6/210 555 Brooksbank Avenue
North Vancouver, BC V7J 3S5
Email: [email protected]
www.ia669.com
604-983-5580
Fax: 604-983-5579
Manitoba
LOCAL 856, IATSE Production Technicians
200A-180 Market Ave.
Winnipeg, Manitoba R3BOP7
Email: [email protected]
204-957-1009
Fax: 204-953-1109
Ontario
LOCAL 411 IATSE Production Coordinators
629 Eastern Ave., Bldg. C, Ste. 300
Toronto, Ontario M4M 1E4
416-645-8025
Fax: 416-645-8026
LOCAL 700 NABET
100 Lombard St., Ste. 203 Toronto, ON MSC 1M3
416-536-4827
Fax: 416-536-0859
LOCAL 667 IATSE INTERNATIONAL
PHOTOGRAPHERS
9 Gloucester St., Toronto, ON M4Y 1L8
416-368-0072
Fax: 416-368-6932
LOCAL 873 IATSE Production Technicians
474 Adelaide Street East, Toronto, Ontario M5A 1N6
416-368-1873
Fax: 416-368-8456
Quebec
AQTIS, Production Technicians
533 Ontario Street East, suite 300
Montreal, QC H2L IN8
www.stcvq.qc.ca
514-844-2113
Fax: 514-844-3540
Saskatchewan
IATSE 295 Technicians (Mixed local)
1808 Smith Street, Suite 201
Regina, Sask. S4P 2N4
Fax: 306-545-8440
IATSE 300 Technicians (Mixed local)
P.O. Box 1361, Saskatoon, Sask. S7K 3N9
306-343-8900
Fax: 306-343-8423
Showbiz Labor Guide 2014/2015
306-545-6733
Directory - Page 9
DIRECTORY
FILM COMMISSIONS
A complete listing of film commissions who are members of the Association of Film Commissioners International can be
found at www.afci.org.
U.S. FILM COMMISSIONS
1B
ALABAMA
Alabama Film Office
401 Adams Avenue, Ste. 630
Montgomery, AL 36104
Email: [email protected]
www.alabamafilm.org
ALASKA
Alaska Film Development
550 W. 7th Avenue, Suite 1770
Anchorage, AK 99501-3510
Email: [email protected]
www.dced.state.ak.us/oed/film/film.htm
ARIZONA
Arizona Film Commission
1700 W. Washington, Ste. 220
Phoenix, AZ 85007
Email: [email protected]
www.state.az.us/commerce
ARKANSAS
Arkansas Motion Picture Dev. Office
1 Capital Mall, Rm. 4B-505
Little Rock, AR 72201
Email: [email protected]
www.1800arkansas.com/film
CALIFORNIA
California Film Commission
7080 Hollywood Boulevard, Suite 900
Hollywood, CA 90028-6126
Email: [email protected]
www.film.ca.gov
LOS ANGELES
Entertainment Industry Development Corp
7083 Hollywood Boulevard, 5th Floor,
Los Angeles, CA 90028
Email: [email protected]
www.eidc.com
Page 10 - Directory
334-242-4195
334-242-3990
FAX: 334-242-2077
907-269-8190
FAX: 907-269-8125
602-771-1193
800-523-6695
FAX: 602-771-1211
800-275-2672
501-682-7676
FAX: 501-682-FILM
323-860-2960
800-858-4749
FAX: 323-860-2972
323-957-1000
FAX: 323-962-4966
Showbiz Labor Guide 2014/2015
DIRECTORY
SAN FRANCISCO
San Francisco Film Comm.
1 Dr. Carlton B. Goodlett Place, #473
San Francisco, CA 94102-4649
Email: [email protected]
www.ci.sf.ca.us/film
SAN JOSE 408-792-4111
San Jose Film & Video Commission
100 Park Center Plaza, Ste. 560
San Jose, CA 95113
Email:[email protected]
www.sanjose.org
SANTA CLARITA
Santa Clarita Valley Film Entertainment Bureau
23920 Valencia Boulevard, Suite 100
Santa Clarita, CA 91355-2175 USA
Email: [email protected]
www.santa-clarita.com/cityhall/cmo/ed/film/
WEST HOLLYWOOD
City of West Hollywood
8300 Santa Monica Boulevard
West Hollywood, CA 90069-4314
Email: [email protected]
www.ci.west-hollywood.ca.us/
COLORADO
Colorado Motion Picture & TV Commission
1625 Broadway, Suite #1700
Denver, CO 80202
Email: [email protected]
www.coloradofilm.org
CONNECTICUT 800-392-2122
Connecticut Film, Video & Media Office
805 Brock Street, Bldg. 4
Rocky Hill, CT 06067
Email: [email protected]
www.CTFilm.com
DELAWARE
Delaware Film Office
99 Kings Highway
P.O. Box 1401
Dover, DE 19903
Email: [email protected]
www.state.de.us/dedo/new_website/frames/film.html
Showbiz Labor Guide 2014/2015
415-554-6244
FAX: 415-554-6503
408-295-9600
800-726-5673
FAX: 408-295-3937
800-4FILMSC
661-284-1425
FAX: 661-286-4001
323-848-6400
FAX: 323-848-6561
303-620-4500
FAX: 303-620-4545
860-571-7130
FAX: 860-721-7088
800-441-8846
FAX: 302-739-5749
Directory - Page 11
DIRECTORY
DISTRICT OF COLUMBIA, WASHINGTON
Office of Motion Picture & TV Development
One Judiciary Square
441 4th St. NW, Ste. 760N
Washington, D.C. 20001
Email: [email protected]
www.film.dc.gov
FLORIDA
Governor=s Office of Film & Entertainment
Executive Office of the Governor
The Capital
Tallahassee, Florida 32399 -0001
Email: [email protected]
www.filminflorida.com
Los Angeles Representative
MIAMI/DADE COUNTY
Miami/Dade Office of Film, TV, & Print
111 Northwest 1st Street, Suite 2540
Miami, FL 33128
www.filmiami.org
ORLANDO
Metro Orlando Film & Television Office
301 East Pine Street, Suite 900
Orlando, FL 32801
Email: [email protected]
www.filmorlando.org
GEORGIA
Georgia Film & Videotape Office
285 Peachtree Center Ave., Ste 1000
Atlanta, GA 30303
Email: [email protected]
www.filmgeorgia.org
HAWAII
Hawaii Film Office
No. 1 Capitol District Building
250 South Hotel St., 5th Floor
Honolulu, HI 96813
Email: [email protected]
www.hawaiifilmoffice.com
IDAHO
Idaho Film Bureau
700 West State Street, 2nd Floor
Box 83720 FAX: 208-334-2631
Boise, ID 83720-0093
www.filmidaho.org
Page 12 - Directory
202-727-6608
FAX: 202-727-3246
877-FLA-FILM
850-410-4765
FAX: 850-410-4770
818-777-1613
FAX: 818- 733-0260
305-375-3288
FAX: 305-375-3266
407-422-7159
FAX: 407-841-9069
404-656-3591
FAX: 404-656-3565
808-586-2570
FAX: 808-586-2572
208-334-2470
800-942-8338
Showbiz Labor Guide 2014/2015
DIRECTORY
ILLINOIS
Illinois Film Office
100 West Randolph, Suite 3-400
Chicago, IL 60601
Email: [email protected]
www.illinoisbiz.biz/film/index.html
CHICAGO
Chicago Film Office
1 North LaSalle, Suite 2165
Chicago, IL 60602
Email: [email protected]
www.cityofchicago.org/filmoffice/
INDIANA
Indiana Film Commission
1 North Capitol, #700
Indianapolis, IN 46204-2288
Email: [email protected]
www.state.in.us/film
IOWA
Iowa Film Office 515-242-4726
200 East Grand Avenue
Des Moines, IA 50309
Email: [email protected]
www.state.ia.us/film
KANSAS
Kansas Film Commission
1000 S.W. Jackson St., Ste. 100
Topeka, KS 66612-1354
Email: [email protected]
www.kansascommerce.com
KENTUCKY
Kentucky Film Commission
500 Mero Street, 2200 Capitol Plz Tower
Frankfort, KY 40601
Email: [email protected]
www.kyfilmoffice.com
LOUISIANA
Louisiana Film Commission
1051 N. Third Street
Baton Rouge, LA 70802
Email: [email protected]
www.lafilm.org
Showbiz Labor Guide 2014/2015
312-814-7179
FAX: 312-814-8874
312-744-6415
FAX: 312-744-1378
317-232-8829
FAX: 317-233-6887
FAX: 515-242-4809
785-296-2178
FAX: 785-296-3480
502-564-3456
800-345-6591
FAX: 502-564-7588
225-342-8150
888-655-0447
FAX: 225-342-5349
Directory - Page 13
DIRECTORY
MAINE
Maine Film Office
State House Station 59
111 Sewall St., 3rd Floor
Augusta, ME 04333-0059
Email: [email protected]
www.state.me.us/decd/film
MARYLAND
Maryland Film Office
217 E. Redwood Street, 9th Floor
Baltimore, MD 21202
Email: [email protected]
www.mdfilm.state.md.us
MASSACHUSETTS
Massachusetts Film Bureau
198 Tremont St., PMB #135
Boston, MA 02116
Email: [email protected]
www.massfilmbureau.com
MICHIGAN
Michigan Film Office
702 West Kalamazoo St.
P.O. Box 30739
Lansing, MI 48909-8239
Email: [email protected]
www.michigan.gov/hal
MINNESOTA
Minnesota Film Board
401 North 3rd Street, Suite 460
Minneapolis, MN 55401
Email: [email protected]
www.mnfilm.org
MISSISSIPPI
Mississippi Film Office
Box 849
Jackson, MS 39205
Email: [email protected]
www.visitmississippi.org
MISSOURI
Missouri Film Office
301 West High, Room 720
P.O. Box 118
Jefferson City, MO 65102
Email: [email protected]
www.ecodev.state.mo.us/film/
Page 14 - Directory
207-624-7631
FAX: 207-287-8070
410-767-6340
800-333-6632
410-787-0067
FAX: 410-333-0044
617-523-8388
FAX: 617-973-8810
517-373-0638
800-477-3456
FAX: 517-241-2930
612-332-6493
FAX: 612-332-3735
601-359-3297
FAX: 601-359-5757
573-751-9050
FAX: 573-522-1719
Showbiz Labor Guide 2014/2015
DIRECTORY
MONTANA 406-444-3960
Montana Film Office
301 S. Park Ave. 800-553-4563
Helena, MT 59620
Email: [email protected]
www.montanafilm.com
NEBRASKA
Nebraska Film Office
P.O. Box 98907 800-228-4307
Lincoln, NE 68509-8907
Email: [email protected]
www.filmnebraska.org
NEVADA
Motion Picture Division/C.E.D
555 East Washington, Suite 5400
Las Vegas, NV 89101
Email: [email protected]
www.nevadafilm.com
NEW HAMPSHIRE
New Hampshire Film & TV Bureau
172 Pembroke Road
P.O. Box 1856
Concord, NH 03302-1856
www.filmnh.org/
NEW JERSEY
New Jersey Motion Picture/TV Commission
153 Halsey Street, 5th Floor
P.O. Box 47023
Newark, NJ 07101
Email: [email protected]
www.njfilm.org
NEW MEXICO
New Mexico Film Office
P.O. Box 20003 800-545-9871
Santa Fe, NM 87504-5003
Email: [email protected]
www.nmfilm.com
NEW YORK
New York St. Governor's Off./MP-TV Dev
633 Third Avenue, 33rd Floor
New York, NY 10017
Email: [email protected]
www.empire.state.ny.us
Showbiz Labor Guide 2014/2015
406-841-2876
FAX: 406-841-2877
402-471-3680
FAX: 402-471-3026
702-486-2711
877-638-3456
FAX: 702-486-2712
603-271-2665
FAX: 603-271-6870
973-648-6279
FAX: 973-648-7350
505-827-9810
FAX: 505-827-9799
212-803-2330
FAX: 212-803-2339
Directory - Page 15
DIRECTORY
NEW YORK CITY
NYC Mayor's Off. of Film/Theatre/Broadcasting
1697 Broadway, #602
New York, NY 10019
Email: [email protected]
www.nyc.gov/film
NORTH CAROLINA
North Carolina Film Office
301 N. Wilmington St.
Mail Service Center 4317
Raleigh, NC 27699-4317
Email: [email protected]
www.ncfilm.com
NORTH DAKOTA
North Dakota Film Commission
400 E. Blvd. Ave., Ste 50
Bismarck, ND 58502-2057
Email: [email protected]
OHIO
Ohio Film Commission
77 South High Street, 29th Floor
P.O. Box 1001 FAX: 614-466-6744
Columbus, OH 43215-6108
Email: [email protected]
www.ohiofilm.com
OKLAHOMA
Oklahoma Film Office
15 N. Robinson, #802
Oklahoma City, OK 73102
www.otrd.state.ok.us/filmcommission
OREGON
Oregon Film & Video Office
One World Trade Center
121 SW Salmon Street, Suite 1205
Portland, OR 97204
Email: [email protected]
www.Oregonfilm.org
212-489-6710
FAX: 212-307-6237
919-733-9900
800-232-9227
FAX: 919-715-0151
800-328-2871
701-328-2525
FAX: 701-328-4878
614-466-2284
800-230-3523
405-522-6760
800-766-3456
FAX: 405-522-0656
503-229-5832
Fax: 503-229-6869
PENNSYLVANIA
Pennsylvania Film Office
Commonwealth Keystone Building
400 North St., 4th Floor
Harrisburg, PA 17120-0225
Email: [email protected]
www.filminpa.com
FAX: 717-787-0687
PUERTO RICO
Puerto Rico Film Commission
355 F.D. Roosevelt Ave/Fomento Bldg #106
San Juan, PR 00918
787-754-7110
FAX: 787-756-5706
Page 16 - Directory
717-783-3456
Showbiz Labor Guide 2014/2015
DIRECTORY
RHODE ISLAND
Rhode Island Film & Television Office
One Capitol Hill 401-222-3456
Providence, RI 02903 USA
Email: [email protected]
www.rifilm.com
SOUTH CAROLINA
South Carolina Film Office
1201 Main Street, Ste 1600
Columbia, SC 29201
Email: [email protected]
www.scfilmoffice.com
SOUTH DAKOTA
South Dakota Film Commission
711 East Wells Avenue
Pierre, SD 57501-3369
Email: [email protected]
www.filmsd.com
TENNESSEE
Tennessee Film/Entertainment/Music Comm
312 8th Ave., North
Tennessee Tower 9th Floor
Nashville, TN 37243
Email: [email protected]
www.state.tn.us/film
TEXAS
Texas Film Commission
P.O. Box 13246 FAX: 512-463-4114
Austin, TX 78711
Email: [email protected]
www.governor.state.tx.us/film
U.S. VIRGIN ISLANDS
U.S. Virgin Islands Film Promotion Off
P.O. Box 6400 FAX: 809-774-4390
St. Thomas, V.I. 00804 USVI
UTAH
Utah Film Commission
324 South State St., Ste. 500
Salt Lake City, UT 84111
Email: [email protected]
www.film.utah.gov/
VERMONT
Vermont Film Commission
10 Baldwin Street, Drawer 33
Montpelier, VT 05633-2001
Email: [email protected]
www.vermontfilm.com
Showbiz Labor Guide 2014/2015
FAX: 401-222-3018
803-737-0490
FAX: 803-737-3104
605-773-3301
800-952-3625
FAX: 605-773-3256
615-741-3456
877-818-3456
FAX: 615-741-5554
512-463-9200
809-774-8784
801-538-8740
800-453-8824
FAX: 801-538-8746
802-828-0607
802-828-3618
FAX: 802-828-2221
Directory - Page 17
DIRECTORY
VIRGINIA
Virginia Film Office
901 East Byrd St.
Richmond, VA 23219-4048
Email: [email protected]
www.film.virginia.org
WASHINGTON
Washington State Film & Video Office
2001 6th Avenue, Suite 2600
Seattle, WA 98121
Email: [email protected]
www.wafilm.wa.gov
WEST VIRGINIA
West Virginia Film Office
90 MacCorkle Ave., SW
Charleston, WV 25303
Email: [email protected]
WISCONSIN
Wisconsin Film Office
201 W. Washington Ave., 2nd Floor
Madison, WI 53703
Email: [email protected]
www.film.state.wi.us
WYOMING
Wyoming Film Office
I-25 @ College Dr.
Cheyenne, WY 82002
Email: [email protected]
www.wyomingfilm.org
Page 18 - Directory
800-854-6233
804-371-8204
FAX: 804-371-8177
206-256-6151
FAX: 206-256-6154
304-558-2200 x382
800-982-3386
FAX: 304-558-1662
800-345-6947
FAX: 608-266-3403
307-777-3400
800-458-6657
FAX: 307-777-2877
Showbiz Labor Guide 2014/2015
DIRECTORY
CANADIAN FILM COMMISSIONS
2B
ALBERTA
Economic Development and Tourism
Email:[email protected]
www.albertafilm.ca
780-422-8584
FAX: 780-422-8582
888-813-1738
BRITISH COLUMBIA
Film Commission
Email: [email protected]
www.bcfilmcommission.com
604-660-2732
FAX: 604-660-4790
MANITOBA
Cido/Location Manitoba
Email: [email protected]
www.mbfilmsound.mb.ca
204-947-2040
FAX: 204-956-5261
NEW BRUNSWICK
Film Commission
Email: [email protected]
www.nbfilm.com
506-869-6868
FAX: 506-869-6840
NEW FOUNDLAND/LABRADOR
Service Industries Division
Dept of Industry, Trade and Technology
Email: [email protected]
709-738-3456
FAX: 709-739-1680
NORTHWEST TERRITORIES
Nunavut Film Commission / Canada's East Arctic
Email: [email protected]
Yellowknife Economic Development Authority
Email: [email protected]
NOVA SCOTIA
Film Development Corporation, Location Services
Email: [email protected]
www.film.ns.ca
ONTARIO
Film Development Corporation
Los Angeles Representative
Toronto Film and Television Office
Showbiz Labor Guide 2014/2015
867-979-5934
FAX: 867-979-5980
867-669-3422
FAX: 867-920-5649
902-424-7177
FAX: 902-424-0617
416-314-6858
FAX: 416-314-6876
323-960-4786
FAX: 323-960-4786
416-392-7570
FAX: 416-392-0675
Directory - Page 19
DIRECTORY
QUEBEC
Province of Quebec Film Office
SASKATCHEWAN
Location Saskatchewan (Saskfilm)
YUKON
Film Commission
Email: [email protected]
www.reelyukon.com
Page 20 - Directory
514-841-2200
FAX: 514-864-7395
306-347-3456
FAX: 306-359-7768
867-667-5400
FAX: 867-393-7040
Showbiz Labor Guide 2014/2015