FAQs

Theatrical-TV Contract FAQs

CONSECUTIVE EMPLOYMENT

(2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about consecutive employment or need further information, please contact a business representative at your local Guild office.

Performers shall be paid on a consecutive basis from the first day they are instructed to report for work, subject to the following:

Day Performers:

If, at the time of original engagement, the day performer is given a firm pick-up date which is more than 14 calendar days* after the close of his initial employment, compensation need not be paid for the intervening time.

Performers employed on a daily basis may be called back on a weekly basis with an "on or after" pick up date, thus allowing Producer a 24 hour leeway.
Whether recalled as a day performer or as a weekly performer, only one such break in employment is allowed per production.

Day performers on episodic television paid not less than double minimum may be dropped and picked up once in each episode, subject to a firm pick up date being given. All others have a 14 calendar day intervening period. This provision, however, does not apply to a day performer receiving major role billing under the day performer exception.

*This provision shall be 10 calendar days for domestic productions of theatrical films and features made primarily for television exhibition.

Recall:

Performers may be recalled for retakes, added scenes, process shots, looping or trailers, after the completion for the performer’s work in principal photography, without payment for the intervening time.

Rehearsals (Long-form television and theatrical only):

If rehearsal is paid at the same rate as for photography, there is no consecutive employment between rehearsal and photography, subject to the performer's general availability and an on "on or about" or firm start date being given for principal photography. However, there is consecutive employment during rehearsal.


ENGAGEMENT AND CANCELLATION

(2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about engagement and cancellation or need further information, please contact a business representative at your local SAG office.

Television: Less than $32,000
Theatrical: Less than $60,000
Theatrical “Deal Performers” : $65,000

The performer (Day, 3-Day TV, Weekly) has a firm engagement, which binds the studio in the following cases:

  • Written notice of acceptance
  • Contract signed by the Producer
  • Script is given to the performer, with intent to hire
  • Written notice of acceptance
  • Contract signed by the Producer
  • Script is given to the performer, with intent to hire
  • When performer is fitted, other than wardrobe tests
  • When performer is actually called and agrees to report

Day Performers Only: either party can cancel prior to noon on the day before the day performer is to work if the call for work has only been verbal and none of the above conditions have occurred. “On or about” start dates are not permitted for day performers.

Performer’s Start Date (Free-lance Television and Theatrical):

In the event a performer is engaged as specified above but a start date has not been given, the performer may terminate such engagement in order to accept conflicting bona fide employment by a third party. This is, however, subject to the performer first giving the Producer the following minimum notice, during which the Producer may specify a start date, which then becomes binding.

  • If the performer informs the Producer before noon on a business day, by the end of the same day; or
  • If the performer informs the Producer at any other time, by noon of the next business day
  • “On or about” start dates are permitted only if contract is delivered to the performer seven (7) days before start date for theatrical, and three (3) days prior for TV


FITTINGS / WARDROBE CLEANING ALLOWANCE

(2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about fittings and wardrobe or need further information, please contact a business representative at your local SAG office.

If, at the Producer’s request, the performer provides personal wardrobe, a weekly cleaning allowance will be paid by the Producer for each outfit.

Formal wear (per outfit, per week) $ 17.00
All other wardrobe (per outfit, per week)
$ 11.50


INTERVIEWS

2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about interviews or need further information, please contact a business representative at your local Guild office.

Day Performers (Theatrical and Television):

The performer does not receive compensation if dismissed within one hour from the time of call. If detained by the Producer beyond one hour, the performer is paid at straight time in one-half hour units.

3-Day Performers (Television only):

The performer does not receive compensation unless he is required to speak lines given to him or her to learn outside of the studio or is kept waiting for more than one hour.

Weekly Performers (Theatrical and Television):

The performer does not receive compensation unless he is required to speak lines given to him or her to learn outside of the studio or is kept waiting for more than one hour.


MEAL PERIODS

(2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about meal periods or need further information, please contact a business representative at your local SAG office.

The performer must be given the first meal break within six hours from the time of first call. The provisions for meal periods are the same for all performers.

Please note that, for the purpose of synchronizing performer and crew meal-time, the performer may be given a non-deductible meal of 15 minutes free from all activity within two hours of the performer’s call time. An announcement should be made and a notation indicating the start and finish time of the non-deductible meal must be on the production time report. The following is then allowable:

  • The first meal break would then be due six hours from the end of the non-deductible meal.
  • The second meal break must be called within six hours from the time of call back from the first meal break.
  • The Producer can deduct actual time up to one hour spent at meals.
  • A twelve minute grace period to set up provided the six hour period is not already extended due to camera being in the course of photography.

Meal penalty payments for violations of either meal period are:

  • for the first half-hour, or fraction thereof $ 25
  • for the second half-hour $ 35
  • for each half-hour thereafter $ 50


MILEAGE REIMBURSEMENT AND TRAVEL

(2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about mileage reimbursement and travel or need further information, please contact a business representative at your local SAG office.

When a Producer transports a performer to either a nearby or overnight location, the travel time is work time. A nearby location is defined as a location the performer can be transported to and from on the same day. An overnight location is one at which the performer is lodged at the location for one or more nights.

Travel to a Nearby Location:

Overtime caused by travel time is computed as time-and-one-half. Mileage is payable at $ .30 per mile to the performer if the performer is required to report to the location within the 30 mile Hollywood or San Francisco Studio Zones or eight mile zone in New York. There are however, exceptions. They are as follows:

Theatrical, new one hour series, one-half hour and one-hour pilots:

No mileage is payable for a 10 mile radius from a point designated by the Producer once per season within the 30 mile Los Angeles zone.
Travel to an Overnight Location (no services rendered on Day of Departure):

Day Performers (Theatrical & Television):

When traveling to or from the location on a day when no services are rendered, the performer shall be paid for a full day.

3-Day Performers (Television only):

When traveling to or from the location, the performer goes on salary on the day of departure and remains on salary until the day of arrival at the studio.

Weekly Performers (Theatrical):

Weekly performers earning $5,500 ($6,000 effective 6-10-10) or less go on salary the day of departure and remain on salary until the day of arrival at the studio. Weekly performers earning over $5,500 ($6,000 effective 6-10-10) go on salary as of call time but not later than 24 hours after reaching the location.

Weekly Performers (Television):

Weekly performers earning $4,400 ($4,650 effective 6-10-10) or less go on salary the day of departure and remain on salary until the day of arrival at the studio. Weekly performers earning over $4,400 ($4,650 effective 6-10-10) go on salary as of call time but not later than 24 hours after reaching the location.

Flight Insurance:

The Producer must provide coverage of not less than $100,000 for travel by commercial airlines and $250,000 for travel by helicopter. If the producer is unable to provide such coverage, he or she is required to reimburse the performer in full the purchase price of such insurance after showing proof of purchase by the performer.


OVERTIME

(2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about overtime or need further information, please contact a business representative at your local Guild office.
The performer’s pay, for overtime purposes, is computed from time of first call to dismissal, excluding meal periods. Overtime for performers receiving over the money breaks will be based on the applicable money break amount.

Day Performers (Theatrical and Television):

Money breaks: two times the minimum day performer rate per day.
Overtime is paid in 1/10th hourly units at time-and-one-half for the ninth and tenth hours, and at double time beyond ten hours. Performers over the money break receive time-and-one-half after 10 hours based on the money break.

3-Day Performers (Television only):

Money breaks: $2,700 ($3,000 effective 6-10-10)

Daily overtime is payable beyond 10 hours in 1/10th hourly units at double time. In addition, cumulative overtime is payable beyond 24 straight time hours cumulated over the 3-day period (or beyond 32 hours cumulated over a 4-day period, if the contract guarantees 4 days) at time-and-a-half in one-tenth (1/10th) hourly units. For days worked beyond the guarantee days, overtime commences after 8 hours on a daily basis and is payable in 1/10th hourly units at time-and-a-half for the 9th and 10th hours and double-time thereafter.

Weekly and Series Performers

Money breaks (Theatrical): $5,500
Money breaks (Television): $4,400


REST PERIODS (FORCED CALLS)

(2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about rest periods or need further information, please contact a business representative at your local Guild office.

Daily Rest Periods for Day, 3-Day (TV only) and Weekly Performers:

  • Studio Zone (Theatrical and Television): The performer is entitled to a 12 hour rest period from the time he is dismissed until the first call for the next day. This applies for makeup, wardrobe, hairdress, or any other purpose.
  • Location Outside Studio Zone* (Theatrical and Television): The rest period may be reduced from 12 to 10 hours where exterior photography is required. This is applicable once every fourth consecutive day.
  • Overnight Location (Theatrical): The rest period may be reduced from 12 hours to 11 hours on any two non-consecutive days in a workweek.
  • Overnight Location (Television): There is no reduction of the 12 hour rest period.

*other than an overnight location

Weekly Rest Period:

All performers are entitled to one weekly rest period of 56 hours. The following are exceptions:

  • A 54 hour rest period is allowable following a 56 hour rest period providing the call time is no earlier than 6 am.
  • A 36 hour rest period is allowable on a six day location workweek.

Forced Call:

A violation of either daily or weekly rest periods is a forced call. The penalties are:

  • Day Performers: Daily rate or $900, whichever is less per violation
  • 3-Day/Weekly Performers: one day’s pay or $950, whichever is less per violation


TRANSPORTATION AND LOCATION EXPENSES

(2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about per diems or need further information, please contact a business representative at your local SAG office.

Per Diems and Accommodations:

In addition to single room accommodations, the Producer will provide a per diem meal allowance to be paid prior to the day or week of work. The minimum per diem amounts are as follows and only applicable if meals are not provided for by the Producer.

Breakfast: $ 12.00
Lunch: $ 18.00
Dinner:
$ 30.00

Note: Regardless of the time of call the first major meal served may only be deducted at the lunch rate.

When on an overnight location for two weeks or more, a check cashing facility must be made available if the per diem amount is paid by check.

Transportation:

Transportation provided for the performer by the producer must be first class, except for the following circumstances:

  • If six or more performers travel on the same flight in the same class on jet flights, then coach class is acceptable
  • If no other means are available, bus transportation is acceptable
  • If the performer is traveling to an interview or audition, a coach class is acceptable on a regularly scheduled jet aircraft.


WORKWEEK

(2009 - THEATRICAL MOTION PICTURES and TELEVISION)

If you have a specific question about workweek or need further information, please contact a business representative at your local Guild office

Studio Workweek:

The studio workweek consists of any five days out of seven consecutive days with the sixth and seventh days considered regular days off. These days are designated by the Producer. Premiums are paid when a performer works the sixth and/or seventh day*.

*Not applicable to a day performer, unless he works six or seven days in the workweek.

Premium rates are:

  • Time-and-one-half for the sixth day
  • Double time for the seventh day

The production workweek may be switched once (without penalty) to a Monday through Friday workweek. The workweek also may be switch off of a Monday through Friday workweek and then switched back in order to preserve the Saturday and Sunday weekend off.

  • If there are more than four days off between switched workweeks, performers shall be paid for those days.
  • A premium must be paid if the performer is not given at least one day off in seven.

Overnight Location Workweek:

The overnight location workweek consists of any six days out of seven consecutive days with the seventh day considered a regular day off. These days are designated by the Producer.

Workweek for Minors:

The Producer must provide schooling (as required by the Agreement) during the Producer’s workweek for the production.