Production Center Redesign

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THEATRICAL
Step 1

The Theatrical Agreement applies to those films-that are shooting outside of the United States-with a total budget greater than $2,500,000.

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PRE-PRODUCTION
Step 2

These are the steps you must take prior to your first day of travel, rehearsal or principal photography, whichever comes first (we recommend giving yourself at least three weeks).

Start by completing the Preliminary Information Sheet.

 

Email the completed form to signyourfilm@sagaftra.org.

 

A SAG-AFTRA Business Representative will contact you within a few days and send you a packet of information and documents.

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PRE-PRODUCTION
Step 3

Required Documents

 

Complete and return the following five documents from your packet:
1)    Theatrical Information Sheet
2)    Theatrical Distribution Checklist
3)    SAG-AFTRA Agreement for Independent Producers of Theatrical motion Pictures
4)    SAG-AFTRA-Producers Pension Plan Adherence Letter
5)    Television/Theatrical Production Checklist

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PRE-PRODUCTION
Step 4

Required Documents (cont.)

 

Also complete and submit documentation that indicates who is employing the performers:

Corporation – Provide your Articles of Incorporation and completed Corporation Resolution. Click to download.
Limited Liability Corporations (LLC) – Provide your Articles of Organization, LLC Operating Agreement and completed LLC Resolution. Click to download.
Partnership or Joint Venture – Provide your Fictitious Business Name Statement (if applicable) and Partnership Agreement (if applicable).

 

NOTE: It’s very important that the information you provide in this step is consistent with the information previously submitted.

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PRE-PRODUCTION
Step 5

Send your SAG-AFTRA Business Representative the following three required production documents:

 

1)    Complete Pre-Production Cast List
2)    A copy of the shooting script
3)    Day Out of Days

Business Rep
Yes
PRE-PRODUCTION
Step 6

We also need to review any agreements you have that affect the ownership of the film and its story.  These are called Chain of Title documents.  Chain of Title documents usually include, but are not limited to, the following:

 

•    A copy of Form PA or eCO (relating to the screenplay) and proof of its registration with the US Copyright Office (USCO)
•    All assignment agreements relating to the film and the underlying rights, including proof of filing each with USCO (For example, certificate(s) of authorship, “work made for hire” agreements, and copyright assignments); and
•    Copies of all distribution, license, and/or sales agency agreements pertaining to the right to distribute the Picture in all media and territories worldwide.

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PRE-PRODUCTION
Step 7

Once we’ve received and reviewed all of the applicable documents, your SAG-AFTRA Business Representative will contact you and let you know what financial assurances are needed. Financial assurances usually include, but are not limited to, the following:

 

1)    Security Deposit (in the form of a cashier’s check or wire transfer) and related Security Deposit Letter and W-9 form.
2)    Security Agreement
3)    Assumption Agreement(s)
4)    Intercreditor Agreement(s), if applicable
5)    And all other financial assurances that may be required, including, but not limited to, a Collection Agreement, Guaranty Agreement, and/or a Residuals Reserve and corresponding Custody Agreement.

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PRE-PRODUCTION
Step 8

When all of these requirements are fulfilled, your SAG-AFTRA Business Representative will give your production “clearance,” allowing you to verify with the Union that the Performers and Background Actors you’ve hired for your project are in good standing and can work.  This is referred to as the Cast clearance process.

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PRODUCTION
Step 9

During production, you will need to complete and submit SAG-AFTRA Performer Contracts and Production Time Report Forms (Exhibit G) to your SAG-AFTRA Representative.

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PRODUCTION
Step 10

Working With Non-Union Members

 

If you are hiring a principal performer or background actor who is not yet a SAG-AFTRA member, you should submit the applicable Taft-Hartley Report to your Business Representative, along with a head shot and resume.

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POST-PRODUCTION
Step 11

After production, complete and submit the following to your SAG-AFTRA Business Representative:
1)     Final Cast List
2)    Casting Data Report Forms

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And that’s it!
Step 12

If you have any questions throughout any of the signatory process, please contact a SAG-AFTRA Business Representative at the number listed below.

 

Thank you for working with SAG-AFTRA!

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Consecutive Employment

If you have a specific question about consecutive employment or need further information, please contact a business representative at your SAG-AFTRA local office. Please note there are exceptions to consecutive employment rules under the SAG-AFTRA Low Budget theatrical agreements. Contact a business representative for further information on the Low Budget terms.

 

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 10 calendar days (for films shooting entirely in the USA) or 14 calendar days (for all other films) 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 daily or 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.

 

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:

 

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.

Rehearsal is paid at the same rate as for photography. If a weekly performer rehearses for less than a week, the rehearsal days may be pro-rated, provided that the performer does not receive less than the day performer minimum per day.

 

Engagement and Cancellation

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

 

For performers guaranteed less than $65,000

 

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

 

• Written notice of acceptance 

• Contract delivered to the performer

• Script is given to the performer

• 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. “On or about” start dates are not permitted for day performers.

 

Performer’s Start Date:

 

In the event a weekly 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 weekly performer seven (7) days before start date for theatrical

 

Favored Nations

This is an industry term which means that you are getting equal contractual treatment to others on the project – billing, accommodations, and any other contractual provision. This is not required by SAG-AFTRA and must be separately negotiated between Performer and Producer. 

Fittings / Wardrobe Cleaning Allowance

If you have a specific question about fittings and wardrobe or need further information, please contact a business representative at your SAG-AFTRA local 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) $ 18.00

 

All other wardrobe (per outfit, per week) $ 12.00

 

Rates for fittings vary by contract, please contact a business representative at your SAG-AFTRA local office for information regarding payment for fittings. 

 

Interviews

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

 

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.

 

If a performer is required to speak lines given to him or her to learn outside of the studio, this is an audition. Please contact a business representative at your SAG-AFTRA local office for additional information on payment for auditions.

Meal Periods

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

 

The performer must be given the first meal break within six hours from the time of first call. The second meal break must be called within six hours from the time of call back from the first meal break. Each meal break must be no less than thirty minutes, but the Producer can deduct actual time up to one hour spent at meals.

 

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. A notation indicating the start and finish time of the non-deductible meal must be on the production time report.

 

The first meal break would then be due six hours from the end of the non-deductible meal.

 

Meal penalty payments for violations of either meal period are: 

 

For the first half-hour, or fraction thereof: $25 

For the second half-hour, or fraction thereof: $35 

For each half-hour thereafter, or fraction thereof: $50 

 

Note: For Student, Short, and Ultra Low Budget Films, the meal penalty amount  is reduced to $25/half-hour or fraction thereof.

 

Mileage Reimbursement and Travel

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

 

Travel to a Location:

 

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

 

No mileage is payable for a 10 mile radius from a point designated by the Producer once during the theatrical production period within the 30 mile Los Angeles zone. Producer should notify their business representative of their designated point prior to commencement of principal photography. 

 

No mileage is payable if the Producer provides the Performer with transportation to a location outside of the Studio Zone. 

 

Travel to an Overnight Location (no services rendered on Day of Departure):

 

Day Performers:

 

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

 

Weekly Performers: 

 

There are exceptions applicable to some weekly performers. Please contact a SAG-AFTRA business representative for specific questions.

 

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

If you have a specific question about overtime or need further information, please contact a business representative at your SAG-AFTRA local office. Please note there are exceptions to overtime rules under the SAG-AFTRA Low Budget theatrical agreements. Contact a business representative for further information on the Low Budget terms. 

 

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):

 

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.

 

Weekly Performers:

 

Schedule B (Performers guaranteed $6,200 or less per week)

 

Daily overtime is paid in 1/10th hourly units at double time beyond ten hours per day. Weekly overtime is paid in1/10th hourly units at time and one half for hours worked beyond forty four in a studio workweek or forty eight in an overnight location workweek. 

 

Schedule C (Performers guaranteed more than $6,200 per week)

 

Daily overtime is paid in 1/10th hourly units at double time beyond ten hours per day, figured on the maximum basis of $5,500.

 

Rest Periods (Forced Calls)

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

 

Daily Rest Periods for Day and Weekly Performers:

 

Studio Zone: 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*: The rest period may be reduced from 12 to 10 hours where exterior photography is required on such location, on the day before and the day after such reduced rest period. 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. 

 

*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 56 hour rest period may be reduced to a 54 hour rest period, provided the call time for the first day of the new workweek 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 

• Weekly Performers: One day’s pay or $950, whichever is less per violation 

 

Transportation and Location Expenses

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

 

Per Diem and Accommodations:

 

On overnight locations, in addition to lodging, 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 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:

 

When a performer is required to fly at the request of the Producer, all flights shall be business class when available and, if not available, first class.  However, coach class* air travel is acceptable in the following circumstances:

 

• For domestic flights that are less than 1,000 air miles when the flight is non-stop;

• For non-stop flights between LA and Vancouver;

• For non-stop flights that are less than 1,000 miles between the US and Vancouver or between the US and Toronto;

• If a substantial number of the company is being transported;

• If 6 or more performers travel together in the same class on the same flight; or

• For auditions and interviews.

 

*Producer must provide elevated coach class (e.g., Economy Plus, extended leg room, etc.) when available. Performers who travel by coach class shall be reimbursed by Producer for baggage fees and costs of in-flight meals provided performer submits receipts and request for reimbursement within 30 days after the flight.

 

Please note there are exceptions to transportation rules under the SAG-AFTRA Low Budget theatrical agreements. Contact a business representative for further information on the Low Budget terms.

 

Workweek

If you have a specific question about workweek or need further information, please contact a business representative at your SAG-AFTRA local office. Please note there are exceptions to sixth day premium rules under the SAG-AFTRA Low Budget theatrical agreements. Contact a business representative for further information on the Low Budget terms. 

 

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.

 

Premium rates are: 

 

• Time-and-one-half for the sixth day 

• Double time for the seventh day

 

The production workweek may be shifted (without penalty) by adding one or two days off consecutive with the sixth and/or seventh days off in the prior workweek. The workweek also may be shifted from a workweek commencing on a Tuesday to a workweek commencing on a Monday, provided that the intervening Sunday is a day off.

 

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. The six day workweek on an overnight location, whether worked or not, triggers an additional four hours of straight time salary payment for weekly performers, commonly referred to as a “location allowance.” 

 

Minors:

 

The Producer must comply with state child labor laws and provide schooling (as required by the Agreement) during the Producer’s workweek for the production. For minors residing in the state of California, a California licensed studio teacher must be present on set at all times.