Production Center Redesign

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Short Film Agreement
Step 0

The Short Film Agreement applies to those films with a total budget of less than $50,000 and a total run time of under 35 minutes.

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No
Student Film Agreement
Step 0

The Student Film Agreement applies to all student films.

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No
Music Video Agreement
Step 0

The Music Video Agreement defines a music video as an audiovisual product that contains as its underlying audio track a sound recording produced under the SAG-AFTRA Sound Recordings Code, and a visual element of the type traditionally produced for exhibition on cable television or made available for digital distribution via Internet streaming and/or download.

No
Television
Step 0

Producers who sign with SAG-AFTRA have access to the world's most talented and professional performers for their projects, but becoming signatory does require completing some paperwork.

 

Learn more about the process with a step-by-step guide. Chose your project:

 

TELEVISION

Live Action

BASIC CABLE

Live Action

TELEVISION

Animation

BASIC CABLE

Animation

Sign Online
No
Sound Recordings
Step 0

The SAG-AFTRA Sound Recordings Code covers sound recordings on digital, CDs, vinyl, etc., and includes all music formats as well as audiobooks, cast albums, and any other sound recording utilizing vocal performance. The Code not only covers singers, but announcers, actors, comedians, narrators, and sound effects artists as well.

No
Theatrical
Step 0

Producers who sign with SAG-AFTRA have access to the world's most talented and professional performers for their projects, but becoming signatory does require completing some paperwork.

 

Learn more about the process with a step-by-step guide. Chose your project:

 

THEATRICAL

 

MODIFIED LOW BUDGET

 

SHORT FILM*

 

LOW BUDGET ULTRA LOW BUDGET* STUDENT FILM*

 

*These producers can also

Sign Online
No
Commercials
Step 0

The Commercials Contracts cover advertising programs generally under three minutes in length and intended for use on television, foreign, theatrical, radio and new media.

Commercials Living Contracts
No
PRE-PRODUCTION
Step 1

Prior to auditions, prior to casting, prior to production, to use a SAG-AFTRA member in a commercial, there must be a SAG-AFTRA signatory attached to the project. The signatory could be an advertising agency or an advertiser. If a signatory is not already attached and you would like your company to become a signatory, complete a Preliminary Information Sheet.

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Yes
PRE-PRODUCTION
Step 1

The following 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).

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No
Who’s Covered?
Step 1

• All performers engaged in a music video are covered by the agreement, including actors, announcers, dancers, models, narrators, singers and stunt performers.

 

• Choreographers and assistant choreographers are covered for purposes of health and retirement contributions only.

 

• This agreement does not include background performers or instrumental musicians.

 

No
PRE-PRODUCTION
Step 1

The following 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).

Clip Board
No
PRE-PRODUCTION
Step 1

The following 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.

Business Rep
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No
ULTRA LOW BUDGET
Step 1

The Ultra Low Budget Agreement applies to those films with a total budget of less than $250,000.

 

Click the NEXT button for a signatory tutorial.

Sign Online
No
LOW BUDGET
Step 1

The Low Budget Agreement applies to those films with a total budget of less than $2,500,000.

Click the NEXT button for a signatory tutorial.

 

Casting Incentives

SAG-AFTRA offers two casting incentives to Modified Low Budget filmmakers that may increase the total production cost maximum.

  • Diversity-in-Casting Incentive
  • Background Performer Incentive
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No
NEW MEDIA
Step 1

The New Media Agreement covers original and derivative entertainment productions made for initial release on new media platforms.

 

Becoming a SAG-AFTRA Producer grants you access to the world’s most talented professional actors—and we’ve streamlined the New Media Agreement signatory process.

Sign Online
No
MODIFIED LOW BUDGET
Step 1

The Modified Low Budget Agreement applies to those films with a total budget of less than $700,000.

Business Rep
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No
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.

Business Rep
No
Sound Recordings
Step 1

The Code applies to artists who work at scale and overscale, and who appear as both royalty and non-royalty artists. In addition, some artists may be royalty artists for their own recordings, but qualify as non-royalty artists when they appear on other artists’ recordings.

 

No
PRE-PRODUCTION
Step 2

Required Documents

A SAG-AFTRA Business Representative will contact you and provide you with a packet of forms. Complete and return the following five documents from your packet:

 

1) Signatory Information Sheet
2) Corporate Resolution/Limited Liability Corporation/Limited Partnership Authorization
3) Credit Check

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Yes
PRE-PRODUCTION
Step 2

Start by completing the Preliminary Information Sheet.

Email the completed form to signTVProjects@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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Yes
PRE-PRODUCTION
Step 2

Prior to auditions, prior to casting, prior to production, to use a SAG-AFTRA member in a music video, a SAG-AFTRA signatory must be attached to the project. The signatory is generally the owner of the material being produced and will remain financially responsible for any future obligations under the Music Video Agreement. 

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Yes
PRE-PRODUCTION
Step 2

Start by completing the Preliminary Information Sheet.

 

Email the completed form to signTVProjects@sagaftra.org.

 

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

Business Rep
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Yes
PRE-PRODUCTION
Step 2

Email the completed form to signTVProjects@sagaftra.org.

 

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

Envelope
Yes
PRE-PRODUCTION
Step 2

The following 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).

Clip Board
No
PRE-PRODUCTION
Step 2

Required Documents

 

Please complete and submit the following documents at least three weeks prior to your first day of shooting:
1)    Preliminary Information Sheet
2)    Pre-Production Cast List
3)    Script/Treatment
4)    Budget (top sheet summary will suffice)

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Yes
MODIFIED LOW BUDGET
Step 2

Casting Incentives

 

SAG-AFTRA offers two casting incentives to Modified Low Budget filmmakers that may increase the total production cost maximum.

 

•    Diversity-in-Casting Incentive
•    Background Performer Incentive

Business Rep
No
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.

Business Rep
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No
PRE-PRODUCTION
Step 2

The following 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 for Ultra Low Budget Agreements.

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No
Sound Recordings
Step 2

 The Sound Recordings Code has been in existence since the early 1950s.Today, more than 600 companies are signed to it, including the three major labels: Sony Music Entertainment, Universal Music Group, Warner Music Group and most of their subsidiary labels.

No
PRE-PRODUCTION
Step 3

Email the completed form to the Commercials Department or fax to (212) 944-6774.

 

A SAG-AFTRA Business Representative will contact you within two business days to discuss your interest in becoming a signatory.

Envelope
Yes
PRE-PRODUCTION
Step 3

Required Documents

 

Complete and return the following five documents from your packet:
1)    Television Information Sheet
2)    Screen Actors Guild-American Federation of Television and Radio Artists Producers of Theatrical Motion Pictures
3)    Television Animation Agreement
4)    SAG-AFTRA-Producers Pension Plan Adherence Letters
5)    Television/Theatrical Production Checklist

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Yes
PRE-PRODUCTION
Step 3

If a record label is currently a signatory to the SAG-AFTRA Sound Recordings Code, they are also signed to the Music Video Agreement.

 

If the record label is not a signatory to the SAG-AFTRA Sound Recordings Code and you would like to apply to become a signatory on a One Production Only (OPO) basis, complete the Music Video Information Sheet.

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Yes
PRE-PRODUCTION
Step 3

Required Documents

 

Complete and return the following five documents from your packet:
1)    Television Information Sheet
2)    Screen Actors Guild-American Federation of Television and Radio Artists Producers of Theatrical Motion Pictures
3)    Television Live Action Agreement
4)    SAG-AFTRA-Producers Pension Plan Adherence Letters
5)    Television/Theatrical Production Checklist

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Yes
PRE-PRODUCTION
Step 3

Required Documents

 

Complete and return the following five documents from your packet:
1)    Basic Cable Information Sheet
2)    Screen Actors Guild-American Federation of Television and Radio Artists Producers of Theatrical Motion Pictures
3)    Basic Cable Animation Agreement
4)    SAG-AFTRA-Producers Pension Plan Adherence Letters
5)    Television/Theatrical Production Checklist

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Yes
Prior to Session
Step 3

Prior to hiring SAG-AFTRA members, there must be a SAG-AFTRA signatory attached to the project. The signatory is generally the owner of the material being produced and will remain financially responsible for any future obligations under the Sound Recordings Code. 

 

If the company is currently signed to the Sound Recordings Code, please note that all vocal sessions are covered under this agreement. If you aren’t sure if the company is signatory, please call the Sound Recordings Department at (323) 634-8150 to verify.

 

If you would like to apply to become a signatory, complete the Sound Recordings Information Sheet.

 

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Yes
PRE-PRODUCTION
Step 3

The following 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).

 

Email the completed form to signyourpicture@sagaftra.org.

 

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

Envelope
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Yes
PRE-PRODUCTION
Step 3

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

5)  Employer Verification
Individual Provide a copy of your I.D., and your Fictitious Business Name Statement (if applicable)
Corporation  Provide your Articles of Incorporation
Limited Liability Corporations (LLC) Provide your Articles of Organization, LLC Operating Agreement
Partnership or Joint Venture Provide your Fictitious Business Name Statement (if applicable) and Partnership Agreement (if applicable).

Envelope
Yes
PRE-PRODUCTION
Step 3

Required Documents

 

Complete and return the following documents from your packet:
1)    Company Authorization Letter form
2)    Theatrical Information Sheet
3)    Theatrical Distribution Checklist
4)    SAG-AFTRA Agreement for Independent Producers of Theatrical Motion Pictures
5)    Low Budget Agreement
6)    SAG-AFTRA-Producers Pension and Health Adherence Letters
7)    Television/Theatrical Production Checklist

Download Bar
Yes
PRE-PRODUCTION
Step 3

The following 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).

Clip Board
No
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

Clip Board
Download Bar
Yes
PRE-PRODUCTION
Step 3

Email the completed form to signyourpicture@sagaftra.org.

 

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

 

Envelope
No
PRE-PRODUCTION
Step 4

Required Documents

 

Complete and return the following documents from your packet:
1)    Company Authorization Letter form
2)    Theatrical Information Sheet
3)    SAG-AFTRA Agreement for Independent Producers of Theatrical Motion Pictures
4)    Ultra Low Budget Agreement
5)    SAG-AFTRA-Producers Pension and Health Adherence Letters

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Yes
PRE-PRODUCTION
Step 4

Once your SAG-AFTRA Business Representative has reviewed your documents and you have signed the Letter of Adherence, you may begin the audition and hiring process. At auditions, an Exhibit E Sign-In Form must be made available and returned to the Commercials Department within 15 business days of the audition date.

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Yes
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
Limited Liability Corporations (LLC) – Provide your Articles of Organization, LLC Operating Agreement
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.

Clip Board
Yes
PRE-PRODUCTION
Step 4

The Information Sheet will be reviewed and you will be contacted by a SAG-AFTRA business representative.. If approved, we will provide you with the Music Video Agreement to sign. Please note the Music Video Agreement is a one-production only agreement and must be signed per project. 

Business Rep
Yes
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
Limited Liability Corporations (LLC) – Provide your Articles of Organization, LLC Operating Agreement
Partnership or Joint Venture – Provide your Fictitious Business Name Statement (if applicable) and Partnership Agreement (if applicable).

Business Rep
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Yes
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
Limited Liability Corporations (LLC) – Provide your Articles of Organization, LLC Operating Agreement
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.

Yes
PRE-PRODUCTION
Step 4

Once you have downloaded, completed and compiled these five items, email all documents to:

 

SignNMProjects@sagaftra.org

Envelope
Yes
Prior to Session
Step 4

The Information Sheet will be reviewed and you will be contacted by a SAG-AFTRA Business Representative. If approved, we will provide you with the Letter of Adherence (LOA) to sign.

Business Rep
Yes
PRE-PRODUCTION
Step 4

Start by completing the Preliminary Information Sheet for Modified Low Budget Agreements.

Clip Board
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Yes
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.

Yes
PRE-PRODUCTION
Step 5

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

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).

Business Rep
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Yes
PRE-PRODUCTION
Step 5

Upon hiring your cast, you must clear your cast with SAG-AFTRA to verify that the performers you have hired are in good standing. This is referred to as the Cast Clearance (or Station 12) process.

Yes
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
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Yes
PRODUCTION
Step 5

Be sure to collect each performer’s W-4 and complete the Production Report so payment can be made in a timely manner to avoid late fees. 

Yes
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 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
Download Bar
Yes
Pre-Production Cast List
Step 5

Required Documents (cont.)
Also complete and submit documentation that indicates who is employing the actors:

 

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

Business Rep
Yes
PRE-PRODUCTION
Step 5

A SAG-AFTRA Business Representative will contact you within 2-3 business days to let you know if your production qualifies for coverage under the New Media Agreement, and to explain the next steps to becoming a SAG-AFTRA Producer.

Business Rep
Sign Online
Yes
During the Session
Step 5

Keep track of overdubs and hours, as performers are paid per side (overdub) or per hour, depending on whichever is greater. 

Be sure to collect each performer’s W-4 and I-9 forms and Session Report and provide those to your payroll company to ensure payment is made on time to avoid late fees being assessed.

 

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Yes
Frequently Asked Questions
Step 5

Do you have questions regarding what type of programs qualify for the New Media Agreement? Curious about what type of content falls under New Media’s jurisdiction? Unsure of insurance requirements? Check out the New Media FAQs for answers to commonly asked questions. Have a question not addressed in the FAQs? Give us a call at (323) 549-6446.

 

No
PRE-PRODUCTION
Step 5

If your production qualifies, your SAG-AFTRA Business Representative will provide you with all required signatory documents for you to sign and return. 

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Yes
PRE-PRODUCTION
Step 5

Email the completed form to signyourpicture@sagaftra.org.

 

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

Envelope
Yes
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.

Yes
PRE-PRODUCTION
Step 6

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

 

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

Business Rep
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Yes
PRODUCTION
Step 6

Working With Non-SAG-AFTRA Members

 

If any of the cast are not yet SAG-AFTRA members, you should submit the applicable Taft-Hartley Report, along with a head shot and resume, to the Commercials Department within 15 days after their work date.

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Yes
PRODUCTION
Step 6

On the actual shoot day(s), an on or off-camera principal performer is given an Exhibit A-1 Employment Contract and an extra is given an Exhibit A-2 Employment Contract. This contract contains information on hours of work, hours for fitting, pay rate, overtime, use type (seasonal, non-air demo, cable-only, etc.), and any special provisions that apply.

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Yes
POST-PRODUCTION
Step 6

Payments must be made to performers within 30 calendar days. The pension and health payment, along with a copy of the Production Report, must be mailed to the L.A. Sound Recordings Dept. 

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Yes
PRE-PRODUCTION
Step 6

When all of the outlined 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 Station 12 clearance process.

Business Rep
Yes
New Media Monthly Workshop
Step 6

SAG-AFTRA offers a monthly New Media workshop in Los Angeles to give producers an in-depth look into the signatory process and answer all production questions you may have. Workshops are generally held on the 3rd Tuesday of every month. For upcoming dates and to RSVP, please visit the Los Angeles Local events page

Yes
PRE-PRODUCTION
Step 6

When all of the outlined 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 Station 12 clearance process.

Clip Board
Yes
PRE-PRODUCTION
Step 6

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

 

1)    Complete Pre-Production Cast List; if you intend to use the Diversity-in-Casting Incentive, use the Pre-Production Cast List Diversity form.
2)    A copy of the shooting script
3)    Day Out of Days
4)    Line Item Budget

Business Rep
Yes
After the Session
Step 6

Payments must be made within 21 calendar days. Please send all talent checks (issued to each performer with proper tax deductions) as well as the health and retirement payment (issued to the AFTRA Retirement Fund) directly to the local office nearest where the work was performed.

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Yes
PRE-PRODUCTION
Step 6

Required Documents

 

Complete and return the following documents from your packet:
1)    Company Authorization Letter form
2)    Theatrical Information Sheet
3)    Theatrical Distribution Checklist
4)    SAG-AFTRA Agreement for Independent Producers of Theatrical Motion Pictures
5)    Modified Low Budget Agreement
6)    SAG-AFTRA-Producers Pension and Health Adherence Letters
7)    Television/Theatrical Production Checklist

Download Bar
Yes
PRE-PRODUCTION
Step 7

Required Documents (cont.)
Also complete and submit documentation that indicates who is employing the actors:

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).

Clip Board
Yes
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.

Yes
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 the amount of the security deposit, which you must deliver to the union as follows:
1)    Security Deposit (cashier’s check or wire transfer)
2)    Security Deposit letter
3)    W-9 form
Complete the fillable areas completely.

When all of these requirements are fulfilled, your Business Representative will give your production “clearance,” which will allow the performers you have cast to begin work.

Business Rep
Sign Online
Yes
PRE-PRODUCTION
Step 7

When all of the outlined 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 Station 12 clearance process.

Business Rep
Yes
POST-PRODUCTION
Step 7

Payment must be made to the performer within 15 business days of the session. The Pension & Health payment is made directly to the SAG -Producers Pension Plan in Burbank, CA. Specific information regarding this payment can be found on the Pension & Health Reporting Form.

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Yes
And that’s it!
Step 7

If you have questions throughout any of the signatory process, please contact your SAG-AFTRA Business Representative at (323) 634-8150.

 

Thank you for working with SAG-AFTRA.

 

Business Rep
No
PRODUCTION
Step 7

During production, complete and submit to your SAG-AFTRA Business Representative Performer Contracts for Television Motion Pictures and, for each day of production, Production Time Report Forms (Exhibit G).

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No
PRODUCTION
Step 7

During production, complete and submit to your SAG-AFTRA Business Representative Performer Contracts for Television Motion Pictures and, for each day of production, Production Time Report Forms (Exhibit G).

 

 

Business Rep
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Yes
PRE-PRODUCTION
Step 7

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)
•    Agreements for all assignments 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.

Business Rep
Yes
And that’s it!
Step 7

If you have questions throughout any of the signatory process, please contact your SAG-AFTRA Business Representative at (323) 634-8150.

Thank you for working with SAG-AFTRA.

 

No
PRE-PRODUCTION
Step 8

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

 

1)    Complete Pre-Production Cast List; if you intend to use the Diversity-in-Casting Incentive, use the Pre-Production Cast List Diversity form.
2)    A copy of the shooting script
3)    Day Out of Days
4)    Line Item Budget

Business Rep
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Yes
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.

Business Rep
Yes
PRODUCTION
Step 8

Required Documents
During production, complete and submit the following to your SAG-AFTRA Business Representative:
1)    Delivery of each week’s payroll checks to the Union: Itemized checks made payable to each performer must be delivered to your Business Representative no later than the Thursday following each payroll week.
2)    Delivery of each week’s total Pension and Health contributions: In addition to the payroll checks, you must deliver a check made payable to the SAG-AFTRA-Producers Pension Plan in the amount of the total Pension and Health contributions for the previous week’s payroll, accompanied by a completed Pension and Health Plans Theatrical Weekly Report of Contributions

Yes
PRODUCTION
Step 8

During production, complete and submit to your SAG-AFTRA Business Representative Performer Contracts for Television Motion Pictures and, for each day of production, Production Time Report Forms (Exhibit G).

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No
And that’s it!
Step 8

At any point, please feel free to contact the Commercials Department with questions. We are here to assist you in ensuring that your experience with producing under the SAG-AFTRA Commercials Contract is a smooth and easy process.

 

Thank you for working with SAG-AFTRA.

No
PRODUCTION
Step 8

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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No
PRODUCTION
Step 8

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.

Clip Board
Download Bar
Yes
PRE-PRODUCTION
Step 8

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.

Yes
PRE-PRODUCTION
Step 9

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.

Business Rep
Download Bar
Yes
PRE-PRODUCTION
Step 9

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.

No
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.

Clip Board
Yes
PRODUCTION
Step 9

Required Documents (cont’d)
3)    SAG-AFTRA Performer Contracts for Ultra Low Budget Theatrical Motion Pictures
4)    Complete a Production Time Report Form (Exhibit G) for each day of production. 

Clip Board
Download Bar
Yes
PRODUCTION
Step 9

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.

Clip Board
Download Bar
No
POST-PRODUCTION
Step 9

After production, complete and submit the following to your SAG-AFTRA Business Representative:

 

1)    Final Cast List
2)    Casting Data Report Forms

Clip Board
Download Bar
Yes
POST-PRODUCTION
Step 9

After production, complete and submit the following to your SAG-AFTRA Business Representative:

 

1)    Final Cast List
2)    Casting Data Report Forms

Clip Board
Download Bar
Yes
And that’s it!
Step 10

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!

Business Rep
Yes
PRODUCTION
Step 10

Required Documents

 

During production, complete and submit the following to your SAG-AFTRA Business Representative:
1)    Delivery of each week’s payroll checks to the Union: Itemized checks made payable to each performer must be delivered to your Business Representative no later than the Thursday following each payroll week.
2)    Delivery of each week’s total Pension and Health contributions: In addition to the payroll checks, you must deliver a check made payable to the SAG-AFTRA-Producers Pension Plan in the amount of the total Pension and Health contributions for the previous week’s payroll, accompanied by a completed Pension and Health Plans Theatrical Weekly Report of Contributions

No
PRE-PRODUCTION
Step 10

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)

Business Rep
Download Bar
Yes
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.

Clip Board
Download Bar
Yes
POST-PRODUCTION
Step 10

After production, complete and submit the following to your SAG-AFTRA Business Representative:

 

1)    Final Cast List
2)    Detailed Final Cost Report

Clip Board
No
PRODUCTION
Step 10

After production, complete and submit the following to your SAG-AFTRA Business Representative:

 

1)    Final Cast List
2)    Casting Data Report Forms

Clip Board
Download Bar
No
And that’s it!
Step 10

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!

Business Rep
No
PRODUCTION
Step 11

Required Documents (cont’d)

 

3)    SAG-AFTRA Performer Contracts for Low Budget Theatrical Motion Pictures
4)    Complete a Production Time Report Form (Exhibit G) for each day of production. 

Clip Board
Yes
PRE-PRODUCTION
Step 11

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.

 

Complete the fillable areas completely (it is important that you do not leave any areas blank).

Download Bar
Yes
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

Clip Board
Download Bar
Yes
POST-PRODUCTION
Step 11

And that’s it!

 

If you have any questions throughout the process, please contact your SAG-AFTRA Business Representative.

 

Thank you for working with SAG-AFTRA.

Business Rep
Sign Online
No
And that’s it!
Step 11

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!

Business Rep
No
Working With Non-SAG-AFTRA Members
Step 12

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.

Download Bar
No
PRE-PRODUCTION
Step 12

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.

Business Rep
Yes
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!

Business Rep
No
POST-PRODUCTION
Step 13

After production, complete and submit the following to your SAG-AFTRA Business Representative:

 

1)    Final Cast List
2)    Casting Data Report Forms
3)    Detailed Final Cost Report

Clip Board
Download Bar
No
PRODUCTION
Step 13

Required Documents
During production, complete and submit the following to your SAG-AFTRA Business Representative:
1)    Delivery of each week’s payroll checks to the Union: Itemized checks made payable to each performer must be delivered to your Business Representative no later than the Thursday following each payroll week.
2)    Delivery of each week’s total Pension and Health contributions: In addition to the payroll checks, you must deliver a check made payable to the SAG-AFTRA-Producers Pension Plan in the amount of the total Pension and Health contributions for the previous week’s payroll, accompanied by a completed Pension and Health Plans Theatrical Weekly Report of Contributions

Business Rep
No
And that’s it!
Step 14

If you have any questions throughout the process, please contact your SAG-AFTRA Business Representative.

 

Thank you for working with SAG-AFTRA.

Business Rep
No
PRODUCTION
Step 14

Required Documents (cont’d)

 

3)    SAG-AFTRA Performer Contracts for Modified Low Budget Theatrical Motion Pictures
4)    Complete a Production Time Report Form (Exhibit G) for each day of production. 

Clip Board
Download Bar
No
PRODUCTION
Step 15

Working With Non-SAG-AFTRA 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.

Business Rep
Yes
POST-PRODUCTION
Step 16

After production, complete and submit the following to your SAG-AFTRA Business Representative:

 

1)    Final Cast List
2)    Casting Data Report Forms
3)    Detailed Final Cost Report

Clip Board
No
And that’s it!
Step 16

If you have any questions throughout the process, please contact your SAG-AFTRA Business Representative.

 

Thank you for working with SAG-AFTRA.

Business Rep
No
What if I am producing multiple Internet/New Media commercials and my total budget exceeds $50,000?

The $50,000 budget is per commercial.

Example 1: A Producer is shooting two (2) Internet commercials over the course of two (2) days with a total budget of $100,000. The production would qualify for the waiver because the cost per commercial is within the $50,000 budget.

Example 2: A Producer is shooting five (5) New Media commercials in one day with a total budget of $150,000. The production would qualify for the waiver because the cost per commercial is within the $50,000 budget.

Example 3: A Producer is shooting a TV commercial and an Internet commercial, with a total budget of $300,000. If, using commercially reasonable efforts, the Producer can determine that $50,000 of the total budget is attributable to the Internet commercial, the waiver would apply with respect to the Internet commercial only.

Are background performers covered under the Co-Ed Contract?

Yes. Signatory producers must issue SAG-AFTRA employment contracts and pay not less than the minimum fees to the first 10 background performers.

Are Infomercials covered by a SAG-AFTRA contract?

Yes. Please check with the Union to ensure the company is signed to the Infomercial Agreement before working in the production.

Are performers paid use fees?

There is potential for supplemental use fees. Please contact your local SAG-AFTRA office for specifics.

Are Producers required to have insurance under the basic New Media Agreement?

Yes. Per the Agreement, the Producer shall obtain and keep in force during the term of employment of any performer a policy of comprehensive public liability insurance insuring the performer(s) against any liability arising out of the performance by the performer in the course and scope of their employment.

 

As always, Workers Compensation Insurance is a state requirement for employers.  Please ensure to abide by all state rules/requirements and note the producer is responsible should any accidents occur on set. 

Are public service announcements (PSA’s) covered by a SAG-AFTRA contract?

Yes, members may not work in a PSA unless the company is signatory to the Commercials Contract.  If the union has approved the commercial as a PSA, the session fee and Pension & Health contributions must be paid.  However, residuals are waived for a one-year period as long as the performer agrees to such terms. Use for each additional one-year period requires the written consent of both the performers and the union. For these extensions, the performer may (but is not required to) waive additional payment. The producer may not request a use period longer than one year at the time of the original session.

Are residuals applicable under the basic New Media Agreement?

Residuals will be due for use in new media only if an original, made for new media program’s final total cost, as exhibited, is $25,000 or more per minute and it is exhibited on a consumer-pay-platform beyond 26 weeks.

 

For information on derivative new media programs and for new media programs moving from a new media platform to traditional media (television, theatrical, DVD, etc.), please contact the Residual Claims Department at (323) 549-6507.

Are session and residual checks for members sent to the Union?

Normally, session and residual checks are sent to the performer directly, or to whomever the performer has designated on the employment contract (such as to his/her agent).  However, checks for Spanish and Asian language commercials, as well as for claims that have been filed, are sent directly to the Union, and in turn, are forwarded to the performer.  

Are songs recorded for TV programs, theatrical films, commercials, and video games covered by Sound Recordings?

No. Songs/music for each of these areas are covered by the respective contract in those areas. Sound Recordings only covers songs produced specifically to be released as records.

Are there any differences between Spanish language and English language commercials in how Internet and New Media residuals are calculated?

No, for Spanish language commercials exhibited on the Internet and New Media, the residual payments are identical to English language commercials (see above).

Are there any differences between Spanish language and English language commercials in regards to the minimum session fees or working conditions?

No, the minimum session fees and all working conditions for Spanish language commercials are exactly the same as English language commercials. All provisions of the contract apply. In addition, if the producer wishes to also hold the Spanish language performer exclusive to the advertised product in the English language market, an additional 50% of session and use is paid to the performer.

Can a producer require the performer to accept a “clean contract” as a condition of auditioning for a commercial?

No. Performers cannot be required to accept minimum fees as a condition of auditioning.  A producer is permitted to state the company’s intent to offer a performer the minimum fees; however the producer is obligated to advise the performer at the same time of his/her right to negotiate for better terms and conditions. 

Can I pay the performers directly?

No, it is a violation of the Sound Recordings Code for performers to be paid directly. To ensure proper payment, the checks are sent to the Local nearest to where the work was performed.

Can SAG-AFTRA members work on New Media productions?

Yes, provided the Producer is signatory to the applicable SAG-AFTRA New Media Agreement. 

 

Please note any SAG-AFTRA member cast should be in Good Standing with the Union prior to rendering services.  Performer status is obtained by completing a Cast Clearance Report for each performer 24-48 hours prior to the start of production.

 

For more information on the Cast Clearance process, please visit: http://www.sagaftra.org/production-center/station12

Can the Low Budget Digital Waiver be used for audio commercials?

No, the waiver only applies to the SAG-AFTRA Commercials Contract.

Can the Low Budget Digital Waiver be used for television commercials?

No, the waiver is only for commercials made for Internet and/or New Media.

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.

 

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

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.

 

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

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.

 

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

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.

 

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

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.

 

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

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.

 

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.

 

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.

 

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.

 

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.

 

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.

 

Didn’t this contract used to be called the Industrial Contract?

Yes, it was called the Industrial Contract but in the 2011 negotiations the name was changed to better represent
what this contract offers. It is now called the Corporate/Educational & Non-Broadcast Contract, which we have
shortened for ease of use to “Co-Ed.”

Do I have to take out taxes?

Yes, employers collect W-4s on the set to ensure that all proper tax deductions as required by law are made on all union wages.

Do I need to take out taxes from the performers’ paychecks?

Yes, employers collect W-4s at the session to ensure that all proper tax deductions as required by law are made on all union wages. 

Do performers get paid for auditions?

• 1st and 2nd Auditions:  No payment is due for the first hour from the call time or arrival time, whichever is later. For each additional half-hour, a performer is entitled to $42.00.

 

• 3rd Audition:  No payment is due for the first 2 hours as long as 3 or fewer performers are called back per role, and none of those performers is on their first audition. Otherwise, a performer is entitled to $167.94 for the first 2 hours. For each additional half-hour over 2 hours, $42.00 is due.

 

• 4th Audition & thereafter:  No payment is due for the first 2 hours as long as 3 or fewer performers are called back per role, and none of those performers is on their first audition. (For each additional half-hour, $42.00 is due.) Otherwise, a performer is entitled to $335.87 for the first 4 hours. For each additional half-hour, $42.00 is due.

 

• Remember to use your SAG-AFTRA member ID number, not your Social Security number, to prevent identify theft and to sign in and out. If you are entitled to audition overtime and do not receive a check within 15 business days, contact the SAG-AFTRA office so that a claim can be filed.  Do not use “on file” on the audition sign-in sheets. Please be aware that if you do not put down an ID #, you may not be paid. Additionally, Pension and Health contributions are made on audition payments – yet another reason to make sure you are properly compensated.

 

Does a principal performer continue to receive residuals if he/she is edited out of the commercial?

Downgrade.  A principal performer is entitled to residuals and may not be downgraded as long as his/her face appears in the commercial.  If his/her face does not appear but his/her performance otherwise remains, the performer must be notified of a downgrade and paid a downgrade fee. A downgrade fee is not less than a session fee. Thereafter, the performer will not receive residual payments.

 

Outgrade. If a principal performer’s photography or soundtrack is completely edited out of the final version of the commercial, the performer must be notified of the outgrade.  The notification must be made within 60 days after the completion of employment but in no event later than 15 business days after the first use of the commercial.  No additional fees or residuals are paid to an outgraded performer.

Does SAG-AFTRA monitor the payments for Spanish language commercials?

Yes, all checks for Spanish language commercials are sent to the Union for verification before distribution to the performers. That way, Union can file claims for late or improper pay immediately.

Does SAG-AFTRA offer workshops regarding new media productions?

Yes, SAG-AFTRA offers informational workshops on a monthly basis in order to inform producers on how to navigate the signatory process and provide answers to all of your production questions.

 

For more information on the monthly workshop and other events, please visit: www.sagaftra.org/locals/los-angeles/local-events

 

Still have questions regarding New Media?  Give us a call or email us anytime!

(323) 549-6446

NewMedia@sagaftra.org

Does the Sound Recordings Department collect and/or receive the Royalty Artist's royalties from their record label?10. Does the Sound Recordings Department collect and/or receive the Royalty Artist's royalties from their record label?

No.  Though record labels report royalty earnings to us for AFTRA H&R purposes, artist royalties are paid directly to the artist by their record label. However, we can assist an artist with obtaining copies of their royalty statements or other information from the label when necessary.

Does the Sound Recordings Department cover instrumental musicians?

No. Instrumental musicians are covered by the American Federation of Musicians (AFM). Vocalists/singers are covered by SAG-AFTRA.

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.

 

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

 

• 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 preceding such commencement date if the call for work has only been verbal and none of the binding conditions have occurred. “On or about” start dates are not permitted for day performers.

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.

 

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

 

• 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 preceding such commencement date if the call for work has only been verbal and none of the binding conditions have occurred. “On or about” start dates are not permitted for day performers.

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.

 

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

 

• 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 preceding such commencement date if the call for work has only been verbal and none of the binding conditions have occurred. “On or about” start dates are not permitted for day performers.

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.

 

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

 

• 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 preceding such commencement date if the call for work has only been verbal and none of the binding conditions have occurred. “On or about” start dates are not permitted for day performers.

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.

 

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

 

• 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 preceding such commencement date if the call for work has only been verbal and none of the binding conditions have occurred. “On or about” start dates are not permitted for day performers.

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

 

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

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

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

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

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. 

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. 

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. 

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. 

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. 

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. 

Favored Nations

Means that you are getting equal contractual treatment to others on the project – billing, accommodations, and any other contractual provision.

Favored Nations

Means that you are getting equal contractual treatment to others on the project – billing, accommodations, and any other contractual provision.

Favored Nations

Means that you are getting equal contractual treatment to others on the project – billing, accommodations, and any other contractual provision.

Favored Nations

Means that you are getting equal contractual treatment to others on the project – billing, accommodations, and any other contractual provision.

Favored Nations

Means that you are getting equal contractual treatment to others on the project – billing, accommodations, and any other contractual provision.

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) $17.00

 

All other wardrobe (per outfit, per week) $11.50

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. 

 

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.

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.

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.

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.

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.

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) $17.00

 

All other wardrobe (per outfit, per week) $11.50

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) $17.00

 

All other wardrobe (per outfit, per week) $11.50

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) $17.00

 

All other wardrobe (per outfit, per week) $11.50

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) $17.00

 

All other wardrobe (per outfit, per week) $11.50

How are performers paid when the producer makes a Spanish language commercial from an English language commercial?

If the commercial is filmed twice, performers receive two separate session fees and the commercials are considered separate spots for residual purposes. If the commercial is only filmed once and then the voice-over changes, the on-camera performers receive one session fee and one set of residuals.

How do I become Signatory to the SAG-AFTRA New Media Agreement?

If your project meets the above requirements, the first step to becoming a Signatory is to submit initial information regarding your project to SAG-AFTRA for review at least 3 weeks prior to the start of production. You may either complete an online application at osa.sagaftra.org, or you may complete and submit a preliminary project sheet via email.

How do I know if the music video is union?

Do not rely on casting notices or verbal statements. Always call the union to verify.

How does a performer ensure he/she is paid their negotiated rate?

Have the company put it in writing. Indicate your role and list the negotiated rate for the agreed upon amount of hours worked, including any additional fees. However, do not include the Use Fee in the negotiated rate.

How does a production qualify for coverage under the SAG-AFTRA New Media Agreement?

The New Media Agreement covers Original and Derivative dramatic and non-dramatic entertainment productions intended for initial exhibition on a new media platform.  For a production to qualify for coverage under the New Media Agreement, it must:

 

• Be intended for initial exhibition via the Internet, mobile device or any other New Media platform now known or hereinafter devised;

• Have at least one qualified SAG-AFTRA member cast at the time the signatory application is submitted who is cast in a sufficient role essential to the story line;

• Be submitted at least 3 weeks prior to the start of principal photography;

• Include content that is intended solely for entertainment purposes, which does not in any way promote a product, service or call to action (i.e. a commercial or PSA).

 

For example, the New Media Agreement excludes:

• Motion pictures made for an initial theatrical release (including film festivals);

• Programs made for an initial television or DVD release;

• Video games or any other program that would be covered under the Interactive Agreement;

• Commercials, PSA’s or “How-To” videos;

• Any type of production or medium otherwise covered by any other SAG, AFTRA, or SAG-AFTRA agreement.

How is foreign use paid on a Spanish language commercial?

For use in South America and/or Central America and/or Mexico, 4 session fees are due. For use in the Caribbean, 3 session fees are due. If the producer elects to exhibit the commercial in any country in South America, Central America and/or Mexico IN ADDITION TO any country in the Caribbean, a total of 4 session fees are due. For use in countries outside of those listed, the residual payments would be the same as an English language commercial (UK: 3 session fees; Europe: 2 session fees; Japan: 1 session fee; Asian-Pacific countries: 2 session fee; and anywhere else: 1 session fee). For use throughout the entire world, 9 session fees are due. Session and holding fees cannot be credited against foreign use.

How is overtime paid on a commercial?

After 8 hours of work, the 9th and 10th hours are paid at time-and-one-half and all hours after that are paid at double time in hourly units. All hours worked on Saturdays, Sundays or holidays are paid at double time. All overtime for an extra performer is based on the maximum pay the extra performer is receiving on that particular day, i.e., additional compensation for wet, snow, smoke or dust work is added to the daily rate and overtime is based on that new rate.

How is overtime paid?

A principal performer receives time-and-one-half for the ninth and tenth hours and double time thereafter, in hourly units. Principal performers receiving more than two times the session fee per commercial per day receive time-and-one-half instead of double time after the tenth hour.

How long can the producer use a Co-Ed program?

Category II programs have a term length of 3 years from the date of production. Category I programs can be used indefinitely.

How long is a performer “held” to a commercial?

The “maximum period of use” of a commercial is 21 months (a total of seven 13-week holding fee cycles). Provided the producer continues to make timely holding fee payments, the performer is held exclusive to the product for the 21-month period. If the performer (or his/her representative) does not send a timely renegotiation letter, the producer can extend the maximum period of use for an additional 21 months at the same rates as for the original 21 months. 

If a commercial produced under the Low Budget Digital Waiver airs beyond the 1-year-use-period on a site other than a social media platform, is Producer required to negotiate with the performers for this use?

Yes.

If performers are asked to translate the script at a session or an audition, do they get paid more?

Yes, an additional 50% of session is paid to any performer asked to provide translation services.

In the event of unanticipated budget overages do we lose the Low Budget Ditial Waiver?

No. From time-to-time unforeseen circumstances will have an adverse impact on the budget, and the Producer should not be penalized for these unforeseen circumstances. Examples of such unforeseen circumstances include your typical acts of Force Majeure (such as weather, illness, acts of God, and injury).

Interviews

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

Interviews

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

Interviews

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

Interviews

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

Interviews

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

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.

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.

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.

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.

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.

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.

Is Producer required to get permission from the union in advance before using the Low Budget Digital Waiver or provide a final edit to the union for review?

No advance approval is required. Go produce! And it is not necessary to send in a copy of the commercial, although the union may request one if a claim is filed.

Is the producer obligated to send a notice releasing a performer from the commercial?

The producer is not obligated to send a notice releasing a performer from the commercial.  If a performer does not receive a holding fee for a new 13-week cycle, the performer has been released from the commercial. 

Is there a section on the employment contract to indicate working in smoke?

Yes.  The employment contract contains a check-off box indicating work in smoke.  Additionally, the producer must provide each performer with a Material Specification Data Sheet (MSDS) no later than the first day of employment when work in smoke is required.  An extra performer is entitled to additional compensation in the amount of $50.24 per day for work in smoke, wet, snow or dust (or any combination of these conditions).

I’m a SAG-AFTRA member. Some of my other SAG-AFTRA friends and I create original short scripted videos for YouTube just for fun. Do we still need to become signatory?

Yes, because this falls under SAG-AFTRA’s jurisdiction. You must become signatory as you and your fellow performers must be covered and protected by the provisions of a SAG-AFTRA agreement in order to be in compliance with Global Rule 1. 

 

For more information on Global Rule 1, please click visit: www.sagaftra.org/production-center/globalruleone

May I defer payment for my performers? What exactly is a deferral?

You are able to defer payment to your performers under the SAG-AFTRA New Media Agreement if your performers agree to the deferral. A deferral in payments means that you agree to make X payment when Y happens.

 

Example: A producer agrees to pay all principal performers $100 per day of work performed if and when the production receives DVD distribution and after the producer recoups production costs of $5,000. When deferring payment to the performer, P&H or H&R will also be deferred until the performers’ payment is triggered.

May I distribute my SAG-AFTRA covered new media production beyond new media? (e.g., television, release on DVD, etc.)

You may distribute your covered new media production beyond new media, after the initial new media release, without the prior consent of your performers or an upgrade in payment; however, residuals will be paid for the use of Made for New Media productions in traditional media based on the appropriate existing SAG, AFTRA or SAG-AFTRA Agreement formulas.

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 provisions for meal periods are the same for all performers.

 

Please note that, for the purpose of synchronizing performers’ 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 each meal period.

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 per performer

For the second half-hour: $35 per performer

For each half-hour thereafter: $50 per performer

 

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 provisions for meal periods are the same for all performers.

 

Please note that, for the purpose of synchronizing performers’ 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 each meal period.

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 per performer

For the second half-hour: $35 per performer

For each half-hour thereafter: $50 per performer

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 provisions for meal periods are the same for all performers.

 

Please note that, for the purpose of synchronizing performers’ 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 each meal period.

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 per performer

For the second half-hour: $35 per performer

For each half-hour thereafter: $50 per performer

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 provisions for meal periods are the same for all performers.

 

Please note that, for the purpose of synchronizing performers’ 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 each meal period.

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 per performer

For the second half-hour: $35 per performer

For each half-hour thereafter: $50 per performer

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 provisions for meal periods are the same for all performers.

 

Please note that, for the purpose of synchronizing performers’ 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 each meal period.

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 per performer

For the second half-hour: $35 per performer

For each half-hour thereafter: $50 per performer

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.

 

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.

 

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.

 

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.

 

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.

 

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 within the Studio Zone:

 

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.

 

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.

 

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 within the Studio Zone:

 

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.

 

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.

 

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 within the Studio Zone:

 

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.

 

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.

 

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 within the Studio Zone:

 

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.

 

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.

 

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 within the Studio Zone:

 

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.

 

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.

 

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.

 

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.

 

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.

 

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.

 

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.

 

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.

 

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: $3,000

 

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

 

Overtime

If you have a specific question about overtime or need further information, please contact a business representative at your SAG-AFTRA local 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: $3,000

 

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

 

Overtime

If you have a specific question about overtime or need further information, please contact a business representative at your SAG-AFTRA local 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: $3,000

 

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

 

Overtime

If you have a specific question about overtime or need further information, please contact a business representative at your SAG-AFTRA local 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: $3,000

 

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

 

Overtime

If you have a specific question about overtime or need further information, please contact a business representative at your SAG-AFTRA local 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: $3,000

 

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

 

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.

 

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.

 

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.

 

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.

 

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.

 

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, 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 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.

• 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 56 hour rest period may be reduced to 54 hours 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

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

 

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, 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 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.

• 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 56 hour rest period may be reduced to 54 hours 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

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

 

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, 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 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.

• 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 56 hour rest period may be reduced to 54 hours 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

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

 

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, 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 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.

• 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 56 hour rest period may be reduced to 54 hours 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

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

 

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, 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 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.

• 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 56 hour rest period may be reduced to 54 hours 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

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

 

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 

 

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 

 

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 

 

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 

 

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 

 

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 

 

Should producers use the SAG-AFTRA Commercials Contract standard employment agreement (i.e., A-1 or A-2)?

Yes, please continue to use the standard A-1 and A-2s for production and note the negotiated fees in the Special Provisions portion of the form.

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 Diems and Accommodations:

 

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.  There is a major exception to this rule.  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.

 

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 Diems and Accommodations:

 

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.  There is a major exception to this rule.  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.

 

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 Diems and Accommodations:

 

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.  There is a major exception to this rule.  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.

 

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 Diems and Accommodations:

 

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.  There is a major exception to this rule.  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.

 

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 Diems and Accommodations:

 

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.  There is a major exception to this rule.  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.

 

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.

 

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.

 

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.

 

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.

 

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.

 

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.

 

What about voiceovers?

Voiceovers are generally not covered by Sound Recordings, since a voiceover performance is usually part of an audiovisual work (commercial, TV program, trailer, etc.).

What are holding fees?

Holding fees are paid to a performer in “fixed” cycles, every 13 weeks from the session date, if the producer wishes to retain the rights to air the commercial and wants to hold a performer exclusive to the product.  During this 13-week period, a performer cannot accept work in a commercial for a competitive
product. For example, if a performer has received a holding fee for a Pepsi commercial, he/she may not accept work for a commercial advertising Coca-Cola during that period of time.

What are the differences between Spanish language and English language residuals?

For Class A or program use residuals, Spanish language performers receive a per-cycle payment rather than a “pay-per-play” structure. The major Spanish language networks are either paid as program use or Wild Spot, depending on the media buy. For Wild Spot residuals, the television markets are weighted differently than in the English language market to account for the cities with large Hispanic populations. For example, Miami has a unit weight of 4 for the English market and a unit weight of 17 for the Spanish market. All cable use payments for Spanish language commercials are identical to English language commercials.

What are the late payment penalties?

Late fees are $3.00 a day (excluding Saturdays, Sundays, and holidays) up to 30 days for a maximum of $90. If the payment is still delinquent after 30 business days, the Union can send a notice to the producer assessing an additional $75 and $5 a day until the payment is made.

What are the payments for cable use?

1. Broadcast commercial used on cable networks: 

Cable residuals are based on the total units (up to a maximum of 3000 units) for all cable networks on which the commercial airs during a 13-week cycle.  A unit value is assigned to each network based on the number of subscribers.  Depending on the number of units, the payment to an on-camera performer will range from a minimum amount of $671.69 (session fee) to a maximum amount of $3,906.00.  (Group performers and voice-overs are paid under a similar formula with lower rates.) Session fees and holding fees may not be credited against cable use.

 

2. Cable-only commercial:

When a commercial is produced only for cable use, the formula described in Paragraph 1 above is used to calculate residuals.  In cable-only commercials, holding fees are paid and a performer is held exclusive to the product. Holding fees may not be credited against cable use. A performer must be advised at the time of audition and/or booking that a commercial is for cable-only. The maximum period of use for a cable-only commercial is limited to one year. The producer must contact the performer and negotiate for any extended use periods.

What are the payments for Internet use?

There are two potential use payments, although they pay different rates.

 

The difference in rates is based on whether the commercial is made for television and moved over to the Internet, or made specifically for the Internet.  A commercial may be used on the Internet for a 4-week, 8-week, or 1-year cycle.

What are the payments for New Media use?

New Media is defined as digital, electronic, or any other type of delivery platform including, but not limited to, commercials delivered via podcasts, delivery to mobile phones and other digital and electronic media platforms, whether now known or unknown. 

 

There are two potential use payments, although they pay different rates (and are a separate payment from Internet use).

 

The difference in rates is based on whether the commercial is made for television and moved over to New Media, or made specifically for New Media.  A commercial may be used on New Media for a 4-week, 8-week, or 1-year cycle.

What are the penalties if my check is paid late?

In the event of untimely payment, late payment damages are due as follows: $3.85 per business day up to 25 days or a maximum of $96.30. Additional damages become due in the event that a claim is filed and full payment is not made within a specified time. When a payment is not made on time, generally late payment damages are not included in the check unless a claim has been filed by the union. If your payment is made late and late payment damages have not been included in the check, please contact the Union to file a claim.

What does the Preference provision of the Low Budget Digital Waiver mean?

The goal of the bargaining parties in establishing the waiver is to increase the employment of professional performers in Internet/New Media commercials while also providing relief to signatory advertisers and advertising agencies. That being said, the union recognizes that in some instances (e.g., because of production location or costs) it may be difficult to hire professional performers. As a result, a Producer is permitted to hire non-professional performers, and will not be fined for Preference of Employment or Union Security. The Producer must, however, file a Taft-Hartley for each of the non-union performers.

What does “clean contract” mean?

On the front of the standard SAG-AFTRA employment contract, there are 4 separate boxes to check if you do not consent to use of your commercial on the Internet, as a dealer commercial, and/or on New Media. On the reverse side, two separate paragraphs grant rights to producer for foreign and theatrical/industrial use. Although not a contractual term, “clean contract” is used by producers to mean as a condition of employment, that you must grant these rights at the time of booking at scale, i.e., you may not mark your contract by checking off these boxes or crossing out the paragraphs.

 

In the event that the producer did not acquire these rights at the time of booking, the performer should check the boxes on the front and strike the paragraphs on the back. By doing so, the producer must come back to you and negotiate for these rights. If there is any question as to whether any of these rights were granted to producer, check with your agent before signing your contract.

What if a performer does not receive a holding fee?

If the producer has not paid a holding fee to a performer by the first day of the new holding fee cycle, he/she is released from exclusivity and may audition for, and accept employment in, a commercial for a competing product.  

What if a song originally recorded under the Sound Recordings Code gets used in another medium (TV, theatrical, commercial, video game, etc.)?

Sound Recordings generally handles these claims, which are called "conversions" or "new use" claims.

What if the holding fee payment has been postmarked late?

Holding fees are due (and must be postmarked) no later than the first day of the holding fee cycle.  There are several choices if the holding fee is not paid on time. The performer may ask for late payment damages and accept the holding fee. Or the performer may reject the holding fee payment and consider him/herself released from exclusivity. Or the performer may reject the holding fee payment and renegotiate the terms of his/her contract pertaining to the commercial if the producer wishes to continue to use it.

What information is required to become a Signatory to the SAG-AFTRA New Media Agreement?

The following information is required when submitting initial production information to SAG-AFTRA:

 

• Completed Preliminary Project Sheet;

• Line-item budget for the production;

• A copy of the script;

• A copy of formation documents (if signing as a business) or Driver’s License (if signing as an individual).

 

Please note, for higher budget productions, SAG-AFTRA may require financial assurances that will require additional paperwork, and potentially a bond, to complete the signatory process.

What is a corporate, educational or non-broadcast program?

Generally, these are productions for non-broadcast use, including in classrooms, stores, or DVDs shown in corporateoffices or dealer showrooms. They can also be instructional content shown on websites or on new media platforms.

 

Behind-the-scenes footage or b-roll footage also falls under the Co-Ed.

What is a Royalty Artist?

A Royalty Artist is the featured recording artist who is signed to a royalty contract with a signatory record label.

What is an “omni”?

An “omni” is defined as atmospheric words or sounds, such as cheering at a sports event, spoken by a group. 

What is included in the $50,000 budget limit?

The $50,000 includes the production line only (including, for example, talent, director, producer, props, wardrobe, and location fees). Post-production costs (including, for example, editorial, agency travel, dub and shipping costs) are not included.

What is the difference between a Category I and Category II program?

Co-Ed programs are divided into 2 categories with different rates. Category I programs are designed to train, inform, or promote a product or perform a public relations function and are shown on a restricted, in-house basis only. This includes all programs made for exhibition in classrooms, museums, libraries and other similar locations regardless of whether or not an admission fee is charged. Category II programs are intended for unrestricted exhibition to the general public and are shown at locations where the products or services are sold, or at public places such as coliseums, railroad stations, air/bus terminals, or shopping centers

What is the difference between a “first refusal” and a “hold”?

When a casting director issues a “first refusal” it means that a final casting decision has not been made; the casting director is requesting that the performer contact him/her before accepting a booking for another job on the same day(s), i.e., giving the original producer the first opportunity to book the person. A “first refusal” is not a booking and the performer has no contractual obligation to get back to the casting director or turn down the second job nor does the producer owe a cancellation fee if the performer is not used. As a professional courtesy, it is suggested that the performer advise the casting director of the second job before accepting the booking.

 

If a performer has been put on “hold,” the producer has engaged the performer and a cancellation fee is due if the producer cancels the engagement.  A cancellation fee would not be paid when a performer is placed on an “avail” and not used.

 

These terms are not always used properly. If you have a question as to whether you have been definitely booked, you or your agent should ask the casting director, “Is this a booking?”

What is the difference between sweetening and multiple tracking (Singers)?

Multiple tracking, which requires an additional 50% of the original fee for solos and duos, is a re-recording over the original track or adding another track, electronically or mechanically, which contains the same material as recorded on the original track.  Sweetening, which requires an additional 100% of the original fee for solos and duos, is the addition of a new or variant track over the original track. Group performers are paid an additional 50% of the original fee for unlimited multiple tracking and/or sweetening.

What is the effective date of the Low Budget Digital Waiver?

Immediately.

What is the extra performer’s session payment for an Internet-only or New Media-only commercial?

The minimum fees for a commercial made directly for the Internet and/or New Media is the same as a television commercial $366.37.   

What is the minimum pay scale for new media productions?

Initial compensation can be negotiable* under the basic SAG-AFTRA New Media Agreement for productions that do not meet the high budget thresholds; however, local, state and federal minimum wage laws still apply.

 

Payment is due to the performer no later than five business days from the date worked.  SAG Pension & Health (P&H) or AFTRA Health & Retirement (H&R) contributions are due on the negotiated initial compensation, at a rate of 17% for both Principal Performers and Background Actors.

 

Please note any production shooting partially or entirely outside of the United States is subject to full rates, terms and conditions of the applicable SAG-AFTRA Agreement.

 

*SAG-AFTRA reserves the right to negotiate minimum rates, when applicable.

What is the rate for work on the weekends?

Unlike the Commercials Contract, work on Saturday and/or Sunday under the Co-Ed Contract is not double-scale.

 

However, it is double-scale for work on the 6th and 7th consecutive day of work.

What is Wild Spot use?

Wild Spot is a type of use in which a commercial does not air on interconnected stations and does not sponsor a program.  Time is bought on individual stations in individual markets or cities. Each market/city is assigned a unit value based on the number of television households and the performer is paid for all units of use within a 13-week cycle.

 

The Wild Spot payment is due within 15 working days from the start date of the cycle. If the commercial is broadcast in additional cities within the 13-week cycle, the producer may pay for those additional units within 15 working days from the end date of that 13-week cycle.

What is “Class A” use?

This type of use is considered “network broadcast use.” If a commercial is running on interconnected stations (a network) in more than 21 cities, or sponsors a program (“This program is brought to you by …”) it constitutes Class A program use. The cycle begins with the first use date and payments are made on a declining rate formula for each use occurring within a 13-week period. 

 

For example, the first Class A use is paid at the same rate as the session fee. The second use within the 13-week cycle is $157.11 for an on-camera performer. Uses #3-13 are paid at $124.64 each and the 14th and each use thereafter is paid at $59.75.  (Group performers and voice-over performers are paid under a similar formula, with lower rates reflecting their classifications).

What other aspects of the music industry is the Sound Recordings department involved in?

SoundExchange (www.soundexchange.com) – Distributes digital royalties (fees that digital radio services, such as Pandora, SiriusXM , webcasters and cable TV music channels are required by law to pay for streaming music) to featured recording artists.  SAG-AFTRA has a seat on the board of SoundExchange.

 

Alliance of Artists and Recording Companies/AARC (www.aarcroyalties.com) – Distributes royalties generated by the sales of automobile infotainment systems, blank CDs, personal audio devices, media centers, and satellite radio devices that have music recording capabilities, to featured recording artists. SAG-AFTRA has a seat on the board of AARC as well.

 

AFM and SAG-AFTRA Intellectual Property Rights Distribution Fund (www.afmsagaftrafund.org) – Distributes the non-featured artist share of SoundExchange and AARC royalties, along with other royalties negotiated on behalf vocalists and musicians. This fund is jointly trusteed by SAG-AFTRA and the AFM.

 

musicFIRST (www.musicfirst.org) – SAG-AFTRA is a founding member of musicFIRST, which works to ensure music creators get fair pay for their work, on AM/FM and wherever and however it is played.  It also rallies people and organizations who make and love music to end the broken status quo that allows AM/FM to use any song ever recorded without paying its performers a dime, and to stand up for fair pay on digital radio — and whatever comes next.

 

Government Affairs and Public Policy – Through the union's Government Affairs and Public Policy department, SAG-AFTRA is actively engaged in the support or opposition of legislative and policy matters that impact recording artist and vocalist members.  These issues currently include public performance royalties and pre-1972 sound recordings, copyright matters, and digital theft.

What should I do if I don’t believe I’ve been paid properly?

If you see your commercial airing but are not receiving use fees, you should file a claim with the Union. When you do so, it is helpful to provide as much information as possible, including the date of the sighting, the program, the channel, and the time. If you see your commercial on the Internet, take a “screen shot” of it as proof.

What types of performers do Sound Recordings contracts cover?

The Sound Recordings Code covers the featured recording artists (Beyoncé, Tim McGraw, Fleetwood Mac, Prince, etc.) and session/background singers, actors, comedians, and sound effects artists.  The Music Video Contract covers all on and off-camera performers, except background actors and instrumentalists.

When are meals due? What are the liquidated damages if not fed on time?

The first meal period must be called not later than 6 hours from the call time. All subsequent meal periods are due not later than 6 hours after the termination of the preceding meal period. Damages for violations are $25.00 for each of the 1st and 2nd half hours and $50.00 for each 1/2 hour thereafter.

When are payments for residuals due?

Residual payments must be postmarked within 15 working days from the first use in a 13-week cycle.  However, payment for all Class A uses that occur from Monday through Sunday are due within 15 working days from the following Monday. In the event that payment is not made on time, late payment damages become due. 

When is the session payment due for a Co-Ed program?

Session payment for a Co-Ed program is due 30 calendar days after the session.

When is the session payment due for a commercial?

Session payment for a commercial is due 15 business days after the session.

When must a renegotiation notice be sent to the producer (or advertising agency)?

A renegotiation letter must be sent 60 to 120 days (two to four months) prior to the end of the maximum period of use.  Check your pay stub to find the end date of the maximum period of use (MPU), and count back 60 to 120 days to establish when you or your agent must send the notice.  The letter should be sent to the producer (ad agency) listed on your employment contract, as well as an electronic copy sent to the Union.  The letter to the producer (ad agency) may be send via e-mail, return receipt requested, to the producer’s (ad agency’s) address identified on the employment contract.  Sending the letter gives the performer the right to renegotiate new rates or to say he/she does not grant the right to continued use of the commercial.

 

If your agent does not send a renegotiation letter, and the commercial is renewed for an additional 21 months at the minimum scale rate, he/she may not take a commission.

When, exactly, should notification be made to performers or their agents that this job is subject to the Low Budget Digital Waiver?

For principal performers, this information should be in the casting breakdown or stated to performer/performer’s agent prior to receiving an audition call time. Extra performers must be informed prior to booking the job.

Where do I mail the performer’s check?

All Sound Recordings talent checks are required to be mailed to the SAG-AFTRA Local nearest to where the work was performed. When in doubt, you can send all checks to the LA Sound Recordings Department. 

Who is allowed to produce under the Low Budget Digital Waiver?

It is only available to JPC authorizers and advertisers and advertising agencies that are signatories to the SAG-AFTRA Commercials Contract. The waiver is not available to 3rd party signatories.

Workweek

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

 

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.

 

Workweek

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

 

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.

 

Workweek

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

 

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.

 

Workweek

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

 

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.

 

Workweek

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

 

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.

 

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.

 

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.

 

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.

 

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.

 

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.

 

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.

 

Would a new commercial be created if the ending were changed?

Under certain circumstances, the beginning and/or ending of a commercial made for a particular advertiser may be changed without creating an additional commercial for residual purposes. The Contract provisions governing this area are complicated and we suggest that you contact your local SAG-AFTRA office for assistance.