INGERS
D
IGEST
2007
Courtesy of
The National Singers Department
Screen Actors Guild
2
SCREEN ACTORS GUILD
NATIONAL SINGERS DIGEST
June 2007
The Singers Digest is a compilation of the various contracts and agreements governed
by the Screen Actors Guild. It is intended to assist the Singers community by providing
a brief summary of the SAG contracts, pertinent rules, and terms and working conditions
that affect their work in movies, television, commercials and other areas. The Digest
highlights the major areas that may impact the Professional Singer while working under
a specific SAG Contract. It is recommended that the Singer refer to the full text of the
respective SAG Contract to ensure a proper understanding and reading of the language.
Please take special note of the new rate for the Theatrical 3-Hour session for Off-
Camera Group 9+ singers. Each session under this option requires the pre-
authorization by the Guild. The 3-Hour session applies only to theatrical films and for
off-camera singers in a group of 9 or more. The experimental option is offered to SAG
signatory producers until June 30, 2008.
The 2007 edition is the latest revision of earlier Singers Digests created specifically for
the Professional Singers community. Each of the revisions reflect a cooperative spirit,
dedication, hard work, and the collective efforts embraced by members of the Singers
Committee and the SAG staff in producing a guide that will benefit the professional
singer.
It is with great pleasure that we present the 2007 edition of the National Singers Digest.
Sincerely,
Glenn K. Hiraoka
National Director
Singers Contracts Department
3
SCREEN ACTORS GUILD
NATIONAL HEADQUARTERS
5757 Wilshire Blvd.
Los Angeles, CA 90036
www.SAG.org
Main Switchboard and Emergency After-Hours (323) 954-1600
Outside of LA (800) 724-0767
Direct Dial Phone Numbers
Use Area Code (323)
SINGERS CONTRACTS DEPT. (323) 549-6864
Dancers Contracts Dept.
(323) 549-6864
Membership Services
549-6757
Actors to Locate
(800) 503-6737
Music Video Dept.
549-6864
Agency Contracts
549-6745
New Media
549-6724
Commercials Contracts
549-6858
Organizing
549-6010
Communications
549-6654
Production Services
549-6811
Conversations
549-6668
Residual Info & Claims
549-6505
Diversity Dept.
549-6644
SAG Foundation
549-6708
Eligibility Information Recording
549-6739
Signatory Records
549-6869
Film Society Hotline
549-6657
Stunt & Safety
549-6855
Industrial/Educational Contracts
549-6858
Television Contracts
549-6835
Legal Affairs
549-6627
Theatrical Contracts
549-6828
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SCREEN ACTORS GUILD
SINGERS DIGEST
TABLE OF CONTENTS
I. GENERAL MEMBERSHIP RULES 6
II. IMPORTANT INFORMATION & REQUIREMENTS 8
III. TAFT-HARTLEY INFORMATION 9
IV. THEATRICAL 3-HOUR SINGERS OFF-CAMERA GROUP 9+ WAIVER 11
V. THEATRICAL CONTRACT (THE SAG CBA) 12
VI. THEATRICAL LOW BUDGET AGREEMENT 22
VII. THEATRICAL MODIFIED LOW BUDGET AGREEMENT 25
VIII. THEATRICAL ULTRA LOW BUDGET AGREEMENT 26
IX. SHORT FILM AGREEMENT 27
X. STUDENT FILM LETTER AGREEMENT 28
XI. INTERACTIVE AGREEMENT 29
XII. MODIFICATION (DUBBING) AGREEMENT 32
XIII. SINGERS DEMO AGREEMENT 33
XIV. TELEVISION CONTRACT 35
XV. PUBLIC TELEVISION AGREEMENT 38
XVI. TELEVISION ANIMATION AGREEMENT 41
XVII. COMMERCIALS CONTRACT 44
? English Language
? Spanish Language
XVIII. INDUSTRIAL & EDUCATIONAL NONBROADCAST CONTRACT 68
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TABLE OF CONTENTS
XIX. SAMPLE DOCUMENTS 72
o MEMBER-CONTRACTOR STANDARD REPORT FORM
null THEATRICAL
null TELEVISION
null COMMERCIALS
null “DEMO” MEMBER CONTRACTOR FORM
o SAG DEMO AGREEMENT
null (ONE PRODUCTION ONLY- DEMONSTRATION VOCAL
PERFORMANCE)
o SAG SINGERS DEPARTMENT OFFICE CLAIM FORM
o SCREEN ACTORS GUILD 2006-2008 EXTENSION TO THE
COMMERCIAL CONTRACT MEMORANDUM OF AGREEMENT
o ON-CAMERA CONTRACTS
null DAILY PLAYER CONTRACT
null 3 DAY PLAYER CONTRACT
null WEEKLY PLAYER CONTRACT
XVI. SAG BRANCH OFFICES 73
XVII. NOTES
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SCREEN ACTORS GUILD
GENERAL MEMBERSHIP RULES
1. RULE ONE: NO NON-UNION WORK!
The Guild’s Rule One requires that a member will not work as a performer for
any producer who is not signed to a Screen Actors Guild contract. No matter
who offers you an acting or singing job in the Guild’s jurisdiction (producers,
talent agents, casting directors, or friends), it is your obligation and responsibility
to make certain that the producer wishing to employ you is signed to the
respective SAG Contract. Always contact the nearest Guild office to check a
producer’s SAG signatory status. The Guild’s staff will provide you with this
information.
Any work for a non-signatory producer will subject you to strong disciplinary
action by the Guild. Keep your Guild strong and protect your hard earned wages,
working conditions, and your Pension and Health benefits! PLEASE DO NOT
VIOLATE RULE ONE!
2. CHANGES OF ADDRESS OR PROFESSIONAL NAME MUST BE MADE IN
WRITING OR AT WWW.SAG.ORG AND CLICK “EDIT PROFILE”
It is your responsibility to keep the Guild notified of your current address, phone
number, and agent at all times. If the Guild cannot find you, you may lose work
inquiries, residual payments and other benefits of membership! In addition, your
SAG Pension & Health Office must be notified separately of any address change.
3. DUES
Dues will be billed to you twice each year on May 1 and November 1, based on
your SAG earnings. Dues may be paid by personal check. If dues are not paid
on a timely basis, you may not be cleared for work.
4. HONORABLE WITHDRAWAL AND SUSPENDED PAYMENT STATUS
If you are not working under SAG’s jurisdiction for an extended period of time,
you may request an excuse of paying dues. Upon review by the Guild’s
Membership Department, you may be able to receive an “Honorable Withdrawal”
or “Suspended Payment“status. Members on Honorable Withdrawl or Suspended
7
Payment are required to pay dues/fees on all earnings based on residuals or
deferred income. Failure to pay dues/fees may result in termination from
membership.
Once approved, you would be able to maintain your SAG membership on an
“inactive” status. However, you will not receive Guild voting or meeting privileges
or receive the various Guild publications. You will continue to receive any
residual payments due, and subsequently you may reactivate your membership
to accept SAG work.
Upon receiving the member’s request, the Guild will determine whether the
member may receive an Honorable Withdrawal (HW) or Suspended Payment
status. A performer must be a member of SAG for at least 18 months in order to
be eligible for a HW or SP status.
5. REINSTATEMENT
To reinstate from an Honorable Withdrawal status, the member must have been
on this status for one full year or longer. Once approved, the member pays the
current dues only at the time of reinstatement.
To reinstate from Suspended Payment status, the member must have been on
this status for one full year or longer. Once approved, the member must pay the
balance of the dues owed at the time of the approved SP status, and the current
dues.
Once reinstated from HW or SP status, a member is not entitled to receive
another withdrawal or suspended payment for a period of at least one year from
the date of reinstatement.
6. TERMINATION OF MEMBERSHIP
Please be advised that if a member does not pay his/her dues for three
consecutive dues periods (i.e. one and one-half years), the member will then be
required to rejoin the Guild by paying the full initiation fees.
Note: For further clarification, please contact the Membership Services Department @
(323) 549-6757.
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IMPORTANT
INFORMATION & REQUIREMENTS
1. Professional Singer is a person who is employed primarily to sing either as a
solo, or in a group requiring unison or harmony. Non-Professional singing, such
as by extras, is excluded from this definition. A Professional Singer is herein
referred to as a Singer.
2. Singers should always report each and every employment under the Guild’s
jurisdiction within 24 hours. Singer Member Reports are obtainable by calling the
Guild’s office, or they can be picked up at the Reception Desk in the main lobby
at the Screen Actors Guild National Office.
3. All inquiries regarding Claims should be submitted in writing, or by calling the
Singers Department at the Screen Actors Guild Office at (323) 549-6864.
4. When filing SAG Member Reports for Television and Theatrical Motion Pictures,
please inquire as to whether or not this performance may be used on a
Soundtrack album. If so, it should be reported to AFTRA as well.
9
TAFT-HARTLEY INFORMATION
GUIDE TO “STATION 12 CLEARANCE” SINGERS AND PERFORMERS WORKING
UNDER A SAG CONTRACT
It is the Producer’s responsibility to clear all Singers and performers for work by
contacting the Guild’s “Station 12” Department @ (323) 549-6794 during business hours,
or by FAX (323) 549-6792. In Groups of 3+ the Contractor for the session may also
clear the Singers.
After contacting the Station 12 Department, the staff will notify the Producer or
Contractor of one of following member status:
A. Member is “OK” to work.
B. Member is “Station 12”. This signifies a problem with the performer’s
membership status. It is then the Producer’s responsibility to notify and
request the member to contact the local SAG office immediately. Any
problem with the membership status must be corrected prior to working.
C. Performer is classified as a “Must Pay”. Under this status, the performer has
worked under the Guild’s jurisdiction and must pay prior to the performer’s
word day.
D. For Commercial work, completed Taft-Hartley report forms must be submitted
by the Producer or Contractor within fifteen (15) business days.
E. For TV, Theatrical or Industrial productions, reports must be submitted within
fifteen (15) calendar days. If on an overnight location, the reports are due
within twenty-five (25) calendar days.
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SCREEN ACTORS GUILD
BUDGETS FOR THEATRICAL AGREEMENTS
Below is a breakdown of SAG’s Theatrical Agreements and their budgets. A
detailed description of each Agreement is in the following sections. Please
contact our Singers Department if you have further questions at (323) 549- 6864,
or the appropriate branch office.
AGREEMENT BUDGET
CODIFIED BASIC AGREEMENT MORE THAN $2,500,000.00
LOW BUDGET AGREEMENT LESS THAN $2,500,000.00
MODIFIED LOW BUDGET
AGREEMENT
LESS THAN $625,000.00
ULTRA LOW BUDGET AGREEMENT LESS THAN $200,000.00
SHORT FILM AGREEMENT LESS THAN $50,000.00 (under 35 mins)
STUDENT FILM AGREEMENT N/A
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THEATRICAL 3-HOUR SINGERS OFF-CAMERA GROUP 9+ WAIVER
May 1, 2007
To Singers: 3-Hour Off-Camera Group 9+ Waiver for SAG Theatrical Films
Please find attached the terms and conditions of a special 3-Hour Waiver for Off-
Camera Group Singers used for films produced under a SAG Theatrical Contract.
The singer contractor and the signatory producer would be required to request
the waiver and receive approval prior to the actual session. The waiver request is
sent to the Singers Department in Hollywood. This waiver “sunsets” on June 30,
2008. Please contact the Singers Department at (323) 549-6864 for further
information.
The following lists the terms and conditions of an approved waiver of the 3-Hour
Off-Camera Group 9+ session for work in SAG signatory film projects:
1. A producer must be a current theatrical signatory to the Producer-SAG
Codified Basic Agreement of 2005;
2. Advance notice of the experimental 3-Hour rate must be given at the time
of booking to each Group 9+ off-camera singer;
3. Each Group 9+ off-camera singer hired under a Theatrical Day Player
contract for 3 hours must be paid a session fee of $360.00;
4. That for work beyond the first 3 hours, the Group 9+ off-camera singer is
paid $120.00 per hour until the end of the 8
th
hour of work. For work
beyond the 8
th
hour, the overtime formula applies requiring the singer to
be paid at a time-and-one-half rate for the 9
th
and 10
th
hour respectively,
and at a double-time rate for each hour worked beyond the 10
th
hour;
5. That the producer has the right to retain a singer for an additional 1-Hour
should the session extend longer than 3 hours. Work extending beyond
4 hours is subject to the singer’s availability;
6. That the contractor’s member report must be submitted to the National
Singers Department;
7. That all other terms and conditions of the Producers-SAG Codified Basic
Agreement of 2005 apply; and
8. That the producer agrees to ensure that the singers are added to the final
cast list.
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SCREEN ACTORS GUILD
THEATRICAL CONTRACT
TERM OF THE CONTRACT: July 1, 2005 to June 30, 2008
The SAG Theatrical Contract is known as the “The CBA” or the Codified Basic
Agreement. It is the originating agreement between the SAG and an alliance of film
producers, and provides the minimum terms and conditions for performers working in
theatrical motion pictures. The CBA is also offered to independent producers.
PROFESSIONAL SINGERS EMPLOYED BY THE DAY
SCHEDULE G-1
MINIMUM SALARY PER DAY
A. The minimum rates per day for Singers (on-camera or off-camera) employed
by the day are set as follows:
Category 10/01/05 to 7/01/06 to 7/01/07 to
6/30/06 6/30/07 6/30/08
Solo and Duo $ 773 $796 $820
Groups 3-8 679 699 720
Groups 9+ 592 610 628
Mouthing
1-16
567 584 602
Mouthing 17+ 442 455 467
Contractor
3-8
+50% +50% +50%
Contractor
9+
+100% +100% +100%
Sweetening with or without overdubbing (per day) requires an additional one
hundred percent (+100%) payment.
Overdubbing only (per day) requires an additional thirty-three and one-third percent
(+33 1/3%) payment.
B. Contractor Services – Where a Singer is required to perform services as a
contractor, he/she will be entitled to receive the following:
Groups 3-8 Singers – an additional one-half check
Groups 9+ Singers - an additional full check
C. Step Out Category
13
1. If a solo or duo is called upon to step out of a group to sing up to fifteen
(15) cumulative bars during a session, he/she (they) will be paid an
adjustment of fifty percent (50%) of the solo/duo rate in addition to the
appropriate group rate for that day.
2. If a solo or duo is called upon to step out of a group to sing sixteen (16) or
more cumulative bars, or remain more than one (1) hour after the group
has been released, to perform a solo or duo of any length, he/she (they)
will be paid the full solo/duo rate in addition to the appropriate group rate
for that day.
3. Any member of a group who steps out to perform a part of a smaller
group to sing over four (4) consecutive bars will be paid at the smaller
group fee for that day. Such classification will not operate to reduce the
size of the overall group with respect to fees payable to the remainder of
the group.
D. W-4 forms will be presented to performers no later than the first day of
employment. The W-4 form may be given to a performer on the set on the
first day of employment.
W-4 forms will be available on every set. It will be the performer’s
responsibility to return a completed W-4 form to the Producer in a timely
manner. It is understood that when a performer fails to do so, there will be no
retroactive adjustments to the withholding required by law. W-4 forms will be
attached to day performer contracts.
CONSECUTIVE OR CONTINUOUS EMPLOYMENT – NOT APPLICABLE
Singers employed by the day will not be entitled to compensation for days and/or
weeks between “calls” unless given a “hold”, or if they are on an overnight location.
PHONOGRAPH RECORDS AND TAPE RECORDINGS
There will be separate bargaining at the time of employment between a Singer and
Producer for the use of soundtracks on phonograph records (CD’s) or tape
recordings; otherwise, such rights may not be acquired. Singers’ contracts for
phonograph records (CD’s) or tape recordings shall contain a separate clause to be
initialed at the time of employment providing for the use of soundtracks on records or
tape recordings found to be not less than the AFTRA applicable minimum rate.
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FIVE (5) MINUTE BREAKS
Singers will be given a five (5) minute rest period in each hour of recording.
RETAKES, ADDED SCENES, ETC.
A Singer employed by the day may be recalled by the Producer and such Singer will
report for services in connection with retakes, added scenes, changes, soundtrack,
process shots, transparencies, trick shots, trailers, foreign versions, and mouthing
to playback. Compensation will be paid to the Singer only for the day or days on
which he/she is actually employed. If such services are commenced within four (4)
months (six (6) months for theatrical motion pictures) after the prior termination of
employment, compensation therefore will be at the daily rate originally agreed upon
(also applies to Singers converted to a weekly contract, the Singer would receive a
pro rated weekly rate).
AVAILABILITY FOR RECALL AFTER EMPLOYMENT
The Producer may not agree with any Singer that the Singer will hold himself/herself
available for any day after termination on an original period of employment (which
may be as short as one day), unless the Producer agrees at the same time to
employ the Singer for such day. It is agreed, however, that the Singer may be
recalled by the Producer and will report, at any time prior to the completion of
production of the photoplay for which he/she was originally employed, on the same
terms and conditions (except as to the original term of employment), provided that
he/she is not otherwise employed.
SPECIALTY SINGERS – USE OF RECORDING, USE OF PHOTOGRAPHY
IN OTHER PHOTOPLAYS
This section will apply to a Specialty Singer defined as a Professional Singer
employed as a part of a “name group.”
Contact the Singers Contracts Department (323) 549-6864 for further
information.
APPLICABLE PROVISIONS OF SCHEDULE A
A performer employed to do looping, dubbing or dialogue replacement on a day or
days not contiguous to principal photography shall be paid at time and one-half if
such work is performed on a Saturday, or a double time if such work is performed on
a Sunday, unless such work is scheduled on Saturday or Sunday to accommodate
the schedule of any performer. In the latter case, and in all other cases not covered
by the preceding sentence, all such performers will be compensated at straight time.
15
OVERDUBBING (MULTIPLE TRACKING)
When a Singer re-records over the Singer’s original track containing the same
materials recorded on the original track, the rate of overdubbing alone will be thirty-
three and one-third percent (33 1/3%) of the applicable rate, as provided in Section 3
(Minimum Rates) hereof. Such overdubbing will be without limitation as to the
number of tracks.
SWEETENING
When a Singer makes a new track containing new or variant material, and records
such track over the Singer’s original track, the rate, with or without “overdubbing” will
be one hundred (100%) of the applicable rate, as provided in Section 3 (Minimum
Rates) thereof. Such sweetening will be without limitation as to the number of tracks.
CONTRACTORS (THEATRICAL MOTION PICTURES)
A contractor will be required on all engagements of groups consisting of three (3) or
more Singers. The contractor will be present at all times during the session and, in
all cases, will be a performing member of the group, except in those cases where the
sex of the group precludes the utilization of the contractor’s singing performance, or
in the case of hiring a children’s initial group. The contractor will be considered a
member of the vocal group for contract purposes and will be covered by all terms of
the applicable Union contract.
The foregoing will not be applicable to three (3) or more Singers who are an
established group or act.
PROFESSIONAL SINGERS EMPLOYED BY THE WEEK
(SCHEDULE G-II)
The referenced Schedule G-II applies to professional singers employed by the week
on a Theatrical motion picture at $5,500 or less per week.
16
MINIMUM SALARY PER WEEK
A. The minimum rates for Singers employed by the week will be as follows:
Group 10/01/05 to 7/01/06 to 7/01/07
6/30/06 6/30/07 6/30/08
Solo or Duo $2,483 $2,557 $2,634
Groups 3-8 2,277 2,345 2,415
Groups 9+ 2,071 2,133 2,197
“Step Out”
Per day- up
to 15
cumulative
bars
385
397
409
“Step Out”
Per day- 16+
cumulative
bars or
detained 1
hour +
773
796
820
Contractor
3-8
1,137 or
50%
1,171 or
50%
1,206 or
50%
Contractor
9+
2,071 or
100%
2,133 or
100%
2,197 or
100%
Sweetening with or without overdubbing (per day) requires an additional one
hundred percent (100%) of the pro rata daily rate.
Overdubbing (multi-tracking) only (per day) requires an additional thirty-three and
one-third percent (33 1/3%) of the pro rata daily rate.
B. A Singer called out of a choral group and required to sing five bars or
more will be paid an additional sum for that day of $44. (Effective July 1, 2007 $45).
C. Any member of a group who steps out to perform as part of a smaller
group to sing more than four (4) consecutive bars will be paid at the smaller group
fee for that day. Such reclassification will not operate to reduce the size of the
overall group with respect to fees payable to the remainder of the group.
CONSECUTIVE EMPLOYMENT AND RIGHT TO ROLE- NOT APPLICABLE
Singers employed by the week are not entitled to consecutive employment or to the
right to the role, it being agreed that such Singers may be subsequently used in the
picture without payment of compensation for intervening time.
17
ONE (1) WEEK GUARANTEE- RE-EMPLOYMENT
A. The initial period of employment will be one (1) week in duration,
subject to suspension or earlier termination as provided in Section 11 of the
Schedule. The employment of a Singer may be terminated at any time after the
initial week. Any period beyond one (1) week may be pro rated on a daily basis.
B. Any such Singer employed by the week may be subsequently employed in
the same picture and on a weekly basis pursuant to the terms of this Schedule, with
an initial period of such re-employment of one (1) week, or on a daily basis pursuant
to the provisions of Schedule G-1.
SPECIALITY SINGERS - USE OF RECORDINGS, USE OF PHOTOGRAPHY IN
OTHER PHOTOPLAYS
Please refer to Section 9 of the SAG Theatrical Contract.
Contact the SAG Singers Contracts Department (323) 549-6864 for further
information.
EMERGENCY SUSPENSION OR TERMINATION
The Producer may terminate the employment of a Singer employed by the week for
any of the following reasons: If the production of the photoplay specified in the
Singer’s contract be necessarily prevented, suspended or postponed during the
course of production, by reason of fire, accident, strike, riot, act of God or of the
public enemy, any executive or judicial order, illness of any other member of the cast
or of the director, or the disability, failure or default of such Singer. In the event, that
such Singer’s employment is terminated prior to the expiration of the first week of the
Singer’s term of employment for any of the above-named reasons other than
disability, failure or default of such Singer, such Singer will be entitled to the balance
of his first week of compensation. In the event of termination by reason of his
disability, failure or default of such Singer, the Producer will be obligated to pay such
Singer the balance, if any, then unpaid for services theretofore rendered, and the
Producer will be discharged of and from any and all liability whatsoever under said
contract. It will be the duty of the Producer, during the first week of any such
prevention, suspension or postponement, to notify the Singer in writing whether the
Producer will entirely discontinue the production or further suspend or postpone it.
RESUMED PRODUCTION AFTER TERMINATION
If the Producer has elected to terminate or suspend a Singer’s employment under a
weekly contract pursuant to its rights under Section 11 of this Schedule, and the
Producer will desire to resume the production of said photoplay, the Producer will
18
notify the Singer of its election to so resume and, in such an event, the Singer agrees
to render his/her services in connection with such resumed production as and when
the Producer may request, unless the Singer is otherwise employed, but if otherwise
employed, the Singer will cooperate to the fullest extent in trying to make his services
available to the Producer in connection with such resumed production. If production
is resumed within six (6) months, from the date of termination, the Singer’s
compensation will be at a daily rate equal to one-sixth (1/6) of the weekly rate
specified in the Singer’s original employment contract and will be payable only from
the date of the commencement of the Singer’s services in such resumed production
APPLICABLE PROVISIONS OF SCHEDULE B OF SAG BASIC AGREEMENT
The following Sections of Schedule B of the SAG Basic Agreement are hereby
incorporated by reference and will apply to the employment of Singers employed
hereunder by the week under Schedule G-II.
SCHEDULE B – SECTION
3. MINIMUM CONTRACT – REQUIRED PROVISIONS
4. STARTING DATE
6. EXECUTION OF AGREEMENT – ENGAGEMENT – DELIVERY OF CONTRACT
7. RATE NOT SPECIFIED
8. STUDIO PAYROLL – TIME OF PAYMENT
9. THE PERFORMER’S WORKWEEK:
STUDIO FIVE (5) DAY WORKWEEK and OVERNIGHT LOCATION WEEK
10. PERFORMER’S WEEK
11. HOURS PER DAY: WORK PAST MIDNIGHT
12. DAILY RATE OF COMPENSATION: PRORATING
13. OVERTIME
14. REST PERIOD
15. WORK TIME
16. MAKE-UP, HAIRDRESSING, WARDROBE
17. MEAL PERIODS
18. DRESSING ROOMS
19. TEST, AUDITIONS, WARDROBE TESTS, MAKE-UP TESTS, INTERVIEWS
20. WARDROBE FITTING
21. STORY, SONG AND PRODUCTION CONFERENCES
22. STUDY OF LINES AND SCRIPTS
23. PUBLICITY INTERVIEWS
24. PUBLICITY STILLS
25. REHEARSAL TIME
26. NIGHT WORK
27. WORK ON HOLIDAY, OR HOLIDAY AND THE SIXTH OR SEVENTH DAY IN
THE WORKWEEK
28. WORK PAST MIDNIGHT ON LAST DAY
19
29. STUNT ADJUSTMENT
31. OVERLAPPING ENGAGEMENT
32. PRERECORDING AND PRE-PRODUCTION STILLS
33. REPORTING PRIOR TO COMMENCEMENT OF EMPLOYMENT
34. DAMAGE TO WARDROBE
37. RIGHT TO NAME OR CHARACTER
38. STUDIO RULES
39. RIGHTS GRANTED TO PRODUCER
40. GENERAL RIGHT TO TERMINATION
41. ILLNESS OF PERFORMER (SUSPENSION OF SALARY AND TERMINATION)
44. TRAVELING TIME
45. LOOPING
REUSE OF PHOTOGRAPHY AND SOUNDTRACK
A. No part of the photography or sound track of a performer will be used other than
in the picture for which he/she was employed, without separately bargaining with the
performer and reaching in agreement regarding such use. The foregoing requirement of
a separate bargaining hereafter applies to reuse of photography or sound track in other
pictures, Television, Theatrical or other, or in use in any other field or medium.
Bargaining will occur prior to the time such reuse is made, but performers, may not
agree to such reuse at the time of original employment. The foregoing will apply only if
the performer is recognizable and, as to stunts, only if the stunt is identifiable. See Sub-
Section F, of this section. No reuse may be made of nude photography without the
performer’s written consent.
The day performer rate will be the minimum for purposes of the bargaining referred to
above with respect to such use of such material in any motion picture other than the one
for which performer was employed. As to any other use of photography or sound track
referred to above, the bargaining will be subject to the minimum wages and residuals
provided for in the collective bargaining agreement, if any, applicable in the field in which
the photography sound track is used, unless compensation for such other use is already
provided by this Agreement.
The provisions of Sub-Section A, will not limit Producer’s right to use photography or
sound tracks in exploiting the picture, or in trailers, promotional films thirty (30) minutes
(or less), in length for theatrical and television motion pictures, or in advertising, as
provided in this Agreement.
The Union may, in its discretion, grant waivers of the requirements of this Section with
respect to the reuse of photography and sound track in public service educational and
like programs and will follow a liberal policy in granting such waivers.
B. If Producer fails to separately negotiate as provided in Sub-Section A, hereof, the
performer will be entitled to damages for such unauthorized use, equivalent to three (3)
time the amount originally paid the performer for the number of days worked covered by
20
the material used. If the Producer is unable to find the performer, it will notify SAG, and
if SAG is unable to find the performer within a reasonable time, the Producer may use
the photography or sound track without a penalty.
C. If Producer and the performer negotiate for such use and are unable to reach an
agreement, and all performers involved have agreed to compensation for such use
except a single performer who the Producer claims is unreasonably refusing to accept
an equitable sum, Producer may submit the matter to SAG’s Board of Director for
determination and both Producer and performer will be bound by the determination so
made, if the material is used. In all other cases where Producer and the performer are
unable to reach an agreement, Producer will be prohibited from making such reuse of
the material, and in case of violation, or in a case where the Producer fails to obtain the
performer’s written consent to reuse nude photography, the performer will be entitled at
this option, to either accept damages as provided in Sub-Section B, hereof, or to
arbitrate his claim hereunder, or to take legal proceedings in a court of competent
jurisdiction.
NIGHT WORK
Night work is defined as work between 8:00 p.m. and 6:00 a.m. except that a first call for
the day at 5:00 a.m. or thereafter will not constitute night work.
There will be no premium payable for night work, except that a performer (including a
singer) who is called solely for the purpose of looping, singing or automatic dialogue
replacement (ADR) work during post production will receive premium pay for each
straight time hour of night work equal to ten percent (10%) of his hourly rate for such
hours. However, such premium pay will not be payable to a performer (or singer) if the
looping, singing or ADR work is scheduled at night to accommodate the schedule of that
performer (or singer).
Such premium pay will be payable to any Schedule A performer who is earning in
excess of $1,200 on the basis of $1,200.
Such night premium pay will not be paid on any overtime hours.
Contact Singers Department for additional information not listed in this area.
TIME OF PAYMENT – LATE PAYMENT
Performers employed by the day must be paid within five (5) working days after services
are rendered. Series performers must be paid at least every two (2) weeks for all
episodes worked whether or not completed. All other performers must be paid no later
than the studio payroll date (usually Thursday) of the week following the week in which
services are rendered. Damages for late payment accrue at the rate of $10.00 for each
working day of default to a maximum of twenty (20) working days.
21
PENSION AND HEALTH Pension and Health contributions is paid by the producer at
14.8% of gross compensation.
22
SCREEN ACTORS GUILD
THEATRICAL LOW BUDGET AGREEMENT
The Low Budget Agreement is one of the SAG agreements when a film is produced for
an initial theatrical release. In order to qualify for the Low Budget Agreement, the
production must have a budget of less than $2,500,000, and the production must shoot
entirely in the United States for an initial theatrical release.
TERM OF CONTRACT: July 1, 2005 to June 30, 2008
PROFESSIONAL SINGERS EMPLOYED BY THE DAY
MINIMUM SALARY PER DAY
A. The minimum rate per day for Singers (on-camera or off-camera), employed by
the day is set out below.
Category
Rate
Solo and Duo
$544.
Groups 3-8 478
Groups 9+ 417
Mouthing 1-16 400
Mouthing 17+ 313
Contractor 3-8 +50%
Contractor 9+ +100%
Sweetening with or without overdubbing (per day) requires an additional one hundred
percent (+100%) of the payment.
Overdubbing (multi-tracking) only (per day) requires an additional thirty-three and one-
third percent (+33 1/3%) of the payment.
B. Where a Singer is required to perform services as a contractor he will be entitled
to receive the following:
Three (3) to Eight (8) Singers – an additional one-half (+50%) check.
Nine (9) or more Singers – an additional full (+100%) check.
C. STEP OUT CATEGORY
1. If a solo or duo is called upon to step out of a group to sing up to fifteen
(15) cumulative bars during a session, they will be paid an adjustment of fifty percent
(50%) of the solo/duo rate in addition to the appropriate group rate for that day.
23
2. If a solo or duo is called upon to step out of a group to sing sixteen (16) or
more cumulative bars, or remains more than one (1) hour after the group has been
released to perform a solo or duo of any length, they will be paid the full solo/duo rate in
addition to the appropriate group rate for that day.
3. Any member of a group who steps out to perform as part of a smaller
group to sing more than four (4) consecutive bars will be paid at the smaller group fee
for that day. Such reclassification will not operate to reduce the size of the overall group
with respect to fees payable to the remainder of the group.
LOW BUDGET PROFESSIONAL SINGERS EMPLOYED BY THE WEEK
MINIMUM SALARY PER WEEK
A. The minimum rates for Singers employed by the week are set out below.
Category Rate
Solo and Duo $1,752
Group 3-8 1,607
Group 9+ 1,461
“Step Out”
Per day- Up to
15 cumulative
bars
272
”Step Out”
Per day – Up to
15 cumulative
bars, or if
detained 1 hr. +
after group
released, to
perform a solo or
duo of any length
544
Contractor 3-8 803
Contractor 9+ 1,461
Sweetening with our without over dubbing (per day) is an additional one hundred percent
(100%) of the pro rata rate.
Overdubbing only (per day) is an additional thirty-three and one-third percent (33 1/3%)
of the pro rata rate.
24
B. Where a Singer is required to perform services as a contractor, he/she will be
entitled to receive the following:
? Three (3) to Eight (8) Singers – an additional one-half check
? Nine (9) or more Singers - an additional full check
C. Any member of a group who steps out as part of a smaller group to sing more
than four (4) consecutive bars will be paid at the smaller group fee for that day.
Such reclassification will not operate to reduce the size of the overall group with
respect to fees payable to the remainder of the group.
CONSECUTIVE EMPLOYMENT AND RIGHT TO THE ROLE - NOT APPLICABLE
Singers employed by the week are not entitled to consecutive employment or the right to
the role, it being agreed that such Singers may be subsequently used in the picture
without payment of compensation for intervening time.
25
SCREEN ACTORS GUILD
THEATRICAL MODIFIED LOW BUDGET AGREEMENT
NOTE:
UNDER THIS AGREEMENT THE TERMS HAVE BEEN MODIFIED. PLEASE
CONTACT THE SINGER’S DEPARTMENT FOR FULL TERMS AND
CONDITIONS.
The Modified Low Budget Agreement is one of the SAG agreements that may applicable
when you are shooting a low budget feature film for initial theatrical release.
TERM OF CONTRACT: July 1, 2005 to June 30, 2008
MODIFIED LOW BUDGET AGREEMENT
? Total Budget: $625,000.
Budget may be increased to $937,500 if Producer qualifies for
certain diversity in casting incentive.
? Must shoot entirely in the U.S.
? Initial theatrical release
Group Size Day Rate 5-Day Weekly
Solo and Duo $289 $933
Groups 3-8 255 856
Groups 9+ 222 778
Mouthing 1-16 216
Mouthing 17+ 167
Step Out Rates per Day
Up to 15 cumulative bars
145 145
16+ cumulative bars, or if
detained after group is
released to perform a solo
or duo of any length
289 289
Contractor Rate
Groups 3-8
+50% +50%
Contractor Rate
Groups 9+
+100% +100%
Sweetening (with or without overdubbing) is 100%.
Overdubbing only is 33 1/3%
26
SCREEN ACTORS GUILD
THEATRICAL ULTRA LOW BUDGET AGREEMENT
NOTE:
UNDER THIS AGREEMENT THE TERMS HAVE BEEN MODIFIED. PLEASE
CONTACT THE SINGER’S DEPARTMENT FOR FULL TERMS AND
CONDITIONS.
The Ultra Low Budget Agreement is one of the SAG agreements that may be applicable
when you are shooting a very low budget film for the experience of doing so.
TERM OF CONTRACT: July 1, 2005 to June 30, 2008
ULTRA LOW BUDGET AGREEMENT
? Total Budget:: Less than $200,000
? Must shoot entirely in the U.S.
? Salary Payments for Singers: $100 per day
? No Taft Hartley’s allowed
27
SCREEN ACTORS GUILD
SHORT FILM AGREEMENT
NOTE:
UNDER THIS AGREEMENT THE TERMS HAVE BEEN MODIFIED. PLEASE
CONTACT THE SINGER’S DEPARTMENT FOR FULL TERMS AND
CONDITIONS.
The Short Film Agreement is one of the SAG agreements that may be applicable when
you are shooting a low budget short film for the experience of doing so. This agreement
is intended for workshop/training setting and for exhibition in film festivals
TERM OF CONTRACT: July 1, 2005 to June 30, 2008
TOTAL BUDGET: Less than $50,000
? Maximum Running Time of 35 minutes
? Must shoot entirely in the U.S.
? Salary Payments for All Performers: Deferred
Exhibition/Residuals under the Short Film Agreement
Producer is entitled to distribute a film produced under the Short Film Agreement at
Film Festivals. However, note that the agreement provides for limited distribution for
Academy Award consideration and other very limited markets.
The minimum each performer must be paid for distribution beyond these markets is
$100 for each day worked. Pension and Health contributions are due in addition to
these rates.
28
SCREEN ACTORS GULD
STUDENT FILM LETTER AGREEMENT
The Student Film Letter Agreement allows performers (both SAG members and non-
SAG members) to render services in the film project on a deferred salary basis. No
monies will be due to the performer (subject to the exceptions below) until the film is
released into a commercial market (i.e., Pay Cable, Theatrical Motion Picture Houses,
Free Television, Videocassette, Educational/Industrial, etc.).
Please check with the Guild to ensure that approval has been given to the producer to
classify the project under the SAG Student Film Letter Agreement.
DEFERRED PAYMENTS
Minimum salaries and all other monies (overtime, etc.) relating thereto shall be deferred
pending any sale, distribution, assignment, release or exhibition of the Producer’s
project; except that should the Producer exceed twenty (20) consecutive shooting days
in production, the Producer shall immediately be liable to pay all performers who work
beyond that period, the Guild minimum plus all other monies thereto, including but not
limited to Producers’ obligation to make appropriate Pension and Health contribution and
reporting on behalf of such performers.
NON-DEFERRED PAYMENTS
The following monies shall be due to a Performer working in the current production
period:
1. Car mileage allowance reimbursement (applicable IRS allowed mileage)
2. Meal penalties (if a meal is not provided within six hours)
3. Per diem (on overnight location only)
4. Reimbursement for special hair dress, make-up or wardrobe
5. Overtime for work in excess of ten hours in any day (excluding time spent for
meals), more than five consecutive days in each week, or for production which
exceeds six calendar weeks overall
6. Late payment charges to Performers
7. Rest period penalties
8. Re-takes, added scenes, looping, performed after the allowable twenty-day
productions period has expired.
Performer will affirm that he/she has received a copy of the full eleven page Film Letter
Agreement, executed between SAG and the Student Filmmaker for the above film
project.
29
SCREEN ACTORS GUILD
INTERACTIVE AGREEMENT
The 2005-2008 SAG Interactive Agreement is intended for Interactive programs
produced in the United States. Some examples of Interactive programs are games,
personal computers, Console games (PSII & III, X-Box, X-BOX 360, Nintendo,
Nintedo Wii), arcade games, CD-Interactive, and any Online games. Please contact the
Singers Department @ 323.549.6864 to confirm rates and use.
TERM OF AGREEMENT: January 1, 2005 to December 31, 2008
PROFESSIONAL SINGERS:
On-Camera (8 Hour day)
7/29/05 1/1/06 1/1/07 1/1/08
Day Performers
(including Solo
and Duo)
$ 695 $ 716 $ 737 $ 759
3-Day
Performers
(including Solo
and Duo)
1,757 1,810 1,864 1,920
Weekly
Performers
(including Solo
and Duo)
2,411 2,483 2,557 2,634
6-Day
Overnight
Location
2,652 2,731 2,813 2,897
Group Singers
3-8 (4-hour
day)
659 679 699 720
Group Singers
9+ (4-hour day)
575 592 610 628
Contractor 3-8
+50% +50% +50% +50%
Contractor 9+ +100% +100% +100% +100%
Sweetening (with or without overdubbing) is paid at 100% of the above applicable rate
without limitation on the number of tracks.
Overdubbing is paid at 33 1/3% of the above applicable rate without limitation on the
number of tracks.
30
Stepping-Out
(1) If a Singer is called upon to step-out of a group to sing up to
fifteen (15) cumulative bars during a session, the Singer shall be
paid an adjustment of fifty percent (50%) of the solo/duo rate in
addition to the appropriate group rate for that day.
(2) If a Singer is called upon to step-out of a group to sing sixteen
(16) or more cumulative bars, or remain more than one (1) hour
after the group has been released, to perform a solo or duo of
any length, the Singer shall be paid the full solo/duo rate in
addition to the appropriate group rate for that day.
(3) Any member of a group who steps-out to perform as part of a
smaller group to sing over four (4) consecutive bars shall be
paid at the smaller group fee for that day. Such re-classification
shall not operate to reduce the size of the overall group with
respect to fees payable to the remainder of the group.
Off-Camera Singers (4 Hour day)
7/29/05 1/1/06 1/1/07 1/1/08
Solo and Duo
Hourly Rate
$695 $716 $737 759
Group Singers
3-8
347.50 358 368.50 379.50
Group Singers
9+
319 329 338 349
Contractor 3-8 +50% +50% +50% +50%
Contractor 9+ +100% +100% +100% +100%
Group Hourly
Rate
206 212 218 225
Overdubbing, Sweetening and Stepping-Out for off-camera Singers (same as on-camera
rates)
(Once Producer engages Singers at hourly rate, no conversion to Day Performer rate is
permitted.)
TIME OF PAYMENT: Session payment must be made within 12 working days after
session date.
LATE PAYMENT PENALTIES: Late payment penalties accrue at $2.50 per day, up to
a maximum of 30 days. Thereafter, the Guild or member may give a written notice to the
Producer, and full payment must be made within 12 working days. If payment has not
31
been made, the Producer will be assessed with a $75 liquidated damage fee, and $5 per
day retroactive to the date of receipt of notice of non-payment.
PENSION & HEALTH: The Producer is obligated to pay the Pension & Health
contribution of 14.3% of gross compensation.
32
SCREEN ACTORS GUILD
MODIFICATION (DUBBING) AGREEMENT
The SAG Modification (Dubbing) Agreement amends (or modifies) the SAG Basic
Agreement with the purpose to employ performers when dubbing an English soundtrack
to a motion picture originally produced as a foreign language picture. Additionally, this
Agreement would apply to a non-English animated film originally produced for the
foreign market, and subsequently requires dubbing of the soundtrack for the English
speaking audience.
TERM OF THE CONTRACT: July 1, 2001 to June 30, 2008
PROFESSIONAL SINGERS (4 Hour day)
Group Size Rate as of 7/1/06
Solo and Duo $360.00
Groups 3-8 321.25
Groups 9+ 276.50
Contractor Fee 3-8 160.75
Contractor Fee 9+ 276.50
Sweetening with or without overdubbing (per day) requires an additional one hundred
percent (100%) of the applicable rate.
Overdubbing (multi-tracking) only (per day) requires an additional twenty-five (25%) of
the applicable rate.
WEEKEND OR HOLIDAY WORK
A Singer employed hereunder shall be paid at time-and-one half if the work is performed
on a Saturday, or at a double-time rate if performed on a Sunday or a holiday as
designated in the current SAG Basic Agreement. (Applicable to Categories I, II, and III).
However, if such work is scheduled on a Saturday or Sunday to accommodate the
schedule of a Singer, then he/she will receive payment at straight time.
LATE PAYMENT PENALTIES
The session fee must be at the end of the payroll week following each week of work.
Failure to make a timely payment will result in the assessment of late payment penalties
at $3.00 per working day (excluding Saturdays, Sundays, and holidays) to a maximum of
25 days. The maximum late payment penalties allowed is $75.00.
The Producer is obligated to pay the Pension & Health contribution of 14.8% of gross
compensation.
33
SCREEN ACTORS GUILD
DEMONSTRATION VOCAL PERFORMANCE
AGREEMENT
TERM OF THE CONTRACT: July 1, 2005 to June 30, 2008
The SAG Demonstration Vocal Performance Agreement (or the SAG Demo Agreement)
is intended for a Singer to a record an off-camera song on speculation for a theatrical or
a television film. The employer may be a signatory producer or a composer who is
submitting a song for consideration.
In addition, the SAG Demo Agreement may be used by a Singer to record an off-camera
song for a demonstration or instruction aid when teaching or coaching a performer for a
theatrical or television film.
MINIMUM COMPENSATION
The minimum compensation payable to a singer under the SAG Demo Agreement is fifty
(50%) percent of the applicable minimum in Schedule G-1 of the SAG Codified Basic
Agreement, or Section 2A of the SAG Television Agreement and Section 2A(2) of Exhibit
A of the SAG Television Agreement.
Minimum compensation includes all compensation payable for the services including
base salary, overtime, and compensation for multi-tracking/sweetening and a
contractor’s fee.
The length of a session under this Agreement shall not exceed two (2) hours.
USE IN A MOTION PICTURE OR TELEVISON PRODUCTION
If the song recorded on this Agreement is used in a theatrical or television production,
then the producer is required to pay the Singer an additional one hundred (100%)
percent of the full compensation which would have been payable under the applicable
Agreement.
The Producer is also obligated to pay the residual compensation and all other payments
required under the Agreement for the exploitation of the musical track or production.
34
TIME OF PAYMENT
The Singer is entitled to payment within five (5) business days after services are
rendered.
If the song is subsequently used in a theatrical or television production, then the Singer
must be paid the additional one hundred (100%) percent of the full compensation within
thirty (30) days of the initial use.
PENSION & HEALTH: The Producer is obligated to pay the Pension & Health
contribution of 14.8% of gross compensation.
35
SCREEN ACTORS GUILD
TELEVISION CONTRACT
TERM OF THE CONTRACT: July 1, 2005 to June 30, 2008
PROFESSIONAL SINGERS EMPLOYED BY THE DAY
MINIMUM SALARY PER DAY
A. The minimum rates per day for Singers (on-camera or off-camera) employed by
the day are set out below.
Television - On-Camera Day Rate
Session: Minimum 8 hour day
Group Size 10/01/05 to 7/01/06 to 7/01/07 to
6/30/06 6/30/07 6/30/08
Solo and Duo $773 $796 $820
Groups 3-8 679 699 720
Groups 9+ 592 610 628
Mouthing 1-16 567 584 602
Mouthing 17+ 442 455 469
Contractor 3-8 +50% +50% +50%
Contractor 9+ +100% +100% +100%
Sweetening with our without overdubbing (per day) requires an additional one hundred
percent (100%) of the payment.
Overdubbing (multi-tracking) only (per day) requires an additional thirty-three and one-
third (33 1/3%) of the payment.
Television – Off-Camera Day Rate
Session: Minimum 4 hour day
Group Size 10/01/05 to 7/01/06 to 7/01/07 to
6/30/06 6/30/07 6/30/08
Solo and Duo $773 $796 $820
Groups 3-8 410 422 435
Groups 9+ 352 363 374
Contractor 3-8 +50% +50% +50%
Contractor 9+ +100% +100% +100%
Sweetening with or without overdubbing (per day) requires an additional one hundred
percent (100%) of the daily rate.
36
Overdubbing (multi-tracking) only (per day) requires an additional thirty-three and one-
third (33 1/3%) of the daily rate.
Television – On-Camera Weekly Rates
Category 10/01/06 to 7/01/06 to 7/01/07 to
6/30/06 6/30/07 6/30/08
Solo and Duo $2,483 $2,557 $2,634
Groups 3-8 2,277 2,345 2,415
Groups 9+ 2,071 2,133 2,197
“Step Out”
Per Day-Up to
15 Cumulative
Bars
385
397
409
“Step Out”
Per Day-16+
Cumulative
Bars or
detained 1 hour
+
773
796
820
Contractors 3-8 1,137 1,171 1,206 (or + 50%)
Contractors 9+ 2,071 2,133 2,197 (or + 100%)
Sweetening with or without overdubbing (per day) requires an additional one hundred
percent (100%) of the pro rata daily rate.
Overdubbing (multi-tracking) only (per day) requires an additional thirty-three and one-
third percent (33 1/3%) of the pro rata daily rate.
Non-Commercial Billboards: Three or more Episodes (3-13 Episodes)
Television – Off-Camera
Group Size 10/01/05 to 7/01/06 to 7/01/07 to
6/30/06 6/30/07 6/30/08
Solo and Duo $1,916 $1,973 $2,032
Groups 3-8 1,810 1,864 1,920
Groups 9+ 1,669 1,719 1,771
Contractors 3-8 +50% +50% +50%
Contractors 9+ +100% +100% +100%
Rate for Additional Days
Solo and Duo $ 773 $ 796 $ 820
Groups 3-8 679 699 720
37
Groups 9+ 592 610 628
Signature Numbers Only
Solo and Duo $1,916 $1,973 $2,032
Groups 3-8 1,810 1,864 1,920
Groups 9+ 1,669 1,719 1,771
Additional Days
Solo and Duo $ 773 $ 796 $ 820
Groups 3-8 679 699 720
Groups 9+ 592 610 628
Non-Commercial Billboards and Signatures – Single Episode
Solo and Duo $ 773 $ 796 $ 820
Groups 3-8 679 699 720
Groups 9+ 592 610 628
TIME OF PAYMENT – LATE PAYMENT
Performers employed by the day must be paid within five (5) working days after services
are rendered. Series performers must be paid at least every two (2) weeks for all
episodes worked whether or not completed. All other performers must be paid no later
than the studio payroll date (usually Thursday) of the week following the week in which
services are rendered. Damages for late payment accrue at the rate of $10.00 for each
working day of default to a maximum of twenty (20) working days.
PENSION AND HEALTH
The Producer is obligated to pay the Pension & Health contribution of 14.8% of Singers
gross compensation.
38
SCREEN ACTORS GUILD
TELEVISION PUBLIC TELEVISION PROGRAMS
TERM OF THE CONTRACT:
The Agreement covers programs produced for public television, where the Producer has
represented that the program will receive a bona fide first release on the Public
Broadcasting System. Please check with the SAG Singers Department (323) 549-6864
for verification of whether the production falls under this Agreement. This agreement is
extended on a day-to-day basis.
The rate of pay for performers under this Agreement does not distinguish between on
and off-camera work.
MINIMUM SALARY - PROFESSIONAL SINGERS
RATES FOR ON-CAMERA AND OFF-CAMERA SINGERS
Solo or Duo
Day Performer $ 422
3-Day Performer (30-60) 933
3-Day Performer (90+) 1,100
Weekly 1,281
Group Singers
Daily Rate $ 340
3-Day Rate 747
Weekly Rate 994
The Pension and Health contributions are paid by Producer at the rate of 13.15% (13%
P&H, plus .15% IACF), subject to the “ceilings ” listed in the SAG Television Agreement.
The basic rate covers four “releases,” in three (3) consecutive years of broadcast of
Public Television programs in the United States and Canada. This broadcast period is
subject to an extension for an additional four “releases” in three (3) additional years by
payment to each performer (other than background actors) of 35% of the total applicable
minimum or $130.00 whichever is greater, and to further extension thereafter without
limit by a second payment of 100% of the total applicable minimum.
A “release” means “an unlimited number of broadcasts either on a network and/or in
syndication during any seven-consecutive-day period by each Public Television station
in the United States, and Canada, including authorized broadcasts over transmission
boosters and translators and/or closed-circuit, CATV-antenna and other CATV systems.”
39
In addition, a “release” means “broadcast over commercial television stations in
geographic areas in which it is not broadcast by public television stations, use on a cable
system in an area in which it is not broadcast by a public television station so long as
there are no commercial announcements in the program, and by the ITFS/MDS and
home satellite dish transmission, provided that the Producer pays the applicable fees for
the “releases”.
AUDIO/VISUAL DISTRIBUTION
Producer has the right to exhibit programs through standard Public Television
audio/visual methods (excluding any use in completely commercial ventures such as,
but not limited to, schools which charge a fee) provided Producer pays each performer,
(other than background actors), and an additional sum of at least $75.00 for such rights.
Such audio/visual rights shall expire after eight (8) consecutive years, but can be
renewed for successive three (3) consecutive year periods, upon payment of an
additional sum of at least $65.00 for each such renewal period.
RESPONSIBILITIES OF PRODUCER
Producer will maintain and submit to the Guild each week full and complete production
records showing salaries of performers days worked, daily hours of work and overtime.
FOREIGN TELEVISION
Producer has the right to exhibit programs on television in foreign countries (outside the
U.S. and Canada), including commercial-sponsored telecasts abroad, without time
limitations provided Producer pays each performer (other than background actors) an
additional sum of not less than 35% of total applicable minimum for such rights.
SUPPLEMENTAL MARKETS
Subject to each performer''s prior written consent, Producer has the right to exhibit
programs in “supplemental markets,” as that term is defined in Section 5.2 of the
Codified Basic Agreement, provided Producer pays each performer (other than
background actors) a “step-up” fee of not less than the differential between the basic
wage rate originally received by the performers and 80% of the then-current total
applicable minimum rate for commercial television pictures. However, if the running time
of the Picture is ninety (90) minutes or more, the computation of the total applicable
minimum for each performer will be based on no more than two (2) weeks work for
performers who worked in excess of two weeks.
In addition, Producers will pay an amount equal to 3.6% of Distributor’s gross receipts
from supplemental market licensing of such programs. These amounts will be
distributed to the performers (other than background actors) in the manner prescribed
under the Supplemental Market provisions of the SAG Television Agreement.
40
SATELLITE DISTRIBUTION
Please contact the Singers Department for information concerning this type of use.
PENSION AND HEALTH CONTRIBUTION RATE
The Producer is obligated to make the Pension & Health contributions totaling 13.15% of
the Singers gross compensation.
41
SCREEN ACTORS GUILD
TELEVISION ANIMATION AGREEMENT
It is the Guild’s position that performers who record both voice-over and songs in one
session under one contract shall be paid the higher of the two rates, i.e., the singing rate
for that session, and shall receive residuals accordingly.
Singer’s Television rates will apply if performing only as Singers.
(See the television section of this handbook for Singers rates. For further
information, contact your Singers Department (323) 549-6864.)
TERM OF AGREEMENT: July 1, 2005 to June 30, 2008
I. MINIMUM COMPENSATION PER FILM OR SEGMENT THEREOF
A. Films or Segments of Films over ten (10) minutes in length. Minimum
session fee for a voice actor shall be:
Effective July 1, 2005 $716.
Effective July 1, 2006 $737.
Effective July 1, 2007 $759.
The minimum session fee provided above shall include services on a single
animated television film. An additional minimum session fee shall be payable for
each animated television film on which services rendered in a session.
B. Films or Segments of Films of ten (10) minutes or less in length.
Effective July 1, 2005 $648.
Effective July 1, 2006 $667
Effective July 1, 2007 $687
C. Subject to the exceptions listed below, the included work time per session
shall be four (4) hours. Time worked in excess of the four hours included work time per
session shall be paid at a straight-time hourly rate (equal to one-eight (1/8) of the
minimum session fee provided in Section I.A. above) for each hour or portion thereof up
to and including the eighth (8
th
) hour. Time worked in excess of eight (8) hours shall be
paid in accordance with the overtime provisions of the 2005 SCREEN ACTORS GUILD-
AMPTP TELEVISION AGREEMENT. Voice actors will use their best efforts to
cooperate with and accommodate Producers to schedule and complete recording in the
time limits imposed herein.
42
EXCEPTIONS:
1. Included work time for the initial session of any series in any broadcast
season shall be eight (8) hours.
2. Included work time for a session for a series episode of more than thirty (30)
minutes in length shall be six (6) hours. Or,
3. Included work time for a session for a non-episodic program shall be six (6)
hours for a program of thirty (30) minutes in length and eight (8) hours for a
program of more than thirty (30) minutes in length.
II. LIMITATIONS OF VOICES
A. Films or Segments of Films ten (10) minutes or less in length.
A voice actor may perform up to three (3) in each film or segment; for each voice
over such three (3) voices, a voice actor shall be paid an additional:
Effective July 1, 2005 $209.
Effective July 1, 2006 $215.
Effective July 1, 2007 $221.
B. Films or Segments of Films over ten (10) minutes in length.
A voice actor may perform up to three (3) voices in each film or segment; for
performing more than three voices, a voice actor shall be paid an additional full
session fee, which shall entitle the Producer to require the voice actor to perform
up to three (3) additional voices.
C. Additional compensation for a third voice.
A voice actor who performs a third voice in each film segment shall receive an
additional payment of ten percent (10%), of the minimum session fee or segment
fee, which ever is applicable. As to films or segments of films over ten (10)
minutes in length, the additional payment of ten percent (10%) shall be payable
for the third voice in each group of three (3) performed (e.g. 3
rd
voice, 6
th
voice,
etc.). As to films or segments of films ten (10) minutes or less in length, additional
voices beyond the first three (3) shall be compensated as set forth in Paragraph
II, A. above.
III. WORKWEEK
For the purpose of this agreement, the following “special situation” shall apply to
voice actors hereunder:
43
A voice actor employed hereunder shall be paid at time and one-half, if such
work is performed on a Saturday, or at double-time, if such work is performed on
a Sunday, unless such work is scheduled on a Saturday or Sunday to
accommodate the schedule of any voice actors. In the latter case, all such voice
actors shall be compensated at straight time.
IV. AUDITIONS
A. An audition must be scheduled by the Producer for a specific time and the
voice actor or his representative shall be notified thereof. A call to the voice
actor’s representative shall be deemed sufficient.
B. A voice actor called for a fourth audition for the same role shall be paid a
minimum fee of $52.00 for the first two (2) hours ($54.00 effective July 1, 2006;
and $56.00 effective July 1, 2007) for the first two (2) hours. For all time in
excess of two (2) hours, the voice actor shall be paid $13.00 ($13.50, effective
July 1, 2006; and $14.00, effective July 1, 2007) for each one-half hour unit.
V. SCRIPTS
Whenever possible, voice actors shall receive their scripts not later than twenty-
four (24) hours before their work calls, but in no event shall voice actors receive
their scripts later than commencement of their work call.
VI. MERCHANDISING
Utilization of a voice actor’s voice from sound track recorded pursuant to this
agreement in games, dolls, toys, and other products shall be separately
negotiated with the voice actor prior to use.
VII. TERMS OF AGREEMENT
This Agreement shall be in effect from July 1, 2005 to June 30, 2008.
VIII. VOICE ACTORS MAY BARGAIN FOR BETTER TERMS
It is expressly understood that the minimum wage scale and additional
compensation for reruns, foreign telecasting and theatrical exhibition are
minimums only, and nothing herein contained shall preclude any voice actor from
bargaining for better terms.
IX. SAG-PRODUCERS PENSION AND HEALTH PLAN
The SAG Pension & Health Contribution is 14.8% which becomes effective
on 1/1/06, and shall be applicable to all covered television animated motion
pictures principal recording commencing on or after 1/1/06.
44
SCREEN ACTORS GUILD
TELEVISION COMMERCIALS CONTRACT
TERM OF AGREEMENT: October 30, 2006 to October 29, 2008
PROFESSIONAL SINGERS EMPLOYED BY THE DAY
MINIMUM COMPENSATION - SESSION FEES (Section 20)
ON-CAMERA SINGER FEES (8) HOUR DAY
Group Size Rate
Solo and Duo $ 567.10
Group Singers
3-5
415.15
Group Singers
6-8
367.55
Group Singers
9+
303.95
OFF-CAMERA SINGER FEES (2) HOUR BLOCKS OF TIME
Group Size Rate
Solo and Duo $ 426.40
Group Singers
3-5
240.50
Group Singers
6-8
208.70
Group Singers
9+
170.20
SINGERS NOTE: Group Singers who perform as group 3 – 5 or group 6 – 8 for five (5)
consecutive bars or more will be adjusted to the most favorable group rate in which they
have performed. Such adjustment will apply as well to reuse.
45
CONTRACTOR FEES AND RATES (Section 23)
A contractor will be employed when Singers in a group of three (3) or more are to be
employed. The contractor will be a member of such group except in those cases where
the sex of the group precludes the utilization of the contractor’s singing services.
Group Size Rate
Groups 3-8 $ 90.90
Groups 9+ 179.30
NOTE: Contractor fees shall be added to session fees but shall not be credited against
residual fees.
NON-AIR COMMERCIAL DEMOS (Section 19)
The non-air commercials or demo rates are not intended for broadcast use. Examples
of the non-air commercial demo would be non-broadcast audience reaction
commercials, copy testing or client demos. The Singer must be advised at the time of
the interview or at the time of hiring if the commercial is a non-air commercial demo.
The rates and conditions for solos, duos and group performers shall be the same for
recorded radio and television commercials as follows:
OFF-CAMERA
Solos and Duos
? 2-hour recording session
? A fee of $164.80 per person with a maximum of 4 commercials recorded during that
session
? A fee of $41.19 for each additional half-hour or additional commercial, whichever is
greater
? Unlimited multiple tracking will be allowed at this rate
? Each sweetening track shall constitute a separate commercial
? All multiple tracking and sweetening must be noted on the contract or member report
Group of 3 or more
? 2-hour recording session
? Fee of $107.75 per person with a maximum of 4 commercials recorded during that
session
? A fee of $26.93 for each additional half-hour or additional commercial, whichever is
greater
? Unlimited multiple tracking will be allowed at this rate
? Each sweetening track shall not constitute a separate commercial
46
? All multiple tracking and sweetening must be noted on the contract (see Exhibit A-1,
page 191) or member report (see Exhibit D, page 199)
In the event that the non-air commercial is accepted by the client, an effort will be made
to give preference in engaging the singers on the original non-air commercial for the final
commercial. Fees paid for these non-air commercials may not be credited against use
fees as a broadcast commercial.
Such commercial may not be broadcast without the express written consent of such
principal performer and bargaining for an employment contract, which does not allow
crediting of the fees for non-air use previously paid.
FEES PER COMMERCIAL (Section 20)
At the end of the session, the principal is advised of the number of commercials made
and, in addition to a session fee, receives equivalent of a session fee for each
commercial in excess of one.
OVERSCALE PAYMENTS AND GUARANTEES (Section 43) (Section 49)
A. No compensation in excess of the minimum amounts provided for in this Contract
paid to a principal performer for his/her services in making a commercial or for any use
or period of use thereof may be credited by the Producer or client against any reuse fees
payable to such principal performer, unless there is a specific provision in writing to that
effect in the principal performer’s individual contract of employment. Except as above
provided, there may be no crediting of over scale compensation.
B. Where a principal performer is guaranteed in his/her Contract a fixed sum of
money, a principal performer may agree to credit against such fixed sum compensation
for making commercials, use fees and holding fees.
C. Where a principal performer is guaranteed a fixed sum of money against which
use fees are to be credited, and permissible edits or integrated commercial(s) is
produced utilizing photography and sound track edited or integrated from materials
made for the commercial(s) originally produced under the performer’s contract, all
applicable payments required for such edited or integrated commercial(s) may be
credited against the performer’s guarantee in the manner and at the same rate as for the
original commercial(s).
SINGERS MEMBER REPORT
The Singer Member Report, Exhibit D, Member-Contractor Standard Report Form shall
contain information as to whether multiple tracking, sweetening, live or mechanical did or
did not occur. If such information is not provided, the appropriate multiple tracking or
sweetening fee will be automatically due and payable.
47
SINGER’S SERVICES TO BE CREDITED
With respect to each singer track utilized in a commercial, Producer shall require the
music supplier to provide a certification for the benefit of the SAG-Producers Pension &
Health Plans that the singers listed as having rendered services on the track did, in fact,
perform services and that such services are included in the final track furnished to
Producer. Producer shall also require the music supplier to acknowledge that the
inclusion on a final singer list of the name of any person who did not actually perform
bona fide services covered by this Contract constitutes a fraudulent act for which the
music supplier shall be held responsible for all damages suffered by the Plans. To
implement the foregoing the Member-Contractor Report Form (Exhibit D) shall contain
the following at the bottom of each for:
“The undersigned certifies that the foregoing information is true.
_____________________________________
Employer or Representative of Employer”
LIMITATION OF USE IN COMMERCIALS OF MATERIAL PRODUCED UNDER
OTHER SCREEN ACTORS GUILD OR AFTRA CONTRACTS (Section 28)
Producer agrees that no part of the photography or sound track of a principal performer
from a theatrical, television or industrial motion picture or any other production made
under the jurisdiction of the Union and that no part of any phonograph record, tape or
other audio recording or of any other production of a principal performer made under the
jurisdiction of AFTRA (including singers unless they are in an unidentifiable group) shall
be used in commercials without separately bargaining with the principal performer and
reaching an agreement regarding such use prior to any utilization of such photography
or sound track under this Contract. The foregoing shall apply to photography only if the
principal performer is recognizable and as to stunts only if the stunt is identifiable. The
minimum compensation to which the principal performer may agree in such bargaining
shall be the applicable session fee and applicable use fees provided by this Contract.
Group singers in an unidentifiable group shall be paid applicable use fees as provided in
this Contract.
If Producer fails to separately negotiate as provided above, the principal performer shall
be entitled to damages for such unauthorized use equivalent to three times the amount
originally paid the principal performer for the number of days of work covered by the
material used plus the applicable minimum use fees under this Contract but not less
than three times the applicable session fee at the rates provided under this Contract plus
the applicable minimum use fees under this Contract. However, the principal performer
may, in lieu of accepting such damages, elect to bring an individual legal action in court
of appropriate jurisdiction to enjoin such use and recover such damages as the court
may fix in such action.
48
SINGER’S REST BREAK (Schedule A.I.E.4.)
The Producer must give a Singer a five (5) minute rest break per hour.
CHECK VOUCHERS (Section 50) (Section 49)
Check vouchers must contain complete information identifying commercial, advertisers,
date of the session, maximum period of use, cycle dates and type of use (such as a wild
spot, network programs, etc.). Check vouchers must further include the name of the
employer of record, the employer’s address, the state in which unemployment insurance
is filed and the state identification number.
Producer will place the original commercial identification on the first payment of each
new commercial or permitted edited version which contains footage from the “original”
commercial.
Producer will provide each principal performer employed under a guarantee contract
with a quarterly report detailing the amount of session fees, holding fees and use fees
credited against the guarantee.
TIME OF PAYMENT (Section 42)
? Session Fees – 12 working days after services rendered.
? Holding Fees – The first day of the fixed cycle.
? Wild Spots – Residual payments due 15 working days after commencement of a
use cycle. Upgrade adjustments under wild spot formula are due 15 working days
after the end of use cycle.
? Class A Program – Payment for all Class A program uses that occur within a single
week from Monday through Sunday will be made not later than 15 working days after
the end of such week.
? Local Program – 15 working days after commencement of a use cycle.
? Cable Fees - Residual payment must be made within 15 working days from
commencement of a cable cycle.
? Internet Fees - Residual payment must be made within 15 working days from
commencement of each period of Internet use.
LATE PAYMENT (Section 44)
Liquidated damages for late payment are paid at the rate of $3.00 per working day for
each working day up to twenty-five (25) days. Thereafter, written notice of a failure to
pay must be given by the principal performer, agent, or Screen Actors Guild. If full
payment plus accrued damages is not made within twelve (12) working days, additional
damages of $75.00 plus $10.00 per working day will be assessed, retroactive to the date
of employer’s receipt of notice.
49
MULTIPLE TRACKING – SWEETENING (Section 22)
A. Definitions
1. Multiple Tracking – rerecording over the original track manually, mechanically
or electronically, the same material as recorded on the original soundtrack.
2. Sweetening – The addition of a new or variant track over the original track.
B. Rates
Multiple Tracking, Solo & Duo – 50% additional fee for unlimited multiple
tracking.
1. Sweetening – Plus 100% of the original fee for an additional track.
2. Groups of three or more – 50% of an additional fee for any multiple tracking
or sweetening or both (without a limit as to the number of tracks per
commercial).
C. Use
Upgrading and use fees will also be increased by the applicable percentage fee
noted above.
POSTPONEMENT AND CANCELLATION OF CALLS (Section A.I.D.)
A. The Producer will have the right to cancel any call without payment because of
impossibility of production due to “Force Majeure”.
B. The Producer will have the right upon 24 hours notification (except that such
notification may not be given on a Saturday, Sunday, or holiday) to postpone a
call to a mutually acceptable date within a period of 15 working days after the
original date. In the event of such postponement, an amount equal to one half of
the applicable session fee will be paid to the principal performer.
SATURDAY AND SUNDAY WORK (Section R)
For work on Saturdays and Sundays, a principal performer whose rate is 2 times the
session fee per commercial per day or less shall receive double the amount the principal
performer would receive for a week day; and a principal performer whose rate is more
than 2 times the session fee per commercial per day shall receive 1.5 times what he/she
would receive for a week day. Overtime shall be paid at the same rate as for the first 8
hours. Principal performers who are held over on location on Saturday and do not work
shall be paid at straight time for each such day.
50
WORK ON HOLIDAYS (Section S)
1. If a Principal performer works on any of the following holidays; New Year’s Day,
Martin Luther King, Jr’s Birthday, Washington’s Birthday (Presidents’ Day), Memorial
Day, July Fourth, Labor Day, Thanksgiving Day or Christmas, he/she shall receive
double what he/she would receive for a week day. Whenever any of the holidays fall on
a Sunday, such holiday, for all purposes herein, shall be deemed to fall on the Monday
next succeeding.
2. If a principal performer is required to spend any of the above-mentioned holidays on
an overnight location and does not work, he/she shall receive a session fee.
3. Overtime shall be paid at the same rate as for the first 8 hours.
DOUBLING – DUBBING (Section 21)
When a principal performer doubles, in or out of a category, he/she will be paid not less
than the applicable session fee, plus reuse fees for each additional voice or part, except
when a principal performer does such doubling as a part of his role or as part of an act.
Producer may not “dub” the voice of an on-camera principal performer without written
consent except:
1. When necessary to expeditiously meet the requirements of a foreign
exhibition or domestic exhibition in a foreign language;
2. When a principal performer is not available;
3. When principal performer fails or is unable to meet certain requirements of
the role, such as singing or rendition of instrumental music or other similar
services involving ability other than that possessed by the principal performer;
or
4. When the principal performer is physically unable to speak.
RESIDUALS FOR THE USE OF A COMMERCIAL
Maximum Period of Use (MPU)
The maximum period during which a commercial may be used is not more than 21
months after the date of the commencement of the first fixed cycle. Where new
commercials are created by integration, the maximum period of use is limited to the
same period as the original commercial unless the Principal performer’s consent is
obtained for a full new maximum period for use.
51
WILD SPOT COMMERCIALS (Section 33)
A wild spot commercial is broadcasted by non-interconnected single stations and (a)
used independently of any program or (b) used on local participating programs. All other
uses of a commercial are considered program use.
WILD SPOT RESIDUALS
Compensation for wild spots is for unlimited use within a cycle of 13 consecutive weeks,
based on the cumulative total of unit weights for the TV markets in which the commercial
is used.
Each TV market is assigned 1 unit except for the following cities:
TV Market – Unit Weight
Atlanta 5 Greenville 2
Spartanburg
Ashville
Anderson, NC
Orlando- 3
Dayton Beach
San Diego 2
Baltimore 3 Hartford 2
New Haven
Philadelphia 8 San Francisco 6
Boston 6 Houston 5 Phoenix 4 Seattle-Tacoma 4
Charlotte 2 Indianapolis 2 Pittsburgh 3 Tampa - 4
St. Petersburg
Cincinnati 2 Kansas City 2 Portland, OR 3 Toronto 7
Cleveland 4 Mexico 43
Mexico City
Puerto Rico 3 Vancouver, BC 3
Columbus, OH 2 Miami 4 Raleigh-Durham 2 Washington, DC 6
Dallas/Ft. Worth 6 Milwaukee 2 Sacramento- 3
Stockton
West Palm Beach 2
-Ft. Pierce
Denver 3 Minneapolis 4
St. Paul
St. Louis 3
Detroit 5 Montreal 4 San Antonio 2
Grand Rapids 2
Kalamazoo-
Battlecreek
Nashville 2 Salt Lake City 2
Note: Confirm the unit weights with the SAG as they may change during the contract term.
RATES
Wild spot residual rates are based on five (5) schedules, whether the commercial is used
in all three (3) major cities (NY, Chicago and LA), various combinations of one (1) or two
(2) of the major cities, or whether the commercial is used in cities that are defined as one
of the major cities of NY, Chicago and LA.
52
1. Cities not including NY, Chicago or LA
On-Camera
Group Size 1
st
Unit Units Units Units Units
2-25 ea. 26-60 ea. 61-125 ea. 126 + ea.
Solo and Duo $567.10 $ 19.41 $ 7.20 $ 7.20 $ 7.20
Groups 3-5 415.15 15.13 7.80 5.65 2.80
Groups 6-8 367.55 13.05 6.61 4.41 2.26
Groups 9+ 303.95 10.66 5.48 3.70 1.97
Off-Camera
Group Size 1
st
Unit Units. Units Units Units
2-25 ea. 26-60 ea. 61-125 ea. 126+ ea.
Solo and
Duo
$ 426.40 $ 13.28 $ 5.65 $ 5.65 $ 5.65
Groups 3-5 240.50 5.36 2.26 1.37 1.37
Groups 6-8 208.70 4.23 1.55 0.78 0.78
Groups 9+ 170.20 3.52 1.42 0.78 0.78
2. One of NY, Chicago or LA
On-Camera
Group Size NY Chi. or LA 2-35 units 36-100 units 101+ units
Solo and
Duo
$1,114.45 $ 971.40 $ 7.20 $ 7.20 $ 7.20
Groups 3-5 713.70 713.70 7.80 5.65 2.80
Groups 6-8 598.05 598.05 6.61 4.41 2.26
Groups 9+ 490.05 490.05 5.48 3.70 1.97
Off-Camera
Group Size NY Chi. or LA 2-35 units 36+ units
Solo and Duo $ 787.30 $ 685.10 $ 5.65 $ 5.65
Groups 3-5 286.30 286.30 2.26 1.37
Groups 6-8 237.25 237.25 1.55 0.78
Groups 9+ 194.25 194.25 1.42 0.78
53
3. Any two (2) of NY, Chicago or LA
On-Camera
Group Size 1
st
Unit 2+ units
Solo and Duo $ 1,533.65 $ 7.20
Groups 3-5 1,098.10 2.80
Groups 6-8 907.95 2.26
Groups 9+ 700.30 1.97
Off-Camera
Group Size 1
st
unit 2+ units
Solo and Duo $ 1032.65 $ 5.65
Groups 3-5 378.35 1.37
Groups 6-8 304.75 .78
Groups 9+ 235.40 .78
4. All three (3) of NY, Chicago and LA
On-Camera 1
st
unit 2+ units
Group Size
Solo and Duo $ 1,849.90 $ 7.38
Groups 3-5 1,385.35 2.86
Groups 6-8 1,185.69 2.32
Groups 9+ 969.05 2.02
Off-Camera
Group Size 1
st
unit 2
nd
+ units
Solo and Duo $ 1,313.90 $ 5.78
Groups 3-5 456.15 1.42
Groups 6-8 367.85 .84
Groups 9+ 300.60 .84
Example: 77 cities: NY, Boston (6 units), Washington DC (6 units), St. Louis (3
units), Toronto (7 units), Montreal (4 units) & Mexico City (43 units), plus 70 1-unit
cities, 1 on-camera Solo or Duo.
NY $1,051.35
139 units @ $6.79 each 943.81
______________________________________
Total $1,995.16
54
PROGRAM USE COMMERCIALS
A commercial used on broadcast that does not meet the criteria for a wild spot
commercial, would then be classified as a program use commercial. Generally, a
program use commercial airs on interconnecting stations, and sponsors a program.
If the commercial airs on more than 20 cities, then the commercial is paid on a per
use basis and is called a Class A commercial use.
If the commercial is used on number of cities totaling less than 20, then a flat fee
payment would be made every 13 weeks cities. The latter commercial would be
classified as a Class B or Class C commercial use.
Program Use Residuals
Class # of Cities in which Telecast
A Over 20
B 6-20
C 1-5
Compensation for Class A is per use, based on a sliding scale for all uses within a
13-week cycle as follows (other than for 10- and 15-second commercials).
On-Camera Rates – Class A
Use Solo or Duo Groups 3-5 Groups 6-8 Groups 9+
1 $567.10 $415.15 $367.55 $303.95
2 130.05 120.50 103.20 84.45
3 103.20 94.35 85.50 69.90
4 103.20 89.05 80.20 65.70
5 103.20 89.05 80.20 65.70
6 103.20 89.05 80.20 65.70
7 103.20 89.05 80.20 65.70
8 103.20 89.05 80.20 65.70
9 103.20 89.05 80.20 65.70
10 103.20 89.05 80.20 65.70
11 103.20 89.05 80.20 65.70
12 103.20 89.05 80.20 65.70
13 103.20 89.05 80.20 65.70
14 and every
use thereafter
49.45 each use 30.75 each use 26.15 each use 21.20 each use
55
Off-Camera Rates – Class A
Use Solo or Duo Groups 3-5 Groups 6-8 Groups 9+
1 $426.40 $240.50 $208.70 $170.20
2 101.75 65.40 56.85 46.65
3 80.95 61.10 52.30 42.70
4 80.95 55.80 48.70 39.90
5 80.95 55.80 48.70 39.90
6 80.95 55.80 48.70 39.90
7 80.95 55.80 48.70 39.90
8 80.95 55.80 48.70 39.90
9 80.95 55.80 48.70 39.90
10 80.95 55.80 48.70 39.90
11 80.95 55.80 48.70 39.90
12 80.95 55.80 48.70 39.90
13 80.95 55.80 48.70 39.90
14 and every
use
thereafter
36.75 each use 22.25 each use 20.90 each use 17.35 each use
PAX TV – Paid on a per use basis
On-Camera Off-Camera
Solo and Duo $ 21.20 $ 15.90
Groups 3-5 13.20 9.60
Groups 6-8 11.25 8.95
Groups 9+ 9.10 7.45
LOCAL PROGRAM COMMERCIALS – Class B and C use
The following rates are for Class B and C use for each 13-week cycle:
On-Camera
Group Size Special Class B Class B Class C
(Including NY) (Not incl. NY)
Solo and Duo $1.072.95 $875.15 $521.50
Groups 3-5 644.70 683.40 452.00
Groups 6-8 604.30 604.30 401.70
Groups 9+ 494.00 494.00 309.85
56
Off-Camera
Group Size Special Class B Class B Class C
(Including NY) (Not incl. NY)
Solo and Duo $ 767.35 $ 607.80 $ 347.70
Groups 3-5 251.80 251.80 200.30
Groups 6-8 209.90 209.90 166.70
Groups 9+ 171.55 171.55 136.75
CABLE COMMERCIALS (Section 35)
This section does not apply to, nor authorize the use of, commercials on pay TV
systems, as that phrase is used in the industry, which do not now carry commercial
announcements.
Cable commercial rates are provided for both the cable transmission of broadcast
commercials and for commercials produced for cable transmission only.
Broadcast commercials “moved over” to Cable
A cable use cycle is 13 consecutive weeks commencing with the first cable transmission
on any originating cable network or system. Session and holding fees may not be
credited against any cable use fees. The rates are listed in the chart below.
Commercials “made for” Cable
1. The Singer must be notified at the time of audition or hire if the Producer intends
to producer a commercial for cable.
2. Session fees may not be credited except if the commercial is made for local
cable systems only.
3. Cable commercials are paid in 13-week consecutive weeks.
4. The maximum period of use of a commercial produced for cable-only is one year
from the session date. Producer may not use the commercial beyond the one-
year Maximum Cable Use Period unless each Singer has given prior written
consent for such use and terms no less favorable than provided in the SAG
Commercials Contract.
5. A “made for” cable commercial may not be used on broadcast television unless
each principal performer has given prior written consent; and each principal
performer is paid not less than one session fee for the upgrade payment, which
is not credited against use.
CABLE USE PAYMENT STRUCTURE
The compensation to each Singer for each 13-week cycle of cable use is computed by
multiplying the applicable unit price by the aggregate unit weight of all cable systems
57
and networks on which the commercial is transmitted. In no event will the compensation
be less than the minimum session fee or more than the price for 2,000 units.
The chart for the cable network or systems, their respective subscribers and unit weight,
is located in the back of this book. The unit weights are updated and changed
periodically.
On-Camera
Group Size Minimum Units Units Units Units Units 201 Units1,000
1-50 51-100 101-150 150-201 - 1,000 -2,000
Solo or
Duo
$567.10 9.34 8.11 6.89 5.66 .71 .67
Groups
3-5
415.15 6.85 5.93 5.05 4.16 .53 .49
Groups
6-8
367.55 6.04 5.26 4.45 3.68 .47 .43
Groups
9+
303.95 5.01 4.32 3.70 3.05 .39 .36
On-Camera- Cable Minimum and Maximum Payout (13-week cycle)
Group Size Minimum Maximum
Solo and Duo $ 567.10 $ 2,738.00
Groups 3-5 $ 415.15 $2.013.50
Groups 6-8 $ 367.55 $1,777.50
Groups 9+ $303.95 $1,476.00
Off-Camera
Group Size Minimum Units Units Units Units Units Units 1,001
1-50 51-100 101-150 151-200 201-1,000 ,-2,000
Solo and
Duo
$426.40 6.19 5.41 4.58 3.77 0.47 0.46
Groups
3-5
240.50 3.96 3.42 2.93 2.42 0.31 0.29
Groups
6-8
208.70 3.42 2.98 2.53 2.08 0.27 0.24
Groups
9+
170.20 2.81 2.43 2.06 1.70 0.20 0.20
Off-Camera – Cable Minimum and Maximum Payout @ 2,000 cable units
Group Size On-Camera Off-Camera
Solo and Duo $ 426.40 1,833.50
Groups 3-5 240.50 1174.50
Groups 6-8 208.70 1,006.50
Groups 9+ 170.20 810.00
58
LOCAL CABLE RESIDUALS (2003 to 2006 Local Cable Agreement)
Performers receive local cable residuals under the Local Cable Agreement under certain
conditions. The rates under the Local Cable Agreement are paid for commercials
produced for broadcast on free television and which are subsequently transmitted on
local cable systems. A copy of the Agreement is local in the Document Section of the
Singers Digest.
The following three (3) conditions must be satisfied to permit payment under the Local
Cable Agreement:
1) The aggregate subscriber count of the local cable system or systems in which the
commercial is used does not exceed one million (1,000,000) subscribers for basic
service.
2) The commercial is not delivered by satellite.
3) The commercial must be in concurrent use on free television in the metropolitan
counties listed in the Local Cable Agreement. Otherwise, the 2003 SAG Commercials
Agreement will apply (Section 35).
The cable use cycle is 13 consecutive weeks beginning with the first cable transmission
on any originating cable system.
Payment must be made within 15 working days after first use on a Local Cable System.
Number of Subscribers on a System of Combination or Systems (Interconnect)
ON CAMERA OF CAMERA
Group Group
From To Principal 3-5 6-8 9 or
more
Principal 3-5 6-8 9 or
more
1 50,000 $25.05 $19.60 $16.90 $13.75 $17.10 $ 7.00 $5.40 $4.55
50,001 100,000 50.30 39.15 33.75 27.50 34.40 13.90 10.85 9.10
100,001 150,000 75.35 58.85 50.65 41.25 51.55 20.85 16.30 13.65
150,001 200,000 100.50 78.40 67.50 55.05 68.80 28.00 21.75 18.20
200,001 250,000 125.55 97.95 84.40 68.80 85.95 34.80 27.25 22.85
250,001 500,000 251.25 196.05 168.80 137.60 172.05 69.55 54.40 45.55
500,001 750,000 376.80 294.00 253.25 206.45 279.95 104.40 81.60 68.35
750,001 1,000,000 502.40 392.05 337.65 275.30 344.00 139.25 108.80 91.20
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DEALER COMMERCIALS (Section 37)
A Singer must be advised at the time of the audition and hire if a commercial is intended
for use as a Dealer. The right to use the commercial as a Dealer is subject to the
Singer’s consent.
There are two types of Dealer Commercials. Type A and Type B. Both types are made
and paid for by the manufacturer or distributor of the product or service which it
advertises for use as a wild spot, or as a Class B or Class C program commercial on
local non-interconnecting stations where the station time is contracted and paid by the
local dealer or retail outlet. In Type B, the outlets are owned by the national
manufacturer or distributor.
Dealer Type A and Type B commercials are paid in 6-month residual cycles.
DEALER RESIDUALS
Type A
Group Size On-Camera Off-Camera
Solo and Duo
? Includes use in NY
City
$2,128.15 $1,482.30
? Does not include
use in NYC
1,882.10 1,359.35
Groups 3-5 1,597.95 653.25
Groups 6-8 1,408.60 572.10
Groups 9+ 1,094.75 408.45
Type B
Group Size On-Camera Off-Camera
Solo and Duo
? Includes use in NY
City
$3,272.15 $ 2,226.60
? Does not include
use in NYC
2,823.25 2,035.85
Groups 3-5 2,429.50 995.20
Groups 6-8 2,141.70 871.00
Group 9+ 1,666.80 621.30
INTERNET (Section 36)
There are two types of Internet commercials: 1) Commercials “moved-over” to the
Internet from broadcast use; and 2) Commercials “made-for” the Internet.
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TERMS FOR BROADCAST COMMERCIALS “MOVED OVER” TO THE INTERNET
Commercials Made for Initial Use on Broadcast Television and then “moved-over”
to the Internet.
Producer shall have the right to use a commercial made for broadcast television
on the Internet unless, at the time of engagement, the performer withholds
consent by checking the box provided for this purpose on the front of the
contract.
A. Term of Internet Use
1. Initial Term
Provided the right to broadcast use of the commercial has not terminated,
Producer may broadcast commercial on the Internet for an initial term of one year
or until termination of the maximum period of broadcast use if earlier.
2. Extension Term
Upon conclusion of the one-year term of Initial Internet use, Producer may use
the commercial for the remainder, if any, of the Maximum Period of Use. This
period of use shall be known as the Extension Term. Producer shall have the
right to Internet use during the Extension Term whether or not broadcast holding
fees have been paid. Internet use during the Extension Term need not be
contiguous to the Initial term.
3. Renewal Term
If the Maximum Period of Use has terminated or has been renewed, Producer
shall have no further right to Internet use unless each performer in the
commercial consents to such use after separate bargaining for compensation at
rates no less than those provided below.
B. Compensation
1. Initial Term – not less than 300% of the applicable session fee
2. Extension Term – not less than 300% of the applicable session fee
D. Time of Payment
All compensation shall be paid within 15 days after the commencement of each period of
permitted Internet use.
1. Neither session fees nor holding fees may be credited against any
compensation payable for Internet use.
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2. Exclusivity rights shall extend to the Internet only while holding fees continues
to be paid.
3. Session fees may not be credited against any compensation payable for
Internet use.
UNLIMITED EDITING RIGHTS FOR COMMERCIALS “MOVED OVER” TO THE
INTERNET (New Provision)
If the producer wishes to obtain extended or unlimited editing rights for a commercial
moved over to the Internet, then the producer may negotiate and bargain for such use
with the performer. Otherwise, the editing provisions of Section 26 apply.
TERMS FOR COMMERCIALS “MADE FOR” THE INTERNET (Section 36)
No minimum rates have been established for commercials “made for” the Internet. The
area is new and rapidly evolving. The Union and the Producer are monitoring the deals
for the “made for” Internet commercials. These are the basic terms for this area:
A. Compensation
The Producer may bargain freely with the Singer and shall pay the compensation in the
amount agreed by direct bargaining. Neither the Union nor the Producer will promulgate
minimum rates for the session and use. The working provisions of Schedule A shall
apply to this section except allowances and liquidated damages.
B. Time of Payment
All compensation shall be paid within 15 days after the commencement of each period of
permitted Internet use.
C. Pension & Health Contributions
The Producer is required to make the Pension & Health contribution on all compensation
paid to the Singer, as required by the Contract.
UNLIMITED EDITING FOR COMMERCIALS “MADE FOR” THE INTERNET (New
Provision)
If the producer wishes to obtain extended or unlimited editing rights for a commercial
made for the Internet, then the producer may negotiate and bargain for such use.
Otherwise, the editing provisions of Section 26 would apply.
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NEW MEDIA (New Provision)
This area applies to commercials made for or designed for use in the New Media area.
For example, commercials made for use on podcasts, mobile (cell) phones, and other
digital and electronic media. New media does not apply to commercials used on
television or the Internet (see rates above). In any situation, please contact the Singers
Department with respect to commercials produced for the New Media area.
A. For commercials originally “made for” initial use for broadcast television,
cable or the Internet, and then subsequently used in New Media.
The producer must inform the performer of the New Media use, as well as the
anticipated number of commercials, and the anticipated platforms, e.g.
commercials exhibited in mobisodes or via cell phones, etc.
Compensation: The performer is entitled to not less than 300% of the session
payment for the use in the New Media area for one year’s use. The terms and
conditions of Section 36 A (“Moved Over” to the Internet”) are modified to apply
to New Media use.
Editing Rights: If the producer wishes to obtain extended or unlimited editing
rights for new media use, then the performer has the right to negotiate and
bargain freely for this compensation. Otherwise, the editing provisions of Section
26 would apply.
B. For commercial made initially for use in the New Media area.
The producer must inform the performer at the time of audition and at hiring of
the anticipated number of commercials, and the anticipated platforms, e.g.
commercials exhibited in mobisodes, or via cell phones, etc.
Compensation: The performer and the producer are free to negotiate and
bargain for commercials made initially for use in the New Media area. The terms
and conditions of Section 36 B (“Commercials Made for the Internet”) apply as
modified for use in New Media.
Editing Rights: If the producer wishes to obtain extended or unlimited editing
rights for new media use, then the performer has the right to negotiate and
bargain freely. Otherwise, the editing provisions of Section 26 would apply.
WAIVER FOR 8-WEEK USE CYCLE ON THE INTERNET AND/OR NEW MEDIA (New
Provision)
A one-year waiver period has been allowed for an 8-week use cycle of the
Internet and/or New Media. The 8-week use cycle is subject to the performer’s
63
consent, and applies only to commercials “moved over” to the Internet and/or
New Media from the broadcast and cable.
Compensation: Subject to performer’s consent, an amount not less than an
additional session fee is paid for the 8-week cycle use. For use beyond the initial
8-week cycle, the performer shall be paid an additional 300% of the applicable
session fee for one additional year’s use.
THEATRICAL OR INDUSTRIAL EXHIBITION – RESIDUAL (Section 42)
If Producer desires to use a commercial for theatrical or an industrial exhibition, the
principal performer is paid an 100% of the applicable session fee for thirty (30) days use,
or 160% of the applicable session fee for a maximum of twenty-one (21) months of use.
On-Camera Rate
Group Size On-Camera 21-Month Use 30-Day Use Only
Session Fee (160%) (100%)
Solo and Duo $567.10 $907.36 $567.10
Groups 3-5 415.15 664.24 415.15
Groups 6-8 367.55 592.03 367.55
Groups 9+ 303.95 486.32 303.95
Off-Camera Rate
Group Size Off-Camera 21-Month (160%) 30 Days (100%)
Session Fee of Use Use Only
Solo and Duo $426.40 $682.24 $426.40
Groups 3-5 240.50 384.80 240.50
Groups 6-8 208.70 333.92 208.70
Groups 9+ 170.20 272.32 170.20
THEATRICAL OR INDUSTRIAL EXHIBITION – TOY FAIR
No payment will be required for use of commercials at toy fairs, which are not open to
the general public if the performer has been paid not less than the minimum
compensation provided in Section 20. A Singer employed under the non-air
commercials contract (Section19) would be paid the difference between the non-air rate
and the session fee under Section 20.
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FOREIGN USE OF COMMERCIALS (Section 40)
The showing of commercials in the U.S., Canada and Mexico is included in the coverage
of use and reuse fees. To acquire right to exhibit commercials beyond such areas, the
principal performer’s contract must contain a provision granting such right at not less
than the following per maximum period of use:
1. Use in the United Kingdom – Amount not less than triple (3) the session fee.
2. Europe other than the United Kingdom – Amount not less than two (2) additional
session fees.
3. For use in the Asian Pacific Zone (Australia, China, Hong Kong, India, Indonesia,
Korea, Malaysia, New Zealand, Pakistan, Philippines, Singapore, Taiwan,
Thailand) – Amount not less than an additional (1) session fee.
4. Use in Japan – Amount not less than an additional (1) session fee.
5. For use anywhere in the world outside of the United Kingdom, Europe, and the
Asian-Pacific Zone – Amount no less than an additional (1) session fee.
In the event a commercial is made solely for foreign use and is so used, only on-
camera or off-camera session fee as is appropriate may be credited against such
foreign use.
EDITING OF COMMERCIALS - (WITHOUT CREATING A NEW COMMERCIAL)
(Section 26.H)
Prior to first the telecasting of one or more commercials made for a particular advertiser,
a principal performer may be recalled for one session fee to make reasonable changes
and corrections in existing soundtrack or to make changes or corrections in photography
in the nature of retakes. Subsequent calls for such purpose will require separate
payment for each commercial in connection with which such services are rendered. In
no event may any fees due under these provisions be credited against any other
compensation due principal performer.
Contact the Singers Department for more information @ (323) 549-6864.
PENSION & HEALTH (Section 45)
The employer’s contribution rate for Pension & Health is equivalent to 14.8% of
performer’s gross compensation, excluding fees such as wardrobe and meal
allowances, reimbursable expenses and liquidated damages.
65
SPANISH LANGUAGE COMMERCIALS (Schedule C)
The rates and conditions for commercials made for the Spanish language market are
contained in Schedule C of the SAG Commercials Contract. The minimum session rates
for Spanish language commercials are the same rates established for commercials
made for the English language market under Section 20.
A. MINIMUM COMPENSATION
Producer will pay principal performer session fees (which will also constitute
payment for the first commercial made for one designated advertiser) as follows:
On-Camera
Group Size Rate
Solo and Duo $567.10
Groups 3-5 415.15
Groups 6-8 367.55
Groups 9+ 303.95
Off-Camera
Group Size Rate
Solo and Duo $426.40
Groups 3-5 240.50
Groups 6-8 208.70
Groups 9+ 170.20
B. COMPENSATION FOR RESIDUALS
PROGRAM FEES
The following program fees are applicable only when a Spanish language commercial is
used on a Spanish language network. Residuals are paid in 13 week cycles
On-Camera – Program Fees
Group Size Rate
Solo and Duo $2,047.90
Groups 3-5 1,499.20
Groups 6-8 1,327.00
Groups 9+ 1,097.60
66
Off-Camera – Program Fees
Group Size Rate
Solo and Duo $1,540.05
Groups 3-5 870.00
Groups 6-8 753.65
Groups 9+ 614.45
SPANISH WILD SPOT FEES - (WHEN USED WITH A PROGRAM COMMERCIAL)
In the event that the Spanish language commercial used on the network is also used
during the same cycle as wild spot, then an additional unit payment is made within 15
business days at the completion of the cycle. Each city has a unit weight (i.e.
Albuquerque – 3 units), and the table below gives the dollar value for each unit attributed
to a city.
On-Camera – Added Wild Spot Unit Value
Group Size Rate Per Unit
Solo and Duo $5.17
Groups 3-5 3.67
Groups 6-8 3.39
Groups 9+ 2.63
Off-Camera – Added Wild Spot Unit Value
Group Size Rate Per Unit
Solo and Duo $3.75
Groups 3-5 2.17
Groups 6-8 1.96
Groups 9+ 1.40
SPANISH WILD SPOT FEES
Each city or television market area is assigned a “unit value” proportionate to the
size of the Hispanic population in that area. The following market areas thus are
assigned the indicated weights. All other television markets not specifically listed
here are assigned the weight of one unit. The Producer pays the Singers in
accordance with the scale fee for 13 weeks of use contained in Table A of the
Contract.
Television Market Areas Unit Weights
Albuquerque, New Mexico 3 McAllen/Brownville, Texas
Matamoros, Mexico 7
Chicago, Illinois 9 Miami, Florida 17
Dallas-Fort Worth, Texas 7 New York, New York 32
Denver 3 Philadelphia 2
67
El Centro, California/Yuma, Arizona
Mexicali, Mexico 4
Phoenix, Arizona 5
El Paso, Texas/Juarez, Mexico 10 Sacramento, California 3
Fresno, California 4 San Antonio, Texas 5
Houston, Texas 9 San Diego, California
Tijuana, Mexico 10
Laredo, Texas/
Nueva Laredo, Mexico 2
San Francisco, California 7
Los Angeles, California 39 Washington, DC 2
SPANISH FOREIGN USE
If the Producer wishes to acquire the rights to exhibit the commercial for foreign use, the
Singer’s contract shall contain a provision granting rights for each one-year period at
additional compensation as follows:
1) For use in South America and/or Central American and/or Mexico (outside
the border states: 3 session fees
2) For use in the Caribbean and/or Puerto Rico: 2 session fees
3) For use in any single country covered in (1) or (2) above: 3 session fees.
Except as otherwise provided in Schedule C, all terms of the Commercials Contract are
applicable.
68
SCREEN ACTORS GUILD
INDUSTRIAL & EDUCATIONAL CONTRACT
The SAG Industrial & Education Contract is for a film and taped production where the
initial first use is for non-broadcast venues, such as museums, classrooms, and
tradeshows. With the applicable payments for supplemental usage, the programs can
be subsequently used in theaters, broadcast and cable, sold or rented to the general
public or to the industry.
There are two types of industrial programs requiring different minimum fee payments.
One type is a Category I in which the program is designed to train, inform, promote a
product or perform a public relations function. It may be exhibited in classrooms,
museums, libraries or other places where no admission is charged. The session fee
payment allows the Producer to use the program for an unlimited period of time. An
example of a Category I would be a film about the history of automobiles shown at an
automotive museum where a separate admission fee for viewing the program is not
charged the patron.
The second type of an industrial program is a Category II. This program is intended for
unrestricted exhibition to the general public. The program is designed primarily to sell
specific products and services to the consuming public. An example of a Category II
would be a program for a cosmetic company in which it is viewed at a retail store’s
cosmetic department. The program may show the viewer how to apply the product to
their face, and the benefits of using the product. The Producer has the right to exhibit
the program for five (5) years.
TERM OF AGREEMENT: May 1, 2005 to April 30, 2008
MINIMUM FEES PER PROGRAM
On-Camera
Rates for 5/01/05 to10/31/06 Rates for 11/01/06 to 4/30/08
Category I Category II Category I Category II
Solo and Duo
$ 440.00
$ 547.00
$ 457.50
$ 569.00
Group
265.00
327.50
275.50
340.50
Step Out
332.00
410.00
345.50
426.50
The Singer Contractor receives an additional 50% for services.
69
Off-Camera
Rates for 5/01/05 to 10/31/06 Rates for 11/01/06 to 4/30/08
Solo and Duo
$ 236.00
$ 265.00
$ 245.50
$ 275.50
Group
157.00
178.00
163.50
185.00
Step Out
196.50
222.50
204.50
231.50
The Singer Contractor receives an additional 50% for services.
SUPPLEMENTAL USE (Section 30)
Where the program is distributed to additional platforms and venues, an additional fee
is required under the Supplemental Use provisions. A Producer has the right to make
the payment within 90 days, or after 90 days. As an incentive to the Producer, the
supplemental fee is less if the payment is made within 90 days.
Payment is based on “total applicable salary” or “total actual salary”. These terms are
defined here.
Total Applicable Salary
In the case of a Day Performer or Three Day Performer, the Total Applicable
Salary will be computed by multiplying the total number of days of the
performer’s employment by the salary paid for each of such days, excluding
overtime, but in the event the performer was employed at a regular daily rate, the
amount above 150% is not to be included in the computation.
Total Actual Salary
“Total Actual Salary” is defined as Total Applicable Salary without the 150%
limitation.
70
Supplemental Use Payment Schedule
Type of Use
Within 90 Days Beyond 90 Days
A. Basic Cable Television
(Worldwide) - Three (3)
years’ use
15% of Total Actual Salary 65% of Total Actual Salary
B. Non-Network Television
(US and Canada) –
Unlimited Runs
75% of Total Applicable
Salary
125% of Total Applicable
Salary
C. Theatrical Exhibition
(Worldwide) - Unlimited
Runs
100% of Total Applicable
Salary
150% of Total Applicable
Salary
D. Foreign Television
(Outside of US and Canada)
– Unlimited Television
Rights Outside US and
Canada
25% of Total Applicable
Salary
75% of Total Applicable
Salary
E. Internet Use
Five (5) years’ use
33% of Total Applicable
Salary
75% of Total Applicable
Salary
F. Integration and/or
Customization
100% of Total Applicable
Salary
100% of Total Applicable
Salary
G. Sale or Rental to
Industry
15% of Total Applicable
Salary
25% of Total Applicable
Salary
H. Rights in A, B, C, D, E, F
and G may be acquired
within 90 Days
200% of Total Applicable
Salary
Not Applicable
I. Category II Use As a
Supplemental Category II
use Rights for Category I
Programs
50% of Total Applicable
Salary
100% of Total Applicable
Salary
J. Network Television Separate negotiations and
approval by Screen Actors
Guild
K. Pay Cable Television Separate negotiations and
approval by
Screen Actors Guild
L. Sale or Rental to the
General Public
200% of the scale rate for
the number of days worked.
M. Program for Government
Service Producer may
acquire non-network
television, theatrical and
foreign television rights
40% of Performer’s Total
Applicable Salary
Not Applicable
71
PENSION AND HEALTH CONTRIBUTION RATES (Section 33)
The Pension & Health contribution rate payable by the Producer is 14.3%.
TIME OF PAYMENT (Section 5-G)
Producer must mail payment not later than thirty (30) calendar days after the day(s) of
employment. All supplemental use payments are due within thirty (30) calendar days
after initial exhibition of the program in any supplemental markets.
LATE PAYMENT DAMAGES (Section 5-G)
Damages for late payment accrue at the rate of $3.00 per day of lateness (excluding
Saturdays, Sundays and holidays) up to a maximum of thirty (30) days. The maximum
late fee payment penalty is $90.00.
If Producer does not issue payment, including the late damages within twelve (12)
working days (excluding weekends and holidays) of receipt of written notice of
nonpayment from the Guild, Producer will be liable for immediate additional damages in
the amount of $75.00, plus additional late fees will accrue at the rate of $5.00 per day
(exclusive of weekends and holidays) from the date of receipt of such notice by Producer
without maximum limits.
72
SAMPLE DOCUMENTS
o MEMBER-CONTRACTOR STANDARD REPORT FORM
null THEATRICAL
null TELEVISION
null COMMERCIALS
null “DEMO” MEMBER CONTRACTOR FORM
o SAG DEMO AGREEMENT
null (ONE PRODUCTION ONLY- DEMONSTRATION VOCAL
PERFORMANCE)
o SAG SINGERS DEPARTMENT OFFICE CLAIM FORM
o 2006-2008 SUMMARY OF CHANGES TO THE 2003 SCREEN ACTORS
GUILD COMMERCIAL CONTRACT AND THE 2003 AFTRA
TELEVISION RECORDED COMMERCIALS CONTRACT
o ON-CAMERA CONTRACTS
null DAILY PLAYER CONTRACT
null 3 DAY PLAYER CONTRACT
null WEEKLY PLAYER CONTRACT
73
SCREEN ACTORS GUILD
BRANCH OFFICES
Hollywood
5757 Wilshire Blvd, 7
th
floor
Los Angeles, CA 90036-3600
Main Switchboard (323) 954-1600
Fax (323) 549-6603
Singers Department (323) 549-6864
New York
360 Madison Avenue, 12
th
Floor
New York, NY 10017
Main Switchboard (212) 944-1030
Fax (212) 944-6774
Arizona
3131 E. Camelback Road, Suite 200
Phoenix, AZ 85016
Tel. (602) 383-3780
Fax (602) 838-3781
District Executive Director -
Don Livesay
Boston
535 Boylston Street
Boston, MA 02116
Tel. (617) 262-8001
Fax (617) 262-3006 (local)
Boston Executive Director -
Dona Sommers
Chicago
(includes Cleveland, Minneapolis and St. Louis)
1 East Erie, Suite #650
Chicago, IL 60611
Tel. (312) 573-8081
Fax (312) 573-0318 (local)
Chicago Executive Director-
Eileen Willenborg
Colorado
Market Square Center
1400 Sixteenth Street, Suite 400
Denver, CO
Tel. (720) 932-8193
Fax (720) 932-8194 (local)
Colorado Executive Director -
Julie Crane
Dallas
15950 N. Dallas Parkway, Suite 400
Dallas, TX 75248
Tel. (972) 361-8185
Fax (972) 361-8186
Texas District Executive -
Linda Dowell
Detroit
Town Center
2000 Town Center, Suite 1900
Southfield, MI 48075
Tel. (248) 351-2678
Fax (248) 351-2679 (local
Detroit Executive Director -
Marcia Fishman
Florida (Central)
522 Hunt Club Blvd #410
Apopka, FL 32703
Tel. (407) 788-3020
Fax (407) 788-3080
South Region Executive-
David A. Fazekas
Florida (Miami) – South Region Office
(includes Carolinas, Louisiana and Puerto Rico)
7300 North Kendall Drive, Suite 620
Miami, FL 33156-7840
Tel. (305) 670-7677
Fax (305) 670- 1813 (local)
South Region Director-
Leslie L. Krensky
Georgia
455 E Paces Ferry Road NE, Suite 334
Atlanta, Georgia 30305
Tel. (404) 239-0131
Fax (404) 239-0137
Georgia Executive Director -
Melissa Goodman
Hawaii
949 Kapiolani Blvd., #105
Honolulu, Hawaii 96814
Tel. (808) 596-0388
Fax (808) 593-2636 (local
Hawaii District Executive - Brenda Ching
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Houston
Public Record Contact
15950 N. Dallas Parkway, Suite 400
Dallas, TX 75248
Tel. (972) 382-8185
Fax (972) 382-8186
Director -
Linda Dowell
Nashville
7300 North Kendall Drive, Suite 620
Miami, FL 33156-7840
Tel. (305) 670-7677
Fax (305) 670-1813 (local)
South Region Director-
Leslie L. Krensky
Nevada
5757 Wilshire Boulevard
Los Angeles, CA 90036-3600
Tel. (323) 549-6440
Fax (323) 549-6460
Nevada District Executive -
Hrair Meserlian
New Mexico
Market Square Center
1400 Sixteenth Street, Suite 400
Denver, CO 80202
Tel. (720) 932-8193
Fax (720) 932-8194 (CO local)
New Mexico Executive -
Julie Crane
New York
360 Madison Avenue, 12th Floor
New York, New York 10017
Tel. (212) 944-1030
Fax (212) 944-6774
For Deaf Performers Only –
TTY/TTD (212) 944-6715
New York Executive Director -
Jae Jae Simmons
North Carolina
7300 North Kendall Drive, Suite #620
Miami, FL 33156-7840
Tel. (305) 670-7677
Fax (305) 670-1813 (local)
North Carolina Executive Director -
Melodie Shaw
Philadelphia
360 Madison Avenue 12th Floor
New York, New York 10017
Tel. (212) 944-1030
Fax (212) 944-6774
New York Executive Director -
Jae Jae Simmons
Portland
4000 Aurora Ave N #102
Seattle, WA 98103
Tel. (206) 270-0493
Fax (206) 282-7073
Portland Executive Director -
Dena Beatty
San Diego
5757 Wilshire Boulevard
Los Angeles, CA 90036-3600
Tel. (323) 549-6440 (L.A. local)
Fax (323) 549-6460 (L.A. local)
San Diego District Executive -
Hrair Meserlian
San Francisco
350 Sansome Street, Suite 900
San Francisco, CA 94104
Tel. (415) 391-7510
Fax (415) 391-1108 (local)
Executive Director -
Frank Du Charme
Seattle
4000 Aurora Ave N #102
Seattle, WA 98103
Tel. (206) 270-0493
Fax (206) 282-7073
Seattle Executive Director-
Dena Beatty
Utah
3131 E. Camelback Road, Suite 200
Phoenix, AZ 85016
Tel. (602) 383-3780
Fax (602) 838-3781
Utah Executive Director -
Don Livesay
.
Washington D.C/Baltimore
4340 East West Highway - Suite 204
Bethesda, MD 20814
Tel. (301) 657-2560
Fax (301) 656-3615
Executive Director -
Patricia O''Donnell
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