Film Industry Unions and Guilds. When and how to join.
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- Опубликовано: 17 мар 2022
- Learn the basics of joining film industry unions and guilds. A must if you want to work on big budget productions.
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offwalkie.com
IATSE
iatse.net/
Contract Services
www.csatf.org/
Teamsters
teamster.org/
DGA - Directors Guild of America
www.dga.org/
SAG-AFTRA - Actors Guild
www.sagaftra.org/
WGA - Writers Guild of America
www.wga.org/
PGA - Producers Guild of America
producersguild.org/ 
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Thank you for this video! So little general info out there about unions for people coming into the industry! I thought I’d add some info for Canadians watching this video; in Southern Ontario we have the DGC, IATSE and NABET. The DGC is the same as the DGA but also covers accountants, production managers, production designers and Set PAs. A Set PA is part of the Assistant Directors department and not Production- despite the name. There is no real Producer’s Guild in Canada that I know of, producers might be PGA coming up North or Non Union. IATSE local 873 covers most departments including Hair/ Makeup, Costume, Props, Art, Transport, Grips & Electrics. IATSE 667 is Camera - Cinematographers, 1st/2nd ACs, Trainees etc. IA 411 is production coordinators and craft (I find it confusing that managers and coordinators aren’t in the same union), I’ve been told that if you join one IA local it is relatively easy to switch to another local. NABET I do not know too much about however, someone I talked to recently mentioned that IATSE members cannot work on NABET productions. Unions typically have a sort of apprenticeship/ trainee program for those who do not have enough experience to join as member (worth checking out!). There are non union roles on Union productions, sustainability, office PAs and director/producer’s assistants are all non union so if you have a good enough amount of experience you can get on a netflix show as an office PA (also a way to join IATSE 411 as they would give you a permit once working a certain number of days as an office PA on a union production). Commercials are non union but I typically meet quite a few DGC and IATSE members on them, rates are determined by the ACCP which almost acts as a union. Always good to answer questions if anyone has any!
I work for local 817 driving vans for cast and crew in nyc and it really is the craziest job I’ve ever had but also very draining. Working on set can be hell and mostly it’s minimum 12 hr days. Most I’ve worked straight is 2 days in Yonkers and the Bronx sleeping in my van
informative n important stuff you had . Thanks for the video, now I have my idea of film unions and the process of joining clearer than before.
Super underrated channel, wish I would have found you 4 years ago when I was first entering the industry as a 2nd AC.
Terrific video. This is definitely a topic I rarely see discussed.
Super helpful video! I literally just applied for my IATSE local 504 being in OC as a general stagehand and grip for live events with the hopes of also cutting my teeth on lighting some more. My first union submission! I am SAG-e currently while doing BG and auditioning to be a host/presenter on camera and a voiceover artist for both narration and ADR. Eventually when I join it will also be for Stand-In/Photo Double work. Although my lifelong dream has always been to be a [backup] singer so AGMA is in my future as well. I would like to think that my experience in front and behind the camera gives me a unique POV and perspective to pull from the experience opposite of what I would be doing at the time.
Thanks for this video! Super informative and straightforward! I’m a stop motion animator fresh outta film school and can’t believe we never talked about any of this in class 😭
Very informative and dead-on accurate from my experience as a Central Casting background actor in the early 2000s. Prior to that I had years of experience as a non-union camera operator and concert stagehand in the Arizona market. While I worked with a talented and competent professional group of people in Az, when I got in the LA market it was like going from a Chevrolet to Lamborghini fine-tuned machine as I was able to interact and participate with these quality well-tuned filmmaking machines John Wells Productions was one of my favorites of the time on the West Wing and E.R. particularly. The 2nd AD's on ER were truly gifted at choreographing sometimes 80 background actors in foreground and background movement assignments with principals in long steadicam shots. I recall many times having multiple assignments in a single shot crossing between camera and principals then hustling to another place on set , grabbing and piece of wheeled medical equipment to move past a patient room window and then exit to deep background to waiting elevator with a another principal entering the scene foreshadowing the next scene. Just a fine tuned machine of intuitive professionals. The exception of my experience was the first season of the Gilmore Girls. My first day of work on that show was horrible. Everything from craft service to the AD dept were just too "green". So many problems. Next episode (maybe 3 weeks later). Whole new crew and the rest is history. Another precision machine assembled=r followed by award show wins and nominations. If you try my path, show up 15 minutes early minimum,, keep your mouth closed, pay attention and be ready to work. I worked 16 hours on an ER episode. That paid not only time-and-a-half then double time but the 16th hour was golden time. 1 hr equals your day rate! When I wasn't booked on work I would go out and spec which is short for speculating that you'll work. Show up to a set , check in with the 2nd AD like half hr early, ask to get on a spec list which is background actors that are booked that day but want to work they have a contractual obligation for XYZ amount of background actors and if someone is 15 minutes late to get their voucher, they're out and you're in. Blow, Joe Dirt, Blades of Glory, Murder She Wrote and more. Remember always quiet, be ready to work and don't engage in personal conversations with the principles unless they initiate it.
Thank You Sir Thenx!!!! I’m getting stronger everyday & more sculpted everyday & have decided to compete in a bodybuilding show & feeling so so pretty & toned now and still have a lot to do!!!!!! But feel Awesome doing your workouts!!!!!!
this was insightful for sure!
Great video. Thank you!!
that was really helpful. I didn't find anything like that on the internet.
Thanks legend, very informative input!
great video brother !
I have worked on n a convention center and it has been open since 1975 but apparently the production unions for events there had disputes over events with operations and others where I was blamed for conversations with them in just three years i worked there out of 1975. I guess no conversations happened with them between 1975 to 2016. They get violent sometimes.
I love your channel and all the information you provide about the actual freelancing life of filmmaking and film crew. Especially about rates, payment, invoicing and general financial aspects of this life. You're the only channel I've come across that actually goes into detail about all these things and I appreciate it so much cause they didn't teach us this in film school haha. If you're doing more videos, my request would be a video about how to invoice properly (specifically from camera department) and how to fill out payroll time cards with production companies. Thank you and keep this channel alive!
Thanks for watching. More videos are coming. The invoice ans negotiations video will be the next one.
Also the only way I’ve really seen to join the teamsters is thru family or close friends. My dads been doing it for about 12 years and got me in 2 years ago. Most of the ppl I meet my age got in the same way too
I love all the info you’ve given here. I was told going to film school is way different than actually being on a huge movie set. I went to school for cinematography, but I haven’t been able to land no projects after school. Instead I have been doing videography and photography for an agency for the last year but I self taught myself videography, it’s not what I want to be doing because I want to work on set. I’ve been applying for production assistant since I was 18 years old even when I didn’t have school just to see if I get lucky to get my foot in the door and I’m 33 now, no luck. Never landed a job on set. I do want to join Local 600 but after seeing this I don’t want to because I still haven’t been able to land anything not even doing free work. Any advice?
It can be very difficult breaking in. If it's truly a dream of yours don't give up. My number one question would be, where do you live? In a small market it only increases the difficulty exponentially. Crews in small production cities don't like it when new people try to get in. If you are really serious about it, then I would suggest moving to a major production hub. If you are in the USA it would be cities like Los Angeles and Atlanta. Find out the cities where the most productions are done in your country and consider moving there.
If you want to be a PA to just to get on set, try finding production companies in your area and cold call or email them. You never know. They may need someone that week or next day because their regular people aren't available.
@@FilmmakerSurvival thank you so much for taking the time to reply to me. I was born and raised in LA and long story short my dad had a heart attack years ago and I moved to Iowa where he retired, just to be close to him and I was doing videography there but I moved back because I knew it would never happen if I stayed there. So it’s been a month now since I’ve been back to LA. And this is where it’s at but I’ve applied but I feel like that’s just not the way to do it, I think it’s all about who you know and getting out there and doing it. But I am actively looking. Well, I mentioned PA positions because I think that’s where you start. I went to school for cinematography but I’m sure that would be even a harder spot to get into right out of the gate. I just know this is where it will all unfold for me once I get my foot in the door.
@@randycarrillo2802 if you're on LA you could consider applying to Panavision Hollywood's 2 year program. To my knowledge they still are doing it. You start out working in shipping then move to the prep floor. It's a great way to learn the gear and meet Cinematographers and camera assistants. Alternatively you could consider applying to the AFI Cinematography program. There is always craigslist, productionhub.com and mandy.com. I also believe there are some PA services you could use...I'm sorry I don't remember the names of them but hopefully after some googling you could find them.
FYI - IATSE 873 reps transportation.
Awesome video! Thanks for the info about Local 600. I was wondering....since I'm a member out here in Las Vegas Local 720....I would like to transition to do more film work. Do you know what the best process in doing this with 600 or other film locals in California.
I believe one way out of a handful (perhaps 4 or 5 depending on the local charter) is to do 30 union days on set in a rolling calendar year that starts on the day of your first gig.
Thank you for sharing this.I just subscribed!
I'm in Canada, and have the requirements to apply to my local 667 as a stills photographer. I am still unsure whether to join or not, even after 8 years of doing set work, so I still haven't applied yet. I'd been researching for other people's experiences so I appreciate your video.
If you are happy where you are at then I wouldn't worry about it. If you begin missing out on work because you aren't union, that's when you need to get that ball rolling. Being in a union doesn't mean you suddenly only work union. It's about who you are working with currently and where your headed.
Absolutely join. I am in Canada and a member of IATSE 873 and ACTRA. For the health benefits its worth it. 667 has a tons of contracts that range from high budget to dispensation. 667 also reps a lot of camera teams on Canadian productions. Strength in numbers!
Hello Leonard!!!!
Thank You so much for this awesome 101 Guild/Union Info (and this my title for your awesome video because you explained everything perfectly & clearly!!!
Inquiry:
Where would the publicist (unit publicist be placed? Above the Line Or Below the Line?
&
I have PR background in entertainment & want to train for a Unit Publicist position in Film. How would I go about connecting with a unit publicist to intern or be their assistant?
Thank You,
Sasha R’
Hey! I'd say they are below the line since they don't have a creative impact on the making of the project.
As far as getting your foot in the door I'm not sure I have a good answer. That's an entirely different world than what I know. My best advice would be to just cold call/email as many publicist or firms you can get info for and see if they are hiring or even ask if you could shadow them for a day or get a cup of coffee. You never know what can happen if you don't put yourself out there.
Hello, I've going to school for stage craft. And I'm studying the light board. I want to join the local,. I have a job as an usher at my current school at a college. With experience with that and more lightboard classes, will the local accept me even though I'm a high school dropout at 11th grade? Is my high school graduation a requirement?
Do they still get work if they are behind?
All great info, thanks for the video. I just got my first 14 days submitted to CS as a DP for local 600. Can you clarify what you mean by you can work non-union gigs once you've joined? I've heard mixed things about this from other DP's, that you can, cannot, or it's kinda a grey area/they might give you a slap on the wrist if you do but not remove you from the union. Any additional clarification on this would be super helpful, thanks!
You can 100% work non-union jobs as a local 600 DP. They do not care if you DP non-union jobs.
@@FilmmakerSurvival ok cool thanks! Is that true for all local 600 members too or just DPs?
All members
I just accepted an offer to be a production assistant on a major network, but I have to join the DGA. I know I want to be a producer later down the line, but if I am in the DGA, would that create issues for me if I go down a producing route?
It shouldn't have any negative affect on being a producer. Directors and even 1st ADs can be producers on projects. I've even produced multiple short films myself as the Cinematographer. The more you know about the filmmaking process, the better producer you will be.
I’ve never heard of a PA needing to join the DGA. Wonder why you were asked to do that? It sounds like they are trying to get you under contract and not be freelance is my guess.
@@1300mer I ended up quitting the job and am resigning from the guild. Worst job in my life lol
@@julesbarry755 Sorry to hear that! I’d just keep grinding your teeth on being a PA without needing to join any union and work your way to bigger and bigger projects before getting an opportunity to Produce and then join the PGA in a similar fashion as outlined in this video.
What's best one for photographer. If you starting out.
If you are looking to be an onset photographer, Local 600 is the union you would join.
@@FilmmakerSurvival thank you
@@FilmmakerSurvival Yup they are the ones that do all the BTS footage I believe!
817 all day
I worked in a convention center in Huntsville Al where atse threatened me as did the production department Lynn broad when it has been open sincev1975 apparently workers who aren't union aren't supposed to sau anything to them. So apparently I was financially exploited for twi years apparently from 2016-2018 when the center has been open since 1975 si apparently from 1975 apparently I'm the only one who had conversations in tye entire building apparently during those years. I inoy worked there two years out of how many? Is it legal for atse or associates of atse to assault me twice if I was in another department? At the center? I was assaulted three years after working there. Possibly by associates of labor finders Randstad or ex von Braun center Huntsville employees.
600 isn't the only national union, locals 700 & 800 are national unions.
. Technically 600 is a guild also, but we are allowed to work non-union. You hit it on the head about not joining right out of film school. But it needs to be stated over and over that most IA, especially film locals aren't hiring halls, which means they don't get you job, which is a misconception that people think when they join a union. And just because a show flips union doesn't means someone doesn't automatically get in the union. It's a show by show, person by person situation. Contract Services only are needed if you work in the Western Region, not required in the rest of the country.
You're absolutely right. Being in IATSE doesn't mean you can only do union jobs. If that were the case I'd have no money to support my family. Thanks for all your knowledge and info.
you look like a Actor, I feel like you’d be funny as hell
Once I was told I was funny.