If you`re looking for a SAG short film contract, this is probably the right place to start. Under this agreement, the signatories are contractually obliged to cooperate with the main players of SAG-AFTRA and up to a maximum of 30 people for the background. For television work, the remnants begin as soon as a program is redeployed or published on video/DVD, pay TELEVISION, broadcast television, basic cable or new media. The residues are based on a gross revenue formula for all effects of free TV series. Background officers are not permitted to receive remnants for work performed under the SAG-AFTRA Basic And Television Agreements, unless the background Actor is re-enhanced to the interpreter category. If he/she is still talking about five lines or less, the remaining program fees are five lines or less of a program fee. If the substantive actor is revalued elsewhere in the interpreter category, the residual program fee is the main program tax. Under this specific theatrical convention, you can only hire SAG-AFTRA actors as lead actors, and the first 57 background actors recruited must also be unionized. If your production requires more than 57 background actors, the 58th recruitment and beyond should not be unionized and are therefore not covered by the terms of the theatre contract.

If you are considering hiring a Principal Performer or background actor (and not having hired 57 other substantive actors) who are not yet members of SAG-AFTRA, you have 30 days after signing the contract to submit the Taft-Hartley report to your representative, with a headshot and CV, in order to grant union status and comply with the contractual rules. The prices of the daily and weekly headliners under this agreement are set at 35% of the scale of the basic agreement. Based on this information, you can determine the SAG agreement or your contract. From there, you`ll find the fees. SAG-AFTRA (“Screen Actors Guild-American Federation of Television and Radio Artists”) is a trade union Representing more than 160,000 film and television artists, radio actors, video games, advertisers (on radio and television), news anchors, singers and recording artists (both royalty artists and background singers), performers in commercials and actors working as stuntmen and specialized acts. It is dedicated to protecting the interests of its members and improving wages, working hours and working conditions, and it does so through a series of contractual agreements (some of which are grouped above) applicable when one of its members participates in a production. Once these issues are decided, a collective agreement is reached and both the employer and the union are required to comply with that agreement. Hence the system that the industry has for collaboration with SAG-AFTRA members. Today, almost a hundred years later, SAG-AFTRA is still committed to organizing all work under their jurisdictions, negotiating the best wages, working conditions, health and retirement services, creating employment opportunities, enforcing contracts and protecting SAG-AFTRA members from unauthorized use of their work. However, the work of the Union is not possible without the cooperation of the hereditary industry, which is not part of the union, in particular the studio and production factories. Through collective agreements and subsequent contracts, SAG-AFTRA can govern and protect those who work in a performance role in the entertainment industry.