Independent agreements within a theater troupe to cover profit-sharing productions This can be used for commercials with an independent agreement. An agreement for the Alliance of Canadian Film, Television and Radio Artists. BBC Equity TV Agreement 6 Jun 2016.pdfEquity Audio Agreement 2017-18Voice Rates Card.pdfWalk-on Rate Card 2017 .pdfequity audio agreement 2017 18 final.pdfITV Main & Walk-On Agreement Jan 2016 – .pdfTAC Equity Walk-on Agreement January 1, 2018 WELSH.pdfTAC Equity Walk-on Agreement 2018 ENGLISH.pdf I just want to highlight what I`m sure you already know, but just to clarify, there are very few official film schools in the UK. The London Film School is a film school in London, a film academy in New York, a film school in Brighton, an international film school in Wales. These are prestigious courses that are very professional and very competitive to take. There are only about 6 in total, the rest are, as I said, media schools or film courses. A film course is by no means a film school and cannot be defined as such. Equity agreements are only with these official film schools, so they don`t rise anywhere else. Perhaps equity could find the intermediary and enter into agreements with universities and non-film schools that offer film courses? For example, Westminister United always involves actors, perhaps equity could strike a deal with them? It is simply not possible to assume that the actors will only work with these 6 film schools. There must be a compromise that protects everyone and allows the actors to work, to gain experience, but at the same time to be protected by justice. There must be ways forward and new ways to tackle this problem, as Alan has shown in his region. It would be interesting to see if universities that offer film courses would agree with this approach to equity.
Has it been tried outside of Leeds Branch? It seems to be working, and I`d be happy to do it in London, as I think most actors would. Equity contracts for individual members typically include jobs in three categories: principal, choir, and stage manager. The main contract is used for all key players and most stage managers. The choir contract is used for actors who mainly do choral work. Each individual employment contract refers to a specific collective agreement and contains all its conditions. That`s a good point Helen. A receipt for the fees paid for the video would also encourage students to keep their share of the deal to provide the video to the actor. If this does not happen, it would clearly be a breach of contract. Of course, this is provided that the charity can legally accept such a payment. So, once fairness is able to resolve the legal intricacies, via charity status, etc., we can put together a package that hopefully is easy to understand – and clearly states what is expected of each party: (A) When such a project is considered charity status.
(B) If it is presumed that such a project does not have charitable status. (C) If there is a fee to be paid for a copy of the video. We can then try to extend the equity agreement with NFTV School to all other film schools. **;~)) A theatre agreement setting the minimum wage, terms and conditions for artists, students and stage managers in subsidised theatres in the UK (outside the West End) funded by Arts Council England, arts council of Wales, Creative Scotland or arts council of Northern Ireland. As you rightly say, Claude, there are a huge number of different types of “film schools”, all competing for quality products and not for a financial product. The position of paying actors a certain salary due to serious budgetary considerations. Clive argues that we ignore this and demand payment from students when they often have no money for it. What happens then? Do we allow their talent to remain fallow? Are we NOT supporting new generations of filmmakers? Or should we take our own stand and use our common sense and be rewarded in every way we can? I believe the subject is much more complicated than some people portray.
That is why we took our own initiative and proposed a compromise to the film schools in our region. Not everyone in my section agrees with that. I expect them to stay true to what they believe is best for them. Those who reap all the benefits get a much better deal here than where the confrontation took root. Where the actors are treated as if they were worthless! Confrontation means aggression. Aggression means more confrontation and distrust. Break the cycle. Those who do will get much more than those who maintain confrontation.
Hello, discussions with the HMRC NMW Enforcement Unit suggest that student films are covered by the NMW, and indeed the National School of Film and Television has revised the fairly negotiated rates to reflect this. However, there has been a problem with the non-profit status of most film schools that HMRC lawyers are currently facing. Once this is clarified, Equity will contact film schools to inform them of their legal obligations with respect to nmW, provided that their non-profit status does not mean that it does not apply to them. By the way, if film schools are considered charities, they would not be allowed to give DVD copies to members, as charities are prohibited from providing “in-kind contributions” to volunteers. The policy of fairness to film schools towards the NMW will have to wait until the “charitable issue” is resolved. This is the latest stock market information on the subject. For the best, Clive SAG-AFTRA has a number of special contracts for special film productions that cannot afford regular prices. Actors in a short film, for example, receive $100 a day they work on, whether it`s filming or rehearsals. A short film in this context is a short film that lasts 35 minutes or less and has a budget of $50,000 or less.
SAG-AFTRA says that short films get the price reduction because they give producers and beginning directors the opportunity to work with professionals without breaking the budget. Television and film actors are also paid weekly or per working day, as are non-actors who work on a salary. Under the 2011-2014 SAG contract, performers will receive $2,979 for a work week or a daily rate of $859 starting in 2013. Television actors in the lead roles receive at least $4,725 for half-hour shows; in an hour of show, it`s $7,559. If they work overtime, they also receive overtime pay. High-performing players can trade much higher rates. It`s kind of a mockery of the Equity student film contract that`s been around for years, what did you say, Clive, didn`t it? The responsible way to deal with it is not through confrontation, but through education. Confrontation, as you propose in an unconfined industry, will strengthen the support of those with whom we are trying to reach agreements.
Negotiations with both interested parties will lead to an amicable outcome for the benefit of all. I can cite Leeds and District Branch`s very special relationship with northern film school as a perfect example! Do not break our agreement with them because of your own political agenda. Understanding the needs of ALL parties is the key to solutions. Not a general political demonstration. A theatre agreement establishing the minimum wage, terms and conditions for artists working for Fringe Theatres across the UK. As a student filmmaker, I myself am curious about this. If I were forced to pay actors, could I cancel the fees they were given? For example; an actor recently came for one of my films and did a 5-hour shoot. His train ticket cost £25 and his lunch £5, which was £30 I paid. Now; Assuming the £5.80 rule, I would only be forced to pay him £29. I know it`s only small, but he would lose money if I didn`t pay his expenses.
What do you think? An agreement drafted by Equity that is used by filmmakers who enter their film into the film festival circuit. B for example Sundance, Cannes, BFI London, Foyle, etc., and which are not commercial, that is to say do not come out in theaters. Daily rates for this deal start at a minimum of £147 per day + paid leave. A graduate of Oberlin College, Fraser Sherman began writing in 1981. Since then, he has researched and written newspaper and magazine articles on municipal administration, legal proceedings, business, real estate and finance, the use of new technologies and the history of cinema. Sherman worked as a journalist for more than a decade, and his magazine articles were published in “Newsweek,” “Air & Space,” “Backpacker,” and “Boys` Life.” Sherman is also the author of three film reference books, a fourth of which is currently in preparation. Thanks for the answer Alan, As you rightly say, Claude, there are a huge number of different types of “film schools” that all compete for quality products and are not in a financial position to pay actors a certain salary due to strict budget considerations. .