This agreement also requires that the remains be paid in accordance with subsequent guidelines and tariff calculations in accordance with the basic agreement, as soon as the residual requirements are met and payment is to begin. In this article, I highlighted the twelve amendments which I believe will have the greatest impact on producers. The changes are at their peak: some deal with issues important to the union and its members; others are upgrades designed to better align the commercial contract with production realities (particularly digital production) in 2019; some clarify the ambiguities that have plagued talent payment teams for some time; and several are aimed directly at “creating the conditions for competition” between signatory and non-signatory brands and agencies. First, the LOA lists 10 activities that the signatory must perform in relation to each production in order to be an “employer.” The LOA also notes that the activities listed “are not delegated and must be carried out by a genuine W-2 staff member” of the signatory and requires signatories to provide documentation proving compliance with the complaint within 30 days of the date of a complaint. If you submit to the process of becoming a signatory for the first time, you must first determine the classification of your production. There are a total of twelve categories that start three most common categories: theatre, new media and television. In each of these categories, there are subcategos that are discussed in more detail in this article. Second, the waivers of “Live Event,” “Person on the Street” and “Hidden Camera” are now officially and definitively part of the main agreement. Moreover, these exemptions are no longer conditional on the union`s producers making copies of spots subject to this exemption available; Instead, producers should only make the spots available to the union on request. And the contract specifies that any interviewer hired for “Person on the Street” and “Hidden Camera” advertisements may be demoted or downgraded if authorized in accordance with Section 27 of the main contract.
SAG-AFTRA members can only work on a project if the studio, production company or producer has signed the corresponding SAG-AFTRA agreement. The elusive elusiveness could result in hefty fines. While this article attempts to lay the groundwork for the common treaties, it is by no means a complete summary or a complete list of SAG-AFTRA agreements. There are always areas of shadow after the state and the project, and you should always read your agreements carefully and check them out. The loyalty letter Since then, the six companies have negotiated an agreement with SAG-AFTRA, which culminated with the signing of a new loyalty letter (LOA) as a condition of the possibility of remaining a signatory. The LOA imposes extensive employer obligations and significant restrictions on production-related advertising agencies on signatories in third countries. If you feel that your company has already applied as a signatory or are looking for signatory companies with which you can work, you can search for approved signatories through the SAG signatories database. These included hiring third-party contractors for each U.S. production and negotiating union-friendly talent agreements with service providers in collaboration with the advertiser`s client. In addition, under the LOA, third-party signatories could only serve the advertisers themselves as such and not the advertising agency charged by an advertiser to run the production.
The amended LOA, which came into effect on April 1, 2020, however, requires third-party signatories to contract the ten employer functions as originally formulated, reflecting instead how an advertising agency should operate in an integrated commercial production ecosystem, including the admission of interim staff to the set as long as that staff does not monitor the talent – an employer that must be provided by third-party sub-signatories.