CREW RATES

Commercials, Feature Films, Television Series, Dramas, Corporate & Documentaries.........These rates are put together as a basic guideline only, by the crew and are negotiable dependant upon the duration of the project, however ......... "Rates are predominantly influenced by the size, format, budget and style of the production". Commercial rates are different from television and feature film, the latter being lower due to the length of employment. Listed below is a range of daily rates. The exact daily rate is usually within these figures. These rates are based on a 12 hour day.

Small EFP Production Company

Pre Production

Producer - $500 full day / $300 half day

Scriptwriting - $200 per finished minute

Production

Two person Camera crew - $1,500 full day / $1,100 half day

Rate is based on a 10 hour day portal to portal. Includes Sony BVW-D600 Betacam SP camera, Arri production lighting package including 3 Chimeras and ellipsoidal light, audio package including mixer, shotgun mic, 2 lavalier mics, 2 handheld mics, 2 wireless mics, audio cassette recorder, monitor.

One person Camera crew - $1,100 full day / $800 half day

Rate is based on a 10 hour day portal to portal. Includes Sony BVW-D600 Betacam SP camera, Arri production lighting package including 3 Chimeras and ellipsoidal light, limited audio package*, monitor.

* Audio package in one person crew does not include: mixer, second wireless unit, shotgun mic and boom pole, second lavalier and handheld mics, audio cassette recorder.

ADDITIONAL PRODUCTION RATE INFORMATION:

Overtime is $67.50/hr for Producer, $60/hr per crew member above 10 hrs.

Half days are 5 hours. Shoots longer than 5 hours will constitute a full day.

Rates for additional crew and equipment will be quoted on a per job basis.

50 miles are included in day rate. Additional mileage billed at 40 cents/mile.

PostProduction

Non Linear Editing

Uncompressed (1:1) Final Cut Pro 4 - $200/hr

Features: Component YUV (4:2:2) input/output, unlimited video and audio tracks for layering and compositing, digital video effects (DVE), Adobe After Effects 5.5, Real-time color correction, Adobe Photoshop 7, Adobe Illustrator 10, Boris Graffitti & Livetype titling

290 Gigs of storage.

Video Inputs/Outputs - Betacam SP, 3/4 inch, DVCAM/Mini DV, S-VHS/VHS - other formats available

Digitizing video - $100/hr

Voiceover / Narration booth recording- $100/hr

Tape logging - $75/hr

Graphics Creation

2D motion / still graphics creation - $100/hr

3D animation design - $200/hr

Motion control of still images - $100/hr

Flatbed scanning - $100/hr

Photo retouching $100/hr

Video stills from tape (frame grabs) - $50/ea

Captioning

Closed or open captioning - $125/hr (tape stock charges may apply)

Music / Sound Effects Library

Music Library - $70 per track

Sound Effects - $10 per track

Multimedia Services

Encoding video for the internet - $100 1st minute, $20 ea. additional minute

Master to CD-Rom -$50/finished minute

Feature Film & TV ( Per Week )	US$

	Minimum	Maximum
PRODUCTION	Per Week	Per Week
Line Producer	1,800	3,000
Production Manager	1,200	2,100
Production Coordinator	780	960
Production Secretary	540	720
Production Runner	480	540
Unit Manager	660	780
Unit Assistant	510	600
Location Manager	840	1,200
Script Editor	900	1,500
ASSISTANT DIRECTORS	Per Week	Per Week
1st Assistant Director	1,200	2,280
2nd Assistant Director	780	1,020
3rd Assistant Director	540	720
CAMERA DEPARTMENT	Per Week	Per Week
Director of Photography + Camera Operator ( FEATURE FILM )	Negotiable	Negotiable
Director of Photography + Camera Operator ( TELEVISION FILM )	Negotiable	Negotiable
	Per Week	Per Week
Camera Assistant	480	660
Focus Puller	840	1,080
Clapper Loader	600	720
Continuity (HoD)	780	1,020
Stedicam Operator inc.equip	1,800	3,000
MAKE UP & HAIR
Make Up Supervisor	780	1,200
Hairdressing Supervisor	780	1,200
Assistant	540	780
Make Up Artist/Hairdresser	660	1,020
WARDROBE
Costume Designer	1,020	1,800
Stand-by Wardrobe	600	780
Wardrobe Supervisor	780	1,020
GAFFERS/GRIPS
Gaffer (HoD)	900	1,380
Gaffer Truck Equipment	2,100	4,200
Best Boy	780	960
Key Grip	900	1,380
Grip Truck Equipment	2,100	3,600
Assistant Grip	780	960
ART DEPARTMENT
Production Designer	1,500	3,600
Art Director	900	1,500
Art Department Coordinator	720	900
Props Buyer	840	1,020
Set Dresser	720	960
Model Maker	780	1,200
Stand-By Props	780	1,080
Scenic Artist	840	1,200
Construction Manager	1,020	1,500
Carpenters	720	960
SOUND PRODUCTION
Sound Recordist inc.equip	1,680	2,400
Boom Operator	780	1,020
STUNTS / SPECIAL EFFECTS
Safety Supervisor	1,200	negotiable
Stunt Coordinator	2,100	negotiable
SFX Designer	1,920	negotiable
SFX Make Up	1,500	negotiable
SFX Coordinator	1,680	negotiable
Vehicle Wrangler	20	negotiable

Television Commercial ( Per Day )
	US $
	per day + diem
Art Director/Prod'n Designer	390
Assistant Art Department	210

CORPORATE / DOCUMENTARIES	US $
	per day + diem
Director of Photography + Camera Operator	Negotiable

MUSIC VIDEOS	US $
	per day + diem
Director of Photography + Camera Operator	Negotiable

COMMERCIALS / TVC	US $
	per day + diem
Director of Photography + Camera Operator	Negotiable

Television Commercial ( Per Day )

Best Boy/3rd Electrician	270
Budget Consultant	240


Camera Assistant / Focus Puller ( Corporate )	100
Camera Assistant / Focus Puller ( Music Video )	200
Camera Assistant / Focus Puller ( Commercial )	300
1st Camera Attendant / Loader	175
2nd Camera Attendant / Loader	75

Television Commercial ( Per Day )
Camera Truck	120
Casting/Extras	180
Catering (minimum $500)(Sunday +$300)
Breakfast	7
Morning Tea	4
Lunch	13
Afternoon Tea	4
Dinner	13
Supper	10
Truck	120
Generator	60
Car Detailer	240
Television Commercial ( Per Day )
Clapper Loader	210
Continuity	252
Costume Designer	240
Director’s Assistant	180
1st AD	390
2nd AD	270
3rd AD	210
Television Commercial ( Per Day )
Fashion Co-coordinator	180
Follow Spot Operator	216
Generator Operator	240
Grip	300
Grips Truck	192
Grips/Second	270
Hairdresser	240
Food Stylist (per hour)	36
Light Electrics	300
Light Electrics Truck	210
Location Casting	300
Location Manager	270
Make Up Assistant	180
Make Up & Hair	360
Stills (per hour)	72
Make Up/Wardrobe Bus	300
Nurse + Medical Kit	180
Post Production Manager	240
Production Manager	360
Producer	450
Production Assistant	210
Production Secretary	180
Production Co-coordinator	210
Props Maker
Props	270
Rigs/Scaffolder	240
Runner	180
Scriptwriter
Second Unit Director
Set Construction
Set Dresser	180
Sound Assistant/Boom Operator	270
Sound Editor/Mixer
Sound Recordist	330
DAT timecode	510
Steadicam/Panaglide (owner/operator)	1320
Stills Photographer
Stylist	390
Technical Director
Tracking Vehicle
TV Lighting Technician	300
TV Lighting Technician + truck	510
Underwater Cameraperson
Unit Manager	240
Video Assistant	180
Video Cameraperson	360
Wardrobe	330
Weapon Hire

ENG / EFP PACKAGE DAY RATES
	US $
	per day + diem
Full day rate with 2 man crew (camera and audio)	1500.00
Full day with 1 man	1100.00
Half day rate with 2 man crew (camera and audio)	1100.00

	per day + diem
Director of Photography + Camera Operator (10 hr. day)	450.00
Audio Engineer	450.00
grip	450.00
Production Assistant	200.00
Make Up Artist	425.00
Field Producer	550.00

Editing Rates
	US $
	per day + diem
Avid MC 1000 w/ 3D Complete Pkg. Daily	700.00
Avid MC 1000 w/ 3D Complete Pkg. Weekly	2800.00
Avid Editor Daily	650.00

Recommended Rates Card for Screen Directors August 2006

SCHEDULE OF RECOMMENDED MINIMUM FREELANCE RATES

TV DOCUMENTARY

Often negotiated as a fee.

One hour documentary:

$22,700.00 (3/3/6) = 12 weeks for complete fee

$ 2,000.00 per week

$ 510.00 per day

The documentary schedule should:

1) Define a particular finish date for the projects completion beyond which a

payment on the daily rate is due.

2) Or define a set period of time for each of the production processes beyond

which payment on the daily Rate is due.

The Director will remain available, and if required, work these specified days or weeks

as outlined in the schedule and for the daily rate.

As soon as the Director Contracts are released.

TV MAGAZINE/LIFESTYLE

$2,000.00 per 50 hour week

$ 480.00 per 10 hour day

Prep time paid in full.

Full overtime, turnaround, meal breaks and statutory holidays provisions apply as

outlined in SPADA’s Guidelines for the Engagement of Crew (Blue Book).

First two hours Overtime @ T1.5, all hours thereafter @T2

TV DRAMA – TELEMOVIE, MINISERIES & ONE- OFFS

$2,900.00per week

$ 730.00 per day

Usually negotiated as fee:

Program Length

2 hour$46,200.00 (4/4/8) = 16 weeks

1 ½ hour$34,650.00 (3/3/6) = 12 weeks

1 hour$26,000.00 ((3/2/4) = 9 weeks

½ hour$14,440.00 (2/1/2) = 5 weeks

TV DRAMA – SERIES

$ 2,900.00 per week

$ 730.00 per day

TV DRAMA – SERIALS (SOAPS)

$ 2,100.00 per week

$530.00 per day

TV COMEDY/ SITCOM

$2,520.00 per week

$ 630.00 per day

FEATURE FILMS

We have recently researched feature rates and have some good recommendations

from Director and producer members as to first-time feature Directors rates, more

experienced Directors and established feature Directors. Please phone the office to

discuss these rates as feature contracts are more complex and depend on many

different elements in relation to the Director’s input on the film.

NOTES

MULTIPLE CREW ROLES AND THE PRODUCER / DIRECTOR

Increasingly Directors are being expected, though rarely asked, to take on the role of

production assistant or even production manager. In some cases this may be

acceptable, but in general the SDGNZ would rather the appropriate crew personnel

were hired for these roles. If no other option is available, the Director must be

compensated for the increased work-load.

When the Director is expected to take on other role(s) the Director should receive (in

addition to 100% of the Directors fee) 60% of the fee of any other role. For example, if

you are the Director who is also asked to be the DP on a

documentary and for one week overseas as the production assistant as well, then the

total fee would be calculated as follows.

Directors fee

$22,680.00

DP fee: 3 weeks @ $1,838.00 @ 60%

$ 3,310.00

PA fee: 6 days @ $315. @ 60%

$ 1,140.00

Total Fee

$ 27,130.00

Note: The weekly (or daily) rate you charge as a DP or PA is at your

discretion/negotiated with the producer

Actors Rates

TELEVISION SESSION

When a commercial is filmed or taped, the performers are paid a session fee as compensation for an eighthour day of work. The session fee also provides the advertiser with the right to use that commercial for thirteen weeks and prevents the actor from doing spots for competitive products for the same length of time. To maintain the rights to use the commercial and to "hold" the actor, the actor is paid an additional holding fee every thirteen weeks (see "Holding Fees/Exclusivity" below).

A session fee for an on-camera performer is $443.25* for an eight-hour day.

A session fee for an off-camera performer is $333.30 for a two-hour recording session.

A session fee for an extra performer is $240.00 for an eight-hour day (unlimited usage).

Performers receive a session fee for each commercial produced or each day of work, whichever is greater. For example, if five commercials are recorded in a two hour session, five session fees must be paid. Session fees are usually fully creditable against reuse fees. t "Special provisions" cover any agreed upon details that do not appear in the standard contract. These include money above scale' and special travel arrangements._

Fees paid to extras vary depending upon the performance of the extra. They are paid a single fee, or buyout, entitling the advertiser to the use of that extra in the commercial for its broadcast life. In other words, extras do not receive residuals.

The current extra buyout fee is $240. *

The current hand modelt buyout fee is $366.25.

OVERTIME

Scale session fees (regular union session fees) cover one eight-hour day. If the performer is required to work for longer than eight hours, overtime is paid as follows:

1. The ninth and tenth hours are paid at 150 percent of the scale session fee for one hour (the hourly rate is equal to one eighth of the eight-hour-day session fee). The current rate for the ninth and tenth hours is $83.11. This is called "time and a half." For example, one hour of overtime for an on-camera performer is, 1/8 of the 8-hour session fee ($443.25 divided by 8):Plus an additional 50 percent of the hourly amount:

Total amount:

$55.40

+27.70

$83.10

2. The eleventh hour and beyond are paid at 200 percent of the scale session fee for one hour. The current rate is $110.80. This is called “'double-time."

3. An additional 10 percent must be added to the above hourly rates for performance between 8:00 P.M. and 6:00 A.M. This fee is called a "night premium." The hours subject to the night premium for extras are slightly different. .

4. Performers are paid 200 percent of scale for weekend and holiday work. Recognized holidays include New Year's Day, Martin Luther King Jr.'s Birthday, President's Day, Memorial Day, Independence Day, Labor Day, Thanksgiving, and Christmas Day.

TRAVEL TIME

When performers spend time traveling to or from a shoot location, they are compensated for that time at the same rates by which they are paid for session time. Hourly or half-day rates may apply depending on the time of travel.

CONSECUTIVE EMPLOYMENT

Performers in anyone commercial are paid for intervening time when they are not used. For example, if performers work on Monday and Wednesday but not Tuesday, they are paid a scale session fee for Tuesday in order to hold them for performance on Wednesday.

FITTINGSIWARDROBE

Time spent by a performer in fittings is considered to be session time and is paid as such. For example: If a principal (primary) performer spends one hour in a fitting, the payment due would be one eighth of the scale session fee for an eight-hour day ($55.40).

Performers are compensated for use of their own wardrobe at the following rates:

1. $25.00 for evening wear

2. $15.00 for non evening wear

HOLDING FEES/EXCLUSIVITY

Advertisers must pay principal performers a holding fee every thirteen weeks in order to retain the right to broadcast the commercial during that thirteen-week cycle. The holding fee amount is equivalent to a session fee. The holding fee cycle begins with the earliest date that an on- or off-camera principal works and lasts for thirteen weeks. At the end of that time the next holding fee is due and a new thirteen-week cycle begin

RESIDUALS

In addition to session fees, principal performers are compensated in residual payments for the use of commercials in which they appear. There are as many use types as there are ways to broadcast a commercial. Different and complex rate structures determine talent payment for each type, including network use, syndication use, wild spot use, cable use, foreign use, dealer use, and theatrical/industrial use. .

Network Use. Residual payments for network use are based on the frequency of use. Performers are paid for each telecast during a thirteen-week cycle. The first network use date commences the thirteen-week network cycle. Rates are structured on a decremental scale, with the first use being the most 'expensive and use rates beyond the first decreasing in price per use.

Wild Spot. Residual payments for wild spot use are based on market weightings attributed to the cities in which the commercial is being broadcast. The unit weightings are based on population. New York, Chi- I

cago, and Los Angeles are referred to as majors, and because of their populations, they are more heavily weighted. The presence of majors, if any, plus the unit weightings of any additional cities, determines the dollar amount due to the performer. This payment covers unlimited use of the commercial in those markets for thirteen weeks. If additional markets are added mid-cycle, the payment must be upgraded to cover additional units.

Cable. For commercials used on cable networks,

each principal performer is paid for thirteen weeks of unlimited use based on the total number of television households