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For new media projects under $250,000 (but more than $50,000), you expect to pay a minimum of $125 per day to performers. As with other low-budget agreements, there is only one de day player rate. SAG-AFTRA TELEVISION agreements are based on content type, media and, in some cases, budget. For example, programs that go directly to a streaming service (such as Netflix) and have a budget of less than one million can be covered by the new media agreement, but for all programs on that budget – even if they go directly to streaming – the SAG-AFTRA TV contract applies. SAG-AFTRA divides TV contracts into four categories: Amazon, Instagram, YouTube – these are just some of the targets that the Screen Actors Guild has classified as « new media. » Whether you`ve made a movie or a series, both are covered by this agreement as long as your budget is between $50,000 and $1,000,000. The Moderate Low Budget Project Agreement (MPA) includes non-episodic content productions that have been shot between $300,000 and $700,000 for the total value of the United States. The agreement must be executed by performers at least one week before any work. The MPA applies to films that are originally published in one of the following publications, but there is no need to publish them for the first time on any of the following: As with most SAG agreements, the more time you book, the less you have to pay for it per day. New media productions with budgets of between $250,000 and $700,000 should expect to pay either $335 per day or $1,116 per week. The first new agreement is the Ultra-Low Budget Agreement (« UPA »).

This will completely replace the previous Ultra Low Budget agreement and replace the Special New Media Agreement for non-episodic productions, which are budgeted below $300,000. Some of the UPA highlights are: It`s probably also your SAG agreement if you pull a wild spot. Unlike national or cable ads, wild ads are ads that appear in more than 20 specific cities. And unlike other SAG AFTRA theatrical agreements, you don`t need to provide theatrical performance as part of this agreement. The residues are based on formulas that take into account, for example. B of the contract that came into force during the year, the production time, the mode of production and the market on which the product appears. All performers recruited or valued under a main performance agreement whose performance remains in the finished product are entitled to leftovers. The substantive actors do not receive residues and are not entitled to leftovers, unless they are revalued as lead actors. SaG`s core theatre contract applies films with a budget of more than $2,500,000. While premium talent is generally paid well above the SAG minimum, this is the rate actors can expect to make on a low-budget studio project or a moderate independent film.