This simple guide helps plan for the use of talent in the production of industrial, educational, and other non-broadcast programs. It is organized in roughly chronological fashion, from scripting through distribution. These are only broad guidelines to the unions' non-broadcast agreements, which are generally based on common sense and easy to follow once you know about them. You'll also find tips to help you get the most effective use not only of any professional talent you hire, but also of your crew and studio time. NOTE: This page is provided "as is," as a public service, and is not an official statement of AFTRA/SAG policy.

1. SCRIPT: CASTING CONSIDERATIONS
2. CASTING: AFTRA/SAG MEMBERSHIP STATUS
3. CASTING: BOOKING AND CANCELLATIONS
4. PRE-PRODUCTION: PREPARATION TIME
5. PRE-PRODUCTION: TRAVEL & WARDROBE
6. PRE-PRODUCTION: CHEAPEST RATES
7. PRODUCTION: BREAKS
8. BILLING: PAYMASTERS
9. EDITING: NARRATION RECORDING
10. DISTRIBUTION: PROGRAM CATEGORY
11. DISTRIBUTION: ANCILLARY USES
12. DISTRIBUTION: BROADCASTING

1. SCRIPT: CASTING CONSIDERATIONS Ambitious scripts with large casts are difficult to produce, and talent budgets can run high. It is tempting to cut this expense by casting non-professionals or less experienced actors. This approach is often not cost-effective, since the production is still complex, and performance quality suffers. If the project allows, it is usually a better strategy to simplify the script and reduce the number of roles. This allows you to hire the best actors, and often to shorten the shooting schedule, since professional performers usually work more efficiently on the set. [Return to Menu]
   
   
2. CASTING: AFTRA/SAG MEMBERSHIP STATUS If you need to cast (a) union member(s) in any role(s) in a production -- even off-camera -- the other roles must usually be filled by union members. They must also be in the same union (either all AFTRA or all SAG). However, there are various exceptions to this rule, particularly in non-broadcast video, and waivers are sometimes granted if producers request them. Call your local union office for details, and be sure of actors' status before booking them. [Return to Menu]
   
   
3. CASTING: BOOKING AND CANCELLATIONS Don't make final casting decisions or book talent before the script is approved. Once you book performers, you must give them advance notice if a shoot or recording session is canceled or postponed; otherwise you may be liable for their full fee(s). NOTE: Advance notice requirements vary for different types of performers and productions; call the union with any questions. [Return to Menu]
   
   
4. PRE-PRODUCTION: PREPARATION TIME Deliver scripts to on-camera talent as early as possible. Producers are not obligated by union contracts to pay for the time actors spend studying scripts. But as a practical matter, actors who are very busy simply may not have time for study if the script arrives late. If an actor has less than 48 hours to work with a script, expect to provide prompter or cue cards. [Return to Menu]
   
   
5. PRE-PRODUCTION: TRAVEL & WARDROBE Remember to budget for travel time and expenses when performers must travel to remote locations or sets. The union office should be able to tell you if a particular location is considered "local" -- in which case, travel expenses would not be involved. Also, if you ask a performer to provide special wardrobe, a modest fee may be involved. Some rules are spelled out in union contracts, but most are simple common sense. Call the union office if you have any questions before finalizing your budget. [Return to Menu]
   
   
6. PRE-PRODUCTION: CHEAPEST RATES If you expect a few long shoots, consider using more shooting days at less-expensive 3-day or 5-day union rates, instead of fewer days that go into overtime. In most cases time-and-a-half starts after 8 hours, double-time after 10 hours. Union holiday and overtime rates generally follow industry norms. NOTE: weekend work sometimes involves overtime, but not always. Also, there is a half-day rate for on-camera performers that may help reduce your budget. Check with your local or refer to the contract for details. [Return to Menu]
   
   
7. PRODUCTION: BREAKS AFTRA and SAG have standardized requirements for meal periods and breaks on day-long shoots. These are flexible, common sense guidelines that help keep the cast and crew alert -- and more efficient. Check the contract for specifics. [Return to Menu]
   
   
8. BILLING: PAYMASTERS Even if you are not a signatory (i.e., signed to the AFTRA or SAG Industrial/Educational contract) you can still hire union performers for non-broadcast programs through a "paymaster" service. Paymasters are signatories who completely handle your union payroll, adding service fees much like a temporary employment agency. Always contact the paymaster before production to determine total costs and billing arrangements! [Return to Menu]
   
   
9. EDITING: NARRATION RECORDING Be prepared for voice-over recording sessions; preparation always makes sessions shorter. The minimum narration fee covers up to one hour from the performer's arrival, regardless of when the recording actually begins or how long it takes; after one hour, fees increase in half-hour increments. There are separate fees for separate programs, regardless of program length. [Return to Menu]
   
   
10. DISTRIBUTION: PROGRAM CATEGORY Virtually all industrials for in-house use are "Category I." However, programs used for point-of-sale or similar purposes may be "Category II" programs, which incur slightly higher fees. Make sure which category your program falls into before getting your budget approved. [Return to Menu]
    
    
11. DISTRIBUTION: ANCILLARY USES Will the program be re-edited, used in other media (e.g. theatrical film), or sold or distributed to the home market or similar outlets? Additional fees are usually due to the talent. Some of these fees are set by the union contract, while others may be negotiated separately. [Return to Menu]
    
    
12. DISTRIBUTION: BROADCASTING At this time, paymasters can only be used as the signatories for non-broadcast programs. On commercials, and on most programs meant for any broadcast medium (radio/tv/cable), the producer must be a signatory to the union contract. Special-one time arrangements can be made for sponsors and for special cases; contact your local union office for details. [Return to Menu]
    

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