In short, the more an ad is broadcast, the more a SAG actor does. And unlike other SAG AFTRA theater agreements, you don`t need to provide a theatrical performance as part of this agreement. The rates of the main daily and weekly performers under this Agreement shall be set at 35% of the scale of the Basic Agreement. Sag, however, offers various agreements that allow producers to buy essentially “in large quantities”, depending on where the advertisement is broadcast. If you`re looking for a SAG short film deal, this is probably the perfect place to start. SAG-AFTRA (Screen Actors Guild-American Federation of Television and Radio Artists) is a trade union, representing more than 160,000 film and television actors, radio actors, video games, advertisers (radio and television), news presenters, singers and recorders (both royalty artists and background singers), actors in commercials and actors who work as stuntmen and as special acts. It is dedicated to protecting the interests of its members and improving wages, working time and working conditions, and it does so through a number of contractual agreements (some of which are grouped together above) that apply when one of its members participates in a production. If you work with actors who are not in the guild, don`t worry. Under this agreement, as with most SAG agreements, these players can work with a Taft Hartley agreement. As with most SAG deals, the more time you set aside for the actors, the less you have to pay them per day. You can see an example of the new contract on our resources page and keep an eye on the SAG-AFTRA Production Center for upcoming updates.
If you have any questions about the short project contract, SAG-AFTRA has even set up a telephone line specially dedicated to these requests, 323.549.6680 (open from 9am-5pm PT). You can also turn to SAGindie or check out our faq and we`ll do our best to answer all your burning questions about life (and short films). Residues are based on formulas that take into account things such as the contract concluded during the year, the time spent on production, the type of production and the market on which the product appears. All actors hired or valued under a main performance contract whose performance remains in the final product are entitled to leftovers. Substantive actors shall not receive and shall not be entitled to arrears unless they are reclassified as principal actors. . . . .