![]() The lack of transparency in these negotiations is a contributing factor in the disparity of compensation between the genders and for minorities.įor example, The Art Directors Guild has their union rates listed online as weekly sums. Even after joining a union or guild (the Art Director’s Guild in my case), rates start at a standardized baseline but are negotiated above that per project. Most film professionals aren’t eligible for union membership when they start working and work in the wild west of non-union music videos, low-budget commercials, and sometimes smaller films. Episodic content often comes with longer schedules and more regularity.Īn important dividing line for crew rates is union vs. Movies are often long enough projects that one or two larger ones can make for a great year… or you can spend a year in holding or chasing the next one. The project-based nature of our work makes for wildly uneven income across the calendar and reminds of often of the polar idiom: feast or famine. It’s particularly difficult to estimate an accurate annual figure like this because film professionals mostly don’t work for annual salaries. ![]()
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