“We have reached a great deal for our members and for the industry. With these impressive increases in the remnants of SVOD, in the first year of the agreement, we have breached the impenetrable ceiling of 3% in our economic package, while achieving strong wage increases while achieving another important priority: securing our members` retirement plans into the future,” holland holland said. In addition, we have made great strides with regard to creative rights for television directors and we have realised the almost impossible impossibility of involving film directors, after having pushed employers to move on this issue for many years. It`s the beginning of a new day. However, this is only the minimum number of weeks available. For example, the film Boyhood, made in 2014, was made over several years while it was under this DGA contract (its budget was estimated at $ 4 million). “The future is what motivates us and you see it in this agreement,” said Thomas Schlamme, President of the DGA. “Given that the change in streaming that we have been waiting for for so long is beyond the industry and new services continue to be brought to market, this crucial agreement, which increases streaming delays beyond the traditional level of television, is a great victory for our members thanks to our negotiating co-chairs Jon Avnet and Todd Holland and our intrepid chief negotiator Russ Hollander. • Made-For-SVOD: o A nearly 50% increase in residues for members working on the original SVOD series, bringing the remainder of three years for a 60-minute series on the most subscribed SVOD services to more than 73,000 $US. To put performance in the right perspective, the rest, combined with the benefits of the 2017 deal, which went from less than $15,000 in 2016, increased nearly five times and exceeds the average residues obtained in all markets for the most popular network series. Lower budgets for SVOD series are now included in the new contract, which expands coverage to many additional series and ensures that the vast majority of members working in this field benefit from the terms negotiated by the DGA, residues and creative rights. If you`re making a short film or documentary, that`s also your contract, regardless of your budget. I`m often asked to set schedules and budgets for films in development, and one of the questions I`ll often ask producers is which unions they want to budget for. Often, SAG is a breeze, regardless of budget, but it can often be difficult to convince producers to budget for IATSE, DGA, TEAMSTERS and WGA.
Often, the reasons producers do not want to join these unions are red tape, limited finances, and control of a union. I`ve put together a list of reasons why producers might want to think about it again. Instead, for films with budgets between $2.6 million and $3.75 million, you need to guarantee your director that you`ll be working on this project for 13 weeks and make sure the rate for the entire work is not less than $US 75,000. said François Hollander. “But in the end, we came out on the other side with significant gains in terms of SVOD, salaries, pensions and creative rights. This is an agreement for the future that will allow our members to work for many years and protect them. Unlike DGA TV`s rates, directors added more days to their agreement. The extra days also cost a few thousand dollars more. Once you drop a dollar before $11 million, your project will become a “low-budget” DGA production (I know).