EXCLUSIVE: As I suspected, there seems to be unfinished biz between IATSE and the AMPTP over exactly what’s in their so-called “deal” announced November 19th for new 3-year contract. According to my sources, this is the general overview of the tentative agreement. But there’s still no Memorandum of Agreement outlining the new terms in detail. So that’s why I think it suspect that the AMPTP was so quick to announce an “agreement” with IATSE. (For example, the WGA waited until every “t” was crossed and “i” dotted to make a announcement. Smart move, considering that the AMPTP tried to slip in some last-minute terms and language that were never okayed.) So these are understandings as of November 18th:
According to my reporting,
Wage increases for the IA Basic Agreement consist of 3% effective 8/2/09; another 3% effective 8/1/10, and another 3% effective 7/31/11. For Locals 52 and 161 (NY), it’s 3%/3%/3% increases on the effective dates of those agreements.
Concerning Pension and Health:
The AMPTP believes the cost of its deal with IATSE amounts to an increase of about 3.8% a year for the next three years. But that doesn’t include a $233 million savings to employers in Health Plan “modifications” agreed to by the union.
Both sides agreed that, effective 7/31/11, the Health Plan will change the standards for continuing eligibility from a requirement of working 300 hours to 400 hours.
As for other pension and health terms, the AMPTP believes the employers agreed to increase hourly contribution rates in the agreegate by 35 cents per hour as of 8/2/08; an additional 35 cents an hour effective 8/1/10, and an additional 35 cents per hour effective on 8/1/11.
Additionally, the employers committed to pay an additional 15 cents an hour if consultants’ projections show that active reserves drop below 10 months but not earlier than 8/1/10. If that happens, then the employers will be obligated to contribute an additional 15 cents effective 7/31/11 which can go into effect earlier if the reserves dip below 6 months for active reserves and 8 months for retirees.
The employers say that, as an additional funding mechanism after those options, IATSE will “reallocate” an additional 1% from wages or their IAP.
Pension retirees will receive 13th and 14th checks for all three years.
Concerning TV Made For Basic Cable Productions:
Employers say that the union agreed to continue to grant waivers providing that for pilots and one-hour series made for basic cable, the employers can use the terms and discounts of the MOW sideletter for the first season of a series, and then start using the terms and conditions of the one-hour series sideletter.
Concerning Original Programs Made For New Media:
Employers agreed to exclusive recognition for IATSE for the geographic scope of their current agreements for entertainment programs of the type traditionally covered by their deals.
Employers agreed that derivative programs are all covered except for those produced under the IA Videotape Agreement which will be treated the same as original programs made for New Media.
Employers believe that, as for as covered programs, rates and terms are generally freely negotiable. Union security, no-strike/lockout, and grievance and arbitration provisions will apply. No mandatory staffing. Full interchange of job functions. If a person is required to work on a derivative project on the same day as a source production, they must be paid as a continuation of their regular rates and work conditions.
Unions think that covered employees may be assigned to the derivative prodution as part of the regular workday on the source production. Extended workday or overtime payments, asapplicable, would be triggered if the work extends past the contractual workday. Otherwise, terms and conditions of employment are freely negotiable.
Union thinks that in all cases pension and health contributions will be due in the normal amounts.
Union agrees that IATSE shall administer the grievance and arbitration of the New Media provisions and to remove the Step 2 provisions of the basic agreement grievance and arbitration procedure.
The union understands that original productions will be covered if the cost of production is over either $15,000 per minute as exhibite, or $300,000 per single production, or $500,000 for a series order.
The employers claim there’s no coverage for experimental programs the same as under the DGA/WGA/and AFTRA agreements unless they have 4 or more employees on the West Coast Industry Experience Roster. Unions say that, in the case of local unions with no Roster, or where the Roster does not apply, original productions will be covered if said employees who’ve worked 30 or more days under any motion picture agreement. (Companies say employees for 30 days over 3 years under terms of those agreements.) Union thinks that, for those productions that don’t otherwise trigger the agreement, the employer may utilize the agreement for experimental productions upon written notification at least two weeks prior to commencing the given production.
Employers think there are certain limited coverage exclusions for persons who are not specifically charged to overhead who work on the projects, and union believes the following classifications are excluded for purpoises of triggering the application of the agreement: (story analysts, projectionists, in-house publicists [not unit publicists], post-production with the exception of the Editor and Assistant Editor).
On the issue of union security, union believes that an employee employed on a New Media production shall become and remain in good standing of IATSE and the appropriate Local on and after the 30th day of covered work following thefirst day of employment or the effective date of such respectie agreements between companies and the several Unions, which is later. The forgoing requirements of Union membership as a condition of employment shall be subject to the obligations of the parties under the law. All other provisions of Union Security Provisions of applicable agreements shall be extende to New Media. Qualified status on the CSATF Industry Experience Roster wshall not be a condition of employmnt. Covered employees shall receive credit for Roster placement for days worked on New Media production.
Employers think they reached an understanding with IATSE on contracting out of programs.
Concerning Re-use of Programs Transmitted In New Media:
Employers agreed to pay residuals at 5.4% for derivative and original New Media programs when released originally on a consumer free ad-supported platform and then subsequently on a consumer pay platform for Electronic Sell-Through or download to rent (ITunes, Movie-Link, etc) after a 26-week period.
Employers agreed to pay if New Media programs are released on traditional media platforms (basic cable, pay TV, home video) under the normal rules for making Supplemental Markets payments.
Employers agreed that for Electronic Sell-Through and download to own, companies will pay 8.1% of 20% of producers gross for first 50,000 units sold, and 14.625% on sales thereafter, if a theaterical program is released after 8/1/09. If it’s a TV program released after 8/1/09 for sale, companies will pay 8.1% of 100,000 units sold and then 15.75% for all sales thereafter. It’s unclear if the unions have agreed to these terms or not.
Employers say IATSE (but not the Motion Picture Industry Pensions and Health Plans also which unions initially wanted) will have the same inspection rights on the contract’s New Media license agreements that was given to the other unions. Union believes it’s all un-redacted copies of all license, distribution, and other agreements pertaining to New Media exploitation on a quarterly basis. Union also believes the payments will be accompanied by detailed information as to the medium and source generating the receipts, as well as unredacted copies of all corollary distributor-, sub-distributor-, and exhibitor statements. Union believes in addition that each employer upon request will provide IATSE with data in its possession or the possession of its related and affiliated entites regarding the New Media exploitation of covered pictures, such as number of downloads or streams by source and ad rates.
Union refers to “Sideletter to Interim Agreement Regarding Re-Use In New Media”.
Employers say there’s a “Sunset” Clause for all of the New Media deal. The union says this about the “Sunset” clause: that both particies recognize that these provisions are being negotiated at a time when the business models and patterns of usage of motion pictures and other productions in New Media ae in the process of exploration, experimentation and innovation. Therefore, all the provisions relating to New Media expire on the termination date of the Basic Agreement and will be of no force and effect thereafter. No later than 60 days before that expiration date, the parties will meet to negotiate new terms and conditions in New Media.
The union also believes the parties’ negotiation for the successor agreements will be based on the conditions that exist and reasonably can be forecast at that time. For example, with respect to the formula for the electronic sell-through of motion pictures and television programs, the growth of electronic sell-through could adversely impact traditional home video sales. In future negotiations, the parties agree that the criteria to be considered in good faith in determining whether the electronic sell-through residual should be increased or deceased include patterns of cannibalization of the home video market and changes in the wholesale price.
I expect to have more details tomorrow.
Editor-in-Chief Nikki Finke - tip her here.


BTL’s: what jumped out was that in ’11, we will need 400 hours every 6 months (instead of the 300 needed now). Basically, 2 more weeks of work every 6 months.
Okay, so unless I’m reading this wrong, you’re saying that the union will receive $.35/hr increases in each of the three years of this deal, but union members have to work 100 more hours per term to get their benefits. So basically, the union gets more money in its P&H, but union members have to work more for the same privileges?
So, the union gets richer and the union members have to work harder. How the hell is that fair?
<<<>>
And for that alone, I’ll vote no. If that stays in there, I will vote no. Unless we have universal health care by then, which I won’t be holding my breath for.
Are you kidding me? I’m in Local 700 and this is the first time I heard about the change in requirements for health coverage. As an editor, the studios can’t screw me on residuals, but they can certainly screw me out of my health plan. Will we be allowed to bank more than 450 hours?
I hope my fellow I.A.T.S.E. members will join me in expressing disgust at the cowardice of our pathetic leaders.
I wish that since they screwed us with more required hours they would raise the bank amount. If we get hurt it will be tough to catch up hour wise.
Can you imagine how many IATSE Hollywood members would have breaks in service if the 400 hour standard was in place now? Between the WGA and now SAG contract negotiations, the hourly contributions into the plan are way down.
400 hours doesn’t seem like a lot when you’re working back to back shows… but when you’re struggling to find even 8 hours of work a day…
OK, BTL’ers why don’t you put your money where your mouth is and KEEP THIS TOWN WORKING NO MATTER WHAT. I’m reading a lot of dissatisfaction with what’s being reported about your contract. The nerve of you people. Since when did you have any say in what goes in the contract? Who gave you that right? Why don’t you think of the caterers your selfishness will affect. And the dry cleaners? IN THIS WINTRY ECONOMIC CLIMATE you can’t possibly ask for more than is being offered. Why should YOU get a better deal? How dare you complain?! What about the effects houses that will have to FIRE workers because you can’t stand a little rollback. Totally out of touch with reality. And the FLORISTS, think of the FLORISTS. Just swallow it whole. Why are you guys always so eager to mess with the LA Economy (already in recession) and all of the hardworking people your intransigence will affect. We need to KEEP THIS TOWN, AND EVERY LAST AGENT, WORKING. Just sign on the dotted line. The AMPTP is on your side, remember. They’ve signed 5 (or six? seven?) IDENTICAL contracts this year, so they MUST be fair and reasonable. That you would even question that just shows how spoiled and entitled you people really are. And while you hold out over a little rollback, and whatever else the AMPTP can slip in there, WORKING FAMILIES will lose their HOMES. You will lose far more than you will gain by resisting this. You guys don’t have the balls to stand up to Nick Counter. Might as well get it over with quickly and KEEP THIS TOWN WORKING.
Am a member of Local 798/ Make-up Artists & Hairstylists – East Coast:
Why is it that we roll with Whatever IATSE / AMPTP puts forth instead of having an active collective voice?
Why are we Not aligned with SAG in their plight? Their Battle Is our
Battle – it is So apparent and If you think differently, think again: do your research!
Just take note of how the WGA is now asking for Fed. intervention on AMPTP violation of contracts Post a 3 month strike.
I contend that IATSE leadership is in collusion with the AMPTP and Not for our – Labor’s – best interests.
Venice…
You beat me to writing what I was going to.
First I would like to comment of what Venice has posted. First off IATSE has been in negotiations for how long? The IA contract is due when? 8 Months away you say? Wait, no last minute waiting by the IA? Hmmmmmm….
Now for what LG has posted. I agree, the IA leadership is out for their own best interest & not its members. But why are we not aligned with SAG?
Does SAG consider the IA when SAG actors do low budget no-union shows here in LA where only the DGA SAG & WGA is covered but not the IA? Why is that?
Does SAG, DGA or WGA stand up for the IA when a show tries to turn & go union? Solidarity you say.
How many writers & actors rely on this businees for their living? Most have other jobs. Us below the line people, this business is our ONLY job.
Back to Venice…When was the last time the IA struck? Until that happens your comments are laughable at best.
Smells like rollbacks to me. Good going, we got our 3% raise when cost of living goes up at least 5% each year. Nice. increased co-pays ($!00 ER co-pay instead of $50 and now there’s a $5 copay to go to the motion picture health centers). 400 hours. Where’s the increase in the amount of bankable hours? The new media coverage is a joke. A 26 day window before residuals kick in. Residuals are the lifeblood of our health plan and we’re kissing them goodbye on this one. Negotiate our own rates on new media? That’s why I’m in a union (it’s called collective bargaining not individual).
It’s easy to negotiate a contract in 9 sessions when you don’t ask for anything. If it wasn’t for what the WGA won this contract would be complete crap. Now it’s just crap.
Oh and another thing, how do you feel being USED by the AMPTP in their fight with SAG?
How do you feel when a contract that isn’t even SIGNED yet is thrown in the face of the actors as a bludgeon to pressure SAG to sign the same crappy deal the DGA forced on everyone else?
What you could do is sign this, because it will expire in three years and then the AMPTP will no doubt undo the rollbacks and anything else that wasn’t fair and reasonable.
Just because it’s never happened in the history of mankind, doesn’t mean it won’t happen this time you know.
It’s time for people to open their eyes and get behind SAG, the ONLY union so far that has the backbone to stand up and fight.
Venice,
Yes, as a BTLer I feel used by the AMPTP. Clearly this was their tactic in “negotiating early” with the IA. What I don’t understand is why you are seemingly supportive of AMPTP on the one hand (telling IA members that “AMPTP is on [our] side”), and extolling the virtues of SAG being the only union to stand up to the AMPTP on the other. Time will show the error of your sentiments. WGA fought a smart, informed campaign that SAG is now seeking to repeat. Times certainly were in favor of WGA then, and are against SAG now, but SAG has no hope in winning this fight. They are the ones who should “not whine and sign.” Their demands are unreasonable, their leadership is fractured, and their mandate is flaccid.
Venice, no offense, but I think your loyalties are split. You should decide whether to keep your nanny job with Nick Counter, start some more effective acting classes, or get a small business loan and start that florist business. You might be happier, and those idle hands will be more productive.
Be well.
Wow, let’s see…proposed new contract w/AMPTP seems to be saying:
1) Increase of 100 hours to qualify for healthcare.
2) Increased medical co-pays.
3) 3% per year wage increase (way under inflation).
4) 26 day “residual-free” run of prods. on the internet.
And last but not least,
5) We get to negotiate our OWN deals on “new media” productions!
Cool…let’s ratify this deal before the Producers come to their senses and change their minds!!!!
Yeah right……
Greg,
I was being facetious. I’m not at all supporting the AMPTP. I’ve been consistently supportive of the WGA and now SAG during their negotiations (and I will support IATSE to the extent that they fight for a good deal).
If you look at it objectively, the AMPTP is trying to screw IATSE now, as they screwed the WGA, and as they are trying to screw SAG. The key to the whole pattern-bargaining-screw-job of course, was getting their bedfellows, the ever-so-eager-to-please-their-masters DGA, to sign a miserable deal. Then, once they had that in hand — the “mature” and “reasonable” and respectable” directors’ seal of approval — they could lord that over everyone else and vilify anyone that raised his or her hand and said, “but wait, that’s not such a great deal, it actually looks like a rollback and another phony ‘we’ll-renegotiate-in-three-years’ (like DVDs) lie,” as “out of touch” and “unreasonable militant radicals putting the town out of work”.
Now, they’ve actually had the audacity to use a deal that YOU haven’t even VOTED ON YET, to apply more pressure to SAG to take the same bad deal that they seem to think should apply to every actor, writer, director, grip, camera operator and electrician in the industry, namely, one that disembowels residuals and minimums under the false premise that companies have to be free to “experiment” with New Media, just like they had to “experiment” with DVDs. Only once DVDs proved to be extremely profitable, all of a sudden, DVDs were off the table — even with an agreement to revisit that issue in subsequent contracts. These people are not stupid.
Does anyone really think that there’s any question that New Media will be enormously profitable for the companies? It’s ALREADY making money. How could it not be with virtually zero cost of distribution compared with video and DVD. And the best part, they’re ALREADY not even paying writers under the terms of the contract they JUST SIGNED. That’s not good faith. That’s the arrogance of people who think that they are above the law. That’s the arrogance of people who think they are untouchable.
It’s hopeless naive to think that this time will be any different. Look at how hard the AMPTP is fighting to keep DVDs off the table, EVEN NOW, even now when they are soon to be fading technology. EVERYTHING will be New Media. Not in ten years, but like TOMORROW. Precedent is EVERYTHING and the AMPTP knows it.
It’s nearly impossible to regain ground once it’s taken. That’s why THIS deal is so important. This is the new DVDs. This is about the technology that all of us will work in for the next ten, twenty, fifty, one hundred years. This isn’t about renegotiating in three years, because that WON’T HAPPEN. Count on it. And I would suggest reading “Fatal Subtraction” about the Buchwald vs. Paramount case to see how the studio heads REALLY think and how hard they will fight to screw anyone with the audacity to seek what they earned.
I was just funning with the IATSE people here complaining about the news about THEIR contract, since all we heard during the WGA and SAG talks was about how we should take a shitty deal and revisit in three years, or how the greedy namby-pamby writers and actors are putting you guys out of work for fighting for a better deal. You were playing right into the studios’ hands and I would look at this contract very carefully as a window into how the AMPTP REALLY thinks of you.
The producers want to rollback as much as they can. Maybe you can see now that we are all in the same boat: actors, writers, BTLers, all fighting to be able to work and thrive in an industry that we truly love.
And finally, to the person who posted that IATSE hasn’t had a strike in however many years (maybe never), think long and hard about whether or not that’s a virtue. No one WANTS to strike, but not striking is easy; just take whatever shitty deal is slid across the table at you. Striking CAN be the right thing to do. And the support of other unions would make each strike shorter and more effective. The other option is to stand with the other side.
We all know this is a bad deal in a series of bad deals that our union has accepted over the years. Instead of whining and complaining and acting the victim lets not accept it. Why don’t we band together with SAG and strike. This is our chance to get some traction and to get a good deal. If we went out with SAG that would ultimately put the town back to work and ruin the cartel of eight men who have a stranglehold on labor in Hollywood. What are we waiting for? More rollbacks and the loss of our health plan, The best thing we have is our health benefits. And that is the next thing to go. Come on people, if we stand together we can make a real difference.
btl cameragirl
IATSE can’t go out with SAG, not until August anyway when our current contract is up. We, like all of the other unions and guilds, have “no strike clauses” in our contracts so we can’t support each other by striking. If SAG goes without a contract until August then we can unite but SAG isn’t going to do that because IATSE only supports other company unions like itself, say AFTRA for example.
IATSE, like the DGA, has never made any significant new gains in a contract, it’s been left up to SAG and the WGA to fight for everyone else throughout the history of collective pattern bargaining. DGA only got the new media coverage it got this time around because the AMPTP knew the WGA wouldn’t settle for anything less and were ready to keep striking.
IATSE also does a fine job of keeping its membership in the dark unlike SAG and the WGA who reach out and educate their members. Hell the majority of IATSE members don’t even know that half of their Pension and Health fund comes from residuals. Losing residuals in New Media, huh?, what’s that? I just want to keep working. Well, you get what you ask for. Sadly, I’m pretty certain this will pass.
For the last time:
Until all the labor unions cease their ego-driven management of their unions, the studios will continue to win. Unitl DGA, WGA, SAG AFTRA and IATSE all get together and baragin under one umbrella group, the studios will erode union power until we are back to the days of contract players.
DGA undercuts WGA, then the WGA agrees to a 17-day free use clause after promising members it wouldn’t.
SAG picketed with WGA, but now the writers not cannot strike with them because WGA couldn’t wait to strike with the actors.
AFTRA and IATSE undercut SAG by agreeing to shitty deals.
See a pattern here?
And for those of you thinking Obama will do something, remember this: He wouldn’t even come to the WGA strike because he had taken millions from the studios. He in the pocket, people, bet on it.
So how long will we shit our pants and say the other guys stinks?
We can’t even issue a joint statement siding with SAG.
How pathetic.
I went to film school and I learned makeup, sound, how to be a grip, also I wouldn’t mind doing craft services or first aid. Is this contract saying that I’ll be able to be a union crew member by working 30 days in new media under $15,000, or is it only above $15,000 that is required. I’m quoting the section below. Is there anything else I need to do to be able to join? Can someone point me to a link on other requirements to join.
“On the issue of union security, union believes that an employee employed on a New Media production shall become and remain in good standing of IATSE and the appropriate Local on and after the 30th day of covered work following the first day of employment or the effective date of such respectie agreements between companies and the several Unions, which is later. The forgoing requirements of Union membership as a condition of employment shall be subject to the obligations of the parties under the law. All other provisions of Union Security Provisions of applicable agreements shall be extende to New Media. Qualified status on the CSATF Industry Experience Roster wshall not be a condition of employmnt. Covered employees shall receive credit for Roster placement for days worked on New Media production.”
Grippin’ in LA,
The sad truth is that you are so right… most IATSE members don’t know any of what you are talking about. Heck, I didn’t even know about the connection to residuals until the WGA strike info informed me. And I thought I was educated. Seems to me that the 300 hours is in a quarter, not in 6 months like one of the people here said, even though we get the insurance for 6 months. That’s why they went to those overlapping quarters which make it even more difficult to figure out what we are getting. Seems to me that 400 hours will be impossible to get unless you are working every single day, week in week out. And for starters, the studios are closing Tuesday afternoon for Christmas through the rest of the week. That means only Monday and half of Tuesday for that entire week for those who only get paid for the hours they work. I didn’t get asked to vote on that. Did anyone? I can see a lot more of that in our future as the studios figure out ways to kill our ability to get health care and pension. What do they care, they’re covered?
It IS worth noting that in general IA members do not have the ability to unilaterally negotiate. Unless they are one of a very small number of specialties AND extremely successful they are 100% scale. WGA & SAG are both careers where a single success will give you singular power. This is one of the problems of this system.
Let’s step back and look at the role of unions. If someone working a factory job says they want more then the factory fires them and gets someone else for the same wage – the value of an individuals ability is effectively zero. To get improved working conditions all of these “cogs” needed to band together and say that you have to improve the conditions for all of them or none will work. That is the theory with the entertainment unions as well, the problem is that if Diablo Cody goes and writes Juno for scale and it becomes, well, Juno, then she gets to singularly negotiate her value from then on. By allowing singular negotiation you devalue everyone else since the hiring entity can value some but not other labor. If I am the employer and I know that the value of my work is enormously increased by paying a large sum to one person I will do it but if it is only marginally increased by paying a large sum spread across a large number of people I will resist.
I don’t have a solution but so long as a modicum of success yields singular negotiation then SAG & WGA are in a real pickle.
3 words on this one too:
UNION BUSTING TACTICS
Just a little more slowly than how they are doing it with the WGA & SAG. Just dragging it out a little longer with IATSE- but they’re in this for the kill folks. Welcome back 1937.
I like btl cameragirl’s spirit. She was off on the expiration dates, but she had the right idea, the right attitude.
I’ve always felt a kinship with the crews I’ve worked with. And my wife is IA.
And “Thumper”: There were a lot of us actors walking the line with IA when Haskell Wexler and others successfully unionized “Hearts of the West.” S.A.G. and IA both need to reach out to each other.
If I were an IA member, my first priority would be to
get all my brothers and sisters to vote NO! on this deal. Don’t worry about what happens next, just don’t let them put this one over on you. Make your leadership earn their handsome salaries — send ‘em back to the table. And send a message loud and clear that Chernin-Gray-Iger-Lynton (pause) Meyer-Moonves-Sloan-and-Zucker can’t push you around forever.
When S.A.G./AFTRA dual-card holders realized what a crappy deal AFTRA had “negotiated,” we fought it. We knocked the ratification vote down to less than 2/3 “Yes.” And we had less than a month to do it.
Since then, the level of discontent in the business has only risen.
You guys spotted a shit deal even faster than we did. You’ve got a head start. Unions that settle before their contracts expire aren’t “more responsible” or “more mature.” In this climate, they’re just gutless.
Yes, it seems that the IA negotiators have loaded up the backs of its members in exchange for an increase in P&H.
Yes, it is time for new leadership in the IA and new management over our P&H.
Vote No.
All of you need to educate yourselves.
Being a union member requires knowing not only your contract, but understanding the business.
The IA has undercut the ability of the rank and file to negotiate a fair contract for decades.
If you truly want to change the culture of giveback contracts you must be involved. Change requires more than threatening to vote no on every contract. You must be deeply involved during the 3 year period in between contracts.
However, as is the case with any union struggle, it is not an easy task. I know, I was elected President of The International Cinematographers Guild Local 600. I fought the system. During the last round of negotiations it was only I and one other union rep who voted against the $60 Million rollback in benefits. I felt the wrath of the IA…
I was removed from office by the NEB of local 600 (illegally I might add) and was subsequently blacklisted. I knew full well that the outcome of my involvement could be, it was a chance I took willingly.
The question is; are you committed to changing, in real terms, the contract, or are you satisfied just blowing off a little steam every three years? Nobody will do it for you. If you interest is the former I am still committed to saving the H&P plan and I am still willing to help. My e-mail address is gdunham@fastmail.fm. One caveat, I have no patience for complainers.
Gary Dunham