Los Angeles, Sept. 5 – The International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts (IATSE) and Alliance of Motion Picture and Television Producers (AMPTP) announced today the ratification of a new Area Standards Agreement. The agreement covers 8,000 IATSE members working in feature film and television production in most areas of the United States outside of the Los Angeles and New York regions. The IATSE and AMPTP reached a tentative agreement on a new contract on August 24th, and the agreement was subsequently ratified by the IATSE General Executive Board.
The new contract, which will run through July 31, 2015, includes 2 percent annual wage increases and an increase in health plan contributions of $5 per day in each year of the three-year agreement.
“The new contract provides stability for the next three years and we are pleased to achieve increases that will protect our members,” said IATSE International President Matt Loeb.
In response to the ratification, the AMPTP said: “Feature film and television production has grown throughout the United States in the past several years, emphasizing the importance of the Area Standards Agreement for both IATSE members and the studios. Ratification of this new agreement will enable production to continue while raising wages and improving access to health benefits for crew members and their families.”




It always amazes me how little an increase the international gets for its member’s, and I read how people like Murdock get 35 % increase in the salaries. over 20 years in the business,less and less health care payments.
As usual IATSE members take it up the a** from a Union that doesn’t give a damn about its workers.
@Phil: Because the IA started selling-out to the studios and taking a dump on its members–especially its US-based members–a long time ago (about the time Tom Short took reign). The union does what is good for the union but not what is good for its members. Take Canada for example. Because the I.A. is just that–an International Alliance that includes Canuk locals–it couldn’t take a stand against the migration of our jobs to back-bacon land. I say, “F-ck Canada!” We should have an N.A., instead–a National Alliance–that protects the migration of our jobs to that great white north nation which set-up tax incentives years ago just for the explicit purpose of stealing our work. But the day Reagan pulled his stunt with the Air Traffic Controllers and established laws that cut the balls of of all US unions, we have been negotiating from a pretty weak position.
While it may be easy and immaterial for the studios to approve a $5 increase, these increases make it even more difficult for indies to use union people. You’re talking $78/$81 a day, repeat A DAY for most crew and around $120 A DAY for camera just for pension and health. That’s just egregious. Where does all this money go? As well having different tiered contracts they should also have different tiered P&H contributions if they intend on sticking around well into the future.
Agreed, HH. Furthermore, the IA’s vertical structure is not well-suited to embracing 21st Century technological advancements–with their myriad different craft locals and varying rates & schedules. That’s in stark contrast to the Affiliated Film Craftsmen division of NABET (which the IA infiltrated and closed about two decades back). The NABET/AFC was horizontally organized with all crafts in one local, and the producer could choose one of two daily schedules for everyone. NABET’s mandate was not to under-staff but not to over-staff either–creating a win-win contract for producers and craftsmen. We could use such a union today.