Ultra Low Budget-sag
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SAG Ultra Low Budget Questions
Has anyone used a SAG Ultra Low Budget Agreement for a feature film?
I have heard that if the film you make under this contract is successful and makes any money, SAG will demand "step payments" for the SAG actors?
Can anyone share their experience, advantages, disadvantages in using SAG Ultra Low Budget Agreement?
Has anyone used a SAG Ultra Low Budget Agreement for a feature film?
I have heard that if the film you make under this contract is successful and makes any money, SAG will demand "step payments" for the SAG actors?
Can anyone share their experience, advantages, disadvantages in using SAG Ultra Low Budget Agreement?
I'll just say from personal experience, and I'm sorry to post this sort of in a void, and not having read every post...but...
Every time we've hired SAG it's been an INCREDIBLE hassle. Such an incredible hassle that we've vowed not to use union again...ever. And this saddens us, because a few of our really good friends who we use to use a lot went SAG, and we can't work with them anymore.
This isn't just a case with the production company I work most close to...it's the case with every production company I talk to or work with...they all say the same thing.
I'm telling you...times are a' changin'. Technology, savvy, and innovation is making SAG think twice. If they don't watch it...they are going to loose control, and a critical mass is going to cause them to shatter. Many indie production companies are creating superior quality films for a micro-fraction of the budget...using all non-union talent. I don't think Hollywood is going anywhere...but audiences are going to head online (which is going to directly link to your HDTV within the next 10 years), and everyone is going to watch the myriad non-union movies coming out of Nowhereville.
We aren't there yet...but webseries are going to be a huge deal...as is streaming movie content straight to your HDTV. This is going to allow low budget production houses access to millions of homes. And with the increase in technology and savvy, and the decrease in equipment prices...the quality of low-budget (whatever that means) films are going way up.
Yes there is a lot of shit out there...because of everything I've said, is the very reason we have to trudge through piles of trash to find good films...but if you know where to look, and the production companies are smart with PR and marketing...it's not hard to find the cream that's risen to the top.
Hell...in Rhode Island alone, there are 6 production companies that are all putting out really high quality indie films...and they are only getting better. Many of them are starting to shoot on the RED or equivalent...as a community we are pushing out handfuls of films a year, some of which rival Hollywood films in terms of overall entertainment. More and more are being distributed (even in this horrid DVD market), and more and more are learning how to build a respectable production company.
Zeitgeist.
Every time we've hired SAG it's been an INCREDIBLE hassle. Such an incredible hassle that we've vowed not to use union again...ever. And this saddens us, because a few of our really good friends who we use to use a lot went SAG, and we can't work with them anymore.
This isn't just a case with the production company I work most close to...it's the case with every production company I talk to or work with...they all say the same thing.
I'm telling you...times are a' changin'. Technology, savvy, and innovation is making SAG think twice. If they don't watch it...they are going to loose control, and a critical mass is going to cause them to shatter. Many indie production companies are creating superior quality films for a micro-fraction of the budget...using all non-union talent. I don't think Hollywood is going anywhere...but audiences are going to head online (which is going to directly link to your HDTV within the next 10 years), and everyone is going to watch the myriad non-union movies coming out of Nowhereville.
We aren't there yet...but webseries are going to be a huge deal...as is streaming movie content straight to your HDTV. This is going to allow low budget production houses access to millions of homes. And with the increase in technology and savvy, and the decrease in equipment prices...the quality of low-budget (whatever that means) films are going way up.
Yes there is a lot of shit out there...because of everything I've said, is the very reason we have to trudge through piles of trash to find good films...but if you know where to look, and the production companies are smart with PR and marketing...it's not hard to find the cream that's risen to the top.
Hell...in Rhode Island alone, there are 6 production companies that are all putting out really high quality indie films...and they are only getting better. Many of them are starting to shoot on the RED or equivalent...as a community we are pushing out handfuls of films a year, some of which rival Hollywood films in terms of overall entertainment. More and more are being distributed (even in this horrid DVD market), and more and more are learning how to build a respectable production company.
Zeitgeist.
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I almost always use the SAG Ultra-Low Budget agreement and have
never had an issue with it. I’ve even used the Modified-Low
Budget Agreement several times. No hassles at all.
What you have heard is correct, d1p23n; if the movie is successful
SAG demands (in writing) that the actors see a piece of the
profits.
Quite reasonable in my opinion.
never had an issue with it. I’ve even used the Modified-Low
Budget Agreement several times. No hassles at all.
What you have heard is correct, d1p23n; if the movie is successful
SAG demands (in writing) that the actors see a piece of the
profits.
Quite reasonable in my opinion.
Two sides of a coin. That's good to hear Rik. I'm glad someone works SAG contracts without a hitch.
I suppose what I would certainly make sure is, have someone else do the SAG contracts and paperwork other than the director, dp, etc. There is a ton to go over, and you'll be spending a lot of time on it.
And another thing...if you have any questions and you call the SAG offices, don't expect someone to call you right back...several of my director friends had to harass the SAG offices repeatedly for a call back.
I would have to have a major budget (many hundrds of thousands, and a producer willing to deal with all their bullshit so I didn't have to) before I'd even consider casting a SAG actor.
I understand where both of you are coming from.
I imagine it’s difficult to get SAG to make a long distance call.
Silly as that is, some companies just don’t do it unless it’s for
a major prodCo. I’ve never had a problem contacting them for
information. Though I admit I never ask for a return call. If the
person who can answer a question isn’t available I keep calling
until they are.
And I usually do all the paper work myself.
In Nashville I imagine there are fewer SAG actors than here in Los
Angeles. So I can understand why you wouldn’t bother using SAG
actors. Here in Los Angeles I have access to hundreds of SAG
actors willing to work under the ULB agreement - many of them
recognizable - so I use that agreement all the time.
Movie making here in L.A. is a different beast than in Providence
or Nashville.
I imagine it’s difficult to get SAG to make a long distance call.
Silly as that is, some companies just don’t do it unless it’s for
a major prodCo. I’ve never had a problem contacting them for
information. Though I admit I never ask for a return call. If the
person who can answer a question isn’t available I keep calling
until they are.
And I usually do all the paper work myself.
In Nashville I imagine there are fewer SAG actors than here in Los
Angeles. So I can understand why you wouldn’t bother using SAG
actors. Here in Los Angeles I have access to hundreds of SAG
actors willing to work under the ULB agreement - many of them
recognizable - so I use that agreement all the time.
Movie making here in L.A. is a different beast than in Providence
or Nashville.
Oh no doubt, different worlds. We are probably third on the list behind LA and New York though. They actually do a fair bit of production here, and there are quite a few SAG actors around, but not every waiter, bartender, and auto mechanic is SAG as I have always imagined LA to be. I actually did use a SAG actor, Lloyd Kaufman, but he basically thumbs his nose at them. He appears in films not adhering to SAG rules and casts SAG actors (who are credited under a false name) all the time.
We used Llyod also. No paperwork. Loved him.
Adding my limited exeprience with SAG here.
Yup, the director & DP won't have time for the paperwork, sign-ins & outs, marking lunch breaks, info collection. As an AD, I got stuck with that joyous task for a few weeks. If you've never done the paperwork before, it can be downright intimidating & confusing. Luckily, the crafts-lady had - she walked me through everything on the second day.
The second day, you say? Yah, the paperwork had supposedly been mailed a week before the shoot but never arrived. So the first day consisted of panicking, calling SAG (we had our own agent assigned to our project), and catching her after lunch. She had another set of paperwork mailed out the same day, which we picked up on Day 2. Spent a lot of time recreating (ie: making up) what the events of Day 1 were, for the various forms.
At any rate - that's my one experience personally dealing with SAG. A few issues, but nothing that couldn't be solved fast with a phone call.
I had to cut some of his scene because I actually cast him in a straight role and couldn't get him to NOT insert things like "jumpin' Jesus on a pogo stick" and "Nigga please!" into his lines, but it worked out fine.
Hahahah. He added 'nigga please' in our script too!!! It was really well placed and funny, but we couldn't use it...it just didn't really fit. I mean...he was playing the Pope! Not a straight Pope...but still, not THAT out of control.
lol.
He's really good at improv and adlibbing...but sometimes the takes are unusable.
My guess is he's going to keep using "Nigga Please!" until somebody leaves it in. The other upside of using Lloyd is you're almost guaranteed to get into Tromadance.
You really should visit sagindie.com for the full scoop. Meantime, I have a copy of SAG's film contracts digest, from a little info session I attended with SAG reps. Here is a summary of how the Ultra Low Budget Agreement works (some info is from my notes on the session):
Total budget <$200k
Shoot entirely in U.S.
At least 1 mo. before start date, contact SAG - they will review your script, schedule, & budget, then send a big packet of documents to sign.
Covers only pro actors, can use a mix of SAG and non-SAG actors.
Only need 1 SAG actor to qualify.
Minimum rate for actors = $100/day (does not prevent actor from negotiating for more). This rate applies to principals - whether actors, singers, dancers, stunt performers - not supporting or background. Pension and Health contribs are due in addition to these rates - check the Basic Agreement for rates/breakdowns.
Exhibition/Residuals
Producer entitled to theatrical distribution under ULB Agmt w/o add'l compensation to performers.
Must obtain executed Distributor's Assumption Agmt form from SAG as soon as distribution deal is in place. No "step-up" fees for distribution beyond theatrical market (not including internet) - but residuals will be due the principals. Residuals are paid quarterly upon distribution, based on DGR (Distrtibutor's Gross Receipts), and divided up among principals based on amt. of time worked.
Rates:
Free TV - 3.6% of DGR
Basic Cable - 3.6% of DGR
Pay Cable - 3.6% of DGR
Videocassette/Disks - 4.5% of 1st million, 5.4% after that
Please note that distribution on the internet is a whole different animal - the reps in the info session I attended said there is a different bunch of people at SAG who deal with that, so you'd have to call to find out what gets paid out to SAG actors if you upload your flick to the web.
Total budget <$200k
Shoot entirely in U.S.
At least 1 mo. before start date, contact SAG - they will review your script, schedule, & budget, then send a big packet of documents to sign.
Covers only pro actors, can use a mix of SAG and non-SAG actors.
Only need 1 SAG actor to qualify.
Minimum rate for actors = $100/day (does not prevent actor from negotiating for more). This rate applies to principals - whether actors, singers, dancers, stunt performers - not supporting or background. Pension and Health contribs are due in addition to these rates - check the Basic Agreement for rates/breakdowns.
Exhibition/Residuals
Producer entitled to theatrical distribution under ULB Agmt w/o add'l compensation to performers.
Must obtain executed Distributor's Assumption Agmt form from SAG as soon as distribution deal is in place. No "step-up" fees for distribution beyond theatrical market (not including internet) - but residuals will be due the principals. Residuals are paid quarterly upon distribution, based on DGR (Distrtibutor's Gross Receipts), and divided up among principals based on amt. of time worked.
Rates:
Free TV - 3.6% of DGR
Basic Cable - 3.6% of DGR
Pay Cable - 3.6% of DGR
Videocassette/Disks - 4.5% of 1st million, 5.4% after that
Please note that distribution on the internet is a whole different animal - the reps in the info session I attended said there is a different bunch of people at SAG who deal with that, so you'd have to call to find out what gets paid out to SAG actors if you upload your flick to the web.
Excellent post, citychick. But I think several people were
asking about personal experiences using this agreement
rather than not knowing where to find it.
What has been your experience using this agreement?
asking about personal experiences using this agreement
rather than not knowing where to find it.
What has been your experience using this agreement?
Is this TRUE? Everything that I'm reading says you have to step up for any release outside of theatrical. If this IS true, I'll use this agreement right now. As of now however, we're budgeting for Modified Low Budget, but we have yet to raise financing.
john, are you aware that you already posted the
link to your article in this thread?
link to your article in this thread?