CREW TERMS & CONDITIONS
AC / DIT
Key / DMT
Assistant Director: $1200 Per Day (prep & shoot)
2nd Assistant Director: $400 Per Day (prep & shoot)
Production Manager: $650 Per Day (Effective March 1, 2021)
Production Coordinator: $400 Per Day (prep & shoot)
Talent Coordinator: $350 Per Day (prep & shoot)
Production Assistant: $250 Per Day (prep & shoot)
Location Scout / Manager: $650 per day (prep & shoot, includes vehicle)
Location Assistant: $400 per day (prep & shoot)
Stylist: $650 per day (prep only)
Stylist Assistant: $400 per day (prep only)
Production Designer: $1100 per day (prep & shoot)
Art Director: $750 per day (prep & shoot)
Prop Buyer: $650 per day (prep & shoot)
Assistant Buyer: $450 per day (prep & shoot)
Lead Dresser: $350 per day (prep & shoot)
Set Dresser: $325 per day (prep & shoot)
Art Assistant: $250 per day (prep & shoot)
*Maximum number of allowance days billable per week to be at the production company’s discretion.
As of 2019 Google Maps defines the ACCP boundary as:
From Lake Ontario (West Boundary)
- North on Winston Churchill Blvd / Peel Regional Rd 19
- East on Guelph St / Hwy 7
- Continue East on Bovaird Dr W / Peel Regional Rd 107
- Continue East on Castlemore Rd
- Continue East on Rutherford Rd / York Regional Rd 73
- North on Hwy 27
- East on Major MacKenzie Dr W / York Regional Rd 25
- South on York Durham Line / York Regional Rd 30
- East on Hwy 7
- South on Lake Ridge Rd / Durham Regional Rd 23
To Lake Ontario (East Boundary)
Any shoot address located within, or on, the ACCP boundary shall be considered within the zone. Any shoot address located outside the ACCP boundary shall be considered outside the zone, and subject to travel time.
Once the boundary is crossed, travel time shall be calculated at fifteen (15) minutes, plus the time taken between the ACCP boundary and shoot address. Travel time shall be calculated in fifteen (15) minute increments.
Production shall be responsible to provide transportation for every crew member to a shoot address located outside the ACCP boundary.
The basic work day shall consist of ten (10) hours of work. There shall be no night or weekend premiums. Flat fees for hourly crew members are unacceptable under any conditions with the exception of legitimate public service announcements (PSA) and non-funded spec work. The production company must list the charity number of the PSA on their call sheet or make it available upon request. Flat fees for hourly crew members are to be negotiated at time of booking on an individual basis. Wrap time will be determined by actual out time and not camera wrap.
Rates not to be exceeded without the approval of an executive producer.
The basic work week shall consist of any five (5) consecutive shooting and/or pre-light days.
In the event a job consists of a sixth (6th) consecutive shooting and/or pre-light day: The rate for the first ten (10) hours worked shall be one and one half (1.5) times the basic hourly rate. Work performed in excess of ten (10) hours shall be paid at two (2) times the basic hourly rate for the next two (2) hours and three (3) times the basic hourly rate thereafter.
In the event a job consists of a seventh (7th) consecutive shooting and/or pre-light day: The rate for the first ten (10) hours worked shall be two (2) times the basic hourly rate. Work performed in excess of ten (10) hours shall be paid at, and not exceed, three (3) times the basic hourly rate.
Under no circumstances will the rate exceed three (3) times the basic hourly rate.
There is no provision for a five (5) hour shoot day. Minimum shoot day length is ten (10) hours. A shoot day is determined as a day in which principal photography has commenced. Camera and colour tests are not considered principal photography.
Tech scouts and pre-light days are also based on a ten (10) hour minimum. If the key is not available for the tech scout, then, if approved by the DP or director, the 2nd or 3rd can go in their place. The replacement for the key will be paid the key rate for that tech scout day only.
Overtime for hourly crew members will be paid at one and one half (1.5) times the basic hourly rate for work performed in excess of ten (10) hours, two (2) times the basic hourly rate for work performed in excess of twelve (12) hours, and three (3) times the basic hourly rate for work performed in excess of fourteen (14) hours on any one call. Overtime is to be calculated in one half (.5) hour increments and shall not exceed three (3) times the basic hourly rate.
There shall be a minimum ten (10) hour period (turnaround) between the call of camera wrap and general crew call the following day, on a per job basis. Encroachment of this period will be paid at three (3) times the basic hourly rate until the ten (10) hour rest period has been completed. Rest periods on jobs with a longer duration than five (5) shoot and/or pre-light days will be determined as twenty four (24) hours (the down day). This down day can be scheduled within a multiple day shoot (i.e. shoot x 2 days, down day, shoot x 4 days or shoot x 5 days, down day, shoot x 1 day, etc.) There must always be a twenty four (24) hour break after five (5) consecutive shoot and/or pre-light days.
No individual, who’s job description requires them to have wrap and call times beyond that of camera wrap and general crew call, shall be forced to endure a rest period of any less than eight (8) hours between the conclusion of their work day (wrap) and the commencement of the next (call) on any given job. Should said rest period be at risk, it is the responsibility of the production company to anticipate for, and provide, relief crew and/or relief drivers.
Should any individual feel they are being requested to perform a task where their safety, or the safety of others, is being put at risk, that individual has the right to refuse such a request. This may include, but not be limited to: driving a vehicle, performing a task they are not qualified for, handling dangerous materials they are not qualified to handle, interacting with individuals or situations they feel are unsafe.
It is the responsibility of production to inform the crew of a possible night shoot at time of booking. Night shoots should be defined as any production that plans to be camera rolling either prior to 7:00am or beyond 11:00pm.
There is no provision for a five (5) hour travel day. Minimum travel day length is ten (10) hours. The day will be determined on a lobby to lobby basis. Lobby to lobby applies to the entire crew and is not limited to the crew members that have been provided transportation by production. Travel time shall be calculated in fifteen (15) minute increments. The crew liaison and production manager will discuss and agree upon the length of any travel time.
Weather day calls must be made prior to 1:00pm the day before a proposed shoot day, and crew members must be made aware of pending weather day holds prior to booking. Production will be allowed one (1) weather day hold per five (5) consecutive shooting days. A weather day is defined as a contingency day whereby a crew member shall be required to hold and replace an existing shoot day should a weather call be made, with that shoot day becoming a down day. Compensation shall not change unless otherwise specified by an existing contract or agreement. Should a weather call be made after 1:00pm the day prior, then all crew members shall be compensated for both days.
Should production be shooting in an extreme environment susceptible to rapid weather fluctuations (specifically environments that require trained individuals and equipment to access, such as under open water, mountain ranges, etc.) then production will be allowed two (2) consecutive weather day holds per five (5) consecutive shooting days, allowing the decision to be made to shift to either the first or second weather day hold prior to 1:00pm the day before the proposed shoot day.
Weather days continuing for longer than the conditions stated above shall automatically become a cancellation / rebooking.
In addition to weather, any event that is deemed a force majeure shall be applicable to weather day guidelines.
Force majeure shall be defined as any event beyond a producer’s control, including, but not limited to: fire, flood, natural or man-made epidemic of health of other means, earthquake, explosion, labor dispute or strike, act of God or public enemy, equipment failure, riot or civil disturbance, terrorist threat or activity, war (declared or undeclared) or any federal state or local government law, order, or regulation, public health crisis, order of any court or jurisdiction, or other cause not reasonably within producer’s control.
If a crew member has another booking for the weather hold day they can request, from production, that they be released from their hold. The production manager will clear the release with the director of photography or the director (depending on which category of crew is requesting the release). If the technician cannot be released by production then he or she will be paid for the weather day hold regardless of the need to use the weather day or not. It is the crew member's responsibility to replace themselves and to inform the production manager by 1:00pm the day before the proposed weather day of who that replacement crew member will be.
Production companies will make best efforts to schedule around shooting on holiday weekends unless absolutely necessary due to location or talent reasons. The following shall be paid holidays when worked: New Year's Day, Family Day, Good Friday, Victoria Day, Canada Day, Labour Day, Thanksgiving Day, Christmas Day, and Boxing Day. The basic hourly rate of pay for paid holidays when worked shall be two (2) times the prevailing rate and will not exceed three (3) times the basic hourly rate.
A booked crew member shall be considered an out-of-pocket cost, regardless of time between booking and work day(s). Compensation shall not be more, or less, than ten (10) hours of work for any cancelled booked work day(s).
When a crew member is asked to hold a day it is understood that that is not a paid day but a day kept clear for a potential up-coming production or a potential weather scenario. As this is not a booking it is also understood that that crew member can request a release from that hold or ask to be booked and paid for that day as described in the weather day paragraph above.
Crew members being asked to take on key responsibilities must be paid the key rate. If a crew member is upgraded to a key position then they must be paid the key rate for the entirety of the work day.
Second units, working independently of the main unit, must always have a key crew member present for every department.
By definition a DIT (digital imaging technician) is someone who manipulates footage and should be paid an AC rate. A DMT (data management technician) is someone who manages footage and should be paid a key rate.
The production / art assistant base day rate is $250.00 for sixteen (16) hours worked. The seventeenth (17th) and eighteenth (18th) hours worked will be an additional $25.00 per hour up to eighteen (18) hours.
Production assistants are expected to complete basics of fall protection, aerial safety, propane, and first aid certifications within six (6) months of entering the industry.
The set dresser base day rate is $325.00 for sixteen (16) hours worked. The seventeenth (17th) and eighteenth (18th) hours worked will be an additional $25.00 per hour up to eighteen (18) hours.
Crew will only be responsible to pay for parking once over the duration of any given shoot day. Production must reimburse any additional parking costs or provide transportation.
When the crew are on location and are required to remain overnight or longer, appropriate accommodations and meals shall be provided. When meals are not adequately provided, production will pay $15.00 for breakfast, $25.00 for lunch and $35.00 for dinner.
Production will allow for an additional $25.00 a day per person for incidental travel costs (i.e. laundry, etc.). This money is to be paid in addition to any meals not provided. The $25.00 is for any travel day that is bookended by two overnights.
The crew are required to select a crew liaison on the first (1st) shoot day within two (2) hours from the main crew call. The crew liaison would then become the point person for the entire crew for any and all issues that would arise on the shoot day(s).
The crew liaison would then work with the production manager, producer, and assistant director to resolve any and all issues, and provide a clear point of communication with the crew.
It is understood that the crew liaison is speaking on behalf of the crew and is not required to seek their approval prior to any decision making.
The crew liaison's responsibilities include, but are not limited to:
- Meal breaks / grace period
- Travel time
- General concerns from either crew or production (mediate)
Production companies must pay timesheets within two weeks of the last shoot date and invoices within thirty (30) days of the last shoot date. Any errors on timesheets must only be corrected after speaking with, and receiving consent from, the individual. A copy of the time sheet should be included with pay cheque as well as a job ID on the cheque.
Production is required to provide both on-site craft service, in addition to a substantial lunch (or a cash equivalent of $25.00), for every crew member hired by production for any given shoot day.
When meals are provided by production on location, no travel time will be given. When meals are provided by production outside of location, then the production manager and crew liaison will determine the appropriate amount of travel time.
Failure to provide an appropriate meal approved by the crew liaison will result in crew remaining in meal penalty until a replacement meal can be provided.
The first meal, or lunch, can be called between the fourth (4th) and sixth (6th) hours after the general crew call. Four (4) hour period between meals should not be used twice in one ten (10) hour day.
Meals are to last for a period of one (1) hour. Half hour (.5) meal breaks are only acceptable under certain circumstances and production must request permission for half hour (.5) breaks from the crew liaison. Half hour (.5) meals will begin after the last crew member has been served. This holds true for both first and second meals.
The second meal must be served no more than six (6) hours after returning back to work from first meal. The second meal must be deemed appropriate and agreed to by the crew liaison. Production will provide options for second meal to the crew liaison prior to ordering. The crew liaison will agree to the choice of second meal prior to production placing the order. Best efforts must be made by production to provide a sit down second meal if deemed possible. If crew wrap extends beyond, or is already determined to be more than, one (1) hour after camera wrap is called, then a courtesy meal must be provided by production. If a fourteen (14) hour day is planned for, then a second meal should be planned and catered / provided for.
At the discretion of the crew liaison, work may continue through the second meal break with the crew working through. Under this arrangement, the crew will add an additional half (.5) hour to the end of their day. That additional half (.5) hour is paid in prevailing rate and not considered a meal penalty.
Ten (10) minutes grace is deemed as an acceptable length of time providing that it does not exceed that time. One minute over will trigger a meal penalty. Grace should only be asked of the crew when completing a setup. Grace should not be asked in order to begin a new setup.
Once a meal penalty has been established, the first (1st) hour of meal penalty shall be paid at two (2) times the prevailing rate for work performed in excess of six (6) hours. The second (2nd) hour of meal penalty shall be paid at triple time (3) and continue until a meal break is provided. This penalty shall be calculated in one half (.5) hour segments and will not exceed three (3) times the hourly rate.
Kit fees will be paid to hair, make-up and on-set props only. Kit fees will not exceed $35.00 per day. If any of the other departments need to use their own expendables they must get approval from the production manager and, if agreed to, be reimbursed or re-stocked for the items used. Sub-rentals are not considered kit fees and may include but not be limited to harnesses, lights, ropes and pulleys, special camera equipment, etc.
Crew members who need to use their cars for the purpose of production will be reimbursed $35.00 per day, with the maximum number of days billable per week to be at the production company’s discretion. This must be discussed with, and agreed to, by the production manager prior to billing.
Parking tickets will be reimbursed by production based on legitimate job specific claims only. For safety reasons, this will never include speeding tickets or red-light infractions.
Compensation for cell phones will not exceed $10.00 per day, with the maximum number of days billable per week to be at the production company’s discretion. This must be discussed with, and agreed to, by the production manager prior to billing.
PETTY CASH REIMBURSEMENT:
Petty cash must be reimbursed within seven (7) working days of expense envelopes being turned in to the production manager. Production managers must make best efforts to not delay expense envelopes from reaching accounting. Expense reimbursements must not exceed seven (7) working days.
An on-set health and safety meeting must be held at the top of each shoot day, moderated by the assistant director. This meeting will review all health and safety concerns and potential hazards of filming at each specific location.
A properly stocked, ministry approved first aid kit must be on all sets and readily available to crew members who might need it.
A health and safety chain of command should be recognized as: the assistant director, then the production manager, then the producer, and finally the executive producer. This chain of command will deal with any health and safety concerns that the any crew member might have on set. The crew liaison will also be a participant in all health and safety matters.
The ACCP membership takes discrimination & harassment of any kind seriously and as such has created this code of conduct to help protect every member of our work force and community.
Workplace harassment may include, but is not limited to, the following, which may or may not be related to any of the prohibited grounds under the Ontario Human Rights Code:
- Verbal conduct such as racial epithets, comments or slurs.
- Lewd comments and sexual jokes.
- Offensive emails or phone calls.
- Sexual advances or comments.
- Threats and demands that may demean, ridicule, intimidate or offend.
- Physical conduct such as assault, sexual flirtation, unwelcome touching, advances, or other physical interferences.
- Visual conduct such as offensive cartoons, pictures, photographs, or gestures, or internet materials.
- Invading personal territory.
Anyone who believes that they have been subjected to any kind of behaviour that violates this policy should immediately and confidentially report the matter to the production company producer or executive producer. If they are not comfortable reporting the matter to these individuals, or if these individuals are the alleged harasser(s), they are encouraged to submit a personal action letter (PAL) to ACCP.
The personal action letter, or PAL, has been designed to provide a confidential way for people who work in our industry to bring a problem, concern, or opportunity to the attention of ACCP to assist in providing a resolution or at least a response.
We always encourage crew members to talk directly and firstly to production managers, producers and executive producers responsible for their job satisfaction. We realize that there may be situations where, for whatever reason, people may feel uncomfortable doing so. As a result, the idea behind the PAL program is to provide an additional means of communication on a confidential basis, should anyone feel that they have a problem that has not been resolved or a concern that they want to address directly to ACCP.
Any crew member may write a letter on the PAL form that highlights a question, concern or opinion. The PAL process has to be submitted in writing (it cannot be done with a phone call or conversation). A PAL form can be completed on-line on the ACCP website. ACCP will acknowledge receipt of the PAL within three (3) business days.
Based upon the nature of the PAL, ACCP will direct it to the appropriate person for handling. In the case of a general suggestion or inquiry, a PAL coordinator and/or a ACCP director will usually respond directly. In the event that the PAL is in respect of a specific ACCP member company, with permission, ACCP will send a copy of the PAL to either the executive Producer, producer or production manager for a prompt response.
The PAL coordinator receives the response and communicates the suggested course of action. ACCP has targeted fifteen (15) business days from receipt of the original letter as a standard response time to get back with the appropriate action.
While the program has been structured to allow for both open and confidential communication, it is our recommendation that the crew member sign their name to the PAL. If they are willing to provide their name, it makes it possible for ACCP to try to find a direct solution for their concern or appropriate recognition for ideas that may have industry-wide benefit. The right to be anonymous and/or to apprise us of a matter in the strictest of confidence is completely understood. Signed or unsigned, ACCP will follow-up every PAL as best they can with the information provided.
If the response or the action taken is unsatisfactory then the crew member is invited to call or speak to a ACCP director personally and/or contact a member of the crew liaisons who will be meeting or at least communicating with ACCP regularly to advance workplace issues and opportunities.
Each quarter, ACCP will summarize by category the nature of the letters for the purpose of highlighting trends and where necessary, to implement policy changes. Be assured, ACCP will never reveal names or personal circumstances.
The key to success for our industry and for the production companies and crew members active in our Industry is open and effective communication. The PAL program, combined with town halls, meetings, one on ones, will build a stronger industry by continually improving workplace relations.
The PAL letter can be downloaded or completed on the ACCP website.