The American Directors Guild building in Los Angeles.
THR Illustration / Michael Buckner
After revealing some early details about interim deals with studios and streamers on June 3, the Screen Directors Guild has provided members with more details about the deal, which was struck during the writers’ strike.
A summary of the agreement sent to members of the 19,000-strong trade union on Wednesday provided some concrete information on the deal’s main benefits, and the draft deal should be voted on by late June. They were trying to sell the benefits to their members.
One of the hype results of this deal is a new formula for international SVOD residuals based on the number of international subscribers on the platform. Thanks to this formula, the largest streaming service is obliged to pay $89,415 in balance for the 1-hour series for the first three years of use (this is a 76% increase in overseas residuals and a general means a 21% increase in ). His worldwide remnants of SVOD films with budgets of at least $13 million increased 34% to $230,250 in his first three years. And his 13-year remaining title balance on the streaming platform increased by 28% to $168,773.
While no other specific examples are given, the new formula is “all platforms”, as platforms gaining subscribers globally will inevitably have to pay more to DGA members as a result. The union said it will increase the balance in 2020,” and “build for the future.” Furthermore, Union claims that his SVOD residuals for the highest strata for this trade are improved over the standard network series residuals.
As for the language of the deal on regulation of artificial intelligence, the interim contract stipulates that generative artificial intelligence is not human and that work done by DGA members must be assigned to humans. Additionally, “an employer must not use her GAI.” [generative artifical intelligence] Top entertainment companies and labor unions must meet twice a year to “discuss and negotiate AI” in relation to creative elements without consultation with directors or other employees covered by the DGA .
The guild also explained the new standard terms of the deal for free AVOD platforms such as Tubi and Pluto TV, which were previously negotiable. The agreement stipulates minimum fees, rewards and “creative rights” for high-budget scripted programs produced for those services with fewer than 20 million subscribers, with the remainder going to the employer’s gross margin. 2 percent.
As part of the deal, episode directors received certain creative rights, including additional paid days in post-production, especially for high-budget SVOD and pay TV series. Here the DGA conceded and agreed to give temporary directors lower annual salary increases than other members in order to achieve paid days in their posts (compounded at 13 percent during the three-year contract period). to 6.6 percent). . As part of their agreement, these members may also provide casting input and advance notice to receive digital copies of episodes.
Feature film directors, on the other hand, pay an additional $5,000 a week for up to 10 weeks to compensate for the “soft prep” time (which begins once at least three staff members are hired), with Helmer free for a long time. I made up for the time I worked at . The union also extended the director’s cut period for SVOD films with a budget of $22.5 million or more from four weeks to 10 weeks, making it “equivalent” to a theatrical production.
The union lists other provisions in its overview document (see below), including the creation of the union’s first parental leave benefit, the funding of the DGA’s pension and health plans through the agreement, and language on safety. It is included.
“The Negotiations Committee and the Guild National Board recommend unanimously and enthusiastically to vote in favor of ratification of the Agreement,” Guild President Leslie Linka Glatter said Wednesday evening. I wrote it in an e-mail addressed to a member.
A ratification vote on whether member states will green light or reject the agreement will begin on Wednesday evening and will conclude on Friday, June 23, at 6:00 p.m. Pacific time.
The union, which represents not only the eponymous role, but also unit production managers, assistant directors, stage directors, etc., reached the conclusion that after a full day of negotiations, the film and television producers were set to join the film and television producers near midnight on June 3. Reached an agreement with the Alliance. The report outlined the benefits of the agreement to members at the time and indicated that the union’s salary increase would be 5% in the first year of the agreement, 4% in the second year and 3.5% in the third year. clarified. These were slightly higher than normal, but were frowned upon during a period of explosive inflation. In a message Wednesday, the DGA called the wage hike “the best three-year wage increase in the last 30 years.”
Long-time DGA National Executive Director Russell Hollander has negotiated union negotiations with bargaining chair Jon Avnet, co-chairs Karen Gaviola and Todd Holland, and a committee of more than 80 members. and veteran AMPTP Chairman Carol Lombardini led the AMPTP negotiations. DGA’s Thomas Schramm and Nicole Cassel led union talks on creative rights.
