DGC/CMPA Standard Agreement - Ontario · 2018-11-16 · 2016-18 DGC/CMPA Standard Agreement 5 CORE AGREEMENT 1.00 DEFINITIONS Unless otherwise speci!cally de!ned herein, the terms

C o r e A g r e e m e n t

DGC/CMPA Standard Agreement2016-2018

2016-18 DGC/CMPA Standard Agreement 2 CORE AGREEMENT

Table of Contents Core Agreement

1.00 DEFINITIONS1.01 Accounting Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.02 Anthology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.03 Anthology Series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.04 Art Department. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.05 Bargaining Authorization and Voluntary Recognition Agreement . . . . . . . 51.06 Budget . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.07 Cable Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.08 Call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.09 Certified Budget . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.10 CMPA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.11 Collective Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.12 Compact Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.13 Contract for Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.14 Contracted Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.15 Dailies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.16 Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.17 Derivative Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.18 Direct to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.19 DGC or Directors Guild of Canada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.20 Distant Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.21 District Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.22 Documentary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.23 Editing Departments (Picture and Sound) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.24 Episode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.25 Flat Deal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.26 Free Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.27 Gross Remuneration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.28 Guild Member . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.29 Loan-out Corporation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.30 Movie for Television (MFT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.31 Mini-Series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.32 Motion Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.33 Nearby Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.34 Network Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.35 New Media Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.36 Other Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.37 Over-scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.38 Pay Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.39 Permittee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.40 Picture Post Production Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.41 Pilot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.42 Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.43 Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.44 Production Department. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.45 Remittance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.46 Schedule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.47 Second Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.48 Serial Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.49 Series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.50 Sound Post Production Period. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.51 Standard Agreement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.52 Strip Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.53 Syndicated Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.54 Television Drama Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71.55 Television Motion Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71.56 Theatrical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71.57 Variety Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71.58 Variety Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71.59 Weekly Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2.00 RECOGNITION, TERRITORIAL JURISDICTION, PURPOSE AND SCOPE, NEGOTIATION AND ADMINISTRATION OF THIS AGREEMENT

2.01 Recognition of Bargaining Unit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72.02 Favoured Nations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72.03 Interpretation of Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72.04 Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2.05 Scope of Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72.06 Exclusive Bargaining Agents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72.07 Territorial Jurisdiction and Application of this Agreement . . . . . . . . . . . . . . . 82.08 Co-Productions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82.09 Resolution of Jurisdictional Disputes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

3.00 PROTECTION OF BARGAINING AUTHORITY AND BARGAINING3.01 Conflicting Agreements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83.02 Notification of Change of Name or Address. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83.03 Bargaining Unit Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83.04 Assignment of Duties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83.05 No Contracting Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83.06 District Council Access to Studio or Location. . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

4.00 APPLICABLE LEGISLATION4.01 Governing Law . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84.02 Producer’s Obligations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84.03 No Producer Discrimination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94.04 Severability and Replacement of Invalid Provisions . . . . . . . . . . . . . . . . . . . . . 94.05 Harassment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94.06 Harassment Complaints. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

5.00 PRODUCER’S RIGHTS AND RULES5.01 Producer’s Rights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95.02 Producer’s Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

6.00 DISTRICT COUNCIL SECURITY6.01 Good Standing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96.02 Assignment of Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96.03 Guild Member in Default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

7.00 HIRING7.01 Availability Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.02 Hiring Rules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.03 Combined Engagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.04 Consideration of Non-Guild Person for Work . . . . . . . . . . . . . . . . . . . . . . . . . . .107.05 Issuance of Work Permits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.06 Work Permits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.07 Guild Member Works Only with Guild Members or Authorized

Permittees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.08 Displacement or Work Permit Fee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.09 Permittees Must Observe DGC Constitution . . . . . . . . . . . . . . . . . . . . . . . . . . .107.10 Termination of Engagement for Failure to Remit Displacement

or Work Permit Fee. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.11 Alternate Arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.12 No Requirement to Furnish Services or Equipment. . . . . . . . . . . . . . . . . . . . .117.13 Non-Member Equalization Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

8.00 STRIKES AND LOCKOUTS8.01 No Strikes or Lockouts During Term of Agreement . . . . . . . . . . . . . . . . . . . . .118.02 Unfair Declaration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118.03 No Discipline or Discharge or Termination of a Contract for Services. . . .11

9.00 CONSULTATION9.01 Production Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119.02 Budget Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129.03 Producer Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129.04 Pre-Production Conference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129.05 Consultation Committee to be Established upon Request. . . . . . . . . . . . . .12

10.00 GRIEVANCE AND ARBITRATION10.01 Grievance Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1210.02 Grievance Defined . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1210.03 Informal Dispute Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1210.04 Initiating Grievance Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

ARBITRATION PROCEDURE10.05 -10.09 Arbitration Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1210.10 Arbitrator Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1310.11 Powers of Arbitrator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1310.12 Interest Arbitration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13


10.13 Credit Grievance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

11.00 CLASSIFICATIONS11.01 Job Classifications and Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1411.02 Improper Classification. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1411.03 Promotion and Demotion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1411.04 No Alteration of Job Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1411.05 General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1411.06 Directors (DIR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1411.07 Second Unit Director (2UD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

PRODUCTION DEPARTMENT11.08 Production Manager (PM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1411.09 Assistant Production Manager (APM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1511.10 Unit Manager (UM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1511.11 First Assistant Director (1AD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1511.12 Second Assistant Director (2AD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1511.13 Third Assistant Director (3AD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1511.14 Trainee Assistant Director (TAD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1511.15 Technical Coordinator (TC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1511.16 Location Manager (LM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1511.17 Assistant Location Manager (ALM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1611.18 Trainee Location Manager (TLM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1611.19 Location Production Assistant (LPA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1611.20 Location Support Personnel (LSP) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1611.21 Production Coordinator (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1611.22 Assistant Production Coordinator (APC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1611.23 Trainee Production Coordinator (TPC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1611.24 Production Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

ART DEPARTMENT11.25 Production Designer (PD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1711.26 Art Director (ART) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1711.27 First Assistant Art Director/Set Designer/Graphic Designer (1AR) . . . . . . .1711.28 Second Assistant Art Director (2AR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1711.29 Third Assistant Art Director (3AR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1711.30 Art Department Coordinator (ADC). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1711.31 Trainee Assistant Art Director (ADA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

PICTURE EDITING DEPARTMENT11.32 Supervising Picture Editor (SPE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1711.33 Picture Editor (PE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.34 First Assistant Picture Editor (1PE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.35 Assistant Picture Editor (APE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.36 Trainee Assistant Picture Editore (TAPE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.37 Post Production Assistant (Post PA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.38 Post Production Supervisor (PPS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.39 Post Production Coordinator (PPC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

SOUND EDITING DEPARTMENT11.40 Supervising Sound Editor (SSE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.41 Sound Editor (SE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.42 Dialogue Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.43 ADR Editor (or Looping or Dubbing Editor) . . . . . . . . . . . . . . . . . . . . . . . . . . . .1811.44 Sound Effects Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1911.45 Foley Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1911.46 Music Editor (ME) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1911.47 First Assistant Sound Editor (1SE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1911.48 Second Assistant Sound Editor (2SE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1911.49 Trainee Assistant Sound Editor (TASE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

ACCOUNTING DEPARTMENT11.50 Production Accountant (AUD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1911.51 First Assistant Production Accountant (1AA General). . . . . . . . . . . . . . . . . . .1911.52 First Assistant Production Accountant (1AA Payroll) . . . . . . . . . . . . . . . . . . . .1911.53 Second Assistant Accountant (2AA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1911.54 Third Assistant Accountant (3AA). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1911.55 Trainee Assistant Accountant (TAA [AT]) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2011.56 Post Production Accountant (PPA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

12.00 CONTRACT FOR SERVICES12.01 Contract for Services Required . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2012.02 Application to Existing Contract for Services . . . . . . . . . . . . . . . . . . . . . . . . . . .2012.03 Provisions of Contract for Services Subject to Grievance

and Arbitration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2012.04 Type of Engagement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2012.05 Terms of Standard Agreement are Minimums. . . . . . . . . . . . . . . . . . . . . . . . . .2012.06 Grievance and Arbitration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2012.07 No Contract for Services to Contravene the Standard Agreement . . . . . .2012.08 No Deferment of Minimum Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . .2012.09 Authority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2012.10 Original Copies and Form of Contract for Services . . . . . . . . . . . . . . . . . . . . .2012.11 Contract for Services No Less Favourable Than the

Standard Agreement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2012.12 Contract for Services Start Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2112.13 Contract for Services Finish Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2112.14 Extension, Renewal or Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2112.15 Loan-out Corporation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2112.16 Confidentiality Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2112.17 Director’s Contract for Services and Media Uses. . . . . . . . . . . . . . . . . . . . . . . .21

13.00 NOTICE OF LAY-OFF OR REPLACEMENT, FORCE MAJEURE, RECALL AND DISCHARGE

13.01 Force Majeure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2113.02 Recall for Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2113.03 Discharge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2113.04 Procedure for Investigation, Discipline and Discharge. . . . . . . . . . . . . . . . . .2213.05 Gross Remuneration for Severance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2213.06 Pay or Play on Guaranteeed Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2213.07 Severance Payment Options on a Guarantee. . . . . . . . . . . . . . . . . . . . . . . . . . .2213.08 Exception for Overscale Payments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2213.09 Exception for Just Case. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2213.10 No Mitigation of Damages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2213.11 Termination on Distant Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

14.00 PAYMENT OF COMPENSATION AND SECURITY FOR PAYMENTS14.01 Payroll Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2214.02 Pay day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2214.03 Method of Compensation Payment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2214.04 Payroll Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2214.05 Producer’s Obligations Upon Termination . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2214.06 Time-Keeping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2314.07 Records. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2314.08 Financial Difficulties and Payroll Failures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2314.09 Security for Payments Due During Production . . . . . . . . . . . . . . . . . . . . . . . . .2314.10 Security for Payments Due After Production . . . . . . . . . . . . . . . . . . . . . . . . . . .2414.11 Approval of Production Guarantor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2414.12 Purchaser’s Assumption Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2414.13 Distributor’s Assumption Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

15.00 LEAVES OF ABSENCE15.01 Illness, Medical and District Council Leave . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2515.02 Leaves of Absence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2515.05 Bereavement Leave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

16.00 HEALTH AND SAFETY16.01 Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2516.02 Guild Member Prerogative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2516.03 Health and Safety Representative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2516.04 Medical Attention and Hospitalization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2516.05 Reporting of Accidents, Medical Attention and Hospitalization. . . . . . . . .2516.06 First Aid Responder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2516.07 Working Conditions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

17.00 TECHNOLOGICAL CHANGE17.01 Producer’s Right to Institute Technological Change . . . . . . . . . . . . . . . . . . . .2517.02 Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2517.03 No Injustice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25



18.00 GENERAL PROVISIONS18.01 Entire Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2518.02 Release and Indemnification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2518.03 Duration of Protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2618.04 Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2618.05 Legislation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2618.06 Currency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2618.07 Interest on Monies Owing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2618.08 Contracts for Benefit of Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2618.09 Interpretation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2618.10 Editorial Equipment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2718.11 Budget Calculations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

19.00 LETTERS OF VARIANCE19.01 Variance Requests. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

20.00 SCHEDULES INCORPORATED20.01 Letters of Understanding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2720.02 Schedules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2720.03 Priority of Interpretation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

21.00 TERM OF AGREEMENT21.01 Term. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2721.02 Application of Agreement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

LETTERS OF UNDERSTANDINGNO. 1 NEW MEDIA PRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29NO. 2 CONSIDERATION OF NON-DGC MEMBER FOR WORK (ARTICLE 7.04) . .30NO. 3 ISSUANCE OF WORK PERMITS (ARTICLE 7.05) . . . . . . . . . . . . . . . . . . . . . . . .31NO. 4 CONTRACT FOR SERVICES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32NO. 5 PRODUCTION GUARANTEE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33NO. 6 FAVOURED NATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34NO. 7 NO PYRAMIDING OF INCENTIVES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35NO. 8 DEFINITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36NO. 9 WORKFLOW ISSUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37NO. 10 DIVERSITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

SCHEDULESSchedule 7A: Bargaining Authorization and Voluntary Recognition Agreement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39Schedule 7B: Negotiation Protocol. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40District Council Schedule 8 - Standard Contract for Service (Alberta). . . . . . . . . . .44District Council Schedule 8 - Standard Contract for Service (Atlantic) . . . . . . . . . .45District Council Schedule 8 - Standard Contract for Service (Manitoba) . . . . . . . .46District Council Schedule 8 - Standard Contract for Service (Ontario) . . . . . . . . . .47District Council Schedule 8 - Standard Contract for Service (Saskatchewan). . . .48Schedule 9: Budget Certification. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49Schedule 10: Production Guarantee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50Schedule 11A: Security Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51Schedule 11B: Standard Security Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52Schedule 12: Distribution Guarantee (For Approved Distribution Guarantors) . .56Schedule 13: Distribution Assumption Agreements . . . . . . . . . . . . . . . . . . . . . . . . . . .57Schedule 14: Purchaser’s Assumption Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58Schedule 15: Alternate Letter Regarding Production Obligations and Distribution Rights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59Schedule 16: Documentaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61



1.00 DEFINITIONS

Unless otherwise specifically defined herein, the terms used shall be given the common meaning in the film and television industry.

1.01 Accounting DepartmentThe Accounting Department shall consist of the job classifications defined in Article 11.00 as comprising that department.

1.02 AnthologyAnthology means one (1) unit of a Motion Picture in any series as defined in an Anthology Series.

1.03 Anthology SeriesAnthology Series means a series or sequence of Motion Pictures, each of which is sixty (60) minutes or less in length, and each of which contains a separate or complete story or other complete program entity, without a character or characters common to each of the series but held together by the same title, trade name or mark or identifying device or personality common to all of the programs in the series. A continuing host shall not be considered a character common to each of the programs in the Series.

1.04 Art DepartmentThe Art Department shall consist of the job classifications defined in Article 11.00 as comprising that department.

1.05 Bargaining Authorization and Voluntary Recognition AgreementBargaining Authorization and Voluntary Recognition Agreement is a standard agreement by virtue of which a Producer, inter alia, recognizes each District Council as bargaining agent on behalf of Guild Members and recognizes the CMPA as the bargaining agent on behalf of the Producers, and agrees to be bound by the terms and conditions of this Standard Agreement and the Negotiation Protocol with respect to the production of Motion Pictures.

1.06 BudgetBudget (either Certified or Non-Certified) means the total final locked Budget above and below the line prior to the end of the first week of principal photography for all services and expenses, including but not limited to all Production and post-Production fees, salaries, services and related expenses.

1.07 Cable TelevisionCable Television means the exhibition of a Production on television by means of cable, satellite, master antenna or any combination thereof, where the signal embodying the Production is packaged with other signals or programming services for which a single fee is charged for all or some of such signals or services. Cable Television use includes “basic cable” channels and “specialty” channels but does not include Network Television, Syndicated Television or Pay Television.

1.08 CallCall means notification to a Guild Member of the place and hour of the start of work.

1.09 Certified BudgetCertified Budget means the Budget as provided in writing in Schedule 9 by the completion guarantor or Producer.

1.10 CMPACMPA means the Canadian Media Producers Association or its successors.

1.11 Collective AgreementSee Standard Agreement.

1.12 Compact DeviceCompact Device means the distribution of a Production by manufacturing and selling or renting copies of a Production on DVD, tape, disc, cassette, CD-ROM or any other similar physical format intended primarily for private, in-home exhibition.

1.13 Contract for ServicesContract for Services means the agreement between the Producer and each Guild Member with respect to engagement of the Guild Member. It can also be called a deal memo or a deal memorandum.

1.14 Contracted RateContracted Rate is the higher of the applicable minimum rate (scale)

provided for in the Schedules, or the negotiated rate inclusive of Over-scale, specified in the Guild Member’s Contract for Services.

1.15 DailiesDailies means the screening of the photography done on the immediately previous work day. Dailies can also be called “rushes”.

1.16 DayDay means a calendar day, unless otherwise specified.

1.17 Derivative ProductionA Derivative Production means a New Media Production, including without limitation a webisode, directly associated with, but separate and distinct from, a Theatrical, Television Motion Picture or Documentary Production, intended for initial exhibition on a new media platform for the purposes of promoting the associated Production, with no independent commercial exploitation. For clarity, a Derivative Production does not include a spin-off.

1.18 Direct to VideoDirect to Video means a Motion Picture intended primarily for release on Compact Devices.

1.19 DGC or Directors Guild of CanadaDGC, Directors Guild of Canada or the Guild is a national labour organization.

1.20 Distant LocationDistant Location is any location where a Guild Member is required to remain away and be lodged overnight. The Day of departure and the Day of return shall be deemed to be Distant Location Days.

1.21 District CouncilDistrict Council means the relevant District Council of the DGC, namely Alberta, Saskatchewan, Manitoba, Ontario or Atlantic Regional Council.

1.22 DocumentaryA Documentary is an information, news, and/or public interest Motion Picture, including but not limited to industrials and educationals which may include drama or variety techniques in achieving the information goal.

1.23 Editing Departments (Picture and Sound)The Picture Editing Department and the Sound Editing Department shall consist of the respective job classifications defined in Article 11.00 as comprising each Department.

1.24 EpisodeEpisode means a Television Motion Picture, complete in itself, but forming part of the Series.

1.25 Flat DealA Flat Deal is a contractual agreement between the Producer and a Guild Member wherein the over-scale portion of the negotiated rate may be credited or offset against the overtime premium(s) incurred in the course of one (1) work week, as provided for in each District Council Schedule.

1.26 Free TelevisionFree Television means the exhibition of a program on a home type television receiver which exhibition gives rise to no specific charge either for the program or for the channel on which the program is received and the program does not originate on a cable facility but is exhibited on Network Television and/or Syndicated Television.

1.27 Gross RemunerationGross Remuneration means the total compensation which a Producer owes to a Guild Member for work or services, including minimum rate plus Over-scale, if any, work premiums, vacation and statutory holiday pay or additional compensation in lieu thereof, and Director’s rights acquisition Fee(s), Series bonus and royalties, but excluding insurance and retirement contributions, and monies paid for vehicle and equipment rentals, and expenses, such as per diem allowances or travel costs. Also see Article 13.05.


1.28 Guild MemberA Guild Member is a member of the DGC and is deemed to include a “Loan-out Corporation”, “Permittee” and any person engaged by a Producer in a job classification set out in Article 11.00 of this Agreement and subject to any Letter of Understanding relating to each District Council’s work jurisdiction, who performs duties hereunder.

1.29 Loan-out CorporationA Loan-out Corporation is a corporation with a majority shareholder, officer or director on the corporate board of directors who is a Guild Member, and who performs any of the duties of any of the classifications set out in this Agreement. Limited partnerships are deemed to be included in this definition.

1.30 Movie for Television (MFT)Movie for Television (MFT) means a Motion Picture drama of sixty (60) minutes or more in length intended primarily for television release.

1.31 Mini-SeriesMini-Series means a Television Motion Picture of a predetermined length intended for broadcast in segments and which has a single essential story line beginning in the first segment and ending in the last.

1.32 Motion PictureMotion Picture means a Production.

1.33 Nearby LocationNearby Location is a location outside of the studio zone where any Guild Member works but is not lodged overnight and instead returns to within the studio zone at the end of each work day.

1.34 Network TelevisionNetwork Television means any Canadian network so recognized by the CRTC and any American network so recognized by the FCC.

1.35 New Media ProductionA New Media Production means any Production intended for initial exhibition on the internet or any similar new media platform now or hereafter known, regardless of the device through which the content is delivered.

1.36 Other Production Other Production means any Motion Picture other than a Theatrical, Television Motion Picture, Documentary or New Media Production as defined in Core Article 1.00 of this Agreement, including but not limited to not-for-broadcast presentation pilots, short films, etc.

1.37 OverscaleOverscale means the compensation which a Guild Member has contracted with a Producer over and above the minimum compensation in this Agreement.

1.38 Pay TelevisionPay Television means the exhibition of Productions on a television receiver by a Pay Television network operator distributed by means of broadcast, cable, closed circuit, Direct Broadcast Satellite (DBS) or any other form of distribution whether in conventional, scrambled, encoded or otherwise altered form where there is a requirement that the audience shall make a payment to receive such production. Such payment may be in the form of (i) a separate amount for each production or portion thereof, (ii) a payment to receive a dedicated Pay Television channel which payment is made either in addition to a regular Cable Television subscription fee, or to the proprietor of a free standing microwave distribution system or a satellite master antenna television distribution system (SMATV) which distributes the said channel. Exhibition in theatres or comparable places is theatrical exhibition and shall not be considered Pay Television.

1.39 PermitteePermittee means a person who is engaged hereunder, and who has been authorized in writing by the District Council to work within the District Council’s jurisdiction and with other Guild Members pursuant to this Agreement. Permittee is deemed to include a Loan-out Corporation.

1.40 Picture Post Production PeriodPicture Post Production Period is the period of time commencing on the first day of post production of the Motion Picture and continuing until delivery of the fine cut of the Motion Picture during which the process of editing the Motion Picture is performed by Picture Editing Department personnel, the classifications and duties of which are set out in Article 11.00.

1.41 PilotPilot means a Motion Picture produced as one (1) episode of a projected Series to determine whether to produce the Series later.

1.42 ProducerProducer is the individual, corporation, partnership, limited partnership, or other person that controls, administers, or is responsible for a program, whether or not that Producer is or will be a copyright holder of the finished Motion Picture.

1.43 ProductionProduction means a recorded audiovisual work whether such recorded work is fixed on film, tape or otherwise.

1.44 Production DepartmentProduction Department shall consist of the job classifications defined in Article 11.00 as comprising that department.

1.45 RemittanceRemittance is a payment due from the Producer to the District Council under this Agreement, including Member’s check-off, administration and training fund, retirement contributions, and health and welfare payments as per the applicable District Council Schedule.

1.46 ScheduleSchedule means every Schedule to the Standard Agreement which is deemed to be incorporated therein and an integral part thereof.

1.47 Second UnitSecond Unit means the process of setting up, lighting and photography of action oriented sequences (such as stunt action sequences, including but not limited to car chases and high falls and sequences utilizing geographically inaccessible or undesirable locations for a main unit) which involve a separate camera package, a separate DOP and camera crew, a separate call and a location away from the main unit.

1.48 Serial ProductionA Serial is a Production with a dramatic component and a continuing story line which broadcasts at least three (3) different segments per week.

1.49 SeriesSeries means a collection of Episodes of a Television Motion Picture produced as a group.

1.50 Sound Post Production PeriodSound Post Production Period is the period of time commencing with delivery of the fine cut of the Motion Picture and continuing until completion of the mix of the Motion Picture during which the process of sound editing the Motion Picture is performed by Sound Editing Department personnel, the classifications and duties of which are set out in Article 11.00.

1.51 Standard AgreementStandard Agreement and Agreement are deemed to include this 2016-2018 DGC/CMPA Standard Agreement, all Schedules hereto, the Bargaining Authorization and Voluntary Recognition Agreement, the Negotiation Protocol, any letter of variance, and each Contract for Services.

1.52 Strip ProgramA Strip Program is a non-fiction Production which broadcasts at least three (3) different segments per week.

1.53 Syndicated TelevisionSyndicated Television means broadcast exhibition on television other than Network Television.


1.54 Television Drama SpecialTelevision Drama Special is a Motion Picture for television intended to be essentially entertaining rather than informational and shall be under sixty-one (61) minutes in length.

1.55 Television Motion PictureTelevision Motion Picture includes Anthologies, Movies for Television, Mini-Series, Pilot, Serial, Spinoff, Strip Program, Television Drama Special, Series, Variety Series, and Variety Special.

1.56 TheatricalTheatrical means an entertainment Motion Picture generally sixty-one (61) minutes or more in length, produced primarily for exhibition in theatres or any other place where a charge, by any method, is paid by the viewing audience.

1.57 Variety SeriesVariety Series is a series of Television Motion Pictures usually with a continuing host and/or performers which combine a number of entertainment elements.

1.58 Variety SpecialVariety Special is a singular Television Motion Picture which combines a number of entertainment elements.

1.59 Weekly RateWeekly Rate is the higher of the minimum rate set out herein or the Contracted Rate negotiated between the Producer and the Guild Member to be attributable to a work week of five (5) consecutive days in any consecutive seven (7) calendar days.

2.00 RECOGNITION, TERRITORIAL JURISDICTION, PURPOSE AND SCOPE, NEGOTIATION AND ADMINISTRATION OF THIS AGREEMENT

2.01 Recognition of Bargaining Unit

(a) In accordance with and subject to the Negotiation Protocol and the Bargaining Authorization and Voluntary Recognition Agreement as attached, the CMPA and the Producer recognize the District Councils as the exclusive bargaining agent for and representative of all Guild Members, with respect to those job classifications set out in each District Council Schedule and with respect to minimum rates and all other minimum terms and conditions of engagement of all persons engaged by the Producer to perform duties under this Agreement.

(b) In accordance with and subject to the Negotiation Protocol and the Bargaining Authorization and Voluntary Recognition Agreement as attached, each District Council recognizes the CMPA as the sole and exclusive bargaining agent and representative with respect to Production which is subject to this Agreement.

(c) Subject to Article 2.07, the geographic scope of this Agreement shall relate to programs produced in the territorial jurisdictions of:

i. the Alberta District Council (Alberta and Northwest Territories),

ii. the Saskatchewan District Council (Saskatchewan),

iii. the Manitoba District Council (Manitoba),

iv. DGC Ontario (Ontario and Nunavut), and

v. Atlantic Regional Council (Nova Scotia, New Brunswick, Prince Edward Island, and Newfoundland and Labrador).

(d) A dispute concerning whether a person is included in the bargaining unit shall be resolved under the grievance and arbitration procedure. Nothing in this Agreement is intended, nor shall it be construed, either to enlarge or diminish the work customarily and usually performed by Guild Members in the bargaining unit nor is it intended to diminish or enlarge the work customarily and usually performed by persons not in the bargaining unit.

2.02 Favoured Nations

(a) Except by prior agreement with the CMPA, a District Council shall not enter into any agreement with any Producer at rates or terms which are as favourable or more favourable to such Producer, than those set forth in this Agreement and no District Council shall permit Members to be engaged at rates less than those provided for herein or upon terms which are as favourable or more favourable to such Producer than set forth in this Agreement.

(b) Unless otherwise agreed to by the CMPA and the District Council, a Producer shall not enter into any agreement with any District Council at rates or terms which are as favourable or more favourable to the Producer than those set forth in this Agreement, and a Producer shall not offer to engage nor enter into any agreement to engage a Guild Member at rates less than those provided for herein nor upon terms which are as favourable or more favourable to the Producer than those terms set forth in this Agreement.

(c) A Producer who engages Guild Members in any manner whatsoever, without reference to this Agreement shall be subject to an unfair declaration pursuant to Article 8.02.

2.03 Interpretation of Agreement

(a) Terms The terms of this Agreement are the result of negotiations between representatives of the CMPA and the District Councils.

(b) Joint Administration This Agreement shall be administered jointly by the District Councils and the CMPA in all facets on a principle of equality between the District Councils and the CMPA in all matters pertaining to the administration of the Agreement’s provisions. Questions regarding interpretation of the meaning of clauses in this Agreement may be directed to either the CMPA or the District Council. Neither of those parties shall give interpretations binding upon the other without the written agreement of the other.

2.04 PurposeThe purpose of this Agreement is to provide minimum terms and conditions by which a Guild Member will be engaged by the Producer on a Motion Picture; to provide a method for final and binding arbitration in settlement of all disputes between the parties arising under this Agreement or a Contract for Services; to facilitate harmonious relations between the Guild, the District Councils, all Guild Members, the Producer, and the CMPA and to assist in the development of the film and television industry in Canada.

2.05 Scope of AgreementThis Standard Agreement applies to every Guild Member engaged by the Producer on the Production which is referenced in the Bargaining Authorization and Voluntary Recognition Agreement as attached. The provisions of this Agreement apply equally to a first unit and additional units.

2.06 Exclusive Bargaining Agents

(a) Parties to this Agreement When executed by a Producer the terms of this Agreement form a contract to which the District Councils, the Producer and the CMPA are all parties and each party agrees to fulfil the rights and obligations created under this contract and owing to another party. For greater clarity, Guild Members are bound by the terms and conditions of this Agreement.

(b) Voluntary Recognition While the terms and conditions of this Agreement are in effect, any Producer who is not a party to this Agreement but who agrees to become a party to this Agreement shall sign the Bargaining Authorization and Voluntary Recognition Agreement found in Schedule 7A, acknowledging that the District Councils are the exclusive bargaining agent for classifications set out in Article 11.00 and subject to the Letters of Understanding, and signifying its acceptance of the terms contained herein. The Bargaining Authorization and Voluntary Recognition Agreement shall constitute


acceptance of a binding obligation by the Producer to adhere to the terms and conditions of this Agreement and shall be executed and forwarded to the appropriate District Council by fax or delivery prior to contracting a Guild Member.

2.07 Territorial Jurisdiction and Application of this Agreement

(a) The District Council continues to be the Guild Member’s exclusive bargaining agent and representative, notwithstanding that the Guild Member is required to perform duties outside the District Council’s territorial jurisdiction. This Agreement applies to any Guild Member assigned by a Producer to perform services outside the District Council’s territorial jurisdiction unless the Guild Member is subject to the jurisdiction of another labour organization at that location.

(b) Before assigning a Guild Member to perform duties at a location outside of Canada, the Producer will sign a written Contract for Services, in accordance with Schedule 1 or 8 hereafter, with that person.

(c) A Guild Member engaged on a local basis shall be subject to the terms of the District Council Schedule applicable to that location.

(d) In circumstances where the Producer undertakes Production in the jurisdiction of one District Council (the “first jurisdiction”) and further Production in the jurisdiction of a second or subsequent District Council and a Guild Member moves with the Production, then the Guild Member’s Contract for Services shall be governed by the District Council Schedule applicable to the first jurisdiction. If a Guild Member’s engagement is initiated in the second jurisdiction, the Producer will become signatory to that Council’s Agreement and local terms and conditions will prevail.

(e) The studio zone, Nearby Location and Distant Location applicable to a Guild Member shall be deemed to be in accordance with the District Council Schedule in the province in which the Guild Member is engaged.

(f ) When a Guild Member is transferred to a “second jurisdiction”, the local holiday provisions of that jurisdiction shall govern and not those of the first jurisdiction in which the Guild Member was engaged.

2.08 Co-ProductionsWhere it is established that a Production is a bona fide coproduction governed by an official co-production treaty between Canada and another country, the parties to this Agreement recognize that the application of this Agreement may be subject to the terms of the relevant international co-production treaty and agreement.

2.09 Resolution of Jurisdictional DisputesThe parties agree to co-operate in good faith amongst themselves and with other unions in the film and television industry in resolving jurisdictional disputes without work stoppages.

3.00 PROTECTION OF BARGAINING AUTHORITY AND BARGAINING

3.01 Conflicting AgreementsSubject to the Letters of Understanding, neither the Producer nor the CMPA will enter into any agreement with any other guild, union or labour organization with respect to the work in any category or job classification covered by this Agreement. The Producer will not enter into any agreement under which the Producer purports to assign duties to any other person other than a Guild Member, or purports to appoint any other person as bargaining agent for terms and conditions of engagement of Guild Members covered by this Agreement. If the Producer is aware of a claim by any other party that it has the right to represent any person covered by this Agreement, the Producer shall give notice to the District Council and the CMPA so that the District Council may take action to protect the work opportunities of Guild Members.

3.02 Notification of Change of Name or AddressThe Producer shall give notice in writing to the District Council of any change in the name or address of its business or of its intention to perform business under another name, more than one name or from more than one address.

3.03 Bargaining Unit WorkThe Producer shall not permit or require persons other than Guild Members in this bargaining unit to perform work which is the customary and usual work of Guild Members in the bargaining unit. This clause is not intended to interfere with the customary and usual work performed by others outside the bargaining unit. No Guild Member shall be required to perform the customary and usual work of any other recognized craft or trade in the film and television industry. Nothing in this paragraph nor in Article 3.01 above is intended, nor shall it be construed either to enlarge or diminish the nature of the duties and the work described in those classifications listed in Article 11.00 that are customarily and usually performed by Guild Members in the bargaining unit nor is it intended to diminish or enlarge that work customarily and usually performed by persons not in the bargaining unit.

3.04 Assignment of Duties

(a) The Producer will not assign any duties to a Guild Member which would in any way exclude that Guild Member from the protection of the District Council and the provisions of this Agreement, nor to any person outside the bargaining unit.

(b) The Producer will not transfer a Guild Member to another bargaining unit nor assign to a Guild Member the work of any classification other than a Guild category without the express prior written consent of the District Council and the Guild Member.

3.05 No Contracting OutExcept in accordance with a District Council Schedule, the Producer:

(a) will not contract out any duties,

(b) will only assign duties to a Guild Member covered by this Agreement and

(c) will not allow any person other than a Guild Member covered by this Agreement to perform the duties hereunder.

3.06 District Council Access to Studio or LocationUpon advance notice to a Producer, an authorized representative of the District Council shall be permitted to visit any Production location or site during the hours when Guild Members are working, provided work is not disrupted and the representative complies with the visitor and security rules established by each Producer. The Producer, where practicable, shall allow a representative of the District Council to call District Council meetings on the set or location during non-working time.

4.00 APPLICABLE LEGISLATION

4.01 Governing Law

(a) Subject to Article 4.01 (b), the law of the province or territory in which the majority of principal photography takes place shall govern this Agreement and dictate the forum except with respect to any dispute arising out of the local Schedule in which case the law and forum of that jurisdiction shall govern. Notwithstanding the foregoing, the parties may otherwise agree on the applicable law or the appropriate forum. However, nothing herein shall require either party or any Guild Member to take any action or refrain from taking any action that violates the law of any applicable jurisdiction.

(b) With respect to any issue relevant to sound post-Production, the law of the province in which the majority of post-Production takes place shall govern this Agreement and dictate the forum, unless the parties agree otherwise.

4.02 Producer’s ObligationsThe Producer shall pay all contributions, premiums or assessments for every Guild Member covered by this Agreement as required by the Canada Pension Plan Act, the Employment Insurance Act, any applicable legislation relating to a health tax, and any similar legislation enacted from time to time. With respect to worker’s compensation, or like programs, the Producer shall pay the premiums required pursuant to the applicable legislation.


4.03 No Producer DiscriminationThe Producer and the Guild Member agree that they shall not discriminate against or engage in any harassment of any applicant for engagement or Guild Member for reasons based on race, colour, ancestry, place of origin, political belief, religion, marital or parental status, family status, source of income, number of dependants, nationality, physical or mental disability, sex, sexual preference or orientation, age, District Council membership or activity, or any other basis prohibited by applicable federal, provincial or territorial law.

4.04 Severability and Replacement of Invalid Provisions

(a) If any portion of this Agreement is found illegal or invalid by a court or tribunal of competent jurisdiction, the balance of this Agreement shall remain in full force and effect.

(b) The parties shall use their best efforts through good faith negotiations to agree on a replacement provision for any portion found to be illegal or invalid.

4.05 HarassmentIn keeping with applicable legislation, the Producer will provide Guild Members with any published policies concerning workplace violence and harassment.

(a) Harassment is any conduct or comment which is known, or ought reasonably to be known, to be unwelcome or offensive, which creates an intimidating working environment, or which denies individual dignity and respect.

(b) When such harassment occurs, the offended party shall make known to the harasser, or the Producer’s representative, that it is unwelcome behaviour. Should the behaviour continue, it must be reported to either the Producer’s representative, who at the discretion of the Guild Member may inform the District Council, or to the District Council Business Agent, who shall inform the Producer. The Producer has a duty to take immediate steps to investigate the complaint in as discreet and confidential a manner as possible, and to take appropriate action, up to and including dismissal, against any person found to have violated Article 4.05.

(c) In the circumstances outlined above, the Producer may request relief from the provisions of Article 13.00, in order to terminate a Guild Member’s Contract for Services without further remuneration beyond the last day of engagement. The District Council may grant such relief, provided it is satisfied that such termination of the Guild Member’s Contract for Services is appropriate.

(d) If the Producer and the District Council are in dispute with respect to any matter arising from the application of this Article, either party to the dispute may refer the matter to the grievance and arbitration procedures of Article 10.00.

(e) Sexual Harassment For the purpose of Article 4.05, sexual harassment includes an incident involving an unwelcome sexual advance, a request for sexual favour, or other verbal or physical conduct of a sexual nature.

4.06 A complaint to the Producer or the District Council regardingArticle 4.03 or 4.05 will in no way prejudice the complainant’s engagement.

5.00 PRODUCER’S RIGHTS AND RULES

5.01 Except to the extent specifically modified by this Agreement, allrights of management are reserved by the Producer. The rights reserved to the Producer herein are subject to other provisions of this Agreement and should be exercised in a manner consistent with them. The Producer shall exercise its rights in a manner that is correct, fair and reasonable. Without limitation, the Producer’s rights shall include:

(a) the right to maintain efficiency and order, and to discipline and discharge Guild Members in accordance with this Agreement; and

(b) the right to select, engage, classify and lay off Guild Members; the right to establish the methods and means of production, including

and determining qualification of Guild Members, the hours and dates the Guild Members are required; and the location and standards of performance; methods used to ensure security of the Producer’s property; however, the Producer shall not demote Guild Members as a disciplinary measure nor require any Guild Member to retire on the grounds of age.

5.02 Producer’s RulesThe Producer has the right to make and publish rules that are reasonable provided they are not inconsistent with this Agreement or any laws of any jurisdiction in which work is done under this Agreement. Any Producer’s rules that are not included in the Contract for Services will be provided to the appropriate District Council. The Producer will also provide one copy of the long form start package to the District Council.

6.00 DISTRICT COUNCIL SECURITY

6.01 Good Standing

(a) The Producer agrees to engage only Guild Members in good standing with the District Council. A Guild Member’s failure to show good standing with the District Council shall be sufficient just and reasonable cause for discharge. Each Guild Member, except a Permittee, must at the time of engagement have Guild membership in good standing as a condition of engagement and must maintain membership in good standing as a condition of continued engagement.

(b) If any Guild Member fails to show good standing, then the District Council will provide written notice of such failure to such Guild Member’s Producer. The written notice will state the reason why the Guild Member is not a member in good standing as required pursuant to this Article 6.01, and that the Guild Member has been notified of such failure in writing. If the Guild Member fails to remedy the lack of good standing with the District Council within three (3) days after the Producer receives such notice, the Producer shall discharge the Guild Member so long as such discharge is lawful. The Producer shall not be in default unless it fails to act, if necessary, within said time after receipt of such notice.

(c) The District Council will indemnify the Producer for any damages incurred as a result of the Producer’s compliance with this paragraph.

6.02 Assignment of Compensation

(a) The Producer will honour a Guild Member’s written assignment of compensation to the District Council unless the assignment is declared null and void. The Guild Member hereby authorizes the deduction by the Producer of any outstanding Guild fines, assessments or arrears in membership dues that are not prohibited by applicable legislation.

(b) The Producer shall require each Guild Member at the time of the execution of the Contract for Services to sign an authorization in the form supplied by the District Council authorizing the Producer to deduct two percent (2%) of Gross Remuneration as administrative dues in the case of a Guild Member and administrative charges in the case of Permittees and to pay same to the District Council.

(c) The Producer will remit to the District Council, in accordance with the applicable District Council Schedule, the fees and dues deducted along with a written statement containing the names of Guild Members for whom deductions were made, the amount of each deduction along with a copy of any revocation of the assignment. The District Council shall hold the Producer harmless for any costs or damages arising from the fines, assessments or membership dues deducted by the Producer.

(d) If during the term of this Agreement, the District Council requests a change in the two percent (2%) deduction set out in Article 6.02 (b), then the Producer shall deduct and remit the altered rate on the condition that the District Council provide the Guild Member’s written assignment in this regard.


(e) Any knowing or intentional failure by the Producer to deduct or to remit monies collected under this Article 6.02 shall cause the Producer to be solely responsible and liable for any monies owing.

6.03 Guild Member in Default

(a) Any Guild Member, except a Permittee, who revokes the assignment of compensation to the District Council, or fails to pay the membership dues, assessments, and fines or any other payments required as a condition of maintaining membership in the District Council, shall be assessed permit fees by the District Council while engaged on the Motion Picture until such time as all outstanding amounts are paid by the Member to the District Council. The Guild Member hereby authorizes and the Producer agrees to deduct said fees from the remuneration of any such Guild Member in accordance with the fee structure set out in the applicable District Council Schedule.

(b) Before the assessment of permit fees becomes effective, the District Council shall give the Producer and Member notice of the dues and/or fees payable. If such amount is paid within five (5) days after such notice to the Member, permit fees will not be assessed. Otherwise, permit fees will be assessed effective from the date of notification to the Member and the Producer will be so advised.

7.00 HIRING

7.01 Availability ListsThe District Council shall maintain a list of its Members and, upon request from a Producer, shall identify and supply from this list competent and qualified persons in the appropriate classifications listed in this Agreement.

7.02 Hiring RulesThe Producer may call by name any Member of the District Council or a Member in good standing of another District Council affiliated with the DGC, and the District Council shall honour that request, provided the person is not engaged elsewhere.

7.03 Combined EngagementWhere a Guild Member is engaged for the making of two or more Motion Pictures consecutively, the Producer may require such Guild Member to work on more than one Motion Picture during any period of his engagement. The Producer shall notify the District Council in writing concerning any Guild Member so engaged.

7.04 Consideration of Non-Guild Person for WorkShould the District Council at any time be unable to supply competent Guild Members when requested by the Producer, the Producer may consider a non-Guild person for engagement.

7.05 Issuance of Work PermitsIf the Producer can demonstrate that the presence of such a person is necessary, the District Council, in its reasonable discretion, may issue a work permit to a non-Guild person, “Permittee”. The Producer shall not engage such person to work on the Motion Picture until the Producer submits an executed BAVRA (Schedule 7A), agrees to pay the work permit fee as set out in the applicable District Council Schedule, the Guild processes the request for a work permit and, if necessary, the person has been cleared by Human Resources and Social Development Canada (HRSDC). Work permits which are approved shall be issued promptly so as not to cause any delay in the filling of the Producer’s personnel requirements. Permission may be granted to work for a period not to exceed the duration of the Motion Picture.

7.06 Work PermitsIf the Producer requests of the District Council a work permit, the request shall be made on ten (10) days written notice to the District Council and shall include:

(a) the person’s name;

(b) the classification applied for and the expected length of engagement;

(c) the reason for the necessity of the person being engaged;

(d) a list of the person’s credits or credentials, professional awards and achievements and/or a professional resume;

(e) proof of the person’s membership and standing in a District Council , or another labour organization if any; and

(f ) the appropriate properly completed DGC work permit application in the form set out in each District Council Schedule herein, signed by the Producer or the Producer’s authorized representative as well as the person on whose behalf the Producer is requesting a work permit.

(g) the name of the Motion Picture, the number of Episodes and Episode name and number and the ISAN and/or V-ISAN number when available.

7.07 Guild Member Works Only with Guild Members or Authorized PermitteesThe Producer shall only require a Guild Member to work with other Guild Members in good standing or duly authorized Permittees in good standing in Guild categories. Accordingly, the Producer shall not allow a non-Guild person to start work if that person does not have an authorized District Council work permit.

7.08 Displacement or Work Permit Fee

(a) The Producer recognizes, acknowledges and agrees that the engagement of a non-Member displaces a job or career opportunity for a Guild Member.

(b) The Producer agrees to remit or pay directly to the District Council a displacement or work permit fee for each day or week of engagement or portion thereof in the amounts specified in the applicable District Council Schedule.

(c) It is recognized and agreed that the permit fees are subject to GST or HST as applicable and other like taxes and the Producer agrees to remit any taxes due at the rate prescribed by legislation, together with the fees, without being invoiced by the District Council.

7.09 Permittees Must Observe DGC ConstitutionPermittees are subject to and must observe the DGC Constitution, the District Council Constitution, and all bylaws, rules, regulations, orders, and decisions of the DGC National Executive Board, District Council Executive, its membership or their respective committees as they now exist or as they may hereafter be amended.

7.10 Termination of Engagement for Failure to Remit Displacement or Work Permit FeeOn or before the fourth (4th) day of each week, the Producer will remit to the District Council the amount of permit fees owing for each Permittee for the week previous, together with a list of Permittees. If the Producer fails to remit any work permit fees, the Producer shall discharge the Permittee within one (1) business day of receiving notice in writing from the District Council.

7.11 Alternate Arrangements

(a) Prior to consideration of any alternate arrangements, the District Council must first grant a permit under Article 7.00.

(b) No alternate arrangements may, in the aggregate, be less than the minimum terms and conditions of this Agreement.

(c) A person who is a member in good standing of the DGA, U.S. I.A.T.S.E., or any other labour organization which the District Council at its sole discretion should determine, may elect to be subject to alternate arrangements. All the terms and conditions of engagement of such a person shall be covered by the collective agreement of the person’s home labour organization and all disputes relating to the terms and conditions of engagement shall be adjudicated pursuant to the adjudication provisions contained therein. Such person must provide satisfactory proof to the District Council of such membership and coverage, and the person’s permit application and contract for services must so specify.


(d) No disputes adjustment under the collective agreement of the person’s home labour organization shall in any way have any adverse precedential effect on the terms and conditions of this Agreement.

(e) A work permit issued to a person subject to alternate arrangements under Article 7.11 shall not be in effect and shall not apply during any period of time that person’s home labour organization is either locked out or engaged in a strike directed against the Producer of the Production.

(f ) Where the District Council grants the approval for alternate arrangements under Article 7.11 then the person involved shall neither be subject to the grievance and arbitration procedure provided in the Agreement, nor have recourse to the performance bond held by the District Council.

7.12 No Requirement to Furnish Services or Equipment

(a) The Producer shall not require a Guild Member to perform any work as a prior condition to engagement or to furnish equipment, a vehicle, material, or working space. This shall not preclude a Guild Member from demonstrating ability or equipment.

(b) A Guild Member shall not be required by the Producer to use a personal vehicle in the conduct of the Producer’s business.

(c) Where a Guild Member agrees to furnish equipment, a vehicle, material, or working space the Producer will pay the Guild Member such rental rates as are agreed upon and such agreed upon amounts shall be paid separate and apart from the Gross Remuneration otherwise payable to Guild Members provided these arrangements are set out in the Guild Member’s Contract for Services.

(d) Where the Producer and the Guild Member enter into an agreement concerning the rental of the Guild Member’s own equipment, vehicle, material or working space, the agreement is enforceable under this Agreement.

(e) Safety Equipment Where the nature of the work so requires, the Producer shall supply the Guild Member with all the necessary tools, protective devices and apparel at the Producer’s expense.

7.13 Non-Member Equalization Payments

(a) In order to equalize the payments and deductions in respect of Members of the Guild and non-Members, and in lieu of a health contribution, the Producer shall contribute a percentage, based on the applicable tier level of the Production, as set out in each District Council Schedule, of the Gross Remuneration paid to each non-Member Permittee and remit the non-Member equalization payment directly to the District Council every two (2) weeks.

(b) In circumstances where a Producer is paying into an alternate plan, no non-Member equalization payment(s) shall be required to be paid under Core Article 7.11.

8.00 STRIKES AND LOCKOUTS

8.01 No Strikes or Lockouts During Term of Agreement

(a) There shall be no strikes or lockouts during the term of this Agreement, except where the Producer has been declared unfair by the District Council under Article 8.02 and subject to the terms of this Agreement, including but not limited to Articles 7.07 and 14.08 (c).

(b) It shall not be a breach of this Agreement for the District Council to instruct Guild Members to withhold service when the Producer has failed to comply with Article 14.09.

8.02 Unfair Declaration

(a) The District Council may declare a Producer unfair upon written notice where a Producer:

i. does not abide by or declares an intent not to abide by the grievance or arbitration procedure;

ii. refuses or does not comply with a decision rendered by an Arbitrator under Article 10.00 herein, or by a court;

iii. refuses or does not pay the Remittances or Gross Remuneration payable to the District Council or Guild Members when the obligation to pay falls due; or

iv. engages Guild Members without reference to this Agreement.

(b) Written notice shall be given to the Producer and the CMPA seven (7) Days in advance of the issuance of an unfair declaration, and the notice will include a copy of the proposed unfair declaration.

(c) Guild Members shall be required not to work or provide services to a Producer declared unfair by the District Council, and shall be entitled to withdraw or withhold services from the Producer in relation to any Production.

(d) If the Producer or the CMPA receives notice of an unfair declaration, then the Producer or the CMPA can only refer a dispute regarding the unfair declaration within 5 Days of receipt of the notice to an arbitrator appointed pursuant to the arbitration procedure provisions of Article 10.00, who must determine the matter in accordance with this Standard Agreement and any applicable Contract for Services within twenty (20) Days of the reference to arbitration.

Without limiting the scope of the arbitrator’s decision-making authority pursuant to this Standard Agreement, the arbitrator shall have the jurisdiction in respect of any unfair declaration Grievance to determine any of the following:

i. Whether any individual(s) named in the unfair declaration is a Producer for the purposes of the Standard Agreement;

ii. Whether a legitimate dispute relating to a failure to pay exists such that the unfair declaration ought to be deferred unless or until such time that the dispute is resolved; and

iii. The appropriate remedy, which may include without limitation a direction with respect to amendment of the unfair declaration before it is issued.

If a grievance is filed, then the unfair declaration will not be issued unless the arbitrator so awards.

(e) The unfair Producer declaration shall be revoked by the District Council once all matters referenced above have been resolved as between the parties.

(f ) The parties agree that a District Council shall not issue an unfair declaration in circumstances where there is a legitimate dispute with respect to the interpretation or application of the Agreement, a grievance has been filed, and the Producer is abiding by the grievance and arbitration provision.

8.03 No Discipline or Discharge or Termination of a Contract for ServicesThe Producer shall not discipline or discharge a Guild Member in any manner nor shall the Producer terminate the Guild Member’s Contract for Services where the Guild Member refuses to cross a picket line because the Guild Member has a bona fide concern for the Guild Member’s personal safety.

9.00 CONSULTATION

9.01 Production NoticeThe Producer shall notify the District Council of each Production which shall or may engage Guild Members which the Producer has undertaken or contracted to perform. The notice to the District Council shall be in writing and shall specify:

(a) the name of the Production company, the Producer, executive producer, associate producer, and line producer;

(b) the name of the distributor or network;

(c) Production locale(s);


(d) title, description and type of the Motion Picture, and number of Episodes, and individual Episode numbers and titles, if applicable;

(e) approximate pre-production, production and post-production dates and any associated calendars, if available;

(f ) name address, telephone number and facsimile number of the Producer’s designated executive for the Production;

(g) address of the head, registered and Production offices;

(h) names and qualifications of any individuals for whom work permits are being requested;

(i) the crew list; and

(j) the ISAN and/or V-ISAN number for the Motion Picture, when available.

9.02 Budget InformationThe Producer will provide the District Council with the top sheet of the Budget and the Budget certification, in the form attached in Schedule 9, prior to principal photography. The District Council has the right to request additional information to clarify the Budget.

9.03 Producer InformationThe Producer shall provide the Guild with all necessary information relating to the following matters for all Guild Members on a current basis:

(a) A list of Guild Members showing their names and job classifications;

(b) Engagements, discharges, terminations, resignations, retirements, work-related injuries and deaths;

(c) Daily Call sheet, specifying the place and hour of the start of work each work day.

9.04 Pre-Production ConferenceEither the Producer or the District Council may request that a pre-Production conference be held prior to the commencement of any Production.

9.05 Consultation Committee to be Established upon Request

(a) The consultation committee shall be established and shall meet four (4) times a year during the term of this Agreement to discuss work-related issues that affect the parties or any Guild Member covered by this Agreement.

(b) The purpose of the consultation committee is to promote the co-operative resolution of workplace issues, to respond and adapt to changes in the economy, to foster the development of work-related skills, and to promote workplace productivity.

(c) The consultation committee shall be comprised of representatives of the CMPA and the District Councils.

10.00 GRIEVANCE AND ARBITRATION

10.01 Grievance Procedure

(a) Any grievance filed and/or resolved under this Agreement shall be made, carried forward or resolved on a basis that is without prejudice to any future dealings between the District Council, the CMPA or any of its members.

(b) No Guild Member shall be discriminated against for making a complaint or filing a grievance asserting a violation of this Agreement or a Contract for Services.

10.02 Grievance Defined

(a) A grievance is defined as any dispute between any of the following parties: the District Council, a Producer and/or the CMPA, arising out of, or in connection with the administration, interpretation, application, operation or alleged violation of any provision of this Agreement, or any Contract for Services between a Guild Member and a Producer, which is made pursuant to this Agreement, including a question as to whether a matter is arbitrable. The parties agree that all disputes between the above mentioned parties shall only be resolved through the grievance and/or arbitration provisions of this Agreement.

(b) The District Council shall have the carriage of all grievances, except a grievance lodged by a Producer or the CMPA. The District Council, and not the Guild Member, shall have exclusive right to retain and instruct counsel in all respects relating to the grievance, the grievance and arbitration procedure, any arbitration hearing and any judicial review or court action arising.

(c) With respect to either deliberate or negligent acts or omissions by a Guild Member, the Producer may only commence civil litigation proceedings against that Guild Member to address any loss or damage incurred by the Producer.

10.03 Informal Dispute Resolution

(a) Notwithstanding Article 10.02 (b), the Guild Member, with or without the assistance or presence of a representative of the District Council, may present any problem orally to the Producer for discussion and resolution.

(b) The parties acknowledge that the timely and prompt settlement of all disputes between the parties should be encouraged and that therefore any dispute may be settled at the time of its occurrence by the District Council and the authorized representative of the Producer, without recourse to the formal grievance procedures.

10.04 Initiating Grievance Procedure

(a) In the event that the dispute is not informally resolved in accordance with Article 10.03 above, the aggrieved party may only initiate a grievance within sixty (60) calendar days of the date on which that party becomes aware, or ought reasonably to have become aware, of the act or omission giving rise to the dispute.

(b) With respect to Director Rights Acquisition Fee(s) and additional use issues, the aggrieved party may only initiate a grievance within twelve (12) months from the date on which that party became aware or should reasonably have become aware that payments were due and owing.

(c) A grievance shall only be considered initiated when the grieving party (the “grievor”) sets forth in writing (the “grievance”):

i. the facts giving rise to the dispute;

ii. the relevant Articles of the Agreement and/or Contract for Services, and;

iii. the remedy sought, and delivers the grievance to the other party to the grievance (the “respondent”) and to either the CMPA or the District Council as the case may be.

For greater clarity, in all cases concerning a Guild Member, the District Council will be the grievor or the respondent, as the case may be.

(d) Once a grievance has been initiated, a representative of the District Council, a representative of the CMPA, the Producer or its duly authorized representatives, and the Guild Member if the District Council deems it necessary, shall meet within five (5) business days for a grievance meeting either in person or via teleconference. This meeting shall be treated as a co-operative and informal discussion to adduce and review the evidence and to facilitate resolution of the matter.

(e) The persons present at the grievance meeting on behalf of the parties to the grievance shall have the authority to settle the grievance. Any written settlement shall be signed by the representatives of the parties to the grievance, each of whom shall receive a copy of the terms of the settlement. Such settlement shall be binding on all parties to the grievance and the Guild Member.

ARBITRATION PROCEDURE

10.05 Arbitration ProcedureExcept in those circumstances where a party has refused to engage in the grievance procedure, only those disputes which have been properly carried through the steps of the grievance procedure as outlined above and which have not been settled or any dispute as to whether a matter is arbitrable, will be referred to arbitration.


10.06 Within five (5) business days of the grievance meeting, the referringparty may give written notice to the other parties attending the grievance meeting and to the CMPA or District Council as the case may be, that it wishes to refer the grievance to arbitration. Grievances not referred to arbitration prior to the expiring of this time limit shall be considered resolved.

10.07 Within ten (10) business days of the notice of the intent to referdescribed in Article 10.06, a time and place for arbitration shall be agreed upon, taking into account the availability of the arbitrator. In the event of a dispute as to the province in which the arbitration ought to take place, the province in which the majority of the principal photography takes place shall be considered the provincial jurisdiction for the purposes of the arbitration.

10.08 In the event that the grievance is referred to arbitration, the CMPAshall notify the District Council fifteen (15) business days prior to the commencement of the arbitration of its intention to further participate in the arbitration process. On providing such notice, the CMPA shall be considered a party. The CMPA may appear at arbitration as a representative of the Producer and/or party in its own right.

10.09 At least three (3) business days prior to the commencement of anarbitration hearing, the parties to the grievance shall inform the District Council and the CMPA of any witnesses they intend to call, and provide a copy of all documents, including all correspondence, to which they intend to refer during the course of the meeting, as well as a summary:

i. identifying the issues in the grievance;

ii. outlining the relevant facts of the grievance and;

iii. identifying the remedy sought.

Notwithstanding the foregoing, the arbitrator or board of arbitration may accept any documents or evidence that it considers necessary to reach a fair conclusion.

10.10 Arbitrator Selection

(a) Except in exceptional cases agreed by the District Council and the CMPA, a single arbitrator shall hear all arbitrable matters. The selection of the single arbitrator shall be the subject of mutual agreement of the parties. When either party refers a grievance to arbitration they shall propose a list of three (3) arbitrators for consideration by the other party. If none of the proposed arbitrators are acceptable to the other party, they then within ten (10) business days will submit a list of three (3) arbitrators, in writing, to the aggrieved party for consideration. In the event of a failure to agree upon a single arbitrator, the arbitrator shall be selected from the relevant list contained in each District Council Schedule.

(b) In exceptional cases and subject to agreement of the District Council and the CMPA, an arbitrable matter may be heard by a board of arbitration. The board of arbitration will be composed of one person appointed by the District Council, and one person appointed by the CMPA, and a third person selected to act as chair, who shall be chosen by the other two members of the Board. Each party will notify the other in writing of the name of its appointee within five (5) business days of the request by either party for a Board.

(c) Should the person chosen by the District Council and the person chosen by the CMPA fail to agree on a third person within ten (10) days of the notification mentioned above, the Minister of Labour in the province most connected with the dispute will be asked to appoint a person to act as chair.

(d) As per Article 8.02 (d) selection of an arbitrator shall be subject to those named in the relevant District Council Schedule.

10.11 Powers of ArbitratorThe arbitrator shall have all remedial powers vested in arbitrators under the applicable provincial labour relations legislation. The arbitrator has no jurisdiction to award punitive damages subject to Article 8.02 (d).

Without limiting the generality of the foregoing, the arbitrator shall;

(a) have all necessary powers to hear and determine the real subject of the grievance and issue a decision according to the merits and containing whatever disposition they deem is just and equitable;

(b) have the power to determine their own procedure including receiving such evidence as they in their sole discretion deem relevant and trustworthy, the whole having regard to the principles of fairness and natural justice; and

(c) award damages where appropriate in lieu of reinstatement.

(d) The arbitrator or board of arbitration shall not have the power or authority to set aside, amend, modify, delete or add to any provision of this Agreement.

(e) The costs and expenses of the arbitrator shall be shared equally by the District Council, the Producer and/or the CMPA, when participating.

(f ) The decision of the arbitrator or board of arbitration shall be issued in writing to the parties to the dispute, and the CMPA, and shall be final and binding on the parties and the Guild Member.

(g) Any time limitations prescribed herein may only be extended by mutual agreement of the parties to the grievance, the District Council and the CMPA.

(h) If necessary, the arbitration provisions of this Agreement shall apply for the purpose of commercial arbitration legislation.

10.12 Interest Arbitration

(a) Where this Agreement provides for interest arbitration, then a party may refer a matter to an interest arbitrator in accordance with Articles 10.10 (a), (b) and (c) and 10.11 (a), (b), (d), (e) and (f ).

(b) After the interest arbitrator is appointed, the arbitrator shall convene a conference call with the parties in order to receive submissions and to decide all issues relating to the conduct of the interest arbitration, including production of documents, compelling the attendance of witnesses and the preparation of written briefs.

10.13 Credit Grievance

(a) Any grievance with respect to and concerning any credit to which any Guild Member may be entitled pursuant to this Standard Agreement or any Contract for Services may be referred by either party immediately to an arbitrator appointed pursuant to the provisions of Article 10.00 who must determine the matter in accordance with this Standard Agreement and any applicable Contract for Services within fifteen (15) calendar days of the reference to arbitration. If all parties agree, the arbitrator selection procedure set out in Article 10.10 may be bypassed in favour of the joint appointment of an industry expert. Unless the parties agree otherwise, a jointly appointed industry expert shall be vested with the powers identified in Article 10.11.

(b) Without limiting the scope of the arbitrator’s decision making authority pursuant to this Standard Agreement and any applicable Contract for Services, the arbitrator shall have the right in respect of any credit Grievance to determine the following:

i. The kind, size, positioning and length of viewing of any screen credit; and,

ii. The right of any Guild Member to receive screen credit or other credit and the form, manner and duration of publication; and

iii. Where two or more Guild Members may have the right to receive credit for the same job classification, which Guild Members shall receive that credit and the form, manner and duration of publication including, without limitation, where screen credit is concerned, the kind, size, positioning and length of viewing of the screen credits.


11.00 JOB CLASSIFICATIONS

11.01 Job Classifications and DescriptionsJob classifications and descriptions and their respective departments are set out below. They shall not be materially altered, amended, changed, or deleted, nor shall new classifications, descriptions or departments be established without the mutual agreement of the parties hereto.

11.02 Improper ClassificationWhere a Guild Member is unfairly or incorrectly classified, the appropriate job classifications, job descriptions, rates or remuneration, and other related matters shall be discussed between the Producer and the District Council. Failing agreement, the dispute may be the subject of a Grievance and may be referred directly to an arbitrator in accordance with Article 10.00.

11.03 Promotion and Demotion

(a) A Guild Member who is assigned in accordance with the terms of this Agreement, to a higher-paying job classification than the classification for which the Guild Member was engaged on the Motion Picture shall receive the rate of remuneration and benefits for the higher classification for each day that the Guild Member performs such duties. In no case will the Guild Member hired on a daily basis receive less than the daily rate nor will the Guild Member hired on a weekly basis receive less than the prorated weekly rate for the higher classification for each day or part day in which the Guild Member performs the duties of the higher classification. For clarity, a Guild Member will revert to their regular job classification the day following any upgrade unless notified to the contrary by the Producer or the Producer’s duly authorized representative.

(b) A Guild Member who is assigned, in accordance with the terms of this Agreement, to a lower-paying job classification than the classification for which the Guild Member was engaged on the Motion Picture shall receive the rate of remuneration and benefits for the higher classification in the Agreement shall continue to be paid the rate of remuneration and benefits of the Guild Member’s regular classification unless such reclassification is made at the request of the Guild Member.

11.04 No Alteration of Job TitlesThere shall be no alteration of job titles to evade or subvert the provisions of this Article 11.00.

11.05 GeneralThe classifications and descriptions below of Guild Member’s established duties are not intended, nor shall they be construed, either to enlarge or diminish the duties, rights and functions of any recognized crafts or trades within the film and television industry or the participation of the Producers.

11.06 Directors (DIR)

(a) The Director is engaged by the Producer and assigned by the Producer to direct a Motion Picture. The Director directs whatever is seen and heard in a Motion Picture. The Director has the right to be present on the set whenever shooting is in progress. The fact that the Director may also render services as Producer or Writer or in any other capacity shall not change the Director’s job classification, with reference to work performed as a Director, and during the period of such work.

(b) The terms “Director” and “directing” as used herein shall include directing all related functions and activities required for translating and transferring the premise, idea, and/or concept to the audio-visual images.

(c) A Director’s duties include the following: survey and approve all locations and their use as they pertain to the directorial idea and need; directorial planning and breakdown of the shooting script; plot the camera angle and compositions within the frame; participate in determining the requirements of the set, costumes, make-up, props, etc., for their proper directorial perspective and mechanical functioning; participate in the final casting of all performers; rehearse actors, extras, and any of the visual and audio devices necessary

for the completion of the Production; direct the action of all performers, extras, etc.; direct the dialogue as well as pre-recording and post-recording of dialogue; directorial supervision of the duties of the entire crew during the rehearsal and shooting periods; make such script changes as necessary, within the Director’s jurisdiction, for the proper audiovisual presentation of the Production; the right to the “first cut.”

(d) The Director’s total function is to contribute creatively to all the above elements and to guide, mould, and integrate them into one cohesive, dramatic, and aesthetic whole.

11.07 Second Unit Director (2UD)The Second Unit Director is engaged by the Producer in consultation with the Director under Article DR2.01 (a) to direct Second Unit photography. A Second Unit Director works under the supervision of the Director and the Producer.

PRODUCTION DEPARTMENT

11.08 Production Manager (PM)

(a) The Production Manager is engaged by the Producer to perform duties as a Production Manager on a motion picture. The fact that the Production Manager may also render services in any other capacity shall not take him out of the classification as a Production Manager, with reference to any work he performs as a Production Manager, and during the period of such work. The Producer agrees that a Production Manager providing these additional services shall still be subject to Guild representation as a Production Manager and that the terms and conditions of this Agreement shall be applicable to such Guild Member.

(b) The Production Manager, under the supervision of the Producer, is required to coordinate, facilitate and oversee the preparation of the Production unit or units (to the extent herein provided) assigned to him, all off-set logistics, day-to-Day Production decisions, locations, budget schedules and personnel.

(c) Subject to Article 12.09, among the duties which the Producer must assign to the Production Manager is the coordination of or participation in the following, which include:

i. Prepare script breakdown and preliminary shooting schedule;

ii. Prepare or coordinate the preparation of the Budget;

iii. Coordinate preliminary search and survey of all locations and the completion of arrangements for same;

iv. Assist in the preparation of the Production to ensure continuing efficiency;

v. Coordinate completion of the Production report for each day’s work, showing work covered and the status of the Production, and arrange for the distribution of that report in line with the Producer’s requirements;

vi. Coordinate arrangements for the transportation and housing of cast, crew and staff;

vii. Coordinate the securing of releases and negotiations for locations;

viii. Coordinate the engaging of all Production unit personnel;

ix. Maintain a liaison with local authorities regarding locations and the operation of the Motion Picture;

x. Obtain authorization of overtime for cast and crew; and

xi. Coordinate and prepare, in conjunction with the Production Accountant, the weekly cost report.

(d) The Production Manager may be referred to and credited as the Unit Production Manager (UPM).


11.09 Assistant Production Manager (APM)The Assistant Production Manager assists the Production Manager in the performance of the duties and functions outlined above. The Assistant Production Manager is selected by the Producer in consultation with the Production Manager. Under no circumstances may an Assistant Production Manager work without the supervision of a Production Manager.

11.10 Unit Manager (UM)The Unit Manager is engaged by the Producer in consultation with the Production Manager. Under no circumstances may a Unit Manager work without the supervision of a Production Manager. A Unit Manager is the PM’s representative on the shooting set. The Unit Manager assists in the coordination of the shooting set. The Unit Manager supervises the daily logistics of the shooting set in consultation with the Production Manager, Production Coordinator, Assistant Directors, Location Department, Transportation Department and the Art Department.

11.11 First Assistant Director (1AD)

(a) The First Assistant Director is the assistant to the Director. The First Assistant Director is engaged by the Producer in consultation with the Director. The First Assistant Director operates in cooperation with the Director applying artistic, technical and professional expertise as the on-set expediter and is responsible for maintaining optimum coordination among crew categories and performers in order to maintain the pace required by the shooting schedule as set by the Director. The First Assistant Director, alone or in conjunction with the Production Manager, organizes pre-Production, including organizing the crew, securing equipment, breaking down the script, preparing the stripboard and a shooting schedule. During Production, the First Assistant Director assists the Director with respect to on-set Production details, coordinates and supervises crew and cast activities and facilitates an organized flow of Production activity.

(b) Without limitation, among the duties which the Producer must assign to the First Assistant Director is the coordination of or participation in the following:

i. Prepare script breakdown and stripboard, listing probable requirements of performers and extras in each scene;

ii. Prepare shooting schedule keeping the same within time limitations imposed by the Budget, cast availability and the requirement of complete coverage of the script;

iii. May ascertain the specific requirements of locations as they affect the production in consultation with the Director, PM and Location Manager. The First Assistant Director must be sent to each location site sufficiently prior to the commencement of photography to adequately perform the First AD’s duties;

iv. Check weather reports;

v. Prepare “Day out of days” schedules for performers and determine cast and crew calls;

vi. Coordinate the preparation of the call sheet for the cast and crew;

vii. Direct background action and supervise crowd control;

viii. Supervise the functioning of the shooting set and crew;

ix. May process minor contracts, extra releases, and on occasion obtain execution of contracts by performers (this may also be delegated to the Production Manager and Second Assistant Director); and

x. Coordinate the work of any additional Assistant Directors or Production Assistants.

11.12 Second Assistant Director (2AD)

(a) The Second Assistant Director is engaged by the Producer in consultation with the First Assistant Director as an assistant responsible to the First Assistant Director.

(b) Without limitation, among the duties which the Producer may assign the Second Assistant Director are the coordination of or participation in the following:

i. Prepare the Call sheets, handling extras’ requisitions, and other required documents for approval by the First Assistant Director, the Production Manager, and the production office;

ii. Prepare the daily production report and end of day paper work;

iii. Distribute scripts and script changes (after shooting has started), and call sheets to cast and crew;

iv. Distribute, collect, and approve extra vouchers, and placing adjustments as directed by the First Assistant Director on the vouchers;

v. Communicate advance scheduling to cast and crew;

vi. Aid in the scouting, surveying and coordinating of locations;

vii. Facilitate transportation of equipment and personnel;

viii. May process minor cast contracts, extra releases, and on occasion secure execution of contracts by performers (this may also be delegated to the Production Manager and First Assistant Director);

ix. Coordinate with production staff so that all elements, including cast, crew and extras, are ready at the beginning of the day, and supervise the wrap in the studio and on location (local, nearby and distant);

x. Sign cast members in and out;

xi. Maintain liaison between Production Manager and/or the production office and the First Assistant Director on the set; and

xii. Assist the First Assistant Director in the direction and placement of background action and in the supervision of crowd control.

11.13 Third Assistant Director (3AD)The Third Assistant Director is engaged by the Producer in consultation with the First Assistant Director as an assistant responsible to the First Assistant Director who may be referred to and credited as the Second Second Assistant Director.

11.14 Trainee Assistant Director (TAD)

(a) The Trainee Assistant Director is engaged by the Producer in consultation with the First Assistant Director.

(b) The duties of the TAD shall be performed under the coordination, direction or supervision of the First Assistant Director or his or her designate.

(c) The TAD may also be referred to, and credited as the Fourth Assistant Director (4th AD).

11.15 Technical Coordinator (TC)The Technical Coordinator is engaged by the Producer to assist the Director on a multi-camera television Motion Picture photographed continuously, before a live audience or as though a live audience were present, in planning placement and movement of each camera, with the responsibility for coordinating the execution of each placement and movement of each camera. The Producer shall consult the Director on the engagement of any Technical Coordinator with whom he shall have to work. This consultation is a courtesy to the Director and the final decision in the selection of any Technical Coordinator shall remain with the Producer.

11.16 Location Manager (LM)

(a) The Location Manager is engaged by the Producer and searches, surveys, secures and arranges for locations for the approval of the Producer in consultation with the Director and Production Designer.


(b) A Location Manager’s duties include the following: locate sites, whether through file search or scouting; contact property owners as an authorized functionary of the Producer; negotiate property rental and use rates between owners and the Production company; obtain necessary permission or permits for location sites and location parking from appropriate government authorities; maintain the negotiated condition and use of the location site under the rental contract or government permit; meet with the appropriate area film office or council and maintain a liaison with same during location use; meet with local business or residents’ associations, if necessary. In the performance of their duties, they may drive others provided such driving does not interfere with the Location Manager’s regular duties.

(c) Prepare detailed location budgets and in so doing, consult with the Producer and the Production Manager. Identify extraordinary costs and required adjustments and keep the Producer and the Production Manager informed of same.

(d) Coordinate the work of the location department staff, as well as any relevant outside contractors.

11.17 Assistant Location Manager (ALM)

(a) The Assistant Location Manager is engaged by the Producer in consultation with the Location Manager to act as an assistant responsible to the Location Manager. Under no circumstances may an Assistant Location Manager work without the supervision of a Location Manager.

(b) An Assistant Location Manager must use due diligence to ensure that the Production is working within the limits of the location permit and contractual obligations as outlined by the Location Manager and that a professional and positive relationship is maintained with residents, business owners, and government officials.

(c) An ALM may also be engaged and/or credited as a Location Scout.

11.18 Trainee Location Manager (TLM)

(a) The Trainee Location Manager (TLM) is engaged by the Producer in consultation with the Location Manager.

(b) The duties of the TLM shall be performed under the coordination, direction or supervision of the Location Manager or his or her designate.

11.19 Location Production Assistant (Location PA)

(a) The Location PA is engaged by the Producer in consultation with the Location Manager to assist the location department. A Location PA may not work without the supervision of either the Location Manager or Assistant Location Manager except as provided for in this Agreement. Before being engaged as a Location PA, the Guild Member must have completed professional training courses including but not limited to propane certification and first aid. A Location PA must have a valid driver’s licence permit.

(b) The Location PA’s duty is to assist the Assistant Location Manager in the performance of the functions and duties as outlined in Article 11.17. In addition and without limitation such duties include: prepare the locations department vehicle; prepare the film locations with signage and protective coverings; ensure the equipment base areas, additional make-up & hair stations, background holding areas, washrooms, greenrooms and lunch areas are prepared; maintain a clean working environment; perform crowd and traffic control except where this work is customarily performed by police officers or by security personnel of a facility at which the photography takes place and which requires security personnel under its location agreement; and, distribute film notification letters and collect signatures if required by the location permit.

11.20 Location Support Personnel (LSP)

(a) The LSP is engaged by Producer in consultation with the Location Manager to assist the location department.

(b) The LSP’s duties are primarily coning, lettering, and and assisting in the monitoring of Production equipment. For clarity, the primary function of an LSP is not to guard or patrol for the purpose of protecting persons or property.

11.21 Production Coordinator (PC)

(a) The Production Coordinator is engaged by the Producer in consultation with the Production Manager.

(b) Without limitation, among the duties which are assigned to the Production Coordinator are the coordination or participation in the following:

i. The setting up and closing down of the Production Office, including the ordering of furniture, equipment, and supplies;

ii. Preparation and distribution of crew and cast lists, call sheets, production reports, movement orders, and the distribution of shooting schedules, scripts, and script revisions;

iii. The coordination of all travel, accommodation, work permits, visas, medical examinations, and immunizations for principal crew and cast, to conform with Producer insurance, and foreign travel requirements;

iv. The ordering, importing and exporting of equipment, and booking of personnel as directed by the Production Manager;

v. The pickup and delivery of equipment and personnel in conjunction with the transportation department; and

vi. The shipment of film and sound tape to and from the laboratory and/or distant locations.

11.22 Assistant Production Coordinator (APC)

(a) The Assistant Production Coordinator is engaged by the Producer in consultation with the PM and PC to act as an assistant to the Production Coordinator.

(b) The duties of an Assistant Production Coordinator may include, but are not limited to the supervision of or participation in typing, filing, answering the telephones, and related duties in maintaining an organized and efficient production office.

(c) Under no circumstances may an Assistant Production Coordinator work without the supervision of a Production Coordinator.

11.23 Trainee Production Coordinator (TPC)

(a) The Trainee Production Coordinator is engaged by the Producer in consultation with the Production Coordinator.

(b) The duties of the TPC shall be performed under the coordination, direction or supervision of the Production Coordinator and the Assistant Production Coordinator.

(c) Under no circumstances may a Trainee work without the supervision of a Production Coordinator.

11.24 Production Assistants

(a) On-Set Production Assistant (On-Set PA) The On-Set Production Assistant is engaged by the Producer to act as a general assistant responsible to the First Assistant Director. In addition to acting as a set runner, the Production Assistant will perform duties as assigned by the First Assistant Director.

(b) Office Production Assistant (Office PA) The Office Production Assistant is engaged by the Producer and works directly with the Production Coordinator. The Office PA performs the duties requested by the Production Coordinator, Assistant Coordinator or Trainee Production Coordinator. Duties may include but are not limited to: photocopying, answering telephones, distribution of office paper work, filing and running errands.


ART DEPARTMENT

11.25 Production Designer (PD)

(a) RequirementThe Production Designer is engaged by the Producer in consultation with the Director when the scale of or the approach to the Production requires special coordination between two (2) or more departments, which may include, but are not limited to the Art Department, set dressing, props, wardrobe, hair and make-up, camera, lighting, staging, Editing, special effects, Locations, Accounting and visual/digital effects executed in post-Production.

(b) ResponsibilitiesA Production Designer is responsible for the generation of set design sketches and renderings; location selections and treatments; and design concepts relating to set decoration, properties, special effects, lighting, costuming, make-up and hair. The Production Designer collaborates with the Producer, Director and the Director of Photography to realize these elements on film. The Production Designer may work with the Director and the Director of Photography in the determination of key shots and applicable visual/digital effects. In conjunction with the Producer and the Director, a Production Designer establishes Production Budgets and schedules. Working through the Art Director and the applicable department heads, a Production Designer achieves the style of a Motion Picture Production.

11.26 Art Director (ART)

(a) The Art Director is engaged by the Producer in consultation with the Director and the Production Designer to coordinate the preparation and execution of all of the visual elements of the production including, without limitation: the design and preparation of drawings and sketches for all sets and shooting locations, construction, graphics and set decoration; and the design approach on all set decoration, properties, special effects, lighting, costuming, make-up and hair. An Art Director is responsible for the administration of the budget for the Art Department and for the preparation of the script breakdown, in liaison with the Art Department Coordinator.

(b) An Art Director working under a Production Designer functions as the Production Designer’s representative on set, in the wardrobe, hair and make-up departments, and in the construction workshop. The Art Director makes decisions based on the Production Designer’s information and works under the supervision of the Production Designer. In such circumstances, an Art Director may perform the work functions of a Set Designer.

11.27 First Assistant Art Director/Set Designer/Graphic Designer/Motion Graphic Designer (1AR)

(a) The First Assistant Art Director/Set Designer/Graphic Designer/Motion Graphic Designer is selected by the Producer in consultation with the Art Director and/or Production Designer, and is engaged by the Producer to perform those duties delegated by the Art Director and/or Production Designer.

(b) The First Assistant Art Director/Set Designer/Graphic Designer/Motion Graphic Designer may function as the Art Department’s representative on set, in the wardrobe, hair and make-up departments, and in the construction shop, and makes decisions based on the Art Director’s information. A First Assistant Art Director/Set Designer/Graphic Designer/Motion Graphic Designer is in charge of the “drawing” functions of the Art Department and is an experienced designer and/or technical artist who is familiar with Art Department budgeting and workflow. The 1AR is responsible for the conceptualization and creation of original on-screen featured elements during production.

(c) For greater clarity, a First Assistant Art Director/Set Designer/Graphic Designer/Motion Graphic Designer shall be able to: design and create drawings or files in any format for original sets and/or graphic elements; draw up modifications of existing locations to make a set; and, work unsupervised in consultation with the Art Director and/or Production Designer.

(d) The First Assistant Art Director/Set Designer/Graphic Designer/Motion Graphic Designer may be referred to and/or credited as the First Assistant Art Director, Set Designer, Graphic Designer, or Motion Graphic Designer.

11.28 Second Assistant Art Director (2AR)

(a) The Second Assistant Art Director is engaged by the Producer in consultation with the head of the Art Department to perform duties delegated by the head of the Art Department or by the 1AR.

(b) A Second Assistant Art Director may be assigned duties which include drafting, drawing floor-plans, measuring, surveying, photographing locations, assembling visual research materials, model making and graphic design. The 2AR may create original artwork under the supervision of the 1AR.

(c) For greater clarity a Second Assistant Art Director must be able to: measure and draw up floor plans of existing locations; alter, re-size or reconfigure an existing graphic; and, perform minor finishing work on a rendering from the First Assistant Art Director/Set Designer/Graphic Designer/Motion Graphic Designer.

11.29 Third Assistant Art Director (3AR)The Third Assistant Art Director is engaged by the Producer in consultation with the head of the Art Department as a general assistant to the Art Department to perform duties delegated by the head of the Art Department or by the First Assistant Art Director/Set Designer/Graphic Designer or by the Second Assistant Art Director.

11.30 Art Department Coordinator (ADC)

(a) The Art Department Coordinator is engaged by the Producer in consultation with the head of the Art Department.

(b) Without limitation, among duties which are assigned to the Art Department Coordinator are the coordination and participation in setting up and closing down the Art Department office, assisting the Art Director, Production Designer and/or First Assistant Art Director/Set Designer/Graphic Designer/Motion Graphics Designer in administrative aspects of tracking and inputting budget information, obtaining clearances and product placement, and the coordination of supplies for the department.

11.31 Trainee Assistant Art Director (ADA)*

(a) The Trainee Assistant Art Director is engaged by the Producer in consultation with the head of the Art Department as a general assistant to the Art Department while being provided with training.

(b) The Trainee Assistant Art Director assists in completing tasks without carrying the responsibility for a finished product.

(c) For greater clarity, the Trainee Assistant Art Director may be required to drive a Production vehicle for pick-ups and deliveries for the Art Department, assist in the distribution of drawings, assist with general research and assist more senior members of the Art Department in performing minor graphics or minor drafting duties while receiving supervised training.

* Note DGC Ontario uses TAAD, not ADA

PICTURE EDITING DEPARTMENT

11.32 Supervising Picture Editor (SPE)

(a) The Supervising Picture Editor is engaged by the Producer in consultation with the Director to be responsible for the preparation and organization of all post production visual elements of the Motion Picture. This position is available at the discretion of the Producer, and only when more than one Picture Editor is engaged.

(b) The SPE is the head of the picture post department and is responsible for structuring both the picture editorial schedule and budget in consultation with the Producer or its designate.

(c) In consultation with the Producer and the Director, the SPE shall screen and give notes on all editing on the Motion Picture.


(d) In addition to supervisory duties, the SPE may perform work as one of the Picture Editors engaged.

(e) The SPE shall consult and collaborate with the head of the Sound Editing Department through to the delivery of the final product.

11.33 Picture Editor (PE)

(a) The Picture Editor is engaged by the Producer, to be responsible for all elements of picture post production (where there is no SPE engaged).

(b) The PE is the head of the picture post department in the absence of an SPE.

(c) The PE shall be consulted on the post production budget and post production schedule.

(d) With assistance from the 1PE, the PE shall liaise with the camera department, script supervisor, location sound recordist, visual effects department, labs and transfer houses and the post audio department.

(e) The PE shall be present at test screenings to ensure a proper technical presentation is achieved and to gauge the audience response.

(f ) In the absence of an SPE, the PE, if available, shall participate and consult with the Director and the Sound Editing Department in the Sound Post Production process. This may include dialogue evaluation, ADR, music spotting and recording, and the final sound mix.

(g) The PE shall approve the final print master or video to ensure the Motion Picture has been correctly conformed, and/or digitally mastered.

11.34 First Assistant Picture Editor (1PE)

(a) The First Assistant Picture Editor is engaged by the Producer in consultation with the head of the Picture Editing Department.

(b) Duties include, but are not limited to:

i. Liaise with production, transfer and visual fx houses;

ii. Provide the PE with dailies in a technically correct and organized format. Motion Pictures requiring dailies to be transcoded by the Editing Department may engage either a 1PE or APE to perform that function along with their other duties;

iii. Rough assembly of scenes as the schedule permits;

iv. Source temp sound effects and temp music;

v. Organize the production of outputs as required;

vi. Provide EDLs for picture and sound post production and create final outputs as required; and

vii. Coordinate all paperwork and supervise APEs and Trainees.

11.35 Assistant Picture Editor (APE)

(a) The Assistant Picture Editor will assist the 1PE(s) while learning the craft of 1PE.

(b) For every shooting day for which film is sent to a lab and where the duties of an Assistant Picture Editor include assisting in the prepping and projection of print Dailies and may also include organizing edge coding, filing of trims and other such duties, the Assistant Picture Editor will be upgraded to no less than the applicable rate as set out in the applicable District Council Schedule.

11.36 Trainee Assistant Picture Editor (TAPE)

(a) A Trainee Assistant Picture Editor is engaged by the Producer in consultation with the head of the Picture Editing Department to be trained as an Assistant Picture Editor.

(b) The duties of a Trainee Assistant Picture Editor shall be performed under the coordination, direction or supervision of the First Assistant Picture Editor.

11.37 Post Production Assistant (Post PA)The Post PA assists with paperwork, shipping, filing, running errands and providing general help in the editing department.

11.38 Post Production Supervisor (PPS)The Post Production Supervisor (PPS) budgets, schedules, and supervises the entire post production process on a Motion Picture, as required, in consultation with the Producer and department heads.

11.39 Post Production Coordinator (PPC)The Post Production Co-ordinator assists in co-ordinating the day-to-day post production process on a Motion Picture.

SOUND EDITING DEPARTMENT

11.40 Supervising Sound Editor (SSE)

(a) The Supervising Sound Editor is engaged by the Producer and shall act as the department head for Sound Editing, responsible for overseeing the post-production audio of the production from the commencement of the sound edit to the completion of the mix. This position is available at the discretion of the Producer, and only when more than one Sound Editor is engaged. This position may also be credited as Sound Designer.

(b) A Supervising Sound Editor may perform any of the work functions of a Sound Editor including, without limitation, those of a Dialogue Editor, ADR Editor, Sound Effects Editor, Foley Editor or Music Editor, in which case the highest of the applicable minimum rates for the classification of Supervising Sound Editor, Sound Editor, or Editor will prevail.

(c) The SSE may be responsible for creating both the sound editorial schedule and budget in consultation with the Producer or its designate.

(d) The SSE coordinates and oversees the sound editorial staff on a Motion Picture.

11.41 Sound Editor (SE)

(a) The Sound Editor is engaged by the Producer in consultation with the head of the Sound Editing Department, to coordinate, create and make sound effects, to synchronize and assemble sound effects tracks and prepare dialogue tracks for the purpose of re-recording, including the synchronization of post-synchronized dialogue tracks to visual action. If no Supervising Sound Editor is engaged by the Producer, then the Sound Editor first engaged in writing by the Producer shall be the head of the Sound Editing Department.

(b) The work functions of a Sound Editor will include, without limitation, any and all of the work functions of a Dialogue Editor, ADR Editor, Sound Effects Editor, Foley Editor and/or Music Editor, in which case the applicable minimum rates for the classification of Sound Editor shall prevail, except as otherwise expressly provided by this Agreement. A Dialogue Editor, ADR Editor, Sound Effects Editor, Foley Editor and/or Music Editor shall be deemed to be a Sound Editor for the purposes of this Agreement and shall be subject to all of the provisions of this Agreement.

11.42 Dialogue Editor

(a) The Dialogue Editor edits and prepares all the dialogue in a Motion Picture for the mix, and is also responsible for evaluating the technical quality of original sound recordings.

(b) The Dialogue Editor will identify necessary ADR, as well as the Loop Group requirements, in consultation with the Supervising Sound Editor (if applicable), the Director and/or the Producers.

11.43 ADR Editor (or Looping or Dubbing Editor)

(a) The ADR Editor works in conjunction with the Dialogue Editor, but these positions may also be combined.

(b) The ADR Editor scripts, shoots, assembles and synchronizes the re-recorded dialogue and Loop Group for a Motion Picture.


11.44 Sound Effects EditorA Sound Effects Editor is responsible for the selection, creation, sourcing and synchronization of sound effects for the purpose of re-recording for a Motion Picture.

11.45 Foley EditorThe Foley Editor is responsible for synchronizing and editing all recorded foley elements in a Motion Picture.

11.46 Music Editor (ME)A Music Editor is engaged by the Producer as a person responsible for the preparation of the materials for the purpose of music recording and the synchronization and assembly of music tracks for the purpose of re-recording.

11.47 First Assistant Sound Editor (1SE)

(a) The 1SE re-links and conforms the dialogue, music, sound effects, and/or foley tracks, as well as synchronizing dialogue and ADR.

(b) 1SE acts as an aid to the Sound Editor(s) in organizing and collecting the video and audio elements needed to edit.

(c) Upon completion of the picture edit, the 1SE oversees the administration of the transition to the sound edit.

(d) Throughout the process, the1SE keeps the information flowing through the editing department organized and easily accessible.

11.48 Second Assistant Sound Editor (2SE)

(a) A Second Assistant Sound Editor is engaged by the Producer in consultation with the head of the Sound Editing Department to assist a First Assistant Sound Editor.

(b) The duties of a Second Assistant Sound Editor as assigned will be performed under the immediate coordination, direction and/or supervision of the First Assistant Sound Editor. A Second Assistant Sound Editor shall be responsible for:

i. loading sound effects into the specific editing platform;

ii. loading tapes or other source material into an auto conform situation;

iii. ‘tagging’ or labelling all synchronized elements; and,

iv. printing dialogue, post sync dialogue and sound effects cue sheets.

(c) A Second Assistant Sound Editor shall not perform any of the duties of a First Assistant Sound Editor except under the immediate coordination, direction and/or supervision of the First Assistant Editor.

11.49 Trainee Assistant Sound Editor (TASE)

(a) The TASE assists the Assistant Editors.

(b) The TASE is a training role, as the name indicates, and is filled by a DGC Member or Apprentice Member.

(c) The demands placed on a Trainee should be reasonable; a Trainee’s purpose in the editing room is to be trained.

(d) May also be referred to or credited as the Post Production Assistant.

ACCOUNTING DEPARTMENT

11.50 Production Accountant (AUD)

(a) The Production Accountant is a Guild Member engaged by the Producer and is responsible for the coordination, supervision and operation of the Accounting Department in accordance with standard industry practice and standard business procedures.

(b) Duties include but are not limited to a thorough working knowledge of industry specific production requirements, accounts payable, petty cash, journals, account books to trial balance, cost reporting, hot costs, budgeting, cash flows, production schedules and reports,

tax considerations, financial structures, reporting requirements for all available tax incentive regimes, and studio and government audit requirements.

(c) The position also requires organizational skills and administrative abilities commensurate with those normally associated with a head of department in any large business organization. This includes knowledge of other production departments and an ability to effectively communicate with other department heads. In addition, the duties of the Production Accountant may include formal communication with the Producer(s) and the parent company and/or distributor.

(d) The Production Accountant shall be bondable.

11.51 First Assistant Production Accountant (1AA General)

(a) The First Assistant Production Accountant (General) is a Guild Member engaged by the Producer in consultation with the Production Accountant.

(b) The position of First Assistant Accountant (General) shall require organizational and administrative abilities normally required in the organization, maintenance and supervision of a Production Accounting office.

(c) Duties include but are not limited to a thorough working knowledge of production accounting software, Guild, District Council and Government regulations required in the preparation of crew and cast payroll, reporting requirements for all available tax incentive regimes, and studio and government audit requirements, posting of all journals into the ledger, preparation of accounts to trial balance, accounts payable, payroll, petty cash, bank reconciliations and all record keeping and other related duties associated with day-to-day operations of Production Accounting.

(d) The First Assistant Production Accountant (General) shall be bondable.

(e) Nothing precludes accounting personnel from performing duties in other classifications provided it is for training purposes.

11.52 First Assistant Production Accountant (1AA Payroll)

(a) The First Assistant Production Accountant (Payroll) is a Guild Member engaged by the Producer in consultation with the Production Accountant.

(b) The duties of the Payroll First Assistant include but are not limited to the processing of the cast and crew payroll, and shall not preclude the necessity of fulfilling the requirements and qualifications of a First Assistant Production Accountant (General).

(c) The First Assistant Production Accountant (Payroll) shall be bondable.

(d) Nothing precludes accounting personnel from performing duties in other classifications provided it is for training purposes.

11.53 Second Assistant Accountant (2AA)

(a) The Second Assistant Accountant is a Guild Member engaged by the Producer in consultation with the Production Accountant.

(b) The duties of the Second Assistant Accountant as delegated by the Production Accountant or First Assistant Accountant in consultation with the Production Accountant include but are not limited to data entry, preparation of accounts payable, invoices and purchase orders, petty cash, payroll calculation, and journals etc.

(c) The Second Assistant Accountant shall be bondable.


11.54 Third Assistant Accountant

(a) The Third Assistant Accountant is a Guild Member engaged by the Producer in consultation with the Production Accountant.


(b) The duties of the Third Assistant Accountant include but are not limited to: data entry, processing of cheques, filing, auditing petty cash envelopes and other duties assigned by the Production Accountant.

(c) The position requires a working knowledge of production accounting software and general computer literacy. As well, a working knowledge of basic accounting procedures is a prerequisite.


11.55 Trainee Assistant Accountant (TAA)*

(a) The Trainee Assistant Accountant is engaged by the Producer in consultation with the Production Accountant.

(b) The duties of the AT shall be performed under the coordination, direction or supervision of the Production Accountant or his or her designate. The position requires familiarity with bookkeeping practices, literacy, computer literacy and a willingness to learn.

(c) Nothing precludes accounting personnel from performing duties in other classifications provided it is for training purposes.

* DGC Ontario uses TAA, not AT

11.56 Post Production Accountant (PPA)If engaged, a Post Production Accountant shall be engaged after the “wrap out cost report” has been completed and production accounting records have been turned over to the corporate entity or parent company.

12.00 CONTRACT FOR SERVICES

12.01 Contract for Services Required

(a) Within a reasonable time after engaging any Guild Member and in any event no later than the first payday, an individual written Contract for Services in the form set out in Schedule 1 or 8 hereto must be signed by a responsible Production executive of the Producer and by the Guild Member and filed with the District Council. The Contract for Services shall contain the following information: name, home address, social insurance number, date of engagement, compensation rate, name of Motion Picture, ISAN and/or V-ISAN number, individual Episode name and number if applicable, and basis of engagement (i.e., daily, weekly, or specific term).

(b) The terms of a Contract for Services shall be subject to the terms and conditions of a letter of variance, in accordance with those terms effective on the date that the letter of variance is signed by the Producer and the District Council, unless the letter specifies otherwise. For greater clarity, no Guild Member shall be required to repay any compensation paid prior to the effective date of the letter of variance.

(c) The Producer and the Director must execute the Director’s Contract for Services not later than the first Day of principal photography, or seven (7) Days after the commencement of the Director’s engagement, whichever comes first.

12.02 Application to Existing Contract for ServicesNothing herein is deemed to modify or affect the terms of any existing Contract for Services which are more favourable to the Guild Member than those contained in this Agreement.

12.03 Provisions of Contract for Services Subject to Grievance and ArbitrationSubject to Article 10.02, the parties may only refer disputes over the provisions of a Contract for Services to the grievance and arbitration procedure under this Agreement.

12.04 Type of EngagementExcept as specifically provided for in any District Council Schedule, each Guild Member must be engaged for only one (1) of the following guaranteed periods: daily, weekly, or specific term. The type of

engagement of each Guild Member must be specified in the Contract for Services.

12.05 Terms of Standard Agreement are MinimumsThe terms and conditions herein are minimums and not maximums. No variation of the minimum terms and conditions prescribed by this Agreement shall be requested of any Guild Member except through the District Council. Nothing shall prevent a Guild Member from negotiating with a Producer better terms and conditions of engagement than those provided by this Agreement.

12.06 Grievance and ArbitrationThe grievance and arbitration procedures herein shall not be subject to negotiation between any Guild Member and the Producer.

12.07 No Contract for Services to Contravene the Standard AgreementNo Guild Member and no Producer shall enter into any Contract for Services which in any way contravenes any of the provisions of this Agreement and all terms of any letter of variance. Accordingly, all of the provisions of this Agreement shall be deemed to be incorporated, as if set forth in full in writing, into the Contract for Services of each Guild Member subject to Article 13.01 (b), for the entire term of the engagement. It is further agreed that the Contract for Services of each Guild Member shall be deemed to be incorporated, as if set forth in full in writing, into this Agreement. In addition, neither a Guild Member nor a Producer may waive any minimum term or condition of this Agreement without the prior written approval of the District Council.

12.08 No Deferment of Minimum CompensationThere shall be no deferment of any part of the minimum compensation prescribed by this Agreement, without the prior express written consent of the District Council. Compensation in excess of the minimums prescribed by this Agreement may be deferred by prior express written agreement between a Guild Member and the Producer.

12.09 Authority

(a) A Contract for Services must be executed by each Guild Member and a representative of the Producer who is so authorized provided that the representative is not a Guild Member engaged pursuant to this Agreement.

(b) The Producer representative executing the Bargaining Authority and Voluntary Recognition Agreement hereby warrants he or she is not engaged pursuant to this Agreement.

(c) A Guild Member engaged pursuant to this Agreement will not be granted the authority, nor assigned the responsibility to:

i. sign any notices required to be given or sent pursuant to this Agreement; or,

ii. sign adherence or any other documents on behalf of the Producer.

12.10 Original Copies and Form of Contract for Services

(a) The Producer and the Guild Member will execute the Contract for Services and the Producer will provide a copy of same to the Guild Member. A copy of the Contract for Services is deemed effective for all purposes under this Agreement as if it were original. The Contract for Services may be executed in counterparts and by facsimile or other electronic means and will be deemed effective as if it were the original document.

(b) A copy of each Contract for Services, together with a copy of each so-called “Production or Corporate Contract for Services” or “long form Contract for Services or Contract” signed by every Guild Member shall be forwarded by the Producer to the District Council as soon as possible after execution.

12.11 Contract for Services No Less Favourable Than the Standard AgreementThe following term shall be deemed to be included in every Contract for Services regardless of whether or not it complies with the applicable standard form Contract for Services: “All of the provisions of this Contract for Services are subject to and must provide no less than the terms and conditions of the Standard Agreement”.


12.12 Contract for Services Start Date

(a) The commencement date of the term of the Contract for Services is known as the start date. Each Contract for Services must specify the start date. The start date shall, unless otherwise agreed by the Guild Member, not be delayed by more than seven (7) days.

(b) Unless otherwise agreed by the Guild Member, should the start date be delayed more than seven (7) days, then the Guild Member’s Contract for Services will be deemed to have been terminated without cause by the Producer and the Producer will pay one (1) week’s Gross Remuneration and outstanding expenses. If the Guild Member is re-engaged at a later date, then there is no obligation to repay these monies.

(c) There shall be no variation in the start date of a Guild Member engaged on a daily basis.

12.13 Contract for Services Finish DateThe terminal date of the Contract for Services is known as the finish date. Each Contract for Services for a Guild Member engaged on a specific term basis must specify the finish date. The Contract for Services for a Guild Member engaged on a daily or weekly basis shall not require a specified finish date.

12.14 Extension, Renewal or Option

(a) Where a Contract for Services contains provision for its extension or renewal, or an option clause with respect to same, the Contract for Services must specify the length of the extension, renewal or option period.

(b) Where a Guild Member is engaged on a specific term engagement, the Producer must give the Guild Member at least two (2) weeks’ written notice of the Producer’s intention to exercise its option or to extend or renew the Contract for Services.

(c) A failure by the Producer to provide the required notice herein shall at the sole option and in the sole discretion of the Guild Member render any option, renewal or extension clause null and void.

(d) Where a Contract for Services does not contain provision for its extension or renewal, or an option clause with respect to same, and the Producer and Guild Member wish to extend or renew the Contract for Services, then the Producer and Guild Member must specify in writing the type of engagement in accordance with Article 12.04, and the terms of the extension or renewal, including the length thereof.

(e) The remuneration of the Guild Member during any extension or renewal period must be at least equal to the pro rated amount of the remuneration specified during the term of the Contract for Services.

12.15 Loan-out CorporationThis Agreement will apply equally in all respects to a Contract for Services made between a Producer and a Loan-out Corporation, and a Contract for Services made directly between a Producer and a Guild Member.

12.16 Confidentiality LanguageThe following language shall be deemed to be included in a Production Manager and Production Accountant’s Contract for Services:

“You will be entrusted with detailed information respecting the Producer’s business, the disclosure of which would be harmful to the Producer’s interest and as such agree to keep all such information confidential. You acknowledge and agree that the right to maintain such detailed information constitutes a property right, which the Producer is entitled to protect. Accordingly, you will not without prior written consent of the Producer, during the term of this Agreement and subsequent to its termination, copy by any means disclose directly or indirectly to any third party any confidential information relating to the Producer.”

12.17 Director’s Contract for Services and Media Uses

(a) The Producer and the Director must execute the Director’s Contract for Services not later than the first Day of principal photography, or seven (7) Days after the commencement of the Director’s engagement, whichever comes first.

(b) The Producer must specify in the Director’s Contract for Services the media uses of the Motion Picture for which the Rights Acquisition Fee is being provided.

13.00 NOTICE OF LAY-OFF OR REPLACEMENT, FORCE MAJEURE, RECALL AND DISCHARGE

13.01 Force Majeure

(a) If a Production is prevented or interrupted by reason of:

i. natural causes, such as acts of God, fire, earthquake, hurricane, and floods;

ii. emergency governmental regulation or order;

iii. Injury to, or bona fide illness of a leading cast member or the first unit Director; or

iv. riot, war or such other cause beyond the reasonable control of the Producer;

then the minimum guarantee provided for that current week shall be reduced to the extent necessitated by such contingency.

(b) In such circumstance, the Producer shall furnish a statement in writing to the District Council as to the reason for the force majeure. If the District Council believes the force majeure declaration to be unjust or unreasonable, it may file a grievance with respect to the declaration under the grievance and arbitration procedure of this Agreement.

(c) At its own discretion, the District Council shall have the right to convert to its own use the performance bond posted by the Producer to defray any unpaid financial obligations of the Producer to any Guild Member or the District Council outstanding as of the date of invocation of any bona fide force majeure.

13.02 Recall for ServicesIf a Guild Member is recalled, or engagement is extended, for any reason, including but not limited to retakes, added scenes, sound track, process shots, transparencies, trick shots, trailers, changes, or for any other purpose, the Producer shall adhere to all the terms and conditions hereof. These terms and conditions shall continue to be in effect until the work of the affected Guild Member is completed. The Contract for Services of the Guild Member recalled shall also be in effect. The Guild Member, unless bound by a Contract for Services, can refuse to accept a recall assignment.

13.03 Discharge

(a) A Producer shall not discharge or otherwise terminate a weekly Guild Member prior to the end of the work week, without just and reasonable cause. A Producer shall promptly give the District Council notice in writing of such action. If the District Council believes the action to be unjustified, the District Council may submit the matter as a grievance under this Agreement. An arbitrator shall have the power to order reinstatement of the Guild Member with or without full compensation, to award damages in lieu of reinstatement, or to sustain the discharge.

(b) If a Guild Member is discharged or terminated for just and reasonable cause, the Producer shall replace that Guild Member with another qualified Guild Member. In no event shall any such action result in a reduction of the total crew personnel.

(c) The Producer will neither discharge nor discipline any Guild Member who advises the Producer that the Guild Member will not comply with an order, directive, or assignment that is unlawful, unsafe or which is known by the Guild Member to be a violation of a location permit or any other collective agreement to which the Producer is signatory.


13.04 Procedure for Investigation, Discipline and DischargeUpon request of a Guild Member, the Producer shall allow a DGC representative to be present, in person or via available means of communication, at any investigatory meeting between a Guild Member and a representative of the Producer that may lead to the discipline of the Guild Member. The DGC representative shall not obstruct the investigatory process or the timing thereof.

The following procedure shall apply if a Producer contemplates taking disciplinary action against a Guild Member.

(a) If a meeting for disciplinary purposes results in an oral warning, the date and nature of the warning shall be noted by the individual Producer in charge. The Producer shall provide the Guild Member with a copy of any written warning or adverse report affecting that Guild Member. Any reply by that Guild Member shall become part of the Guild Member’s work record. No warning shall be passed from one Producer to another.

(b) Prior to imposing a written warning or effecting a discharge, the Producer shall inform the District Council, and if the Guild Member so requests, a representative of the District Council shall be entitled to be present and to participate at any disciplinary meeting where the Guild Member is advised of the written warning or discharge.

(c) On request, and within forty-eight (48) hours of that request, the Producer shall provide the District Council and the Guild Member with detailed written reasons supporting the discharge.

(d) The parties agree that progressive discipline may consist solely of oral and written warnings, and discharge if the Guild Member does not respond constructively to the warnings. In all matters of discipline and discharge, the Producer shall have the burden of proof to prove that the actions or inactions of the Guild Member occurred and were wrongful, that adequate warning and appropriate progressive discipline was administered to try to correct the problem, and that the punishment is just and reasonable.

13.05 For the purpose of Article 13.00 and any lay-off or replacementprovisions in a Schedule, the definition of Gross Remuneration set out in Article 1.27 shall be amended to include insurance and retirement contributions, and where specified, to include all expenses such as, but not limited to per diem allowance, travel costs and amounts for vehicle and equipment rentals as outlined in each District Council Schedule.

13.06 With respect to the “guaranteed” periods of engagement set out inArticle 12.04, the Producer is obligated to “pay or play” and shall either engage the Guild Member for the entire period in question and pay the Member all Gross Remuneration and expenses to which the Member is entitled under this Agreement for that period as those expenses and remuneration fall due, or pay all Gross Remuneration and expenses in accordance with the provisions of this Article 13.00.

13.07 Except as provided herein, if the Guild Member is terminatedbefore the completion of the “guaranteed” period, the Producer shall, within four (4) business days of termination:

(a) pay to the Member a lump sum equal to all of the Gross Remuneration to which the Member would otherwise be entitled under this Agreement for the balance of the “guaranteed” period, without any deduction for mitigation; and,

(b) pay to the District Council a lump sum equal to all of the Remittances to which the District Council would otherwise be entitled under this Agreement for the balance of the “guaranteed” period.

13.08 The Producer shall not be required to include in the lump sum specifiedin Article 13.07 any Gross Remuneration which is contingent or deferred; however, the Producer shall pay any deferred or contingent remuneration and any applicable District Council Remittances upon satisfaction of any conditions relating thereto.

13.09 Articles 13.06 and 13.07 shall not apply if the Guild Member is terminatedfor just and reasonable cause or due to force majeure, except that the Producer shall pay all Remittances to the District Council and all Gross Remuneration and expenses to the Guild Member outstanding at the date of termination.

13.10 A Guild Member is not required to mitigate his damages if the Memberis terminated before the completion of the guaranteed period and there shall be no deduction from Gross Remuneration payable to the Member on account of such mitigation.

13.11 If a Guild Member working on Distant Location is terminated, the GuildMember shall be entitled to room and board at no cost until return transportation to the studio zone is made available.

14.00 PAYMENT OF COMPENSATION AND SECURITY FOR PAYMENTS

14.01 Payroll PeriodFor the purposes of uniformity, the payroll period shall be from 12:01 a.m. of the first (1st) day of the work week to 12 midnight of the seventh (7th) day of the work week, and all times shall be computed in one quarter (1/4) hour increments. The Producer will make and remit the appropriate deductions in accordance with Article 4.02. The aforementioned deductions will not be required for Guild Members who furnish their services through a Loan-out Corporation providing direct payments on their behalf. The Guild Member will furnish proof of compliance if requested. The Producer shall not make deductions from any such compensation unless authorized by statute, court order, arbitration award, or this Agreement.

14.02 Pay day

(a) Guild Members shall be paid no later than the fourth (4th) work day following the week worked, except as modified by any District Council Schedule. If a Saturday, Sunday, or holiday falls on a regular paid day, payment will be made on the preceding work day. Every effort will be made by the Producer to distribute pay cheques to the Guild Members during their shifts that day. If, for any reason, this is not feasible in the case of any individual or group of Guild Members, the Guild Members involved shall be so notified by the Production Manager before the end of their shifts and advised as to the time when their pay cheques will be available. In any such case, the pay cheques shall be given to the Production Manager or designate for distribution.

(b) In the event of late payment by the Producer, a penalty of two percent (2%) per month of the gross wages shall be paid to the Guild Member and such penalty shall be added to the next week’s wages, or if none, by separate payment. In the case of a missing cheque, the penalty will commence forty-eight (48) hours after the Producer has been notified of the missing cheque.

14.03 Method of Compensation PaymentAll compensation payments shall be made by cheque, or cash evidenced by a written voucher receipted by the person to whom such cash is paid. The Guild Member’s pay envelope or pay cheque stub shall bear the following information: the Guild Member’s name and classification, the regular and overtime hours worked and the compensation earned during the pay period, and itemization and identification of all deductions, and the net amount of the cheque or cash received by the Guild Member.

14.04 Payroll ServiceThe Producer must establish a local “pay office”. In the event that the Producer uses a payroll company or other outside person or entity (herein referred to collectively as the “payroll service”) to handle or facilitate the payment of compensation or other benefits to or on behalf of a Guild Member, the Producer agrees and acknowledges that it remains liable and responsible for compliance with this Agreement.

14.05 Producer’s Obligations Upon Termination

(a) With the exception of a Guild Member engaged through a Loan-out Corporation, whenever the employment insurance separation certificates and pay cheques are not given to the Guild Member at the time of termination, they shall be sent by the Producer to the Guild Member within four (4) business days of the time of termination.


(b) As directed by the Guild Member, a cheque sent by registered mail to the address of the Guild Member or the District Council office, as the case may be, within the time as required above, is payment hereunder.

14.06 Time-KeepingThe Producer shall maintain an adequate system of time-keeping to record the times that a Guild Member reports for and leaves work each day. The Guild Member’s starting and finishing times, meal periods or allowances, and rate changes (if any) shall be shown on the time card. Any items changed after the time card is completed must be reviewed with the Guild Member. The time records and all records under Article 14.07 shall be open to inspection by a duly authorized representative of the District Council at reasonable times and on giving the Producer reasonable notice, and all of these records shall be kept in the territorial jurisdiction of the District Council at an address which shall be provided to the District Council in writing.

14.07 RecordsEach payroll period, the Producer’s payroll department or service will supply the District Council office with the name, classification, and, with the exception of Loan-out Corporations, the social insurance number of each Guild Member and a breakdown of gross compensation, hours, fringe benefit payments, total days worked, overtime, turnaround, sixth and seventh days worked, payment as or in lieu of annual vacation pay, retirement pay, deductions made and the remuneration. Additionally, Guild Members engaged through a Loan-out Corporation are required to provide Production with their GST or HST number, as applicable.

14.08 Financial Difficulties and Payroll Failures

(a) Where the Producer fails to pay compensation and benefits in accordance with this Agreement, a Guild Member may refuse to work, but only with the prior permission of the District Council, and except

i. as provided in Article 16.02, Health and Safety -Guild Member Prerogative; or

ii. in cases where the failure to pay is as a result of bona fide dispute or error.

(b) If the Guild Members are not paid within five (5) business days of the end of the preceding work week, the District Council may claim upon written notice to the Producer against the monetary guarantee or bond on behalf of such Guild Members, if not prohibited by law or court order.

(c) The Producer must replenish the bond and pay any outstanding compensation and benefits before requesting the Guild Members to return to work.

(d) A Guild Member’s refusal to work under Article 14.08 is not a breach of this Agreement, or the Guild Member’s Contract for Services.

(e) If the Guild Member refuses to work under Article 14.08, then the Producer will not:

i. institute any disciplinary or other action;

ii. consider the refusal to work to be resignation of the Guild Member’s engagement; or

iii. seek damages from a Guild Member or the District Council.

14.09 Security for Payments Due During Production

(a) Requirement for Security The District Council is entitled to require a Producer to post, no earlier than thirty (30) days prior to the commencement of work by the Guild Members, a security for payment sufficient to cover two (2) weeks’ Gross Remuneration of all Guild Members (to be based upon the production schedule provided by the Producer) and all District Council Remittances. The security for payment may take the form of a cash deposit to be held in trust by the District Council in an interest-bearing account, and all accrued interest shall be the property of the Producer, or at the Producer’s election, the security for payment may take the form of one or more irrevocable letters of credit in favour of the District Council, drawn on a Canadian chartered bank.

(b) Cash Bond In the case of a cash bond:

i. the Producer will post the bond not earlier than fifteen (15) business days and no later than five (5) business days prior to the commencement of work by the Guild Members;

ii. The District Council shall be entitled, upon written notice to the Producer and upon resolution of any dispute in favour of the Guild Member or the District Council, to make payment from the cash bond to the extent of any amounts found due. The notice shall stipulate the amount claimed and that such amount is due to the District Council as a result of a default by the Producer of its payment obligations as specified in the Agreement;

iii. The District Council will repay the cash bond less any amounts in dispute within thirty (30) days after the completion of principal photography, provided that the Producer has provided the District Council with a security agreement in accordance with Article 14.10 (b), or a distribution guarantee or distributor’s assumption agreement from an approved distribution guarantor pursuant to Article 14.10 (c), and will repay the balance, if any, within five (5) days of the resolution of a dispute in the Producer’s favour.

iv. Notwithstanding Article 14.09 (b)(iii), the District Council shall be entitled to retain an amount to cover two (2) weeks Gross Remuneration of all remaining Guild Members plus fringes from the cash bond following the completion of principal photography. The retained amount shall be released thirty (30) days following the completion of post production.

(c) Letter of Credit In the case of a letter of credit, the face of the letter of credit shall specify that:

i. the said letter of credit shall have a term commencing not earlier than fifteen (15) business days and no later than five (5) business days prior to the commencement of work by the Guild Members;

ii. the District Council shall be entitled, upon written notice to the Producer and upon resolution of any dispute in favour of the Guild Member or the District Council, to draw down on the letter of credit to the extent of any amounts found due. The notice shall stipulate the amount claimed and that such amount is due to the District Council as a result of a default by the Producer of its payment obligations as specified in the Agreement;

iii. the letter of credit shall be released within thirty (30) days after the completion of principal photography, provided that the Producer has provided the District Council with a security agreement in accordance with Article 14.09 (b), or a distribution guarantee or distributor’s assumption agreement from an approved distribution guarantor pursuant to Article 14.10 (c). However, if there are any amounts in dispute, such amounts will be secured by a replacement letter of credit or cash bond to the extent of the amounts in dispute, and such amounts, if any, will be released within five (5) business days of the resolution of a dispute in the Producer’s favour;

(d) In the event of a dispute arising or remaining outstanding after the original cash bond has been repaid or after the term of the original letter of credit, involving outstanding payments due under the Agreement, the Producer agrees to post a new cash bond or to issue a new letter of credit in an amount equal to those amounts in dispute for as long as those amounts remain in dispute. The District Council will repay the new cash bond within five (5) business days of the resolution of a dispute in the Producer’s favour.

(e) When a bona fide dispute arises, all remedies and recourse provided by the Agreement shall be exhausted, or an arbitrator shall rule in favour of the Guild Member prior to any disbursement from the letter of credit or cash bond.


(f ) Subject to paragraphs 14.09 (b)(iii) and (c)(iii), if the security for payment is not released and/or returned to the Producer within the time periods set forth in this provision, the District Council shall pay to the Producer a late payment charge at the prime rate of interest per annum of that part of the security payment that has not been returned or released to the Producer, calculated and payable monthly from the date the payment is due until payment is made, with the first payment due on the sixteenth (16th) day following the date the payment is due.

(g) Production Guarantee Notwithstanding Article 14.09 (a), the Producer shall not be required to post as security a cash bond, or letter of credit, but shall instead be entitled to provide the District Council with a Production Guarantee from an approved production guarantor in the form set out in Schedule 10, provided that the Production Guarantee is accompanied by a security agreement pursuant to Article 14.10 (b), or a Distribution Guarantee (see Schedule 12) or Distributor’s assumption agreement (see Schedule 13) from an approved distribution guarantor pursuant to Article 14.10 (c). The Producer shall give the District Council notice no less than 30 days prior to the start of principal photography of its intention to provide a Production Guarantee.

(h) The District Council may, at its sole discretion, accept the Alternate Guarantee (Schedule 15).

14.10 Security for Payments Due After Production

(a) A Producer may provide security to the District Council by way of a Security Agreement, or a Distribution Guarantee or Distributor’s Assumption Agreement from an approved distribution guarantor (see Article 14.11 (b)), to secure of all its financial obligations payable after Production pursuant to the Standard Agreement, including Director Rights Acquisition Fees and all other amounts payable after Production pursuant to the Standard Agreement related to the Production.

(b) Security Agreement A Security Agreement shall be in the form set out in Schedule 11A. Where it is contemplated that the Production will be distributed outside of the jurisdiction in which it is produced, the District Council may request and provide and the Producer will execute additional Security Agreements in forms which are registerable in the jurisdictions where, in the opinion of the District Council, the Production may be distributed. The Security Agreement provided herein shall be discharged on delivery to the District Council of a Distribution Guarantee or Distributor’s Assumption Agreement from an approved distribution guarantor pursuant to Article 14.10 (c).

(c) Distribution Guarantee and Distributor’s Assumption Agreement Only an approved distribution guarantor (see Article 14.11 (b)) shall be eligible to provide a Distribution Guarantee or Distributor’s Assumption Agreement. A Distribution Guarantee shall be in the form set out in Schedule 12 and a Distributor’s Assumption Agreement shall be in the form set out in Schedule 13. The Distribution Guarantee or Distributor’s Assumption Agreement shall be terminated on delivery to the District Council of a Security Agreement pursuant to Article 14.10 (b) or a Distribution Guarantee or Distributor’s Assumption Agreement from another approved distribution guarantor.

(d) The District Council may, at its sole discretion, accept the Alternate Guarantee at Schedule 15.

14.11

(a) An approved production guarantor shall mean an entity:

i. which the CMPA confirms by written notice to be a member in good standing; and,

ii. which is approved by the District Council in its sole discretion.

(b) An approved distribution guarantor shall mean an entity:

i. which has maintained a permanent active entity with established offices and staff for the previous six (6) years, and has produced or financed the production of at least eight (8) Theatrical Motion Pictures or fifty-two (52) hours of television under this Agreement or its predecessors;

ii. which has had a good track record for payment of the Guild Members, excluding minor infractions; and

iii. which is up to date in its reporting obligations to the Guild Members and payments to the Guild Members.

(c) Should status as an approved production guarantor or approved distribution guarantor (provided that such approved distribution guarantor is a party to the Agreement) be denied, a timely request having been made, the Producer shall have recourse to the following appeal procedure:

i. the District Council shall meet with the Producer within 5 business days of denial of a request;

ii. an appeal committee shall be formed which will consist of a representative of the District Council and a representative of the CMPA ;

iii. should there be no consensus at this meeting, in the case of a production guarantor, the Producer shall post the cash bond or letter of credit required by the District Council as a gesture of good faith pending the outcome of presenting its case in front of the arbitrator as set out in Article 10.00 of the Standard Agreement; and in the case of a distribution guarantor, the District Council shall be entitled to retain the security which it holds pending the outcome of the arbitration;

iv. should the arbitrator rule in the Producer’s favour, the District Council will immediately return the cash bond or letter of credit, with interest if applicable, and accept the alternative security payment agreed to by the arbitrator.

(d) A list of approved production guarantors and a list of approved distribution guarantors shall be updated on a regular basis and shall be available from the District Council and CMPA offices.

14.12 Purchaser’s Assumption Agreement

(a) If the Producer sells, assigns, or otherwise disposes of any Production produced under the Agreement or any rights thereto, to a party other than a distributor (in which case Article 14.13 (a) will apply), the Producer shall not be relieved of any of its obligations for payments due under the Agreement, unless the third party to whom the said property or rights have been sold, assigned, or otherwise disposed of (the Purchaser) assumes the obligations for such payments by a Purchaser’s Assumption Agreement in the form contained in Schedule 14, and the District Council approves the assumption in writing. Such approval shall not be unreasonably withheld.

(b) Upon seeking the approval of the District Council to a sale, assignment or other disposition as provided for herein, the Producer shall provide to the District Council such information and material pertaining to the Purchaser as the District Council may reasonably require, including but not limited to, the financial status of the Purchaser, the individual principals and/or directors of the Purchaser, and the terms and conditions of the Purchase Agreement.

14.13 Distributor’s Assumption Agreement

(a) If the Producer, its successors and assigns, licenses, sells, disposes or otherwise conveys any distribution rights in a Production produced under the Agreement, the Producer shall use its best efforts to obtain a Distributor’s Assumption Agreement. In respect of any outright valid sale or conveyance hereunder (i.e. a disposition, the terms of which, do not include a requirement to report revenue to a Producer), a Distributor’s Assumption Agreement is a condition precedent to said sale or conveyance. The said agreement shall be in the form attached as Schedule 13.


(b) Upon seeking the approval of the District Council to an assignment, licence, sale, disposition or conveyance of distribution rights, the Producer shall also provide to the District Council such information and material pertaining to the distributor as the District Council may reasonably require, including but not limited to, the financial status, the individual principals and directors of the distributor, and the conditions of the agreement of purchase and sale.

(c) The Producer shall not be relieved of any of its obligations for payments due under the Agreement, unless the distributor to whom the distribution rights have been sold, assigned, or otherwise disposed of assumes the obligations for such payments by a Distributor’s Assumption Agreement in the form contained in Schedule 13, and the District Council approves the assumption in writing. The District Council’s approval shall not be unreasonably withheld.

15.00 LEAVES OF ABSENCE

15.01 Illness, Medical and District Council Leave

(a) The Producer shall make reasonable efforts to grant any weekly Guild Member a leave of absence without pay due to personal illness or injury.

(b) If any Guild Member suffers an injury or any illness after the engagement commences, which prevents the Guild Member from performing duties, the Producer shall pay the Guild Member’s contracted compensation for the first day of injury or illness. The Producer retains the right to require a doctor’s certificate provided that right is exercised in a manner that is correct, fair and reasonable.

(c) The Guild Member shall report any illness or injury to the Producer as soon as possible so adequate replacement may be made, if necessary. Injuries occurring during the course of engagement shall be reported in accordance with Provincial workers compensation requirements.

(d) The Producer shall at their discretion, make reasonable efforts to accommodate necessary absences occasioned by attendance at medical or dental examinations, and official District Council business.

15.02 Leaves of AbsenceSubject to any District Council Schedule, any leave of absence must be mutually agreed between the Producer and the Guild Member and is subject to any applicable employment standards legislation.

15.03 Bereavement LeaveIn the event of the death of a parent, grandparent, grandchild, sibling, spouse, child or stepchild of an eligible Guild Member, such Guild Member shall be allowed up to three days off and his/her job shall be available upon return from bereavement leave.

16.00 HEALTH AND SAFETY

16.01 SafetyThe Producer, the District Council and each Guild Member agree to abide by any respective obligations arising under the health and safety legislation and regulations in place in each jurisdiction in which the Guild Member’s engagement is carried out. Without limiting the foregoing, the Producer shall provide information, instruction and supervision to all Guild Members engaged on the Production and shall take every precaution reasonable in the circumstances for the protection of such Guild Members.

16.02 Guild Member PrerogativeGuild Members and the Producer are required to follow all reasonable safety rules and health standards, and the failure to do so can lead to disciplinary action including dismissal. However, no Guild Member shall be dismissed or otherwise disciplined, or jeopardize his or her working opportunities, for refusing to work in hazardous or unsafe conditions or to perform any work that the Guild Member reasonably believes to be hazardous or unsafe.

16.03 Health and Safety RepresentativeGuild Members shall elect a health and safety representative in accordance with applicable health and safety legislation.

16.04 Medical Attention and HospitalizationThe Producer shall provide and pay for transportation to the nearest physician or hospital facility for any Guild Member who requires medical attention during working hours or on Distant Location.

16.05 Reporting of Accidents, Medical Attention and HospitalizationWhere, pursuant to applicable legislation, the Producer is required to report an accident or an incident requiring medical attention or hospitalization of a Guild Member, the Producer will give the District Council a copy of the report.

16.06 First Aid Responder No Guild Member shall be required to serve as the primary first aid responder on a Production.

16.07 Working Conditions

(a) Washroom and toilet facilities shall be provided by the Producer at all workplaces and shall be maintained on a standard at least equal to the standards required by any applicable legislation or regulation.

(b) The Producer shall exercise best efforts to provide a clean, healthy, climate-controlled work environment in the production office and studio, with furnishings appropriate to the Guild Member’s assigned duties.

17.00 TECHNOLOGICAL CHANGE

17.01 Producer’s Right to Institute Technological Change

(a) The District Council agrees that the Producer has the unrestricted right to make technological changes and that this right shall not be subject to grievance or arbitration or any other proceeding; however, the Producer’s implementation of technological changes is subject to this Article 17.00.

(b) Upon the written request of the District Council, representatives of the Producer will meet to discuss the proper operation of new technological devices which present a question of safety to the Guild Members on the set. The foregoing provision shall not be considered an admission by any Producer of District Council jurisdiction with respect to such device.

17.02 NoticeIf the Producer proposes to make any technological change, it shall give written notice thereof to the District Council, which notice shall include without limitation specification of each classification which may be affected. Such notice shall be given as soon as possible but not less than thirty (30) days before the implementation of such change.

17.03 No InjusticeIn carrying out technological changes, the Producer agrees to make all reasonable efforts to familiarize and train the engaged Guild Members with the new technology.

18.00 GENERAL PROVISIONS

18.01 Entire AgreementExcept for the provisions of applicable legislation and each Guild Member’s Contract for Services, this Agreement is the entire agreement between the parties and takes precedence over all previous negotiations, agreements, or memoranda between the parties.

18.02 Release and IndemnificationThe Producer hereby releases and forever discharges, and agrees to defend, indemnify and save harmless any Guild Member (including persons engaged through a Loan-out Corporation), and in the event of such Guild Member’s death, the Guild Member’s heirs and executors, against any and all losses, claims, damages, actions, causes of action, liabilities and necessary costs, including legal fees, incurred during the


effective dates of this Agreement and in the course of performance of the Guild Member’s duties performed within the scope of the Guild Member’s engagement for the Producer that resulted in contractual liability for such Guild Member or in bodily injury or property damage suffered by any person subject to the following conditions:

(a) This shall not apply in any instance in which such injury or damage is the result of or caused, in whole or in part, by the gross negligence or wilful misconduct of the Guild Member; and

(b) The Guild Member shall co-operate fully in the defence of the claim or action, including, but not limited to, providing notice to the Producer within five (5) business days upon becoming aware of any claim or litigation, attending hearings and trials, securing and giving evidence and obtaining the attendance of witnesses.

18.03 Duration of ProtectionThe protection provided to the Guild Member by Article 18.02 is also personal to the Guild Member and may be enforced by a Guild Member (including persons engaged through a Loan-out Corporation), and in the event of such Guild Member’s death, the Guild Member’s heirs and executors, in any appropriate court or statutory forum. The protection provided to the Guild Member in Article 18.02 does not expire with the expiration of the Agreement for liability that was incurred in the course of performance of the Guild Member’s duties performed within the scope of the Guild Member’s engagement for the Producer.

18.04 Notice

(a) All correspondence and notices between the parties arising out of this Agreement or incidental thereto shall be in writing and shall pass to and from the parties at the applicable addresses set out in this Article 18.00. A copy of any correspondence between the Producer or its representative and any Guild Member pertaining to the interpretation, administration, or application of any part of this Agreement shall be forwarded to the District Council office.

(b) Sending of Notice Notices required to be given or sent pursuant to this Agreement shall be sent by prepaid first class mail, delivered personally by courier, or sent by fax, or other means of near-instantaneous communication. Unless advised in writing of a change of address, any notice or the service of any legal proceeding on the Producer or the District Council at their addresses indicated on the Bargaining Authorization and Voluntary Recognition Agreement shall be good and valid and constitute personal service.

(c) Notice To Guild Member Any notice to be sent to a Guild Member by the Producer shall be sent to the Guild Member’s address indicated on his Contract for Services or to the latest address which the Producer has on record.

(d) District Council and CMPA Contact Information

CMPA160 John Street, 5th FloorToronto, ON M5V 2E5Toll Free: (800) 267-8208 (Canada only)Tel: (416) 304-0280Fax: (416) 304-0499

DGC Alberta District Council2526 Battleford Ave. S.W.,Suite 133 (Building B8, Currie Barracks)Calgary, Alberta T3E 7J4Tel: (403) 217-8672Fax: (403) 217-8678

DGC Atlantic Regional Council1496 Lower Water Street, Suite #501bHalifax, Nova Scotia B3J 1R9Tel: (902) 492-3424Toll-Free: 1-888-342-6151 (within Atlantic Provinces)Fax: (902) 492-2678

DGC Manitoba District Council2028-275 BroadwayWinnipeg, MB R3C 4M6Tel: (204) 940-4301Fax: (204) 942-2610

DGC Ontario111 Peter Street,Suite 600Toronto, Ontario M5V 2H1Tel: (416) 925-8200Fax: (416) 925-8400

DGC Saskatchewan District Councilc/o DGC National Office111 Peter Street,Suite 600Toronto, Ontario M5V 2H1Tel: (416) 925-8200Fax: (416) 925-8400

18.05 LegislationAny reference in this Agreement to a statute includes any amendments thereto and any successor legislation, and any regulations thereunder.

18.06 CurrencyAll reference to dollars or money rates of any kind in this Agreement or its Schedules are in Canadian dollars unless otherwise specifically indicated.

18.07 Interest on Monies OwingExcept as provided otherwise in this Agreement, if upon completion of the Motion Picture, monies are owed to the District Council or a Guild Member by the Producer, then the Producer shall pay simple interest at the prime rate on all monies outstanding calculated from the date on which the monies became due and payable to the date of payment, and at the prime rate in effect on the date on which the monies became due and payable. If no due date is specified, interest shall be calculated from the date on which the principal photography was completed.

This provision shall not apply in the following circumstances:

(a) where the Producer has filed with the applicable District Council a bona fide dispute relating to the fees payable and unless or until the dispute has been resolved in favour of the District Council, in which case the interest is payable from the original due date; or

(b) where normal methods of payment are interrupted (e.g. computer server malfunctions, mail strikes, power outages, etc.) and for the duration of the interruption.

18.08 Contracts for Benefit of ProducerA Guild Member will not be required to enter into any contract or agreement with any third party on behalf of the Producer. Notwithstanding this prohibition, if a Guild Member does enter into any such contract or agreement, it is deemed to be entered into on behalf of and for the exclusive benefit of the Producer and not the Guild Member. The Producer is solely liable under such contract or agreement and the Guild Member has no liability thereunder.

18.09 Interpretation

(a) The index and table of contents in this Agreement are inserted for convenience only and shall not be used as an aid to interpretation, while the headings and subheadings in this Agreement can be used as an aid to interpretation.

(b) This Agreement shall be interpreted as a whole.

(c) Unless the context requires otherwise, words denoting the singular shall include the plural and vice versa, words denoting one gender shall include all genders and the word or phrase herein shall have the corresponding definition for the purposes of the Agreement.


18.10 Editorial EquipmentAll editorial equipment, when used for the purpose of performing work functions covered by this Agreement, shall be operated by a Guild Member subject to this Agreement except:

(a) for the purposes of training or instruction;

(b) for the purposes of experimenting with new editorial equipment or processes;

(c) as expressly provided otherwise by this Agreement, provided that no Guild Member loses any compensation as a result, unless expressly provided otherwise by this Agreement.

18.11 Budget Calculations

(a) Broadcast Length The calculation of the length of a Television Motion Picture is based on the total broadcast time.

(b) Calculation of Budget Tiers The calculation of the budget range of each Motion Picture is based on the total Budget as defined in Article 1.06.

(c) In those circumstances where there are extraordinary expenditures incurred by Production in areas such as, but not limited to, rights acquisition, royalties, financing, legal, completion guarantee, main credit cast, CGI and/or other effects, the District Council will in good faith consider excluding such extraordinary cost(s) from the total Budget on a case by case basis.

19.00 LETTERS OF VARIANCE

19.01 (a) The Producer and the District Council will continually monitor the effectiveness of this Agreement during its term in order to assure the work opportunities for the Guild Members and the competitive position of the Producer.

(b) The District Council will review a request from a Producer for any modifications in the terms and conditions of this Agreement intended to preserve work opportunities for Guild Members. The District Council shall make reasonable efforts to respond to a request for modification within three (3) business days of receipt of the request.

(c) The District Council is authorized to approve and implement such modifications as it deems necessary and in the best interests of the parties. Any such approved modifications to this Agreement shall be by letter of variance and may be for one Production, for a type of Production, for a specific area, or for a specific period of time.

(d) A copy of any letter of variance will be provided to the Producer and the CMPA.

20.00 SCHEDULES INCORPORATED

20.01 The CMPA, the District Councils and the Guild have entered into various Letters of Understanding which are specifically incorporated by reference herein as an integral part of this Agreement.

20.02 Attached to this Agreement and specifically incorporated by reference herein as an integral part of this Agreement are various terms and conditions set out in the following Schedules:

Schedule 1 Directors

Schedule 2 Alberta District Council

Schedule 3 Atlantic Regional Council

Schedule 4 Manitoba District Council

Schedule 5 DGC Ontario

Schedule 6 Saskatchewan District Council

Schedule 7 7A Bargaining Authorization & Voluntary Recognition Agreement

7B Negotiating Protocol

Schedule 8 Standard Form Contract for Services (Individual and Loanout)

Schedule 9 Budget Certification

Schedule 10 Production Guarantee

Schedule 11 Security Agreement & Standard Security Terms

Schedule 12 Distribution Guarantee

Schedule 13 Distributor’s Assumption Agreement

Schedule 14 Purchaser’s Assumption Agreement

Schedule 15 Alternate Guarantee

Schedule 16 Documentaries

20.03 If there is a conflict between a term or condition in a Schedule or aLetter of Understanding and a term or condition in the core Agreement, then the term or condition in the Schedule or Letter of Understanding shall prevail.

21.00 TERM OF AGREEMENT

21.01 TermThe term of this Agreement shall be from January 1, 2016 to December 31, 2018.

21.02 Application of AgreementThis Agreement is effective from January 1, 2016 and applies to all Productions that commence principal photography on or after that date.


Canadian Media Directors Guild of Canada Producers Association

per____________________________________________ per____________________________________________ President and President CEO

Directors Guild of Canada Directors Guild of Canada Alberta District Council Atlantic Regional Council

per____________________________________________ per____________________________________________ Chair Chair

Directors Guild of Canada Directors Guild of Canada – Ontario Manitoba District Council


Directors Guild of CanadaSaskatchewan District Council

per____________________________________________Chair


Letters of Understanding Core Agreement

NO. 1 NEW MEDIA PRODUCTION

Tier StructureWith the exception of the Director, the parties agree to take the half-hour television series tiers and divide these by 24 to develop a per minute tier mode. For example, Tier A which is currently one million, seventeen thousand, five hundred and nineteen dollars ($1,017,519) or more per half-hour would now be divided by 24 to create a forty-two thousand, three hundred and ninety-seven dollar ($42,397) per minute or more threshold at Tier A. The same exercise would be taken at Tiers B through F.

For all categories, with the exception of the Director, the appropriate daily and/or weekly rate would be paid based on the tier level.

Where duties are performed in a job classification set out in Article 11.00, the Producer is required to engage a Guild Member. To be clear, there is no minimum staffing in respect of Department Heads or others in the area of New Media Production.

Where the initial exhibition of a New media Production is in excess of 60 minutes, then the standard terms and conditions applicable to Movies For Television shall apply.








per____________________________________________Chair



NO. 2 ARTICLE 7.04 – CONSIDERATION OF NON-GUILD PERSON FOR WORK

The parties agree that “supply” is a reference to all Guild Members.








per____________________________________________Chair



NO. 3 RE ARTICLE 7.05 – ISSUANCE OF WORK PERMITS

The parties agree that if the Producer can demonstrate that the presence of a non-Guild Member is necessary to the requirements of a Motion Picture, then the District Council may issue a work permit to a non-Guild Member on the following basis.

In keeping with the past practice of each District Council, each permit request for a foreign worker will be considered carefully and in good faith and a permit will be granted when it is not unreasonable to do so.

In the event that a permit request is denied, the District Council shall immediately and in writing advise the CMPA and the Producer. At this time the Producer will be advised of the appeal process. The District Council shall consider the appeal, if any, on an expeditious basis.








per____________________________________________Chair



NO. 4 CONTRACT FOR SERVICES

With respect to Article 12.00 of the Agreement, the parties agree as follows:

1. A Contract for Services includes both an oral contract and a written contract.

2. In the ordinary course, the Producer and a Guild Member will discuss terms and conditions verbally, will enter into an oral Contract for Services and will ultimately execute a written Contract for Services which reflects the terms of the oral agreement and the negotiations underlying same.

3. As soon as the Producer and the Guild Member have entered into an oral Contract for Services, that contract is deemed to incorporate all of the provisions of the Standard Agreement.

4. The oral Contract for Services is effective until replaced by the written Contract for Services or until it is terminated in accordance with the provisions of the Standard Agreement.

5. It is the intention of the parties and each Guild Member that a written Contract for Services be executed as quickly as possible after an oral Contract for Services is finalized, subject to the deadline in Article 12.01(c).

6. A letter of variance shall not apply retroactively to a Contract for Services so as to create a “clawback” situation or an obligation on the Guild Member to repay any monies already paid.








per____________________________________________Chair



NO. 5 PRODUCTION GUARANTEE

Each District Council will continue to accept security in the form of a production guarantee (Schedule 10) from each Producer who was granted that right previously on the last Production undertaken by the Producer prior to the effective date of the Standard Agreement. The exception to this commitment may be a Producer whose good track record has been adversely affected by a “major infraction”.








per____________________________________________Chair



NO. 6 FAVOURED NATIONS

The CMPA shall not unreasonably withhold its consent to any variances granted by a District Council provided that the variance conforms with the structure of the Standard Agreement.

Without limiting the generality of the foregoing, unduly favorable treatment which is consistently granted by a District Council to an individual Producer or Producer’s representative shall constitute grounds for the CMPA to invoke its rights.








per____________________________________________Chair



NO. 7 NO PYRAMIDING OF INCENTIVES

To the extent that a District Council offers two (2) or more incentives to promote work opportunities for Guild Members, there will be no pyramiding of such incentives. For greater clarity, unless the District Council agrees otherwise, a Producer will be entitled to access only one (1) incentive for each Production.








per____________________________________________Chair



NO. 8 DEFINITIONS

The CMPA and the District Councils have agreed to create a committee whose purpose is to ensure that the definitions in the next Standard Agreement will reflect the reality of our workplaces.








per____________________________________________Chair



NO. 9 WORKFLOW ISSUES

The CMPA and the District Councils will establish a committee to address work-flow issues in all departments. It is the hope that the committee will make recommendations to future CMPA and District Councils’ negotiation teams.








per____________________________________________Chair



NO. 10 DIVERSITY

The Directors Guild of Canada and the Canadian Media Producers Association support diversity in the production of film, television and digital media productions. To that end, the parties have agreed to the establishment of a Joint Diversity Committee study to make recommendations respecting issues of diversity within the Film, Television and Digital Media Industry.

The parties will invite to sit on this committee prominent members of the DGC and CMPA, including Directors and Producers, as well as Broadcasters.

The parties agree to meet on no less than two occasions per year.

The objectives of the committee will be to:

1. Consult, make recommendations and establish best practices with respect to issues of diversity through engagement with industry decision-makers;

2. Develop networking opportunities for individuals within identified groups; and

3. Report back to the industry concerning the activities in 1 and 2, above.








per____________________________________________Chair


SCHEDULE 7A Bargaining Authorization and Voluntary Recognition Agreement

Prior to contracting a Guild Member, a Producer who agrees to become a party to the 2016 – 2018 DGC/CMPA Standard Agreement shall sign a Bargaining Authorization and Voluntary Recognition Agreement as follows and forward it to the District Council. This Bargaining Authorization and Voluntary Recognition Agreement shall constitute a binding and irrevocable obligation by the Producer to the terms and conditions of the Standard Agreement where such Producer is involved in the production of a Motion Picture during the life of the Standard Agreement. Notwithstanding the foregoing, if a Producer engages a Guild Member in a classification specified in a letter of understanding relating to jurisdiction, the Producer is not obligated to engage Guild Members in that classification on future Motion Pictures.

I, _________________________________________________________________ (Insert name of individual) on behalf of the Producer hereby acknowledge receipt of the 2016 – 2018 DGC/CMPA Standard Agreement (“the Standard Agreement”) covering Guild Members engaged in theatrical films, and television programs and other Production between the Canadian Media Producers Association (CMPA) and various District Councils of the Directors Guild of Canada (the “District Councils”)and state that I am authorized to execute this Agreement on behalf of _____________________________________________________________________________ (the “Producer”) with respect to a Production currently titled ____________________________________________________________________________________ .The Producer hereby acknowledges that by executing this Bargaining Authorization and Voluntary Recognition Agreement it is becoming signatory to the Standard Agreement. The Producer agrees to abide by and conform to all the terms and conditions contained therein.

The Producer recognizes that the District Councils are the exclusive bargaining agent of Guild Members engaged in the classifications set out in the Standard Agreement subject to the letters of understanding, and recognizes the CMPA as the Producer’s sole and exclusive bargaining agent.

Please check one of the following:

(1) For CMPA Members: ❑ The Producer hereby certifies that it is a member in good standing of the CMPA: Membership No. ________________________________The Negotiation Protocol as attached to the Standard Agreement is hereby incorporated herein by reference, and by signing this document, the Producer appoints the CMPA as its exclusive bargaining agent, authorized to bargain on its behalf, and agrees that it shall be bound by the terms and conditions of the Standard Agreement which is the result of collective bargaining between and which has been ratified by the CMPA and the District Councils.

OR:

(2) ❑ The Producer hereby certifies that it is not a member in good standing of the CMPA.

When executed by a Producer the terms of this agreement form a contract to which the District Councils, the Producer and the CMPA are all parties and each party agrees to abide by its rights and obligations created under this contract.

Dated this ____________day of _____________________________, 20 ________

________________________________________________________ ___________________________________________________ (Name of Signatory Producer)

________________________________________________________ ___________________________________________________ (Authorized Signature) (Address of Signatory Producer)

________________________________________________________ ___________________________________________________ (Print or type name of Authorized Signatory) (Phone and Fax number of Signatory Producer)

Receipt of the above Bargaining Authorization and Voluntary Recognition Agreement is hereby confirmed by the District Council of the Directors Guild of Canada.

________________________________________________________ ___________________________________________________ (Authorized Signature) (Name of District Council)

________________________________________________________ ___________________________________________________ (Print name and title of Authorized Signature) (Date)

A copy of this Bargaining Authorization and Voluntary Recognition Agreement shall be forwarded to the CMPA.


SCHEDULE 7B Negotiation Protocol

THE DIRECTORS GUILD OF CANADA (ALBERTA DISTRICT COUNCIL)

THE DIRECTORS GUILD OF CANADA (ATLANTIC REGIONAL COUNCIL)

THE DIRECTORS GUILD OF CANADA (MANITOBA DISTRICT COUNCIL)

THE DIRECTORS GUILD OF CANADA (ONTARIO DISTRICT COUNCIL)

THE DIRECTORS GUILD OF CANADA (SASKATCHEWAN DISTRICT COUNCIL)

(collectively referred to as “the District Councils”) and

THE CANADIAN MEDIA PRODUCERS ASSOCIATION (“the CMPA”)

The parties agree to the following provisions, which are reproduced in the Standard Agreement as a Schedule thereto, but which Schedule is executed separately from the Standard Agreement, which shall be and remain in effect following the expiry of the term of the Standard Agreement.

1.00 Definitions

In addition to the definitions set out in the main Standard Agreement, the following:

Standard Agreement – means this collective agreement and is deemed to include the Core Agreement, all Schedules hereto, the Negotiating Protocol and Bargaining Authorization and Voluntary Recognition Agreement and any Letters of Variance and each Contract for Services.

Producer – is the individual, corporation, partnership, limited partnership, or other person that controls, administers, or is responsible for a program, whether or not that Producer is or will be a copyright holder of the finished Motion Picture. For greater clarity, Producer shall mean any Member Producer, any Common Producer, or any Successor Producer (who is signatory to this Standard Agreement).

Member Producer – shall mean any member of the CMPA who is a signatory to a Bargaining Authorization and Voluntary Recognition Agreement.

Common Producer – shall mean a person, corporation or other entity under common direction or control with a Member Producer and who engages in associated or related activities or Businesses.

Successor Producer – shall mean a person, corporation or other entity to whom a Member Producer sells its Business.

Sells – shall include leases, transfers, and any other manner of disposition, and “sold” and “sale” have corresponding meanings.

Business – shall include any undertaking or business and any part thereof.

2.00 Recognition

2.01 For greater clarity, this section is to be read in conjunction with and referentially incorporates Core Article 2.01, the Recognition section of the Agreement.

2.02 The CMPA recognizes the District Councils as the sole and exclusive bargaining agent for all Guild Members covered by the Standard Agreement.

2.03 The District Councils recognize the CMPA as the sole and exclusive bargaining agent with respect to all production which is subject to this Agreement.

2.04 Once ratified this Agreement represents a single Agreement applicable in the provinces of Alberta, Nova Scotia, New Brunswick, Newfoundland and Labrador, Prince Edward Island, the Northwest Territories, Manitoba, Nunavut, Ontario, and Saskatchewan, subject to specific exceptions as set out in each District Council Schedule.

2.05 Upon notice being given by the District Council, the CMPA will provide the District Council with a current list of all Member Producers, whose permanent place of Business is within the geographic scope of this Agreement, within thirty (30) days of receipt of said notice.

2.06 Except by prior agreement with the CMPA, a District Council shall not enter into any agreement with any Producer at rates or terms which are as favourable or more favourable to such Producer than those set forth in this Agreement and no District Council shall permit Members to be engaged at rates less than those provided for herein or upon terms which are as favourable or more favourable to such Producer than set forth in this Agreement.

2.07 Unless otherwise agreed to by the CMPA and the District Council, a Producer shall not enter into any agreement with any District Council at rates or terms which are as favourable or more favourable than those set forth in this Agreement, and no Producer shall offer to engage nor enter into any agreement to engage a Guild Member at rates less than those provided for herein nor upon terms which are favourable or more favourable than those terms set forth in this Agreement.

3.00 Agreement to Follow Terms of Protocol

3.01 The above parties to the Standard Agreement agree that the terms of this protocol, shall govern the Parties, including all Producers who are signatory to a Bargaining Authorization and Voluntary Recognition Agreement with respect to negotiations for the renewal of this Agreement.

4.00 Agreement to Bargain in Good Faith

4.01 Either party may serve notice to bargain within ninety (90) days of the expiry of the Standard Agreement.

4.02 The parties agree to meet within thirty (30) days of notice having been given pursuant to Core Article 4.01 and to commence to bargain in good faith and to make every reasonable effort to enter into a new Agreement.


5.00 Freeze

5.01 While bargaining continues, and until the right to strike or lock out has accrued pursuant to this protocol, the terms and conditions of the current Standard Agreement shall continue in full force and effect and neither party nor any Producer shall threaten to alter or alter any of the terms thereof. In particular, without limiting the generality of the foregoing no Producer shall alter any rates or any other term of the current Standard Agreement or any right or privilege of any Guild Member in the bargaining unit or any right or privilege of the District Council until the requirements of Paragraph 7.01 of this protocol have been met, unless the District Council gives consent to the alteration in writing.

6.00 Conciliation

6.01 Where either party considers that reasonable efforts to enter into a new Agreement have been made, the said party may request the assistance of a conciliation officer. Such a request shall be made by the party giving written notice to the other party of its desire to obtain the assistance of a conciliation officer. Such notice shall contain the names of three (3) persons who the party giving notice is prepared to accept as a conciliation officer. The proposed officers shall be neutral persons who have no direct interest in the subject matter of the negotiations, and who have not acted as employee, agent or advisor, for either of the parties or an interested party in any previous proceedings between the parties or their members.

6.02 The party receiving such notice shall within ten (10) days reply in writing accepting the appointment of one of the suggested conciliation officers of the other party, or shall indicate that none of the suggested conciliation officers are acceptable. The party responding may suggest alternative conciliation officers as a part of its written response and the party giving original notice of a request for conciliation shall either accept such alternative suggestions or in the alternative, within ten (10) days of receipt of the notice, request the appointment of a conciliation officer. Without prejudice to the assertion that work performed under the Standard Agreement is subject to provincial jurisdiction, request for the appointment of a conciliation officer shall be made to the Federal Minister of Labour as per section 71 of the Canada Labour Code, R.S.C.. 1985, c.L-2 as amended.

6.03 Where a conciliation officer has been agreed to by the parties or appointed by the Federal Minister of Labour, such officer shall forthwith confer with the parties and endeavour to assist them in entering into a new Agreement.

6.04 The parties agree to co-operate with such conciliation officer and to make every reasonable effort to enter into a new Agreement.

6.05 After the parties have met with such officer and made every reasonable effort to enter into a new Agreement without success, either party shall have the right to request a report from the conciliation officer. Such report shall be sent to all parties and to the Federal Minister of Labour and advise the parties that a new Agreement has not been made.

6.06 The parties agree that the fees and expenses of such conciliation officer, if not paid by the Federal Department of Labour, shall be paid equally by the parties. Such a request shall be made in accordance with the conciliation/mediation provisions of the Canada Labour Code, or any successor legislation.

7.00 No Strike or Lockout

7.01 Subject to the provisions of the Core Agreement, neither the Guild nor the District Councils, shall declare or authorize a strike against any Producer until the term of the Agreement has expired and until fifteen (15) days have elapsed from the date on which the conciliation officer sent the report to the parties and the Minister as set out in Paragraph 6.05.

7.02 Neither the CMPA nor any Producer who is signatory to a Bargaining Authorization and Voluntary Recognition Agreement shall declare or cause a lockout, until the term of the Agreement has expired and until fifteen (15) days have elapsed from the date on which the conciliation officer sent the report to the Minister as set out in Paragraph 6.05 of this protocol.

7.03 The parties to this protocol, the individual Members of the Guild and all of the Producers who are signatory to a Bargaining Authorization and Voluntary Recognition Agreement agree that the Guild shall be authorized and permitted to call a strike in compliance with the terms of this protocol, notwithstanding the fact that the District Council may not have complied with the statutory provisions of any labour legislation in any of the provinces or territories of Canada and further agree that the District Councils and the Guild Members shall be entitled to legally strike in any such province or territory so long as the provisions of this Schedule have been adhered to.

7.04 The parties to this protocol, the individual Members of the Guild and all of the Producers who are signatory to a Bargaining Authorization and Voluntary Recognition Agreement agree that the CMPA shall be authorized and permitted to declare a lockout in compliance with the terms of this Schedule notwithstanding the fact that the Producer may not have complied with the statutory provisions of any labour legislation in any of the provinces or territories of Canada and further agree that the CMPA shall be entitled to legally declare such lockout in any such province or territory so long as the provisions of this Schedule have been adhered to.

7.05 The Guild shall not selectively strike against individual CMPA members or Permittee members nor shall any Producer selectively lock out any Guild Member who is subject to the terms of this protocol. For greater clarity, a strike declared by the Guild as against any single Producer shall be deemed to be a strike against all Producers and similarly a lockout of any Guild Member shall be considered to be a lockout of all Guild Members subject to this Agreement.

The parties to this Negotiation Protocol agree that a strike or lockout shall have the same meaning as those terms have under the terms of the Canada Labour Code.

8.00 Ratification

8.01 Notwithstanding that this Agreement is negotiated as between the CMPA and the Guild it is recognized that the CMPA and each District Council of the DGC shall individually ratify this Agreement and this Agreement is not considered ratified unless ratified by all District Councils who are party to this protocol.


9.00 Dispute Resolution (with respect to Bargaining Rights)

9.01 Within ninety (90) days of a District Council knowing or being reasonably expected to have known the facts giving rise to its claim, that District Council has the right to allege that any person, corporation or other entity is a Producer and therefore bound by the terms of the Standard Agreement and this protocol. Notwithstanding the foregoing, the timelines with respect to a dispute under this section regarding Director rights acquisition fees shall have a twelve (12) month limitation period.

9.02 The District Council shall make any allegations pursuant to Paragraph 9.01 of this protocol or of a violation of any of the provisions of this protocol, by means of a notice, setting out the particulars upon which the allegations are based. The notice shall be sent by fax and by registered mail to the Producer(s) and the CMPA.

9.03 The responding parties shall be allowed fifteen (15) business days from the date the notice was sent by registered mail in which to file a response, outlining their respective positions.

9.04 All parties shall endeavor to settle all outstanding issues arising from the notice and response within the next five (5) business days.

9.05 Failure to reach a settlement shall entitle the District Council to refer the matter to final and binding arbitration before an adjudicator. The arbitration procedure shall be governed in all respects by the provisions of this protocol.

10.00 Adjudication

10.01 The adjudicator shall be agreed upon by the parties or appointed pursuant to Core Article 10.00 (i.e. grievance and arbitration article).

10.02 The adjudicator has, in relation to any proceeding before the adjudicator, power:

(a) to summon and enforce the attendance of witnesses and compel them to give oral or written evidence on oath and to produce such documents and things as the adjudicator deems requisite to the full investigation and consideration of any matter within the adjudicator’s jurisdiction that is before the adjudicator in the proceedings;

(b) to administer oaths and solemn affirmations;

(c) to receive and accept such evidence and information on oath, affidavit or otherwise as the adjudicator deems fit, whether admissible in a court of law or not;

(d) to examine, in accordance with any regulations of the Canada Industrial Relations Board, such evidence as is submitted to the adjudicator respecting the membership of any employees in a trade union;

(e) to make such examination of records and such inquiries as is deemed necessary;

(f ) to require a Producer to post and keep posted in appropriate places any notice that the adjudicator considers necessary to bring to attention of any Guild Members, any matter relating to the proceeding;

(g) subject to bona fide production requirements, to enter any premises of a Producer and to inspect any work, material, documents, financial records and any other thing and interrogate any person respecting any matter that is before the adjudicator in the proceeding;

(h) to authorize any person to do anything the adjudicator may do under paragraphs (a) to (g) inclusive, and to report to the adjudicator thereon;

(i) to adjourn or postpone the proceeding from time to time;

(j) to abridge or enlarge the time for instituting proceeding or for doing any act, filing any document or presenting any evidence in connection with the proceeding;

(k) to amend or permit the amendment of any document filed in connection with the proceeding; and

(l) to add a party to the proceeding at any stage of the proceeding.

10.03 The parties agree and acknowledge that the adjudicator has exclusive jurisdiction to exercise the powers conferred upon it by the provisions of this protocol and to determine all questions of fact and law that arise in any matter before the adjudicator. The finding of an adjudicator as to the facts and as to the meaning or violation of the provisions of this protocol shall be conclusive and binding upon all parties concerned, but in no case shall the adjudicator be authorized to alter, modify or amend any part of this protocol.

10.04 The parties agree and acknowledge that the adjudicator shall have the authority to order such remedy as is necessary to give real and substantial relief to any aggrieved party and in so doing may determine what, if anything, a Producer, CMPA, the District Council and a Guild Member shall do or refrain from doing.

10.05 Where, in the opinion of the adjudicator, two or more persons, corporations or other entities constitute a Common Producer, the adjudicator shall so declare and such declaration shall have the effect that the persons, corporations or entities shall be treated as a single Producer under this Agreement. Without limiting the adjudicator’s general remedial powers, the adjudicator may order that a Member Producer assumes all rights and obligations, under the Standard Agreement (or the terms and conditions of the Standard Agreement as frozen by this protocol) and any individual contract with a Guild Member, or any person, corporation or other entity.

10.06 Where, in the opinion of the adjudicator, a person, corporation or other entity is a Successor Producer, the adjudicator shall so declare and such declaration shall have the effect that the Successor Producer shall assume all rights and obligations of the Member Producer under the Standard Agreement (or the terms and conditions of the Standard Agreement as frozen by this protocol) and any individual contract with a Guild Member.

10.07 In the event that a Successor Producer does not comply with its obligations resulting from a declaration under Paragraph 10.05 or 10.06 of this protocol within thirty (30) days, the Guild may bring the matter back before the Adjudicator, who, upon proof of non-compliance, shall declare that the Member Producer remains liable with respect to any obligations under the Standard Agreement (or the terms and conditions of the Standard Agreement as frozen by this protocol) and any individual contract with a Guild Member, as if no sale had been made.


11.00 General

11.01 Nothing in this protocol or in the Standard Agreement affects or restricts any right that any party may have under the Status of the Artist Act, S.C. 1992, c.33, as amended.

11.02 During the term of the Standard Agreement and with respect to any grievance or arbitration thereunder, or any other administrative or court proceeding, including but not limited to, proceedings before any labour relations board, neither the CMPA nor the Producer will raise any issues for determination with respect to the status of the DGC, a District Council, a Guild Member or the Standard Agreement, including but not limited to:

i. the status of the Standard Agreement as a collective agreement;

ii. the status of the Guild or a District Council as a trade union; and/or

iii. whether any Guild Member is an “employee”, a “manager” or “employed in a confidential capacity relating to labour relations”.


DGC ALBERTA DISTRICT COUNCIL SCHEDULE 8 Standard Contract for Services

ACCOUNTING DEPT., PRODUCTION MANAGERS & ASSISTANT PRODUCTION MANAGERSYou will be entrusted with detailed information respecting the Producer’s business, the disclosure of which would be harmful to the Producer’s interest and as such agree to keep all such information confidential. You acknowledge and agree that the right to maintain such detailed information constitutes a property right, which the Producer is entitled to protect. Accordingly, you will not without prior written consent of the Producer, during the term of this Agreement and subsequent to its termination, copy by any means, disclose, directly or indirectly, to any third party any confidential information relating to the Producer. Undersigned hereby authorizes Signatory Producer to check off or deduct 2% of Gross Remuneration in accordance with Article 6.02 and permit fees in accordance with Article 7.08, and remit same to the District Council weekly. This engagement is subject to the provisions of and must provide no less than the terms and conditions of the 2016 - 2018 DGC/CMPA Standard Agreement. All of the provisions of the Standard Agreement and any individual contract between a Guild Member and the Producer shall be deemed to be incorporated into this Contract for Services as if set forth in full herein in writing.

ACCEPTED AND AGREED ________________________________________________________________ __________________________________________________________

Signature of Guild Member OR Loanout’s Authorized Rep Print Name of Producer (Company)

________________________________________________________________ __________________________________________________________ Print Name of Guild Member OR Loanout’s Authorized Rep Signature of Producer’s (Company’s) Authorized Rep

________________________________________________________________ __________________________________________________________ Date Print Name of Producer’s (Company’s) Authorized Rep*

__________________________________________________________ Date

*PRODUCER’S AUTHORIZED REPRESENTATIVE INCLUDES EXECUTIVE PRODUCER, PRODUCER, SUPERVISING PRODUCER, ASSOCIATE PRODUCER OR LINE PRODUCER OR A PERSON PERFORMING ANY OF THOSE FUNCTIONS, BUT EXCLUDES A GUILD MEMBER WHO IS ENGAGED UNDER THE STANDARD AGREEMENT (CORE ARTICLE 12.09).

❑ GUILD MEMBER ❑ PERMITTEE


❑ Second Unit Director ❑ Production Coordinator❑ Production Manager ❑ Asst Production Coordinator❑ Unit Manager ❑ Trainee Prod. Coordinator❑ Asst Production Manager ❑ Technical Coordinator

ASSISTANT DIRECTORS

❑ First ❑ Second ❑ Third ❑ TAD

LOCATION DEPARTMENT

❑ Location Manager ❑ Asst Location Manager ❑ Location Scout❑ Trainee Location Manager


❑ Production Accountant❑ First Assistant Accountant – General❑ First Assistant Accountant – Payroll❑ Second Assistant Accountant❑ Accounting Clerk❑ Trainee Assistant Accountant

ART DEPARTMENT

❑ Production Designer❑ Art Director ❑ Art Director (Head)❑ First Assistant Art Director (Set Designer/Graphics)❑ Second Assistant Art Director❑ Art Department Trainee


❑ Supervising Picture Editor❑ Picture Editor❑ First Assistant Picture Editor❑ Assistant Picture Editor Upgrade 11.35b❑ Assistant Picture Editor❑ Trainee Assistant Picture Editor


❑ Supervising Sound Editor❑ Sound Editor❑ First Assistant Sound Editor❑ Second Assistant Sound Editor❑ Trainee Assistant Sound Editor

OTHER

❑ Production Assistant❑

GUILD MEMBER: _______________________________________________________________ (Print Name – No Loanout Company)

SIN #: _________________________________________________________________________

LOANOUT COMPANY: ___________________________________________________________ (Print Name Of Loanout Company)

GST/HST: ______________________________________________________________________

TEL # (H): __________________________CELL #: _____________________________________

E-MAIL: _______________________________________________________________________

ADDRESS: _____________________________________________________________________

CITY/POSTAL CODE: ____________________________________________________________

MOTION PICTURE TITLE: _________________________________________________________

ENGAGED IN PROVINCE OF: ______________________________________________________

ENGAGED FOR: ❑ Main Unit OR ❑ Second Unit

TIER LEVEL: ❑ A ❑ B ❑ C ❑ D ❑ E ❑ F

START DATE: Day ______________ Month ____________________ Year _____________

RATE (SPECIFY DOLLAR AMOUNT): ________________________________________________

TYPE OF ENGAGEMENT: ________________________________________________ ❑ WEEKLY

❑ DAILY ___________________________________________________________ ❑ 8 HR CALL

OTHER TERMS (e.g. Vehicle, Cell Phone Rental, Kit Rental, Per Diem, etc.)

___________________________________________________________________________________

___________________________________________________________________________________

___________________________________________________________________________________

OTHER WEEKLY OPTIONS:❑ FLAT DEAL per Core Article 1.25 & AB3.01 MEMBER TO INITIAL AGREEMENT HERE: Flat Deal Only

❑ SPECIFIC TERM Finish Date Day _______ Month ________ Year _____________ (ie PAY OR PLAY)


DGC ATLANTIC REGIONAL COUNCIL SCHEDULE 8 Standard Contract for Services






__________________________________________________________ Date




❑ Second Unit Director ❑ Asst Production Coordinator

❑ Production Manager ❑ Trainee Production Coordinator

❑ Asst Production Manager/Unit Manager

❑ Production Coordinator

ASSISTANT DIRECTORS


LOCATION DEPARTMENT

❑ Location Manager

❑ Assistant Location Manager ❑ Location Scout

ART DEPARTMENT

❑ Production Designer

❑ Art Director (Head)

❑ Art Director

❑ First Assistant Art Director/Set Designer

❑ Second Assistant Art Director

❑ Art Department Coordinator

❑ Third Assistant Art Director

❑ Art Department Production Assistant


❑ Supervising Picture Editor

❑ Picture Editor

❑ First Assistant Picture Editor

❑ Assistant Picture Editor Upgrade 11.35b

❑ Assistant Picture Editor

❑ Trainee Assistant Picture Editor


❑ Supervising Sound Editor

❑ Sound Editor

❑ First Assistant Sound Editor

❑ Second Assistant Sound Editor

OTHER

❑ Production Assistant

❑


SIN #: _________________________________________________________________________


GST/HST: ______________________________________________________________________

TEL # (H): __________________________CELL #: _____________________________________

E-MAIL: _______________________________________________________________________

ADDRESS: _____________________________________________________________________

CITY/POSTAL CODE: ____________________________________________________________







TYPE OF ENGAGEMENT: ❑ WEEKLY ❑ DAILY


___________________________________________________________________________________

___________________________________________________________________________________

___________________________________________________________________________________

OTHER WEEKLY OPTIONS:❑ FLAT DEAL per Core Article 1.25 & AT1.08 MEMBER TO INITIAL AGREEMENT HERE: Flat Deal Only



DGC MANITOBA DISTRICT COUNCIL SCHEDULE 8 Standard Contract for Services






__________________________________________________________ Date




❑ Second Unit Director ❑ Production Coordinator

❑ Production Manager ❑ Asst Production Coordinator

❑ Asst Production Manager/Unit Manager

ASSISTANT DIRECTORS

❑ First ❑ Second ❑ Third

LOCATION DEPARTMENT

❑ Location Manager

❑ Assistant Location Manager ❑ Location Scout

❑ Trainee Location Manager


❑ Production Accountant

❑ First Assistant Accountant/General

❑ Second Assistant Accountant

❑ Accounting Clerk


❑ Supervising Picture Editor

❑ Picture Editor

❑ First Assistant Picture Editor

❑ Assistant Picture Editor Upgrade 11.35b

❑ Assistant Picture Editor

❑ Trainee Assistant Picture Editor


❑ Supervising Sound Editor

❑ Sound Editor

❑ First Assistant Sound Editor

❑ Second Assistant Sound Editor

OTHER

❑ Production Assistant

❑


SIN #: _________________________________________________________________________


GST/HST: ______________________________________________________________________

TEL # (H): __________________________CELL #: _____________________________________

E-MAIL: _______________________________________________________________________

ADDRESS: _____________________________________________________________________

CITY/POSTAL CODE: ____________________________________________________________







TYPE OF ENGAGEMENT: ❑ WEEKLY ❑ DAILY ❑ 8 HR CALL


___________________________________________________________________________________

___________________________________________________________________________________

___________________________________________________________________________________

OTHER WEEKLY OPTIONS:❑ FLAT DEAL per Core Article 1.25 & MB1.10 MEMBER TO INITIAL AGREEMENT HERE: Flat Deal Only



DGC ONTARIO DISTRICT COUNCIL SCHEDULE 8 Standard Contract for Services

ACCOUNTING DEPT., PRODUCTION MANAGERS & ASSISTANT PRODUCTION MANAGERSYou will be entrusted with detailed information respecting the Producer’s business, the disclosure of which would be harmful to the Producer’s interest and as such agree to keep all such information confidential. You acknowledge and agree that the right to maintain such detailed information constitutes a property right, which the Producer is entitled to protect. Accordingly, you will not without prior written consent of the Producer, during the term of this Agreement and subsequent to its termination, copy by any means, disclose, directly or indirectly, to any third party any confidential information relating to the Producer. Undersigned hereby authorizes Signatory Producer to check off or deduct 2% of Gross Remuneration in accordance with Core Article 6.02 and permit fees in accordance with Core Article 7.08, and remit same to the District Council weekly. This engagement is subject to the provisions of and must provide no less than the terms and conditions of the 2016 - 2018 DGC/CMPA Standard Agreement. All of the provisions of the Standard Agreement and any individual contract between a Guild Member and the Producer shall be deemed to be incorporated into this Contract for Services as if set forth in full herein in writing.





__________________________________________________________ Date

*Producer’s Authorized Rep includes Executive Producer, Producer, Supervising Producer, Associate Producer or Line Producer or a person performing any of those functions, but EXCLUDES A GUILD MEMBER WHO IS ENGAGED UNDER THE STANDARD AGREEMENT (Core Article 12.09).



❑ Second Unit Director❑ Production Manager❑ Unit Manager❑ Assistant Production Manager

ASSISTANT DIRECTORS

❑ First ❑ Second ❑ Third AD ❑ Fourth AD❑ Set PA ❑ Set PA (8 Hr Shift)

LOCATION DEPARTMENT

❑ Location Manager ❑ Location PA❑ Assistant Location Manager ❑ Location PA (4 Hr Call)❑ Location Scout (ALM) ❑ Location Support Personnel


❑ Production Accountant❑ First Assistant Accountant – General❑ First Assistant Accountant – Payroll❑ Second Assistant Accountant❑ Third Assistant Accountant/Accounting Clerk❑ Trainee Assistant Accountant ❑ Post Production Accountant

ART DEPARTMENT

❑ Production Designer❑ Art Director ❑ Art Director (Head of Dept.)❑ First Assistant Art Director /Set, GFX or Motion GFX Designer❑ Second Assistant Art Director ❑ Art Department Coordinator❑ Art Department Trainee


❑ Supervising Picture Editor ❑ Post Production Assistant❑ Picture Editor❑ First Assistant Picture Editor❑ Assistant Picture Editor❑ Assistant Picture Editor per Core Article 11.35b❑ Trainee Assistant Picture Editor


❑ Supervising Sound Editor❑ Sound Editor❑ First Assistant Sound Editor❑ Trainee Assistant Sound Editor

POST PRODUCTION SUPERVISION

❑ Post Production Supervisor ❑ Post Production Coordinator

❑ OTHER: _____________________________________________

LOANOUT Name of Guild Member: _________________________________________________________

Name of Loanout Co.: ___________________________________________________________

GST or HST #: __________________________________________________________________

NO LOANOUTName of Guild Member: _________________________________________________________

SIN #: _________________________________________________________________________

TEL # (H): __________________________CELL #: _____________________________________

E-MAIL: _______________________________________________________________________

ADDRESS: _____________________________________________________________________

CITY/POSTAL CODE: ____________________________________________________________







TYPE OF ENGAGEMENT: ❑ WEEKLY ❑ DAILY ❑ HOURLY


___________________________________________________________________________________

___________________________________________________________________________________

___________________________________________________________________________________

___________________________________________________________________________________

OTHER WEEKLY OPTIONS:❑ FLAT DEAL per Core Article 1.25 & ON1.08 MEMBER TO INITIAL AGREEMENT HERE: Flat Deal Only



DGC SASKATCHEWAN DISTRICT COUNCIL SCHEDULE 8 Standard Contract for Services






__________________________________________________________ Date




❑ Second Unit Director ❑ Production Coordinator❑ Production Manager ❑ Asst Production Coordinator❑ Asst Production Manager/UM ❑ Trainee Prod. Coordinator❑ Asst Unit Manager ❑ Office Production Asst

ASSISTANT DIRECTORS


LOCATION DEPARTMENT

❑ Location Manager ❑ Assistant Location Manager ❑ Location Scout❑ Trainee Location Manager


❑ Production Accountant❑ First Assistant Accountant – General❑ First Assistant Accountant – Payroll❑ Second Assistant Accountant❑ Accounting Clerk❑ Trainee Accountant

ART DEPARTMENT

❑ Production Designer❑ Art Director❑ First Assistant Art Director (Set Designer/Graphics)❑ Second Assistant Art Director❑ Art Department Coordinator❑ Art Department Production Assistant


❑ Supervising Picture Editor❑ Picture Editor❑ First Assistant Picture Editor❑ Assistant Picture Editor❑ Trainee Assistant Picture Editor


❑ Supervising Sound Editor❑ Sound Editor❑ First Assistant Sound Editor❑ Second Assistant Sound Editor

OTHER

❑ Production Assistant❑


SIN #: _________________________________________________________________________


GST/HST: ______________________________________________________________________

TEL # (H): __________________________CELL #: _____________________________________

E-MAIL: _______________________________________________________________________

ADDRESS: _____________________________________________________________________

CITY/POSTAL CODE: ____________________________________________________________


ENGAGED IN PROVINCE OF SASKATCHEWAN





TYPE OF ENGAGEMENT: ❑ WEEKLY ❑ DAILY ❑ 8 HR CALL


___________________________________________________________________________________

___________________________________________________________________________________

___________________________________________________________________________________

OTHER WEEKLY OPTIONS:❑ FLAT DEAL per Core Article 1.25 & SK1.06 MEMBER TO INITIAL AGREEMENT HERE: Flat Deal Only



SCHEDULE 9 Budget Certification

_____________________________________________________________________________ (the “Certifier”) is the: (Insert Name Of Producer or Completion Guarantor)

❑ Completion Guarantor; or

❑ Producer

for the production currently entitled _____________________________________________________ (“Production”) (Insert Name Of Production)

being produced by _____________________________________________________________________ and hereby (Insert Name Of Production Company)

certifies that the attached Budget Top Sheet dated _______ /_______ / 20_______ , initialed by the Producer, having a total MM DD YY

Production cost (above and below-the-line, including all amortized and episodic expenses) of $ ______________________

is the true and actual Locked Budget for the Production.

For Television Series, please indicate the number of Episodes: _____________________________________________

For Treaty and/or Interprovincial Co-Productions, please indicate participating jurisdictions:

_______________________________________________________________________________________________

Is this Production being bonded by a Completion Guarantor? ❑ Yes OR ❑ No

___________________________________________ _______________________________________________ (If “Yes”, Please Insert Name Of Completion Guarantor) (Contact)

____________________________________________ ________________________________________ (Signature of Certifier) (Signature of DGC Representative)

____________________________________________ ________________________________________ (Print Name/ Title) (Print Name/ Title)

____________________________________________ ________________________________________ (Certifier’s Company Name) (District Council)

____________________________________________ ________________________________________ Date Date


SCHEDULE 10 Production Guarantee

MEMORANDUM OF AGREEMENT dated this __________________ day of ________________________, 20 _____________

BETWEEN: The Directors Guild of Canada, _________________________________________________________________ Council (the “District Council”)

AND _____________________________________________________________________________________________________(the “Guarantor”) (insert name and address of approved production guarantor)

WHEREAS ________________________________________________________________________________________ intends to produce a Production (the “Producer”)

entitled __________________________________________________________________________________________________________________ ; (The “Production”)

AND WHEREAS the Producer is a party to the 2016–2018 DGC/CMPA Standard Agreement between the Canadian Media Producers Association (CMPA) and the District Councils;

AND WHEREAS pursuant to Core Article 14.09(a) of the Standard Agreement, the District Council is entitled to require that a Producer place security in the form of a cash deposit or letter(s) of credit, at the time, in an amount, and in the manner set out in the Standard Agreement unless a production guarantee in this form signed by an approved production guarantor is accepted by the District Council;

AND WHEREAS the District Council has accepted Guarantor as an approved production guarantor;

NOW THEREFORE the parties hereby agree as follows:

1. In consideration of the District Council foregoing the requirement that the Producer put up a cash bond or letter of credit, Guarantor hereby guarantees the payment of all monies which would otherwise be secured by a cash bond or letter of credit pursuant to Core Article 14.09(a) of the Standard Agreement, including Director rights acquisition fees and all other amounts payable after production pursuant to the Standard Agreement related to the Production.

2. If at any time, payment of any amount guaranteed herein is in default for more than 14 days, then the District Council shall be entitled to deliver to Guarantor a formal demand in writing outlining the specific sum involved and particulars of the default. On receipt of such demand, Guarantor will forthwith pay to the District Council the sum set out in such notice. If there is any dispute as to the amount owing by the Producer, or whether any amount is owing at all, Guarantor will nevertheless pay the sum set out in such notice to the District Council in trust, and the District Council will hold such sum in trust in an interest bearing account. Within 5 days of such dispute being resolved, the District Council will refund to Guarantor any sums determined to be in excess of what was owing by the Producer, along with accrued interest.

3. The District Council shall have the unilateral right to terminate this production guarantee and revert to the requirements of Core Article 14.09(b) or (c) of the Standard Agreement if the payment of any amount guaranteed herein is in default for more than 14 days after Guarantor has been served with the demand provided in paragraph 2 herein.

4. Guarantor shall be released from the guarantee given herein and all obligations resulting therefrom on the sooner of the delivery to the District Council of a security agreement pursuant to Core Article 14.09(c) or the delivery to the District Council of a distribution guarantee or distributor’s assumption agreement from an approved distribution guarantor pursuant to Core Article 14.10(c).

5. The termination of this production guarantee by the District Council pursuant to paragraph 3 herein shall in no way annul, terminate or otherwise affect the obligations of Guarantor with respect to any amounts accruing prior to the date of such termination by the District Council, subject to paragraph 4 herein.

6. If the District Council terminates this production guarantee pursuant to paragraph 3 herein, Producer shall, within 48 hours of receipt of written notice of such termination, post security in the form of a cash deposit or letter(s) of credit in accordance with Core Article 14.09(a) of the Standard Agreement. If there is any dispute as to the amount owing by the Producer, or whether any amount is owing at all, Producer will nevertheless pay the sum set out in such notice to the District Council in trust, and the District Council will hold such sum in trust in an interest bearing account. Within 5 days of such dispute being resolved, the District Council will refund to Producer any sums determined to be in excess of what was owing by the Producer, along with accrued interest.

IN WITNESS WHEREOF the parties hereto have executed this production guarantee as of the date hereinabove firstly mentioned.

(Producer) (Approved Production Guarantor)

Per: Per:

________________________________________________________ ___________________________________________________ (Signature) (Signature)

________________________________________________________ ___________________________________________________ (Name of Signatory Producer) (Name of Guarantor)

________________________________________________________ ___________________________________________________ (Address of Signatory Producer) (Address of Guarantor)

________________________________________________________ ___________________________________________________ (Phone Number of Signatory Producer) (Phone Number of Guarantor)

________________________________________________________ ___________________________________________________ (Fax Number of Signatory Producer) (Fax Number of Guarantor)

The Directors Guild of Canada, ______________________________Council

Per: _____________________________________________________ Title: __________________________________________________________


This security agreement, made pursuant to Core Article 14.10(b) of the Standard Agreement

Between: ____________________________________________________________________ (the “Debtor”)

AND

Directors Guild of Canada, ______________________________________________________ District Council (the “District Council”)

Re: __________________________________________________________________________ (the “Production”)

WHEREAS the Debtor is authorized and entitled to provide this security agreement in respect of the Production;

1. This security agreement is entered into between the Debtor and the District Council to secure the performance by the Debtor of all its financial obligations payable after production pursuant to the Standard Agreement, including Director rights acquisition fees and all other amounts payable after production pursuant to the Standard Agreement related to the Production.

2. The parties acknowledge and agree to be bound by the terms, conditions and definitions contained in the standard security terms in Schedule 11B.

3. The District Council specifically acknowledges and agrees that this Security Interest shall be subject and subordinate to, the security interests of the parties listed below. If the security interest of any listed party is not registered at the time of the registration of this Security Interest, the District Council will agree to provide, at no cost to the Debtor, any subordination agreements required:

(a) __________________________________________________ (d) _______________________________________________________

(b) __________________________________________________ (e) _______________________________________________________

(c) __________________________________________________ (f ) _______________________________________________________

The failure of the Debtor to list all those parties with a prior security interest shall not be a violation of this security agreement, provided such security interest is registered.

4. Subordination of the District Council Security Agreement

Pursuant to paragraph 7 of the standard security terms, the District Council agrees that its Security Interest will rank subordinate to the security interests of the parties listed in paragraph 3. The intent of this provision is that generally, the security interests of the following parties, will enjoy priority over the District Council’s security interest: chartered banks, trust companies or other recognized lending institutions, government funded financiers, and subject to the prior written approval of the District Council, other lenders or financiers who specifically require priority and who are providing project financing in respect of the Production.

5. The Debtor represents and warrants as follows:

(a) Debtor’s Legal Name, principal place of business and mailing address: ________________________________________________________________________

(b) The address at which the Debtor keeps its records concerning accounts and contracts with respect to which a security interest is herein granted (if different than above) is: ___________________________________________________________________________________________________________________

(c) The negatives in connection with the Production will be processed by: ________________________________________________________________________

(d) The positive copies of the Production for distribution will be made by: ________________________________________________________________________

(e) The Debtor is duly organized and exists under the laws of the province/state/country of ______________________________ and is not restricted by its charter documents or otherwise from entering into this security agreement.

(f ) The copyright in Production has been or upon its completion will be duly registered in the following countries _______________________________________free and clear of adverse claims and liens other than those created hereby or as disclosed in paragraph 3 hereof.

(g) If the Debtor is not the Producer, that the Producer is ________________________ and its place of business is _______________________________________

(h) That it is in receipt of a copy of the Standard Agreement, this security agreement and the standard security terms.

IN WITNESS WHEREOF the Debtor has executed this security agreement at _______________________________ this _______ day of ________________ 20 ______

DEBTOR

Per: _____________________________________________________ ___________________________________________________ signature (print name/title)

Acknowledgment:

Directors Guild of Canada_______________________ District Council Per: _______________________________________________

Date: ______________________________________ , 20 _______ _______________________________________________ (print name/title)

SCHEDULE 11A Security Agreement The Producer shall sign the following security agreement and forward it to the local District Council office.


SCHEDULE 11B Standard Security Terms (See Core Article 14.10 (b))

1.00 PARTIES AND THE NATURE OF THE RELATIONSHIP

1.01 The security agreement is entered into between the Debtor and the District Council to secure the performance by the Debtor of its Secured Obligations (defined herein at paragraph 3), and to make the Collateral (defined herein at paragraph 4) security for such Secured Obligations, to the fullest extent allowed by applicable law.

1.02 The Secured Party is The Directors Guild of Canada, _____________________ District Council, which is the exclusive bargaining agent for all of the Guild Members who worked on the Production .

1.03 The Debtor acknowledges that the Secured Party, referred to as the District Council, is thus entitled to represent the Guild Members in respect of any and all current and continuing claims for payment of Director rights acquisition fees and all other amounts payable after production pursuant to the Standard Agreement.

1.04 Name and address of the Secured Party

The Directors Guild of Canada, _____________________ District Council

FAX

Address

1.05 The Debtor warrants and represents that under the terms of the agreement, it is primarily liable for all obligations to report and remit Director rights acquisition fees and all other amounts payable after production pursuant to the Standard Agreement, as if it was a signatory to the Standard Agreement and the terms of the Standard Agreement are hereby incorporated by reference.

2.00 CREATION OF SECURITY INTEREST

2.01 The Debtor hereby grants to the District Council, in addition to any other rights or benefits previously granted by contract, Collective Agreement or otherwise, for value received and to secure the performance of the Obligations under this security agreement and as a general and continuing collateral security for the payment of the full sum of Guild Members’ Gross Remuneration including but not limited to Director rights acquisition fees and all other amounts payable after production pursuant to the Standard Agreement and for the due performance, observance and fulfillment of the Obligations of the Producer/Debtor, a Security Interest by way of a charge ranking subordinate to those secured parties set out in section 7.1 hereof, but otherwise in first position in respect of the Collateral as defined herein, whether now owned or hereafter acquired directly or indirectly by the Debtor, whether now existing or hereafter arising, pursuant to any and all applicable provincial legislation relating to the creation and registration of security interests (the “Legislation”), and the property described herein (hereinafter referred to as “Collateral”).

2.02 All phrases which are defined in the Standard Agreement and not otherwise defined in this security agreement shall have the meaning ascribed by the Standard Agreement, and all phrases not otherwise defined in this security agreement shall have the meaning ascribed by the Legislation.

3.00 THE OBLIGATIONS (The “Obligations”)

3.01 The obligation to pay to Guild Members any and all Fees due for their services performed or to be performed in the Production and any and all compensation due by reason of the Distribution of all or part of the Production, in accordance and as defined by the terms of the Standard Agreement; and

For certainty, the Obligations shall include but shall not be limited to:

(a) the obligation to pay contributions for the benefit of Guild Members, in accordance with the Standard Agreement, subject to any of the above obligations being assumed in writing by another entity by means of a purchaser’s assumption agreement or a distributor’s assumption agreement, with approval of the District Council (not to be unreasonably withheld) whereupon they shall be excluded from the Obligations secured hereunder; and

(b) the full, timely and faithful performance by Producer of all terms, provisions, covenants, conditions, agreements and obligations contained in or contemplated by this security agreement and the Standard Agreement.

4.00 COLLATERAL

4.01 “Collateral” means all right, title and interest of Producer in and to the Production, each of the component elements thereof and all rights appurtenant thereto, together with any and all proceeds and avails thereof. For certainty, no right or interest with respect to sequels, prequels, remakes, spin-offs or episodic series based on or derived from the Production or any of its underlying works nor any right to monies derived through the exploitation of ancillary, allied, underlying and like rights such as merchandising, novelization, music publishing, soundtrack and sequel rights. Any reference to Collateral shall, unless the context requires otherwise, be deemed a reference to “Collateral or any part thereof”. For certainty, the Collateral includes:

(a) all debts, accounts receivable, demands, and choses in action which are now due, owing or accruing due or which may hereafter become due, owing or accruing due to the Debtor and all claims of whatsoever nature or kind which the Debtor now has or may hereafter have, including claims against the Crown and claims under insurance policies;


(b) all contracts, securities, bills, notes, lien notes, judgments, chattel mortgages, mortgages, and all other rights and benefits which now are or may hereafter be vested in the Debtor in respect of or as security for any of the said debts, demands, choses in action and claims;

(c) all books, accounts, invoices, letters, papers and documents in any way evidencing or relating to any of the said debts, demands, choses in action and claims;

(d) all negatives, video tapes, lavenders, dupes, sound tracks and positive prints connected with the Production whether in completed form or in some stage of completion; or any other media upon which the Production is recorded, and all rights in the said media, and other assets related to the Production of any nature, and any proceeds therefrom, now owned or which may from time to time be owned and acquired by the Debtor;

(e) the single production right to the original idea and story upon which the Production is based, all scripts, screenplays and other written materials used or to be used in connection with the Production;

(f ) the synchronization rights in and to the lyrics, music and musical compositions as may be owned or acquired by Producer for use in the Production to the extent of such single use only;

(g) all copyrights and licences obtained or to be obtained by Producer for use in connection with the Production to the extent of such single use only;

(h) all sums obtained or to be obtained by Producer from distribution, exhibition and exploitation of the Production, including without limitation all moneys due or to become due to Producer under any distribution agreements entered into by Producer for the distribution of the Production; and

(i) all recoveries under insurance policies issued in connection with the Production.

4.02 The Debtor expressly warrants that to the best of its knowledge and belief it has good title to its interest in the Collateral now due and will have good title to its interest in the Collateral to become due, free and clear of all liens and encumbrances except for the security interest granted hereby, the security interests in section 7.1 hereof or as disclosed to the District Council and that no restrictions exist, or will exist by agreement or otherwise, with respect to any of the said Collateral which impair the right of the Debtor to make this charge.

5.00 ENFORCEMENT COSTS

5.01 The District Council acknowledges that it shall be solely responsible for all costs and expenses, including legal fees and disbursements, in perfecting and enforcing any of its rights under this security agreement, save and except as herein provided.

6.00 RIGHTS AND OBLIGATIONS OF DEBTOR

6.01 The Producer shall:

(a) at no cost, execute and deliver such further agreements, contracts, documents and instruments (each a “Security Document”) as the District Council may reasonably prepare, require to perfect, protect or maintain the Security Interest provided for herein. If, within ten (10) business days of notice from the District Council requesting any such Security Document, Producer fails to execute and deliver it consistent with the rights of the District Council or to provide the District Council with notice specifying with particularity Producer’s objection to so doing, then Producer hereby irrevocably appoints the District Council its true and lawful attorney-in-fact to execute, deliver, file and record, on its behalf and in its name, such Security Document. The District Council will promptly provide Producer with a true and complete copy of each Security Document executed by the District Council under this paragraph along with full information regarding each jurisdiction where it has been registered, filed or recorded.

(b) use all reasonable good faith business efforts to defend, at its own cost and expense, Producer’s right, title and interest in and to the Collateral, and the Security Interest and rights of the District Council, against all claims of infringement and against any and all claims by third parties arising out of or resulting from the use in the Production of any story, adaptation, idea, impersonation, character, photograph, music, musical composition or other material, provided that Producer may satisfy this requirement if Producer causes the District Council to be named as an additional insured, as its interest may appear, on any standard policy of errors & omissions insurance maintained by Producers or its successors in interest with respect to the Production.

6.02 The District Council acknowledges that Producer, and its successors, licensees, and assigns, are the persons undertaking the release and exploitation of the Production and all rights within or arising from it. The District Council further acknowledges that prior to the District Council realizing on its Security Interest in accordance with this security agreement, nothing in this security agreement authorizes or permits the District Council to delay, enjoin, impede, impair or otherwise interfere with the development, production, distribution, advertising, marketing, turning to account or other exploitation of the Production or any of the Collateral which is undertaken, authorized, permitted or allowed by Producer or any of its successors, licensees, or assigns in the sole exercise of their good faith business judgment, and nothing in this security agreement requires or prevents Producer or any of its successors in interest from taking or refraining from taking any action for any infringement or piracy of any rights in the Production or Collateral. The District Council agrees that Producer has no obligation under this security agreement to release the Production or to exploit the Production or to realize any moneys with respect thereto in any manner.

6.03 Until default or unless otherwise agreed with the Secured Party, the Debtor may deal with Collateral in the ordinary course of the Debtor’s business in any manner consistent with the provisions of this security agreement. If the Debtor desires to change its principal place of business or mailing address from that described in paragraph 1.2 above or if the Debtor wishes to move its records and accounts from that described in paragraph 1.3 above, or if the Debtor wishes to move the Production negatives or the positive copies of the Production from the locations described in paragraphs 1.3, 1.4 and 1.5 above, the Debtor shall notify the Secured Party of the relevant change and do all such acts and execute all such documents as are required by the District Council to effectively preserve and perfect the Secured Party’s security therein in the jurisdiction to which such assets have been moved. For clarity, nothing herein shall require Debtor to notify the District Council of the removal by any distributor of prints incorporating the Production.

6.04 The Debtor shall defend its own rights in Collateral against the claims and demands of all persons. The Debtor shall use its best efforts to maintain the negative and positive copies of the Production in Debtor’s possession in a condition and state of repair that preserves the value of such Collateral. The Debtor will not knowingly commit or permit damage to or destruction of the negative of the Production.


6.05 The Debtor shall notify the Secured Party promptly of:

(a) any material change in the information contained in this agreement (including the schedules hereto) relating to the Debtor, the Debtor’s business or Collateral;

(b) the details of any change in name or address of the Debtor or location of Collateral;

(c) the details of any disposition of the negative of the Production;

(d) the details of any claim or litigation materially affecting the ownership of the Collateral;

(e) any material loss of or damage to Collateral;

(f ) any material default known to Debtor by any distributor or broadcaster which materially affects the likelihood of further use fees to the District Council in respect of the Production.

6.06 The Debtor will conduct its business and affairs in a proper and efficient manner in accordance with applicable law and keep records relating to the Production in accordance with generally accepted accounting procedures. The Debtor shall pay all charges, taxes, assessments, claims, liens and encumbrances relating to Collateral or the Debtor’s business and affairs when the same become due. The Debtor will deliver to the Secured Party promptly such information concerning Collateral, the Debtor and the Debtor’s business and affairs as the Secured Party may reasonably request.

7.00 SUBORDINATION OF THE DISTRICT COUNCIL SECURITY AGREEMENT

7.01 The District Council acknowledges and agrees that the Security Interest will rank subordinate to security interests of the following: chartered bank, trust company or other recognized lending institution; government funded financiers, and (subject to the prior written approval of the District Council) other lenders or financiers who specifically require priority providing project financing in respect of the Production.

Specifically in respect of the Production the District Council hereby acknowledges and agrees that its Security Interest hereunder ranks subordinate to the security interests, whether registered or otherwise, of the secured parties set out in the security agreement with respect to the Debtor and the Collateral.

7.02 The District Council further acknowledges that Producer, or its assigns, affiliates or successors, have licensed and may from time to time license certain rights in the Production to one or more distributors or licensees, which rights either have been or may be secured by security interests with respect to rights granted to them. The District Council agrees that so long as all statements of receipts and payments have been timely paid or made by such distributor or licensee to Producer with respect to the rights and territories granted to such distributor or licensee, the District Council will not disturb the peaceful and quiet enjoyment of the rights granted to such distributor or licensee, nor attempt to enjoin, impair or interfere with the exercise of its rights.

7.03 In the event that the Producer defaults (as per Article 8 below) and fails to adequately assert or protect its contractual or other rights to receive payments from third parties, pursuant to licensing or distribution agreements or the like, the Debtor agrees that the District Council shall have the right of subrogation and it shall be entitled to take any steps it deems necessary for the protection of such rights, including, but not limited to, the right to commence any legal action in the place of the Debtor. However, any such step or action shall be in the District Council’s name and at the District Council’s sole expense. The District Council shall be reimbursed for any and all reasonable costs of the action, audit, or the like in first position from any funds recovered. All recovered funds shall be directed to be paid and held by a trustee, who will disburse such funds in accordance with entitlement.

8.00 EVENTS OF DEFAULT

8.01 The Debtor shall be in default under this security agreement upon occurrence of any of the following:

(a) Non-payment when due, whether by acceleration or otherwise, of any amounts secured by this security agreement, or the failure to comply with any provisions of the Standard Agreement in any material way.

(b) Failure to comply within thirty (30) days after written notice from the Secured Party demanding compliance with any provision contained in the Standard Agreement or this security agreement and if compliance is not practically possible, failure to take steps that will produce compliance as soon as is reasonably practical.

(c) If any representation or statement made or furnished in this security agreement or under the Standard Agreement to the Secured Party by or on behalf of the Debtor proves in any material respect to have been false when made or furnished.

(d) Bankruptcy of the Debtor; the filing against the Debtor of a petition in bankruptcy if such petition remains uncontested for thirty (30) days; the making of an authorized assignment for the benefit of creditors by the Debtor; the appointment of a receiver, trustee, or liquidator for the Debtor or for any asset of the Debtor if such appointment continues for thirty (30) days or more; or the institution by or against the Debtor of any type of insolvency proceeding or creditor re-arrangement.

9.00 SECURED PARTY RIGHTS AND OBLIGATIONS

9.01 In addition to the rights granted herein, the Secured Party may enforce any other rights and remedies it may have at law or in equity, and specifically shall have all rights and remedies of a secured party under the Legislation. All rights and remedies of the Secured Party shall be cumulative.

9.02 The Secured Party shall have the right at any time upon reasonable notice to confirm the existence and state of Collateral in any manner the Secured Party may consider appropriate and the Debtor agrees to furnish all assistance as the Secured Party may reasonably request in connection therewith. Upon the occurrence of an event of default, the Debtor grants to the Secured Party or its agents access to all places where Collateral may be located and to all premises occupied by the Debtor for the purposes of inspection or obtaining possession.


9.03 The Secured Party may appoint by instrument a receiver or other person to act on its behalf before or after default or in any insolvency or like proceedings (receiver includes a receiver-manager). The appointee has all the powers of the Secured Party under this security agreement. In addition, on instructions from the Secured Party, the receiver shall be entitled in connection with any enforcement proceeding hereunder to carry on the business of the Debtor in respect of the Production with all the powers that the Debtor would have to operate its business for such time as the receiver determines advisable and in the best interest of the Secured Party.

9.04 The Secured Party may, subject to Debtor’s rights under the Legislation, take possession of, collect, demand, sue on, enforce, recover and receive Collateral and give binding receipts and discharges therefor. The Secured Party in possession may, subject to Debtor’s rights under the Legislation, use Collateral as it sees fit, providing that any income from Collateral is applied to the Debtor’s account. Upon default, the Secured Party may also, subject to Debtor’s rights under the Legislation, sell, lease or otherwise dispose of Collateral in any commercially reasonable manner.

9.05 At any time after the occurrence of an event of default, the Secured Party may direct account debtors of the Debtor in respect of the Production to make all payments owing to the Debtor directly to the Secured Party by notifying such account debtors of the Secured Party’s interest, either before or after default; and upon notice from the Secured Party to the Debtor, any payments received by the Debtor in respect of the Production whether before or after notification to account debtors, shall be held by the Debtor in trust for the Secured Party in the same medium in which received, shall not be commingled with any assets of the Debtor, and shall be turned over to the Secured Party forthwith upon receipt.

9.06 The Debtor agrees to pay, subject to limitations under the Legislation or Standard Agreement, all charges, including solicitors’, auditors’, receivers’ or like persons’ costs and remuneration or other expenses reasonably incurred by the Secured Party or other party appointed by the Secured Party in operating the Debtor’s accounts but the Secured Party shall pay the fees and expenses of preparing or otherwise enforcing the terms of this security agreement.

9.07 No variation, amendment (except for any schedule which may be added hereto pursuant to the provisions of this agreement) or waiver of any provision of this security agreement shall be effective unless made by written agreement executed by the parties to this security agreement. The Secured Party may remedy any default or perform any duty of the Debtor hereunder or with respect to any indebtedness in any reasonable manner without waiving the default remedied and without waiving any other prior or subsequent default by the Debtor. The Secured Party may grant extensions of time and other indulgences, take and give up securities, accept compositions, grant releases and discharges, release Collateral to third parties and otherwise deal with the Debtor’s guarantors or sureties and others and with Collateral and other securities as the Secured Party may see fit without prejudice to the liability of the Debtor, or the Secured Party’s right to hold and realize Collateral.

10.00 SUCCESSOR INTERESTS

10.01 This security agreement shall enure to the benefit of and be binding on the parties hereto and their respective heirs, executors, administrators, successors and assigns.

11.00 APPLICABLE LAW

11.01 This security agreement shall be governed by the laws of the Province governing the Standard Agreement.

12.00 TERMINATION

12.01 Upon provision to the District Council of a purchaser’s assumption agreement, or a distributor’s assumption agreement or a distribution guarantee in accordance with the provisions of the Standard Agreement, the District Council shall be deemed to have discharged its security interest and the District Council shall, at the written request and at no cost to Debtor, cancel and discharge all security interests under this security agreement and execute and deliver to the Debtor such deeds or other instruments (collectively, “Release Documents”; individually, a “Release Document”) as shall be required to effect such discharge and to register notice of such discharge under the Legislation and such other jurisdictions as the Secured Party may have registered its security interest. If within ten (10) business days of notice from Debtor requesting any such Release Document, the District Council fails to execute and deliver it or to provide to Debtor notice specifying with particularity the District Council’s objection to so doing, then the District Council hereby irrevocably appoints Debtor its true and lawful attorney in fact to execute, deliver, file and record on its behalf and in its name such Release Documents. Debtor will promptly provide the District Council with a true and complete copy of each Release Document executed by Debtor under this paragraph along with full information regarding each jurisdiction where it has been registered, filed or recorded.


PRODUCTION: ___________________________________________________________________________________________________________________________

DATE: ___________________________________________________________________________________________________________________________________

GUARANTOR: _____________________________________________________

ADDRESS: ________________________________________________________

_________________________________________________________________

PHONE: __________________________________________________________

FAX: _____________________________________________________________

Address at which Guarantor keeps its records concerning accounts and contracts (if different than above): ________________________________________________

The negatives in connection with this Production will be processed by: _____________________________________________________________________________

The positive copies in connection with this Production will be processed by: _________________________________________________________________________

The Guarantor has the following distribution rights in respect of the Production: ______________________________________________________________________

WHEREAS the Producer is a party to the 2016–2018 DGC/CMPA Standard Agreement between the Canadian Media Producers Association (CMPA) and the Directors

Guild of Canada ______________________________________________ District Council (the “District Council”) dated January 1, 2016 (the “Standard Agreement”);

AND WHEREAS the Production was produced by the Producer under the terms and conditions of the Standard Agreement;

AND WHEREAS pursuant to Core Articles 14.09, 14.10 and 14.11 of the Standard Agreement, the District Council has agreed to release other forms of security which it may hold in respect of the Production provided that Producer provides the District Council with a Distribution Guarantee from an approved distribution guarantor in this form;

AND WHEREAS the District Council has accepted Guarantor as an approved distribution guarantor;

NOW THEREFORE the parties hereby agree as follows:

1. In consideration of the District Council releasing and/or foregoing other forms of security which it may hold in respect of the Production, the Guarantor hereby unconditionally guarantees the performance of the reporting requirements with respect to the distributing rights which Guarantor has in the Production, as set out above, and unconditionally guarantees the payment of all amounts which may become due pursuant to the Standard Agreement, in respect of the distribution, exhibition or exploitation of the Production in all media and territories in respect of which the Guarantor holds distribution rights as set out above, including Director Rights Acquisition Fees and all other amounts payable after production pursuant to the Standard Agreement that are now due or may become due to any Guild Member or the District Council (the “District Council”).

2. The District Council shall execute any and all documents necessary to discharge and terminate any and all security interests or encumbrances of any kind in relation to the Production in respect of the media, territories and term set out above, that the District Council holds which were previously granted to the District Council and shall file such documents with the appropriate Government agency.

3. If the Guarantor transfers any interest in the distribution rights set out above to a third party and desires to be relieved of its obligations attached to those distribution rights, Guarantor shall be released from this Guarantee to the extent that those distribution rights are transferred, on delivery to the District Council of a Security Agreement pursuant to Core Article 14.10(b) or a Distribution Guarantee or Distributor’s Assumption Agreement from another approved distribution guarantor.

MEDIA TERRITORY TERM

PRODUCER: ______________________________________________________

ADDRESS: _______________________________________________________

_________________________________________________________________

PHONE: __________________________________________________________

FAX: _____________________________________________________________

SCHEDULE 12 Distribution Guarantee (For Approved Distribution Guarantors – See Core Article 14.10(c))The approved distribution guarantor shall sign the following Distribution Guarantee and forward it to the local District Council office.

(IF NOT GUARANTOR) (print name)(print name)


SCHEDULE 13 Distribution Assumption Agreements (See Core Article 14.13)The Distributor shall sign the following Distributor’s Assumption Agreement on its own letterhead and forward it to the local District Council office.

Whereas (the “Distributor”) is an approved distribution guarantor, and has acquired from ______________________________________________________________ (the “Producer”)certain rights in the Production entitled: ______________________________________________________________________________________________________ (the “Production”)

And whereas the Production was produced pursuant to the 2016 – 2018 Standard Agreement between the Canadian Media Producers Association (CMPA) and the Directors Guild of Canada, ________________________________________________________________District Council (the “District Council”);

The parties hereto agree as follows:

1. In consideration of the District Council agreeing to the licence of the rights described herein in the Production to the Distributor, the Distributor agrees that it, its successors, assigns and related companies that are not dealing at arm’s length (collectively “the Distributor”), are bound by all continuing obligations contained in the Standard Agreement to remit Director Rights Acquisition Fees and all other amounts payable after production pursuant to the Standard Agreement. The Distributor acknowledges receipt of the Standard Agreement and warrants that all Director Rights Acquisition Fees and all other amounts payable after production that shall become due and payable pursuant to the Standard Agreement shall be paid under the terms and conditions contained in the Standard Agreement.

2. The Distributor is distributing or licensing the Production:

(a) (i) in perpetuity (i.e. for the period of copyright and any renewals thereof), or (ii) for a limited term of _______________ years.

(b) Territories: (please provide list) (c) Media: (please provide list) (i) ____________________________________________________ (i) ________________________________________________________ (ii) ____________________________________________________ (ii) _________________________________________________________ (iii) ____________________________________________________ (iii) ________________________________________________________ (iv) ____________________________________________________ (iv) ________________________________________________________ (v) ____________________________________________________ (v) _________________________________________________________

3. The Distributor acknowledges and agrees that its right to distribute or license the Production or to in any way exploit the rights in the Production that it is licensing shall be subject to and conditioned upon the prompt payment of Director Rights Acquisition Fees and all other amounts payable after production pursuant to the Standard Agreement to the District Council. It is agreed that the District Council shall be entitled to pursue all remedies available at law in the event that such payments are not made when due in addition to the remedies provided for in the Standard Agreement.

4. The Distributor acknowledges that all payments are due within the time limits set out in accordance with the provisions of the Standard Agreement. The Distributor shall also make available for inspection by the District Council all statements delivered to the Producer or to Government funding agencies or financiers regarding gross revenues. Any payments received after the due date shall be subject to interest at the rate of interest set out in the Standard Agreement, and shall be payable in addition to all amounts payable under Article DR19.02 of the Directors’ Schedule.

5. The Distributor acknowledges its obligation that while it is holding Director Rights Acquisition Fees and all other amounts payable after production pursuant to the Standard Agreement, prior to their disbursement, such monies are deemed to be held in trust for the Guild Members until disbursement to the District Council. In the enforcement of this article, the District Council, subject to its rights as a creditor, shall agree to not hold any employee of a Producer (or Distributor) liable for negligence, provided the said employee acts in a bona fide fashion.

6. As the Producer has executed a security agreement and financing statement in favour of the District Council, the Producer acknowledges and agrees that its right to exploit the Production is subject and subordinate to the District Council’s interest. The District Council agrees that so long as all the continuing obligations contained in the Standard Agreement with respect to the Guild Members in the Production are remitted in a timely manner, it will not exercise any rights under its security agreement which would in any way interfere with the Purchaser’s rights in respect of the Production.

7. The Distributor will only be relieved of its obligations to the District Council upon any sale or other disposition of the Production or any rights in the Production to a third party if the third party which acquires the Production or any such rights signs an Assumption Agreement in this form with Distributor and the District Council.

8. The District Council hereby relieves the Producer of its obligations under the Standard Agreement with respect to the Production.

9. The parties hereto acknowledge that any dispute arising from the interpretation, administration or enforcement of the Agreement and the relevant articles of the Standard Agreement shall be submitted to final and binding arbitration under Core Article 10.

Dated this ____________ day of _____________________________, 20 ________

Per: _____________________________________________________ Per: _______________________________________________________ (Distributor) (signature)

Per: _____________________________________________________ Per: _______________________________________________________ (Producer) (signature)

_____________________________________________________ _______________________________________________________

Directors Guild of Canada___________________________________________________District Council

Per: _________________________________________________________________________________ (print name/title)


SCHEDULE 14 Purchaser’s Assumption Agreement (See Core Article 14.12 (a))

Whereas _____________________________________________________________ (“Purchaser”) has acquired

from _____________________________________________________________ (“Producer”) the production

entitled _____________________________________________________________ (“Production”);

And whereas the Production was produced pursuant to the 2016 – 2018 DGC/CMPA Standard Agreement between the Canadian Media Producers Association (CMPA) and the Directors Guild of Canada _____________________________________________________________ District Council (the “District Council”);

The parties hereto agree as follows:

1. The Purchaser is hereby bound by all continuing obligations contained in the Standard Agreement with respect to the Guild Members in the Production; and, without limiting the generality of the foregoing, the Purchaser will pay when due all payments required by the Standard Agreement to be paid by the Producer to or for the Guild Members in respect of the Production.

2. As the Producer has executed a security agreement and financing statement in favour of the District Council, the Producer acknowledges and agrees that its right to exploit the Production is subject and subordinate to the District Council’s interest. The District Council agrees that so long as all the continuing obligations contained in the Standard Agreement with respect to the Guild Members in the Production are remitted in a timely manner, it will not exercise any rights under its security agreement which would in any way interfere with the Purchaser’s rights in respect of the Production.

3. The Purchaser will be relieved of its obligations to the District Council upon any sale or other disposition of the Production only if the party which acquires the Production signs an Assumption Agreement in this form with Purchaser and the District Council.

4. The District Council hereby relieves the Producer of its obligations under the Standard Agreement with respect to the Production.

Dated this _________ day of _________________________, 20 _______

Per: ______________________________________________ Per: ________________________________________________ (Distributor) (signature)

Per: ______________________________________________ Per: ________________________________________________ (Producer) (signature)

Dated this _________ day of _________________________, 20 _______

Directors Guild of Canada __________________________________________ District Council

Per: _______________________________________________________________________ (print name/title)


SCHEDULE 15 Alternate Letter Regarding Production Obligations and Distribution Rights (see Core Articles 14.09(h) and 14.10(d)) The Producer/Distributor shall sign the following letter of agreement and forward it to the local District Council office for signature.

This Guarantee Letter may only be completed pursuant to Core Articles14.09 (h) and 14.10 (d).

Letter dated this ________ day of _____________________ , 20 ____

Re: ____________________________________________________________________________________________________________________________________ (Identify Picture) (Identify Producers)

Attention: Directors Guild of Canada, ________________________________________________________________________District Council (“District Council”)

1. The undersigned entity, ______________________________________ , specifies that it is an Approved Distributor/Guarantor (“Guarantor”) which is up to date in its reporting obligations to the District Council and other payments to Guild Members.

_____________________________________________is the Producer of _______________________________________________________________, the Picture. [insert Signatory Production Company] [insert Picture title]

2. The undersigned Guarantor understands that the Producer has executed a Bargaining Authorization and Voluntary Recognition Agreement pursuant to the Standard Agreement and is required, pursuant to the terms and conditions of the Standard Agreement, to make payments with respect to the Picture which include but are not limited to, Director rights acquisition fees, insurance and retirement plan contributions and deductions and District Council Remittances.

3. The undersigned Guarantor guarantees the payment of all the Producer’s monetary obligations with respect to the production of the Picture that are now due or may become due to any Guild Member or the District Council pursuant to the Standard Agreement. This guarantee applies to the Picture only and shall be in lieu of the Producer’s obligations pursuant to Core Article 14.08 or 14.09 of the Standard Agreement and is a continuing guarantee binding upon the Guarantor and its successors and assigns, and inuring to the benefit of, and enforceable by, the District Council.

4. The undersigned Guarantor owns the following distribution rights of the Picture:

If Guarantor does not own all distribution rights, please specify the distribution rights owned by territory, media and term, e.g. North American–Theatrical – ten (10) years

5. In addition to the monetary obligations with respect to the production of the Picture discussed in Paragraph 3 above, the undersigned Guarantor guarantees the payment of any Director rights acquisition fees which may become payable with respect to the Distribution rights enumerated in Paragraph 4 above pursuant to the Standard Agreement. This guarantee applies to the Picture only and shall be in lieu of the Producer’s obligations pursuant to Core Article 14.08 or 14.09 of the Standard Agreement with respect to the distribution rights enumerated in Paragraph 4. This guarantee is binding upon the Guarantor and its successors and assigns, and inuring to the benefit of, and enforceable by District Council, subject only to satisfaction of the requirements of Paragraph 7 below.

6. The right of Guarantor to distribute exhibit or exploit the Picture in the territory, media and term described in Paragraph 4 above shall be subject to and conditional upon the prompt payment of Director rights acquisition fees due in accordance with the Standard Agreement. It is expressly understood that so long as such payments are made, neither the District Council, nor any Guild members shall interfere with the Guarantor’s quiet enjoyment of its right to distribute, exhibit or exploit the Picture in the media and territory described in Paragraph 4 above. In consideration of the Guarantor executing this guarantee, the District Council shall execute any and all documents necessary to discharge and terminate any and all security interest or encumbrances of any kind in the picture that they hold or control jointly or severally which was previously granted to them by the Producer, and shall file such documents with the appropriate government agency within ten (10) days of executing this guarantee.

7. If the Guarantor transfers any interest in the distribution rights enumerated in Paragraph 4 to a third party and desires to be relieved of its obligations attached to those distribution rights, the Guarantor warrants that it shall require that third party, as a condition of such transfer, to satisfy the requirements of Core Article 14.09 of the Standard Agreement with respect to those transferred distribution rights, or execute a Letter of Guarantee that is acceptable to the District Council, the Guarantor and such third party. The District Council will not unreasonably withhold acceptance of such Letter of Guarantee however, the third party must also satisfy the conditions in Core Article 14.10 of the Standard Agreement. In either case, the Guarantor shall be relieved only of its obligations attached to those distribution rights which are transferred.

8. Guarantor agrees, with respect to Director rights acquisition fees only, that for purposes of verifying the propriety of payments made pursuant to the Standard Agreement, the District Council, subject to a confidentiality agreement mutually agreed upon by the Guarantor and the District Council, shall have access to and shall be entitled to examine and audit at annual intervals, at the normal place of business and during normal business hours, those books, records, receipts and any other documents reasonably necessary to confirm entitlement to, and to calculate the payment of Director rights acquisition fees.

9. Nothing herein is intended, nor shall it be construed, to impose any greater monetary obligations on the Guarantor than would apply to a Producer under the Standard Agreement.

10. The Guarantor shall have thirty (30) days from the date notice is served to cure any default. Any demands against Guarantor for a default by the Producer shall be in writing, and must be addressed to the party to receive the notice at the following address or to such other address as a party hereto may hereafter specify pursuant to this paragraph and shall be transmitted by: (a) personal delivery; or (b) registered mail, postage prepaid, return receipt requested; or (c) telecopy with a copy by mail.

When demand is made by personal delivery, notice will be deemed to have been duly given immediately upon such personal delivery. When demand is made pursuant to (b) or (c) above, it shall be deemed to have been served five (5) business days from the date of mailing.

Guarantor: __________________________________________________ Directors Guild of Canada,____________________ District Council (Signature)

Address: _____________________________________________________

Attention: ____________________________________________________ ________________________________________________________

Fax/Email: ____________________________________________________ Signature

Signed By: ___________________________________________________ Signed By ________________________________________________________ (Please type in name and title)


SCHEDULE 16 Documentaries

With respect to each Guild Member (including but not limited to a Director) who is engaged to work in a Guild category on a Documentary, the Producer must engage such Guild Member subject to the terms of this Agreement, except as is provided herein.

There shall be no minimum rate applicable to the services provided by the Guild Member and the rate of remuneration shall be subject to negotiation between the Guild Member and the Producer.

Regardless of the Budget of the Production, the fringe package applicable to that Guild Member is the applicable package for Tier E.

Subject to the terms herein, the “monetary” provisions of the Agreement shall not be applicable to the Guild Member and the “non-monetary” provisions shall be applicable. For greater clarity, any and all monetary terms, including but not limited to a Director Rights Acquisition Fee are negotiable between the Guild Member and the Producer.

For greater clarity, the “reservation of rights” provisions in Article DR25.00 and the “ISAN” provisions in Article DR24.00 are applicable to the Director of a Documentary.

Nothing in this letter nor in the Agreement shall prevent the Producer from engaging a non-Guild Member to perform any duties in relation to a Documentary.


AAccounting Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5First Assistant Production Accountant (General). . . . . . . . . . . . . . . . . . . . . . . . . . 19First Assistant Production Accountant (Payroll) . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Post Production Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Production Accountant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Second Assistant Accountant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Third Assistant Accountant (Clerk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Trainee Assistant Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Anthology – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Anthology Series – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Application Of This Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Arbitration Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Arbitrator Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Credit Grievance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Interest Arbitration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Powers Of Arbitrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Art Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Art Department Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Production Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Requirement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Responsibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Second Assistant Art Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Third Assistant Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Trainee Assistant Art Director (Art Department PA) . . . . . . . . . . . . . . . . . . . . . . . 17

BBargaining Authority And Bargaining – Protection of

Assignment Of Duties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Bargaining Unit Work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Conflicting Agreements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8District Council Access To Studio Or Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8No Contracting Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Notification Of Change Of Name Or Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Bargaining Authorization And Voluntary Recognition Agreement – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Bargaining Unit Recognition of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Bereavement Leave. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Broadcast Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Budget – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Budget Calculations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CCable Television – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Calculation Of Budget Tiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Call – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Certified Budget – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Classifications

Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Improper Classification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Job Classifications And Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14No Alteration Of Job Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Promotion And Demotion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Second Unit Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

CMPA – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Collective Agreement – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Compact Device – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Compensation And Security For Payments

Bond. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Distribution Guarantee And Distributor’s Assumption Agreement . . . . . . . . 24Distributor’s Assumption Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Financial Difficulties And Payroll Failures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Letter Of Credit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Method Of Compensation Payment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Index Core Agreement

Pay Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Payroll Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Payroll Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Producer’s Obligations Upon Termination. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Production Guarantee. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Purchaser’s Assumption Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Requirement For Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Security Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Security For Payments Due After Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Security For Payments Due During Production . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Time-Keeping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

ConsultationBudget Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Consultation Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Pre-Production Conference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Producer Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Production Notice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Contact Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Contract for Services

Application To Existing Contract For Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Authority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Confidentiality Language. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Extension, Renewal Or Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Finish Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Grievance and Arbitration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Loan-Out Corporation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21No Contract For Services To Contravene The Standard Agreement. . . . . . . . 20No Deferment Of Minimum Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20No Less Favourable Than The Standard Agreement. . . . . . . . . . . . . . . . . . . . . . . 20Original Copies And Form Of Contract For Services. . . . . . . . . . . . . . . . . . . . . . . 20Provisions Subject To Grievance And Arbitration . . . . . . . . . . . . . . . . . . . . . . . . . 20Start Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Terms Of Standard Agreement Are Minimums . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Type Of Engagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Contracted Rate – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Co-Productions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Credit Grievance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Currency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

DDailies – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Day – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Definitions

Accounting Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Anthology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Anthology Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Art Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Bargaining Authorization And Voluntary Recognition Agreement . . . . . . . . . 5Budget. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Cable Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Certified Budget . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5CMPA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Collective Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Compact Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Contract For Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Contracted Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Dailies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5DGC or Directors Guild Of Canada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Direct To Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Distant Location. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5District Council. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Documentary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Editing Departments (Picture And Sound) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Episode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5


Flat Deal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Free Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Gross Remuneration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Guild Member . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Loan-Out Corporation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Mini-Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Motion Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Movie For Television (MFT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Nearby Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Network Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Non-Certified Budget . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Other Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Over-scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Pay Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Permittee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Picture Post Production Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Pilot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Production Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Remittance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Schedule. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Second Unit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Serial Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Sound Post Production Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Standard Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Strip Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Syndicated Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Television Drama Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Television Motion Picture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Theatrical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Variety Series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Variety Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Weekly Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

DGC – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Direct To Video – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Directors Guild Of Canada – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Discharge and Discipline, Procedure for Investigation . . . . . . . . . . . . . . . . . . . . . 22Distant Location – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Distribution Guarantors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24District Council – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5District Council And CMPA Contact Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Documentary – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

EEditing Departments (Picture And Sound) – Definition . . . . . . . . . . . . . . . . . . . . . 5Episode – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Exclusive Bargaining Agents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

FFavoured Nation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 36Flat Deal – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Free Television – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

GGeneral Provisions

Contracts For Benefit Of Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Duration Of Protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Editorial Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Entire Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Legislation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Grievance And ArbitrationGrievance Defined . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Grievance Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Informal Dispute Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Initiating Grievance Procedure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Gross Remuneration – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Guild Member – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

HHealth and Safety

First Aid Responder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Guild Member Prerogative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Health And Safety Representative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Medical Attention And Hospitalization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Reporting Of Accidents, Medical Attention And Hospitalization . . . . . . . . . . 25Safety. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Working Conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

HiringAlternate Arrangements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Availability Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Combined Engagement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Consideration Of Non-Guild Person For Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Displacement Or Work Permit Fee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Guild Member Works Only With Guild Members Or Authorized Permittees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Hiring Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Issuance Of Work Permits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10No Requirement To Furnish Services Or Equipment . . . . . . . . . . . . . . . . . . . . . . 11Non-Member Equalization Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Permittees Must Observe DGC Constitution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Safety Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Termination Of Engagement For Failure To Remit Displacement Or Work Permit Fee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Work Permits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

IIllness, Medical and District Council Leave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Indemnification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Interest On Monies Owing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Interpretation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Interpretation Of Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

JJoint Administration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

LLeaves Of Absence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Legislation

Governing Law. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Harassment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9No Producer Discrimination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Prejudice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Producer’s Obligations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Severability And Replacement Of Invalid Provisions . . . . . . . . . . . . . . . . . . . . . . . 9Sexual Harassment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Length of Broadcast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Letters of Understanding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Letters of Understanding – core

No. 1 – New Media Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29No. 2 – Article 7.04: Consideration of Non-Guild Person for Work . . . . . . . . . 30No. 3 – Re Article 7.05: Issuance Of Work Permits . . . . . . . . . . . . . . . . . . . . . . . . . 31No. 4 – Contract for Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32No. 5 – Production Guarantee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33No. 6 – Favoured Nations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34No. 7 – No Pyramiding Of Incentives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35No. 8 – Definitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36No. 9 – Workflow Issues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37No. 10 – Diversity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Letters Of Variance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Loan-Out Corporation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Loan-Out Corporation – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

MMini-Series – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Motion Picture – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Movie For Television (MFT) – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

NNearby Location – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Network Television – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6


Non-Certified Budget – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Non-Member Equalization Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Notice to Guild Member . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Notice Of Lay-Off Or Replacement, Force Majeure, Recall and Discharge

Discharge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Force Majeure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Procedure For Investigation, Discipline And Discharge . . . . . . . . . . . . . . . . . . . 22Recall For Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

OOther Production – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Over-scale – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

PParties To This Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Pay or Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Pay Television – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Payment Of Compensation And Security For Payments

Bond. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Distribution Guarantee And Distributor’s Assumption Agreement . . . . . . . . 24Distributor’s Assumption Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Financial Difficulties And Payroll Failures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Letter Of Credit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Method Of Compensation Payment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Pay Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Payroll Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Payroll Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Producer’s Obligations Upon Termination. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Production Guarantee. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Purchaser’s Assumption Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Requirement For Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Security Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Security For Payments Due After Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Security For Payments Due During Production . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Time-Keeping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Permittee – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Picture Editing Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Assistant Picture Editor (APE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18First Assistant Picture Editor (1PE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Picture Editor (PE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Post Production Assistant (Post PA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Post Production Coordinator (PPC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Post Production Supervisor (PPS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Supervising Picture Editor (SPE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Picture Post Production Period – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Pilot – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Producer – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Production – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Production Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Assistant Location Manager (ALM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Assistant Production Coordinator (APC). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Assistant Production Manager (APM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6First Assistant Director (1st AD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Location Manager (LM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Location Production Assistant (Location PA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Location Support Personnel (LSP). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Office Production Assistant (Office PA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16On-Set Production Assistant (On-Set PA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Production Assistants (On Set/Location) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Production Coordinator (PC). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Second Assistant Director (2nd Second AD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Technical Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Third Assistant Director (3rd AD). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Trainee Assistant Director (TAD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Trainee Location Manager (TLM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Trainee Production Coordinator (Production Secretary) . . . . . . . . . . . . . . . . . . 16Unit Manager (UM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Production Guarantors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

RRecognition Of Bargaining Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Recognition Territorial Jurisdiction Purpose and Scope Negotiation and Administration of this Agreement

Interpretation Of Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Joint Administration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Release And Indemnification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Remittance – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Resolution Of Jurisdictional Disputes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

SSafety and Health. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Schedule – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Schedules

Schedule 7A: Bargaining Authorization and Voluntary Recognition Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Schedule 7B: Negotiation Protocol. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40District Council Schedule 8 - Standard Contract for Service (Alberta). . . . . . 44District Council Schedule 8 - Standard Contract for Service (Atlantic) . . . . . 45District Council Schedule 8 - Standard Contract for Service (Manitoba) . . . 46District Council Schedule 8 - Standard Contract for Service (Ontario) . . . . . 47District Council Schedule 8 - Standard Contract for Service (Saskatchewan) . . 48Schedule 9: Budget Certification. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Schedule 10: Production Guarantee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Schedule 11A: Security Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Schedule 11B: Standard Security Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Schedule 12: Distribution Guarantee (For Approved Distribution Guarantors). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Schedule 13: Distribution Assumption Agreements . . . . . . . . . . . . . . . . . . . . . . 57Schedule 14: Purchaser’s Assumption Agreement . . . . . . . . . . . . . . . . . . . . . . . . 58Schedule 15: Alternate Letter Regarding Production Obligations and Distribution Rights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Schedule 16: Documentaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Schedules Incorporated . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Schedules, List of Other . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Scope Of Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Second Unit – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Security – District Council

Assignment Of Compensation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Good Standing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Guild Member In Default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Sending Of Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Serial Production – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Series – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Sound Editing Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

ADR Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Dialogue Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18First Assistant Sound Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Foley Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Music Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Second Assistant Sound Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Sound Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Sound Effects Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Supervising Sound Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Trainee Assistant Sound Editor (TASE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Sound Post Production Period – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Standard Agreement – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Strikes And Lockouts

No Discipline Or Discharge Or Termination Of A Contract For Services . . . . 11No Strikes Or Lockouts During Term Of Agreement. . . . . . . . . . . . . . . . . . . . . . . 11Unfair Declaration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Strip Program – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Syndicated Television – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

TTechnological Change

No Injustice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Producer’s Right To Institute Technological Change . . . . . . . . . . . . . . . . . . . . . . 25

Television Drama Special – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7


Television Motion Picture – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Term Of Agreement

Application Of Agreement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Term . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Termination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Territorial Jurisdiction And Application Of This Agreement . . . . . . . . . . . . . . . . . 7Theatrical – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Tiers, Calculation of. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

VVariety Series – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Variety Special – Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Voluntary Recognition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

WWeekly Rate – Definition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7


D i r e c t o r sS c h e d u l e 1

2013-15 DGC/CMPA Standard Agreement 2 SCHEDULE 1

Table of contents Directors

DR1.00 ONE DIRECTOR

DR1.01 Unique Function and Participation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR1.02 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR1.03 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR1.04 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR2.00 SECOND UNIT PHOTOGRAPHY

DR2.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR2.02 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR2.03 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR2.04 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR3.00 EXTRA WORK

DR3.01 .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR3.02 Consultation with Other Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR3.03 Remuneration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

DR3.04 Preparation Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR3.05 Other Provisions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR4.00 DIRECTOR’S PRE-CONTRACT REQUIREMENTS

DR4.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR4.02 Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR4.03 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR4.04 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR5.00 PARTICIPATION

DR5.01 Selection of First Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR5.02 Artistic and Creative Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR5.03 Casting Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR5.04 Producer’s Final Decision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

DR6.00 SCRIPT

DR6.01 Delivery of Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR6.02 Script Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR7.00 PRIVATE OFFICE AND PARKING

DR7.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR7.02 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR7.03 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR8.00 DAILIES/RUSHES

DR8.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR9.00 DIRECTOR’S CUT

DR9.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR9.02 Right to Director’s Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR9.03 No Interference with Director’s Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR9.04 Minimum Time Allowance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DR9.05 Delivery Date for Television Motion Picture . . . . . . . . . . . . . . . . . . . . . . . . . 7

DR9.06 Release Date for Theatrical Motion Picture . . . . . . . . . . . . . . . . . . . . . . . . . . 7

DR9.07 Technological Change. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

DR9.08 Preparation of Director’s Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

DR9.09 Limited Viewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

DR9.10 Screening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

DR9.11 Right to be Present and to Consult. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

DR9.12 Producer’s Cost. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DR9.13 Editing Theatrical Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DR9.14 Right of Consultation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DR10.00 LOOPING AND DUBBING

DR10.01 Looping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DR10.02 Dubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DR11.00 DIRECTOR’S CREDIT

DR11.01 Restriction on Use of Word “Director” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DR11.02 Form of Director’s Credit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DR11.03 Screen Credit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DR11.04 Paid Advertising Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

DR11.05 Publicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

DR11.06 Other Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

DR12.00 PREVIEWS

DR12.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

DR12.02 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

DR13.00 COPY OF MOTION PICTURE

DR13.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

DR13.02 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

DR14.00 DIRECTOR’S MINIMUM RATES

DR14.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

DR14.02 Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

DR15.00 TIER LEVELS AND BUDGETS DEFINED

DR15.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

DR16.00 MINIMUM WEEKLY RATES FOR THEATRICAL MOTION PICTURES

DR16.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

DR16.02 Daily Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

DR16.03 Series Bonus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

DR17.00 MINIMUM RATES FOR TELEVISION MOTION PICTURES

DR17.01 For Anthologies, Made for Television Movies, Mini-Series, Pilots,

spinofs, and Television Drama Specials . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

DR17.02 Television series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

DR17.03 Variety Series and Variety Specials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

DR17.04 Strip Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

DR17.05 Serial Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

DR17.06 Additional Work on Strip and Serial Programs . . . . . . . . . . . . . . . . . . . . . .24

DR17.08 Exceptional Length Productions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

DR17.09 Computation of Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

DR17.10 Guaranteed Days (Shooting/Prep Time) . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

DR17.11 Series With or Without a Pilot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

DR17.12 Additional Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

DR17.13 Theatrical Release Payment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

DR17.14 Series Bonus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

DR18.00 MINIMUM RATES FOR NEW MEDIA AND DERIVATIVE

PRODUCTIONS

DR18.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

DR18.02 Minimum Rates For New Media Productions . . . . . . . . . . . . . . . . . . . . . . .26

DR18.03 Additional Prep and Shoot Days – Tiers E and F. . . . . . . . . . . . . . . . . . . . .26

DR18.04 Step Up Fees for New Media Production . . . . . . . . . . . . . . . . . . . . . . . . . . .27

DR18.05 Minimum Rates For Derivative Productions . . . . . . . . . . . . . . . . . . . . . . . .27

DR19.00 RIGHTS ACQUISITION FEES FOR ADDITIONAL USE

DR19.01 Deinitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

DR19.02 Additional Use - Theatrical Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . .27

DR19.03 Additional Use - Television Motion Pictures

(Excluding Strip or Serial Programs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

DR19.04 Additional Use - Strip or Serial Programs . . . . . . . . . . . . . . . . . . . . . . . . . . .28

DR19.05 Additional Use - New Media Productions

(excluding Derivative Productions) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

DR19.06 Technological Change/Other Uses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

DR19.07 Single Use Limitation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

DR19.08 Computation of Rights Acquisition Fee(s) . . . . . . . . . . . . . . . . . . . . . . . . . .28

DR19.09 Mandatory Rights Acquisition Fee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

DR19.10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

DR19.11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

DR19.12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

DR20.00 MINIMUM RATES FOR SECOND UNIT DIRECTORS

DR20.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

DR20.02 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

DR21.00 MINIMUM RATES FOR OTHER MOTION PICTURES

DR21.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

DR22.00 TERMINATION

DR22.01 Force Majeure/Postponement/Termination . . . . . . . . . . . . . . . . . . . . . . . .30

DR22.02 Cancellation of the Motion Picture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30


DR22.03 Replacement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

DR22.04 Emergency Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

DR22.05 Guaranteed Period for Replacement Director . . . . . . . . . . . . . . . . . . . . . .30

DR22.06 Screenplay Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

DR23.00 GENERAL

DR23.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

DR24.00 ISAN

DR24.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

DR25.00 RESERVATION OF RIGHTS

DR25.01 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Letters of Understanding

NO. 1 ARTICLE 25 - RESERVATION OF RIGhTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

NO. 2 LETTER OF UNDERSTANDING REGARDING RIGhTS

ACqUISITION FEES FOR NEW MEDIA PRODUCTIONS . . . . . . . . . . . . . . . .34

NO. 3 NEW MEDIA PRODUCTIONS – SUNSET CLAUSE . . . . . . . . . . . . . . . . . . . . . .35

NO. 4 NEW MEDIA SUBCOMMITTEE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Contract for Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37


DR1.00 ONE DIRECTOR

DR1.01 Unique Function and Participation

The Director’s professional function is unique and calls for consultation in all creative phases of the ilmmaking process.

DR1.02 There shall only be one (1) Director assigned to direct a Motion Picture at any given time.

Subject only to any exceptions set out in this Agreement, no one may direct the Motion Picture except the Director assigned to that Motion Picture.

DR1.03 however, such limitations shall not be construed as precluding assignment of bona ide teams of more than one (1) Director to direct pick-ups, added

scenes or diferent segments of a multi-storied or multilingual Motion Picture or the assignment of more than one (1) Director where required by foreign

laws, regulations or subsidies, or assignment of a Second Unit Director or any specially skilled Director (for example, underwater work or aerial work) to

work under the supervision of the Director or a similar customary practice not inconsistent with the general intent of this Article.

DR1.04 Where the law, rules or regulations of a foreign country, where all or part of the Production is taking place, require a second Director, then the second

Director shall be engaged only for that part of the work taking place in the foreign country. The engagement of one (1) or more additional Directors shall

be efected by the Producer in consultation with the principal Director. The inal decision in the selection of an additional Director shall remain with the

Producer.

DR2.00 SECOND UNIT PHOTOGRAPHY

DR2.01 (a) Prior to commencing Second Unit work, the Producer must consult with the Director and allow the Director to participate in the decision making

process relating to the person to be engaged to direct the Second Unit work (except where a Guild Member is already engaged), the work to be

assigned to the Second Unit, and the manner in which the work is to be performed.

The Director has the right to consult with the Second Unit Director prior to the commencement of Second Unit work with respect to the manner in which

the Second Unit work is to be performed.

(b) Prior to the commencement of principal photography the Producer will fully disclose to the Director any material intended to be shot as Second Unit.

Any such Second Unit work will not be enlarged except after consultation with the Director.

(c) The Director may delegate the supervision of the assembly of Second Unit photography to a Second Unit Director.

(d) No person may assume the responsibilities nor perform the duties of a Second Unit Director without being engaged in accordance with this

Agreement.

DR2.02 The Second Unit Director’s minimum preparation time for second units shall be:

(a) One (1) Day’s preparation for one (1) Day’s shooting;

(b) Two (2) Days’ preparation for two (2) or three (3) Days’ shooting;

(c) Three (3) Days’ preparation for four or more Days’ shooting

however, this preparation time requirement shall not apply to any unplanned Second Units, bona ide emergencies, or where preparation time is not

needed because the Second Unit Director has been working on the Production in a diferent classiication covered by this Agreement.

DR2.03 The Second Unit Director may be engaged for Second Unit work on a weekly basis, or on a daily basis, in accordance with the minimum rates set out in this

Schedule.

DR2.04 Except for the provisions in Articles DR2.00, DR4.01, DR5.02, DR21.00 and DR22.00 only insofar as the information required relates directly to Second Unit

work, the other provisions of this Schedule do not apply to Second Unit Directors.

DR3.00 EXTRA WORK

DR3.01 After the completion of principal photography, the Director shall be informed in advance of any extra work, including but not limited to retakes, added

scenes, sound track, process shots, transparencies, trick shots, trailers, changes or for any other purpose. The Producer shall consult with and receive the

opinion and comments of the original Director concerning the content and qualities of the work to be performed. The original Director shall be given the

opportunity to direct all extra work if the Director is reasonably available to direct the same.

DR3.02 Consultation with Other Director

Where the original Director is unavailable or refuses to direct extra work then the Producer may engage another Director for the exclusive purpose of

directing such extra work. The Producer shall give the original Director the opportunity to consult with the Director of extra work about the manner in

which the work is to be performed.

DR3.03 Remuneration

Where the original Director is recalled no compensation shall be payable for such work to the extent that it is rendered within the guaranteed period of

engagement.

however, if such work falls outside the guaranteed period of engagement, the original Director shall be paid the pro-rated daily rate.

Otherwise, another Director may be engaged for extra work on a weekly basis, or the Producer may engage such Director on a daily basis, in which case

the minimum daily rate shall be one-fourth (1/4th) of the minimum Weekly Rate applicable to the type of Motion Picture for which the work is performed.

The above does not apply to New Media Productions within Tiers A to D.

For clarity, another Director engaged for extra work on a New Media Production shall be paid the applicable daily rate pursuant to the Directors Schedule.


DR3.04 Preparation Time

There shall be no minimum preparation requirement for performing extra work when the original Director is recalled. If the original Director is not

available or does not agree to perform such work and another Director is to perform such work, one (1) Day of preparation time shall be provided,

regardless of the length of photography; provided, however, if the Director is called for a single Day’s engagement, and the shooting of the extra work

takes ive (5) hours or less, then the preparation requirement shall be included in the same Day, and only one (1) Day’s compensation shall be paid.

DR3.05 Other Provisions

The provisions of Articles DR4.01 and DR5.02 apply to the Director of extra work and only insofar as the information required in Articles DR4.01 and DR5.02

relates directly to extra work.

DR4.00 DIRECTOR’S PRE-CONTRACT REQUIREMENTS

DR4.01 (a) Prior to the engagement of a Director the Producer shall inform the Director of the following information in relation to the Motion Picture:

i. the names of artistic and creative personnel already engaged;

ii. all stock material contemplated to be used;

iii. any rights of script approval or cast approval contractually reserved to any person other than the Producer;

iv. the type of Motion Picture (e.g Theatrical release, MFT, etc), the medium (ilm, tape, etc), and the proposed number of shooting Days;

v. the top sheet (summary) of any Theatrical Budget or a television pattern Budget (as the case may be) which has been established and any

limitations thereof, if any (see also DR4.03 and DR4.04);

vi. the story on which the Motion Picture is based and the script, if any exists;

vii. the name of the Producer(s) with inal cutting authority; and,

viii. the projected delivery date and broadcast date, if known.

(b) Prior to the engagement of the Director, the Producer shall make full and complete disclosure to the Director of all of the existing artistic and creative

commitments.

DR4.02 Change

The Producer shall from time to time as changes occur, inform the Director of any changes to any of the information provided under Article DR4.01.

DR4.03 The parties hereby acknowledge that Directors frequently accept an assignment based upon the Producer’s representation as to the Budget and shooting

schedule of a Motion Picture.

DR4.04 With respect to a Theatrical Motion Picture or a Television Motion Picture ninety minutes (90) or longer:

(a) In respect to DR4.01(a)(iv), at the time the Director is engaged the Producer will provide the Director with full and complete disclosure of the

‘below-the-line budget’, if available, including subsequent revisions to the Budget.

(b) Prior to the Budget being locked, the Producer or the individuals responsible for approving the Budget will consult with the Director with respect to

the practicality of the Budget.

DR5.00 PARTICIPATION

DR5.01 Selection of First Assistant Director

Notwithstanding Core Article 11.11(a), where a DGC Director is engaged, the Director shall have the right to select the First Assistant Director on any

Theatrical Motion Picture and any non-series Television Motion Picture provided that the First Assistant Director is a member of the DGC and such

selection must be consistent with the Budget of the Motion Picture and must not conlict with the needs of Production. The First Assistant Director

selected by the Director shall be engaged by the Producer.

DR5.02 Artistic and Creative Direction

Subject to other speciic provisions hereof, particularly Article DR9.11, between the time the Director is engaged and the time the Director’s cut is

delivered, the Director shall be informed as soon as practicable of any proposal concerning and, if reasonably available, shall participate in all decisions

with respect to:

(a) any changes in the elements of which the Director has been previously notiied, or proposed casting and the engagement of other artistic or creative

personnel, and of any rights or approval thereafter granted to third parties;

(b) all creative elements in the Production of the Motion Picture, including but not restricted to the script and revision thereof, casting, engagement of

artistic and creative personnel, location selection, set design and construction, and pre-production, shooting and post production scheduling; and

(c) in no case will any creative decisions be made regarding the preparation, production, and post production of a Motion Picture without the

consultation of the Director. The Director’s advice and suggestions shall be considered in good faith.

DR5.03 Casting Sessions

In order to provide the most creative environment for the Director and performers in casting sessions, no one shall be present at casting sessions, except

those persons designated by the Production, the individual Producer, or the Director. Any such persons designated by the Production, the individual

Producer or the Director must have a reasonable purpose for attending the casting session. Subject to the Producer’s rights, the Director will be allowed to

perform the Director’s professional functions.

DR5.04 Producer’s Final Decision

The Producer’s decision in all business and creative matters shall be inal, but this provision shall not release the Producer or the Director from their

respective obligations hereunder.


DR6.00 SCRIPT

DR6.01 Delivery of Script

When the Director is engaged, any existing script or outline in whatever form intended for the Production of the Motion Picture shall be immediately

delivered to the Director.

however, in episodic television, the Producer shall deliver the completed shooting script to the Director not later than one (1) Day prior to the

commencement of the Director’s preparation period. A “completed shooting script” is deined as that script (not necessarily the inal shooting script) which

the Producer intends to use for photography of a Motion Picture, subject to changes such as performing, technical and/or staging problems or those with

respect to weather or other bona ide emergencies.

DR6.02 Script Changes

Any changes or additions in the script shall be submitted to the Director promptly and before such changes or additions are made available for general

distribution. The Producer or other appropriate person will confer with the Director to discuss and consider the Director’s suggestions and opinions

with respect to such changes or additions and will confer with the Director to discuss and consider any script changes or revisions which the Director

recommends. The Director’s advice and suggestions will be considered in good faith and, where reasonable and practicable, implemented by the

Producer.

DR7.00 PRIVATE OFFICE AND PARKING

DR7.01 The Producer will provide the Director with a private oice at the studio, and a private facility on the set or immediately adjacent thereto at the studio but

not at the same time. On Nearby or Distant Locations where private facilities are provided to others on the set or immediately adjacent thereto, a private

facility shall also be provided the Director on the set or immediately adjacent thereto.

DR7.02 For the purposes of this Article, an “oice” shall be a room with a door which can be shut, adequate ventilation, a telephone, a desk and desk chair, room

for no less than two (2) additional persons and good lighting. Sanitary facilities shall be in a reasonable proximity to said oice.

DR7.03 The Producer shall use its best eforts to provide reasonable parking space at no charge for the Director while rendering services in pre-Production,

Production and post-Production covered by this Agreement.

DR8.00 DAILIES/RUSHES

DR8.01 Consistent with the orderly progress of photography, the Director shall see the Dailies of each Day’s photography at a reasonable time. No one shall be

present at the screenings of such Dailies except those persons designated by the Producer or the Director and all such persons shall have a reasonable

purpose for attending such Dailies. The Editor assigned to the Motion Picture shall be present at all such screenings, if available.

DR9.00 DIRECTOR’S CUT

DR9.01 The Director’s cut is the assembling and editing process whereby a Motion Picture is assembled and arranged, or edited under the Director’s exclusive

supervision and control and is understood to be a cornerstone of the Director’s creative rights as expressed in this Agreement.

(a) The Director shall be responsible for the presentation of his or her cut of the Motion Picture (herein referred to as the “Director’s cut”) and it is

understood that the Director’s assignment includes the presentation of the Director’s cut to the Producer, subject to the terms and conditions of this

Agreement as soon as possible within the time period hereinafter provided for.

(b) No one other than the Director may supervise the editing of the irst cut of the Motion Picture following completion of the Editor’s assembly, but if the

Director refuses to, or due to incapacity, cannot supervise the irst cut, the Producer may assign another person to edit the Motion Picture. Within one

(1) Day following such an assignment, the Producer shall send the District Council written notice thereof.

(c) Notwithstanding the foregoing, where an accelerated post-Production schedule has been accepted by the District Council, the Producer may share the

supervision of the editing process with the Director.

DR9.02 Right to Director’s Cut

It is understood and agreed that the Director’s right to prepare the Director’s cut is an absolute right.

DR9.03 No Interference with Director’s Cut

(a) No one shall be allowed to interfere with or impede the Director’s process of creating the Director’s cut within the permitted schedule.

(b) There shall be no “cutting behind” the Director.

DR9.04 Minimum Time Allowance

The Director shall be allowed at least the following minimum time allowances for the preparation of the Director’s cut:

(a) For Theatrical Motion Pictures:

i. Budgeted at one million dollars ($1,000,000.00) or less, four (4) weeks after completion of the assemblage of sequences provided for in Article

DR9.08;

ii. Budgeted at two million dollars ($2,000,000.00) or less but more than one million dollars ($1,000,000), six (6) weeks after the completion of

assemblage of sequences provided for in Article DR9.08;

iii. Budgeted at more than two million dollars ($2,000,000.00), eight (8) weeks after the completion of assemblage of sequences provided for in Article

DR9.08.


(b) For Television Motion Pictures, Excluding Episodic Television Series:

i. having a running time of thirty (30) minutes or less, within one (1) Day plus time and the opportunity to make changes, if necessary, but not to

exceed one (1) more Day after the completion of assemblage of sequences provided for in Article DR9.08;

ii. having a running time of sixty (60) minutes or less, but more than thirty (30) minutes, within four (4) Days after the completion of assemblage of

sequences provided for in Article DR9.08;

iii. having a running time of ninety (90) minutes or less, but more than sixty (60) minutes, within ifteen (15) Days after the completion of assemblage

of sequences provided for in Article DR9.08;

iv. having a running time of two (2) hours or less, but more than ninety (90) minutes, within twenty (20) Days after the completion of assemblage of

sequences provided for in Article DR9.08;

v. having a running time of more than two (2) hours, twenty (20) Days, plus ive (5) Days for each additional hour in excess of two (2) hours.

(c) For Episodic Television Series:

i. having a running time of thirty (30) minutes or less, within one (1) Day plus time and the opportunity to make changes, if necessary, but not to

exceed one (1) more Day after the completion of assemblage of sequences provided for in Article DR9.08;

ii. having a running time of sixty (60) minutes or less, but more than thirty (30) minutes, within three (3) Days after the completion of assemblage of

sequences provided for in Article DR9.08.

(d) If the assemblage of sequences of the Motion Picture is not completed at the close of principal photography, then the above minimum time

allowances shall not commence to run until after such assemblage is completed, unless delay in the completion of the assembly of the Motion Picture

beyond the close of principal photography is caused by the Director.

DR9.05 Delivery Date for Television Motion Picture

Notwithstanding any other provision of this Agreement, with respect to Television Motion Pictures, the Director’s editing privileges may not be exercised

where the preparation of any Television Motion Picture for a projected delivery date does not permit the expenditure of any or all of the time which would

be required by the exercise of the Director’s cutting rights. In such circumstances, the Producer will notify the District Council. Any changes or reductions

to the minimum time allowances must be reported to the Director and the District Council prior to the commencement of the editing process.

DR9.06 Release Date for Theatrical Motion Picture

Where a release date for a Theatrical Motion Picture must be met in an emergency, the Director’s cutting time may be reduced to an amount of time equal

to one-half (1/2) the actual time period available for cutting and the District Council will be advised by the Producer. Any changes or reductions to the

minimum time allowances must be reported to the Director and the District Council prior to the commencement of the editing process.

DR9.07 Technological Change

The use of technology whether now known or not yet known which involves the physical editing of ilm or tape or other recording devices, whether now

known or not yet known, shall in no way limit or abridge the Director’s right to prepare the Director’s cut, within such technology.

DR9.08 Preparation of Director’s Cut

The Director shall prepare the Director’s cut of the Motion Picture for presentation to the Producer and to the person designated in the Director’s Contract

for Services as having inal cutting authority, in the ordinary course of business, over the Motion Picture.

The Director shall diligently and continuously render services in connection with the preparation of the Director’s cut and shall remain reasonably

available on the premises during such period. In pursuance thereof, the following procedure shall be followed:

(a) The Director shall see the assembled sequences as soon as the Editor has assembled them in accordance with the Director’s instructions during the

photography of the Theatrical Motion Picture, provided this will not delay the time and preparation of the assemblage of the sequences. If the Director

does not give such directions, the Editor may proceed with the assemblage of the sequences without them. The Director shall then make whatever

changes deemed necessary. The Editor will make no further changes except under the Director’s instructions until the completion of the Director’s cut.

(b) With respect to television, the Producer shall cause the sequences to be assembled and made available for viewing by the Director promptly after the

close of principal photography so that the Director’s cut can be commenced immediately. The Editor will make no further changes except under the

Director’s instructions until the completion of the Director’s cut.

DR9.09 Limited Viewing

Other than in connection with the making of trailers and teasers and other promotional vehicles, no one other than the Editor and Editor’s immediate

staf shall view the completed assembly before the Director, or if the Director so requests, for twenty-four (24) hours after the Director’s initial viewing. The

Director may not exhibit the Motion Picture to anyone else without approval of the Producer.

DR9.10 Screening

When the Director’s cut is ready, the Director shall screen such cut for the Producer and for the person, if any, designated in the Director’s Contract for

Services as having inal cutting authority over the Motion Picture and during such screening(s), the Director shall be entitled to make recommendations

for further changes in following cuts. The Director’s recommendations for further changes, if any, will be considered in good faith and, where reasonable

and practicable, implemented by the Producer.

DR9.11 Right to be Present and to Consult

The Director shall have the right, subject only to his availability, to be present at all times and to consult with the Producer and, where practicably possible,

to participate in all creative decisions throughout the entire post production period in connection with the Motion Picture.

The Director must be notiied of the date, time and place of each post-production operation. The Director shall be aforded a reasonable opportunity,

subject to his availability, to screen and discuss the last version of the Motion Picture before negative cutting, digital mastering or dubbing, whichever

occurs irst.

The Producer will implement any reasonable and practical suggestions, if any, given by the Director as a result of exercising the Director’s reasonable

opportunity to screen and discuss the last version of the Motion Picture before negative cutting, digital mastering or dubbing.


DR9.12 Producer’s Cost

A post-production locale will not be selected for the purpose of depriving the Director of his post-production rights. The Director shall be informed of

the intended post-production locale in his Contract for Services. When the post-production locale is at a Distant Location, the Producer will pay for the

Director’s transportation, meals and accommodations while the Director is rendering post-production services.

DR9.13 Editing Theatrical Motion Pictures

Where a Producer licenses a Theatrical Motion Picture for Canadian or foreign television exhibition under a contract that allows the distributor or exhibitor

to edit the Theatrical Motion Picture for such exhibition, the Producer shall provide in that contract that the distributor or exhibitor shall notify the Director

in writing of its intention to edit the Theatrical Motion Picture at least six (6) weeks before the airing of same on television. This notice shall be sent to

the Director’s last known address as provided by the Producer and a copy shall be given to the District Council. The notice shall specify the nature of the

editing proposed and shall provide for a reasonable time and the speciication of a place at which the distributor or exhibitor will allow the Director to

express opinions about the proposed editing. While this is a singular event and all editing authority rests with the distributor or exhibitor, the Director in all

cases shall be entitled as a right to comment on the proposed editing. In this Article, editing shall not include interruptions made in the Theatrical Motion

Picture for commercial announcements, promotional material, network identiication, and the like. The Producer supports the principle that a distributor

or exhibitor ought to maintain the integrity of the Director’s work.

DR9.14 Right of Consultation

The Producer shall consult with the Director and subject only to the Director’s availability, the Director shall, where practicably possible, participate in the

colouring, time compression and expansion, changes in the exhibition of the aspect ratio (e.g., “panning and scanning”) and changes to allow exhibition in

three (3) dimensions made to a Theatrical Motion Picture after delivery of the answer print. These services shall be provided at no cost to the Producer.

DR10.00 LOOPING AND DUBBING

DR10.01 Looping

The looping of dialogue, including “wild tracking”, for scenes already photographed and the recording of narration for any Motion Picture shall be directed

by the Director of the Motion Picture, provided the Director is available at the time and place and at the cost scheduled by the Producer and the Director

receives no additional compensation for the direction of looping and/or narration.

With respect to Theatrical Motion Pictures, the Producer shall be required to send the Director of the Motion Picture, if the Director is available, to the place

of looping (including “wild tracking”), recording of narration and any other post-production dialogue recording unless it is minor in nature. The Producer’s

decision as to whether such work is minor shall be inal, provided it is reasonable.

Should the Director of the Motion Picture be unavailable to attend such looping or narration recordings, as above provided, the Producer shall consult

with the Director, if the Director is available, as to what person is available and itted to direct such loopings and narrations. The inal decision in the

selection of such person shall remain with the Producer; however, the Producer will make a reasonable efort to allow or enable the Director to discuss

with such person the Director’s ideas as to the content and qualities of the work to be done.

DR10.02 Dubbing

The Director of the Motion Picture, if available, shall participate in the spotting and dubbing of sound and music, provided that such participation does

not necessarily increase costs.

DR11.00 DIRECTOR’S CREDIT

DR11.01 Restriction on Use of Word “Director”

(a) The Producer shall not sign any contract with any guild, union or labour organization where it agrees to accord members thereof screen or other form

of credit which includes the word “Director”, “Direction”, or any derivation thereof, except “Art Director”, “Music Director”, “Director of Photography”, or

“Stage Director”.

(b) The Producer shall not grant to any individual, other than the Guild Member assigned the title and functions of Director in the Director’s Contract

for Services, any screen or other form of credit which includes the word “Director”, “Direction”, or any derivation thereof, except “Art Director”, “Music

Director”, “Director of Photography”, or “Stage Director”.

DR11.02 Form of Director’s Credit

(a) The form of the Director’s credit on screen, paid advertising, phonograph records, books, tapes, videodiscs, videocassettes, DVDs and the containers

thereof, when and as required, shall be “Directed by.…”. The words “Directed by” on screen shall be at least one-half (1/2) the size of type used to accord

credit to the Director’s name.

(b) The credit “A ilm by” may also be given to the Director. It may be appropriate for the Director to receive such credit if:

i. The Director also receives a writing credit; or,

ii. The Director has contributed signiicantly to the development, conceptualization or creative shaping of the project; or,

iii. The Director has accumulated a signiicant body of work and has clearly established a distinctive or “signature” style of ilm making.

DR11.03 Screen Credit

The Director of the Motion Picture shall be accorded screen credit on all positive prints and all Compact Devices, of the Motion Picture in accordance with

the following:

(a) No other credit shall appear on the card which accords credit to the Director of the Motion Picture. Such credit shall be given on a separate title card

placed at the Director’s discretion immediately before or after the body of the Motion Picture. If requested by the District Council, the Producer shall

send the District Council copies of the main and end titles as soon as possible after same are prepared in inal form.


(b) For Theatrical Motion Pictures, and Television Motion Pictures more than ninety (90) minutes in length, the size of the screen credit for the Director

of the Motion Picture shall be in size of type not less than ifty percent (50%) of the size in which the title of the Motion Picture is displayed or of the

largest size in which credit is accorded to any other person, whichever is greater.

(c) For television Episodes or Series, the size of the screen credit for the Director shall be no less than forty percent (40%) of the Episode or Series title,

whichever is larger.

(d) The Director’s screen credit shall be in such contrast to the background and/or such colour as to be clearly visible, and shall be of not less than two

(2) seconds in the clear for television Motion Pictures of less than ninety (90) minutes duration; and not less than three (3) seconds in the clear for all

Theatrical Motion Pictures and for television Motion Pictures of ninety (90) minutes duration or longer. In no event shall the Director’s screen credit be

displayed for a cumulative time less than the “Produced by” credit.

(e) No commercial, promotional or advertising material, audio or visual, shall appear on or before the Director’s card either as background or otherwise.

(f ) The Producer shall speciically contract with its distributors, exhibitors, television networks or stations that they shall not change, alter, modify or

eliminate the screen credit of the Director or its position on the prints.

(g) The Director has the right to remove his name from the Motion Picture or use a pseudonym in accordance with the applicable District Council

Schedule of this Agreement.

DR11.04 Paid Advertising Credit

The Director of the Motion Picture shall be accorded credit on all paid advertising issued, prepared, controlled, or contracted by the Producer directly or

indirectly in accordance with the following:

(a) Except as stated otherwise in this Article DR11.04, the location of the Director’s credit shall be discretionary with the Producer, and the size and type of

the Director’s credit shall be no less than ifteen percent (15%) of the size of type used for the title of the Motion Picture, but in no event less than the

size and style of type for any credit accorded any persons other than the principal performer.

(b) The Director shall receive credit on all “one sheets”.

(c) The Producer need not accord credit to the Director on an outdoor-type advertisement (including “24 sheets”), provided the advertisement contains

no more than the title of the Motion Picture, key art (which may include likenesses or photographs of no more than two (2) starring performers), logos,

the Motion Picture’s rating and copyright notice and copy of no more than twenty-ive (25) words.

(d) If the advertisement does not meet the foregoing requirements, the Director’s credit must be included in a size of type no less than thirty-ive percent

(35%) the size of type used for the title or of any individual credit, whichever is larger.

(e) The Director shall receive credit in size or type not less than thirty percent (30%) the size of type used for the title of the Motion Picture in any Motion

Picture industry trade advertisement.

(f ) The Producer need not accord credit to the Director in an advertisement of two hundred and ifty (250) lines or less in newspapers, magazines and

other periodicals (excluding “trade papers”), provided that the advertisement mentions no person (excluding only the names of reviewers) other than

two (2) starring performers.

(g) Exceptions

None of the foregoing obligations shall apply:

i. To group advertising, i.e. where more than one (1) Motion Picture is advertised;

ii. To so-called “teaser” advertising;

iii. To “trailer” advertising. Notwithstanding the foregoing, if credit is given for ilm or camera process (such as Panavision, Technicolor or Deluxe),

or if the individual Producer or writer is mentioned, then the Director’s name shall be mentioned;

iv. To advertisements less than eight inches (8”) in size unless the individual writer or Producer is given credit in such advertisement; and

v. To other advertising on the screen, radio, or television not to exceed one (1) minute.

(h) None of the exceptions under (g) above shall apply and the name of the Director shall also be mentioned if the name of any person other than two (2)

starring performers is mentioned, in any of the advertising listed above, with the exception only of congratulatory advertising or award advertising

where no one is mentioned other than the person being congratulated or mentioned for the award.

DR11.05 Publicity

In any formal publicity released by the Producer, whenever the name of the Motion Picture is mentioned, the name of the Director, when known, shall

also be mentioned. The foregoing shall not apply if the publicity relates to a television Series and the person or persons mentioned rendered services in

connection with the entire Series and the Episodes thereof were directed by more than one (1) Director.

DR11.06 Other Media

Where an audio tape, book, Compact Device, phonograph record or compact discs or any other similar material is made of or from the Motion Picture or

any portion thereof or of any of the music contained therein, then Article DR11.04(a) of this Schedule shall apply and the Director shall receive credit on

the audio tapes, books, Compact Devices, or phonograph records or compact discs or on the cover, envelope or container thereof if the writer, principal

performer, or the Producer is given credit. The size, positioning and frequency of the Director’s credit shall be equal to the size, positioning and frequency

of the credit of the writer, principal performer or the Producer whichever is greater.


DR12.00 PREVIEWS

DR12.01 With respect to Theatrical Motion Pictures, the Producer will give the Director of the Motion Picture, ive (5) business days advance written notice (to his/

her last known address) of the time and place of all previews, or any premiere or gala public showing of the Motion Picture. The Director and his or her

immediate family, shall be entitled to attend any premiere or gala public showing of the Motion Picture free of charge; however transportation to and

from any premiere or gala showing will not be at the expense of the Producer. If the Director cannot be reached, the District Council must be notiied.

DR12.02 With respect to all Theatrical Motion Pictures covered by this Agreement, the Producer will guarantee at least one (1) public or private screening. The

choice of the public preview or private showing shall be within the discretion of the Producer; provided, however, that if a private showing is chosen by

the Producer it shall be with an audience of suicient size and diversity to obtain adequate audience response.

DR13.00 COPY OF MOTION PICTURE

DR13.01 The Producer agrees, on the written request of the District Council or the Director, to make available to the District Council or the Director as the case may

be and at the Producer’s expense and without cost to the District Council or the Director, a suitable copy of the Motion Picture for the personal use of the

Director or the District Council. The copy of the Motion Picture shall be made available within two (2) weeks of the written request and shall be returned to

the Producer within ten (10) days after receipt by either the Director or the District Council. The Motion Picture thus released shall not be used for a public

screening, however, the District Council shall be entitled to screen the Motion Picture for educational or training purposes of Guild Members.

The Producer shall provide without cost to the Director a copy of the completed work, in beta sp, three quarter (3/4) inch master or other mutually agreed

upon format and which includes one hundred percent (100%) of the negative visual image, when available.

DR13.02 If the Producer goes out of business and there is no successor in title, assignee, transferee or representative, the Producer shall either:

(a) Deliver to the District Council, without cost to the District Council, a copy of released material of such Motion Picture; or

(b) Make other arrangements for such copy to be available to the District Council, on its request, for the screening purposes of the Director as above

provided; or

(c) If such copy is not so available, to permit the District Council to purchase such a copy at cost, to be made from the negative/master of such Motion

Picture, for the purposes above provided. The District Council and the Director will sign any appropriate documents required to accomplish the

purposes as above provided.

DR14.00 DIRECTOR’S MINIMUM RATES

DR14.01 The minimum rate schedules set forth in this Schedule shall apply to all Contract for Services arising pursuant to this Agreement in respect of any Guild

Member who is classiied and/or categorized and/or who performs any of the duties of a Director, except as the Contracted Rate stipulated in any of said

Contract for Services exceeds the applicable minimum rate(s) provided by this Agreement.

DR14.02 Payments

A Director shall be paid in instalments as follows:

(a) One-third (1/3) on signing;

(b) One-third (1/3) on commencement of principal photography; and

(c) One-third (1/3) on the later of completion of principal photography or delivery of the Director’s cut.

DR15.00 TIER LEVELS AND BUDGETS DEFINED

Tiers apply from January 1, 2016 until the expiration of this Agreement.

DR15.01 The minimum rates for Directors under Articles DR16.00, DR17.00 and DR18.00 have been divided into six (6) tier levels based on the type of Production

and the total Budget of that Production as set out below. The Budget range relects the total Budget (including above and below the line) in Canadian

dollars.

(a) Theatrical Motion Pictures (includes “Features”)

TIER 2016 2017 2018

A $ 11,239,733 and over $ 11,464,528 and over $ 11,693,818 and over

B $ 6,257,930 – $ 11,239,732 $ 6,383,088 – $ 11,464,527 $ 6,510,750 – $ 11,693,817

C $ 3,828,380 – $ 6,257,929 $ 3,904,948 – $ 6,383,087 $ 3,983,047 – $ 6,510,749

D $ 2,477,687 – $ 3,828,379 $ 2,527,241 – $ 3,904,947 $ 2,577,786 – $ 3,983,046

E $ 1,407,161 – $ 2,477,686 $ 1,435,305 – $ 2,527,240 $ 1,464,011 – $ 2,577,785

F Under $ 1,407,160 Under $ 1,435,304 Under $ 1,464,010


(b) Movies for Television (Includes “direct to Video”), and New Media Productions — 61 to 90 minutes projected length)

TIER 2016 2017 2018


B $ 6,316,828 – $ 8,422,436 $ 6,443,165 – $ 8,590,885 $ 6,572,028 – $ 8,762,702

C $ 3,509,349 – $ 6,316,827 $ 3,579,536 – $ 6,443,164 $ 3,651,126 – $ 6,572,027

D $ 2,477,687 – $ 3,509,348 $ 2,527,241 – $ 3,579,535 $ 2,577,786 – $ 3,651,125

E $ 1,297,836 – $ 2,477,686 $ 1,323,792 – $ 2,527,240 $ 1,350,268 – $ 2,577,785


(c) Mini-Series (per each 2 hours of broadcast time) and New Media Productions (91 minutes and over projected length

or per each 2 hours of broadcast time)

TIER 2016 2017 2018


B $ 4,908,181 – $ 6,748,747 $ 5,006,344 – $ 6,883,722 $ 5,106,471 – $ 7,021,397

C $ 3,681,135 – $ 4,908,180 $ 3,754,758 – $ 5,006,343 $ 3,829,853 – $ 5,106,470

D $ 2,477,687 – $ 3,681,134 $ 2,527,241 – $ 3,754,757 $ 2,577,786 – $ 3,829,852

E $ 1,297,836 – $ 2,477,686 $ 1,323,792 – $ 2,527,240 $ 1,350,268 – $ 2,577,785


(d) Television Series – 1/2 hour episodes (includes Pilots, Anthologies, Spinofs, episodic TV series,

Television drama Specials, Variety Series & Specials) and New Media Productions - 1 to 30 minutes projected length

TIER 2016 2017 2018


B $ 785,309 – $ 1,079,799 $ 801,015 – $ 1,101,395 $ 817,036 – $ 1,123,422

C $ 539,900 – $ 785,308 $ 550,698 – $ 801,014 $ 561,712 – $ 817,035

D $ 392,654 – $ 539,899 $ 400,507 – $ 550,697 $ 408,517 – $ 561,711

E $ 147,482 – $ 392,653 $ 150,431 – $ 400,506 $ 153,440 – $ 408,516

F Under $ 147,481 Under $ 150,430 Under $ 153,439

(e) Television Series – 1 hour episodes (includes Pilots, Anthologies, Spinofs, episodic TV series Television drama Specials,

Variety Series & Specials) and New Media Productions -31 to 60 minutes in projected length

TIER 2016 2017 2018


B $ 1,411,102 – $ 1,791,485 $ 1,439,324 – $ 1,827,315 $ 1,468,110 – $ 1,863,861

C $ 993,906 – $ 1,411,101 $ 1,013,784 – $ 1,439,323 $ 1,034,060 – $ 1,468,109

D $ 638,063 – $ 993,905 $ 650,824 – $ 1,013,783 $ 663,841 – $ 1,034,059

E $ 265,466 – $ 638,062 $ 270,776 – $ 650,823 $ 276,191 – $ 663,840


(f) Serial and Strip Programs – 1/2 hour

TIER 2016 2017 2018

A $ 564,440 and over $ 575,729 and over $ 587,244 and over

B $ 503,088 – $ 564,439 $ 513,150 – $ 575,728 $ 523,413 – $ 587,243

C $ 355,843 – $ 503,087 $ 362,960 – $ 513,149 $ 370,219 – $ 523,412

D $ 220,868 – $ 355,842 $ 225,285 – $ 362,959 $ 229,791 – $ 370,218

E $ 129,784 – $ 220,867 $ 132,379 – $ 225,284 $ 135,027 – $ 229,790



(g) Serial and Strip Programs – 1 hour

TIER 2016 2017 2018


B $ 993,906 – $ 1,128,881 $ 1,013,784 – $ 1,151,459 $ 1,034,060 – $ 1,174,488

C $ 711,687 – $ 993,905 $ 725,920 – $ 1,013,783 $ 740,439 – $ 1,034,059

D $ 282,221 – $ 711,686 $ 287,865 – $ 725,919 $ 293,622 – $ 740,438

E $ 224,172 – $ 282,220 $ 228,655 – $ 287,864 $ 233,228 – $ 293,621


(h) derivatives & Other Production – Per minute of inished material

TIER 2016 2017 2018


B $ 32,721 – $ 44,990 $ 33,375 – $ 45,890 $ 34,042 – $ 46,808

C $ 22,495 – $ 32,720 $ 22,945 – $ 33,374 $ 23,404 – $ 34,041

D $ 16,361 – $ 22,494 $ 16,688 – $ 22,944 $ 17,022 – $ 23,403

E $ 6,144 – $ 16,360 $ 6,267 – $ 16,687 $ 6,393 – $ 17,021


DR16.00 MINIMUM WEEKLY RATES FOR THEATRICAL MOTION PICTURES

The rates below apply from January 1, 2016 to the expiration of this Agreement.

DR16.01 The minimum rate paid to the Director for services in a Theatrical Motion Picture shall constitute payment in full for the worldwide theatrical exhibition

of the Motion Picture for the period of the copyright of the Motion Picture. For Theatrical Motion Pictures, the minimum rates per week for Productions in

tiers A to D and the minimum Gross Remuneration for tiers E and F, shall be:

Tier

LevelMinimum Base Rates 2016

Minimum Obligatory Rights

Acquisition Fee @ 90% of base rate*Guaranteed period for prep and shoot

A $10,465 $9,419 16 Weeks

B $9,435 $8,491.50 15 Weeks

C $8,770 $7,893.00 14 Weeks

D $7,455 $6,709.50 10 Weeks

E 2% of Total Budget 1% of Total Budget 8 Weeks

F 2% of Total Budget .75% of Total Budget 8 Weeks

Tier




A $10,675 $9,607 16 Weeks

B $9,625 $8,662.50 15 Weeks

C $8,945 $8,051 14 Weeks

D $7,605 $6,844.50 10 Weeks



*See DR 19.02 for applicable Rights Acquisition Fees details


Tier




A $10,890 $9,801.00 16 Weeks

B $9,820 $8,838.00 15 Weeks

C $9,125 $8,212.50 14 Weeks

D $7,755 $6,979.50 10 Weeks




DR16.02 Daily Rate

The minimum daily rate for additional Days worked beyond the Director’s guaranteed period or for daily engagement, where permissible, shall be one-

fourth (1/4th) of the Weekly Rate payable for the particular type of Motion Picture.

DR16.03 Series Bonus

If an open-ended Free Television Series based on a Theatrical Motion Picture is sold subsequent to the Production of the Theatrical Motion Picture, Article

DR17.13 shall apply.

DR17.00 MINIMUM RATES FOR TELEVISION MOTION PICTURES


DR17.01 For Anthologies, Made for Television Movies, Mini-Series, Pilots, spinofs, and Television Drama Specials, the minimum rates for Directors shall be:

(a) Tier A

LengthMinimum Base Rates

2016

Minimum Obligatory

Rights Acquisition Fee

@ 110% of base rate*

Guaranteed period for prep

and shoot, excluding Pilots

Guaranteed period for

prep and shoot for Pilots

½ hour $15,910 $17,501.00 10 Days 13 Days

1 hour $31,820 $35,002.00 20 Days 25 Days

1 ½ hour $62,610 $68,871.00 30 Days 38 Days

2 hours $93,910 $103,301.00 45 Days 57 Days


2017

Minimum Obligatory







½ hour $16,230 $17,853.00 10 Days 13 Days

1 hour $32,455 $35,700.50 20 Days 25 Days

1 ½ hour $63,860 $70,246.00 30 Days 38 Days

2 hours $95,790 $105,369.00 45 Days 57 Days


2018

Minimum Obligatory







½ hour $16,555 $18,210.00 10 Days 13 Days

1 hour $33,105 $36,415.50 20 Days 25 Days

1 ½ hour $65,135 $71,648.50 30 Days 38 Days

2 hours $97,705 $107,475.50 45 Days 57 Days

*See DR 19.03 (a) for applicable Rights Acquisition Fees details


(b) Tier B


2016


Acquisition Fee @ 110% of base rate*





½ hour $14,355 $15,790.50 10 Days 13 Days

1 hour $28,680 $31,548.00 20 Days 25 Days

1 ½ hour $56,435 $62,078.50 30 Days 38 Days

2 hours $84,660 $93,126.00 45 Days 57 Days


2017







½ hour $14,640.00 $16,105.00 10 Days 13 Days

1 hour $29,255 $32,180.50 20 Days 25 Days

1 ½ hour $57,565 $63,321.50 30 Days 38 Days

2 hours $86,355 $94,990.50 45 Days 57 Days


2018







½ hour $14,935 $16,428.50 10 Days 13 Days

1 hour $29,840 $32,824.00 20 Days 25 Days

1 ½ hour $58,715 $64,586.50 30 Days 38 Days

2 hours $88,080 $96,888.00 45 Days 57 Days


(c) Tier C

Length

Minimum

Base Rates

2016

Regular Rights

Acquisition Fees

@ 110%*

Alternate Rights Acquisition Fees* Guaranteed

period for prep

and shoot,

excluding Pilots

Guaranteed

period for prep

and shoot

for Pilots

TV

@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $12,555 $13,810.50 $9,416.25 $3,766.50 $627.75 10 Days 13 Days

1 hour $25,100 $27,610.00 $18,825.00 $7,530.00 $1,255.00 20 Days 25 Days

1 ½ hour $49,390 $54,329.00 $37,042.50 $14,817.00 $2,469.50 30 Days 38 Days

2 hours $74,080 $81,488.00 $55,560.00 $22,224.00 $3,704.00 45 Days 57 Days

Length

Minimum

Base Rates

2017

Regular Rights

Acquisition Fees

@ 110%*


period for prep

and shoot,

excluding Pilots

Guaranteed

period for prep

and shoot

for Pilots

TV

@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $12,805.00 $14,085.50 $9,603.75 $3,841.50 $640.25 10 Days 13 Days

1 hour $25,600.00 $28,160.00 $19,200.00 $7,680.00 $1,280.00 20 Days 25 Days

1 ½ hour $50,380.00 $55,418.00 $37,785.00 $15,114.00 $2,519.00 30 Days 38 Days

2 hours $75,560.00 $83,116.00 $56,670.00 $22,668.00 $3,778.00 45 Days 57 Days

*See DR 19.03 (b) for applicable Rights Acquisition Fees details


Length

Minimum

Base Rates

2018

Regular Rights

Acquisition Fees

@ 110%*


period for prep

and shoot,

excluding Pilots

Guaranteed

period for prep

and shoot

for Pilots

TV

@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $13,060.00 $14,366.00 $9,795.00 $3,918.00 $653.00 10 Days 13 Days

1 hour $26,110.00 $28,721.00 $19,582.50 $7,833.00 $1,305.50 20 Days 25 Days

1 ½ hour $51,390.00 $56,529.00 $38,542.50 $15,417.00 $2,569.50 30 Days 38 Days

2 hours $77,070.00 $84,777.00 $57,802.50 $23,121.00 $3,853.50 45 Days 57 Days


(d) Tier D

Length

Minimum

Base Rates

2016

Regular Rights

Acquisition Fees

@ 110%*


period for prep

and shoot,

excluding Pilots

Guaranteed

period for prep

and shoot for

Pilots

TV

@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $10,675.00 $11,742.50 $8,006.25 $3,202.50 $533.75 10 Days 13 Days

1 hour $21,350.00 $23,485.00 $16,012.50 $6,405.00 $1,067.50 20 Days 25 Days

1 ½ hour $41,990.00 $46,189.00 $31,492.50 $12,597.00 $2,099.50 30 Days 38 Days

2 hours $62,965.00 $69,261.50 $47,223.75 $18,889.50 $3,148.25 45 Days 57 Days

Length

Minimum

Base Rates

2017

Regular Rights

Acquisition Fees

@ 110%*


period for prep

and shoot,

excluding Pilots

Guaranteed

period for prep

and shoot for

Pilots

TV

@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $10,890.00 $11,979.00 $8,167.50 $3,267.00 $544.50 10 Days 13 Days

1 hour $21,775.00 $23,952.50 $16,331.25 $6,532.50 $1,088.75 20 Days 25 Days

1 ½ hour $42,830.00 $47,113.00 $32,122.50 $12,849.00 $2,141.50 30 Days 38 Days

2 hours $64,225.00 $70,647.50 $48,168.75 $19,267.50 $3,211.25 45 Days 57 Days

Length

Minimum

Base Rates

2018

Regular Rights

Acquisition Fees

@ 110%*


period for prep

and shoot,

excluding Pilots

Guaranteed

period for prep

and shoot for

Pilots

TV

@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $11,110.00 $12,221.00 $8,332.50 $3,333.00 $555.50 10 Days 13 Days

1 hour $22,210.00 $24,431.00 $16,657.50 $6,663.00 $1,110.50 20 Days 25 Days

1 ½ hour $43,685.00 $48,053.50 $32,763.75 $13,105.50 $2,184.25 30 Days 38 Days

2 hours $65,510.00 $72,061.00 $49,132.50 $19,653.00 $3,275.50 45 Days 57 Days


(e) Tier E


2016-2018

Minimum Obligatory






and shoot for Pilots

½ hour 2% of Total Budget 1% of Total Budget 10 Days 13 Days

1 hour 2% of Total Budget 1% of Total Budget 20 Days 25 Days

1 ½ hour 2% of Total Budget 1% of Total Budget 30 Days 38 Days

2 hours 2% of Total Budget 1% of Total Budget 45 Days 57 Days

*See DR 19.03 (c) for applicable Rights Acquisition Fees details


(f ) Tier F


2016-2018

Minimum Obligatory






and shoot for Pilots

½ hour 2% of Total Budget .75% of Total Budget 10 Days 10 Days

1 hour 2% of Total Budget .75% of Total Budget 20 Days 20 Days

1 ½ hour 2% of Total Budge .75% of Total Budget 30 Days 30 Days

2 hours 2% of Total Budget .75% of Total Budget 45 Days 45 Days


DR17.02 For Television Series, the minimum rates and additional use fee for Directors shall be:

(a) Tier A

Length Minimum Base Rates 2016Minimum Obligatory Rights


½ hour $12,935.00 $14,228.50 10 Days

1 hour $26,855.00 $29,540.50 18 Days

1 ½ hour If a Producer is contemplating producing at this broadcast length,

then the parties to this Agreement will meet to discuss the appropriate rates.2 hours



½ hour $13,195.00 $14,514.50 10 Days

1 hour $27,390.00 $30,129.00 18 Days





½ hour $13,460.00 $14,806.00 10 Days

1 hour $27,940.00 $30,734.00 18 Days




(b) Tier B



½ hour $11,665.00 $12,831.50 10 Days

1 hour $24,210.00 $26,631.00 18 Days





½ hour $11,900.00 $13,090.00 10 Days

1 hour $24,695.00 $27,164.50 18 Days







½ hour $12,140.00 $13,354.00 10 Days

1 hour $25,190.00 $27,709.00 18 Days




(c) Tier C

Length

Minimum Base

Rates

2016

Regular Rights

Acquisition Fees

@ 110%

Alternate Rights Acquisition Fees*

Guaranteed period

for prep and shootTV

@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $10,215.00 $11,236.50 $7,661.25 $3,064.50 $510.75 10 Days

1 hour $21,170.00 $23,287.00 $15,877.50 $6,351.00 $1,058.50 18 Days



Length

Minimum Base

Rates

2017

Regular Rights

Acquisition Fees

@ 110%

Alternate Rights Acquisition Fees*Guaranteed period


@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $10,420.00 $11,462.00 $7,815.00 $3,126.00 $521.00 10 Days

1 hour $21,595.00 $23,754.50 $16,196.25 $6,478.50 $1,079.75 18 Days



Length

Minimum Base

Rates

2018

Regular Rights

Acquisition Fees

@ 110%



@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $10,630.00 $11,693.00 $7,972.50 $3,189.00 $531.50 10 Days

1 hour $22,020.00 $24,222.00 $16,515.00 $6,606.00 $1,101.00 18 Days




(d) Tier D

Length

Minimum Base

Rates

2016

Regular Rights

Acquisition Fees

@ 110%


Guaranteed period


@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $8,680.00 $9,548.00 $6,510.00 $2,604.00 $434.00 10 Days

1 hour $18,005.00 $19,805.50 $13,503.75 $5,401.50 $900.25 18 Days





Length

Minimum Base

Rates

2017

Regular Rights

Acquisition Fees

@ 110%


Guaranteed period


@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $8,855.00 $9,740.50 $6,641.25 $2,656.50 $442.75 10 Days

1 hour $18,365.00 $20,201.50 $13,773.75 $5,509.50 $918.25 18 Days



Length

Minimum Base

Rates

2018

Regular Rights

Acquisition Fees

@ 110%



@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $9,030.00 $9,933.00 $6,772.50 $2,709.00 $451.50 10 Days

1 hour $18,730.00 $20,603.00 $14,047.50 $5,619.00 $936.50 18 Days




(e) Tier E

Length Minimum Base Rates 2016-2018 Obligatory Additional Use Fees Guaranteed period for prep and shoot

½ hour 2% of Total Budget 1% of Total Budget 10 Days

1 hour 2% of Total Budget 1% of Total Budget 18 Days


(f ) Tier F

Length Minimum Base Rates 2016-2018 Obligatory Additional Use Fees Guaranteed period for prep and shoot

½ hour 2% of Total Budget .75% of Total Budget 10 Days

1 hour 2% of Total Budget .75% of Total Budget 18 Days


DR17.03 For Variety Series and Variety Specials, the minimum rates and additional use fee for Directors shall be:

(a) Tier A


Acquisition Fee @ 110% of base rateGuaranteed period for prep and shoot

½ hour $5,115.00 $5,626.50 6 Days

1 hour $7,340.00 $8,074.00 9 Days

1 ½ hour $9,625.00 $10,587.50 14 Days

2 hours $13,580.00 $14,938.00 18 Days



½ hour $5,210.00 $5,731.00 6 Days

1 hour $7,485.00 $8,233.50 9 Days

1 ½ hour $9,820.00 $10,802.00 14 Days

2 hours $13,850.00 $15,235.00 18 Days





½ hour $5,315.00 $5,846.50 6 Days

1 hour $7,635.00 $8,398.50 9 Days

1 ½ hour $10,015.00 $11,016.50 14 Days

2 hours $14,125.00 $15,537.50 18 Days


(b) Tier B



½ hour $4,565.00 $5,021.50 6 Days

1 hour $6,615.00 $7,276.50 9 Days

1 ½ hour $8,675.00 $9,542.50 14 Days

2 hours $12,240.00 $13,464.00 18 Days



½ hour $4,655.00 $5,120.50 6 Days

1 hour $6,745.00 $7,419.50 9 Days

1 ½ hour $8,850.00 $9,735.00 14 Days

2 hours $12,485.00 $13,733.50 18 Days



½ hour $4,750.00 $5,225.00 6 Days

1 hour $6,880.00 $7,568.00 9 Days

1 ½ hour $9,025.00 $9,927.50 14 Days

2 hours $12,735.00 $14,008.50 18 Days


(c) Tier C

LengthMinimum Base

Rates 2016

Regular Rights

Acquisition Fees

@ 110%


Guaranteed period


@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $4,030.00 $4,433.00 $3,022.50 $1,209.00 $201.50 6 Days

1 hour $5,790.00 $6,369.00 $4,342.50 $1,737.00 $289.50 9 Days

1 ½ hour $7,595.00 $8,354.50 $5,696.25 $2,278.50 $379.75 14 Days

2 hours $10,710.00 $11,781.00 $8,032.50 $3,213.00 $535.50 18 Days

LengthMinimum Base

Rates 2017

Regular Rights

Acquisition Fees

@ 110%


Guaranteed period


@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $4,110.00 $4,521.00 $3,082.50 $1,233.00 $205.50 6 Days

1 hour $5,905.00 $6,495.50 $4,428.75 $1,771.50 $295.25 9 Days

1 ½ hour $7,745.00 $8,519.50 $5,808.75 $2,323.50 $387.25 14 Days

2 hours $10,925.00 $12,017.50 $8,193.75 $3,277.50 $546.25 18 Days



LengthMinimum Base

Rates 2018

Regular Rights

Acquisition Fees

@ 110%


Guaranteed period


@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $4,190.00 $4,609.00 $3,142.50 $1,257.00 $209.50 6 Days

1 hour $6,025.00 $6,627.50 $4,518.75 $1,807.50 $301.25 9 Days

1 ½ hour $7,900.00 $8,690.00 $5,925.00 $2,370.00 $395.00 14 Days

2 hours $11,145.00 $12,259.50 $8,358.75 $3,343.50 $557.25 18 Days


(d) Tier D

LengthMinimum Base

Rates 2016

Regular Rights

Acquisition Fees

@ 110%


Guaranteed period


@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $3,425.00 $3,767.50 $2,568.75 $1,027.50 $171.25 6 Days

1 hour $4,925.00 $5,417.50 $3,693.75 $1,477.50 $246.25 9 Days

1 ½ hour $6,460.00 $7,106.00 $4,845.00 $1,938.00 $323.00 14 Days

2 hours $9,105.00 $10,015.50 $6,828.75 $2,731.50 $455.25 18 Days

LengthMinimum Base

Rates 2017

Regular Rights

Acquisition Fees

@ 110%



@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $3,495.00 $3,844.50 $2,621.25 $1,048.50 $174.75 6 Days

1 hour $5,025.00 $5,527.50 $3,768.75 $1,507.50 $251.25 9 Days

1 ½ hour $6,590.00 $7,249.00 $4,942.50 $1,977.00 $329.50 14 Days

2 hours $9,285.00 $10,213.50 $6,963.75 $2,785.50 $464.25 18 Days

LengthMinimum Base

Rates 2018

Regular Rights

Acquisition Fees

@ 110%



@ 75%

Compact Device

@30%

New Media

@ 5%

½ hour $3,565.00 $3,921.50 $2,673.75 $1,069.50 $178.25 6 Days

1 hour $5,125.00 $5,637.50 $3,843.75 $1,537.50 $256.25 9 Days

1 ½ hour $6,720.00 $7,392.00 $5,040.00 $2,016.00 $336.00 14 Days

2 hours $9,470.00 $10,417.00 $7,102.50 $2,841.00 $473.50 18 Days


(e) Tier E

Length Minimum Base Rates 2016-2018 Obligatory Rights Acquisition Fees Guaranteed period for prep and shoot

½ hour 2% of Total Budget 1% of Total Budget 6 Days

1 hour 2% of Total Budget 1% of Total Budget 9 Days

1 ½ hour 2% of Total Budget 1% of Total Budget 14 Days

2 hours 2% of Total Budget 1% of Total Budget 18 Days

(f ) Tier F

Length Minimum Base Rates 2016-2018 Regular Rights Acquisition Fees Guaranteed period for prep and shoot

½ hour 2% of Total Budget .75% of Total Budget 6 Days

1 hour 2% of Total Budget .75% of Total Budget 9 Days

1 ½ hour 2% of Total Budget .75% of Total Budget 14 Days

2 hours 2% of Total Budget .75% of Total Budget 18 Days



DR17.04 For a Strip Program, the minimum rate and additional use fee for Directors shall be:

(a) Tier A



½ hour $3,135.00 $1,567.50 2 Days

1 hour $5,450.00 $2,725.00 3 Days



½ hour $3,200.00 $1,600.00 2 Days

1 hour $5,559.00 $2,779.50 3 Days



½ hour $3,265.00 $1,632.50 2 Days

1 hour $5,670.00 $2,835.00 3 Days

(b) Tier B



½ hour $2,615.00 $1,307.50 2 Days

1 hour $4,560.00 $2,280.00 3 Days



½ hour $2,665.00 $1,332.50 2 Days

1 hour $4,650.00 $2,325.00 3 Days



½ hour $2,720.00 $1,360.00 2 Days

1 hour $4,745.00 $2,372.50 3 Days

(c) Tier C



½ hour $2,290.00 $1,145.00 2 Days

1 hour $4,000.00 $2,000.00 3 Days



½ hour $2,335.00 $1,167.50 2 Days

1 hour $4,080.00 $2,040.00 3 Days




½ hour $2,380.00 $1,190.00 2 Days

1 hour $4,160.00 $2,080.00 3 Days


(d) Tier D



½ hour $1,955.00 $977.50 2 Days

1 hour $3,395.00 $1,697.50 3 Days

Length Minimum Base Rates 2016-2018Minimum Obligatory Rights


½ hour $1,995.00 $997.50 2 Days

1 hour $3,465.00 $1,732.50 3 Days



½ hour $2,035.00 $1,017.50 2 Days

1 hour $3,535.00 $1,767.50 3 Days

(e) Tier E



½ hour $1,585.00 $792.50 2 Days

1 hour $2,755.00 $1,377.50 3 Days



½ hour $1,615.00 $807.50 2 Days

1 hour $2,810.00 $1,405.00 3 Days



½ hour $1,645.00 $822.50 2 Days

1 hour $2,865.00 $1,432.50 3 Days

(f ) Tier F



½ hour Negotiable 50% 2 Days

1 hour Negotiable 50% 3 Days


DR17.05 For a Serial Program, the minimum rate for Directors shall be:

(a) Tier A



½ hour $3,135.00 $1,567.50 2 Days

1 hour $5,450.00 $2,725.00 3 Days



½ hour $3,200.00 $1,600.00 2 Days

1 hour $5,560.00 $2,780.00 3 Days




½ hour $3,265.00 $1,632.50 2 Days

1 hour $5,670.00 $2,835.00 3 Days

(b) Tier B



½ hour $2,820.00 $1,410.00 2 Days

1 hour $4,910.00 $2,455.00 3 Days



½ hour $2,875.00 $1,437.50 2 Days

1 hour $5,010.00 $2,505.00 3 Days



½ hour $2,935.00 $1,467.50 2 Days

1 hour $5,110.00 $2,555.00 3 Days

(c) Tier C



½ hour $2,475.00 $1,237.50 2 Days

1 hour $4,310.00 $2,155.00 3 Days



½ hour $2,525.00 $1,262.50 2 Days

1 hour $4,395.00 $2,197.50 3 Days



½ hour $2,575.00 $1,287.50 2 Days

1 hour $4,485.00 $2,242.50 3 Days

(d) Tier D



½ hour $2,105.00 $1,052.50 2 Days

1 hour $3,660.00 $1,830.00 3 Days



½ hour $2,147.00 $1,073.50 2 Days

1 hour $3,735.00 $1,867.50 3 Days




½ hour $2,190.00 $1,095.00 2 Days

1 hour $3,810.00 $1,905.00 3 Days

(e) Tier E



½ hour $1,710.00 $855.00 2 Days

1 hour $2,970.00 $1,485.00 3 Days



½ hour $1,745.00 $872.50 2 Days

1 hour $3,030.00 $1,515.00 3 Days



½ hour $1,780.00 $890.00 2 Days

1 hour $3,090.00 $1,545.00 3 Days

(f ) Tier F



½ hour Negotiable 50% 2 Days

1 hour Negotiable 50% 3 Days


DR17.06 Additional Work on Strip and Serial Programs

(a) Any work performed by a Director on an extra Day shall be paid based on the following formula, and is in addition to any other rate to which the

Director is entitled:

i. One (1) to thirty (30) minutes in length: ifty percent (50%) of the applicable rate as set out in Article DR17.04 or DR17.05 (a), (b), (c), (d) or (e) for

each extra day of work.

ii. Thirty-one (31) to sixty (60) minutes in length: thirty three and one third percent (33.33%) of the applicable rate as set out in Article DR17.04 or

DR17.05 (a), (b), (c), (d), or (e) for each extra day of work.

(b) In any case where a Director shoots scenes for another Director, then the irst Director will be paid based on the following formula, and is in addition to

any other rate to which the irst Director is entitled:

i. Up to ifteen (15) minutes (total): one hundred percent (100%) of the applicable rate as set out in the zero (0) to ifteen (15) minute section under

Article DR17.04 or DR17.05 (a), (b), (c), (d) or (e) for each additional day of work.

ii. Up to thirty (30) minutes (total): one hundred percent (100%) of the applicable rate as set out in the sixteen (16) to thirty (30) minute section under

Article DR17.04 or DR17.05 (a), (b), (c), (d) or (e) for each additional day of work.

(c) Flashbacks and scenes replayed at the start of an Episode will be allowed without any additional compensation as long as the scenes used are less than

a total of three (3) minutes in length, or if the scenes were shot by the Director of the Episode in which they appear regardless of the total length of

those scenes. Where the length of the scenes is equal to or greater than a total of three (3) minutes, the Director shall be compensated at the extra Day

rate, in addition to any other rate to which the Director is entitled.

DR17.07 Exceptional Length Productions

(a) For a double length Episode of a television Series, the Director shall be engaged at two hundred percent (200%) of the applicable minimum rate and

guaranteed Days set forth in Article DR17.02 above.

(b) For Television Motion Pictures in excess of two (2) hours, the minimum rate and guaranteed Days shall be computed at the two (2) hour rate plus pro

rata of the one (1) hour schedule.

DR17.08 Computation of Rate

Except for Article DR18.00 (New Media, Derivative and Other Productions),the minimum daily pro rata rate shall be computed by dividing the minimum

rate per show by the number of Days guaranteed for such show. The minimum Weekly Rate shall be computed by multiplying the applicable daily pro rata

rate by ive (5) days. The minimum daily rate for additional Days worked beyond the Director’s guaranteed period of engagement or for daily engagement,

where permissible, shall be one-fourth (1/4th) of such Weekly Rate.


DR17.09 Guaranteed Days (Shooting/Prep Time)

Total guaranteed Days shown are the maximum allowed for the applicable rate.

DR17.10 Series With or Without a Pilot

(a) Where an Episode shot as a Pilot results in a Series, the Director shall receive the diference between the fees paid under DR17.01 and one hundred and

ifty percent (150%) of the appropriate rate in DR17.02. This fee shall be paid no later than the irst day of principal photography for the Series.

(b) Where a Director is engaged to direct the irst Episode of a new Series (and no Pilot has already been shot) the Director shall receive one hundred and

ifty percent (150%) of the appropriate rate in DR17.02. “First Episode” in this case refers to the irst Episode shot, regardless of the order in which the

Episodes are aired.

(c) The payment of either of the above fees shall entitle the Producer to one (1) additional prep or shooting day per one-half (1/2) hours of said irst

Episode.

DR17.11 Additional Use

If the Producer desires to re-run any Television Motion Picture or exhibit any Television Motion Picture Theatrically or on Compact Devices, the Contract for

Services of each Director engaged therein shall contain a separate provision for additional compensation, which shall not be less than the amounts set out

in Article DR19.00 of this Schedule.

DR17.12 Theatrical Release Payment

If a Television Motion Picture is exhibited theatrically before being broadcast on television, then on the release of such Television Motion Picture, the

Director shall receive not less than one hundred percent (100%) of the Theatrical minimum rate, less all Gross Remuneration previously received.

DR17.13 Series Bonus

(a) If an open-ended television Series is sold subsequent to the Production of a Pilot, spin-of or in any of the forms set forth in Articles DR17.10(a) or (b)

above, or if such television Series is based on a Theatrical Motion Picture, then the Director of the Pilot or spin-of or of the Motion Picture introducing

the character(s) shall be entitled to an additional aggregate Series bonus for each Production year as follows:

Length of Television Motion PictureSeries Bonus

2016 2017 2018

One-half (1/2) hour $1,103.00 $1,125.00 $1,147.50

One (1) hour $2,206.50 $2,250.50 $2,295.50

Ninety (90) minutes or longer $3,309.50 $3,375.50 $3,443.00

Payment is to be made within ive (5) days after irm order for Production. The Series bonus may not be bought out.

(b) Lead-in Payment

A Director who is engaged exclusively to direct material used in lead-ins for the Series will receive one-half (1/2) of the Series bonus provided for in

Article DR17.13 (a) for each year of production the Director’s material is used. The term “lead-in” as used in Article DR17.13 (b) includes title sequences.

The District Council will determine the allocation among Directors where more than one (1) Director is entitled to receive a share of the lead-in

payment.


DR18.00 MINIMUM RATES FOR NEW MEDIA AND DERIVATIVE PRODUCTIONS

DR18.01 The rates paid to the Director for services in a New Media Production shall constitute payment in full for the worldwide use of the Production on one

online service for a period of three (3) years.

DR18.02 MINIMUM RATES FOR NEW MEDIA PRODUCTIONS (excluding Derivative and Other Productions)

(a) Tiers A to D - The minimum daily rates and additional use fees for Directors shall be:

TIERS Minimum Base Rates 2016

Rights Acquisition Fees*

TV

@ 75%

Compact Device

@30%

New Media

@ 5%

A $1,492.00 $1,119.00 $447.60 $74.60

B $1,345.00 $1,008.75 $403.50 $67.25

C $1,021.50 $766.13 $306.45 $51.08

D $868.00 $651.00 $260.40 $43.40



TV

@ 75%

Compact Device

@30%

New Media

@ 5%

A $1,520.00 $1,140.00 $456.00 $76.00

B $1,372.00 $1,029.00 $411.60 $68.60

C $1,042.00 $781.50 $312.60 $52.10

D $885.50 $664.13 $265.65 $44.28



TV

@ 75%

Compact Device

@30%

New Media

@ 5%

A $1,550.50 $1,162.88 $465.15 $77.53

B $1,399.50 $1,049.63 $419.85 $69.98

C $1,063.00 $797.25 $318.90 $53.15

D $903.00 $677.25 $270.90 $45.15

*See DR19.05 (a) for applicable Rights Acquisition Fees.

The Producer shall provide the number of days the Director is being contracted for in the Contract for Service and shall pay out those days even if not

worked, subject to force majeure pursuant to Article 13.01. For clarity, additional days beyond the contracted number of days shall be paid at the daily rate

above.

(b) Tiers E and F - The minimum rates and additional use fees for Directors shall be:

Projected LengthMinimum Base Rates

2016-2018

Obligatory Rights

Acquisition Fees

Minimum Base

Rates Tier F

2016-2018

Regular Additional

Use Fees

Guaranteed

Period for Prep

and Shoot

1 – 30 minutes 2% of total budget 1% of total budget 2% of total budget .75% of total budget 10 days



91 min and over

(per each 2 hrs of

broadcast time)

2% of total budget 1% of total budget 2% of total budget .75% of total budget 36 days

*See DR19.05 (b) for applicable Rights Acquisition Fees details

DR18.03 Additional Prep and Shoot Days – Tiers E and F

For additional prep and shoot days beyond the guaranteed days above, the daily rate shall be the minimum fee payable (3% or 2.75% of the total budget

on Tier E or F, respectively) divided by the number of guaranteed prep and shoot days applicable to that type of Production as above. For example, for a

one hundred and twenty minute Tier F Production with a budget of $700,000, the daily rate would be $700,000 multiplied by 2.75 percent, divided by 36.

This equals $534.72 per day.


DR18.04 Step Up Fees for New Media Production

If a New Media Production is broadcast on linear (i.e. conventional) television within one year from the date of its initial exploitation on a New Media

Platform, the Producer shall pay to the Director a step-up fee equal to the diference between the minimum rates and Rights Acquisition Fees paid to the

Director for the New Media Production and the applicable minimum rates and Rights Acquisition Fees that would have been payable to the Director if the

New Media Production were contracted as a Television Motion Picture Production. For clarity, if the Production is a Tier C or D and the step-up is required

as above, the Producer may still choose between the Regular Option and the Alternate Option as described in DR.19.03.(b).

DR18.05 MINIMUM RATES FOR DERIVATIVE AND OTHER PRODUCTIONS

For a Derivative or Other Production, the minimum rate for Directors (per minute of projected length) shall be:

Tier 2016 2017 2018

A $539.00 $550.00 $561.00

B $486.00 $495.50 $505.50

C $426.00 $434.50 $443.00

D $362.00 $369.00 $376.50

E negotiable negotiable negotiable

F negotiable negotiable negotiable

Payment of the Director’s applicable minimum rate for all Derivative or Other production material includes prep and shoot.

Payment of the Director’s applicable minimum rates as above will grant the Producer the right to all uses now or hereafter known for the Derivative and/or

Other Production in perpetuity.

DR19.00 RIGHTS ACQUISITION FEES FOR ADDITIONAL USE

DR19.01 For the purposes of this Article:

(a) “at the time of Production” means no later than the completion of principal photography and with respect to a Television Series, no later than

completion of principal photography of the particular Episode

(b) “Canadian Production” means a Motion Picture which does qualify as “Canadian content” as deined by the Canadian Radio-Television and

Telecommunications Commission (CRTC).

(c) “Date of Use” means the date on which a Motion Picture is released on Compact Device or theatrically, or exhibited or broadcast on Free Television, Pay

Television or Cable Television.

(d) “Non-Canadian Production” means a Motion Picture which does not qualify as “Canadian content” as deined by the Canadian Radio-Television and

Telecommunications Commission (CRTC).

(e) “Parent Company” means a corporation as deined in the Canada Business Corporations Act that owns or controls the production company. Ownership

of a production company means that the parent company holds at least ifty percent of all the voting shares of the production company. Control

of a production company means that one or more corporation(s) are in a position to elect more than ifty percent of the board of directors of the

production company.

DR19.02 Additional Use - Theatrical Motion Pictures

(a) Tiers A - D

The Producer shall make a mandatory payment of ninety percent (90%) of the applicable Director’s minimum rate at the time of Production. Such

payment shall entitle the Producer to all use now or hereafter known for the Production in perpetuity.

(b) Tiers E - F

For Theatrical Motion Pictures in tier E the minimum rate shall be 2% of the total Budget plus an additional 1% mandatory rights acquisition fee, which

shall include all uses now or hereafter known for the Production in perpetuity.

For Theatrical Motion Pictures in tier F the minimum rate shall be 2% of the total Budget plus an additional .75% mandatory rights acquisition fee, which

shall include all uses now or hereafter known for the Production in perpetuity.

DR19.03 Additional Use - Television Motion Pictures (Excluding Strip or Serial Programs)

(a) Tiers A and B

The Producer shall make a mandatory payment of one hundred and ten percent (110%) of the applicable Director’s minimum rate at the time of

Production. Such payment shall entitle the Producer to all use now or hereafter known for the Production in perpetuity.

(b) Tiers C and D

The Producer shall choose one of the two following options:

i. Regular Option: The Producer shall make a mandatory payment of one hundred and ten percent (110%) of the applicable Director’s minimum

rate at the time of Production. Such payment shall entitle the Producer to all use now or hereafter known for the Production in perpetuity.

ii. Alternate Option: The Producer shall make a mandatory payment of seventy-ive percent (75%) of the applicable Director’s minimum rate at

the time of Production. Such payment shall entitle the Producer to all television use now or hereafter known for the Production in perpetuity,

including free streaming use on the broadcaster’s website for the duration of the broadcaster’s television license terms, but excluding use on

Compact Device and any New Media Platform.


In addition, the Producer can opt at any time prior to the particular Date of Use speciied in (1.) and (2.) below and without penalty, to make

payment of the following:

1. Thirty percent (30%) of the applicable Director’s minimum rate to acquire all Compact Device use now or hereafter known for the Production

in perpetuity. Where a Compact Device is created and distributed for promotional use (i.e. not for sale or rental), this payment of thirty percent

(30%) is not required;

and/or

2. Five percent (5%) of the applicable Director’s minimum rate to acquire all on New Media Platform use now or hereafter known for the

Production in perpetuity.

If not paid by the due date, then the applicable rate shall be increased by three percent (3%).

Should the Producer choose this Alternate Option, the Producer shall, at the time of Production, provide the District Council with a guarantee from

its Parent Company in the form set out at Schedule 15 to cover further use payments.

The Producer must specify in the Director’s Contract for Services the uses of the Motion Picture for which the rights acquisition fee is being

provided.

(c) Tiers E and F

For Television Motion Picture Productions, Anthologies, Made for Television Movies, Mini-Series, Series, Pilots, spinofs, and Television Drama Specials, the

minimum rate shall be two percent (2%) of the total Budget plus an additional one percent (1%) mandatory rights acquisition fee which shall include all

uses now or hereafter known for the Production in perpetuity. In no case shall the rate be higher than one dollar ($1.00) less than the rates in tier D.

For Television Motion Picture Productions, Anthologies, Made for Television Movies, Mini-Series, Series, Pilots, spinofs, and Television Drama Specials, the

minimum rate shall be two percent (2%) of the total Budget plus an additional three-quarters of a percent (0.75%) mandatory rights acquisition fee, which

shall include all uses now or hereafter known for the Production in perpetuity. In no case shall the rate be higher than one dollar ($1.00) less than the rates

in tier E.

DR19.04 Additional Use - Strip or Serial Programs

The Producer shall make payment of ifty percent (50%) of the applicable Director’s minimum rate at the time of Production to acquire all use now or

hereafter known for the Production in perpetuity.

DR19.05 Additional Use - New Media Productions (excluding Derivative Productions)

(a) Tiers A to D

The Producer shall, at the time of Production, provide the District Council with a guarantee from its Parent Company in the form set out at Schedule 15 to

cover further use payments.

The Producer can opt at any time prior to the date of use of the individual use speciied in (i), (ii) and/or (iii) below, without penalty, to make payment of

the following:

i. Seventy-ive percent (75%) of the applicable Director’s minimum rate to acquire all use now or hereafter known for the Production in perpetuity,

excluding Compact Device and exhibition on any New Media Platform; and/or

ii. Five percent (5%) of the applicable Director’s minimum rate to acquire all on New Media Platform use now or hereafter known for the Production

in perpetuity; and/or

iii. Thirty percent (30%) of the applicable Director’s minimum rate to acquire all Compact Device use now or hereafter known for the Production in

perpetuity.

(b) Tiers E and F

The Rights Acquisition Fees applicable to Tier E and F New Media Productions are:

For Tier E, the minimum rate shall be 2% of the total Budget plus an additional one percent (1%) mandatory rights acquisition fee, which shall include all

use now or hereafter known for the Production in perpetuity.

For Tier F, the minimum rate shall be 2% of the total Budget plus an additional three quarters of a percent (.75%) mandatory rights acquisition fee, which

shall include all use now or hereafter known for the Production in perpetuity.

DR19.06 Technological Change/Other Uses

The parties recognize that technology in the industry is constantly changing. To the extent that the particular use of a Motion Picture is not covered under

one (1) of the categories set out herein the parties agree to meet and to negotiate with a view to determining an appropriate rights acquisition fee. If the

parties are unable to resolve the issue, then the parties agree to submit to an arbitrator under Core Article 10.00. The arbitrator shall be required to treat

the matter as an interest arbitration and to determine an appropriate rights acquisition fee.

DR19.07 Computation of Rights Acquisition Fee(s)

Fees paid for extra shooting Days and extra prep Days are to be included in computing the required rights acquisition fee.

DR19.08 Mandatory Rights Acquisition Fee

For Direct to Video Motion Pictures, the Producer must provide the rights acquisition fee under Article DR19.03 (b)(ii) prior to the completion of principal

photography at Tiers C and D.

DR19.09 Excerpt Buyout

If an excerpt of a Motion Picture is to be used at any time in the making of another Motion Picture, then the Director of the Motion Picture from which the

excerpt was taken shall be entitled to additional payment by the Producer of the Motion Picture in which the excerpt is to be used at not less than the

applicable minimum rates set forth below.


(a) For use of such an excerpt from a Theatrical Motion Picture in a Theatrical Motion Picture or a Television Motion Picture in a Theatrical Motion Picture

the following payments will be made:

i. Excerpt less than thirty (30) seconds, three hundred and ninety-ive dollars and ifty cents ($395.50);

ii. Excerpt over thirty (30) seconds but not more than two (2) minutes, eight hundred and seven dollars and ifty cents ($807.50);

iii. Excerpt over two (2) minutes, eight hundred and seven dollars and ifty cents ($807.50) for the irst two (2) minutes and three hundred twenty-one

and zero cents($321.00) for each additional minute or portion thereof.

(b) For use of such an excerpt from a Television Motion Picture in another television Motion Picture the following payments will be made:

i. Ten (10) seconds of excerpts from such Motion Picture, three hundred twenty-one and zero cents($321.00);

ii. Over ten (10) seconds but not more than two (2) minutes of excerpts from such Motion Picture, nine hundred and ifty-one dollars and ifty cents

($951.50);

iii. Over two (2) minutes of excerpts from such Motion Picture, nine hundred and ifty-one dollars and ifty cents ($951.50) for the irst two (2) minutes

and one hundred and ifty-ive and zero cents ($155.00) for each additional minute or portion thereof.

(c) For use of such an excerpt from a Theatrical Motion Picture in a Television Motion Picture the following payments will be made:

i. Thirty (30) seconds or less of excerpts, two hundred and eighteen and zero cents ($218.00);

ii. Over thirty (30) seconds but not more than two (2) minutes of excerpts, six hundred and nineteen dollars and zero cents ($619.00);

iii. Over two (2) minutes of excerpts, six hundred and nineteen dollars and zero cents ($619.00) for the irst two (2) minutes and one hundred and

thirteen dollars and zero cents ($113.00) for each additional minute or portion thereof.

(d) Recaps played at the start of an Episodic Motion Picture will be allowed without any additional compensation as long as the scenes used are less than

a total of three (3) minutes in length, or if the scenes were shot by the Director of the Episode in which they appear regardless of the total length of

those scenes. Where the total length of the scene is equal to or greater than a total of three minutes, the Director shall be compensated at the extra

Day rate in addition to any other rate to which the Director is entitled.

DR19.10 If two (2) or more Directors are entitled to share any payment provided in Article DR18.10, the District Council shall determine the allocation among the

Directors.

DR19.11 The above provisions shall not be applicable for the use of an excerpt(s) when used for promotional, trailer, news or review purposes or as a so-called

“stock shot” (i.e., shots excluding dialogue or identiiable characters).

DR19.12 The Director of any Motion Picture which incorporates any excerpt(s) of any other Motion Picture shall not have his remuneration reduced as a result.

Accordingly, the applicable minimum rates prescribed by this Agreement, or as otherwise increased by individual negotiation between a Director and a

Producer, shall apply in full, notwithstanding any use of any excerpt of any other Motion Picture in that Motion Picture.

DR20.00 MINIMUM RATES FOR SECOND UNIT DIRECTORS


DR20.01 For Theatrical Motion Pictures, the minimum rates for Second Unit Directors shall be:

Tier Level Type of Engagement 2016 2017 2018

A Weekly $10,465.00 $10,675.00 $10,889.00

Daily $2,616.25 $2,668.75 $2,722.25

B Weekly $9,435.00 $9,625.00 $9,815.00

Daily $2,358.75 $2,406.25 $2,453.75

C Weekly $8,300.00 $8,465.00 $8,635.00

Daily $2,075.00 $2,116.25 $2,158.75

D Weekly $7,035.00 $7,175.00 $7,320.00

Daily 1758.75 $1,793.75 $1,830.00

E Weekly $5,680.00 $5,795.00 $5,910.00

Daily $1,420.00 $1,448.75 $1,477.50

F Weekly $4,225.00 $4,310.00 $4,395.00

Daily $1,056.25 $1,077.50 $1,098.75

The provisions of DR 19.00 do not apply to Second unit directors


DR20.02 For all Television Motion Pictures, the minimum rates for Second Unit Directors shall be:

Tier Level Type of Engagement 2016 2017 2018

A Weekly $7,300.00 $7,445.00 $7,595.00

Daily $1,825.00 $1,861.25 $1,898.75

B Weekly $6,575.00 $6,705.00 $6,840.00

Daily $1,643.75 $1,676.25 $1,710.00

C Weekly $5,765.00 $5,880.00 $5,995.00

Daily $1,441.25 $1,470.00 $1,498.75

D Weekly $4,895.00 $4,995.00 $5,095.00

Daily $1,223.75 $1,248.75 $1,273.75

E Weekly $3,965.00 $4,040.00 $4,125.00

Daily $991.25 $1,010.00 $1,031.25

F Weekly $2,950.00 $3,005.00 $3,065.00

Daily $737.50 $751.25 $766.25

The provisions of DR 19.00 do not apply to Second unit directors

DR21.00 MINIMUM RATES FOR OTHER MOTION PICTURES

DR21.01 The minimum rates for Directors and Second Unit Directors for all Motion Pictures which are not otherwise expressly provided by this Schedule shall be

established by negotiation between the Producer and District Council, prior to the engagement by the Producer of any Guild Member.

DR22.00 TERMINATION

DR22.01 Force Majeure/Postponement/Termination

The Director of the Motion Picture shall not have the start of his Contract for Services postponed, the term of his Contract for Services interrupted, or

his Contract for Services terminated under the force majeure provisions of this Agreement unless the entire cast and the Director of Photography of

the Motion Picture are also subject to the same postponement, interruption, or termination as the case may be. Where during any postponement or

interruption of the Director’s Contract for Services the principal performers or the Director of Photography receive all or part of their salary then the

Producer shall pay to the Director as compensation for such postponement or interruption an amount in the same pro rata amount as the Producer pays

the principal performers or the Director of Photography during the said postponement or interruption of the Director’s Contract for Services. If there is a

diference in the proportionate amount paid to the principal performer(s) and the Director of Photography then the higher proportionate amount shall be

paid to the Director.

DR22.02 Cancellation of the Motion Picture

When a Theatrical Motion Picture, a Television Motion Picture or a New Media Production longer than ninety (90) minutes is cancelled and the Contract

for Services of the Director is terminated under the force majeure provisions of this Agreement, then if the Motion Picture Production is re-commenced

within twelve (12) months of the termination of the Director’s Contract for Services, the Director shall be reinstated as Director of the Motion Picture

and his Contract for Services shall be deemed to be in full force and efect for the entire Production period of the re-commenced Motion Picture. The

Producer shall give to the Director ten (10) working days notice of its intention to re-commence the Motion Picture. Within two (2) days of the date of the

receipt of such written notice the Director shall advise the Producer in writing if he is available for work. If the Director advises the Producer that he is not

available for work, the Director’s Contract for Services shall remain terminated and the Producer may engage another Director subject to the other terms,

conditions, and provisions of this Agreement. Where the Director advises that he is available, then he shall be entitled to begin work at once and again

receive his compensation under his Contract for Services.

DR22.03 Replacement

A Director who is terminated in accordance with the “pay or play” or just and reasonable cause provisions of this Agreement may be replaced. A Director

shall not be replaced by a person who has never prior to that time directed a Theatrical Motion Picture or alternatively has never directed more than ninety

(90) minutes of television programming, regardless of where produced. At least one (1) working Day prior to the engagement of the replacement Director,

the Producer shall give to the District Council in writing particulars to substantiate that the replacement Director qualiies as a replacement Director within

the meaning of this Article DR22.03.

DR22.04 Emergency Replacement

Notwithstanding the preceding Article DR22.03, the Producer may in a bona ide emergency engage a replacement Director for a period of ive (5) Days

on a one (1) time basis who does not meet the qualiications required by Article DR22.03 to act as a replacement Director during the said ive (5) Days

pending the arrival of the replacement Director who does qualify under Article DR22.03. If such an emergency arises on a television Series, the ive (5) Day

period may be extended to allow the completion of principal photography of the Episode.

DR22.05 Guaranteed Period for Replacement Director

Where a Director is replaced, the replacement Director shall only be guaranteed the greater of the number of guaranteed Days remaining or the number

of Days actually remaining on the shooting schedule at the time such replacement Director begins the assignment.


DR22.06 Screenplay Development

If a Director at the request of the Producer, participates in the development of a screenplay (as a Director in a non-writing function) at the development

stage of a Motion Picture, with the option to direct and if such option is not exercised or if the Director is replaced or the Motion Picture is abandoned, the

Director shall receive a minimum of ten thousand dollars ($10,000) at the time a Motion Picture, based on such screenplay is produced, inclusive of any

option, writing and other fees paid to the Director.

DR23.00 GENERAL

DR23.01 If there is conlict between this Schedule and any other provisions of the Standard Agreement, or any other Director Long Form or Supplementary

Agreement, the provisions of this Schedule shall prevail (except where Director’s Contract for Services provides more favourable conditions). This

Agreement shall remain in full force and efect as it relates to the Producer’s inancial and other obligations to Directors under this Schedule including,

without limitation, Rights Acquisition Fees for additional use and Series bonuses.

DR24.00 ISAN

DR24.01 (a) The parties hereto acknowledge that speciications for an international standard audiovisual number, ISAN or V-ISAN, are currently under development

and nearing completion, under the auspices of the International Standards Organization (the “ISAN standard”). It is contemplated that regional

agencies for the registration and granting of ISAN/V-ISAN for Motion Pictures will soon be established in Canada or North America. At such time as a

regional ISAN agency serving Canada is established, each Producer of a Motion Picture produced under the terms of this Agreement shall be required

to apply for an ISAN/V- ISAN for each such Motion Picture.

(b) The Producer shall apply for an ISAN/V-ISAN at the earliest practical opportunity in the production of the Motion Picture so that the ISAN/V-ISAN may

be included as key information on each Guild Member’s Contract for Services and other documentation. The Producer shall advise the District Council

upon request, and in any event no later than the end of post-production, of the ISAN/V-ISAN for the Motion Picture.

(c) In registering the Motion Picture for an ISAN/V-ISAN, the Producer will be required to provide the ISAN regional agency with certain descriptive data

concerning the Motion Picture, pursuant to the ISAN/V-ISAN standard. The Producer shall include the full name(s) of the principal director(s) in the

descriptive data in each registration of an audiovisual work, including the registration of an episode within a serial audiovisual work, in addition to all

mandatory descriptive data required under the ISAN/V-ISAN standard.

(d) The Producer will adhere to such other reasonable requirements as may be developed from time to time by the applicable ISAN agency to establish

and implement an international registration and tracking system for audiovisual works in the ilm and television industry.

DR25.00 RESERVATION OF RIGHTS

DR25.01 (a) Nothing in this Agreement or any Contract for Services to which this Agreement applies shall diminish any otherwise existing rights of the Director to

collect any of the so-called “author’s share” of secondary use payments in connection with any Motion Picture.

(b) Nothing in this Agreement or any Contract for Services to which this Agreement applies shall diminish any otherwise existing right of the Producer to

collect any of the so-called “Producer’s share” of secondary use payments in connection with any Motion Pictures.

(c) In this Article, “secondary use payments” means the net amounts collected and then distributed by collective societies (e.g. SACD, AGICOA) in respect

of:

i. the retransmission outside of Canada

ii. the performance, communication to the public (including broadcasting worldwide), private copying, rental, lending or any other use giving rise to

equitable remuneration provided for, now or hereafter, by statute anywhere in the world, but excluding retransmission in North America of Motion

Pictures

(d) The Gross Remuneration payable to the Director under this Agreement or any Contract for Services shall not be reduced by, but shall rather be in

addition to, any amounts received by the Director on account of any secondary use payments


The foregoing is efective from January 1, 2016 to the expiration of this Agreement

canadian Media directors Guild of canada

Producers Association

per____________________________________________ per____________________________________________

President and President

CEO

directors Guild of canada directors Guild of canada

Alberta district council Atlantic Regional council

per____________________________________________ per____________________________________________

Chair Chair

directors Guild of canada directors Guild of canada – Ontario

Manitoba district council

per____________________________________________ per____________________________________________

Chair Chair

directors Guild of canada

Saskatchewan district council

per____________________________________________

Chair


NO. 1 ARTICLE 25 - RESERVATION OF RIGHTS

With respect to Article DR25.00, Reservation of Rights, the parties, agree as follows:

1. All net amounts collected and then distributed by collective societies in respect of the retransmission in North America of Motion Pictures are deemed

receivable by the Producer, the head distributor and/or sub-distributors until such time as a decision of a court or tribunal of competent jurisdiction to the

contrary is rendered.

2. Nothing in the Standard Agreement or this letter of understanding shall preclude the Guild or the CMPA from commencing or participating in proceedings

before any court or tribunal and/or lobbying for secondary use payments.



per____________________________________________ per____________________________________________


CEO



per____________________________________________ per____________________________________________

Chair Chair



per____________________________________________ per____________________________________________

Chair Chair



per____________________________________________

Chair

letters of understanding Directors


NO. 2 LETTER OF UNDERSTANDING REGARDING RIGHTS ACQUISITION FEES FOR NEW MEDIA PRODUCTIONS

The parties recognize that the business models relating to the use of Productions on New Media Platforms are evolving. As such, the parties acknowledge

that the Rights Acquisition Fees set forth in the Directors Schedule applicable to the use of Productions on New Media Platforms have been agreed to without

prejudice to any position either party has taken or may take regarding the valuation of New Media Rights Acquisition Fees.



per____________________________________________ per____________________________________________


CEO



per____________________________________________ per____________________________________________

Chair Chair



per____________________________________________ per____________________________________________

Chair Chair



per____________________________________________

Chair



NO. 3 NEW MEDIA PRODUCTIONS – SUNSET CLAUSE

The parties recognize that the business models and/or methods of production and distribution for New Media Productions are evolving, and so have agreed

that certain Articles (the “Articles”) shall sunset as outlined below. The relevant Articles are as follows:

1. dR 18.05 Derivatives

2. dR 18.02 New Media Productions (excluding Derivative Production);

3. dR 19.03 (b) (ii) in respect of the last sentence only: “...including free streaming use on the broadcaster’s website for the duration of the broadcaster’s

television license terms, but excluding use on Compact Device and any New Media Platform.”

4. dR 19.05 New Media Productions excluding Derivative Production;

The following shall apply in respect of the negotiation of the Articles listed above:

1. The Articles will sunset on June 30, 2019, unless the parties agree otherwise. Nevertheless, a Production (which includes a Series) that opens a production

oice between January 1, 2016 and June 30, 2019 shall continue to rely on the Articles as if they remain in full force and efect for the duration of the

Production.

2. The parties will in good faith commence negotiations in respect of the Articles before July 1, 2018.

3. In the event that the Articles sunset, the parties, along with any afected Producer and Guild Member(s), shall enter into a negotiation regarding the terms

and conditions under which the items covered by the Articles can be contracted.



per____________________________________________ per____________________________________________


CEO



per____________________________________________ per____________________________________________

Chair Chair



per____________________________________________ per____________________________________________

Chair Chair



per____________________________________________

Chair



NO. 4 NeW MedIA SubcOMMITTee

The parties agree to establish a New Media Committee comprised of no more that 6 representatives of each the CMPA and the Directors Guild of Canada.

The purpose of the committee will be to research, review and make recommendations with respect to the evolving business models and/or methods of

production and distribution for New Media Productions and appropriate terms and conditions of compensation for Directors under this Agreement relating

to same.

The irst meeting shall take place on or before June 30, 2016. The committee shall make its recommendations no later than six months prior to the expiration

of this Agreement.



per____________________________________________ per____________________________________________


CEO



per____________________________________________ per____________________________________________

Chair Chair



per____________________________________________ per____________________________________________

Chair Chair



per____________________________________________

Chair



Name: _________________________________________________ HST#: _________________________________ ISAN# ____________________________________

loan-out Name: _________________________________________ corp. # ________________________________ ceIRP# ___________________________________

Address: ________________________________________________________________________________________________________________________________

current Title of Motion Picture: ___________________________________________Type of Motion Picture: _____________________________________________

episode Number (if applicable):__________length of episode: ________________engaged in Province(s): _____________________________________________

Start date ____________________________Finish date _______________________Guaranteed Period (specify weeks or days) _____________________________

TIeRS Tier A ❑ Tier b ❑ Tier c ❑ Tier d ❑ Tier e ❑ Tier F ❑ Main unit ❑ 2nd unit ❑

RATe: $ _______________________ Specify dollar Amount Per Week ❑ Per episode ❑ Per day ❑

Rights Acquisition Fee (RAF): $ _______________________________________________ Total Rate (Add Rate Plus RAF): $ ________________________________

Derivative or Other Production Per Minute of Projected Length: _______________ # of Minutes

Additional Terms for extra Work Outside Guaranteed Periods or extra days:

(a) length of engagement: _________________________________________ (b) Rate – daily: ______________ Weekly: ________________

(c) Other Terms (i.e. credit, Vehicle, etc): ______________________________________________________________________________________________________

Rights Acquisition Fees for Theatrical Motion Pictures, Television Motion Picture and direct to Video, Strip and Serial and New Media Productions

(A) THeATRIcAl MOTION PIcTuReS–MANdATORY RIGHTS AcQuISITION FeeS

Tiers A–d ❑ In Perpetuity (90%)

Tier e ❑ 1% of the total Budget for all use now or hereafter known in perpetuity Tier F ❑ .75% of the total Budget for all use now or hereafter known in perpetuity

(b) TeleVISION MOTION PIcTuReS ANd dIRecT TO VIdeO (excluding Strip Programs)

Tiers A–b Mandatory: ❑ 110% All television use, all media & Compact Devices worldwide in perpetuity

Tiers c–d Regular Option: ❑ 110% for all use now or hereafter known for the production in perpetuity

Alternate Option: ❑ 75% All television use in perpetuity including free streaming use on the broadcaster’s website for the duration of license terms, but excluding use

on Compact Device and any New Media Platform

In addition ❑ 30% All Compact Device use in perpetuity

And/or ❑ 5% All New Media Platform use in perpetuity


(c) STRIP ANd SeRIAl PROGRAMS ❑ 50% for all use now or hereafter known for the production in perpetuity

(d) NeW MedIA PROducTIONS (eXcludING deRIVATIVe PROducTIONS) Minimum Number of Days (Prep & Shoot) _______________________ days

Tiers A–d ❑ 75% All television use in perpetuity including free streaming use on the broadcaster’s website for the duration of the broadcasters’ television

license terms, but excluding use on Compact Device and any New Media Platform

And/or ❑ 30% All Compact Device use in perpetuity

❑ 5% All New Media Platform use in perpetuity


The individual having inal cutting authority over the Motion Picture is: _______________________________ Tentative Post Production Locale _____________________________________

The Producer and the director must execute the director’s contract for Services not later than the irst day of principal photography, or seven days after the commencement of the

director’s engagement , whichever comes irst (core Article 12.17).

The undersigned hereby authorizes the Producer to check of or deduct in accordance with the 2016-2018 DGC/CMPA Standard Agreement two percent (2%) of Gross Remuneration weekly

and permit fees and remit same to the Guild. All of the provisions of this Contract for Services are subject to and must provide no less than the terms and conditions of the 2016-2018 DGC/

CMPA Standard Agreement and all of the provisions of said 2016-2018 DGC/CMPA Standard Agreement and any individual contract between the Director and the Producer shall be deemed

to be incorporated into this Contract for Services as if set forth in full herein in writing.

ACCEPTED AND AGREED

________________________________________________________________ __________________________________________________________


________________________________________________________________ __________________________________________________________

Print Name of Guild Member OR Loanout’s Authorized Rep Signature of Producer’s (Company’s) authorized rep

________________________________________________________________ __________________________________________________________

Date Print Name of Producer’s (Company’s) Authorized Rep*

__________________________________________________________

Date

*Producer’s Authorized Rep includes executive Producer, Producer, Supervising Producer, Associate Producer or line Producer or a person

performing any of those functions, but eXcludeS A GuIld MeMbeR WHO IS SubJecT TO THe STANdARd AGReeMeNT (core Article 12.09).

contract for Services Directors – Schedule 1


Index Directors

b

budget Tiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

c

conlicts between directors Schedule & other provisions . . . . . . . . . . . . . . . . . 31

copy Of Motion Picture

Availability of Copies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

If Producer goes out of business . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

d

dailies/Rushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

director’s credit

Form Of Director’s Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Other Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Paid Advertising Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Paid Advertising Credit, Exceptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Publicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Restriction On Use Of Word. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Screen Credit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

director’s cut

Deinition and Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Delivery Date For Television Motion Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Editing Theatrical Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Limited Viewing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Minimum Time Allowance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

No Interference With Director’s Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Preparation Of Director’s Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Producer’s Cost. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Release Date For Theatrical Motion Picture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Right Of Consultation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Right To Be Present And To Consult . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Right To Director’s Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Screening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Technological Change. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

director’s Minimum Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

director’s Pre-contract Requirements

Budget Disclosure & Consultation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Disclosure by Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Representation of Budget and Shooting Schedule . . . . . . . . . . . . . . . . . . . . . . . . 5

dubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

e

extra Work

Consultation With Other Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Informing the Director of Extra Work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Other Provisions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Preparation Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Remuneration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

I

ISAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

l

letters Of understanding

No. 1 - Article 25 - Reservation of Rights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

No. 2 - Letter of Understanding Regarding Rights Acquisition Fees for

New Media Productions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

No 3. - New Media Productions - Sunset Clause . . . . . . . . . . . . . . . . . . . . . . . . . . 35

No 4. New Media Subcommittee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Looping And dubbing

Dubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Looping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

M

Minimum Rates For Other Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Minimum Rates For Second unit directors

Television Motion Pictures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Theatrical Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Minimum Rates For Television Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Additional Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Computation Of Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Declared Exhibition of Television Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . 12

Serial Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Series Bonus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Series With Or Without A Pilot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Television Series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Minimum Rates For Theatrical Motion Pictures

Additional Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Daily Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Minimum rates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Series Bonus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

O

One director

Exceptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Foreign Countries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

One director at any given time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Unique Function And Participation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

P

Participation

Artistic And Creative Direction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Casting Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Producer’s Final Decision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Selection Of First Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Previews

Guarantee of screening. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Notice of preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Private Oice And Parking

Deinition of oice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Parking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Private oice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

R

Reservation of Rights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Letter of Understanding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Rights Acquisition Fees For Additional use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Additional Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Computation Rights Acquisition Fee(S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Excerpt Buyout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Mandatory Rights Acquisition Fee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Single Use Limitation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Strip Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Technological Change/Other Uses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28



S

Script

Delivery Of Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Script Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Second unit Photography

Applicable Provisions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Consultation with Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Minimum Prep Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Weekly or Daily Basis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

T

Termination

Cancellation of the Motion Picture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Emergency Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Force Majeure/Postponement/Termination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Guaranteed Period for Replacement Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Replacement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Screenplay Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Tiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Derivatives & Other Productions – Per Minute of Finished Material . . . . . . . 12

Mini-Series (Per Each 2 hours Of Broadcast Time) . . . . . . . . . . . . . . . . . . . . . . . . 11


Serial And Strip Programs – ½ hour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Serial And Strip Programs – 1 hour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Television Series - ½ hour Episode (Includes Pilots, Anthologies,

Episodic Television Series, Serials, Variety Series) . . . . . . . . . . . . . . . . . . . . . . . . 11

Television Series – 1 hour Episode (Includes Pilots, Anthologies,

Episodic Television Series, Serials, Variety Series) . . . . . . . . . . . . . . . . . . . . . . . . 11

V

V-ISAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31


O n t a r i oS c h e d u l e 5


Table of contents Ontario

ON1.00 REGULAR WORK DAY

ON1.01 Work Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

ON1.02 No Split Shifts and No Standby Engagement . . . . . . . . . . . . . . . . . . . . . . . . 4

ON1.03 Work Week . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

ON1.04 Shifting the Work Week. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

ON1.05 Fractional Work Week . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

ON1.06 Daily Calls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

ON1.07 Hiatus Periods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

ON1.08 Flat Deals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

ON1.09 Dailies, Production Meetings and Surveys. . . . . . . . . . . . . . . . . . . . . . . . . . . 5

ON2.00 PREMIUM REMUNERATION

ON2.01 Overtime. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

ON2.02 6th Day Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ON2.03 7th Day rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ON2.04 Holiday Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ON2.05 Overtime Calculation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ON2.06 Statutory Overtime. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ON2.07 Payment of all Premiums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ON2.08 Turnaround or Rest Period. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ON2.09 Prior Approval of Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ON3.00 MEAL BREAKS

ON3.01 Meal Breaks/Meal Penalty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

ON4.00 VACATIONS AND HOLIDAYS

ON4.01 Annual Vacation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

ON4.02 Holidays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

ON4.03 Unworked Holidays During Regular Work Week . . . . . . . . . . . . . . . . . . . . . 8

ON4.04 Holidays Falling on Days Of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

ON 4.05 Holidays Falling Mid-Week. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

ON5.00 RETIREMENT, HEALTH AND WELFARE PLANS, AND

ADMINISTRATION AND TRAINING FUND

ON5.01 Exceptions to Article ON5.00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

ON5.02 Health and Welfare Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

ON5.03 Non-Member Equalization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

ON5.04 Retirement Contributions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

ON5.05 Administration and Training Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

ON5.06 Member’s Check-of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

ON5.07 DGC Ontario Fringes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

ON6.00 CMPA LEVY

ON6.01 CMPA Levy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

ON7.00 GUILD REMITTANCES

ON7.01 Guild Remittances. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

ON8.00 NEW BUSINESS DEVELOPMENT PLAN

ON8.01 Television Series and Pilots Incentives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

ON8.02 Tier E Long Form Incentive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

ON8.03 Fact Based/Lifestyle/Docu-Drama Production . . . . . . . . . . . . . . . . . . . . . .11

ON8.04 Pilot and First Year Television Series Incentive . . . . . . . . . . . . . . . . . . . . . .12

ON9.00 TRAVEL AND ACCOMMODATION

ON9.01 Studio Zone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

ON9.02 Nearby Location. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

ON9.03 Distant Location. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

ON9.04 Travel Insurance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

ON9.05 Travel to Studio Zone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

ON9.06 Use of Personal Vehicles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

ON10.00 LAY-OFF AND TERMINATION - Refer also to Core Article 13.00

ON10.01 Notice of Lay-of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

ON10.02 Termination of Engagement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

ON11.00 CREDITS

ON11.01 Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

ON11.02 Better Conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

ON11.03 Screen Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

ON11.04 Other Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

ON11.05 District Council Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

ON11.06 CMPA Credit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

ON11.07 Removal or Alteration of Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

ON11.08 Submission of Proposed Screen Credit Format

to the District Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

ON11.09 Credit Grievance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

ON12.00 SCREEN CREDITS FOR PRODUCTION DEPARTMENT

ON12.01 Screen Credits for Production Managers, First and

Second Assistant Directors on Theatrical and Television

Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

ON12.02 Screen Credits for Location Managers, Unit Managers

and Assistant Production Managers on Theatrical and

Television Motion Pictures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

ON12.03 Screen Credits for Third Assistant Directors, Assistant Location

Managers and Production Assistants. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

ON12.04 Screen Credits for the Accounting Department . . . . . . . . . . . . . . . . . . . .16

ON13.00 SCREEN CREDITS FOR ART DEPARTMENT

ON13.01 Screen Credits for Production Designers or for Art Directors

as Head of the Department. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

ON13.02 Screen Credits for Art Directors Working Under a Production

Designer and for First Assistant Art Directors/Set Designers/

Graphic Designers/Motion Graphic Designers. . . . . . . . . . . . . . . . . . . . . .16

ON13.03 Screen Credits for Second Assistant Art Directors,

and Art Department Trainees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

ON14.00 SCREEN CREDITS FOR EDITING DEPARTMENT

ON14.01 Screen Credits for Picture Editors on Theatrical and

Television Motion Pictures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

ON14.02 Screen Credits for Editing Department Personnel on

Theatrical and Television Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . .16

ON14.03 Screen Credits for Editing Department Personnel on

all other Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

ON14.04 Publicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

ON14.05 Professional Designation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

ON15.00 MINIMUM STAFFING

ON15.01 Minimum Personnel: Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

ON15.02 Minimum Personnel: Production Department. . . . . . . . . . . . . . . . . . . . . .17

ON15.03 Minimum Personnel: Art Department. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

ON15.04 Minimum Engagement Period. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

ON15.05 Minimum Personnel: Picture and Sound Editing Departments. . . . . .17

ON15.06 Minimum Personnel: Accounting Department . . . . . . . . . . . . . . . . . . . . .17

ON15.07 Minimum Personnel: Second Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

ON15.08 Minimum Personnel: Strip Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

ON15.09 Determination of Minimum Personnel Requirements . . . . . . . . . . . . . .18

ON15.10 Option to Terminate Engagement in Absence of Minimum Personnel .18

ON15.11 Producer to Engage Suicient Numbers of Guild Members . . . . . . . . .18

ON16.00 SOUND POST PRODUCTION

ON16.01 Contracting Out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

ON16.02 Sound Post Production List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

ON16.03 Half-day Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

ON16.04 Multiple Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

ON16.05 Sound Post Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

ON17.00 APPROVED ONTARIO ARBITRATORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

ON18.00 WORK PERMITS

ON18.01 Permit Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

ON19.00 HEALTH AND SAFETY - Refer also to Core Article 16.00

ON19.01 Section 21 Safety Guidelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

ON19.02 Workers Safety and Insurance Board of Ontario (WSIB) . . . . . . . . . . . . .19

ON19.03 Moving of Commercial Production Vehicle(s) . . . . . . . . . . . . . . . . . . . . . .19

ON20.00 LOCATION SUPPORT PERSONNEL (LSP)

ON20.01 Application of Standard Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

ON20.02 Bargaining Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

ON20.03 No Contracting Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19


Table of contents Ontario

ON20.04 Hourly Engagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

ON20.05 Hourly Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

ON20.06 Premium Payment Calculations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

ON20.07 Overtime Calculations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

ON20.08 Permittees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

ON20.09 Meal Allowance and Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

ON20.10 Fringes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

ON20.11 Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

ON20.12 T2200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

ON 21.00 POST PRODUCTION SUPERVISORS AND POST PRODUCTION

COORDINATORS

ON21.01 Eligible Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

BUDGET TIERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

RATE SHEETS

2016 Production Department Rates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24



2016 and 2017 Art Department Rates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

2018 Art Department Rates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

2016 and 2017 Accounting Department Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

2018 Accounting Department Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

2016 Picture Editing Department Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31



2016 Sound Editing Department Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34



2016–2018 Post Production Department Rates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Fringe Chart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Letter of Understanding

NO. 1 THE DGC ONTARIO JURISDICTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

NO. 2 FACT BASED/LIFESTYLE/DOCU-DRAMA PRODUCTION . . . . . . . . . . . . . .40

NO. 3 TIER F PRODUCTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Work Permits

Canadian Citizens and Permanent Residents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Non-Canadians. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Standard Contract for Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46


ON1.00 REGULAR WORK DAY

ON1.01 Work Day

(a) Except for the Director or a Guild Member engaged on a Flat Deal basis, the work day shall be twelve (12) hours, including paid meal breaks, for Art,

Editing and Accounting Department classiications, and fourteen (14) hours, including paid meal breaks, for Production Department classiications in a

twenty-four (24) hour period. The work day for a Director, or a Guild Member engaged on a Flat Deal basis, shall be a twenty-four (24) hour period.

(b) The work day commences at the Guild Member’s Call time.

(c) A work day starting on one (1) calendar Day and continuing into the following calendar Day shall be deemed to be one (1) work day, namely the work

day on which work started.

ON1.02 No Split Shifts and No Standby Engagement

There shall be no split shifts on any work day nor any standby engagement of any individual Guild Member.

ON1.03 Work Week

(a) The regular work week for any Guild Member shall consist of ive (5) consecutive work days out of seven (7) consecutive Days, starting on the irst of

such ive (5) work days, with the remaining sixth (6th) and seventh (7th) consecutive Days as regular Days of (the “Work Week”). Any Work Week for a

Guild Member engaged for a period other than the regular Work Week established by the Producer shall be deemed to be an irregular work week, will

commence on the Member’s irst work day, and shall require the prior express written consent of the District Council. Notwithstanding the foregoing,

once a regular work week has been established, the Producer shall maintain the right to establish a separate and distinct work week for a bona ide

Second Unit.

(b) Once any applicable 6th or 7th Day premiums have been incurred per Articles ON2.02 and/or ON2.03, the irst ive (5) days of the Member’s established

Work Week immediately thereafter shall revert to straight time for regular hours.

ON1.04 Shifting the Work Week

Once every four (4) shooting weeks, or more frequently where agreed by the District Council and Producer, the Producer may shift the work week by doing

either or both of the following without incurring penalty:

(a) shift the work week forward by adding one (1) or two (2) additional Days of from the regular work week and begin the shifted work week on the

following Day,

(b) shift the work week back:

i. by one (1) Day, by changing the seventh (7th) Day of the regular work week to the irst (1st) Day of the shifted work week, provided that the sixth

(6th) Day of the regular work week is a Day of and the thirty- four (34) hour rest period applies, or

ii. by two (2) Days, by making the preceding work week a pro-rated four (4) Day work week, giving the ifth (5th) Day of, and making the sixth (6th)

Day the irst (1st) Day of the shifted work week, provided that the thirty-four (34) hour rest period applies.

(c) Guild Members shall be given no less than three (3) working days advance notice of the shift. In no event may the Producer shift the work week to

avoid paying for an unworked holiday.

(d) Upon two (2) weeks written notice to the District Council, and with the consent of the afected Guild Members, the work week may be changed from

the last week of prep to the irst week of principal photography provided that Guild Members receive one (1) day of.

(e) In all of the above scenarios, when a Guild Member is approved to work on the one (1) Day of, then this Day shall be considered a seventh (7th) Day.

Day one (1) of principal photography would be Day one (1) of the work week.

ON1.05 Fractional Work Week

With the exception of the Director, the Producer shall pay a Guild Member whose assignment starts on other than the irst (1st) day of the established

work week or ends on other than the last Day of the established work week one-ifth (1/5th) of Guild Member’s weekly Contracted Rate for each Day

worked during the fractional work week, provided that during the preceding or subsequent work week of the assignment such Guild Member completes

a full work week. Special provisions with respect to the Director are contained in the Directors’ Schedule.

ON1.06 Daily Calls

(a) Any change or cancellation of daily Calls, other than for forecasted adverse weather, shall be made ten (10) hours prior to the starting time of Call, or if

possible, before the Guild Member leaves work at the end of the preceding work day.

(b) Due to forecasted adverse weather, the Producer may cancel a daily crew Call up to eight (8) hours prior to the starting time of the Call.

(c) Subject to the provisions of this Standard Agreement, when a Guild Member engaged on a daily basis reports for work as scheduled, or if the Producer

fails to provide the minimum notice in this Article ON1.06, the Producer shall pay to the Guild Member not less than one (1) Day’s Gross Remuneration.

ON1.07 Hiatus Periods

(a) The Producer shall be entitled to impose a maximum hiatus period equal to one (1) week for each eight (8) weeks of the production period, provided

that the Producer gives eighteen (18) calendar Days written notice of the hiatus to the District Council and each Guild Member, subject to events of

force majeure.

(b) Hiatus means a planned, unpaid stoppage of work for a period of three (3) or more work days.

(c) A hiatus of less than one (1) week will not be imposed for the purpose of avoiding payment for holidays.

(d) The three (3) statutory holidays at Christmas are not worked/not paid except where the Christmas break is ten (10) or fewer consecutive Days.

(e) For the purpose of Article ON1.07, the Production period will be calculated from the opening of the Production oice to the completion date of the

Contract for Services of the Sound Editor or the Production Accountant, whichever is later.


ON1.08 Flat Deals

(a) Flat Deal is an agreement between a Producer and a Guild Member relating to the job classiications set out below:

i. Second Unit Director;

ii. Production Manager;

iii. First Assistant Director;

iv. Second Assistant Director;

v. Location Manager;

vi. Two (2) highest ranking Guild Members engaged in the Art Department, as determined by job classiication;

vii. All Editing Department classiications;

viii. Production Accountants;

ix. First Assistant Production Accountants;

x. Second Assistant Production Accountants;

xi. Post Production Supervisors and Post Production Coordinators.

(b) Overtime premiums as designated in Article ON2.01 may be incorporated into a Flat Deal as per Core Article 1.25, but a Flat Deal may not encompass

the following premiums: 6th and 7th days (Articles ON2.02 and ON2.03), holidays (Article ON2.04), and/or turnaround/rest period infringement (Article

ON2.08).

(c) Where a Guild Member and a Producer have agreed on a Flat Deal, the Guild Member’s Contract for Services shall be clearly designated as a “Flat Deal”,

and the Flat Deal box on the Contract for Services must be initialled by the Guild Member at time of signing. Ofsetting of Over-scale shall not be

allowed to reduce a Guild Member’s Gross Remuneration to less than the minimum Gross Remuneration required by this Agreement. The Contracted

Rate will form the basis of all calculations.

(d) Failure to designate a Guild Member’s Contract for Services as a “Flat Deal” and/or failure to obtain the Guild Member’s acknowledgement of the “Flat

Deal” as described in Article 1.08(c) will mean the loss of any right to use the Guild Member’s Over-scale portion of his or her rate as a credit against

overtime premium pay.

ON1.09 Dailies, Production Meetings and Surveys

(a) Time spent in attendance at production meetings or surveys shall be considered time worked.

(b) The Producer need not pay the Guild Member for the time spent at the screening of Dailies unless the Producer or the Director requires the Guild

Member to be there. If the Producer or the Director requires the Guild Member to attend the screening of Dailies, the time spent at the screening shall

be considered time worked.

ON2.00 PREMIUM REMUNERATION

ON2.01 Overtime

(a) Overtime - First Five (5) Days - Production, Art, Editing & Accounting Departments

i. First Five (5) Days After Twelve (12) Hours of work for Art, Editing and Accounting

For all work exceeding twelve (12) hours, but less than sixteen (16) hours on any one of the irst ive (5) work days of the work week, the Producer

must pay to each Guild Member premium pay for each one (1) hour or portion thereof of time worked, calculated in accordance with the following

formulae:

DAILY RATE Contracted Rate ÷ 8 x 2

WEEKLY RATE Contracted Rate ÷ 40 x 2

ii. First Five (5) Days After Fourteen (14) Hours of work for Production Department

For all work exceeding fourteen (14) hours, but less than sixteen (16) hours on any one of the irst ive (5) work days of the work week, the Producer

must pay to each Guild Member premium pay for each one (1) hour or portion thereof of time worked, calculated in accordance with the following

formulae:



iii. First Five (5) Days After Sixteen (16) Hours of work for Art, Editing, Accounting and Production Departments

For all work exceeding sixteen (16) hours on any one of the irst ive (5) work days of the work week, the Producer must pay to each Guild Member

premium pay for each one (1) hour or portion thereof of time worked, calculated in accordance with the following formulae:




(b) Overtime - Sixth (6th) Day - Production, Art, Editing and Accounting Departments

i. Sixth (6th) Day After Twelve (12) Hours of work for Art, Editing and Accounting

For all work exceeding twelve (12) hours, but less than sixteen (16) hours, on a sixth (6th) work day in a Work Week, the Producer must pay to each

Guild Member premium pay for each one (1) hour or portion thereof of time worked, calculated in accordance with the following formula:

DAILY OR WEEKLY RATE 6th Day rate under Article ON2.02 ÷ 8 x 2

ii. Sixth (6th) Day After Fourteen (14) Hours of work for Production Department

For all work exceeding fourteen (14) hours, but less than sixteen (16) hours, on a sixth (6th) work day in a Work Week, the Producer must pay to

each Guild Member premium pay for each one (1) hour or portion thereof of time worked, calculated in accordance with the following formula:


iii. Sixth (6th) Day After Sixteen (16) Hours of work for Art, Editing, Accounting and Production Departments

For all work exceeding sixteen (16) hours on a sixth (6th), work day in a Work Week, the Producer must pay to each Guild Member premium pay for

each one (1) hour or portion thereof of time worked, calculated in accordance with the following formula:


(c) Overtime - Seventh (7th) Day - Production, Art, Editing and Accounting Departments

i. Seventh (7th) Day After Twelve (12) Hours of work for Art, Editing and Accounting

For all work exceeding twelve (12) hours, but less than sixteen (16) hours, on a seventh (7th) work day in a Work Week or in any other period of

seven (7) consecutive calendar days, the Producer must pay to each Guild Member premium pay for each one (1) hour or portion thereof of time

worked, calculated in accordance with the following formula:


ii. Seventh (7th) Day After Fourteen (14) Hours of work for Production Department

For all work exceeding fourteen (14) hours, but less than sixteen (16) hours, on a seventh (7th) work day in a Work Week or in any other period of

seven (7) consecutive calendar days, the Producer must pay to each Guild Member premium pay for each one (1) hour or portion thereof of time

worked, calculated in accordance with the following formula:


iii. Seventh (7th) Day After Sixteen (16) Hours of work for Art & Editing, Accounting and Production Departments

For all work exceeding sixteen (16) hours on a seventh (7th) work day in a Work Week or in any other period of seven (7) consecutive calendar days,

the Producer must pay to each Guild Member premium pay for each one (1) hour or portion thereof of time worked, calculated in accordance with

the following formula:


(d) Overtime - Holiday - Production, Art, Editing and Accounting Departments

i. Holiday After Twelve (12) Hours of work for Art, Editing and Accounting

For all work exceeding twelve (12) hours, but less than sixteen (16) hours on a holiday, the Producer must pay to each Guild Member premium pay

for each one (1) hour or portion thereof of time worked, calculated in accordance with the following formula:

DAILY OR WEEKLY RATE Holiday rate under Article ON2.04 ÷ 8 x 2

ii. Holiday After Fourteen (14) Hours of work for Production Department

For all work exceeding fourteen (14) hours, but less than sixteen (16) hours on a holiday, the Producer must pay to each Guild Member premium

pay for each one (1) hour or portion thereof of time worked, calculated in accordance with the following formula:


iii. Holiday After Sixteen (16) Hours of work for Art, Editing, Accounting and Production Departments

For all work exceeding sixteen (16) hours on a holiday, the Producer must pay to each Guild Member premium pay for each one (1) hour or portion

thereof of time worked, calculated in accordance with the following formula:


(e) Exceptions

Articles ON2.01(a) through (d) do not apply to a Guild Member engaged on a Flat Deal basis or to a Director except as provided for in Article ON1.08.


ON2.02 6th Day Rate

Unless the 7th Day rate applies to a particular work day, a Guild Member who works a sixth (6th) work day in a Work Week shall be paid a sixth (6th) Day

rate calculated in accordance with the following formulae:

DAILY RATE Contracted Rate x 1.5

WEEKLY RATE Contracted Rate ÷ 5 x 1.5

ON2.03 7th Day Rate

A Guild Member who works a seventh (7th) work day in a Work Week or in any other period of seven (7) consecutive calendar days shall be paid a seventh

(7th) Day rate calculated in accordance with the following formulae:

DAILY RATE Contracted Rate x 2


ON2.04 Holiday Rate

Work performed, including travel to and from Nearby and Distant Locations, on a holiday shall be paid a holiday rate calculated in accordance with the

following formulae:

DAILY RATE Contracted Rate x 2


ON2.05 Overtime Calculation

With respect to the calculation of overtime under this Article, overtime shall be calculated for each one (1) hour or portion thereof, based on one-quarter

(1/4) hour increments of time worked, including paid meal breaks.

ON2.06 Statutory Overtime

The rates set out in this Schedule or set out in any Contract for Services, the rates applicable to a Flat Deal, and all rates set out in Article ON2.00 of this

Schedule, are deemed to include any statutory entitlement to overtime pay; however this “deeming” provision shall in no way adversely afect the Guild

Member’s entitlement to or the Producer’s obligation to pay premium pay under Article ON2.00 of this Schedule.

ON2.07 Payment of all Premiums

Where two (2) or more premium rates speciied in Article ON2.01, ON2.02, ON2.03, ON2.04 or ON2.08 are applicable, the Producer shall pay to the Guild

Member all applicable premiums, provided that the premium under those Articles shall in no case exceed three (3) times the Contracted Rate.

ON2.08 Turnaround or Rest Period

(a) Each Guild Member must have a turnaround or rest period between each work day of not less than ten (10) hours free from work.

(b) The minimum rest period for each Guild Member on a regular work week shall be ifty (50) consecutive hours free from work for Television Motion

Pictures.

For Theatrical Motion Pictures, the minimum rest period for each Guild Member on a regular work week shall be ifty-four (54) consecutive hours free

from work. On two (2) occasions in a four- week cycle, and with forty-eight (48) hours written notice to the District Council, the Producer may reduce

the weekend turnaround for Theatricals by four (4) hours.

(c) The minimum rest period for each Guild Member on a six-day work week shall be thirty- four (34) consecutive hours free from work.

(d) In the event of a holiday resulting in a three-day weekend, the minimum rest period for each Guild Member on a four-day work week shall be seventy-

two (72) consecutive hours free from work.

(e) Turnaround or Rest Period Encroachment

For each one (1) hour or portion thereof, based on one- quarter (1/4) hour increments, of encroachment into any applicable turnaround or rest period,

in addition to the Guild Member’s Contracted Rate, the Producer must pay to each Guild Member thus afected premium pay calculated in accordance

with the following formulae:



(f ) The provisions of Article ON2.08 shall not apply to a Director.

(g) Premium pay under Article ON2.08 must be paid in addition to any other premium pay under Article ON2.00, provided that the premium under those

Articles shall in no case exceed three (3) times the pro-rated hourly rate.

ON2.09 Prior Approval of Producer

A Producer shall only be obligated to pay premium pay where the Producer or its duly-authorized representative grants approval for the performance of

the work which attracts the premium pay.


ON3.00 MEAL BREAKS

ON3.01 Meal Breaks/Meal Penalty

(a) The Producer shall ensure that each Guild Member has a paid meal break of at least one-half (1/2) hour, at intervals that will result in no Guild Member

working longer than six (6) consecutive hours without a irst paid meal break and eight (8) consecutive hours without a second paid meal break, failing

which, each afected Guild Member will receive an additional twenty dollars ($20.00) per meal to a maximum of forty dollars ($40.00) per Day.

If the Guild Member is given a non-deductible meal appropriate to the time of Day prior to the general crew call, then the irst paid meal break may be

six (6) hours following the general crew call.

On a reasonable and bona ide basis, the Producer shall have the right to complete a shot in progress to a maximum of ifteen (15) minutes into the

paid meal break without incurring the meal penalty, provided that the set-up or shot was commenced within a reasonable period in advance of the

required paid meal break and provided that there is no reduction in the paid meal break.

(b) Time on meal breaks shall be considered time worked.

(c) The Producer shall provide to each Guild Member craft services of cofee, tea, water, and other beverages throughout the work day.

(d) Where the Producer provides free catering of food and/or beverages to the members of any other labour organization, the Producer shall provide the

same catering beneits to all Guild Members at no cost.

(e) Any Guild Member working away from the shooting crew is responsible for determining his/her own meal periods. For clarity, such Guild Member

shall not incur meal penalties. Notwithstanding the removal of meal penalties, if lunch is not provided, a Guild Member shall be reimbursed up to a

daily maximum of $15 upon provision of a receipt(s) by the Guild Member.

ON4.00 VACATIONS AND HOLIDAYS

ON4.01 Annual Vacation

(a) The Producer shall pay to each Guild Member, including a Loan-out Corporation, four percent (4%) of the Guild Member’s Gross Remuneration. Such

premium or additional payments shall be paid weekly with the regular remuneration payment.

(b) Payment for or in lieu of annual vacation or an additional payment shall not be subject to individual negotiation between any Guild Member or

Loan-out Corporation and any Producer.

(c) This provision shall not apply to persons engaged under Core Article 7.11. In lieu of such provisions, the Employment Standards Act of Ontario shall

govern with respect to vacation pay for those persons engaged under Core Article 7.11.

ON4.02 Holidays

The following Days are recognized as paid holidays: New Year’s Day, Family Day, Good Friday, Victoria Day, Canada Day, Civic Holiday (irst Monday in

August), Labour Day, Thanksgiving Day, Christmas Day, Boxing Day, and any other Day declared a holiday by the federal, provincial, or municipal (local)

government.

ON4.03 Unworked Holidays During Regular Work Week

When a holiday not worked falls within the Guild Member’s weekly or longer guaranteed period of engagement, no deductions shall be made from

guaranteed remuneration. When such holiday not worked occurs within a partial work week following a Guild Member’s period of engagement, or where

a Guild Member’s period of engagement is a number of days, such Guild Members who worked the regular work day before and the regular work day after

the holiday shall receive one (1) day’s remuneration based on the Contracted daily Rate or one-ifth (1/5th) the Contracted Weekly Rate, as applicable, or in

the case of a Location Support Personnel, payment equal to a six (6) hour minimum shift will apply.

ON4.04 Holidays Falling on Days Of

(a) When a holiday falls on a Guild Member’s normal Day of, the Guild Member shall be given a Day of on either the work day before or the work day

after the holiday.

(b) When two (2) holidays fall on a Guild Member’s normal Days of, the Guild Member shall be given four (4) consecutive Days of including the two (2)

consecutive normal Days of.

(c) If the appropriate number of Days of is not provided in lieu of the holidays as required in Article ON4.04(a) or (b), then the Producer shall pay to the

Guild Member one (1) Day’s remuneration based on the contracted daily rate or one-ifth (1/5) of the contracted weekly rate as applicable for each

such Day of not provided.

(d) The Producer shall designate the Day(s) to be granted as the Day(s) of.

ON4.05 Holidays Falling Mid-Week

If a holiday excluding Christmas Day, Boxing Day, Good Friday, and New Year’s Day falls on the second (2nd), third (3rd) or fourth (4th) work day of the work

week, the Producer may designate the irst (1st) or the ifth (5th) work day of the work week as the observed Day of the holiday, and the actual Day of the

holiday shall be worked and paid for at the appropriate straight time rate, with the exception of any Daily hires or LSPs (see Article ON20.07(b)), who shall

be paid the holiday rate as per Article ON 2.04 for any work done on the actual calendar day of the holiday.

Any designation of the irst (1st) or ifth (5th) day of the work week shall be declared by the Producer a minimum of two (2) weeks in advance of the day to

be worked in lieu of the actual day.


ON5.00 RETIREMENT, HEALTH AND WELFARE PLANS, AND ADMINISTRATION AND TRAINING FUND

ON5.01 Exceptions to Article ON5.00

The provisions of Articles ON5.02 (Health and Welfare Plan) and ON5.04 (Retirement Contributions) shall not apply to persons engaged under Core Article

7.11, except as provided for in ON5.03.

ON5.02 Health and Welfare Plan

The Producer shall pay to the District Council a percentage, based on the applicable tier level of the Production of the Guild Member’s (excluding

Permittees) Gross Remuneration, as set out in Article ON5.07, as the Producer’s contribution to the Guild’s health and welfare plan. Such contributions

shall be remitted to DGC Ontario in accordance with Article ON7.01.

ON5.03 Non-Member Equalization

(a) In order to equalize the payments and deductions in respect of Members of the Guild and non-Members, and in lieu of a health contribution, the

Producer shall contribute an amount equal to a percentage based on the applicable tier level of the Production, as set out in Article ON5.07, of the

Gross Remuneration paid to each Permittee non-Member and remit the non-Member equalization payment directly to the District Council every two

(2) weeks.

(b) In circumstances where a Producer or a Permittee non- Member is paying into an alternate plan, no non-Member equalization payment(s) shall be

required to be paid under Core Article 7.11.

ON5.04 Retirement Contributions

(a) The Producer will remit weekly, in Canadian dollars, to DGC Ontario, as or in lieu of a retirement contribution, a percentage of the Guild Member’s Gross

Remuneration, based on the applicable tier level of the Production as set out in Article ON5.07. The Producer shall provide the District Council with

proof of such payments with a complete remittance breakdown.

(b) The provisions of this Article shall apply only to Guild Members eighteen (18) years of age or over. No Guild Member can contribute to an RRSP after

December 31 in the year in which the Guild Member turns seventy-one (71). Therefore, the Producer will remit directly to the afected Guild Member

the applicable retirement contribution should the Guild Member be unable to contribute by law. If the age stipulated in the federal legislation should

change, this Article shall be amended so as to relect that change.

(c) For Permittees, the Producer will remit directly to the Permittee the applicable retirement contribution. The Producer shall provide the District Council

with proof of such payments with a complete remittance breakdown.

ON5.05 Administration and Training Fund

(a) The Producer who is a member of the CMPA shall contribute to the DGC Ontario with respect to each Guild Member a percentage of the Guild

Member’s Gross Remuneration based on the applicable tier level of the Production as set out in Article ON5.07. A Producer who is not a member of

the CMPA, or who is not a member in good standing of the CMPA, shall contribute an amount equal to three percent (3%), and will remit same to the

District Council in accordance with Article ON7.00.

(b) The District Councils and the CMPA are jointly committed to developing training programs that will increase the number of qualiied Guild Members

who are available to service the ilm and television industry. To this end, the parties acknowledge the ongoing contribution to training initiatives from

monies in the administration and training fund as set out in each District Council Schedule of the Agreement.

(c) The District Councils and the CMPA will meet at the request of either party to discuss training, including assessment of those areas where increased

training is necessary.

(d) For all Tier A Television Series that engage 25% or less DGC Directors, and all Tier A Features not engaging a DGC Director, a 0.25% fringe reduction in

the Administration and Training Fund will apply.

ON5.06 Member’s Check-of

(a) Check-Of Authorization

The Producer shall require each Guild Member at the time of the execution of the Contract for Services to sign an authorization in the form supplied by

the DGC Ontario authorizing the Producer to deduct two percent (2%) of the Gross Remuneration as administrative dues in the case of Guild Members

(except Permittees) and administrative charges in the case of Permittees and to pay same to the DGC Ontario. In addition to these two percent (2%)

administrative dues or charges, a Guild Member may voluntarily authorize the Producer to deduct from the Gross Remuneration any amount which

the said Guild Member may owe to the DGC Ontario.

(b) Check-Of Remittance

The Producer must check-of the two percent (2%) administrative dues or charges and the voluntary deductions provided for in Article ON5.06(a)

from the remuneration paid to each Guild Member (including each Permittee) and remit said monies to the District Council in accordance with Article

ON7.00.

(c) Receipts for Income Tax Purposes

Except for Guild Members who are engaged as Loan-out Corporations, the Producer shall forward to all Guild Members their income tax receipts

(T-4 Slips) indicating thereon the amount and type of check-ofs paid by the Guild Member in that taxation year. In the case of Guild Members who

are engaged as Loan-out Corporations, the Producer shall submit to them a statement of the check-ofs paid within thirty (30) Days of completion of

Production or post-Production of the Motion Picture, whichever applies.

(d) Change in Member’s Check-Of

If the DGC Ontario, during the operation of this Agreement, requests a change in the rate of the check-of, the altered rate shall be deducted and

remitted as above, provided the DGC Ontario bears sole responsibility for obtaining the Member’s authorization to such change.

(e) Producer’s Liability

Any knowing or intentional failure by the Producer to remit monies collected under this Article ON5.06 shall cause the Producer to be solely

responsible and liable for any monies owing.


ON5.07 DGC Ontario Fringes

VacationHealth & Welfare OR

Non-Member Equalization *

Retirement

Contribution **

Administration &

Training FundTotal CMPA Levy ***

Grand

Total

A 4% 5% 6% 1.5%**** 16.5% 2% 18.5%

B 4% 5% 6% 1.5% 16.5% 2% 18.5%

C 4% 5% 4.5% 0.5% 14% 2% 16%

D 4% 5% 2% 0.5% 11.5% 2% 13.5%

E 4% 4% 0.5% 0% 8.5% 2% 10.5%

F 4% 2% 0% 0% 6% 2% 8%

* Payable to DGC Ontario in accordance with ON5.02 and ON5.03

** Payable to DGC Ontario in accordance with Article ON5.04

*** Payable directly to the CMPA as per Article ON6.00

**** As per Article ON5.05(d), a 0.25% fringe reduction will apply to those Tier A Television Series that engage 25% or less DGC Directors and to Tier A

Features not engaging a DGC Director.

For Fact Based/Lifestyle/Docu-Drama Productions, the fringe package is Tier E plus 0.5% Administration and Training.

ON6.00 CMPA LEVY

ON6.01 CMPA Levy

(a) Each month, the CMPA will provide to the DGC Ontario a list of CMPA members in good standing.

(b) Provided that the Producer is a member in good standing of the CMPA, the Producer shall remit directly to the CMPA on the form provided by the

CMPA an amount equal to two percent (2%) of all Gross Remuneration paid to Guild Members to a maximum of Four Thousand Seven Hundred and

Fifty Dollars ($4,750) per feature, MFT, Pilot or part of a Mini-Series, or Two Thousand Three Hundred and Seventy-Five Dollars ($2,375) per Episode of a

Series, to be remitted at the same time as other payments to Guild Members. The CMPA conirms its right to modify the CMPA levy at any point at its

sole discretion.

(c) A Producer who is not a member of the CMPA, or who is not a member in good standing of the CMPA, shall pay to the DGC Ontario on behalf of

the CMPA an amount equal to two and one half percent (2.5%) of all Gross Remuneration paid to Guild Members. Subject to an alternate direction

from the CMPA, this amount shall be collected by the DGC Ontario and remitted to the CMPA on a monthly basis, subject to the deduction of an

administration fee in favour of the DGC Ontario equal to one quarter of a percent (0.25%) of all Gross Remuneration paid to Guild Members by the

Producer.

(d) In any case where the DGC Ontario is unable to collect the levy speciied in this Article ON6.00, then the CMPA, not the DGC Ontario, shall initiate

whatever collection procedures are appropriate to the CMPA.

(e) The CMPA hereby releases and forever discharges, and covenants and agrees to save harmless and indemnify the DGC Ontario and each Guild Member

from any and all actions or claims in any way relating to the collection and remittance of monies by the DGC Ontario under this Article ON6.00, and

preparation of the list speciied in Article ON6.01(a).

ON7.00 GUILD REMITTANCES

ON7.01 Guild Remittances

(a) In any month in which remuneration is paid to a Guild Member, the Producer must submit to the DGC Ontario bi-weekly on a current basis all the

DGC Ontario remittances and records of remuneration paid to Guild Members. At the option of the Producer, all such remittances and records may be

submitted on a weekly basis. At the time that remittances are forwarded to the DGC Ontario, the Producer must forward a list indicating the name of

each Guild Member and the amount and description of each remittance.

(b) That portion of the Gross Remuneration paid to a Guild Member in excess of one hundred and ifty thousand dollars ($150,000) in Canadian funds for

Guild Members’ check-of (see Article ON5.06) and one hundred and twenty-ive thousand dollars ($125,000) Canadian funds for health and welfare

contributions (see Article ON5.02) and non-Member equalization (see Article ON5.03) on a per Production or per television Series cycle basis, shall not

be subject to any further deduction or payment, as the case may be. In the case of Article ON5.05 (Administration and Training Fund), the cap will be

ifty thousand dollars ($50,000).


ON8.00 NEW BUSINESS DEVELOPMENT PLAN

ON8.01 Television Series and Pilot Incentives

(a) Series and Pilots

Any Producer will access the following incentives for a Pilot or the irst two (2) seasons of a television Series, provided there is irst a mandatory and

good faith consideration of DGC Directors for the Pilot and for all Episodes of the season(s) in question:

TIER RATE FRINGES

A* 2016 – 5% of 2016 Rates

2017 – 5% of 2017 Rates

2018 – 5% of 2018 Rates

Vacation Pay 4%

Health & Welfare/Non- Member Equalization 5%

Retirement Contribution 5%

Administration & Training Fund*** 0.5%

Total 14.5%

CMPA Levy** 2%

Grand Total 16.5%

B* 2016 – 5% of 2016 Rates

2017 – 5% of 2017 Rates

2018 – 5% of 2018 Rates

Vacation Pay 4%


Retirement Contribution 5%

Administration & Training Fund 0.5%

Total 14.5%

CMPA Levy** 2%

Grand Total 16.5%

C* 2016 – 5% of 2016 Rates

2017 – 5% of 2017 Rates

2018 – 5% of 2018 Rates

Vacation Pay 4%


Retirement Contribution 3.5%

Administration & Training Fund 0%

Total 12.5%

CMPA Levy** 2%

Grand Total 14.5%

D* 2016 – 5% of 2016 Rates

2017 – 5% of 2017 Rates

2018 – 5% of 2018 Rates

Vacation Pay 4%


Retirement Contribution 2.5%


Total 11.5%

CMPA Levy** 2%

Grand Total 13.5%

E* Standard Rates Apply Vacation Pay 4%

Health and Welfare/Non-Member Equalization 4%

Pension 0%


Total 8%

CMPA Levy** 2%

Grand Total 10%

ALL TIERS: MANDATORY PRIOR CONSIDERATION OF DGC DIRECTORS

*Grandfathered: For Tiers A through E, 2015 rates will apply for those productions which commenced principal photography prior to January 1, 2016.

** Payable to the CMPA as per Article ON6.00

*** For Tier A, Article ON5.05(d) may not be used in conjunction with these incentives

(b) MFTs and Mini-Series Incentives

The inancial incentives provided for in Article ON8.01(a) will also apply to Tiers C and D MFTs and Tiers C and D Mini- Series engaging a DGC Director.

(c) New Business Development Plan rate reductions shall not apply to anyone working as a PA or Trainee in any department.

ON8.02 Tier E Long Form Incentive

For Tier E Productions of Movies for Television, Theatricals and Mini-Series which engage a DGC Director, the minimum daily and weekly fees for all other

categories are negotiable provided that no Guild Member receives less than the standard Ontario minimum wage.

ON8.03 Fact Based/Lifestyle/Docu-Drama Production

See Ontario Letter of Understanding No. 2

ON8.04 Pilot and First Year Television Series Incentive

DGC Ontario will reduce the Administration and Training Fund contribution by one half of a percent (0.5%) for the Pilot Episode and/or the initial season

of a Television Series that does not qualify for the incentives provided for in ON8.01(a) but which has at least ifty percent (50%) of its Episodes directed by

Guild Members.


ON9.00 TRAVEL AND ACCOMMODATION

ON9.01 Studio Zone

(a) Studio zone is the area within the boundaries of Winston Churchill Boulevard to Highway 7 to Highway 50 to Major Mackenzie to Highway 30 to the

Seventh Concession to Lakeridge Road (23) to Lake Ontario. The studio zone is deemed to include Kleinberg Studios, the main street of the Town of

Kleinberg, Eaton Estate, McLaughlin Estate (aka Parkwood Estate) and Toronto Islands.

(b) When a Guild Member is required to work at a location inside the boundaries of the studio zone, the Producer agrees to provide adequate parking

facilities for private vehicles within a reasonable walking distance from such location, otherwise a shuttle system will be provided free by the Producer

to transport all Guild Members.

When the Producer opts to provide a shuttle system, the schedule must be convenient for the Guild Member, and the Producer will be responsible for

the transportation of the Guild Member’s kit and all-weather gear.

(c) For all work by a Guild Member which requires travel to and from any location within the studio zone other than the “report to” location and post

production facility, the Producer shall either provide free transportation or, if the Guild Member agrees to use his own vehicle for this purpose,

reimbursement shall be made in accordance with Article ON9.06(d). For the purposes of this Article ON9.01, such locations and post production

facilities shall be deemed to include, without limitation, editing rooms, cutting rooms, dubbing theatres, music recording studios, labs, optical houses,

post production related libraries and Motion Picture shooting locations.

(d) Remote Location

Where the remote location of the “report to” location, or the infrequency of public transportation or the lateness of the hour could afect the Guild

Member’s safety, the Producer will arrange for safe and convenient transportation from the “report to” location to a safe and convenient location,

without cost to the Guild Member.

ON9.02 Nearby Location

(a) Studio zone working conditions shall prevail on Nearby Locations.

(b) Work time and travel distance, if applicable, concerning work by any Guild Member on any Nearby Location shall commence when the Guild Member

crosses the studio zone boundary and ends at this same point.

(c) The cost of transportation to and from Nearby Locations shall be assumed by the Producer at no cost to the Guild Member. All costs for a taxi,

limousine, bus or other transportation which the Guild Member is required by the Producer to use in order to get to and from a Nearby Location shall

be paid by the Producer If the Guild Member is required to use his own personal vehicle for transportation to a Nearby Location, the provisions of

Article ON9.06(d) shall apply.

When the Producer opts to provide a shuttle system, the schedule must be convenient for the Guild Member and the Producer will be responsible for

the transportation of the Guild Member’s kit including all-weather gear.

(d) When any workday at a Nearby Location is ifteen (15) hours in duration or longer, upon request by a Guild Member, the Producer will make

reservations for and provide irst class accommodation, subject to availability, or will make arrangements to have the afected Guild Member

transported back to the designated pick up/drop of point. Should such requested accommodation not be provided, the rest period shall be eleven

(11) hours free from work.

ON9.03 Distant Location

(a) Notice

The Producer shall give the Guild and the Guild Members afected a minimum of forty-eight (48) hours written notice of departure to any Distant

Location, including means of transportation acceptable to the Guild, and shall specify the accommodations available at the Distant Location.

(b) Accommodation and Meals on Distant Location

i. Guild Members while on Distant Location shall be provided by the Producer with free irst class accommodation equal to the Canadian

Automobile Association standards or the American Automobile Association standards. All Guild Members will be entitled to single

accommodation, where this is available.

ii. The Producer shall pay in advance to each Guild Member a per diem allowance of ifteen dollars ($15.00) in Canadian funds per Distant Location

day in Canada, or ifteen dollars ($15.00) in U.S. funds per Distant Location day in the U.S. or elsewhere in the world to cover miscellaneous

expenses.

iii. In addition, the Producer shall pay to each Guild Member in advance a per diem allowance of ifty dollars ($50.00) in Canadian funds per Distant

Location day in Canada, or ifty dollars ($50.00) in U.S. funds per Distant Location day in the U.S. or elsewhere in the world to cover meal costs.

However, if certain meals are provided by the Producer on Distant Location, the per diem meal allowance may be reduced by ten dollars ($10.00)

for breakfast, ifteen dollars ($15.00) for lunch, and twenty-ive dollars ($25.00) for supper in the applicable funds.

iv. Proper restaurant facilities shall be made available and time consumed in traveling to and from such facilities shall be deemed to be time worked

and shall not be included in the meal period.

v. On Distant Locations where the cost of living is in excess of the above rates, the Producer shall reimburse Guild Members upon receipt of suitable

documentation.

vi. When any work day at a Distant Location falling outside a one (1) hour drive starting from the edge of the studio zone is fourteen (14) hours in

duration or longer, the Producer will make available supplied accommodation to the Guild Member. The Producer will make reservations for and

provide irst class accommodation and provide a per diem to the Guild Member in accordance with ON9.03(b)(ii).

(c) Work Time, Travel Time

Time spent travelling to and from Distant Locations shall be considered time worked and shall be subject to payment in accordance with this Standard

Agreement. Travel time shall be calculated in reference to the Production oice.


For the purposes of travel while on a Distant Location, a thirty (30) minute radius shall be established around a central point as agreed to between the

District Council and the Producer. Travel within that radius shall not be subject to payment, while travel beyond the edge of the radius shall be subject

to payment.

(d) Transportation

All transportation to and from Distant Locations shall be paid in advance by the Producer. Such transportation shall be arranged on scheduled carriers

on economy/coach class air lights, irst class rail travel or other appropriate transportation such as bus, taxi or limousine where available.

(e) Air Travel

The Producer shall only use aircraft certiied for public use by governmental authorities and lown by licensed pilots. Where jet aircraft are not

available, the Producer shall make every efort to utilize twin-engine propeller aircraft or helicopter.

(f ) Rail Travel

When Guild Members are required to travel overnight by train, the Producer must provide at least lower berth accommodation.

ON9.04 Travel Insurance

(a) The Producer shall provide accidental death and dismemberment insurance with a beneit in a sum not less than two hundred and ifty thousand

dollars ($250,000) for the beneit of the Guild Member’s designated beneiciary when the Guild Member is required to travel by air transportation

anywhere or by any mode of transportation to a Distant Location which for this purpose shall be deined to be greater than ive hundred kilometres

(500 km).

(b) In the event the Producer is unable to provide the required insurance coverage, the Guild Member shall be informed before departure so that the

Guild Member may obtain such insurance coverage. The Producer shall reimburse the Guild Member for the cost of the premium paid by the Guild

Member to obtain such insurance coverage.

(c) It shall not be cause for discipline or discharge for a Guild Member in good faith to refuse to travel by airplane or by helicopter, or to travel without

suicient insurance, and such refusal shall not jeopardize future working opportunities.

(d) Airplane and Helicopter, Underwater and/or Watercraft Insurance

The Producer will provide an additional minimum coverage of two hundred and ifty thousand dollars ($250,000) of accidental death and

dismemberment insurance (not common carrier travel insurance) to any Guild Member required by the Producer to ly in a helicopter or in an

aircraft in connection with the Production (other than ordinary travel), such as lining up shots, rehearsals, photography or scouting for locations. The

extended insurance coverage will also apply to any Guild Member required by the Producer to work underwater or travel by watercraft.

ON9.05 Travel to Studio Zone

The Producer shall make suitable inancial arrangements to enable the Guild Member to reach the studio zone and should such arrangements include an

advance in cash, such advance shall be received by the Guild Member not later than one (1) working day before the departure to the studio zone. Such

an advance may be deducted from the Guild Member’s inal remuneration cheque. Nothing in this Article, ON9.05, shall limit the Guild Member from

negotiating with the Producer travel arrangements and per diem arrangements in addition to any other remuneration.

ON9.06 Use of Personal Vehicles

(a) Ownership of a vehicle shall not be a condition of engagement. It shall not be a violation of this Standard Agreement for a Guild Member to refuse to

use his own vehicle for work-related purposes.

(b) Each Guild Member agreeing to use his own vehicle for work-related purposes shall arrange for adequate insurance coverage for business and/or

commercial purposes before using such personal vehicle for such purposes and shall provide evidence of such coverage, if requested. Such insurance

coverage shall be at the expense of the Guild Member.

(c) Each Guild Member agreeing to use his own vehicle for work-related purposes shall be entitled to a reimbursement for each kilometre driven in the

service of the Producer. The Producer reserves the right to authenticate the reimbursement submissions before payment.

(d) With respect to the minimum reimbursement as required under Article ON9.06(c), the Producer must pay either:

i. forty-two (42) cents per kilometre, or

ii. a lat rate of thirty-ive dollars ($35.00) per Day plus all gas expenses incurred for work related purposes.

The Producer shall elect either option (i) or (ii). That election shall apply for the duration of the Guild Member’s engagement and shall be speciied in

the Guild Member’s Contract for Services. Where no election is made or no rate is speciied, then the Producer shall pay the higher total amount to the

Guild Member.

(e) The above reimbursement shall be paid to each Guild Member weekly with the regular remuneration payment.

(f ) The Producer may elect to provide the Guild Member with a vehicle and pay its operating costs and need not rent the personal vehicle of any Guild

Member.


ON10.00 LAY-OFF AND TERMINATION (Refer also to Core Article 13.00)

ON10.01 Notice of Lay-of

(a) Deinition

“Lay-of” means a “severance from active engagement which may be temporary or permanent due to a shortage of work, including completion of

assignment”.

(b) Weekly

The Producer shall give a Guild Member engaged on a weekly basis a minimum of one (1) week’s written notice of lay-of or a lump sum equal to one

(1) week’s Gross Remuneration as severance pay in lieu thereof, or where the Guild Member has been engaged for more than one (1) year, a minimum

of two (2) weeks’ written notice of lay-of or severance pay in lieu thereof. The Producer may give notice of lay-of at any time during the week and any

such notice need not expire on the last Day of the Guild Member’s work week.

(c) The Producer shall pay the severance pay in a lump sum. If the Producer later re-engages the Guild Member, the Guild Member shall not be required

to return any portion of the severance pay to the Producer.

(d) Record of Employment

The Producer shall, within seven (7) calendar Days of lay-of, provide the Guild Member, excluding a Loan-out Corporation, with a Record of

Employment.

ON10.02 Termination of Engagement

(a) Replacement

The Producer agrees that removing a Guild Member from a Motion Picture and substituting another person is undesirable, and shall not be done in

any manner contrary to this Agreement.

(b) Replacing Daily Guild Member

A Guild Member engaged on a daily basis shall not be replaced for the purpose of avoiding overtime or turnaround premiums. However, when it is

anticipated that such a Member will qualify for overtime or turnaround premiums, and subject to Article ON1.06(c), the Producer may divide the work

day into shifts and may call a substitute daily Guild Member to relieve that daily Guild Member.

(c) Replacement Pay

The Producer must give to each Guild Member who has been replaced after working:

i. more than a total of ten (10) work days, either two (2) weeks’ written notice of replacement (exclusive of hiatus periods) or replacement pay in a

lump sum equal to two (2) weeks’ Gross Remuneration in lieu of such notice, but not both, where the Guild Member is engaged on a weekly basis;

ii. more than a total of ten (10) work days, either two (2) days’ written notice of replacement (exclusive of hiatus periods) or replacement pay in a

lump sum equal to two (2) days’ Gross Remuneration in lieu of such notice, but not both, where the Guild Member is engaged on a daily basis;

iii. six (6) to ten (10) days, either one (1) week’s written notice of replacement (exclusive of hiatus periods) or replacement pay in a lump sum equal to

one (1) week’s Gross Remuneration in lieu of such notice, but not both, where the Guild Member is engaged on a weekly basis.

iv. ive (5) or fewer days, the balance of the current work week when the Guild Member is engaged on a weekly basis.

(d) The Producer may give notice under Article ON10.02(c)(i) or (iii) at any time during the week and any such notice need not expire on the last Day of the

Guild Member’s work week.

(e) If the Producer re-engages the Guild Member, the Member shall not be required to return the replacement pay to the Producer.

(f ) A Guild Member discharged for just and reasonable cause is not eligible for replacement pay.

ON11.00 CREDITS

ON11.01 Credits

This Schedule contains special credit requirements for diferent job classiications. The Producer shall adhere to the current ilm and television industry

standard by providing credits on each Motion Picture, subject to any and all applicable network restrictions and/or approvals. Said credit requirements

contained herein shall not be considered to have been breached to the extent that adherence to such requirements is beyond the control of the Producer.

ON11.02 Better Conditions

The provisions in this Standard Agreement relating to credits are minimum provisions, and any Guild Member shall have the right to negotiate for any

credit in excess of minimum.

ON11.03 Screen Credits

(a) In every place where screen credits must be given, the screen credits shall be written in a size and style of print which is legible and projected on a

background which does not diminish the value of the credit. Screen credits shall not appear against a background which consists of an advertising or

commercial message.

(b) The screen credit for any Guild Member on any Motion Picture, or any copy, version, reprint or re-production thereof, must always be according to the

job classiication as it appears on the Contract for Services and shall indicate the Guild Member’s job classiication and name.

ON11.04 Other Credits

Every Guild Member is entitled as of right to receive credit on all promotional literature, paid advertisements and publicity where it is customary in the

ilm and television industry to give such credit to the job classiication of that Guild Member. In every place where credits on promotional literature, paid

advertising or publicity must be given, the credits shall be written in a size and style of print which is legible and shall appear on a background which does

not diminish the readability and value of the credits.


ON11.05 District Council Credit

The Producer shall give to the DGC Ontario on the Motion Picture and every copy, version, reprint or re-production thereof screen credit by displaying

the DGC Ontario logo. The DGC Ontario logo shall be displayed on a number of frames to be no less than the number of frames of the display of the logo

of any other labour organization. The Producer acknowledges that the DGC Ontario logo is trademarked in the name of the DGC Ontario and is the sole

property of the DGC Ontario. The DGC Ontario shall supply to the Producer the artwork of its logo.

ON11.06 CMPA Credit

The oicial CMPA logo should appear on all Motion Pictures and every copy, version, reprint or reproduction thereof. The CMPA shall make available to the

Producer the art work of its logo. The Producer acknowledges that the CMPA name and logo are trademarks and the sole property of the CMPA.

ON11.07 Removal or Alteration of Credit

(a) Every Guild Member shall have the right, subject to his sole discretion, to refuse to have any credit using his name used in any form or manner by

the Producer, which right must be exercised by the Guild Member through written notice to the Producer prior to publication of such credit by the

Producer.

(b) Every Guild Member shall have the right to replace with a pseudonym any credit to which the Guild Member is entitled pursuant to the Contract for

Services or this Standard Agreement, provided that such pseudonym is in good taste and is not the name of any well- known person, living or dead,

and provided that such right of replacement is exercised by the Guild Member through written notice to the Producer prior to publication of credit by

the Producer.

(c) The DGC Ontario shall have the right, subject to its sole discretion, to refuse to have its name and/or logo used in any form or manner by any Producer,

which right must be exercised by the DGC Ontario prior to publication of its name and/or logo by the Producer. Notwithstanding anything, the DGC

Ontario shall have the right to insist upon a public retraction by any Producer who publishes or otherwise uses the name and/or logo of the DGC

Ontario without the prior express written consent of the DGC Ontario.

ON11.08 Submission of Proposed Screen Credit Format to the District Council

The Producer must submit to the DGC Ontario the proposed format for the inal screen credits for each Theatrical and Television Motion Picture, before

prints are prepared. Once the DGC Ontario approves the proposed screen credits, security will be released provided all other contractual obligations have

been met. The failure to obtain the DGC Ontario’s advance approval constitutes a breach of this Agreement subject to arbitration under Core Article 10.00.

An arbitrator thereunder is empowered to order any remedy deemed appropriate to counteract the efects of the breach.

ON11.09 Credit Grievance

(a) Any grievance with respect to and concerning any credit to which any Guild Member may be entitled pursuant to this Standard Agreement or any

Contract for Services may be referred by either party immediately to an arbitrator appointed pursuant to the provisions of Core Article 10.00 who

must determine the matter in accordance with this Standard Agreement and any applicable Contract for Services within ifteen (15) calendar Days of

the reference to arbitration. If all parties agree, the arbitrator selection procedure set out in Core Article 10.10 may be bypassed in favour of the joint

appointment of an industry expert. Unless the parties agree otherwise, a jointly appointed industry expert shall be vested with the powers identiied

in Core Article 10.11.

(b) Without limiting the scope of the arbitrator’s decision-making authority pursuant to this Standard Agreement and any applicable Contract for Services,

the arbitrator shall have the right in respect of any credit grievance to determine the following:

i. The kind, size, positioning and length of viewing of any screen credit; and,

ii. The right of any Guild Member to receive screen credit or other credit and the form, manner and duration of publication; and

iii. Where two (2) or more Guild Members may have the right to receive credit for the same job classiication, which Guild Members shall receive that

credit and the form, manner and duration of publication including, without limitation, where screen credit is concerned, the kind, size, positioning

and length of viewing of the screen credits.

ON12.00 SCREEN CREDITS FOR PRODUCTION DEPARTMENT

ON12.01 Screen Credits for Production Managers, First and Second Assistant Directors on Theatrical and Television Motion Pictures

(a) The Producer shall accord credit in a “prominent place” on all positive prints of each Theatrical and Television Motion Picture to the Production

Manager, First Assistant Director, and Second Assistant Director rendering their services on such Motion Picture.

(b) The term “prominent place” means no less than a separate card, or its equivalent in a crawl, shared by no more than three (3) names. The only

“technical” credits which may receive a more prominent place shall be those of the Costume Designer, Music Composer, Director of Photography, the

Art Director and the Film Editor.

(c) The order of the names on such card or such crawl shall be the Production Manager in the irst position, First Assistant Director in the second position,

and the Second Assistant Director in the third position and each of such names on the card or crawl shall be of the same size and style of type.

(d) On a Theatrical or Television Motion Picture photographed in whole or in part in a foreign country on which the Producer engages any Production

Manager or Assistant Director subject to this Agreement and any Production Manager or Assistant Director not subject to this Agreement, if the

Production Manager, First Assistant Director, or Second Assistant Director subject to this Agreement works on such a Production less than ifty percent

(50%) of the shooting days, the Guild Member shall receive screen credit, either on a card immediately following the credit accorded to the foreign

Production Manager, First Assistant Director, or Second Assistant Director, as the case may be, or with the credits for the Canadian crew, subject to the

provisions of this Agreement.

ON12.02 Screen Credits for Location Managers, Unit Managers and Assistant Production Managers on Theatrical and Television Motion Pictures

The Producer shall accord credit in the technical credits on all positive prints of each Theatrical and Television Motion Picture to the Location Manager, Unit

Manager and Assistant Production Manager.


ON12.03 Screen Credits for Third Assistant Directors, Assistant Location Managers and Production Assistants

(a) Theatrical Motion Pictures

On Theatrical Motion Pictures, any Third Assistant Director and/or Assistant Location Manager assigned for at least one- third (1/3rd) of principal

photography shall receive credit for their job classiication. Screen credits for Production Assistants shall be given at the Producer’s discretion.

(b) Television Motion Pictures

On Television Motion Pictures, the credit for Third Assistant Director, Assistant Location Manager, and Production Assistant shall be given at the

Producer’s discretion.

ON12.04 Screen Credits for the Accounting Department

(a) The Production Accountant shall receive credit in the technical credits on all positive prints of each Motion Picture.

(b) Theatrical Motion Pictures

On Theatrical Motion Pictures, the credit for all Assistants, Clerks and Trainees shall be at the Producer’s discretion.

(c) Television Motion Pictures

On Television Motion Pictures, the credit for all Assistants, Clerks and Trainees shall be at the Producer’s discretion.

ON13.00 SCREEN CREDITS FOR ART DEPARTMENT

ON13.01 Screen Credits for Production Designers or for Art Directors as Head of the Department

(a) On all positive prints of each Theatrical and Television Motion Picture, any person performing the duties as the head of the Art Department, either the

Production Designer or the Art Director, as the case may be, must be given by the Producer a head screen credit of at least equal size and prominence

to the head credit of the Director of Photography, which screen credit shall appear immediately following or preceding the screen credit given the

Director of Photography.

(b) Production Design Credit for Subsequent Use

When a set design or a realized set is reused, the Production Designer or Art Director responsible for its design will be awarded a screen credit. The

form and placement of this credit will be at the discretion of the Producer.

ON13.02 Screen Credits for Art Directors Working Under a Production Designer and for First Assistant Art Directors/Set Designers/Graphic Designers/

Motion Graphic Designer

On all positive prints of each Theatrical and Television Motion Picture, any person performing duties as an Art Director working under a Production

Designer or as a First Assistant Art Director/Set Designer/Graphic Designer must be given a tail screen credit by the Producer.

ON13.03 Screen Credits for Second Assistant Art Directors and Art Department Trainees

(a) Theatrical Motion Pictures

On Theatrical Motion Pictures, any Second Assistant Art Director and/or Art Department Trainee (PA) shall receive credit for their job classiication.

(b) Television Motion Pictures

On Television Motion Pictures, the credit for Second Assistant Art Director and/or Art Department Trainee (PA) shall be given at the Producer’s

discretion.

ON14.00 SCREEN CREDITS FOR EDITING DEPARTMENT

ON14.01 Screen Credits for Picture Editors on Theatrical and Television Motion Pictures

(a) The Producer shall accord credit in a prominent place on all positive prints of each Theatrical and Television Motion Picture to the Editor who edited

such Motion Picture. Screen credit for the Picture Editor shall read “Edited by” or “Editor” or “Film Editor”.

(b) The term “prominent place” means no less than a separate card, or its equivalent, in a crawl. The screen credit for the Picture Editor shall not be less

than the size and style of type, positioning and length of viewing of the screen credit for the Production Designer and the Director of Photography.

Screen credit for the Picture Editor will appear in the head credits if the Director of Photography and the Production Designer’s credits also appear in

the head credits. The screen credit for the Production Designer and/or Director of Photography may appear irst.

ON14.02 Screen Credits for Editing Department Personnel on Theatrical and Television Motion Pictures

(a) On all Theatrical Motion Pictures and Television Motion Pictures over sixty (60) minutes in length, all Editing Department personnel engaged on such

Motion Pictures shall receive screen credit for their classiication.

(b) On all Television Motion Pictures sixty (60) minutes or less in length, the Picture Editor shall receive screen credit in accordance with Article ON14.01

and all Sound Editors engaged on such Motion Pictures shall receive screen credit for their classiication. The granting of screen credit for all other

Editing Department personnel shall be subject to negotiation between each individual Guild Member and the Producer.

ON14.03 Screen Credits for Editing Department Personnel on all other Motion Pictures

On all Motion Pictures other than Theatrical and Television Motion Pictures, the granting of screen credit and the size, positioning and length of viewing of

the screen credit shall be subject to negotiation between each individual Guild Member and the Producer.

ON14.04 Publicity

The Producer shall list the name(s) of the Supervising Editors, Editors and First Assistant Editors when submitting any credits for any person working on the

Motion Picture to any trade or other publication for the purpose of reviews and/or publicity.

ON14.05 Professional Designation

If any Guild Member has the proper right and authority to include after his name the name or initials of any professional designation, such as “c.c.e.”, for

example, the Producer shall include the name or initials of any such proper professional designation after the name of such Guild Member in all screen or

other credits given by the Producer to such Guild Member.


ON15.00 MINIMUM STAFFING

ON15.01 Minimum Personnel: Directors

(a) The Producer will engage one (1) Director for the production period of the Motion Picture.

(b) Television Series

On a television Series, the Producer will engage at least two (2) Directors for the series who shall function on a “prep-shoot” basis. A Mini-Series or

Series engaging the same Director for all Episodes thereof shall not be subject to this provision.

(c) Each Director shall be engaged pursuant to a speciic term engagement under Core Article 12.04.

ON15.02 Minimum Personnel: Production Department

(a) For the purposes of Article ON15.00, the Production Department shall be deemed to consist of the Production Department, the Assistant Director

Department and the Locations Department.

(b) Except on television Series, the Producer will engage as department heads at least one (1) Production Manager in the Production Department, one (1)

First Assistant Director in the Assistant Director Department, and one (1) Location Manager in the Locations Department.

(c) Television Series

Subject to ON15.02(d), on a television Series, the Producer will engage at least two (2) First Assistant Directors and two (2) Location Managers, all

of whom shall function on a “prep-shoot” basis and at least one (1) Production Manager. A Mini-Series or Series engaging the same Director for all

Episodes thereof shall not be required to engage two (2) First Assistant Directors or two (2) Location Managers.

(d) With respect to the requirement that two (2) Location Managers be engaged on a television Series:

i. If the District Council cannot supply a qualiied Location Manager, an Assistant Location Manager may be used in place of one of the Location

Managers without being upgraded to the higher category.

ii. For all Productions where principal photography is shot entirely in the studio, only one (1) Location P.A. is required.

(e) Eight Hour Call

Where Production Assistants (PA’s) are normally engaged, and where a weekly PA is already engaged, the Producer may engage additional daily

Production Assistants subject to an eight (8) hour minimum Call under the following terms:

i. The daily PA will receive no less than ifty- ive percent (55%) of the applicable daily rate for a maximum eight (8) hour Call, inclusive of a one half

(1/2) hour paid meal break required to be taken by the end of the sixth (6th) hour of work.

ii. If the daily PA is required to work in excess of eight (8) hours, the daily PA will receive no less than the full applicable daily rate.

(f ) Four Hour Call

A Guild Member may be engaged on a maximum four (4) hour Call for securing signatures for a location permit or for driving commercial production

vehicles where a Guild Member has been on duty in excess of the time allowed under the Highway Traic Act. The Guild Member will receive no less

than forty percent (40%) of the Location PA (LPA) daily rate. Hours in excess of the four (4) hour Call will be calculated as regular overtime based on the

daily rate for a Location PA.

ON15.03 Minimum Personnel: Art Department

The Producer will engage as department head at least one (1) Production Designer or Art Director in the Art Department.

ON15.04 Minimum Engagement Period

The Producer will engage a Guild Member in each classiication set out in Articles ON15.02 and ON15.03 for a minimum of ive (5) work days each and

every week of principal photography, and where applicable, each and every week of pre-production.

ON15.05 Minimum Personnel: Picture and Sound Editing Departments

(a) Picture Editing

The Producer will engage at least one (1) Picture Editor for a minimum of ive (5) work days each and every week during the Picture Post Production

Period.

(b) Sound Editing

The Producer will engage at least one (1) Sound Editor for a minimum of ive (5) work days each and every week during the Sound Post Production

Period.

(c) Supervising Editor

If a Guild Member coordinates, directs or supervises the work of any Editor or group of Editors and also performs any of the work functions of an

Editor, then that person must be engaged, classiied, credited and paid as a Supervising Editor.

ON15.06 Minimum Personnel: Accounting Department

(a) The Producer will engage at least one (1) Production Accountant. A company which employs full time permanent accounting staf during the post

production period is not obligated to engage those individuals under the Standard Agreement.

(b) The Agreement shall apply to Post Production Accountants only by mutual consent, however:

i. A Production Accountant who has completed the original term of engagement may continue to be engaged as the Post Production Accountant,

but only if the Agreement continues to apply.

ii. This Agreement does not provide for a minimum rate for Post Production Accountants but Tier E fringes apply regardless of the tier.


ON15.07 Minimum Personnel: Second Unit

On a Second Unit shoot, the Producer will engage at least one (1) First Assistant Director and one (1) Production Assistant in the AD Department and at

least one (1) Location Manager in the Locations Department. Beyond this, the minimum personnel will be determined in accordance with Article ON15.09

and provided that the main unit minimum personnel is not reduced without the mutual consultation and agreement between the Producer and the

afected department heads.

ON15.08 Minimum Personnel: Strip Programs

For a Strip Program shot on videotape or in a television style multi-camera ilm shoot using a control room staf and television loor manager and

assistants instead of Assistant Directors, the only minimum personnel requirement is the engagement of one (1) Director, provided that the Director has

adequate time to prepare shooting plans as part of the Director’s work period. If this proviso cannot be met, then the Producer shall engage at least two

(2) Directors in accordance with Article ON15.01(b).

ON15.09 Determination of Minimum Personnel Requirements

(a) Subject to Article ON15.09(b), the minimum personnel requirements for each department, including duration of engagement of such personnel,

will be determined through mutual consultation and agreement between the department head of each department and the Producer. Where no

agreement has been reached or when the District Council believes the staing is insuicient, the matter will be decided in accordance with Core

Article 10.00, and if required, will be dealt with as an interest arbitration thereunder.

(b) Where the department head is a Permittee, then the minimum personnel requirements for that department shall be determined through mutual

consultation and agreement between the Producer and the highest ranking Guild Member in the department, not by the department head. Rank

shall be determined by job classiication, and if necessary, by date of engagement.

(c) On a Television Series or any other Production where two (2) or more Guild Members occupy the same classiication, with the exception of the two (2)

First Assistant Directors who will function as co-heads of the AD department, the department head shall be selected and rank under Article ON15.09(b)

shall be determined on the basis of which Guild Member was hired irst.

(d) Where two (2) or more Guild Members occupy the same classiication, the Guild Member who is responsible for consultation and agreement with the

Producer under Article ON15.09(a) and ON15.09(b) in determining minimum personnel requirements shall consult with the other Guild Members in

the same classiication with respect to those requirements.

ON15.10 Option to Terminate Engagement in Absence of Minimum Personnel

If there is no consultation or agreement under Article ON15.09(a) or ON15.09(b), then in addition to the relief available under Core Article 10.00,

the department head under Article ON15.09(a) or the Guild Member under Article ON15.09 may in his sole and unfettered discretion terminate his

engagement forthwith, without notice or compensation in lieu thereof. In such a case, termination of the engagement shall be without any liability

whatsoever to the department head or Guild Member.

ON15.11 Producer to Engage Suicient Numbers of Guild Members

The Producer will engage a suicient number of Guild Members so as to ensure that each Guild Member is able to complete the work in an eicient, safe,

creative and productive manner and in accordance with the job classiications and descriptions contained herein.

ON16.00 SOUND POST PRODUCTION

ON16.01 Contracting Out

Without limiting the generality of Core Article 3.05, the Producer will not contract out any Sound Post Production duties except in accordance with the

provisions of Article ON16.00.

ON16.02 Sound Post Production List

If requested by DGC Ontario, the Producer must provide a current list of the names, job classiication or title, and date of engagement or assignment of

each Guild Member engaged or assigned to perform any Sound Post Production duties relating to the Motion Picture:

(a) within two (2) business days after commencement of post production services and;

(b) at any other time upon request of the DGC Ontario.

(c) If requested by the DGC Ontario, the Producer must provide a revised and updated list forthwith after each Guild Member is engaged or assigned to

perform any Sound Post Production duties during the period in which services are provided.

ON16.03 Half-day Rate

A Guild Member may be engaged for Sound Post Production duties for a period up to six (6) consecutive hours on any one day at a minimum rate of ifty-

ive percent (55%) of the applicable daily rate (rounded to the closest ive dollars ($5.00)). For a Call in excess of six (6) hours, the applicable daily rate will

apply.

ON16.04 Multiple Assignments

(a) i. A Sound Editor may be assigned more than one (1) Motion Picture only to the extent provided for in Core Article 7.03.

ii. A Sound Editor engaged on a single Contract for Services for more than one (1) Motion Picture must be paid no less than the highest applicable

rate.

(b) An Assistant Sound Editor may be engaged on a single Contract for Services for more than one Motion Picture pro-rated on the basis of the work

performed.

ON16.05 Sound Post Security

In addition to the requirements for security under Core Article 14.09, the DGC Ontario may require the Producer to post a cash bond in an amount to cover

two (2) weeks Gross Remuneration (plus fringes) of all remaining Guild Members for Sound Post Production, or to provide other security as contemplated

in Core Article 14.09.


ON17.00 APPROVED ONTARIO ARBITRATORS

ON17.01 The following individuals shall comprise the panel of arbitrators to whom a grievance may be referred for arbitration:

Rick MacDowell

Marilyn Nairn

ON18.00 WORK PERMITS

ON18.01 Permit Fees

(a) Non-Canadian Permittees

i. For each non-Canadian Permittee, the Producer agrees to deduct from that non-Canadian Permittee’s Gross Remuneration and remit or pay

directly to the DGC Ontario, a permit fee of ifty dollars ($50.00) per day to a cap of two hundred dollars ($200.00) per week of engagement,

payable from principal photography.

ii. For Tier A Productions using foreign accounting personnel only: in addition to the exempt classiication of controller/auditor, the DGC Ontario shall

grant as a matter of right, if requested by the Producer, a maximum of two (2) permits for a fee of up to one hundred ($100.00) per week each, one

(1) of which may be for a Production Accountant. Additional permits for foreign accountants may be granted by the DGC Ontario.

(b) Canadian Permittees

i. For each Canadian Permittee engaged in the classiication of Director, the Producer agrees to deduct from that Canadian Permittee’s Gross

Remuneration and remit or pay directly to the DGC Ontario, a permit fee of two hundred dollars ($200.00) per week of engagement or portion

thereof.

ii. For each Canadian Permittee engaged in a DGC Ontario classiication other than that of Director or Location Support Personnel, the Producer

agrees to deduct from that Canadian Permittee’s Gross Remuneration and remit or pay directly to the DGC Ontario, a permit fee of ifty dollars

($50.00) per week of engagement or portion thereof.

ON19.00 HEALTH AND SAFETY - Refer also to Core Article 16.00

ON19.01 Section 21 Safety Guidelines

In addition to the health and safety provisions outlined in Core Article 16.00, the Producer agrees to adhere to the “Safety Guidelines for the Film

and Television Industry in Ontario” dated June 2009 (“Safety Guidelines”) developed by the Ontario Film and Television Industry Section 21 Advisory

Committee in conjunction with the Ontario Ministry of Labour. These Safety Guidelines as they now exist or as they may hereafter be amended shall be

deemed to be incorporated, as if set forth in full in writing, into this Agreement.

ON19.02 Workers Safety and Insurance Board of Ontario (WSIB)

Guild Members shall be covered by the Workers Safety and Insurance Board of Ontario or its equivalent coverage by a private insurance carrier. The

Producer shall bear the full costs of such coverage and shall provide the DGC Ontario with conirmation that such insurance is in efect.

ON19.03 Moving of Commercial Production Vehicle(s)

Under no circumstances shall a Producer require a Guild Member who has been on duty in excess of the time allowed under the Highway Traic Act to

drive a commercial production vehicle.

Where a Guild Member is unable to drive a commercial production vehicle pursuant to the Highway Traic Act as described above, the producer may

assign the driving of the commercial production vehicle to any other individual.

The Producer will be responsible for providing the Guild Member with transportation to a destination agreed to by the Producer and the Guild Member.

ON20.00 LOCATION SUPPORT PERSONNEL (LSP)

ON20.01 Application of Standard Agreement

The Standard Agreement applies to Location Support Personnel except as amended below.

ON20.02 Bargaining Unit

The Producer will engage Guild Members as Location Support Personnel. Anyone performing location support duties for the Locations Department will

be engaged as Location Support Personnel.

ON20.03 No Contracting Out

The traditional duties of Location PAs or members of the Guild Apprenticeship Program (GAP) must be assigned to Guild Members. For greater clarity, in

accordance with Core Article 3.05, the traditional duties of Location PAs or members of the Guild Apprenticeship Program must not be contracted out.

ON20.04 Hourly Engagement

The Location Support Personnel will be engaged on an hourly basis, subject to a minimum six (6) hour Call.

e to

ding


ON20.05 Hourly Rates

Subject to the six (6) hour minimum Call, the hourly Location Support Personnel rates for 2016 – 2018 are:

A B C D E F

2016 $15.76 $14.52 $14.52 $14.15 $14.15 Negotiable*

2017 $15.91 $14.67 $14.67 $14.29 $14.29 Negotiable*

2018 $16.07 $14.82 $14.82 $14.43 $14.43 Negotiable*

* Tier F rates are negotiable provided they are no less than Ontario minimum wage.

ON20.06 Premium Payment Calculations

All premium and penalty payments for Location Support Personnel are based on the hourly rate.

ON20.07 Overtime Calculations

(a) Overtime is calculated at one and a half times (1½) for work after twelve (12) hours. Double time applies to all work after sixteen (16) hours. In

addition, the hourly rate will form the basis for the calculation of all other premium and penalty payments provided for in Article ON2.00. For example:

i. Work on a 6th day = hourly x 2, work in excess of 12 hours = hourly x 3

ii. Work on a 7th day = hourly x3, work in excess of 12 hours = hourly x 3

iii. Work on a holiday = hourly x 2, work in excess of 12 hours = hourly x 3

iv. Turnaround infringement = hourly x 2.

(b) Holidays

Location Support Personnel who are required to work on a holiday will receive the requisite premium payments required by this Agreement even if

the District Council has agreed to a holiday variance for Guild Members engaged on a daily or weekly basis.

ON20.08 Permittees

If the District Council cannot supply competent Guild Members to fulil the duties of Location Support Personnel, when requested by the Producer, the

Producer may consider a non-Guild person for engagement. The District Council, in its reasonable discretion, may issue a work permit to a Permittee. The

2% check-of provided for in Article ON5.06 will be deducted from the Location Support Personnel’s remuneration and remitted in accordance with Core

Article 7.08.

ON20.09 Meal Allowance and Breaks

(a) If a hot meal is not provided to the Location Support Personnel, the Producer will supply the Location Support Personnel with a meal allowance of

ifteen dollars ($15.00) per Call.

(b) Where a Location Support Personnel has responsibilities at a remote location and where it is not possible to get prior approval of overtime, no prior

approval of overtime is required if the Location Support Personnel remains at the location without being relieved.

(c) Article ON3.01 (Meal Penalty) does not apply to Location Support Personnel.

ON20.10 Fringes

The following fringes and levies are calculated on the total Gross Remuneration:

VacationHealth & Welfare * OR

Non-Member Equalization*

Administration &

Training FundTotal CMPA Levy**

Grand

Total

A 4% 5% 1.5% 10.5% 2% 12.5%

B 4% 5% 1.5% 10.5% 2% 12.5%

C 4% 5% 0.5% 9.5% 2% 11.5%

D 4% 5% 0.5% 9.5% 2% 11.5%

E 4% 4% 0% 8% 2% 10%

F 4% 4% 0% 8% 2% 10%

*Payable to DGC Ontario in accordance with ON5.02 or ON5.03

** Payable directly to the CMPA as per Article ON6.00

For Fact Based/Lifestyle/Docu-Drama Productions, the fringe package is Tier E plus 0.5% Administration and Training.

ON20.11 Safety

(a) Shelter Allowance

Where health and safety requires use of a vehicle for shelter between November 15 and March 15, the Location Support Personnel will be paid a one-

hour bonus per Call at the applicable minimum rate.

(b) The Rodger Goodlad Rule

A Location Support Personnel who works alone or in a remote location will be supplied with a cell phone, walkie talkie or other communication

device, where communication is possible.


ON20.12 T2200

In lieu of a mutually agreeable kit rental, the Producer will complete the T2200 form or equivalent, if requested by the Location Support Personnel. The

completed T2200 will be provided with the Record of Employment (ROE) in accordance with Article ON10.01(d).

ON21.00 POST PRODUCTION SUPERVISORS AND POST PRODUCTION COORDINATORS

ON21.01 Eligible Personnel

1. The functions of Post Production Supervisors and Post Production Coordinators may only be performed by:

(a) a Guild Member; or

(b) a non-DGC Member receiving any bona ide producer credit (e.g. co-producer, associate producer, supervising producer, etc.) on the Production

(for clarity, “bona ide” means that the producer has signiicant work responsibilities on the Production that are not exclusive to the post production

process); or

(c) a full-time employee of the Producer’s Parent Company (as deined in Directors Schedule Article DR19.01(e)) and/or a subsidiary of the

Parent Company (as deined under applicable legislation) (the “Companies”), who:

i. is employed for an indeinite period/no speciic term by one or more of the Companies and works 35 or more hours over 3 or more days per

week for one or more of the Companies;

ii. is issued a T4 and has his/her government taxes and statutory deductions (including Employment Insurance and Canada Pension Plan

premiums) remitted by his/her employer; and

iii. is not working under a Loan-Out Corporation and is not invoicing for services.

2. A committee composed equally of CMPA and DGC representatives shall meet as necessary to discuss any problems that may arise regarding the

negotiable rates for Post Production Supervisors and Post Production Coordinators.


BUDGET TIERS

The tiers apply from January 1, 2016 until December 31, 2018.

(a) Theatrical Motion Pictures (includes “Features”)

TIER 2016 2017 2018


B $ 6,257,930 – $ 11,239,732 $ 6,383,088 – $ 11,464,527 $ 6,510,750 – $ 11,693,817

C $ 3,828,380 – $ 6,257,929 $ 3,904,948 – $ 6,383,087 $ 3,983,047 – $ 6,510,749

D $ 2,477,687 – $ 3,828,379 $ 2,527,241 – $ 3,904,947 $ 2,577,786 – $ 3,983,046

E $ 1,407,161 – $ 2,477,686 $ 1,435,305 – $ 2,527,240 $ 1,464,011 – $ 2,577,785


(b) Movies for Television (Includes “direct to Video”) and New Media Productions — 61 to 90 minutes projected length)

TIER 2016 2017 2018


B $ 6,316,828 – $ 8,422,436 $ 6,443,165 – $ 8,590,885 $ 6,572,028 – $ 8,762,702

C $ 3,509,349 – $ 6,316,827 $ 3,579,536 – $ 6,443,164 $ 3,651,126 – $ 6,572,027

D $ 2,477,687 – $ 3,509,348 $ 2,527,241 – $ 3,579,535 $ 2,577,786 – $ 3,651,125

E $ 1,297,836 – $ 2,477,686 $ 1,323,792 – $ 2,527,240 $ 1,350,268 – $ 2,577,785


(c) Mini-Series (per each 2 hours of broadcast time), and New Media Productions (91 minutes and over projected length

or per each 2 hours of broadcast time)

TIER 2016 2017 2018


B $ 4,908,181 – $ 6,748,747 $ 5,006,344 – $ 6,883,722 $ 5,106,471 – $ 7,021,397

C $ 3,681,135 – $ 4,908,180 $ 3,754,758 – $ 5,006,343 $ 3,829,853 – $ 5,106,470

D $ 2,477,687 – $ 3,681,134 $ 2,527,241 – $ 3,754,757 $ 2,577,786 – $ 3,829,852

E $ 1,297,836 – $ 2,477,686 $ 1,323,792 – $ 2,527,240 $ 1,350,268 – $ 2,577,785


(d) Television Series – 1/2 hour episodes (includes Pilots, Anthologies, Spinofs, episodic TV series,

Television drama Specials, Variety Series & Specials) and New Media Productions - 1 to 30 minutes projected length

TIER 2016 2017 2018


B $ 785,309 – $ 1,079,799 $ 801,015 – $ 1,101,395 $ 817,036 – $ 1,123,422

C $ 539,900 – $ 785,308 $ 550,698 – $ 801,014 $ 561,712 – $ 817,035

D $ 392,654 – $ 539,899 $ 400,507 – $ 550,697 $ 408,517 – $ 561,711

E $ 147,482 – $ 392,653 $ 150,431 – $ 400,506 $ 153,440 – $ 408,516


(e) Television Series – 1 hour episodes (includes Pilots, Anthologies, Spinofs, episodic TV series Television drama Specials,

Variety Series & Specials) and New Media Productions -31 to 60 minutes in projected length

TIER 2016 2017 2018


B $ 1,411,102 – $ 1,791,485 $ 1,439,324 – $ 1,827,315 $ 1,468,110 – $ 1,863,861

C $ 993,906 – $ 1,411,101 $ 1,013,784 – $ 1,439,323 $ 1,034,060 – $ 1,468,109

D $ 638,063 – $ 993,905 $ 650,824 – $ 1,013,783 $ 663,841 – $ 1,034,059

E $ 265,466 – $ 638,062 $ 270,776 – $ 650,823 $ 276,191 – $ 663,840



(f) Serial and Strip Programs – 1/2 hour

TIER 2016 2017 2018


B $ 503,088 – $ 564,439 $ 513,150 – $ 575,728 $ 523,413 – $ 587,243

C $ 355,843 – $ 503,087 $ 362,960 – $ 513,149 $ 370,219 – $ 523,412

D $ 220,868 – $ 355,842 $ 225,285 – $ 362,959 $ 229,791 – $ 370,218

E $ 129,784 – $ 220,867 $ 132,379 – $ 225,284 $ 135,027 – $ 229,790


(g) Serial and Strip Programs – 1 hour

TIER 2016 2017 2018


B $ 993,906 – $ 1,128,881 $ 1,013,784 – $ 1,151,459 $ 1,034,060 – $ 1,174,488

C $ 711,687 – $ 993,905 $ 725,920 – $ 1,013,783 $ 740,439 – $ 1,034,059

D $ 282,221 – $ 711,686 $ 287,865 – $ 725,919 $ 293,622 – $ 740,438

E $ 224,172 – $ 282,220 $ 228,655 – $ 287,864 $ 233,228 – $ 293,621


(h) New Media Productions, derivatives & Other Production – Per minute of inished material

TIER 2016 2017 2018


B $ 32,721 – $ 44,990 $ 33,375 – $ 45,890 $ 34,042 – $ 46,808

C $ 22,495 – $ 32,720 $ 22,945 – $ 33,374 $ 23,404 – $ 34,041

D $ 16,361 – $ 22,494 $ 16,688 – $ 22,944 $ 17,022 – $ 23,403

E $ 6,144 – $ 16,360 $ 6,267 – $ 16,687 $ 6,393 – $ 17,021



2016 Production Department Rates

The minimum rates for 2016 apply from January 1, 2016 to December 31, 2016.

Classiication Tier A Tier B Tier C Tier D Tier E Tier F

Weekly Daily Weekly Daily Weekly Daily Weekly Daily Weekly Daily

Production

Manager

$ 3,675.00 $ 918.75 $ 3,311.00 $ 827.75 $ 2,898.00 $ 724.50 $ 2,468.00 $ 617.00 $ 1,998.00 $ 499.50

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Assistant

Production

Manager/

Unit Manager

$ 2,581.00 $ 645.25 $ 2,325.00 $ 581.25 $ 1,996.00 $ 499.00 $ 1,727.00 $ 431.75 $ 1,399.00 $ 349.75

First Assistant

Director

$ 3,531.00 $ 882.75 $ 3,191.00 $ 797.75 $ 2,791.00 $ 697.75 $ 2,372.00 $ 593.00 $ 1,925.00 $ 481.25

Second

Assistant

Director

$ 2,570.00 $ 642.50 $ 2,330.00 $ 582.50 $ 2,034.00 $ 508.50 $ 1,732.00 $ 433.00 $ 1,401.00 $ 350.25

Third Assistant

Director

$ 1,623.00 $ 405.75 $ 1,515.00 $ 378.75 $ 1,461.00 $ 365.25 $ 1,394.00 $ 348.50 $ 1,279.00 $ 319.75

Fourth

Assistant

Director

$ 1,348.00 $ 337.00 $ 1,202.00 $ 300.50 $ 1,179.00 $ 294.75 $ 1,167.00 $ 291.75 $ 1,167.00 $ 291.75

Set Production

Assistant

$ 1,127.00 $ 281.75 $ 1,103.00 $ 275.75 $ 1,093.00 $ 273.25 $ 1,093.00 $ 273.25 $ 1,093.00 $ 273.25

Second Set

Production

Asst

(8 hour shift)

n/a $ 155.00 n/a $ 151.70 n/a $ 150.30 n/a $ 150.30 n/a $ 150.30

Location

Manager

$ 2,784.00 $ 696.00 $ 2,504.00 $ 626.00 $ 2,205.00 $ 551.25 $ 1,876.00 $ 469.00 $ 1,512.00 $ 378.00

Assistant

Location

Manager/

Locations

Scout

$ 1,981.00 $ 495.25 $ 1,782.00 $ 445.50 $ 1,570.00 $ 392.50 $ 1,379.00 $ 344.75 $ 1,273.00 $ 318.25

Location

Production

Assistant (LPA )

$ 1,172.00 $ 293.00 $ 1,136.00 $ 284.00 $ 1,114.00 $ 278.50 $ 1,093.00 $ 273.25 $ 1,093.00 $ 273.25

Location

Production

Assistant

(4 hour call)

n/a $ 117.20 n/a $ 113.60 n/a $ 111.45 n/a $ 109.30 n/a $ 109.30

Production department Rates Ontario






Production

Manager

$ 3,749.00 $ 937.25 $ 3,377.00 $ 844.25 $ 2,956.00 $ 739.00 $ 2,518.00 $ 629.50 $ 2,038.00 $ 509.50

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Assistant

Production

Manager/

Unit Manager

$ 2,632.00 $ 658.00 $ 2,371.00 $ 592.75 $ 2,016.00 $ 504.00 $ 1,744.00 $ 436.00 $ 1,413.00 $ 353.25

First Assistant

Director

$ 3,602.00 $ 900.50 $ 3,254.00 $ 813.50 $ 2,847.00 $ 711.75 $ 2,419.00 $ 604.75 $ 1,963.00 $ 490.75

Second

Assistant

Director

$ 2,622.00 $ 655.50 $ 2,376.00 $ 594.00 $ 2,075.00 $ 518.75 $ 1,767.00 $ 441.75 $ 1,430.00 $ 357.50

Third Assistant

Director

$ 1,672.00 $ 418.00 $ 1,561.00 $ 390.25 $ 1,505.00 $ 376.25 $ 1,435.00 $ 358.75 $ 1,318.00 $ 329.50

Fourth

Assistant

Director

$ 1,429.00 $ 357.25 $ 1,274.00 $ 318.50 $ 1,238.00 $ 309.50 $ 1,225.00 $ 306.25 $ 1,225.00 $ 306.25

Set Production

Assistant

$ 1,161.00 $ 290.25 $ 1,136.00 $ 284.00 $ 1,126.00 $ 281.50 $ 1,126.00 $ 281.50 $ 1,126.00 $ 281.50

Second Set

Production

Asst

(8 hour shift)

n/a $ 159.65 n/a $ 156.25 n/a $ 154.80 n/a $ 154.80 n/a $ 154.80

Location

Manager

$ 2,951.00 $ 737.75 $ 2,655.00 $ 663.75 $ 2,337.00 $ 584.25 $ 1,989.00 $ 497.25 $ 1,603.00 $ 400.75

Assistant

Location

Manager/

Locations

Scout

$ 2,020.00 $ 505.00 $ 1,818.00 $ 454.50 $ 1,601.00 $ 400.25 $ 1,407.00 $ 351.75 $ 1,298.00 $ 324.50

Location

Production

Assistant (LPA )

$ 1,207.00 $ 301.75 $ 1,170.00 $ 292.50 $ 1,148.00 $ 287.00 $ 1,126.00 $ 281.50 $ 1,126.00 $ 281.50

Location

Production

Assistant

(4 hour call)

n/a $ 120.70 n/a $ 117.00 n/a $ 114.80 n/a $ 112.60 n/a $ 112.60

Production department Rates Ontario


Production Department Rates Ontario



Classification Tier A Tier B Tier C Tier D Tier E Tier F


Production

Manager

$ 3,786.00 $ 946.50 $ 3,411.00 $ 852.75 $ 2,985.00 $ 746.25 $ 2,543.00 $ 635.75 $ 2,059.00 $ 514.75

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Assistant

Production

Manager/

Unit Manager

$ 2,659.00 $ 664.75 $ 2,395.00 $ 598.75 $ 2,036.00 $ 509.00 $ 1,762.00 $ 440.50 $ 1,428.00 $ 357.00

First Assistant

Director

$ 3,638.00 $ 909.50 $ 3,287.00 $ 821.75 $ 2,875.00 $ 718.75 $ 2,443.00 $ 610.75 $ 1,983.00 $ 495.75

Second

Assistant

Director

$ 2,674.00 $ 668.50 $ 2,424.00 $ 606.00 $ 2,116.00 $ 529.00 $ 1,802.00 $ 450.50 $ 1,458.00 $ 364.50

Third Assistant

Director

$ 1,706.00 $ 426.50 $ 1,592.00 $ 398.00 $ 1,535.00 $ 383.75 $ 1,464.00 $ 366.00 $ 1,344.00 $ 336.00

Fourth

Assistant

Director

$ 1,500.00 $ 375.00 $ 1,338.00 $ 334.50 $ 1,300.00 $ 325.00 $ 1,274.00 $ 318.50 $ 1,274.00 $ 318.50

Set Production

Assistant

$ 1,184.00 $ 295.00 $ 1,162.00* $ 290.50* $ 1,162.00* $ 290.50* $ 1,162.00* $ 290.50* $ 1,162.00* $ 290.50*

Second Set

Production

Asst

(8 hour shift)

n/a $ 162.85 n/a $ 159.40 n/a $ 157.90 n/a $ 157.90 n/a $ 157.90

Location

Manager

$ 3,157.00 $ 789.25 $ 2,840.00 $ 710.00 $ 2,501.00 $ 625.25 $ 2,128.00 $ 532.00 $ 1,715.00 $ 428.75

Assistant

Location

Manager/

Locations

Scout

$ 2,061.00 $ 515.25 $ 1,854.00 $ 463.50 $ 1,633.00 $ 408.25 $ 1,435.00 $ 358.75 $ 1,324.00 $ 331.00

Location

Production

Assistant (LPA )

$ 1,231.00 $ 307.75 $ 1,194.00 $ 298.50 $ 1,171.00 $ 292.75 $ 1,162.00* $ 290.50* $ 1,162.00* $ 290.50*

Location

Production

Assistant

(4 hour call)

n/a $ 123.10 n/a $ 119.45 n/a $ 117.10 n/a $ 114.85 n/a $ 114.85

* Rates in italics and bold have changed to reflect recent Ontario legislation.


2016 Art Department Rates




Production

Designer

$ 4,476.00 $ 1,119.00 $ 4,135.00 $ 1,033.75 $ 3,615.00 $ 903.75 $ 3,072.00 $ 768.00 $ 2,487.00 $ 621.75

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Art Director

(Head of

Department)

$ 3,900.00 $ 975.00 $ 3,598.00 $ 899.50 $ 3,159.00 $ 789.75 $ 2,680.00 $ 670.00 $ 2,168.00 $ 542.00

Art Director $ 2,999.00 $ 749.75 $ 2,758.00 $ 689.50 $ 2,420.00 $ 605.00 $ 2,044.00 $ 511.00 $ 1,660.00 $ 415.00

First Assistant

Art Director

$ 2,233.00 $ 558.25 $ 2,057.00 $ 514.25 $ 1,851.00 $ 462.75 $ 1,547.00 $ 386.75 $ 1,250.00 $ 312.50

Second

Assistant Art

Director/

Art Dept.

Coordinator

$ 1,816.00 $ 454.00 $ 1,688.00 $ 422.00 $ 1,463.00 $ 365.75 $ 1,242.00 $ 310.50 $ 1,079.00 $ 269.75

Art

Department

Trainee (PA)

$ 1,014.00 $ 253.50 $ 945.00 $ 236.25 $ 890.00 $ 222.50 $ 890.00 $ 222.50 $ 890.00 $ 222.50





Production

Designer

$ 4,565.00 $ 1,141.25 $ 4,218.00 $ 1,054.50 $ 3,68700 $ 921.75 $ 3,134.00 $ 783.50 $ 2,536.00 $ 634.00

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Art Director

(Head of

Department)

$ 3,939.00 $ 984.75 $ 3,634.00 $ 908.50 $ 3,191.00 $ 797.75 $ 2,706.00 $ 676.50 $ 2,190.00 $ 547.50

Art Director $ 3,059.00 $ 764.75 $ 2,813.00 $ 703.25 $ 2,469.00 $ 617.25 $ 2,085.00 $ 521.25 $ 1,693.00 $ 423.25

First Assistant

Art Director

$ 2,277.00 $ 569.25 $ 2,098.00 $ 524.50 $ 1,888.00 $ 472.00 $ 1,578.00 $ 394.50 $ 1,274.00 $ 318.50

Second

Assistant Art

Director/

Art Dept.

Coordinator

$ 1,852.00 $ 463.00 $ 1,722.00 $ 430.50 $ 1,492.00 $ 373.00 $ 1,267.00 $ 316.75 $ 1,101.00 $ 275.25

Art

Department

Trainee (PA)

$ 1,034.00 $ 258.50 $ 963.00 $ 240.75 $ 908.00 $ 227.00 $ 908.00 $ 227.00 $ 908.00 $ 227.00

Art Department Rates Ontario


Art Department Rates Ontario





Production

Designer

$ 4,611.00 $ 1,152.75 $ 4,260.00 $ 1,065.00 $ 3,724.00 $ 931.00 $ 3,165.00 $ 791.25 $ 2,562.00 $ 640.50

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Art Director

(Head of

Department)

$ 3,978.00 $ 994.50 $ 3,670.00 $ 917.50 $ 3,223.00 $ 805.75 $ 2,733.00 $ 683.25 $ 2,212.00 $ 553.00

Art Director $ 3,120.00 $ 780.00 $ 2,870.00 $ 717.50 $ 2,518.00 $ 629.50 $ 2,127.00 $ 531.75 $ 1,727.00 $ 431.75

First Assistant

Art Director

$ 2,323.00 $ 580.75 $ 2,140.00 $ 535.00 $ 1,926.00 $ 481.50 $ 1,610.00 $ 402.50 $ 1,300.00 $ 325.00

Second

Assistant Art

Director/

Art Dept.

Coordinator

$ 1,889.00 $ 472.25 $ 1,756.00 $ 439.00 $ 1,522.00 $ 380.50 $ 1,293.00 $ 323.25 $ 1,123.00 $ 280.75

Art

Department

Trainee (PA)

$ 1,055.00 $ 263.75 $ 983.00 $ 245.75 $ 952.00* $ 238.00* $ 952.00* $ 238.00* $ 952.00* $ 238.00*



2016 Accounting Department Rates


Classiication Tier A Features

Tier B TV Series

Tier B Features

Tier A MFT

Tier C TV Series

Tier C Features

Tier B MFT

Tier D TV Series

Tier D Features

Tier C MFT

Tier E TV Series

Tier E Features

Tier D & E MFT

Tier F


Production

Accountant

$ 2,856.00 $ 714.00 $ 2,594.00 $ 648.50 $ 2,337.00 $ 584.25 $ 1,989.00 $ 497.25 $ 1,627.00 $ 406.75

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

First Assistant

Accountant

(General)

$ 2,233.00 $ 558.25 $ 1,968.00 $ 492.00 $ 1,726.00 $ 431.50 $ 1,467.00 $ 366.75 $ 1,188.00 $ 297.00

First Assistant

Accountant

(Payroll)

$ 2,067.00 $ 516.75 $ 1,874.00 $ 468.50 $ 1,646.00 $ 411.50 $ 1,402.00 $ 350.50 $ 1,135.00 $ 283.75

Second

Assistant

Accountant

$ 1,324.00 $ 331.00 $ 1,211.00 $ 302.75 $ 1,059.00 $ 264.75 $ 941.00 $ 235.25 $ 899.00 $ 224.75

Third Assistant

Accountant

$ 1,077.00 $ 269.25 $ 971.00 $ 242.75 $ 913.00 $ 228.25 $ 890.00 $ 222.50 $ 890.00 $ 222.50

Trainee

Assistant

Accountant

$ 1,015.00 $ 253.75 $ 945.00 $ 236.25 $ 890.00 $ 222.50 $ 890.00 $ 222.50 $ 890.00 $ 222.50



Classiication Tier A Features

Tier B TV Series

Tier B Features

Tier A MFT

Tier C TV Series

Tier C Features

Tier B MFT

Tier D TV Series

Tier D Features

Tier C MFT

Tier E TV Series

Tier E Features

Tier D & E MFT

Tier F


Production

Accountant

$ 2,913.00 $ 728.25 $ 2,646.00 $ 661.50 $ 2,384.00 $ 596.00 $ 2,029.00 $ 507.25 $ 1,659.00 $ 414.75

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

First Assistant

Accountant

(General)

$ 2,277.00 $ 569.25 $ 2,007.00 $ 501.75 $ 1,760.00 $ 440.00 $ 1,496.00 $ 374.00 $ 1,212.00 $ 303.00

First Assistant

Accountant

(Payroll)

$ 2,191.00 $ 547.75 $ 1,959.00 $ 489.75 $ 1,719.00 $ 429.75 $ 1,462.00 $ 365.50 $ 1,180.00 $ 295.00

Second

Assistant

Accountant

$ 1,350.00 $ 337.50 $ 1,223.00 $ 305.75 $ 1,069.00 $ 267.25 $ 951.00 $ 237.75 $ 908.00 $ 227.00

Third Assistant

Accountant

$ 1,099.00 $ 274.75 $ 981.00 $ 245.25 $ 922.00 $ 230.50 $ 899.00 $ 224.75 $ 899.00 $ 224.75

Trainee

Assistant

Accountant

$ 1,035.00 $ 258.75 $ 954 .00 $ 238.50 $ 899.00 $ 224.75 $ 899.00 $ 224.75 $ 899.00 $ 224.75

Accounting Department Rates Ontario


Accounting Department Rates Ontario



Classification

Tier A Features

Tier B TV Series

Tier B Features

Tier A MFT

Tier C TV Series

Tier C Features

Tier B MFT

Tier D TV Series

Tier D Features

Tier C MFT

Tier E TV Series

Tier E Features

Tier D & E MFT

Tier F


Production

Accountant

$ 2,971.00 $ 742.75 $ 2,699.00 $ 674.75 $ 2,431.00 $ 607.75 $ 2,069.00 $ 517.25 $ 1,693.00 $ 423.25

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

First Assistant

Accountant

(General)

$ 2,323.00 $ 580.75 $ 2,047.00 $ 511.75 $ 1,796.00 $ 449.00 $ 1,526.00 $ 381.50 $ 1,236.00 $ 309.00

First Assistant

Accountant

(Payroll)

$ 2,323.00 $ 580.75 $ 2,047.00 $ 511.75 $ 1,796.00 $ 449.00 $ 1,526.00 $ 381.50 $ 1,236.00 $ 309.00

Second

Assistant

Accountant

$ 1,377.00 $ 344.25 $ 1,235.00 $ 308.75 $ 1,080.00 $ 270.00 $ 960.00 $ 240.00 $ 952.00* $ 238.00*

Third Assistant

Accountant

$ 1,121.00 $ 280.25 $ 991.00 $ 247.75 $ 952.00* $ 238.00* $ 952.00* $ 238.00* $ 952.00* $ 238.00*

Trainee

Assistant

Accountant

$ 1,056.00 $ 264.00 $ 964.00 $ 241.00 $ 952.00* $ 238.00* $ 952.00* $ 238.00* $ 952.00* $ 238.00*



2016 Picture Editing Department Rates – Theatrical Motion Pictures, Made for Television Movies, Mini-Series




Supervising

Picture Editor

$ 3,782.00 $ 945.50 $ 3,489.00 $ 872.25 $ 3,012.00 $ 753.00 $ 2,505.00 $ 626.25 $ 2,023.00 $ 505.75

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Picture Editor/

Editor

$ 3,501.00 $ 875.25 $ 3,229.00 $ 807.25 $ 2,843.00 $ 710.75 $ 2,407.00 $ 601.75 $ 1,950.00 $ 487.50

First Assistant

Picture Editor

$ 2,279.00 $ 569.75 $ 2,096.00 $ 524.00 $ 1,834.00 $ 458.50 $ 1,567.00 $ 391.75 $ 1,268.00 $ 317.00

Assistant

Picture Editor

per 11.35(b)

$ 1,502.00 $ 375.50 $ 1,394.00 $ 348.50 $ 1,214.00 $ 303.50 $ 1,038.00 $ 259.50 $ 890.00 $ 222.50

Assistant

Picture Editor

$ 1,245.00 $ 311.25 $ 1,141.00 $ 285.25 $ 1,033.00 $ 258.25 $ 890.00 $ 222.50 $ 890.00 $ 222.50

Trainee Asst.

Picture Editor

$ 1,059.00 $ 264.75 $ 969.00 $ 242.25 $ 913.00 $ 228.25 $ 900.00 $ 225.00 $ 890.00 $ 222.50

2016 Picture Editing Department Rates– Anthologies, Pilots, Spinofs, Strip Programs, TV Drama Series, TV Series, Variety Specials, Variety Series




Supervising

Picture Editor

$ 3,454.00 $ 863.50 $ 3,160.00 $ 790.00 $ 2,769.00 $ 692.25 $ 2,291.00 $ 572.75 $ 1,859.00 $ 464.75

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Picture Editor/

Editor

$ 3,060.00 $ 765.00 $ 2,814.00 $ 703.50 $ 2,455.00 $ 613.75 $ 2,100.00 $ 525.00 $ 1,707.00 $ 426.75

First Assistant

Picture Editor

$ 2,085.00 $ 521.25 $ 1,926.00 $ 481.50 $ 1,688.00 $ 422.00 $ 1,432.00 $ 358.00 $ 1,158.00 $ 289.50

Assistant

Picture Editor

per 11.35(b)

$ 1,413.00 $ 353.25 $ 1,304.00 $ 326.00 $ 1,141.00 $ 285.25 $ 977.00 $ 244.25 $ 890.00 $ 222.50

Assistant

Picture Editor

$ 1,200.00 $ 300.00 $ 1,094.00 $ 273.50 $ 997.00 $ 249.25 $ 905.00 $ 226.25 $ 893.00 $ 223.25

Trainee Asst.

Picture Editor

$ 1,024.00 $ 256.00 $ 941.00 $ 235.25 $ 898.00 $ 224.50 $ 890.00 $ 222.50 $ 890.00 $ 222.50

Picture Editing Department Rates Ontario






Supervising

Picture Editor

$ 3,858.00 $ 964.50 $ 3,559.00 $ 889.75 $ 3,042.00 $ 760.50 $ 2,518.00 $ 629.50 $ 2,033.00 $ 508.25

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Picture Editor/

Editor

$ 3,571.00 $ 892.75 $ 3,294.00 $ 823.50 $ 2,900.00 $ 725.00 $ 2,455.00 $ 613.75 $ 1,989.00 $ 497.25

First Assistant

Picture Editor

$ 2,324.00 $ 581.00 $ 2,138.00 $ 534.50 $ 1,871.00 $ 467.75 $ 1,598.00 $ 399.50 $ 1,293.00 $ 323.25

Assistant

Picture Editor

per 11.35(b)

$ 1,533.00 $ 383.25 $ 1,422.00 $ 355.50 $ 1,238.00 $ 309.50 $ 1,059.00 $ 264.75 $ 908 .00 $ 227.00

Assistant

Picture Editor

$ 1,270.00 $ 317.50 $ 1,164.00 $ 291.00 $ 1,054.00 $ 263.50 $ 908.00 $ 227.00 $ 908.00 $ 227.00

Trainee Asst.

Picture Editor

$ 1,080.00 $ 270.00 $ 988 .00 $ 247.00 $ 931.00 $ 232.75 $ 918.00 $ 229.50 $ 908.00 $ 227.00

2017 Picture Editing Department Rates– Anthologies, Pilots, Spinofs, Strip Programs, TV Drama Series, TV Series, Variety Specials, Variety Series




Supervising

Picture Editor

$ 3,523.00 $ 880.75 $ 3,192.00 $ 798.00 $ 2,797.00 $ 699.25 $ 2,302.00 $ 575.50 $ 1,869.00 $ 467.25

All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Picture Editor/

Editor

$ 3,121.00 $ 780.25 $ 2,870.00 $ 717.50 $ 2,504.00 $ 626.00 $ 2,142.00 $ 535.50 $ 1,742.00 $ 435.50

First Assistant

Picture Editor

$ 2,127.00 $ 531.75 $ 1,964.00 $ 491.00 $ 1,722.00 $ 430.50 $ 1,461.00 $ 365.25 $ 1,181.00 $ 295.25

Assistant

Picture Editor

per 11.35(b)

$ 1,441.00 $ 360.25 $ 1,330.00 $ 332.50 $ 1,164.00 $ 291.00 $ 997.00 $ 249.25 $ 908.00 $ 227.00

Assistant

Picture Editor

$ 1,224.00 $ 306.00 $ 1,116.00 $ 279.00 $ 1,016.00 $ 254.00 $ 923.00 $ 230.75 $ 910.00 $ 227.50

Trainee Asst.

Picture Editor

$ 1,045.00 $ 261.25 $ 960.00 $ 240.00 $ 916.00 $ 229.00 $ 908.00 $ 227.00 $ 908.00 $ 227.00








Supervising

Picture Editor

$ 3,896.00 $ 974.00 $ 3,595.00 $ 898.75 $ 3,073.00 $ 768.25 $ 2,530.00 $ 632.50 $ 2,043.00 $ 510.75 All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Picture Editor/

Editor

$ 3,642.00 $ 910.50 $ 3,360.00 $ 840.00 $ 2,958.00 $ 739.50 $ 2,504.00 $ 626.00 $ 2,029.00 $ 507.25

First Assistant

Picture Editor

$ 2,371.00 $ 592.75 $ 2,181.00 $ 545.25 $ 1,908.00 $ 477.00 $ 1,630.00 $ 407.50 $ 1,319.00 $ 329.75

Assistant

Picture Editor

per 11.35(b)

$ 1,563.00 $ 390.75 $ 1,451.00 $ 362.75 $ 1,263.00 $ 315.75 $ 1,080.00 $ 270.00 $ 952.00* $ 238.00*

Assistant

Picture Editor

$ 1,296.00 $ 324.00 $ 1,187.00 $ 296.75 $ 1,075.00 $ 268.75 $ 952.00* $ 238.00* $ 952.00* $ 238.00*

Trainee Asst.

Picture Editor

$ 1,102.00 $ 275.50 $ 1,008.00 $ 252.00 $ 952.00* $ 238.00* $ 952.00* $ 238.00* $ 952.00* $ 238.00*

2018 Picture Editing Department Rates – Anthologies, Pilots, Spinoffs, Strip Programs, TV Drama Series, TV Series, Variety Specials, Variety Series




Supervising

Picture Editor

$ 3,558.00 $ 889.50 $ 3,223.00 $ 805.75 $ 2,825.00 $ 706.25 $ 2,314.00 $ 578.50 $ 1,878.00 $ 469.50 All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Picture Editor/

Editor

$ 3,184.00 $ 796.00 $ 2,928.00 $ 732.00 $ 2,554.00 $ 638.50 $ 2,185.00 $ 546.25 $ 1,776.00 $ 444.00

First Assistant

Picture Editor

$ 2,169.00 $ 542.25 $ 2,004.00 $ 501.00 $ 1,756.00 $ 439.00 $ 1,490.00 $ 372.50 $ 1,204.00 $ 301.00

Assistant

Picture Editor

per 11.35(b)

$ 1,470.00 $ 367.50 $ 1,356.00 $ 339.00 $ 1,187.00 $ 296.75 $ 1,017.00 $ 254.25 $ 952.00* $ 238.00*

Assistant

Picture Editor

$ 1,248.00 $ 312.00 $ 1,139.00 $ 284.75 $ 1,037.00 $ 259.25 $ 952.00* $ 238.00* $ 952.00* $ 238.00*

Trainee Asst.

Picture Editor

$ 1,065.00 $ 266.25 $ 979.00 $ 244.75 $ 952.00* $ 238.00* $ 952.00* $ 238.00* $ 952.00* $ 238.00*



2016 Sound Editing Rates – Theatrical Motion Pictures, Made for Television Movies, Mini-Series




Supervising

Sound Editor

$ 3,230.00 $ 807.50 $ 3,017.00 $ 754.25 $ 2,342.00 $ 585.50 $ 1,947.00 $ 486.75 $ 1,578.00 $ 394.50 All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Sound Editor/

Editor

$ 3,048.00 $ 762.00 $ 2,821.00 $ 705.25 $ 2,206.00 $ 551.50 $ 1,868.00 $ 467.00 $ 1,507.00 $ 376.75

First Assistant

Sound Editor

$ 1,978.00 $ 494.50 $ 1,825.00 $ 456.25 $ 1,420.00 $ 355.00 $ 1,218.00 $ 304.50 $ 1,007.00 $ 251.75

Trainee

Assistant

Sound Editor

$ 1,059.00 $ 264.75 $ 969.00 $ 242.25 $ 913.00 $ 228.25 $ 900.00 $ 225.00 $ 890.00 $ 222.50

2016 Sound Editing Rates – Anthologies, Pilots, Spinofs, Strip Programs, TV Drama Series, TV Series, Variety Specials, Variety Series




Supervising

Sound Editor

$ 2,946.00 $ 736.50 $ 2,734.00 $ 683.50 $ 2,130.00 $ 532.50 $1,784.00 $ 446.00 $ 1,442.00 $ 360.50 All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Sound Editor/

Editor

$ 2,701.00 $ 675.25 $ 2,499.00 $ 624.75 $ 1,950.00 $ 487.50 $ 1,629.00 $ 407.25 $ 1,316.00 $ 329.00

First Assistant

Sound Editor

$ 1,813.00 $ 453.25 $ 1,672.00 $ 418.00 $ 1,311.00 $ 327.75 $ 1,103.00 $ 275.75 $ 910.00 $ 227.50

Trainee

Assistant

Sound Editor

$ 1,024.00 $ 256.00 $ 941.00 $ 235.25 $ 898.00 $ 224.50 $ 890.00 $ 222.50 $ 890.00 $ 222.50

Sound Editing Department Rates Ontario


2017 Sound Editing Department Rates – Theatrical Motion Pictures, Made for Television Movies, Mini-Series




Supervising

Sound Editor

$ 3,263.00 $ 815.75 $ 3,047.00 $ 761.75 $ 2,365.00 $ 591.25 $ 1,967.00 $ 491.75 $ 1,594.00 $ 398.50 All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Sound Editor/

Editor

$ 3,109.00 $ 777.25 $ 2,878.00 $ 719.50 $ 2,250.00 $ 562.50 $ 1,905.00 $ 476.25 $ 1,537.00 $ 384.25

First Assistant

Sound Editor

$ 2,017.00 $ 504.25 $ 1,861.00 $ 465.25 $ 1,448.00 $ 362.00 $ 1,242.00 $ 310.50 $ 1,027.00 $ 256.75

Trainee

Assistant

Sound Editor

$ 1,080.00 $ 270.00 $ 988.00 $ 247.00 $ 931.00 $ 232.75 $ 918.00 $ 229.50 $ 908.00 $ 227.00

2017 Sound Editing Department Rates – Anthologies, Pilots, Spinofs, Strip Programs, TV Drama Series, TV Series, Variety Specials, Variety Series




Supervising

Sound Editor

$ 2,975.00 $ 743.75 $ 2,761.00 $ 690.25 $ 2,151.00 $ 537.75 $ 1,802.00 $ 450.50 $ 1,457.00 $ 364.25 All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Sound Editor/

Editor

$ 2,755.00 $ 688.75 $ 2,549.00 $ 637.25 $ 1,989.00 $ 497.25 $ 1,662.00 $ 415.50 $ 1,342.00 $ 335.50

First Assistant

Sound Editor

$ 1,849.00 $ 462.25 $ 1,705.00 $ 426.25 $ 1,337.00 $ 334.25 $ 1,125.00 $ 281.25 $ 928.00 $ 232.00

Trainee

Assistant

Sound Editor

$ 1,045.00 $ 261.25 $ 960.00 $ 240.00 $ 916.00 $ 229.00 $ 908.00 $ 227.00 $ 908.00 $ 227.00




2018 Sound Editing Department Rates – Theatrical Motion Pictures, Made for Television Movies, Mini-Series




Supervising

Sound Editor

$ 3,295.00 $ 823.75 $ 3,078.00 $ 769.50 $ 2,389.00 $ 597.25 $ 1,986.00 $ 496.50 $ 1,610.00 $ 402.50 All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Sound Editor/

Editor

$ 3,171.00 $ 792.75 $ 2,935.00 $ 733.75 $ 2,295.00 $ 573.75 $ 1,943.00 $ 485.75 $ 1,567.00 $ 391.75

First Assistant

Sound Editor

$ 2,058.00 $ 514.50 $ 1,899.00 $ 474.75 1,477.00 $ 369.25 $ 1,267.00 $ 316.75 $ 1,047.00 $ 261.75

Trainee

Assistant

Sound Editor

$ 1,102.00 $ 275.50 $ 1,008.00 $ 252.00 $ 952.00* $ 238.00* $ 952.00* $ 238.00* $ 952.00* $ 238.00*

2018 Sound Editing Department Rates – Anthologies, Pilots, Spinoffs, Strip Programs, TV Drama Series, TV Series, Variety Specials, Variety Series




Supervising

Sound Editor

$ 3,005.00 $ 751.25 $ 2,789.00 $ 697.25 $ 2,173.00 $ 543.25 $ 1,820.00 $ 455.00 $ 1,471.00 367.75 All minimum

rates

negotiable.

Cannot be

less than

the Ontario

minimum

wage.

See

mandatory

fringe

package.

Sound Editor/

Editor

$ 2,810.00 $ 702.50 $ 2,600.00 $ 650.00 $ 2,029.00 $ 507.25 $ 1,695.00 $ 423.75 $ 1,369.00 342.25

First Assistant

Sound Editor

$ 1,886.00 $ 471.50 $ 1,739.00 $ 434.75 $ 1,364.00 $ 341.00 $ 1,147.00 $ 286.75 $ 952.00* $ 238.00*

Trainee

Assistant

Sound Editor

$ 1,065.00 $ 266.25 $ 979.00 $ 244.75 $ 952.00* $ 238.00* $ 952.00* $ 238.00* $ 952.00* $ 238.00*



Post Production Department Rates Ontario

2016 Post Production Department Rates




Post

Production

Supervisor

All minimum rates negotiable.

Cannot be less than the Ontario minimum wage.

All fringes (Article ON5.07) and Premiums (Articles ON2.00–ON4.00) are applicable. Post

Production

Coordinator

Post

Production

Assistant

$ 941.00 $ 235.25 $ 890.00 $ 222.50 $ 890.00 $ 222.50 $ 890.00 $ 222.50 $ 890.00 $ 222.50 **.





Post

Production

Supervisor




Production

Coordinator

Post

Production

Assistant

$ 960.00 $ 240.00 $ 908.00 $ 227.00 $ 908.00 $ 227.00 $ 908.00 $ 227.00 $ 908.00 $ 227.00 **





Post

Production

Supervisor




Production

Coordinator

Post

Production

Assistant

$ 979.00 $ 244.75 $ 952.00* $ 238.00* $ 952.00* $ 238.00* $ 952.00* $ 238.00* $ 952.00* $ 238.00* **


**All minimum rates negotiable. Cannot be less than the Ontario minimum wage. See mandatory fringe package.


CATEGORYVACATION

PAYON4.01

HEALTH & WELFARE (HW)

ON5.02

NON-MEMBER EQUALIZATION

PAYMENTON5.03

RETIREMENT CONTRIBUTION

ON5.04

ADMINISTRATION & TRAINING FUND**

ON5.05

MEMBER’S CHECK-OFF

ON5.06PERMIT FEES

Guild Members All Categories

Except Permittees

Payable by Producer to

Member

Payable by Producer to DGC

Ontario

N/A Payable by Producer to DGC Ontario

Payable by Producer to DGC Ontario

(HST applicable)

2% of Gross deducted from

Member & paid to DGC Ontario

N/A

Non-Canadian Permittees Excluding

DGA, U.S.IATSE, including

IATSE Local 829

Payable by Producer to Permittee, if applicable.

N/A Payable by Producer to the

DGC Ontario

Payable by Producer to Permittee


(HST applicable)


Permittee & paid to DGC Ontario

$50/day capped at $200/week deducted

from Permittee & remitted to DGC Ontario

(HST Applicable)

DGA, U.S. IATSE & IATSE

Local 829 Permittees

Only

Payable by Producer to Permittee if applicable

N/A N/A N/A Payable by Producer to DGC Ontario

(HST applicable)

2% of applicable DGC Ontario

minimum deducted from


as administration charge

$50/day capped at $200/week deducted

from Permittee & remitted to DGC Ontario

(HST Applicable)

DGC/DGA Dual Card Members

permitted to work under a DGA contract

Payable by Producer

to the non-loanout

Member if applicable

N/A N/A N/A Payable by Producer to DGC Ontario

(HST applicable)


minimum deducted from Member & paid to DGC Ontario

as administration charge

N/A

Non-Canadian Production

Accountants (for Tier A

only)

Payable by Producer to Permittee if applicable

N/A N/A Payable by Producer to Permittee


(HST applicable)


Minimum deducted from


as administration charge $100/

week deducted from Permittee & remitted to DGC

Ontario (HST Applicable)

$100/week deducted from Permittee &

remitted to DGC Ontario(HST applicable)

Canadian Permittees

All Categories (except

Director and LSP)*


N/A Payable by Producer to DGC

Ontario



(HST applicable)



Except for Directorsand LSP’s,

$50/week or portion thereof deducted from Member & remitted to

DGC Ontario(HST Applicable)

For Directors,$200/week or portion

thereof deducted from Member & remitted to

DGC Ontario(HST Applicable)

LSP Payable by Producer to Permittee

Payable by Producer to DGC Ontario If LSP is a

Member

Payable by Producer to DGC

Ontario if LSP is not a Member

N/A Payable by Producer to DGC Ontario

(HST applicable)



N/A

* Permit fees for Canadian Directors shall be $200/week or portion thereof deducted from Permittee and remitted to DGC Ontario.

For inancial caps on contributions, see Article ON7.00.

** For all Tier A Television Series that engage 25% or less DGC Directors and to Tier A Features not engaging a DGC Director, a 0.25% fringe reduction in the Administration and

Training Fund will apply.

CMPA Levy: Provided that the Producer is a member in good standing of the CMPA, the Producer shall remit directly to the CMPA an amount equal to 2% of all Gross

Remuneration paid to Guild Members to a maximum of $4,750 per feature, MFT, Pilot, part of a Mini-Series, or $2,375 per Episode of a Series (Article ON6.00). HST is applicable

on the CMPA levy.

Fringe chart for Permittees Ontario


NO. 1 The dGc ONTARIO JuRISdIcTION

1. Subject to the terms set out below, the DGC Ontario represents all of the classiications set out in Core Article 11.00.

2. For the life of the Agreement, the DGC Ontario does not represent Production Coordinators, Assistant Production Coordinators and Trainee Production

Coordinators;

3. With respect to a particular classiication which has never been represented by District under this Agreement or any prior Guild Basic Agreement, and

notwithstanding Core Article 7.00 (re: permits), the Producer may engage any individual to ill that particular classiication; however, should that individual

be a Guild Member, then the Producer will only engage that individual pursuant to this Agreement, including but not limited to the applicable Contract for

Services. For greater clarity these classiications are:

(a) Technical Coordinator

The parties will assess on an ongoing basis any jurisdictional issues that arise and in the next round of negotiations for a renewal Standard Agreement will

negotiate appropriate jurisdictional language.

canadian Media directors Guild Of canada


Per____________________________________________ Per____________________________________________

President And President

CEO

directors Guild Of canada – Ontario

Per____________________________________________

Chair

letters of understanding Ontario


NO. 2 FAcT BASed/lIFeSTyle/dOcu-dRAMA PROducTION

With respect to each Guild Member (including but not limited to a Director) who is engaged to work in a Guild category on a Fact Based/Lifestyle/Docu-

Drama Production, the Producer must engage such Guild Member subject to the terms of this Agreement, except as is provided herein.

There shall be no minimum rate applicable to the services provided by the Guild Member and the rate of remuneration shall be subject to negotiation

between the Guild Member and the Producer.

Regardless of the Budget of the Production, the fringe package applicable to that Guild Member is the applicable package for a tier E Production, plus a one-

half percent (1/2%) administration and training fund payment to the Guild.

Subject to the terms herein, the “monetary” provisions of the Agreement shall not be applicable to the Guild Member and the “non- monetary” provisions

shall be applicable. For greater clarity, any and all monetary terms, including but not limited to a Director rights acquisition fee are negotiable between the

Guild Member and the Producer.

For greater clarity, the “reservation of rights“ provisions Article DR25.00 and the “ISAN” provision Article DR24.00 are applicable to the Director of a Fact based/

Lifestyle/Docu-Drama Production.

Nothing in the Schedule nor in the Agreement shall prevent the Producer from engaging a non-Guild Member to perform any duties in relation to a Fact

Based/Lifestyle/Docu-Drama Production.



Per____________________________________________ Per____________________________________________


CEO


Per____________________________________________

Chair



NO. 3 TIeR F PROducTIONS

For Tier F Productions, the Producer must engage such Guild Member subject to the terms of this Agreement, except as is provided herein.

Rates and all other monetary terms of the Agreement are negotiable, subject to the remittance of applicable fringes, with the amount of such fringes to be

based on the negotiated Contract Rate as agreed to by the Guild Member and the Producer.

Nothing in the Directors Schedule or the Agreement shall prevent the Producer from engaging a non-Guild Member to perform any duties in relation to a Tier

F Production. However, the non-Guild Member will be subject to the permitting provisions under the Standard Agreement.

The Parties shall monitor Tier F Productions over the term of the Standard Agreement and each party reserves the right to revisit the issue of dispensation for

Tier F Productions when bargaining commences for renewal of the Standard Agreement.



Per____________________________________________ Per____________________________________________


CEO


Per____________________________________________

Chair



Work Permit Application for canadian citizens and Permanent Residents Ontario

I hereby apply for a work permit from the DGC Ontario (the “District Council”) subject to the terms below and of the 2016 - 2018 DGC/CMPA Standard Agreement

to which the District Council is a party (the “Collective Agreement”). I hereby of my own free will authorize, designate, and choose the District Council to negotiate,

bargain collectively for minimum terms and conditions of engagement, and present and discuss grievances with the Producer as my exclusive collective bargaining

agent and representative.

If the District Council accepts this application, I agree to be bound by and observe the Collective Agreement, the District Council’s Constitution, bylaws, working

conditions, rules, regulations, orders, the trust agreement and plan rules of the Directors Guild of Canada Health and Welfare Plan Trust (the “H&W Plan”) as they now

exist or may hereafter be amended, and decisions of the District Council’s executive board, committees, its membership and/or the Trustees (the “Trustees”) of the

H&W Plan.

I declare and airm that I am either a Canadian Citizen or a person granted permanent resident status by the Government of Canada. I base my application of the

following facts, which I declare and airm to be true:

I, ______________________________________________________, wish to be engaged by _________________________________________________________as a

(Print Name Of Production Company)

_________________________________________________________________________________________ on the Motion Picture currently known as and entitled:

“ _________________________________________________________________________ ” on episode number(s) _____________________________ (if applicable)

A COPY OF THE APPLICANT’S RESUME MUST BE ATTACHED TO THIS APPLICATION.

I declare and airm that I am a member in good standing of the following union(s): ____________________________________________ . I understand that I may be

required to present documented proof of my membership in that union.

❑ I am a Member in good standing of the dGA and the dGc. I request that my engagement be subject to the terms and conditions of the dGA’s Basic

Agreement. I agree to the dGc Ontario administration charge of 2% and Guild assessments, if any, being deducted from my Gross Remuneration and

remitted by the Producer to dGc Ontario, in accordance with core Articles 7.08 and 7.10 of the 2016 - 2018 dGc/cMPA Standard Agreement.

OR

❑ I request that my engagement be subject to the terms and conditions of the 2016 - 2018 dGc/cMPA Standard Agreement and I agree to the dGc Ontario

administration charge of 2% being deducted from my Gross Remuneration and remitted by the Producer to dGc Ontario on a weekly basis in accordance

with Article ON5.06 of the 2016 - 2018 dGc/cMPA Standard Agreement.

IN cONSIdeRATION OF ReceIVING A PeRMIT TO WORK, I AuThORIZe The FOllOWING AcTIONS ANd AGRee ThAT:

(a) The Producer will deduct from my Gross Remuneration the District Council administration charge of two percent (2%) and a permit fee of ifty dollars ($50.00) per

week of my engagement or portion thereof, or a permit fee of two hundred dollars ($200.00) per week or portion thereof of my engagement if I am engaged as a

Director, plus GST or HST as applicable, and will remit the same to the District Council weekly.

(b) A percentage based on the applicable tier of the Production, as set forth in Article ON5.07, of my Gross Remuneration, subject to Article ON5.03(b) will be

remitted by the Producer to the District Council for use in the District Council’s discretion, but not deducted from Gross Remuneration.

(c) Any required Producer contributions to the District Council’s group retirement savings plan (the “RRSP”) will be paid to me directly, not to the RRSP, as part of my

Gross Remuneration.

(d) I am not entitled to, waive all rights to, and will not receive any beneits from the RRSP nor any health, life, dental or related beneits from the H&W Plan, and the

delivery of those beneits is strictly governed by the applicable plan documents and trust agreement.

(e) I hereby waive, release, and forever discharge any claims in respect of the H&W Plan and the RRSP (“Claims”) which I may have against the Trustees of the H&W

Plan, the Directors Guild of Canada or any of its District Councils, the District Council and its members, the Producer and the CMPA or any of the oicers, directors,

employees or agents of any of them.

(f ) I will not commence any legal proceedings before any court, labour board, arbitrator, administrative tribunal or other body whatsoever, in respect of

Claims, monies remitted as equalization payments by the Producer, or deducted from my Gross Remuneration, which have been applied to District Council

administration and permit fees or otherwise used in the District Council’s discretion, and any beneits from or contributions to the H&W Plan or the RRSP.

(g) Should any declaration above prove to be false, the District Council may unilaterally refuse to grant me a permit or may revoke such permit without notice once

granted.

dATed AT ___________________________________________ ThIS __________________________ dAy OF _______________________________________, 20 ___________

PRINT NAMe ________________________________________________________________________ PhONe (INclude cell) _________________________________________

AddReSS ________________________________________________________________________________________________________________________________________

SIGNATuRe OF APPlIcANT ___________________________________________________________ dATe OF BIRTh ________________________________________________

SIGNATuRe OF PROduceR __________________________________________________________________________________________________________________________

The District Council conirms that the above named person is permitted to work, at the sole discretion of the District Council on all or part of the motion picture

currently known as and entitled: “ ___________________________________________________________________________________________________________ “

AuThORIZed By __________________________________________________________________________________________________________________________________

Signature On Behalf Of District Council (Print Name & Title)


Work Permit Application for Non-canadians Ontario

I hereby apply for a work permit from the DGC Ontario (the “District Council”) subject to the terms below and of the 2016 - 2018 DGC/CMPA Standard Agreement

to which the District Council is a party (the “Collective Agreement”). I hereby of my own free will authorize, designate, and choose the District Council to negotiate,

bargain collectively for minimum terms and conditions of engagement, and present and discuss grievances with the Producer as my exclusive collective bargaining

agent and representative.

If the District Council accepts this application, I agree to be bound by and observe the Collective Agreement, the District Council’s Constitution, by-laws, working

conditions, rules, regulations, orders, the trust agreement and plan rules of the Directors Guild of Canada Health and Welfare Plan Trust (the “H&W Plan”) as they now

exist or may hereafter be amended, and decisions of the District Council’s executive board, committees, its membership and/or the Trustees (the “Trustees”) of the

H&W Plan. I base my application for a work permit on the following facts which I airm to be true:

I, ______________________________________________________, wish to be engaged by _________________________________________________________as a

(Print Name Of Production Company)

_________________________________________________________________________________________ on the Motion Picture currently known as and entitled:

“ _________________________________________________________________________ ” on episode number(s) _____________________________ (if applicable)

A COPY OF THE APPLICANT’S RESUME MUST BE ATTACHED TO THIS APPLICATION.

I declARe ANd AFFIRM ThAT:

❑ I am a member in good standing of the directors Guild of America, Inc. (the “dGA”) and request that my engagement be subject to the current dGA

collective bargaining agreement; OR

❑ I am a member in good standing of a local in the united States of America of the International Alliance of Theatrical Stage employees, Moving Picture

Technicians, Artists and Allied crafts of the united States, its Territories and canada (“u.S. IATSe”) and request that my engagement be subject to the current

collective bargaining agreement of local _________________________ (please complete) of u.S. IATSe; OR

❑ I am not a member in good standing of either the dGA or u.S. IATSe. and request that my engagement be subject to the terms and conditions of the

2016 - 2018 dGc/cMPA Standard Agreement.

I understand that the Guild may require me to present documented proof of coverage and of my membership in the DGA or U.S. IATSE if I so elect to be engaged

subject to the terms and conditions of the collective bargaining agreement of such organization. In that regard, I also understand and agree that I shall neither be

subject to the grievance and arbitration procedures provided in the collective agreement of the District Council nor have recourse to the bond held by the District

Council.

IN cONSIdeRATION OF ReceIVING A PeRMIT TO WORK, I AuThORIZe The FOllOWING AcTIONS ANd AGRee ThAT:

(a) The Producer will deduct from my Gross Remuneration the District Council administration charge of 2% and a permit fee of $50.00 per day to a cap of $200.00

per week of my engagement, plus HST, and will remit the same to the District Council weekly.

(b) Based on the applicable Tier of the Production, as set forth in Article ON5.07, an equalization payment of a percentage will be remitted by the Producer to the

District Council except as provided in Article ON 5.03 (b), but will not be deducted from my Gross Remuneration.

(c) Any required Producer contributions to the District Council’s group retirement plan (“CEIRP”) will be paid to me directly, not to DGC Ontario, as part of my Gross

Remuneration.

(d) I am not entitled to, waive all rights to, and will not receive any beneits from the CEIRP nor any health, life, dental or related beneits from the H&W Plan, and the

delivery of those beneits is strictly governed by the applicable plan documents and trust agreement.

(e) I hereby waive, release, and forever discharge any claims in respect of the H&W Plan and the CEIRP (“Claims”) which I may have against the Trustees of the H&W

Plan, the Directors Guild of Canada or any of its District Councils, the District Council and its Members, the Producer and the CMPA or any of the oicers, directors,

employees or agents of any of them.

(f ) I will not commence any legal proceedings before any court, labour board, arbitrator, administrative tribunal or other body whatsoever, in respect of

Claims, monies remitted as equalization payments by the Producer, or deducted from my Gross Remuneration, which have been applied to District Council

administration and permit fees or otherwise used in the District Council’s discretion, and any beneits from or contributions to the H&W Plan or the CEIRP.

(g) Should any declaration above prove to be false, the District Council may unilaterally refuse to grant me a permit or may revoke such permit without notice once

granted.

dATed AT ___________________________________________ ThIS __________________________ dAy OF _______________________________________, 20 ___________

PRINT NAMe ________________________________________________________________________ PhONe # (INclude cell) _______________________________________

AddReSS ________________________________________________________________________________________________________________________________________

SIGNATuRe OF APPlIcANT ___________________________________________________________ dATe OF BIRTh ________________________________________________

SIGNATuRe OF PROduceR __________________________________________________________________________________________________________________________

The District Council conirms that the above named person is permitted to work, at the sole discretion of the District Council on all or part of the motion picture

currently known as and entitled: “ ___________________________________________________________________________________________________________ “

AuThORIZed By __________________________________________________________________________________________________________________________________

Signature On Behalf Of District Council (Print Name & Title)


dGc ONTARIO dISTRIcT cOuNcIl Schedule 8 Standard Contract for Services

AccOuNTING dePT., PROducTION MANAGeRS & ASSISTANT PROducTION MANAGeRSYou will be entrusted with detailed information respecting the Producer’s business, the disclosure of which would be harmful to the Producer’s interest and as such agree to keep all such information conidential. You acknowledge and agree that the right to maintain such detailed information constitutes a property right, which the Producer is entitled to protect. Accordingly, you will not without prior written consent of the Producer, during the term of this Agreement and subsequent to its termination, copy by any means, disclose, directly or indirectly, to any third party any conidential information relating to the Producer.

Undersigned hereby authorizes Signatory Producer to check of or deduct 2% of Gross Remuneration in accordance with Core Article 6.02 and permit fees in accordance with Core Article 7.08, and remit same to the District Council weekly. This engagement is subject to the provisions of and must provide no less than the terms and conditions of the 2016 - 2018 DGC/CMPA Standard Agreement. All of the provisions of the Standard Agreement and any individual contract between a Guild Member and the Producer shall be deemed to be incorporated into this Contract for Services as if set forth in full herein in writing.

ACCEPTED AND AGREED

________________________________________________________________ __________________________________________________________ Signature of Guild Member OR Loanout’s Authorized Rep Print Name of Producer (Company)



__________________________________________________________ Date

*Producer’s Authorized Rep includes executive Producer, Producer, Supervising Producer, Associate Producer or line Producer or a person performing any of those functions, but eXcludeS A GuIld MeMBeR WhO IS eNGAGed uNdeR The STANdARd AGReeMeNT (core Article 12.09).

❑ GuIld MeMBeR ❑ PeRMITTee


❑ Second unit director

❑ Production Manager

❑ unit Manager

❑ Assistant Production Manager

ASSISTANT DIRECTORS

❑ First ❑ Second ❑ Third Ad ❑ Fourth Ad

❑ Set PA ❑ Set PA (8 hr Shift)

LOCATION DEPARTMENT

❑ location Manager ❑ location PA

❑ Assistant location Manager ❑ location PA (4 hr call)

❑ location Scout (AlM) ❑ location Support Personnel


❑ Production Accountant

❑ First Assistant Accountant – General

❑ First Assistant Accountant – Payroll

❑ Second Assistant Accountant

❑ Third Assistant Accountant/Accounting clerk

❑ Trainee Assistant Accountant ❑ Post Production Accountant

ART DEPARTMENT

❑ Production designer

❑ Art director ❑ Art director (head of dept.)

❑ First Assistant Art director /Set, GFX or Motion GFX designer

❑ Second Assistant Art director ❑ Art department coordinator

❑ Art department Trainee


❑ Supervising Picture editor ❑ Post Production Assistant

❑ Picture editor

❑ First Assistant Picture editor

❑ Assistant Picture editor

❑ Assistant Picture editor per core Article 11.35(b)

❑ Trainee Assistant Picture editor


❑ Supervising Sound editor

❑ Sound editor

❑ First Assistant Sound editor

❑ Trainee Assistant Sound editor

POST PRODUCTION SUPERVISION

❑ Post Production Supervisor ❑ Post Production coordinator

❑ OTheR: _____________________________________________

lOANOuT

Name of Guild Member: _________________________________________________________

Name of loanout co.: ___________________________________________________________

GST or hST #: __________________________________________________________________

NO lOANOuT

Name of Guild Member: _________________________________________________________

SIN #: _________________________________________________________________________

Tel # (h): __________________________cell #: _____________________________________

e-MAIl: _______________________________________________________________________

AddReSS: _____________________________________________________________________

cITy/POSTAl cOde: ____________________________________________________________

MOTION PIcTuRe TITle: _________________________________________________________

eNGAGed IN PROVINce OF: ______________________________________________________

eNGAGed FOR: ❑ Main unit OR ❑ Second unit

TIeR leVel: ❑ A ❑ B ❑ c ❑ d ❑ e ❑ F

START dATe: day ______________ Month ____________________ year _____________

RATe (SPecIFy dOllAR AMOuNT): ________________________________________________

TyPe OF eNGAGeMeNT: ❑ WeeKly ❑ dAIly ❑ hOuRly

OTheR TeRMS (e.g. Vehicle, cell Phone Rental, Kit Rental, Per diem, etc.)

___________________________________________________________________________________

___________________________________________________________________________________

___________________________________________________________________________________

___________________________________________________________________________________

OTheR WeeKly OPTIONS:❑ FlAT deAl per core Article 1.25 & ON1.08

MeMBeR TO INITIAl AGReeMeNT heRe:

Flat Deal Only

❑ SPecIFIc TeRM Finish date day _______ Month ________ year _____________

(ie PAy OR PlAy)


Index Ontario

A

Administration and Training Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Airplane and helicopter Insurance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Arbitrators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

B

Budget Tiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

c

cMPA levy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Art Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Better Conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Credit Grievance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Editing Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Guild Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Other Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Production Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Removal or Alteration of Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Screen Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Submission of Proposed Screen Credit Format to the District Council . . . . . 15

d

dailies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

distant location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Accommodation and Meals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Air Travel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Rail Travel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Transportation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Use of Personal Vehicles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Work Time, Travel Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

F

Fringes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

G

Guild Remittances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

h

health and Safety. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Safety Guidelines for the Film and Television Industry in Ontario . . . . . . . . . 19

Workers Safety and Insurance Board of Ontario . . . . . . . . . . . . . . . . . . . . . . . . . . 19

health and Welfare Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Non-Member Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

hiatus Periods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

holidays and Vacations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Annual Vacation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Holiday Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Holidays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Holidays Falling on Days Of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Holidays Falling Mid-Week. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Overtime, Holidays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Unworked Holidays During Regular Work Week . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

I

Incentives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Pilot and First Year Television Series Incentive . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Television Series and Pilot Incentives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Tier E Long Form Incentive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Insurance

Airplane and Helicopter, Underwater and/or Watercraft . . . . . . . . . . . . . . . . . . 13

Travel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

J

Jurisdiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

l

lay-of and Termination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Deinition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Notice of Lay-of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Record of Employment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Replacement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Replacement Pay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Replacing Daily Guild Member . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Termination of Engagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Weekly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

letters of understanding

No. 1 – DGC Ontario Jurisdiction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

No. 2 – Fact Based/Lifestyle/Docu-Drama Production . . . . . . . . . . . . . . . . . . . . 40

No. 3 – Tier F Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

location Support Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Application of Standard Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Bargaining Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Fringes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Holidays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Hourly Engagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Hourly Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Meal Allowance and Breaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

No Contracting Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Overtime Calculations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Permittees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Premium Payment Calculations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Roger Goodlad Rule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Shelter Allowance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

T2200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

M

Meal Breaks/Meal Penalty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Members check-of

Change in Members Check-Of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Check-Of Authorization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Check-Of Remittance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Producer’s Liability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Receipts for Income Tax Purposes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Minimum Staing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Accounting Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Art Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Eight Hour Call Production Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Four Hour Call Production Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Minimum Engagement Period. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Option to Terminate Engagement in Absence of Minimum Personnel . . . . 18

Picture and Sound Editing Departments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Picture Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Producer to Engage Suicient Numbers of Guild Members . . . . . . . . . . . . . . . 18

Production Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Second Unit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Sound Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Strip Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Supervising Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Television Series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

N

Nearby location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Remote Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Studio Zone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Travel to Studio Zone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12


New Business development Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

First Year Television Series Incentive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Television Series and Pilots Incentives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Tier E Long Form Incentive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Non-Member equalization Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

O

Overtime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Exceptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

First Five (5) Days – Production, Art, Editing and

Accounting Departments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5


Holiday – Production, Art, Editing and Accounting Departments . . . . . . . . . . 6

Overtime Calculation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Payment of all Premiums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Prior Approval of Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Seventh (7th) Day – Production, Art, Editing and


Sixth (6th) Day – Production, Art, Editing and


Statutory Overtime. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Turnaround or Rest Period. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Turnaround or Rest Period Encroachment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

P

Premium Remuneration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

6th Day Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

7th Day Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Holiday Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Overtime Calculation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Payment of all Premiums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Prior Approval of Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Statutory Overtime. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Turnaround or Rest Period. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7


Production Meetings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

R

Rates

Accounting Department – 2016 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29



Art Department – 2016. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Art Department – 2017. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Art Department – 2018. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Picture Editing Department – 2016 – Anthologies, Pilots,

Spinofs, Strip Programs, TV Drama Series, TV Series, Variety

Specials, Variety Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Picture Editing Department – 2017 – Theatrical Motion Pictures,

Made for Television Movies, Mini-Series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32




Picture Editing Department – 2016 – Theatrical Motion Pictures,





Picture Editing Department – 2018 – Theatrical Motion

Pictures, Made for Television Movies, Mini-Series. . . . . . . . . . . . . . . . . . . . . . . . 33

Production Department – 2016. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24



Sound Editing Department – 2016 – Anthologies, Pilots,









Sound Editing Department – 2016 – Theatrical Motion Pictures,






Regular Work day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Remittances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Replacement Pay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14


Rest Period or Turnaround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7


Retirement & health and Welfare Plans

Administration and Training Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Change in Members Check-Of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Check-Of Authorization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Check-Of Remittance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

DGC Ontario Fringes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Exceptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Health and Welfare Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Producers Liability. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Receipts for Income Tax Purposes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Retirement Contributions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Rodger Goodlad Rule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

S

Safety and health. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Moving of Commercial Production Vehicle(s) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Section 21 Safety Guidelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Workers Safety and Insurance Board of Ontario . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Screen credits for Art department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Art Directors Working Under a Production Designer and for

1st Assistant Art Directors/Set Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Production Design Credit for Subsequent Use . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Production Designers or Art Directors as Head of Department. . . . . . . . . . . . 16


Screen credits for editing department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Editing Department Personnel on all other Motion Pictures . . . . . . . . . . . . . . 16

Editing Department Personnel on Theatrical and Television

Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Picture Editors on Theatrical and Television Motion Pictures . . . . . . . . . . . . . . 16

Professional Designation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Publicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Screen credits for Production department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

3rd Assistant Directors, Assistant Location Managers and

Production Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Accounting Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Location Managers, Unit Managers and Assistant Production

Managers on Theatrical and Television Motion Pictures . . . . . . . . . . . . . . . . . 15

Production Managers, 1st and 2nd Assistant Directors on

Theatrical and Television Motion Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15



Standard contract for Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Sound Post Production

Contracting Out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Half-day Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Multiple Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Sound Post Production List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Sound Post Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Studio Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12


Surveys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

T

Television Series and Pilot Incentives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

MFT’s and Mini-Series Incentives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Pilot and First Year Television Series Incentive . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Series and Pilots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Termination and lay-of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Deinition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Notice of Lay-of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Record of Employment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Replacement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Replacement Pay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14


Termination of Engagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Weekly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Travel and Accommodation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Accommodation and Meals on Distant Location . . . . . . . . . . . . . . . . . . . . . . . . . 12

Air Travel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13


Airplane and Helicopter, Underwater and/or Watercraft Insurance. . . . . . . . 13

Distant Location. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Nearby Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Rail Travel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Remote Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Studio Zone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Transportation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Travel Insurance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13



Work Time, Travel Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Turnaround or Rest Period. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7


u

underwater and/or Watercraft Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

V

Vacations and holidays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Annual Vacation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Holidays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Holidays Falling on Days Of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Holidays Falling Mid-Week. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Unworked Holidays During Regular Work Week . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

W

Work day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Dailies, Production Meetings, and Surveys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Daily Calls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Flat Deals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Fractional Work Week . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Hiatus Periods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

No Split Shifts and No Standby Engagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Shifting the Work Week. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Work Week. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Work Permit Applications

Canadians and Permanent Residents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Non-Canadians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Work Permits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Permit Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19