When

[MarkMKG]

Sure, I guess if you want to work on a range of projects that go from terrible to decent (commercials excluded) and get paid -hopefully- staying non union is right for you. I'm not interested in doing commercials, PSA's or instructional/work related videos so non-union loses its appeal very quickly for me. Being on a professional set and reading for WELL written, decent budget films and tv that will garner attention and boost my career is more my goal.

[Rocky Anderson]

Hi Mark, this is for you. Are you getting that kind of work? Can you elaborate? It's just that my experience has been that those opportunities are not as plentiful. Also just because a gig is non union, this does not mean that it’s not professional. That just is not true by industry standards. In a perfect world there would not be this whole union/non union thing. I wish it was not like that but the moment I register a credit and become an apprentice member, I say no to quality, well paying opportunities. But not being a Union member at this point in my career leaves me open to all opportunities. That is a fact.

[MarkMKG]

Yes, I am getting that kind of work and auditioning for that caliber of work. It's out there, you need to be on your game and have paid the dues to get in the room though. Patience, really. I joined the union as an apprentice in 2007 and while 2008 and 2009 were slow, there were opportunities presented to me because of hard work, and being in the right place at the right time.

Sure they aren't as plentiful...the competition is fierce but that's what we should all be aiming for.

[Casper07]

I thank all of you guys for the great insight I also spoke with my agent and I think I will wait and join later. She says the same thing as Rocky, that Non Union leaves me open to everything.

I am going to New York this summer and might or might not come back so I will decide after that as well.

I have made lots of contacts on Non Union projects and I get to read for projects that are close to what I am really into so I this that time will tell when I have to join.

Cheers

C

[Rocky Anderson]

Funny how things play out. Sey hello to the newest UBCP member.

[Donovan]

Besides all the points previously addressed, don't forget about permit fees. One of my good friends worked a LOT before he went off and started himself a family, but never joined the union. He paid a LOT, too, in permit fees... Compare $225 (or whatever it is) to 2% of revenue and annual dues, plus all the benefits/RRSP action that you get once full. The math alone supports membership as soon as possible. Unless, yes, Rocky, if you're booking a lot of PAID non-union work...

An angle I discovered after doing my two non-union commercial gigs was that your agency receives a 15% 'booking fee' from the production, (based on your dayrate) as well as your 15%... makes non-union work more attractive to them, too.

Perhaps you gentlemen can chime in on this... is there a way to get professional recognizance for your SAG card with UBCP membership? I heard somewhere that if you're already UBCP, you can just apply, pay your dues and get your SAG card, but I'm not sure how factual that is. Obviously, that's another benefit if so.

[Schoolcreative]

Hello All;

I used to be an agent and this question came up all the time. It still does with my students. I am of two minds. Yes, staying non-union is important to build credits. Casting can see a certain number of non -union people for union gigs so you can still get seen. The commercial world is extremely odd now. People who have gigs on Series are competing with you for the union commercials (which are not falling from the sky in bushels). I would say that actors should set a date with their agents to review the union status idea and work toward building credits through non union commercials. Sooner or later you are going to have to join the union. This is where my second thought comes in. Professionals are in the union. Series and films are union.

So, the advice from me (please take it or leave it) is to, as I said, talk with your agent and set a timeline. Agents want to make money. They want successful actors. They are on your side. They can help you move forward and have insight into what is going on with casting that actors may not have.

That's more than 2 cents, isn't it. There's my 4 cents.

Kirsten Clarkson
Senior Education Advisor
Schoolcreative

[maxam]

I find it a bit difficult to see how one could get an upgrade to actor on set and not know they would get a credit? They would have had to meet with an AD at the end of the shift and sign a contract. And then I am pretty sure their check would come through UBCP and their agent would also know about the credit. But I guess anything is possible.