TABLE OF CONTENTS

• Section 24-101 Programs Covered
• 24-102 Term And Effective Date
  
  
• Section 24-200 TERMS AND CONDITIONS APPLICABLE TO EMPLOYEES EMPLOYED ON COVERED PROGRAMS

• Section 24-300 TERMS AND CONDITIONS APPLICABLE TO DIRECTORS EMPLOYED ON COVERED PROGRAMS
  • 24-301 Base for Residual Payments for Reruns Other than in Network Prime Time

• Section 24-400 TERMS AND CONDITIONS APPLICABLE TO CLASSIFICATIONS OTHER THAN DIRECTORS (i.e., FOR "BELOW-THE-LINE" EMPLOYEES) EMPLOYED ON COVERED PROGRAMS
  • 24-401 Staffing
  • 24-402 Definitions/Duties
  • 24-403 Salary Rates and Production Fees
  • 24-404 Prep Time
  • 24-405 Completion of Assignment Pay
  • 24-406 Other Working Conditions
  • 24-407 Preference of Employment and Eligibility for Placement on Multi-Camera Qualification Lists
    
    
• Section 24-500 ELIGIBILITY FOR PLACEMENT ON MULTI-CAMERA QUALIFICATION LISTS
  • 24-501 Requirements for Placement
  • 24-502 Eligibility Criteria for MCQL for Second Second Assistant Directors and Additional Second Assistant Directors
  • 24-503 Eligibility Criteria for MCQL for Key Second Assistant Directors
  • 24-504 Eligibility Criteria for MCQL for First Assistant Directors
  • 24-505 Eligibility Criteria for MCQL for Unit Production Managers
    
    
• Section 24-600 PREFERENCE OF EMPLOYMENT

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Except as otherwise provided herein, this Article 24 covers only new multi-camera dramatic pilots, presentations and series, i.e., pilots, presentations and series, the recording of which commences on or after February 10, 2002 and on or prior to the termination date specified in Paragraph 24-102 below, which are intended for initial exhibition in prime time and are produced either for free television, for the pay television/videocassette market and are of a type generally produced for network prime time, or for basic cable and are "high budget" programs within the meaning of Paragraph 23-101 of this Agreement that are one-half hour or more in length. All other multi-camera programs shall be covered by existing Agreements.

Live broadcasts of programs, including those that would otherwise be covered under the preceding paragraph, are not covered by this Article 24, but are instead covered by the FLTTA.

Prime time dramatic television programs shot "single camera style" are not covered under this Article 24 and are instead subject to the other terms and conditions of this Agreement. However, the foregoing sentence does not apply to the use of "single camera style" shooting to record scenes in a program or an episode of a series otherwise covered under this Article 24, provided that the predominant style of shooting remains "multi-camera style." All other single camera programs shall be covered by existing Agreements. The parties agree to discuss in good faith issues that may arise due to production changes as a result of use of digital cameras.

This Article 24 shall become effective on February 10, 2002 (i.e., the first Sunday following ratification by the Guild membership of the terms of successor agreements to the 1999 DGA Basic Agreement and 1999 DGA Freelance Live and Tape Television Agreement) and shall continue in effect until the later of June 30, 2005 or the expiration date of such successor Agreements. Notwithstanding the sooner termination of this Article 24, the parties hereto agree that the terms and conditions of this Article 24 shall apply and remain in full force and effect, and without change, to any pilot, presentation or episode produced hereunder, regardless of the terms or provisions of any agreement which is a modification, extension or renewal of, or substitution for, this Article 24.

Except as otherwise provided or modified herein, the terms and conditions of the Basic Agreement shall apply to any program or series covered by this Article 24. The terms of this Article 24 shall prevail over any inconsistent provision in the Basic Agreement.

The base for residual payments due for programs produced under this Article 24 and rerun on free television other than in network prime time shall be as follows:

Staffing

Staffing of classifications other than Directors shall be as provided in Paragraph 13-202 of the BA, except that on any program otherwise covered by this Article 24 for which a line cut is recorded for purposes of editing and/or delayed broadcast, an Associate Director shall be employed and the employment of a Key Second Assistant Director shall be at the Producer's discretion, based on duties.

Consistent with the BA, the Employer may, at its discretion, employ an Associate Director/Technical Coordinator (formerly known as "Technical Coordinator") on "film style" programs.

Unit Production Managers

The duties of Unit Production Managers employed on programs covered by this Article 24 are as set forth in Paragraph 1-302 of the BA.

The following duties shall apply to First Assistant Directors employed on programs covered by this Article 24 in lieu of the provisions of Paragraph 1-303:

The First AD performs his/her duties subject to the supervision and control of the Producer, Production Executive or UPM. The First AD is involved in preparing a shooting schedule. During production, he or she assists the Director with respect to on-set production details, coordinates and supervises crew and cast activities and facilitates an organized flow of production activities. The First Assistant Director may be assigned responsibilities of the UPM. His or her prime responsibility is to assist the Director. The duties of the First AD include, but are not limited to, supervision of or participation in the following:

1. Administer Company policies, Guild and Union contracts and government regulations.
   
   
2. Break down the script into all elements for shooting and coordinate schedules for rehearsal, camera blocking and shooting. Arrange school and work schedules when minors are employed. Prepare the schedule, to keep within the time limitations imposed by the budget, cast availability and script requirements. Assist the Director in conducting production meetings.
   
   
3. Prepare the call sheets and production reports and determine cast and crew calls and communicate advance schedules to cast and crew.
   
   
4. Conduct a safety meeting on the set with cast and crew as required by the Company. Inspect the set daily for potential safety violations and report any such problems. Prepare accident reports as assigned.
   
   
5. Order extra performers through casting agency and wardrobe requirements. Give call to casting agency.
   
   
6. Inform make-up and hair personnel of script requirements; coordinate approval of wigs, special make-up, body make-up, tattoos, etc., facilitate the scheduling of all hair and make-up personnel.
   
   
7. On camera days, cue actors' entrances, receive Director notes and relay them to actors. Call camera repos. Communicate Producer and Director instructions to the department heads.
   
   
8. If requested to do so, inform warm-up personnel of show procedure, pre-recorded scenes and unusual elements in the episode and coordinate his/her technical requirements.
   
   
9. Direct background action and supervise crowd control. Block extra performers for cameras. Coordinate with the UPM and/or Producer any financial adjustments needed for extras.
   
   
10. Coordinate wardrobe fittings for talent and integrate into rehearsal schedules.
    
    
11. Maintain a quiet and orderly set.
    
    
12. Execute dressing room assignments per actors' contracts and secure keys.
    
    
13. Prepare production boards when appropriate.
    
    
14. When shooting off the stage, if delegated by the UPM or Producer, oversee and/or aid in the search, survey, and management of such locations as may affect the production and ascertain the specific requirements. The First AD, when possible, will be sent to each off-stage location site sufficiently before commencement of shooting to perform adequately his or her duties. When shooting off-stage, the First AD assigns trailers and honeywagons, checks weather reports and supervises any traffic and crowd control, catering, police and fire details. In addition, the First AD may aid in scheduling food, lodging and other facilities. top of page

Second Assistant Directors

The following duties shall apply to Second Assistant Directors employed on programs covered by this Article 24 in lieu of the provisions of Paragraph 1-304:

The Second AD performs his/her duties subject to the supervision and control of the Producer, Production Executive or UPM, and under the direct supervision of the First AD. The Second AD is assigned by the Employer as an assistant to the First AD in conducting the business of the set or the location site. The term "Second AD" includes Key Second ADs, Second Second ADs, and Additional Second ADs. First ADs may perform the Second AD's duties listed below and the Second AD may perform the duties of the First AD. The duties of the Second AD include, but are not limited to, the supervision of or participation in the following:

1. Assist the First AD in all aspects of managing the set.
   
   
2. Prepare call sheets, handle extra performers' requisitions, and other required documents for approval by the First AD, UPM or the production office.
   
   
3. Prepare the daily production report and end of the day paperwork.
   
   
4. Distribute scripts and script changes and production schedules to cast and crew on set.
   
   
5. Distribute call sheets and schedules to cast and crew on set.
   
   
6. Distribute and collect I-9s, W-4s, time cards, and other required paperwork, when requested to do so.
   
   
7. Arrange to unlock dressing rooms and trailers, mark rooms with actor's names, make sure heat and/or air are on in dressing rooms and on stage.
   
   
8. Assist in the inspection of the set for safety. Inform the First AD of any potential safety problems. Insure that fire aisles are kept clear.
   
   
9. Check that make-up, hair and wardrobe have arrived and are setting up. Make sure each has a schedule of the day's shooting order.
   
   
10. Coordinate with production staff so that all elements, including cast, crew and extra performers, are ready at the beginning of the day and supervise the wrap in the studio and on location (local and distant).
    
    
11. Arrange for ND meals as needed.
    
    
12. Inform actors when to go to make-up and hair and when to get into wardrobe. Inform actors when and where the Company will serve meals. Sign cast members in and out.
    
    
13. Supervise the set-up of an area for the background performers. Check in background performers, distribute appropriate paperwork and coordinate make-up, hair and wardrobe.
    
    
14. Bring performers to the set when needed.
    
    
15. Assist the First AD in giving stage cues.
    
    
16. Assist the First AD in the direction and placement of background action and supervision of crowd control.
    
    
17. At the end of day, distribute call sheets for the next day. Collect and sign background performer's vouchers and/or paperwork. Notify cast and crew members of any changes for the next day.
    
    
18. When shooting off the stage, assist the First AD and UPM in the performance of the duties described in the First AD section (14).
    
    
19. Supervise and direct the work of any DGA Trainee assigned to the production.
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Associate Directors

The following duties shall apply to Associate Directors employed on programs covered by this Article 24 for which a line cut is recorded for purposes of editing and/or delayed broadcast:

Subject only to the supervision and control of the Producer, Executive Producer, or the Company executive to whom he or she reports, an Associate Director shall perform or participate in the performance of the following functions or supervise the performance of them by others:

1. Assist the Director in planning and conducting the production meeting with all department heads. Outline all visual, audio and technical camera requirements.
   
   
2. Break down the script to determine all technical and shooting requirements.
   
   
3. Attend rehearsals and mark all blocking of actors as stated by the Director. During rehearsals, follow through on any special needs that may be added in subsequent script drafts.
   
   
4. Assist the Director in working out shots; mark all shots into the script.
   
   
5. Upon delivery of final shoot script, mark a final script including all camera shots, audio, video, special effects, music, special lighting and SFX cues. Assign all camera shots sequential numbers.
   
   
6. Prepare the technical director's script. Before camera rehearsal, conduct a meeting with camera operators to explain and assign all camera shots. Conduct meeting with Audio to review all cues and blocking for audio coverage.
   
   
7. During camera rehearsal and shooting of the show, communicate with the technical director, camera operators, lighting, audio and video departments to explain all shot and blocking changes.
   
   
8. During camera rehearsal and shooting, call shot numbers to prepare camera operators. Responsible for the accuracy of all camera shots. Watch camera coverage for all corrections and duplication.
   
   
9. Confer with audio on placement of microphones on set. Supervise the timing and editing of all music and sound effects for playback and integration into the show. Ensure that all audio, including music and effects, is suitable for use in production and post-production.
   
   
10. Communicate music, audio, special effects, Director pick-up cues, blocking changes and cues for actors when needed, through a headset to stage manager.
    
    
11. During production, supervise the integration of visual and electronic special effects, including but not limited to, green screen, ADR, matte processes, including additional footage, graphics, animation, photos, art work and pre-recorded material.
    
    
12. Participate in determination of ISO shots (additional camera coverage) for use in post-production. Be aware of potential assembly of show and adjust coverage for possible tape cuts, performance changes and tightening.
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The minimum salary rates and production fees for Unit Production Managers, Assistant Directors and Associate Directors employed on programs covered by this Article 24 are as follows:

The minimum salary rates for Associate Director/Technical Coordinators employed on programs covered by this Article 24 are as follows:

On programs on which a line cut is recorded for purposes of editing and/or delayed broadcast, the First Assistant Director shall be guaranteed not less than two (2) days of prep time. With respect to other programs covered under this Article 24, the First Assistant Director shall be guaranteed not less than three (3) days of prep time.

On programs on which a line cut is recorded for purposes of editing and/or delayed broadcast, there shall be no guaranteed prep period for the Key Second Assistant Director. With respect to other programs covered under this Article 24, the Key Second Assistant Director shall be guaranteed not less than one (1) day of prep time.

On programs on which a line cut is recorded for purposes of editing and/or delayed broadcast, the Associate Director assigned shall be guaranteed not less than one (1) prep day for a half-hour program.

Completion of Assignment Pay

Completion of assignment ("COA") pay shall be paid at fifty percent (50%) of the current rate for all hiatus periods. The final COA payment for the season (or of employment) is at one hundred percent (100%). There shall be no cap on the number of completion of assignment payments for programs produced under this Article 24.

Working conditions (other than those specifically addressed herein) for Unit Production Managers, First Assistant Directors, Second Assistant Directors, Associate Directors and Associate Directors/Technical Coordinators employed on programs covered by this Article 24 shall be as set forth in the Basic Agreement, except as provided below:

The following additional provisions shall apply:

1. When the Unit Production Manager, First Assistant Director, Second Assistant Director, Associate Director or Associate Director/Technical Coordinator duties set forth herein are required to be performed at a facility (which is being used for the production of a program) pursuant to a previously existing collective bargaining agreement which mandates that such Unit Production Manager, First Assistant Director, Second Assistant Director, Associate Director or Associate Director/Technical Coordinator duties must be exclusively performed by members of the bargaining unit covered by such previously-existing agreement, then the Employer shall not be required to assign a Unit Production Manager, First Assistant Director, Second Assistant Director, Associate Director or Associate Director/Technical Coordinator. Except as limited by the foregoing or by applicable law, no Guild member employed in a Guild category shall be required to work with any non-Guild Director, non-Guild Unit Production Manager, non-Guild Assistant Director, non-Guild Associate Director or non-Guild Associate Director/Technical Coordinator.
   
   
2. If the Employer utilizes the live/tape services of any existing facility (e.g., ABC, KTTV) which has traditionally supplied personnel not covered by the BA or the FLTTA to perform duties covered under this Article 24, then this Article 24 shall not preclude the Company from using such personnel to perform such duties while utilizing the live/tape services of such facility.

With respect to Employees (other than Associate Directors/Technical Coordinators or Associate Directors) employed on a three-day per week minimum guarantee, and to the extent that Paragraph 13-206(d) applies, the amount payable pursuant to that provision shall be seven and one-half (7½) days of completion of assignment pay (three (3) times two and one-half (2½) days) (in lieu of any other completion of assignment pay).

Paragraphs 13-110(c) and 13-206(e) shall be applicable to Associate Directors/Technical Coordinators and to Associate Directors.

Preference of employment for Unit Production Managers, Assistant Directors, Associate Director/Technical Coordinators and Associate Directors employed on programs covered by this Article 24 shall be governed by the provisions of Section 24-600. Eligibility for placement on the Multi-Camera Qualification Lists shall be governed by the provisions of Section 24-500.

The Multi-Camera Qualification Lists ("MCQLs") shall be in addition to the existing AD and UPM Qualifications Lists. The MCQLs will be national lists. The MCQLs shall be composed of those qualified and available persons who satisfy the eligibility provisions below.

Only the following rules shall govern placement on the MCQLs:

All qualifying days must be obtained on multi-camera television motion pictures (including videodisc/videocassette, pay television and basic cable motion pictures) of the type covered by the Basic Agreement or by the DGA Freelance Live and Tape Television Agreement. The employment required under this provision for placement on a MCQL may be satisfied by employment with signatory companies to any agreement with the Guild and/or with non-signatory companies.

Seventy-five percent (75% ) of the qualifying days must be "shoot days." For purposes of the MCQLs only, individuals may count any shooting or blocking day on a multi-camera program as well as the remaining work days in a week during which there is at least one (1) shoot day and one (1) camera blocking day. Twenty-five percent (25%) of the total days may include prep and wrap days.*

There shall be no location requirements.

The verification process for counting days for placement on the MCQLs should include, to the extent possible, payroll records; pay stubs; crew/staff lists; screen credit lists; and letters of verification from production company executives. All letters must specify the duties performed.

The parties agree to consider in good faith alternative verification documents.

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The following persons shall be eligible for placement on the Second Second Assistant Director/Additional Second Assistant Director Multi-Camera Qualification List:

Any individual who has worked at least 100 days as an Assistant Director, Technical Coordinator, Unit Production Manager, Stage Manager and/or Associate Director on multi-camera programs other than news or sports programs; and

Any individual who has worked at least 200 days as a Stage Manager or Associate Director on multi-camera news or sports programs.

The following persons shall be eligible for placement on the Key Second Assistant Director Multi-Camera Qualification List:

Any individual who has worked at least 200 days as an Assistant Director, Associate Director, Technical Coordinator, Stage Manager and/or Unit Production Manager on multi-camera programs other than sports or news programs; and

Any individual who has worked at least 300 days as a Stage Manager or Associate Director on multi-camera news and sports programs.

The following persons shall be eligible for placement on the First Assistant Directors Multi-Camera Qualification List:

Any Key Second Assistant Director already on a Qualification List or any Associate Director who works an additional 200 days as an Assistant Director, Stage Manager, Associate Director, Technical Coordinator and/or UPM on multi-camera programs other than sports or news programs;

Any individual who has worked at least 400 days as an Assistant Director, Stage Manager, Associate Director, Technical Coordinator and/or Unit Production Manager on multi-camera programs other than sports or news programs;

Any individual who has worked at least 275 days as an First Assistant Director or as a First Stage Manager on multi-camera programs other than sports or news programs; and

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Eligibility Criteria for MCQL for Unit Production Managers

Persons shall be eligible for placement on the UPM MCQL as provided in Paragraphs 14-601 and 14-602 of this BA.

Employer shall give preference of employment to persons on the appropriate MCQL or, either the applicable New York Area Qualification List, the applicable Third Area Qualification List, or the applicable Southern California Qualification List (whichever is geographically applicable), when employing UPMs and Assistant Directors on multi-camera prime time dramatic programs covered under this Article 24.

Employer may employ any person as an Associate Director or as an Associate Director/Technical Coordinator on a multi-camera prime time dramatic program covered under this Article 24 if such person meets the employment criteria set forth in Article 10, Part 3, Section A. of the FLTTA, except that the guarantee in subparagraph 1. of that provision shall be modified to twenty-seven (27) days of employment within nine (9) consecutive production weeks.

Notwithstanding the foregoing:

1. Any individual who has worked as an Associate Director, Stage Manager, Technical Coordinator, Assistant Director or UPM on any multi-camera program for a minimum of thirty (30) days within the past five (5) years shall be eligible for employment on multi-camera prime time dramatic programs covered under this Article 24 in that category and in any other category which requires fewer qualifying days under the provisions of Article 24-500. Such additional experience shall constitute qualified days for placement on the QL. Employer shall verify the employee's eligibility for employment pursuant to this provision. DGACA and DGA will use best efforts to establish a list of such employees.
   
   
2. Employer may employ any person as a Second Second or Additional Second Assistant Director on a multi-camera prime time dramatic program covered under this Article 24, or as a Second Second Assistant Director or Additional Second Assistant Director on a multi-camera prime time dramatic program covered under this Article 24 on which there is a line cut, if such person is guaranteed twenty-seven (27) days of employment within nine (9) consecutive production weeks.

IN WITNESS WHEREOF, the parties hereto have caused this Producers– Directors Guild of America Basic Agreement of 2002 to be executed on the date first above mentioned.

On behalf of each of the companies represented by the
ALLIANCE OF MOTION PICTURE AND
TELEVISION PRODUCERS, INC.
By Nicholas Counter III

DIRECTORS GUILD OF AMERICA, INC.
By Jay D. Roth