Union Rate Cards and Labor Costs in Film Production

When you hear the word budget in film production, most people think of cameras, locations, or special effects. But the real money? It’s often in the crew. And how much they get paid? That’s locked in by union rate cards.

Union rate cards aren’t just paperwork. They’re the rulebook that keeps everyone paid fairly-whether you’re shooting a indie film in a garage or a blockbuster in a major studio. These cards, set by unions like SAG-AFTRA, IATSE, and DGA, define exactly how much each crew member earns per day, per week, and for overtime. Skip them, and you risk fines, delays, or even shutdowns.

What Exactly Is a Union Rate Card?

A union rate card is a published document that lists minimum pay rates for every job on a film set. It doesn’t mean everyone gets paid the minimum-some crews earn more based on experience or negotiation-but no one can legally be paid less. These cards are updated yearly and vary by location, production type, and budget size.

For example, in 2026, an IATSE Stagehand working on a low-budget feature in Los Angeles earns $29.50 per hour for a 10-hour day. That’s $295 before overtime. If the shoot runs past 10 hours? The rate jumps to time-and-a-half. And if it goes over 12? Double time kicks in. These numbers aren’t arbitrary. They’re negotiated between unions and producers, backed by federal labor laws.

These rates apply to everything: grips, electricians, makeup artists, costume designers, even caterers on set. If you hire someone who’s union-covered, you’re legally bound to follow the card. No exceptions.

How Rate Cards Shape Your Budget

Most first-time producers underestimate labor costs. They see a $500,000 budget and assume it’s enough for a 15-day shoot. But if you’re hiring a 40-person crew, and each person works 12-hour days for two weeks? You’re looking at $200,000 just in base pay-not counting overtime, meals, transportation, or residuals.

Let’s break it down with real numbers from a 2025 indie film in Georgia:

• Director (DGA): $3,200 per week → 3 weeks = $9,600
• Camera Operator (IATSE): $310 per day → 15 days = $4,650
• Sound Mixer (IATSE): $310 per day → 15 days = $4,650
• 1st Assistant Director (IATSE): $310 per day → 15 days = $4,650
• 6 Electricians (IATSE): $295 per day → 15 days = $26,550
• 4 Grips (IATSE): $295 per day → 15 days = $17,700
• Makeup Artist (SAG-AFTRA): $275 per day → 15 days = $4,125
• Costume Designer (SAG-AFTRA): $275 per day → 15 days = $4,125
• 10 Production Assistants (non-union): $15/hour × 12 hours × 15 days = $27,000

That’s $96,950 just in labor before overtime, meals, and per diems. And that’s for a low-budget film. A mid-tier studio project? That number easily hits $400,000.

Rate cards force you to plan early. You can’t just say, “We’ll pay less and make it up in volume.” The unions track hours. They audit payroll. And they don’t take kindly to underpayment.

Why Location Matters So Much

Union rates aren’t the same everywhere. A grip in New York makes more than a grip in Louisiana. Why? Cost of living, union strength, and local competition.

For example, in 2026:

• Los Angeles (IATSE Local 80): Base rate = $29.50/hour
• New York (IATSE Local 52): Base rate = $31.25/hour
• Georgia (IATSE Local 833): Base rate = $26.75/hour
• Canada (IATSE Local 891): Base rate = $33.50/hour

That’s a $6.75/hour difference between LA and Georgia. Multiply that by 10 crew members working 12-hour days for 20 days? You’re talking $16,200 extra just in base pay. That’s why so many indie films shoot in Georgia or New Mexico-they’re not just chasing tax credits. They’re chasing lower labor costs.

But here’s the catch: even if you shoot in a low-rate state, if your crew is unionized and comes from LA, you still have to pay LA rates. That’s called “jurisdictional pay.” It’s one of the most common budget surprises for new producers.

Non-Union vs. Union Crews: The Real Trade-Off

Some producers think going non-union saves money. It doesn’t. Not really.

Yes, you can hire someone for $18/hour instead of $29/hour. But you lose:

• Guaranteed experience-union crews have trained, tested professionals
• Insurance coverage-union workers are covered under union health and pension plans
• Legal protection-non-union hires can sue for unpaid wages more easily
• Reputation-many distributors won’t touch non-union films

And here’s what most people don’t realize: non-union crews often cost more in the long run. One mistake on set-a blown shot, a damaged light, a safety violation-can cost $10,000 in reshoots. Union crews know the rules. They’ve done this before. They don’t break equipment. They don’t miss cues. They show up on time. And that’s worth every penny.

Plus, if you ever want to enter your film into festivals like Sundance or TIFF, they require union compliance. No exceptions.

The Hidden Costs No One Talks About

Rate cards only show base pay. But the real expenses? They’re hidden.

• Overtime: Every hour over 10 in a day? Time-and-a-half. Over 12? Double time. One 14-hour day can add $1,500 to your labor bill.
• Meals: Union rules require meal breaks after 6 hours. If you miss it? You pay a $100 penalty per person.
• Per diems: For overnight shoots, you must pay $45-$75 per day for food and incidentals.
• Transportation: If crew drives more than 30 miles round-trip, you pay mileage or provide transport. In LA, that’s $0.67 per mile.
• Pension & Health: You must contribute 17-22% of wages into union health and retirement funds. That’s not optional.
• Residuals: For SAG-AFTRA actors, you pay residuals on streaming, syndication, and international sales. It’s not just a one-time fee.

These add-ons can increase your labor budget by 30-50%. Many first-time producers get shocked when they see their final payroll sheet. That’s why smart producers build a 20% labor buffer into every budget.

How to Plan Your Labor Budget Right

Here’s how to avoid the mistakes most new filmmakers make:

1. Find the correct union rate card for your location and production type. Go to the union’s official site-SAG-AFTRA.org, IATSE.org, DGA.org. Don’t trust third-party blogs.
2. Count every position. Even if you think “one person can do two jobs,” unions require separate pay for each role.
3. Map out your shoot schedule. Know exactly how many days each crew member will work. Don’t guess.
4. Add 25% for overtime, meals, and per diems. Always.
5. Factor in health and pension contributions. It’s not optional.
6. Use payroll software approved by the union. Tools like StudioCloud or Filmustage auto-calculate union rates and generate compliant pay stubs.

If you’re on a tight budget, consider a “scale” shoot-meaning you pay exactly the union minimum. It’s legal. It’s common. And it keeps you compliant without overspending.

What Happens If You Ignore the Rate Cards?

Ignoring union rates isn’t a “budget hack.” It’s a legal risk.

In 2024, a producer in Chicago shot a feature paying crew $15/hour. The union found out. They filed a complaint. The film was pulled from streaming platforms. The producer paid $120,000 in back wages, penalties, and legal fees. The film never made a dime.

Unions have audit teams. They cross-check payroll with union membership records. They monitor social media for behind-the-scenes posts. They have informants.

And if you’re distributing through major platforms like Netflix, Amazon, or Apple? They require proof of union compliance before they’ll even look at your film.

Bottom Line: Pay Fairly, Plan Early

Union rate cards aren’t there to make your life harder. They’re there to make sure your film gets made without burning out your crew. The people who work on your film aren’t disposable. They’re professionals. And they deserve to be paid like it.

When you budget for labor correctly, you don’t just avoid legal trouble-you build trust. You get better work. You get repeat collaborators. And you make a film that lasts.

There’s no shortcut. But there is a clear path: know the rates. Track the hours. Pay what’s due. And your film will thank you.