Ahh that makes sense Spot, the way i heard this was through someone that said they had to hire the an SAG member host for their product. Sounds like it was because maybe the production crew/company that did the shoot were members then eh?

Basically the producers sign a SAG signatory agreement that allows them to hire SAG talent. The idea being that then you will be able to draw from a professional pool and you will comply with the rules governing the care and feeding of the talent during the shoot.

As an on camera talent doing a production shot on film that is a SAG signatory production you can be a non-union member for a production by signing a TAFT-Hartley agreement. Then there are restrictions on when you can appear in another production. But if you prefer to become a memeber of SAG you can pay your dues and then on the Next prodcution you can become a member.

I did this years ago and then went on waivers when I was in the Mairines. It made a big difference when going on an audition to have the SAG letters on the headshot and resume. At a minimum it implies that someone has used you in a professional production so you have had some kind of experience.

But this was over 20 years ago (wow time flies) Before digital video and NLE and even PCs and MACs (actually I did my first commercial in '85) Things have changed quite a bit and the unions have merged (they were separate but somewhat affiliated back then). AFTRA was the union for anything on tape (audio or video).

For a producer you will need to read all their rules an regs for auditioning, and employing the union talent. But, if you are not intending to use union talent then you do your own thing.

-TomE

Just a little bit more... and a correction.

SAG is the Screen Actors Guild.
There is no such thing as a "SAG" crew, although the production company (which hires the crew) may very well be a SAG signatory.

Actors have their unions (see Spot's list above), and crews have their unions, basically NABET and IATSE.

You can use a union crew and not use SAG talent or visa versa. But generally, when you've got some real bucks on the line, you will go with both. It's not easy to get either a SAG or an IATSE (also called IA) card. You've got to be sponsored in, and then pass various tests, plus put up an appreciable initiation fee plus maintain your dues.

Unfortunately joining the union does not guarantee you any work. The large majority of SAG members earn less than $5,000 a year from acting. And there are many card carrying crew members who have other means of support, as well.

What generally happens, and what your friend may have been referring to is as follows:
I'm doing a "big" shoot. I want "good" acting talent... maybe a "name", but definitely a "professional" actor. He is SAG. I (the production company) MUST sign a SAG contract to use him, and thereafter ONLY use SAG talent. If you are in the "big time" it's all part of business.

If an independent producer wants to star in his own production, there's nothing anyone can do about it, except prevent him from having other SAG talent in his film.

Works the same way with crew.

The unions made it possible to make a living in movies. There's not one of you out there that wouldn't work for beans or for free on Spielbergs next big production. Guess what? We ALL feel that way (for the first week, anyway). But the unions see to it that the set is professional, safe and a decent place to work. No ten hours without a meal. No pizza after 12 hours of work. Must have a decent night's sleep. Got to have 'REAL' riggers hanging the big lights, etc.

I started like many of you, working like a dog, for peanuts, under sub-human conditions. That union saved my ass when I was finally able to get into it. I loved it.

But it's not a necessitiy.

[edit] -
and one other "point of order" - by and large SAG governs FILM and AFTRA governs videotape. Now those distinctions may be blurring as are the definitions of film and tape - but I'd say the guy that told you that you had to be in SAG really doesn't know much about the reality of the situation, anyway.

v