The Beginning of a New Era

by Ron Kutak , Guild Executive Director

The past several years have brought sweeping technological, organizational and contractual changes to our union. These changes, completed only in the last few months, have altered the way we work, the way the union runs, and the contractual rules that govern our employment.

Years ago, when we were simply the Editors Guild in Hollywood, we struggled with, among

We have emerged from the merger process a stronger, more united and national union, with our contractual structure no longer under technology-based attack.
But our job is far from finished.

other things, the advent of videotape. In the face of changing technology, we created a strategy that we have used successfully ever since. We recognized that technological change could not be opposed, but we also determined that employers must never be allowed to use technology to take advantage of our members. We had to always look ahead, determine for ourselves what the world would look like, and adjust to these changes in our own best interests. Simply reacting would not do, as we would always be behind the curve, always fighting about what had already occurred.

The first major sea change was the transfer of re-recording post-production employees and projectionists from Local 695 into the Guild. The cultures were different (for example, re-recording employees and projectionists primarily work on a daily rate, editorial on a weekly), and it was our job to build a cohesive post-production unit, free of internal rivalries, or perceptions that one group would benefit at the other’s expense.

Almost as soon as the transfer was completed, we entered into negotiations for a comprehensive post-production agreement. We had several goals, all of which were achieved. First, to put the three agreements (editorial, sound, and projection) together in a way that no favorable condition that any group had already achieved would be lost. Second, that no one group or classification would suffer so another could gain. And finally, to create a deal that wasn’t designed around a short-term technological snapshot. We wanted a blueprint flexible enough to deal not only with changes that had already occurred, but with future changes, foreseen or unforeseen.

We accomplished every one of these goals and have had success so far in the implementation of the post-production agreement, as well. But it will take vigilance on all our parts to bring it to life properly. I have written at length on the application of the primary skill concept in hiring under this agreement (see the July/August 2000 issue of the Guild Magazine). If you feel you are being double-jobbed, or assigned additional duties at a different workstation, please call the office.

We then merged with New York Editors Local 771 and had the editorial jurisdiction in the middle of the country transferred to us from Local 780 in Chicago. Again, we had to deal with a variety of concerns from the members involved and create a seamless national union for the benefit of all members. We also absorbed the story analysts, Local 854.

But to make the merger process complete we had to create a national agreement. After several failed attempts, we have now successfully concluded these negotiations. At this writing, we are still waiting for a memorandum, but essentially we now have a contract covering the entire country, with a commitment to merge the New York health and pension plans into our West Coast plans. This agreement has been enthusiastically supported by our Board of Directors and will allow any of our members to work anywhere in the country, and, once the plans are merged, to have their benefits, wherever accrued, go into the same fund. The wages and conditions of the West Coast have not been changed and apply to the entire country except for a 250-mile radius around Columbus Circle in New York. Within that radius, an addendum to the Basic Agreement essentially keeps intact the wages and working conditions presently existing in the New York area with the major studios.

The Videotape Agreement (the “Green Book”) has recently been re-negotiated with wage increases and improvements in the IAP pension plan that mirror our Basic Agreement and with no changes in any of our working conditions. This agreement was originally negotiated to cover multi-camera, tape-originated sitcoms. But 24P video is now being used to shoot dramatic television and features, and the employers wanted the freedom to do that work under the Green Book. This would have resulted in lower wages and weakened work rules for many of our members. This was absolutely unacceptable to us, as well as to the vast majority of the other Hollywood locals. After a false start or two, we have successfully negotiated the new Digital Production Agreement, which is based on the type of show rather than the technology used to produce it. Simply put, the types of shows that were formerly done under the Green Book will remain under that agreement. One-hour and long-form television will be done under the Basic Agreement, just as they are now, regardless of whether they are shot on film, tape or anything else. Features remain under the Basic Agreement.

We have emerged from all of this a stronger, more united and national union, with our contractual structure no longer under technology-based attack. Our agreements are strong ones, our plans are healthy, and we have a blueprint for the future.

But our job is far from finished. We have stepped up our organizing activity, and seek to represent all post-production employees in the United States. We must continue to address technical change, identify job trends, and provide training for any classification that suffers a loss of employment. We must administer the new agreements and make sure their provisions are adhered to.

I believe we have successfully remade ourselves for a continually changing world. Our job now is to proceed together to fulfill the promise of our newly expanded and unified organization.

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