Green Book Negotiations by Ron Kutak, Guild Executive Director Technological changes in post-production have been proceeding with a speed that leave many in the industry wondering not only how to use them, but in some cases, how to defend against them. The IATSE and the Hollywood locals recently renegotiated the terms and conditions of the Videotape Supplemental Electronics Agreement, otherwise known as the "Green Book." This agreement was and is essentially focused on production. It was originally negotiated by the IATSE to secure the union’s jurisdiction over shows shot on tape and as a response to infighting between various locals over tape jurisdiction. Most of the wages and conditions covered in the agreement are worse than in our local agreements, but a few are better (for example, wage scales are based on a 40-hour week). Up until now the tape agreement has been used for sitcoms shot on tape, game shows, magazine shows, and other miscellaneous tape production. But the digital revolution is on the doorstep of production. Panavision is in the process of outfitting up to 100 Sony ‘24P’ High Definition video cameras with their own lenses and other modifications. These cameras will be available this year and are intended for use on features and single-camera episodic television. The producers sought to have the Green Book cover all production and post-production of television that is photographed with these or other digital cameras. (Theatrical-length motion pictures are excluded from the Videotape Agreement.) This would have represented a big step backward for us and for many of the production locals and would have possibly opened the door to other concessions. Since we had just spent many months crafting our Post Production Agreement prior to and during the Basic Agreement negotiations, our position on the producers’ assertion was, to put it mildly, very strong opposition. The camera local, facing a merged Director of Photography/Operator classification and a radically reduced camera crew, was equally vociferous in their opposition, as were all the locals in the West Coast unit along with IATSE President Tom Short. During these discussions, the AMPTP representatives made some astounding comments, one of which was that the editing of material shot digitally would be easier because the editors wouldn’t have to correct for bad lighting anymore. (Yes, you read that correctly!) There were other proposals made by both sides, but at the end of the day, a relatively simple agreement emerged. Aside from some housekeeping changes, the Green Book contract was extended for one year with a 3% increase in scale wages. The core of the agreement established a committee, of which we are a part, to meet on a case-by-case basis to deal with whatever technological changes emerge, primarily in digital production. In addition, low budget product will also be discussed. This was a victory for the Guild and the IATSE, but, of course, it is only a Band-Aid put on a wound that no one at this point can diagnose. Digital High Definition cameras are only beginning to appear, and while many people believe that this is where production is headed, no one is sure how it will affect current work practices and job functions. Post-production has already gone through the film-to-digital revolution, but the changes we face are not over. Job functions will continue to evolve and some work may become more decentralized. We continue to face the challenge of embracing these changes while protecting our members from abuse in the name of technology. We must also work to provide training and alternative post-production careers for members whose jobs shrink or disappear, ensure that all post-production is done under union agreements, and endeavor to have everyone in the country who is employed in post-production become a member of our union. The office alone can’t do this. We need help and guidance from you, the membership. In the coming months our focus will be on contract violations. We are already beginning to visit the studios and review overtime practices and other problems and we’re learning a great deal. I’ll talk more about this in future issues of the Magazine. In the meantime, I encourage you to speak with your co-workers and be sure the contract is being adhered to where you work, help identify targets for organizing, communicate with the representatives in the office, and use our online discussion groups to talk about these and other Guild issues. We need your input and your ideas.   Reprinted from The Motion Picture Editors Guild Magazine Vol. 21, No. 3 - MayJune 2000   Guild Home | Magazine Home | Top of Page   Copyright © 2000, All Rights Reserved by The Motion Picture Editors Guild, IATSE Local 700