2ND AD ON DISTANT LOCATION GETS SCREWED BY UPM

Something needs to be done about Unit Production Managers (UPM) who are shortchanging the ADs on his team. Here’s one example: on a current FOX show shooting on distant location (an overnight location outside of Los Angeles or NY), the UPM is not paying the 2nd AD for 1) travel time from the hotel to set (a provision given without question to the IA and SAG), 2) work time during early extras calls and 3) work time during grip and electric pre-calls, when he can cite a “technicality” in the current Basic Agreement. Typically, the 2nd AD’s call time cannot be earlier than the earliest make-up call. It’s usually a non-issue because that make-up call time will likely start from the hotel pickup time because the make-up artist is a distant location hire. But in the occasion that the early make-up call is a local hire – likely not including travel time from the hotel- the 2nd AD call time will be set to that local make-up artist’s call time, regardless of how much earlier the 2nd AD is “on the clock” from the hotel. If the extras or grip/electric have pre-calls earlier than that make-up artist? The 2nd AD will technically be “on the clock,” but according to this UPM, it doesn’t matter – the rule is clear about the 2nd AD’s call time – no earlier than the earliest make-up call.

It is appalling, irresponsible and unbecoming a leader, that this UPM – a fellow DGA member – is refusing to pay someone on his DGA team for legitimate work done. The DGA needs to act fastidiously to correct this oversight.