IATSE-2nd2018_web

track the Hollywood Basic Agreement. It also included lengthened
rest periods, ensured producers provide a “reasonable opportunity”
for IATSE crews to sit and eat, and better travel reimbursement.
Most notably, it set an industry precedent by getting
Hollywood’s largest pay cable producer to recognize IATSE’s
participation in supplemental markets. It established that supplemental
market payments would be paid into IATSE Pension
and Health Plans.
In addition, the 2004 agreement widened IATSE’s jurisdiction,
covering multi-camera half-hour sitcoms, clarifying that
IA members handle aerial/balloon lighting, and recognizing the
Marine Department in the classifications of marine coordinator,
boat handlers, and on-set picture boats.
By 2010, IATSE was negotiating new contracts not only with
HBO but also with Showtime and Starz, whose agreements followed
the same general patterns. This bargaining, under the
leadership of President Loeb, would achieve a new landmark by
putting wage rates in New York and Hollywood on a ladder to
become equal to the studio contracts in these regions by 2014
and across the country soon after.
Prior to this point, the HBO contract’s rate scales and other
provisions were based on the company’s relative youth and its
position in an emerging media sector. But by 2010, HBO had
become a pillar in a well-established industry. And in that year
alone, it had approximately two million hours of IA covered
employment. President Loeb’s goal in these negotiations was to
reach parity with the majors — and he achieved it.
Over the twenty-plus years that these pay television agreements
have been in place, they have matured into strong contracts
with full-scale wages. Above-standard terms and conditions
such as Martin Luther King Day as a holiday, improved
turnaround and rest period provisions, higher meal penalties,
and bereavement leave are a strong incentive for IATSE members
to seek out employment on pay cable productions.
PINK CONTRACTS
For more than half a century, the Pink Contract ensured
union protections, decent wages and benefits, and workplace
rights for thousands of traveling IATSE members. From the time
he took office in 2008, President Loeb made modernization and
strengthening of the Pink Contract one of his top priorities.
That’s why a primary objective of the 2010 negotiations was
to identify members of the Broadway League, and to demand
that Pink Contracts would no longer be permitted for the shows
of employers who are not signatories to and bound by the Broadway
League agreement.
In addition, President Loeb and IATSE negotiators sought to
gain IATSE National Health Plan A Benefits for members, secure
a Project Agreement connecting to the Pink Contract companies
formed by League members to produce Broadway shows,
increase wages and benefits, and standardize contract provisions.
Bargaining concluded on January 7, 2010, with the IATSE
achieving these goals and reaching a SET agreement for tours
that need more flexibility. In addition, the IA for the first time
obtained media language (buyouts), and codified practices regarding
bonds, audit language, rights and expedited arbitration.
Gains were made in other areas, such as compensation for use
of a live performance in television or other media. And for the
first time, the agreement provided traditional contract protections
such as scope and recognition, union security, grievance
and arbitration, and minimum conditions provisions.
That same year, the Stagecraft Department released a new
Pink Contract book containing all applicable contract language
and accompanying Passports for members traveling under the
Agreement between the IATSE and the Broadway League.
In fact, the concept of turning a two-sided document into a
full-fledged collective bargaining agreement reflected the vision
of President Loeb. The changes he implemented included a new
Traveling Members program tracking those who are on the road.
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