Read Online The Art of Voice Acting: the art and business of performing for voice over by James Alburger - Free Book Online
Authors: James Alburger
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directly apply to the union’s collective bargaining efforts, and for those at Fi-Core status, that percentage of dues is deducted from the dues payment.
At its essence, Financial Core creates a nonmember, dues-paying status that allows a performer to work both union and nonunion jobs. Those who favor Fi-Core will mention that the performer regains control over the kind of work they do and their compensation. Those against Fi-Core claim that this membership status seriously disables the effectiveness of collective bargaining. Ultimately, as a voiceover talent, it is up to you to fully research Fi-Core so you completely understand it’s ramifications when the time comes for you to join AFTRA or SAG.
An Internet search for “financial core” will bring up dozens of websites that discuss both sides of this controversial aspect of union membership.
WHEN SHOULD I JOIN THE UNION?
It is generally a good idea to put off joining any union until you have mastered the skills necessary to compete with seasoned union talent. Producers expect a high level of performance quality and versatility from union performers and it takes time and experience to master the skills necessary to perform at that level. Joining SAG-AFTRA too soon not only may be an unwise financial expense, but could have the potential for adversely affecting your voice-acting career. Most voice talent need the seasoning of working lots of nonunion jobs before they will be at a level of skill that can be considered competitive with union talent.
Here are some reasons to consider union membership when you feel you are ready, or when you begin getting audition calls for union work:
Union membership is considered an indicator of professionalism and quality. Producers know they will get what they want in 2 or 3 takes instead of 20.
Your performance is protected. Union signatories pay residual fees for use of your work beyond the originally contracted period of time.
You will also be paid for any time over one hour on first and second auditions, and paid a fee for any additional callbacks.
WORKING FREELANCE
Nonunion, freelance work is an excellent way to get started in the business, and there are lots of advertisers and producers who use nonunion performers. As a nonunion performer, you negotiate your own fee. The fee will be a one-time-only buyout payment. There are no residuals for nonunion work, including work done at financial core . The going rate for freelance voice work can be anywhere from $50 to $250 or more depending on the project, the market, your skill level, and what you can negotiate. For nonunion work, or work booked without representation, the negotiated terms are between you and the producer, as are the terms of payment.
If a nonunion producer should ask your fee, and you are not sure what to say, the safest thing to do is to quote the current minimum union scale for the type of project you are being asked to do. You can always negotiate a lower fee. If you have an agent, the correct thing to do is to ask the client to contact your agent. See Chapter 20 , “How to Work in the Business of Voiceover” for more about setting rates, negotiating fees, and getting paid.
Talent Agencies, Casting Agencies, Personal Managers, and Advertising Agencies
The jobs of talent agents, casting agents, and personal managers are often misunderstood by people not in the business or just starting out. They all have different functions in the world of voiceover.
THE TALENT AGENCY
Talent agents represent performers. Talent agencies are licensed by the state and must include the words “Talent Agent” or “Talent Agency” in any print advertising, along with their address and license number. The talent agent works with advertising agencies, producers, and casting directors to obtain work for the performers they represent.
A talent agent receives a commission of 10% to 25% based on the scale they negotiate for their performer and whether their performer is union
At its essence, Financial Core creates a nonmember, dues-paying status that allows a performer to work both union and nonunion jobs. Those who favor Fi-Core will mention that the performer regains control over the kind of work they do and their compensation. Those against Fi-Core claim that this membership status seriously disables the effectiveness of collective bargaining. Ultimately, as a voiceover talent, it is up to you to fully research Fi-Core so you completely understand it’s ramifications when the time comes for you to join AFTRA or SAG.
An Internet search for “financial core” will bring up dozens of websites that discuss both sides of this controversial aspect of union membership.
WHEN SHOULD I JOIN THE UNION?
It is generally a good idea to put off joining any union until you have mastered the skills necessary to compete with seasoned union talent. Producers expect a high level of performance quality and versatility from union performers and it takes time and experience to master the skills necessary to perform at that level. Joining SAG-AFTRA too soon not only may be an unwise financial expense, but could have the potential for adversely affecting your voice-acting career. Most voice talent need the seasoning of working lots of nonunion jobs before they will be at a level of skill that can be considered competitive with union talent.
Here are some reasons to consider union membership when you feel you are ready, or when you begin getting audition calls for union work:
Union membership is considered an indicator of professionalism and quality. Producers know they will get what they want in 2 or 3 takes instead of 20.
Your performance is protected. Union signatories pay residual fees for use of your work beyond the originally contracted period of time.
You will also be paid for any time over one hour on first and second auditions, and paid a fee for any additional callbacks.
WORKING FREELANCE
Nonunion, freelance work is an excellent way to get started in the business, and there are lots of advertisers and producers who use nonunion performers. As a nonunion performer, you negotiate your own fee. The fee will be a one-time-only buyout payment. There are no residuals for nonunion work, including work done at financial core . The going rate for freelance voice work can be anywhere from $50 to $250 or more depending on the project, the market, your skill level, and what you can negotiate. For nonunion work, or work booked without representation, the negotiated terms are between you and the producer, as are the terms of payment.
If a nonunion producer should ask your fee, and you are not sure what to say, the safest thing to do is to quote the current minimum union scale for the type of project you are being asked to do. You can always negotiate a lower fee. If you have an agent, the correct thing to do is to ask the client to contact your agent. See Chapter 20 , “How to Work in the Business of Voiceover” for more about setting rates, negotiating fees, and getting paid.
Talent Agencies, Casting Agencies, Personal Managers, and Advertising Agencies
The jobs of talent agents, casting agents, and personal managers are often misunderstood by people not in the business or just starting out. They all have different functions in the world of voiceover.
THE TALENT AGENCY
Talent agents represent performers. Talent agencies are licensed by the state and must include the words “Talent Agent” or “Talent Agency” in any print advertising, along with their address and license number. The talent agent works with advertising agencies, producers, and casting directors to obtain work for the performers they represent.
A talent agent receives a commission of 10% to 25% based on the scale they negotiate for their performer and whether their performer is union
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