At the end of the month, members of both unions are voting on this merger thingy, and if it goes through, the new SAGAFTRA is born.  The initial fee to become a member is said to be a lot more substantial than the current fee to join AFTRA.  Ergo, the smart money joins now, and becomes a fully-vested member of the new entity when the vote goes through, no?

This very line of reasoning was in the content of a memo VO Pro Bob Bergen sent out recently:

 “Many of you understandably have had a difficult time qualifying for SAG. Trust me, every SAG member has been there!
If you are AFTRA only, once SAG and AFTRA merge you will be a full member of SAG-AFTRA. If you are a member of neither union right now you might want to consider joining AFTRA ASAP. Initiation to AFTRA is $1600. Here is the AFTRA web page with that info: https://www.aftra.org/membersonly/general/newjoinlocal.aspx

Initiation into the new union SAG-AFTRA will be $3000. Plus, the new union will adopt the current qualifications we have at SAG. AFTRA is an open union whom anyone can join. Now, you are gold only if we merge. So please do all you can to spread the word to merge!

If you have any questions, feel free to pop me a note at Porkysvoice@aol.com
Here’s is the new website for SAG-AFTRA: http://www.sagaftra.org/ Read all the info, from the merger proposal, to the new constitution, the feasibility study done on behalf of our P&H, etc.

So, certainly worth a look. Bob’s been following union merger talks for a long time, and knows of what he speaks.

Here’s another link that provides a lot of material on the actual wording of the merger documents.

CourVO

They even announced it on TV, so it must be true!

Do you know what a Venn Diagram is?  Two separate populations overlap (depicted by circles), showing the commonality of the two groups.

This is what we have with both unions today:

Union leaders may envision a universe of members belonging to both, as growing from 40,000 to their combined total of nearly 200,000.

You know, it’s funny…when the membership of either union is mentioned, it’s always the talk of film actors, stunt people, TV actors, stagehands, cinematographers, dancers, singers.  I never really see VOICE actors mentioned.  I’m not sure there’s ever been much love for our kind in this mix…but I digress, and I don’t want you to think I feel shorted, ’cause so far, I belong to neither group.

The question is:  Will it now make any difference to voice-actors who’ve been sitting on the fence (moi) to finally find sufficient reason in the merger to now JOIN???

The GREATER question is:  should you join now, ’cause the requirements are easier?  From an article by Ester Goldberg:

“AFTRA’s open door policy – which allows anyone to join the union online by paying the initiation fee – will end if SAG and AFTRA merge, The Hollywood Reporter has learned. In its place will be new SAG-AFTRA rules that primarily mirror SAG’s existing ones – a set of requirements that have made a meme out of “How do I get my SAG card?”

In addition, the price is changing: at $3,000, the new initiation fee is higher than SAG’s $2,277 or AFTRA’s $1,600, but less than the two combined.”

Even actors who are members of SAG say they’re reserving judgement on the wisdom of this merger until they see the fine print.  There are deep and thorny issues of health insurance, pensions, rates, governance, financing, membership requirements and dues for starters.

The final referendum goes to the membership near the end of February, and the tabulation deadline is March 30th.  So far, both Union’s board’s “overwhelmingly endorsed” the merger (The SAG board’s vote was 87.1% to 12.9% and AFTRA’s was 94% to 6%.).  To pass, the referendum would need a 60% approval margin from both organizations among votes cast.  That gives everybody about a month to air their dirty laundry and debate the contentious compromise.

I’m not worthy of analyzing this thing further.  I’m learning, and watching, and contemplating the outcome, and considering where voice actors fall in this mix.

Below is a series of links to various news organizations with different editions out over the weekend with the report:

 http://www.broadcastingcable.com/article/479765-SAG_AFTRA_Boards_Approve_Merger.php

http://www.hollywoodreporter.com/news/sag-awards-aftra-merger-ken-howard-roberta-reardon-285661

http://www.broadcastingcable.com/article/479765-SAG_AFTRA_Boards_Approve_Merger.php

http://www.deadline.com/2012/01/actors-largely-support-proposed-sag-aftra-merger-at-sag-awards-but-there-is-also-opposition-and-concern/

http://www.aftra.org/6D4AAFEEE63943E7BE41C0314393AFA0.htm

http://www.variety.com/article/VR1118049411

http://insidemovies.ew.com/2012/01/29/union-news-aftra-approves-merger-with-sag/

http://www.variety.com/article/VR1118049411?refCatId=13

http://www.hitfix.com/articles/sag-and-aftra-this-much-closer-to-finally-merging

http://www.aaaa.org/news/bulletins/Pages/prodsig_012412.aspx

http://www.backstage.com/bso/news-and-features-news/aftra-board-of-directors-approves-sag-aftra-1006027752.story

CourVO

I’ve been told talk of a merger has been around about as long as the proposal for a high-speed train between Las Vegas and LA — decades.

On the surface, the latest proposed merger makes sense — but I’m not privy to any of the internal struggles, the personalities involved, nor the certain logistical challenges.  I don’t know the history, and I don’t particularly want to.

Endless union v. non-union debates on public forums solve nothing, but bring to light some interesting sentiments, not the least of which is that a common stand on setting rates in the market (certainly a union function) is desperately needed now in this realm.

My interest lies in a union that works, that is lean, agile and responsive to its members and the market.  I’d love to see a union that isn’t LA or NYC-centric.  What I’d really like is for someone to explain what a paymaster is, and how that model fits into a voice-acting world that operates more and more on independent freelancers directly interacting with their clients.  I’d respect a union whose policies don’t drive members into hypocritical aliases on the P2P sites.

It’d be great to see a union that actually holds it’s VO members to a standard of technical and performance benchmarks (like SaVoa), instead of allowing in anyone who has enough money to pay the dues.

I’m told SAG and AFTRA detests being made to accept Fi-Core.  Tough. I’d love to see all 50 states be right-to-work states.

Well, that turned into kind of a rant.

Bettye Zoller, don’t call to scold me.  :)  Bob Bergen, where am I wrong?

Both Zoller and Bergen are highly-respected master talents in this business who hold high opinions of the potential of a union for all VO’s…and both have voluminous knowledge of this issue that I don’t possess.  Still, I’m allowed my opinion on my blog, and this is what I know from what I see and hear:  SAG and AFTRA as they exist now, do not seem answer the new challenges of the VO market brought on largely by the internet.  Because of that, they seem to me to be irrelevant, behind-the-times, S-L-O-W, and disdainful of the rabble.

I’d welcome your thoughts on this issue.  Are you Union now?  Why?  Are you Fi-Core?  Why?  If you are not Union, would you consider signing up following a SAG/AFTRA merger?

Below are some media articles I’ve searched that reflect the latest that’s known about the merger.

SAG-AFTRA merger means some union dues will rise as others fall

SAG Merger Skeptics Retain Law Firm 

SAG/AFTRA Merger: What’s Next

New SAG-AFTRA to Feature an Array of Officers and Delegates

SAGWATCH – Observing the Screen Actors Guild and AFTRA

SAG/AFTRA Merger FaceBook page

SAG-AFTRA Merger Team Readies for 9 Days of Talks

CourVO

I consider this to be the thorniest question for freelance voice over talent, ’cause it opens up a can of worms that leads all over the place — into the realms of what constitutes a free market, what IS capitalism, where do unions fit into the picture, what variables enter into YOUR formula for setting rates, and most of all:  how do you guage your own self-worth?

‘Not to get too deep on ya here, but this can get real philosophical.  Luckily the respondents had their heads on straight.

For instance, Paul Strikwerda said:  “…My fee reflects my experience, expertise and my expenses on one hand, and a realistic sense of my value in the market place on the other. For this I need facts about the cost of doing business, the client’s evaluation processes and competitive activity. This allows me to calculate my price floor, the point below which my service should not be sold or I won’t turn a profit…”

Jodi Krangle stated:  “…I do have a minimum fee. Once that’s met, it’s a matter of weighing the customer’s needs and my own and seeing where they meet. There’s a magical, mystery convergence somewhere in there..”

I like that. You really should read the rest of Jodi’s comments.  It captures my sentiment exactly…but then so did Craig Burnett:  “…While I have a price in my head that I’d like to meet, I always try to remain flexible.  That doesn’t mean I’ll lowball…I’ve turned down a LOT of work simply by saying, “Thanks anyway, and let me know when your budgets improve.”  But I’ve nabbed a bunch of clients by understanding that sometimes their budgets are stupidly low, and sometimes they have extra dough that they’ll pass along…”

Sometimes you have to make exceptions, and sometimes it really pays dividends.  Like Jeff Conwell:  “…While I try not to even crack the mic for less than $150, I recently saw a script on a pay to play that was so good, I auditioned without even looking at the pay. I got the booking and the pay was only $50. The good news was it was for an agency that I have a strong relationship with and it really help their small client and in the end, strengthened our relationship further…”

Since I was the first one to post on this question, many responded to my statement that I’m not union (yet).  I think most of those who responded here are not union, and for instance, Robin W. acknowledged that:   “…I am not Union.  I have a set rate sheet, but look at every client’s situation.   Some don’t have a lot of money are upstart companies, or are having it rough with the economy   For these clients I work within their budget, not only does this help them out financially, but cultivates a great relationship…”

Dana Marks also gave a tip of the hat to the unions:  “…I start with the union scale and work from there, depending on the scope of the job and the pocket depth of the client.  I try to be fair about it and not leave too much money on the table…”

Arnaly A. summed-up what a lot of us go through when we consider the rate setting issue:  “…I try to find our as much as I can about the project and the client’s budget before quoting. Then I have a minimum rate that I will work for. If that standard is not met, I don’t even audition. After deciding if I will audition, I take this points into consideration for defining my rates:

- Purpose of the job (national commercial, psa, narration, etc)
- How big is the company I will be working for (if known)
- Possibility of repeat business.
- Have I work before with this client?
- What feedback does he or she have?
- I compare the client’s budget with how much I am being paid in the currents job I have and go slightly higher in order to try to increase my rates.

All of these parameters help me decide if I will raise or lower the rates in comparison to the client’s budget.

I’m not going to go on…all you have to do is go to the VOAToday Week-3 question, and bask in the collective wisdom of the VO community.  Even though VOAToday is but a September memory, I’m leaving up the site for a few more weeks, so everyone gets to see all the great responses you gave.  Thanks!

CourVO

I wonder about them.  I wonder if I should join.  I see vociferous supporters, and I see angry opponents.  It’s like a really bad Mac v. PC battle.  Never the twain shall meet.

If there’s any glimmer of hope that talent unions will come of age in this century, catch up with changing markets ‘n’ technologies…it’s with the current round of talks to merge the Sceen Actors Guild (SAG), and the American Federation of  Television and Radio Artists (AFTRA).  A June 20th article on VoiceOverXtra has the latest I’ve seen on this proposed merger.

How did it get to this point?  The Hollywood Reporter has an excellent and exclusive analysis published just yesterday that answers the question “Why Now?” through an exhaustive analysis of the recent history that brought both sides to the negotiating table.  Read:  The SAG-AFTRA Merger Attempt: Why is it Happening Now? (exclusive analysis)In a long and tangled history, even merger opponents played a key role in making the case to unite the two unions.

It’s actually a fascinating look at people, politics, paradigms, and passion….oh, and pig-headedness.

CourVO

There would just be no sense in trying to write a separate blog article for each of the tidbits I have, so please peruse the list of links below for some incredible goings-on in our business right now, and if you feel so moved, contribute to the dialogue.  My job is to try to keep the information flowing so you can be in the know!

DEFINING YOUR PLACE

Lots of discussions seem to be popping right now concerning the VO marketplace.  The conversations are verging into also sorts of issues:  rates, your perceived value in the market, unions, freelancing, certification, agencies…all revolving around what is fair compensation in today’s world of VO, and your place in it.

To that end, top VO Pro Joe Cipriano inserted an incredibly erudite article into the conversation we have going on in the VO Friends FaceBook Group.  If you are not a member, just do a search for the Voice-Over Friends group, and request access.  I’ll approve you in a snap.  When you go to the site, scroll down to the thread that starts with me saying:  “Friends: The threads calling out…”.  There are 45+ comments here, and Joe’s is among them.  These are incredibly pertinent discussions.  Be a part.

Also, the discussion about fair pay in the LinkedIn Group:  “Setting VO Rates” is still raging, and if you take the time to read…the give ‘n’ take will open your eyes to many points of view…all worth considering.  The discussion about “Insulting Rates” has more than 180 entries!

SEEKING EXCELLENCE

My voice-over friend in Social Media, Terry Daniel, has written a wonderful article on how you should “Surround Yourself with the Extraordinary“.  Terry addresses the negativity that can grip a community, especially in terrible economic times.  Well worth a read.

THE BASICS

Cairo-based voice-actor Mahmoud Taji reminds us of the incredible security, normality, and abundance we all have here in the US (UK and elsewhere) that we take for granted.  Although he and his family are surviving an extremely volatile situation on the outskirts of Cairo, he’s dealing with shortages and a lot of uncertainty.  I’m not sure we would all be so sanguine as he is.  Read Mahmoud’s travails in an article on VoiceOverXtra.com.

PROFILING

Lately, I’ve been doing a lot of research online.  Particularly FaceBook and LinkedIn.  My travels bring me in contact with a lot of your VO websites and FaceBook profiles.  Frankly, I’m astonished at how many accomplished VO pros neglect their profiles.

I’m no SEO wizard, but I understand the value of clearly stating your title in high-profile areas where you have an online presence.  In a number of cases, I’ve had to drill down quite deep to see if a certain person is even a VO talent.  Almost nothing on their FB or LinkedIn profile tipped me off.  Only when I’ve done a Google search or followed a few links have I been able to find out that.

Please visit the profile you configured when you first joined FaceBook, LinkedIn, Voices.com, V123, Twitter….ANYWHERE that you have an online presence.  Somewhere in that profile, you should be clearly stating that you are a VOICE OVER, a VO talent, a voice-over actor, a voice-actor…something like that should be a given in your profile.

The sum total of your online presence will raise you to a threshold at some point where you start getting noticed consistently.  Over the weekend, I was emailed an offer from an overseas production company, seeking more English-speaking VO talent.  They just wanted to know if they could add my name to their database.  Uh…YEAH!

LOOKING AT YOU

Finally, I invite you to check out my CourVO FaceBook Page.  I’ve configured the photos at the top to appear as though it’s one big “Dave” peering at you when you see the homepage.  I think it brings a very personal feel to the page, and if you want to know how it’s done,  just email me, and I’ll walk you through it.

Have a great week!

CourVO

That’s the lead line in a story dated 10/29/09 on the Kotaku site.

Click HERE for the details.

The new adjustment focuses attention to the kind of work typically done in video games.

See the full article HERE.

CourVO

Click HERE to read his article: “State of the Non-Union”.

CourVO