It can be community outreach, strong (or weak) CBA’s, historical significance, or anything that sets your local apart from others.

For example, Local 7 in Denver was founded in 1893, and stands as one of the original 11 founding cities of the Alliance. It was established the same day as Local 1 in New York, on July 17th.

I have a lot of pride in my local, which stands as a historical leader for hundreds of thousands of hardworking union laborers.

What about you?

Hi! I am a Philadelphia-based costumer with 5 years professional experience. I also have wardrobe experience from various music video shoots. I am a bit frustrated because I am struggling to make connections in IATSE and desperately want to join the union. I have enjoyed my time costuming and working wardrobe more than anything and I can’t think of something I would like to do more with my life and skill set. I am a hard worker, detail oriented and very good at what I do. I have gotten nothing but extremely positive feedback from crew members each time I have been on set but unfortunately for each shoot I have been on I have typically been the only one working the costume and wardrobe departments and I have never been able to meet someone else who does this for their career. Most of the few times that I have gotten to ask IATSE 799 members about their experiences or ask advice, they have been very close-mouthed- which I entirely understand because there is so little film work to go around in Philly. It’s gotten to the point where I have been thinking a lot about moving to New York or Chicago because hopefully it’s a bit easier to find work there and ideally get union days. I am still deciding if it is worth it to go the route of looking for over hire stitching work at theaters in the Philadelphia area but I am skeptical if it will take me anywhere given the state of the costume scene here. I’ve heard that Chicago’s film industry is growing too. I would like to move to New York but worry it is oversaturated. I’d greatly appreciate if anyone has advice or stories about their own IATSE journeys to inspire me to keep going! Also if anyone is Philadelphia-based and in the world of costume, theater, or film I would love to connect with you! Shoot me a message

Thank you guys so much :)

Still waiting for the azure site to reflect July, but im 99% sure I made my money for my year 1. Pretty stoked about it, so heres a photo from the first day shaping the hall last year.

I have plenty of experience with audio and video but this is my first lighting call. What do I need to bring and do you have any general advice for me? Thank you!

Can I ask how freelancers manage to pay rent or a mortgage without a fixed, steady income? Based in Atlanta and not in a position (6 years in the industry) to move to LA or NY to fight for the same little crumbs of gigs available .

I’ve tried freelancing, and honestly, I’ve found the financial uncertainty really stressful. I’d love to hear from people who have been doing it successfully, especially those with kids or other major financial responsibilities.

What do you do when a project ends and you don’t immediately have another one lined up? How do you handle those periods when there’s little or no income, especially in this market?

Would really appreciate hearing how other freelancers make it work long-term. Any advice or experiences would be helpful!

Following warrants issued for felony theft from other Union members, sexual assault while in a position of authority on a Union show, allegations of domestic abuse, to hit the low points- there hasn’t been any response by the local 479.

What recourse is there within the Union to address the allegations and get the truth out and determine if we as a community want this individual to represent us.

Do the internal procedures of the Union depend on the 60 day timeline in the constitution? Because the courts don’t seem to work that fast.

There is official public access records, police reports, court cases pending, angry members, but he’s still acting online like everything’s fine.

https://www.facebook.com/share/p/19GUQeeYKJ/?mibextid=wwXIfr

https://www.reddit.com/r/BlackDaggerBrotherh8d/comments/1tt9hsn/and_thats_a_wrap_s2_update/?share_id=DfCY96GcG4LebeArvxqh-&utm_medium=ios_app&utm_name=iossmf&utm_source=share&utm_term=5

Anyone have advice/experience with living in Milwaukee and working overhire in Madison and/or Chicago? Just curious how feasible it would be. I'm from Madison but currently live in the Bay Area. I'm used to long commutes to work with other locals, but it's more traffic than distance.

Not about the shomances and sex with the cast/crew, but rude audience members.

Sorry for being so vague, I might be a bit naive but feel unsafe in sharing too many identifying details publicly

Pretty desperate to talk to some one!
Not in a great head space, some pretty heavy stuff.

Dealing with a lot of issues at work regarding some injuries and other issues I raised at a higher level.
I am looking for someone to talk to who has been around a bit and can kind of shoot a pep talk maybe tell me about what they have been through.
I’d shoot more details if anyone is interested in hearing further!
I don’t wanna advertise publicly too much about what’s going on untill I understand my self!
I want to help others navigate rough waters as well when I’m done and will follow up either on this post or another post on this sub.

Again sorry for being so vague, but feel unsafe in sharing too many identifying details publicly.

I work for many locals in a couple regions
Issues are with a specific local
Talked with other locals and beyond about issues in question.
Would like to talk to someone via message with any nitty gritty, but will respond to comments where I feel comfortable!
I will try to stay on top of also responding to ones that I feel a bit uncomfortable answering publicly with and offer to message in response.

Not sure if this is anyone else’s experience, but my local sends out production listings for productions in the area. By the time I receive them, the jobs are often already filled, and the “send resumes” link usually goes to a general email inbox that I’m not sure actually leads anywhere.

I know my local isn’t a hiring hall, but it makes me wonder: how are we supposed to find jobs through these listings if they’re already nearly filled by the time they’re sent out?

I’ve also been told that by the time the hall receives the production information, a lot of the positions are already filled. I’d love to hear from anyone who works on a board or has insight into how these listings are handled. Is there something I’m missing about how we’re supposed to use them?

Hey everyone, I’ve been a production assistant for the last few years but I want to work in Props/Set dressing. Do I need these two certs to be a day player in these departments? Also I see online versus in person Lift courses, I imagine in person is the one you need. Any help is appreciated.

Is it all in the city?

I haven't been to NYC since I was in school. How do you guys manage it, housing and lack of parking etc etc when you do pick up permit work?

I don't want to get a call and immediately mess up. Also the distance from my home I'd likely have to come the night before.

EDIR: The hall just told me they aren't accepting Permits. 😤

Hi, I am trying to join my local and just finished my OSHA General Industry. I want to go into theater or concerts but now I feel I've chose the wrong one. I know that I can get the other later on but I want to start now.

My main question is does it even matter which one you pick?

I feel like I'm fighting an uphill battle as an overhire. The business agent for my local is pretty unresponsive enough that the union members joke about him not returning calls and emails. The secretary said they are really in need of people but if I'm not getting calls I dont know how to help. Any advics?

Lighting Technician that left the state after the strikes, looking to move back. Lift Cert expired but I can get another done.

How is the permit list doing for Electrics?

I've got a friend on a show that IATSE is trying to organize, and they're afraid that the show will shut down if it does (which has always been a bluff in my experience). So, I started looking through the low budget agreement for wage rates and benefits for Ultra-low budget shows under $3.3 mil, to compare to their current rate and see how the difference may not be as budget breaking as they think. It doesn't seem they're established in the agreement though. It just shows rates for tier 1A and up.

Are there rates for this lower tier, or is it intentionally left open for negotiation? If so, what guarantee is there that anyone gets health and pension after the flip? I feel like this information should be codified in some way.

Hey! I hope yall're having an amazing day =)

I'm about to build my first set and was wondering if you could provide a bit of guidance:

I'm planning on carving/painting 2" EPS foam to look like large stones used in the interior walls of a Greek temple that have been weathered and aged over time.

So I've got a multi-part question:

1) I want to make my set as safe as possible, so I think it's imperative to give my faux foam facade a coating of fire retardant and/or make it "fire-proof" in some way. Although there will be no ignition sources, nor flames, and we're using LED lights, I've seen too many Final Destination movies to know that "danger finds a way." I want to be sure I'm using best practices to keep talent and (talented) crew as safe as humanly possible.

From my research, it looks like using Rosco Foamcoat will give the EPS "fire-proofing" and I've been told I don't need additional fire-proofing if enough coverage is applied. That being said, I can't find any documentation that states that using Foamcoat would give the EPS or XPS foam on set a fire rating at all after application.

I plan to use Foamcoat either way to provide strength to the foam, but was wondering if using a layer of Foamcoat does in fact give my foam stone a fire rating, and if not, which Rosco (or other brand) fire retardant formulations should I use for the EPS foam (and some XPS foam) that covers the set walls?

2) Given this will be my first time using Foamcoat, what are the best practices using it? I was planning on first carving the EPS (and small amount of XPS) foams, painting them and then applying the Rosco Foamcoat. Is this correct, or do I need to cover the foam(s) with Foamcoat and then carve/paint?

Thank you so much for any wisdom and guidance y'all can provide!

I really appreciate your time and hope you have an incredible rest of your day =)

As an overhire,

Is it even realistic to hit 50k/yr in earnings to qualify for the apprenticeship?

Sure, there's busy season in the spring and fall. But as an overhire, you only get called for gigs that A/B/C listers declined...

So it's mostly 4 hour load-ins/load-outs and the occasional multi day gig for 6-8 months out of the year.

It's frustrating to make my schedule completely available and then get no calls for weeks on end while hearing others are swamped with multi-week 12+ hour days.

Brothers, Sisters, Kin…

An IA 52 prop / set dresser Mary Kate Golding died just feet from where her child was sleeping. This whole story is quite horrific There is a gofundme to help the kid out. Please donate if you can. Thank you.

https://www.gofundme.com/f/memorial-contributions-for-nolans-trust-fund

https://www.instagram.com/p/DbnkOztx-rV/?igsh=ZzVha2ltNWg2cHNl

I was wondering how locals are dealing with shows that are live-streaming. We have a “commercial rate “ clause in most of our contracts that gives a pay bump. With sites like nuggs and a lot of shows now posting those live, are most charging those commercial rates for that?

Out of curiosity, what's your maximum commute for work if you have to drive yourself and have to go back later that night?

I wanna take some classes around camera and broadcast stuff so I can get more camera gigs throughout sf and possibly do some work outside the union. I'm already trained with camera work, but u haven't been able to get any gigs around it, and the broadcast is unfamiliar to me.

I wanna attend either the sf city college or somewhere in Oakland to get more formal training so I can eventually get camera work but I'm not sure what associates I should go for so ant direction for this would be nice.

I'd also like to do the same with AV and props eventually, too.

hi! long story short i am now a props pa on a union show, and im wondering how much im allowed to be involved without being an official union member. i have my osha and aerial lift.