2014 Survey into Australian Screen Editors Wages and Conditions

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George Dorsey
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1 2014 Survey into Australian Screen Editors Wages and Conditions 2015 Australian Screen Editors

2 2014 ASE Editing Survey INDEX SECTION 1 INTRODUCTION... 3 SECTION 2 MEMBERSHIP AT A GLANCE... 4 SECTION 3 WEEKLY WAGES PER FIELD OF WORK SECTION 4 WEEKLY WAGES PER STATE SECTION 5 WEEKLY WAGES PER GENDER SECTION 6 FEELNGS ABOUT RATES SECTION 7 WORKING CONDITIONS SECTION 8 SHOOTING RATIO SECTION 9 CHANGES IN WAGES OVER TIME SECTION 10 COMMENTS

3 SECTION 1 INTRODUCTION In 2014 the ASE (Australian Screen Editors) conducted a nation-wide survey into Screen Editors wages and conditions. This was a follow-up to our last survey conducted in There were 253 responses. As well as providing a snapshot of our current membership, the survey also asked about wages and working conditions such as superannuation, wage negotiations and holiday pay. This time we added some additional questions on gender, education and training and job hunting. From our Membership at a Glance (Section 2) we can see the wide variety of fields ASE members work in. When we broke down weekly wages by field of work (Section 3) we noted that wages have for the most part stalled since our last survey. Some fields have gone up a little and some fields have gone down. Overall though, things have not moved much in the last few years which is concerning. Later in our survey 70% of members said that in the last ten years their wages either have not changed, or have not gone up enough to cover the rise in the cost of living. Breaking down weekly wages by State (page 14) we see States with a smaller population are suffering lower wages (WA, SA and TAS). This is concerning, especially for WA where there is a higher cost of living at the moment. This year we also broke down weekly wages by Gender (page 15). It appears that wages are relatively even although we had many more male respondants. Most of our members are freelance - however 70% of members who charge through their ABN are not getting Superannuation. This is alarming. Another worry is that nearly 50% of members are working unpaid overtime. The increase in shooting ratio is a big concern. This is a key factor to why schedules are blowing out and editors are being forced to work longer hours. Newer producers do not understand this so it is up to the ASE and editors to educate people that higher shooting ratios mean a longer edit schedule or more editors needed on a job. We have always thought the best way to learn about wages and what you should ask for is by talking to your fellow editors. So don t be shy. If we all have an understanding of what is happening then we will be in better positions to negotiate. Our regular ASE survey into wages and conditions is all part of this most essential conversation. Australian Screen Editors,

4 SECTION 2 MEMBERSHIP AT A GLANCE TYPE OF WORK Other is a new category this year. Responses include: Online Editor / Colourist / Compositor. I work both as Editor and Assistant Editor. Assembly Editor - transitioning to Editor. Post-Production Manager. 4

FIELD OF WORK ASE members work in a large variety of program/film types. The majority work in Television Documentary or Other Factual (which includes reality, magazine and lifestyle).

5 FIELD OF WORK ASE members work in a large variety of program/film types. The majority work in Television Documentary or Other Factual (which includes reality, magazine and lifestyle). Television and Feature Drama are the next popular category. Due to member feedback we will add a Reality Television category next time. The biggest growth area is Online Content with a rise of 40 members working in online content since the 2012 survey. Other responses included Education, Game Shows and Animation. 5

6 MEMBERSHIP BY STATE As per our last survey most of our members work in the more populous states of NSW and VIC. This time we had the addition of TAS. We also added an International category as a number of our members are working overseas. We did not count International wages in our findings below as we are mostly interested in Australian wages and conditions. 6

7 EDUCATION & TRAINING 7

8 ANNUAL INCOME 8

9 JOB HUNTING It s good to see the ASE website jobs bulletin has helped some members find work this year. We hope to increase this in the future. Although as expected the top ways of finding jobs are direct approach and previous client. Friend referral is also big so remember to network with other editors. 9

10 SECTION 3 WEEKLY WAGES PER FIELD OF WORK EDITOR Editor, Drama - Feature Responses: 14 Lowest $1800 Highest $5000 Mean Average $3230 Most Common $3000 The average is up from $2995 in Editor, Drama - Television Responses: 29 Lowest $1500 Highest $4000 Mean Average $2685 Most Common $2500 & $2600 The results for Television Drama are slightly higher than in 2012 when the average was $2413 and the most common was $2400. Editor, Documentary Feature or Television Responses: 67 Lowest $1450 Highest $2800 Mean Average $2300 Most Common $2500 These results were similar to the 2012 survey where the most common weekly wage for Documentary Features and Television was also $

11 Editor, Television Other Factual including Reality Responses: 57 Lowest $1300 Highest $3500 Mean Average $2390 Most Common $2500 The average has gone up since 2012, although the most common weekly wage continues to be $2500. Editor, Commercials Responses: 8 Lowest $1050 Highest $10,000 Mean Average $4100 Most Common N/A There is a great range in Commercials so averages shouldn t really be applied. There is obviously a big difference between the high end commercials and the lower budget ones. Editor, Online Content / Corporate Video / Promos Responses: 12 Lowest $850 Highest $4000 Mean Average $2200 Most Common N/A Again, this is a category spanning many different production levels so averages are hard to apply. 11

12 SUMMARY Editor Weekly Wages per Field of Work Field of Work (Editor) Weekly Wage Mean Average Commercials $4100 Drama Feature $3230 Drama - TV $2685 TV - Factual/Reality $2390 Documentary Feature & TV $2300 Corporate / Online $2200 Weekly Wage Mean Average $4,500 $4,000 $3,500 $3,000 $2,500 $2,000 $1,500 $1,000 $500 $0 Weekly Wage Mean Average 12

ASSISTANT EDITOR Assistant Editor, Drama Responses: 32 Lowest $1200 Highest $3000 Mean Average $1640 Most Common $1500 Assistant Editor, Documentary or Factual Responses: 21 Lowest $1100 Highest

13 ASSISTANT EDITOR Assistant Editor, Drama Responses: 32 Lowest $1200 Highest $3000 Mean Average $1640 Most Common $1500 Assistant Editor, Documentary or Factual Responses: 21 Lowest $1100 Highest $1500 Mean Average $1400 Most Common $1500 SUMMARY Assistant Editor Weekly Wages per Field of Work Field of Work Weekly Wage Mean Average (Assistant Editor) Drama $1640 Documentary / Factual $1400 Weekly Wage Mean Average $1,700 $1,650 $1,600 $1,550 $1,500 $1,450 $1,400 $1,350 $1,300 $1,250 Drama Doco / Factual Weekly Wage Mean Average Drama Assisting has remained relatively the same since our 2012 Survey. Documentary/Factual has increased by about $200 a week since

14 SECTION 4 WEEKLY WAGES PER STATE EDITOR, DRAMA (Features & TV) State Responses Weekly Wage (Mean Average) NSW 32 $2830 VIC 13 $2520 QLD 2 $2500 SA 3 $2300 WA 2 $2000 TAS 1 $2000 EDITOR, DOCUMENTARY (Features & TV) / FACTUAL TV (including Reality) State Responses Weekly Wage (Mean Average) VIC 27 $2400 QLD 2 $2400 NSW 80 $2350 SA 2 $2350 WA 12 $2070 TAS 1 $1700 ASSISTANT EDITOR, DRAMA (Features & TV) State Responses Weekly Wage (Mean Average) NSW 16 $1640 VIC 16 $1640 ASSISTANT EDITOR, DOCUMENTARY (Features & TV) / FACTUAL TV (including Reality) State Responses Weekly Wage (Mean Average) VIC 6 $1650 WA 2 $1500 NSW 9 $1380 QLD 2 $

15 SECTION 5 WEEKLY WAGES PER GENDER EDITOR, Drama - Feature or Television Gender Responses Weekly Wage (Mean Average) MALE 46 $2710 FEMALE 10 $2790 EDITOR, Documentary Feature or Television Gender Responses Weekly Wage (Mean Average) MALE 32 $2230 FEMALE 35 $2275 EDITOR, Television Other Factual include Reality Gender Responses Weekly Wage (Mean Average) MALE 49 $2415 FEMALE 7 $2415 ASSISTANT EDITOR, DRAMA (Features & TV) Gender Responses Weekly Wage (Mean Average) MALE 14 $1695 FEMALE 18 $1595 ASSISTANT EDITOR, DOCUMENTARY (Features & TV) / FACTUAL TV (including Reality) Gender Responses Weekly Wage (Mean Average) MALE 12 $1380 FEMALE 9 $

SECTION 6 FEELNGS ABOUT RATES Some comments include: I always find it hard to know what is reasonable as a lot of people do not talk about actual pay figures.

16 SECTION 6 FEELNGS ABOUT RATES Some comments include: I always find it hard to know what is reasonable as a lot of people do not talk about actual pay figures. Wages within the film industry have been stagnant for the last twenty years. Although it seems okay in this market, five years ago I was making more per week with better conditions. With 30 years experience they still try to pay me the same as someone with 6 months experience. 16

17 PAYMENT DETAILS SECTION 7 WORKING CONDITIONS 17

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22 When Editors are using their own gear most are not charging for it. The ASE strongly recommends adding an additional equipment hire fee. Otherwise the value of the Editor is being diminished. 22

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24 OVERTIME 24

25 SECTION 8 SHOOTING RATIO Shooting ratio is the amount of footage filmed compared to the duration of the finished product. Shooting Ratios have been growing larger and larger while post schedules have been tightened. This creates huge pressure in the edit and is something we should all be thinking about. The Editor can help Production understand shooting ratios and budget and schedule post accordingly. Shooting Ratio 300:1 plus 200:1 100:1 50:1 40:1 30:1 20:1 10:1 or less Responses Thoughts on shooting ratios: Ratios are through the roof. There is no longer time to actually watch rushes, we can only skim - fast forward to get an idea of what is there. Therefore I feel there is not time to do my job properly. Unreasonable. I was expected to sync, assist and assemble as the sole editor on production. The pressure and expectations were unreasonable. On a film with that kind of ratio, one would expect three assistants, and a lead editor. No schedule for an editor is reasonable these days. Generally speaking, the shooting ratio is massive, the schedules are tighter than they used to be, and there is no time to adequately evaluate the material, let alone finesse the cut. 25

26 No extra time was considered for editing or assisting despite the huge excess of footage that was double what was initially estimated. Shooting ratio always seems high as there is a tendency to shoot everything on two cameras. Sometimes three. And there was a lot of poorly thought out coverage. Shooting ratios are astronomical compared with the past. But we better get used to it - it's not going to get better! We need to negotiate for longer edit time. Unreasonable. More time should have been allowed for whittling down rushes alongside creation of a paper edit / rough structure before the proper offline began. Outrageous! The digital age has meant that productions are shooting more. This, however, is not reflected in the post production schedule. Producers are under the mistaken belief that because it's digital, it is quicker... Not for post! Camera discipline is lacking these days. In film days the ratio used to be about 12:1 (film shot to finished film) but now they just keep shooting. Camera staff aren't trained in how to conceptualise in their mind first then shoot after, and they don't think about the poor old editor. I'm never flummoxed by loads of rushes. This last film was shot over four years so you expect a lot. It makes for splendidly rich rushes. The problem is this isn't reflected in the edit schedule Everyone in the commissioning process wants a fine film - but they won't give it due time to make. 26

27 SECTION 9 CHANGES IN WAGES OVER TIME 27

28 SECTION 10 COMMENTS Any other comments on your wages or conditions? I find there is a lot of pressure in the industry to do many hours of overtime but not to report overtime. The perception being that it is your fault if you have to do overtime as you are not capable of the task, even when the task requires more hours than is allocated. I always get awkward / intimidated when asking about rates because I know I am potentially replaceable with someone who wouldn't kick up a fuss. I think rates should be raised in general to fall in line with the cost of living. However, the budget, shooting ratio, type of project, and level of experience should all feed into the wage rise. The base rate for a drama editor on commercial domestic productions hasn t changed in fifteen years. I have not seen a substantial increase over the last twenty years. In my view salaries have remained stagnant for a long, long time. This might seem ungracious - but I work constantly most of the time and do not receive parity with other heads of department. Wages and conditions are less than in the mid-1990s. There have been no CPI increases, let alone increases reflecting experience and ability since that time. The situation is appalling given that the industry is based in major cities where the cost of living has more than doubled in the same time period. Screen Australia should be educating producers when they see low editor wages in their budgets. Instead, they encourage producers to pay us less. This is a top-down problem. There is a clause in my full time contract about my annual wage covering any overtime worked, i.e. overtime is absorbed by my current salary and not paid for. This is a horrible clause for this kind of work which often requires overtime. I have never received superannuation on my ABN, and find people do not want to pay the extra you would get as an employee (eg. holiday pay etc). When you give them the higher $ as an ABN they baulk. Hours are generally long and overtime expected. As a parent I find this hard, but have been lucky in my last few jobs to have reasonable employers. 28

29 My main concern is that the business is lumpy. I can run in to a sudden rush in demand for my services that's hard to meet followed by lengthy periods of nothing, or low paying short jobs. It leaves me worried about paying the rent and also about progressing in my career to more high profile and stable work. Sometimes it's challenging when it's expected that you will work 13 hours days (or there abouts) for an extended period of time and just get paid the normal hourly rate for what I imagine is actually overtime. It's usually unclear when overtime actually begins and what should be clocked as just another hour of work. The acceptance of working unhealthily long hours in post can make living a balanced life a challenge too. It's something I am currently evaluating. There should be discussion regarding editors undercutting others by offering to do the job at a lower wage. We all need to be paid more. MUCH more. Good editors that accept low wages, often without even attempting to negotiate, are devaluing our expertise and is allowing employers to keep wages stagnant without the increases needed to match the cost of living. It is important not to overlook the negotiation of benefits like holiday pay as it can substantially increase the overall rate for the job. I'm generally happy to accept lower wages if it is a smaller, hard working company with what I deem to be a worthwhile production. I have been lucky to have some very long term productions to keep me going. This will shortly come to an end which is a little scary as real wages have not risen with CPI and I still get people proposing very low rates regularly. Full overtime is not seen as a feasible request and I am regularly being asked to provide public liability insurance even when working in other people's facilities! Television wages have not kept up with the expected workload. In TVCs cancellation issues are becoming a problem and when on a job you are expected to work through until job done... as if the higher rate buys you out of your conditions e.g. a proper lunch break. I would like to see a contract created for short form work. (I do however create my own on each job). It seems that departments have little or no budgets for overtime and this is wrong, especially when deadlines have to be met. 29

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