Negotiating Your Rate as an Actor or Crew Member

Money conversations are uncomfortable. But if you do not advocate for yourself, no one else will. Here is how to negotiate like a professional without pricing yourself out of work or leaving money on the table.

Know Your Floor

• Calculate your actual minimum. Before you negotiate anything, figure out the lowest number you can accept and still pay your bills, cover your travel, and not resent the job. That is your floor. Never go below it.
• Factor in your real costs: gas or transit to set, parking, meals if not provided, wardrobe you need to buy, time spent in fittings or rehearsals, and the opportunity cost of blocking those dates.
• Your floor should go up over time. As you gain credits, skills, and a reputation, your minimum should increase. Revisit it every 6 months.
• Working for free is a choice, not a default. There are legitimate reasons to work for free: building your reel, a passion project with people you trust, a director whose vision you believe in. But "exposure" from a brand that has a budget is not a reason. If they can afford catering, they can afford to pay you.

Market Rates by City (Non-Union Ballpark)

These are rough ranges for non-union work. Union rates (SAG-AFTRA) are standardized and generally higher.

Market	Day Rate (Actor)	Day Rate (Crew)	BG/Extra
NYC / LA	$500 - $1,500+	$400 - $1,200	$150 - $250
Atlanta	$350 - $1,000	$300 - $800	$100 - $175
Chicago	$300 - $900	$300 - $750	$100 - $150
Smaller Markets	$150 - $500	$200 - $500	$75 - $125

These are 10-12 hour day rates. Rates vary widely based on project budget, your experience, and specific role requirements. For crew rates by role and city, see film crew day rates by role and city.

Understanding Rate Structures

• Day Rate: A flat fee for one shooting day, typically 10-12 hours. This is the most common structure for non-union work. Always clarify what constitutes a "day" (8 hours? 10? 12?) and what happens if they go over.
• Weekly Rate: Usually 4-5x your day rate (not 7x). A weekly rate assumes 5 shooting days. If they want 6 days, negotiate that as a 5-day week plus an additional day rate.
• Buyout: A single payment that covers all usage of the footage in perpetuity or for a defined period. Common for commercials. Buyouts should be significantly higher than a standard day rate because you are giving up residual income. A typical buyout is 2-5x your day rate depending on the usage scope.
• Residuals: Ongoing payments every time a commercial airs or a show re-runs. This is primarily a union benefit (SAG-AFTRA). Non-union work almost never includes residuals, which is one of many reasons to join the union when you are eligible.
• Usage Fees: Separate from your performance fee. If a company hires you for a commercial shoot at $800/day but then wants to run the ad nationally for 2 years, the usage fee covers that extended use. Always ask: "Where will this air, for how long, and in what markets?"

Additional Compensation to Negotiate

1. Overtime. Anything beyond the agreed-upon day (usually 10 or 12 hours) should be compensated at 1.5x your hourly rate. This is non-negotiable on union sets and should be standard on non-union sets too. Calculate your hourly rate as your day rate divided by the agreed hours.
2. Kit/Equipment Rental. If you are crew and bringing your own gear, charge a kit fee on top of your day rate. Camera packages can add $200-$1,000/day. Sound kits $150-$500/day. Even a gaffer bringing their own expendables should add a kit fee. Never let someone use your gear "for free" as part of your rate.
3. Travel and Per Diem. If the shoot is outside your local area (typically 30+ miles), you should receive mileage reimbursement (at the current IRS standard mileage rate), hotel accommodations, and a per diem for meals ($50-$75/day is standard). These costs are the production's responsibility, not yours.
4. Fitting/Rehearsal Days. If a production requires you to come in for wardrobe fittings or rehearsals before the shoot, those should be compensated. Half your day rate is standard for fittings. Full day rate for rehearsals.
5. Turnaround Time. You are entitled to a minimum rest period between shooting days. 12 hours is the SAG standard. If a production wraps you at midnight and wants you back at 6 AM, that is a forced call and should come with a penalty. Know your rights.

How to Actually Negotiate

1. Let them name a number first. When they ask "What is your rate?" respond with: "What is the budget for this role/position?" or "What range are you working with?" The person who names a number first usually loses leverage.
2. Never accept immediately. Even if the offer is good, say "That sounds like it could work. Let me review the details and get back to you by [tomorrow/end of day]." This gives you time to think clearly and signals that you are a professional, not desperate.
3. Negotiate the package, not just the rate. If they cannot budge on the day rate, negotiate for better terms: travel covered, longer turnaround, fewer shooting days, copy/footage for your reel, a credit upgrade, or deferred payment with a written agreement.
4. Be specific and professional. Instead of "I was hoping for more," say: "Based on the scope of this project (3 shooting days, national usage, and the wardrobe requirements) my rate would be $X. That includes [list what it includes]." Specificity shows you know what you are worth.
5. Get everything in writing. A verbal agreement means nothing. Before you show up on set, have a signed deal memo or contract that spells out: your rate, payment timeline, usage terms, overtime policy, and cancellation terms.

When to Say No

• When the rate is below your floor and they will not negotiate. Walking away is a skill. Do it politely: "I appreciate the offer, but at that rate I would not be able to give the project the attention it deserves. If the budget changes, I would love to be considered."
• When there is no contract or deal memo. No paperwork = no protection. If they balk at putting terms in writing, that tells you everything you need to know.
• When the usage is unlimited but the pay is not. A $500 flat fee for a commercial that could run nationally for 5 years is a terrible deal. Always tie compensation to usage scope.
• When payment terms are vague. "We will pay you after the project wraps" is not a payment term. Net-30 from the last day of principal photography, with a specific amount, on a specific date: that is a payment term.

Red Flags in Contracts

• "In perpetuity, throughout the universe" for a flat fee. This means they own the footage forever, everywhere, and you get nothing else. Acceptable for large union commercials with proper buyout fees. Not acceptable for a $300 non-union gig.
• No kill fee. If the production cancels after you have blocked dates, you should receive at least 50% of your agreed rate. If the contract has no cancellation clause, add one.
• Mandatory exclusivity without additional compensation. If they want you to not work for competing brands for 6 months, that exclusivity has a price, usually 2-3x your session fee.
• Ownership of your likeness for uses beyond the original project. Read the fine print. Some contracts include clauses that let them use your image for future campaigns, merchandise, or digital replicas of you without additional payment.
• "Payment upon distribution." For indie films, this can mean never. If the film never gets distribution, you never get paid. Negotiate for at least a partial upfront payment or a guaranteed minimum.