PA Day Rate Guide: NYC, LA, and Atlanta in 2026
PA day rates in NYC, LA, and Atlanta for 2026. Set, office, and locations PA breakdowns. Kit fees, overtime, what union shows pay, what to negotiate.
What a production assistant should be paid in 2026 depends heavily on three things: the city, the type of production, and whether the show is union signatory. This guide breaks down the actual ranges across the three biggest US film markets, plus how kit fees, overtime, and weekly rates change the math.
For the broader picture across all crew roles, see our Film Crew Day Rates by Role and City (2026) guide. This article focuses specifically on PA work.
Quick Reference: PA Day Rates by City (2026)
These are 2026 day rate ranges for a non-union 10-12 hour day, based on actual postings and recent crew reporting.
| Production type | NYC | Los Angeles | Atlanta |
|---|---|---|---|
| Student film, micro-indie | $100 to $150 | $100 to $150 | $100 to $150 |
| Music video, low-budget short | $150 to $200 | $150 to $225 | $125 to $175 |
| Indie feature, low-budget commercial | $200 to $275 | $225 to $300 | $175 to $250 |
| Mid-budget commercial | $275 to $350 | $300 to $375 | $250 to $325 |
| Episodic TV (non-tentpole) | $300 to $400 | $325 to $425 | $275 to $375 |
| Major streamer / studio | $325 to $450 | $350 to $500 | $300 to $425 |
| Union (IATSE Local 161 office PA) | Varies, includes P&H | Varies, includes P&H | Varies, includes P&H |
A few things to flag before you anchor on any number:
Anything below $100/day is an exploitation flag. Even student films and music videos in 2026 should be paying $100+. If a posting offers "deferred pay" or "credit and copy" with a real budget behind it, treat it as a flag and decline.
Studio tentpoles and signatory union work blow past these ranges. This guide covers the realistic non-union and lower-budget union floor that most working PAs actually navigate.
Atlanta's tax credit market makes the rates spikier than they look. A streamer in Atlanta on a tax-incentivized show often pays parity with LA, even though the median commercial is paying 85% of LA.
NYC PA Rates: The Specifics
NYC has the highest cost of living of the three markets, and rates reflect that. NYC also has more depth of work because of the volume of commercial, episodic, and streamer production happening across Brooklyn, Queens, and Manhattan.
| PA type in NYC | Day rate range (2026) |
|---|---|
| Set PA (non-union) | $175 to $375 |
| Office / Production PA | $175 to $325 |
| Locations PA | $200 to $400 (often includes earlier call) |
| Casting PA / Background wrangler | $200 to $400 |
| Department PA (camera, art, costumes) | $200 to $350 |
Things to know about working as a PA in NYC specifically:
- IATSE Local 161 is the local for production office coordinators and accountants. Office PAs often join this union once they're working enough professional days.
- Borough commute matters for rate negotiations. Productions in DUMBO, Williamsburg, and Long Island City are common. If a production wants you in Riverhead at 5am, that often comes with a small bump or transportation provided.
- Weekly rates for ongoing series often run $1,200-1,700 for office PAs, $1,400-1,800 for set PAs.
- Kit fees in NYC are slightly higher than national average. $25-50/day for a basic set PA kit, $50-75 for a locations PA's kit (which often includes more tools).
For more on getting started in NYC specifically, see How to Become a Film PA in NYC (2026).
LA PA Rates: The Specifics
LA has the deepest crew bench in the country and the highest concentration of major studios and streamers. Rates are typically the national high water mark.
| PA type in LA | Day rate range (2026) |
|---|---|
| Set PA (non-union) | $200 to $425 |
| Office / Production PA | $200 to $375 |
| Locations PA | $225 to $450 |
| Casting PA | $200 to $400 |
| Department PA | $225 to $400 |
Things to know about working as a PA in LA specifically:
- The competition is steeper. LA's depth of crew means PAs are competing against a larger pool. Reliability and a strong coordinator network matter more than in smaller markets.
- Stages and lots vs location days. Working on a stage at Universal, Sony, or Warner Bros. is different from a location shoot in Echo Park. Stage days are often more structured but with stricter call times.
- Drive time is often part of the deal. Some productions pay drive time from your home zip; many don't. Negotiate this if you live more than 45 minutes from base camp.
- DGA Trainee Program is a fast-track for set PAs aiming at the AD path. Limited spots, competitive admission. Worth knowing about even if you don't apply year one.
- Kit fees match national average: $25-50/day for set PAs.
Atlanta PA Rates: The Specifics
Atlanta is one of the busiest US production markets, anchored by the Georgia film tax credit. Tax-incentivized streamers and feature productions pay close to LA rates; the local commercial market pays modestly less.
| PA type in Atlanta | Day rate range (2026) |
|---|---|
| Set PA (non-union) | $150 to $375 |
| Office / Production PA | $150 to $325 |
| Locations PA | $175 to $375 |
| Casting PA | $175 to $350 |
| Department PA | $175 to $325 |
Things to know about working as a PA in Atlanta specifically:
- The tax credit creates two distinct markets. Tax-incentivized shows (most streamers, many features) pay near-LA rates. Local commercials and indie work pay 80-85% of LA.
- Studio access matters. Trilith, Tyler Perry Studios, Pinewood Atlanta, and Blackhall are the major lots. Working at any of them gives you a network of crew and coordinators.
- Lower cost of living means rates that look smaller go further. A $300/day rate in Atlanta has higher purchasing power than $400/day in LA.
- Crew tend to move between Atlanta, New Orleans, and Albuquerque following tax-credit work. PAs who establish themselves in Atlanta often gain access to ABQ and NOLA work too.
For city directory info, see our Indie Film Production Companies in Atlanta guide.
Kit Fees: The Hidden Layer of PA Pay
Kit fees are extra payments to crew who bring their own gear. For PAs, kit fees typically cover:
- Walkie batteries (productions provide the walkies, you provide rechargeable batteries)
- Headlamp
- Multitool
- Black gaffer tape
- Sharpies
- Backup phone battery
- Personal walkie surveillance kit (the earpiece) for some specialized roles
Standard PA kit fees in 2026:
| Role | Kit fee per day |
|---|---|
| Set PA | $25 to $50 |
| Office PA | $0 to $25 (often no kit) |
| Locations PA | $50 to $75 (more tools required) |
| Department PA | Varies by department |
Productions sometimes try to roll the kit fee into the base rate. Don't accept that without negotiation. The kit fee compensates the use of personally-owned gear; it's separate from your labor.
Overtime: When the Day Gets Long
Most non-union PA contracts assume a 10-hour day. Time worked past hour 10 is typically billed at 1.5x for hours 10-12 and 2x past hour 12.
A $300 day rate translates to $30/hour straight time. Working a 14-hour day means: ($30 × 10) + ($45 × 2) + ($60 × 2) = $510 for the day, not $300.
Some indie productions skip this math and pay a flat. Don't accept a flat for a day you suspect will run long unless the rate already accounts for it. Specifically:
- Get the OT treatment in writing in the deal memo
- Confirm the call time, wrap target, and meal times
- Ask about second meals for days expected to run past 12 hours
Weekly Rates: When You Get Booked Multi-Day
For ongoing series, multi-day commercial campaigns, or a feature's principal photography, productions often hire on weekly rates rather than per-day.
A typical PA weekly rate in 2026:
| Project type | Weekly rate range |
|---|---|
| Non-union indie feature | $1,000 to $1,500 |
| Mid-budget commercial campaign | $1,400 to $1,800 |
| Episodic TV (non-tentpole) | $1,500 to $2,000 |
| Major streamer / studio | $1,600 to $2,400 |
Weekly rates assume a 5-day work week. Sixth and seventh days are typically 1.5x and 2x of the prorated day rate.
The trade with weekly rates: lower per-day pay in exchange for guaranteed days. A producer who wants a PA for the full 4-week shoot will offer a weekly that's slightly less than 5x the day rate, in exchange for the commitment.
When to Take Below-Market Work (and When to Walk)
The honest answer: take below-market work when it's purposeful, walk when it's exploitative.
Take it when:
- You're new and need set days for your network
- The project is an obvious resume-builder (a notable director, a known production company, a competitive festival short)
- You'll get a meaningful relationship with a coordinator or department head
- The day count is small (1-2 days) and the rate is at least 70% of market
Walk when:
- The production has a real budget and is just trying to lowball
- The role is mislabeled (asking a PA to do 1st AC work, asking a set PA to do production coordinator work)
- The contract has language you can't agree to (broad NDAs, IP transfer of personal photos, no-overtime flat for unspecified hours)
- You've already worked enough below-market days that you'd be giving up paid work to take this one
The career math: 5-10 below-market days early. After that, the value is in your reliability and your network, not your willingness to work cheap.
How to Negotiate as a PA
Three rules that apply across markets:
1. Quote a range, not a number. "I'm typically $250 to $300/day depending on length and crew size" leaves room. Quoting a single number caps your earnings forever.
2. Confirm everything in writing. Day rate, kit fee, OT treatment, call time, wrap target, parking, meals. A simple deal memo by email is enough on small productions; bigger productions issue formal deal memos via DocuSign.
3. Charge for prep and travel days separately. Prep days are typically half rate. Travel days (if you're flown out) are typically 8 hours flat at straight time. Don't roll prep into a free day.
For a producer's view of how PA rates fit into total budget, see our Production Budget Template for Indie Filmmakers.
How NeedaCrew Helps PAs Find Rate-Appropriate Work
NeedaCrew is the US/Canada marketplace for film crew and casting. Productions post gigs with rate, role, and location upfront, so you see what the budget is before you apply.
- Free profile with photos and gear list
- Saved searches by city, role, and rate floor
- Direct messaging with coordinators
- Notifications when new gigs in your city match your filters
If you want to be in front of producers when they're budgeting their next show, list yourself free →
TL;DR
- 2026 PA day rates: $100-150 floor (student/indie), $325-500 ceiling (major studio)
- LA pays slightly higher than NYC; Atlanta pays 85-90% of LA on local work, near-LA on streamers
- Kit fees: $25-50/day standard, $50-75 for locations PA
- Overtime kicks in at hour 10 (1.5x) and hour 12 (2x) on most contracts
- Weekly rates: typically 4.5x-4.8x of equivalent day rate (lower per-day, guaranteed days)
- Take below-market work when it's purposeful (network, relationship, resume); walk when it's exploitative
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