Ratification 2025-2028

Q: How will Minimum Fees be increased over the term of BCMPA 
A: The Minimum Fees for Performers excluding Background Performers, will increase by 5.5% the first year, 4% in the second year and 3.5% in the third year. 

Q: What wage increases did we achieve for Background Performers?
A: Minimum Fees will increase by 6.5% for Background Performers, excluding Stand-ins, in the first year. The subsequent two years of this Agreement will see general rate increases of 4% in  year 2 and 3.5% in year 3. 

Q: What about Stand-ins? 
A: In recognition of their additional roles and responsibilities, the Minimum Fees for Stand-ins will increase by 10% in the first year, 4% in the second year and 3.5% in the third year. 

Q: What gains did we achieve for our insurance benefits?
A: Producers will contribute an additional 0.5% of the Performer’s Gross Fees to insurance benefits starting in year 2 of this Agreement

Q: What gains did we achieve for our retirement plan?
A: Producers will contribute an additional 0.5% of the Performer’s Gross Fees to the retirement plan starting in year 3 of this Agreement.

Q: Did we make any increases to the maximum contribution caps?
A: Yes, we achieved an increase from $5000 to $6000 in the Insurance caps and from $6000 to $6500 for the Retirement and Equalization Caps in year three of the agreement.

Q: What changes have been made regarding the compensation for Choreographers?
A: UBCP/ACTRA has successfully negotiated language that recognizes and values the work of Choreographers. Moving forward, Choreographers will be compensated at not less than 125% of the applicable daily or weekly Solo Dancer Fee. This 25% increase to their minimum fee reflects the importance of their role in Productions. 

Q: What gains did we achieve for our per diems? 
A: Per diem rates have remained the same since 1999. This round we were successful in achieving a stepped increase that boosts per diem allowance from $160 to $165 effective April 6, 2025 and a further increase from $165 to $170 on April 4, 2027.

Q: Is there any increase in the per kilometer travel expenses?
A: Yes, the fee payable per kilometre will increase from $0.35 to $0.43 in Year 1, then to $0.48 in Year 2 and then to $0.55 in Year 3.

Q: What gains were achieved for Background Performers for the compensation for supplying Specialized Items?
A: The Producers will pay Background Performers who agree to use their cars on camera $40 per day and effective April 4, 2027, that will increase to $45 per day. 

Q: What gains were achieved for the provision of wardrobe for Background Performers?
A: The Producers will now provide a suitable area for the storage of Background Performers’ clothing. Additionally, the rate for the provision of Specialized Wardrobe has increased from $25.00 per change per production week to $35.00 per change per production week.

Q: What new protections will be included in the new BCMPA for Performers in the area of Artificial Intelligence and Digital Replication?
A: An entirely new section (Section F) will be added to the Agreement. This section will clearly stipulate provisions regarding Artificial Intelligence: Digital Replication and Alteration as it applies to live-action Productions. 

Q: What are Digital Replicas? 
A: The Agreement will include definitions for two types, collectively referred to as Digital Replicas: Engagement-Based Digital Replica (EBDR) and Independent Created Digital Replica (ICDR). These definitions reflect the industry standards set by SAG-AFTRA in their TV/Theatrical negotiations, and the ACTRA IPA, ensuring consistency and clarity in the use of Digital Replicas across North America.  

• Engagement-Based Digital Replica (EBDR) 
  An EBDR is a replica of the voice or likeness of a Performer and is digitally created when a Performer is working on a Production, and the Performer physically participates in such creation.  
• Independently Created Digital Replica (ICDR) 
  An ICDR is a digitally created asset that is intended to look and sound like a real, recognizable Performer, but the Performer is not working for the Production in which it will be used but has provided consent for the replica to be used. 

Q: What requirements are there for Performer consent regarding Digital Replicas or Generative AI (GAI) use? 
A: Performers must be notified no less than 48 hours in advance when their services will be used for creating a Digital Replica or GAI in a Production. The notification must include a reasonably specific description of the intended use. Consent from the Performer must be obtained before creating the Digital Replica, and this consent must be clear, defined, and documented. The consent is secured through an addition to the Performer’s contract, or through a separate statement in the contract, which must be signed by the Performer. 

Q: How will Performers be compensated for time spent creating a Digital Replica? 
A: Any time spent by a Performer creating a Digital Replica will be treated as work time. If the work occurs on a day when the Performer is not otherwise engaged by the Producer, the Performer will receive one day’s pay at the applicable minimum daily fee. If the Producer schedules the work around the Performer’s availability, the Performer will be compensated with half of the minimum daily fee for a 4-hour session. If the session exceeds 4 hours, the Performer will receive the full minimum daily fee. 

Q: How much notice will Performers receive before creating a Digital Replica?
A: Performers must be notified at least 48 hours in advance if their services are needed to create a Digital Replica. This gives Performers time to prepare and make informed decisions about their participation.

Q: Will consent be required from a Performer before they provide services for a Digital Replica? 
A: Yes, Performers will be explicitly asked for their consent. The request will be clear and will be documented through signatures or initials. This ensures Performers understand the nature of their work.

Q: Will Performers be told how their Digital Replica will be used? 
A: Yes, Performers will be given a reasonably specific description of how their Digital Replica will be used. This helps Performers make an informed decision about whether to consent, ensuring transparency about the intended purpose of their likeness.

Q: What nudity provisions exist for Performers in relation to the creation of a Digital Replica? 
A: All of the existing protections and provisions within Article A24 – Nude Scenes of the BCMPA continue and cannot be overridden by the new AI provisions. Performers will not be required to appear in the nude while rendering services for the creation of a Digital Replica without the Performer’s prior consent. Additionally, in no event will a Minor appear in the nude when rendering services for the creation of a Digital Replica. 

Q: Does consent for the Digital Replica last after a Performer’s death? 
A: Unless otherwise specified, consent for the Digital Replica remains valid even after the Performer’s death. This means their likeness can continue to be used according to the terms agreed upon, unless specific limits have been set. 

Q: What is considered work time for a Performer when creating an Engagement-Based Digital Replica (EBDR)? 
A: All time spent by the Performer to create an EBDR on the same day they are engaged to perform other work for the Producer is considered work time. This time forms part of the Performer’s workday and should be compensated as such. 

Q: How is a Performer compensated if they are called in solely to create an EBDR? 
A: If a Performer is called in solely for the purpose of creating an EBDR and is not engaged in any other work for the Producer, they must still be compensated for their time spent creating the Digital Replica. 

Q: Is it necessary for the Producer to obtain consent from the Performer for the creation of an EBDR? 
A: Yes, a Producer must obtain consent from the Performer 48 hours prior to the creation of an EBDR and will be compensated. 

Q: Will Performers be compensated for the use of their EBDR? 
A: When a Performer’s EBDR is used in a scene(s) in lieu of the Performer, the Performer shall be paid the minimum daily fee for each day the Performer would normally have been required to work. 

Q: Can my EBDR be used on another Production that I didn’t work on, or give my permission to be used? 
A: No, your EBDR is only for the Production you were engaged in. Any use in another Production requires your consent and the right to negotiate separately for such use. 

Q: What language was added for Background Performers in AI? 
A:  Language for Background Performers in terms of AI includes: 

• Advance Notification: Background Performers must be notified no less than 48 hours in advance of the time they are required to participate in the creation of a Background Performer Digital Replica. 

• Explicit Consent: Background Performers must be asked for their explicit, informed consent to provide services related to the creation of a Digital Replica, and this consent must be signed or initialed by the Performer. 

• Clear Description of Use: Background Performers should be provided with a reasonably specific description of the intended use of their Digital Replica, ensuring transparency. 

• Consent Valid After Death: The consent given by the Background Performer continues to be valid after their death, unless explicitly limited otherwise. 

Q: How will Background Performers be compensated in regard to AI?
A: Compensation for Background Performers in AI include: 

• Work Time for EBDR Creation: All time spent by the Background Performer to create a Background Performer Digital Replica (BPDR) on the same day they are engaged to perform other work for the Producer is considered work time. This time is part of the Background Performer’s workday and should be compensated accordingly. 

• Compensation for Solely Creating Digital Replicas: If a Background Performer is called in solely to create a Digital Replica and is not providing any other work for the Producer, they must be compensated for their time dedicated to creating the replica. 

• Consent for Use of Digital Replicas: A Background Performer’s Digital Replica may not be used in any Production that the Performer was not originally engaged in without their explicit, informed consent. The Performer will be compensated for such use if it occurs. 

• Upgrade for Principal or Actor Roles: If a Background Performer’s Digital Replica is used in a Principal or Actor category role, or if the replica is digitally altered to appear as if the Performer is speaking lines with dialogue, the Background Performer must be upgraded to the appropriate category and compensated accordingly. 

Q: How much time in advance must a Producer provide self-tape materials to Performers? 
A: Producers must make character breakdowns, sides, and/or scripts available to Performers at least 48 hours prior to the submission deadline for a self-tape. Note that Saturdays, Sundays, and statutory holidays are excluded from these 48 hours. 

Q: How many pages of scripted material can a Performer be provided for a first self-tape audition? 
A: For a first self-tape audition, a Performer cannot be required to audition with more than 8 industry-standard pages of scripted material.  

Q: Can a Performer be asked to audition with an accent or dialect without prior notice?
A: If the script requires a specific accent or dialect, notice will be given as part of the casting process. 

Q: What other gains were made in relation to self-tapes that impact Performers? 
A: Specific provisions regarding standardized slates for self-tapes, these include:  

(i)  The Performer’s name;  
(ii) The Performer’s height (or height when seated for Performers using mobility devices); 
(iii) The Performer’s city and province of residence, and citizenship; 
(iv) The Performer’s current location and province of residence for tax purposes, if different from the city and province of residence; 
(v) The Performer’s age and birthday, if the Performer is a Minor; 
(vi) Information about the Performer’s special skill(s) which the Producer determines is necessary for the performance of the Role (e.g., horseback riding, swimming, accents, ability to play a musical instrument or play a sport); and
(vii) A head and shoulders shot and/or a full body shot in portrait orientation. The Producer may not request any changes in camera angles or panning. (For clarity, this does not preclude a Producer from requesting that the Performer change position, e.g., to provide a profile shot.) 

Q: What gains were made for Dancers in relation to self-tape? 
A: In addition to the provisions regarding slate for a self-tape, Dancers must also be provided with any music or sound required for the self-tape. The Producer may not ask the Dancer to choreograph or improvise a dance; and the specific choreography may not exceed four eight-beat counts, must be capable of being performed in an indoor space no larger than 8x8x8ft, and must be for a solo performance.  

Q: How are Intimacy Coordinators being incorporated into scenes involving nudity or simulated sexual activity? 
A: A new provision has been introduced requiring Producers to use their best efforts to engage an Intimacy Coordinator for scenes involving nudity or simulated sexual activity. Producers are also encouraged to consider any requests from Performers to engage an intimacy coordinator for other scenes, ensuring a safer and more respectful environment. 

Q: If a UBCP/ACTRA Performer’s request for an Intimacy Coordinator is denied, and they feel uncomfortable shooting scenes without one, are they required to proceed with the shoot? Is there someone Performers can reach out to who can advocate on their behalf? 
A: If a Performer feels uncertain, they should first engage with their agent who can help navigate the situation and, if necessary, UBCP/ACTRA can advocate for the inclusion of an intimacy coordinator on behalf of the Performer, ensuring a safe and professional environment. Stronger language has been added to the Agreement to ensure Performers are better protected, without fear of reprisal.

Q: What measures have been introduced to ensure that audition materials are handled appropriately? 
A: Stronger language has been added to ensure that nude and semi-nude audition materials are destroyed once they have served their purpose. This protects the privacy of Performers and ensures the material is not retained unnecessarily.

Q: How are Producers required to handle post-production work related to Performers in nude scenes? 
A: Producers are now clearly required to notify post-production supervisors and editors, who have an essential business purpose, about any Performer contracted to perform in a scene involving nudity, semi-nudity and simulated sexual activity. This ensures that all involved Parties are aware of the specific requirements and considerations.  

Q: What changes have been made regarding the use of nude or semi-nude photos for Performers? 
A: The provisions around nude or semi-nude photos have been strengthened. Exceptions for continuity purposes, still photos, and polaroids have been removed. Additionally, security measures have been added to ensure that only individuals with a legitimate business purpose can access these materials.  

Q: What other changes were made to the Nude Scene section?
A: We have clarified that the protections contained in the Nudity section also apply to Performers when they are required to perform simulated sexual activity. We also reformatted the section to make it easier to follow and align with the ACTRA IPA. 

Q: Were we finally able to address the turnaround? 
A: YES! We have increased the rest between days for all performers from 10 hours to 11! 

Q: What measures are in place to ensure Performers are supported if injured on set? 
A: The Producers have agreed to provide best efforts to send the WorkSafeBC Form 7 (notification of injury) to the Union at the same time they provide to WorkSafeBC but no later than 3 days after. This will ensure that Members receive assistance from the Union with access to much needed support with their WorkSafeBC claim. 

 Q: Were there any modifications made to address accessibility on set? 
A: Yes, the Parties have agreed to establish an Accessible Set Committee, jointly with ACTRA. The Committee will discuss accessible sets – including issues such as parking – and will recommend any bulletins to the industry as well as take any other steps to make progress in creating accessible sets. 

Q: Did we get any additional protections around harassment?
A: Yes, Producers must now inform the complainant, and the Union (if the Union was involved) that the Producer has undertaken and concluded an investigation, so members won’t be wondering what, if anything, happened after making such complaint.

Q: What new provisions have been added regarding the styling, maintenance, and restoration of a Performer’s hair? 
A: The provisions have been expanded to increase protections for Performers and clearly assign responsibility for the styling, maintenance, and restoration of a Performer’s hair to the Producer. This includes covering reasonable third-party costs for changing and maintaining the required hairstyle during Production. 

Q: What new opportunities are available to Performers regarding hair and makeup consultations? 
A: A new provision ensures that Performers, excluding Background Performers, are offered the opportunity for a meaningful consultation with the hair and makeup department before starting work. This allows the hair and makeup team to prepare and ensure they have the appropriate tools and equipment for each Performer.  

Q: How are Performers, excluding Background Performers, compensated if they must self-style or seek third-party services for hair and/or makeup? 
A: If hair and/or makeup services cannot be provided on set, Performers are to be compensated fairly. On non-workdays, they will be paid for 2 hours or the approved time spent receiving hair and makeup services, whichever is greater. On workdays, they will be paid for the approved time spent on self-styling or applying makeup. This provision aims to improve the availability and expertise of hair and makeup professionals in the industry.  

Q: What procedures have been implemented for hairstyling changes for Background Performers?
A: Background Performers must provide a clear photo of their current hairstyle and colour before booking. If a Producer requests a change to the Performer’s natural hairstyle that will take more than 30 minutes, the Producer must cover pre-approved expenses. Background Performers are compensated for their time on workdays, and on non-workdays, they will be paid for the approved time spent, or a minimum of 2 hours at their contracted hourly rate, whichever is greater. 

Q: What measures have been introduced to ensure that Performers with disabilities are supported under the new Agreement? 
A: Producers will ensure that Performers with disabilities are provided the opportunity to audition for roles that portray a person with a disability. Additionally, the Producer will liaise with UBCP/ACTRA before hiring a Performer without a disability for such roles. 

Q: How has the treatment of script translation duties been addressed in the Agreement? 
A: The Agreement has extended the limitation on translation duties, ensuring that Performers are not required to translate script materials into English or from any other language into another language, both during auditions and on-set.  

Q: What provisions have been added to improve the working environment for Performers? 
A: The Agreement introduces several provisions to improve the working environment, including ensuring Producers make best efforts to accommodate Performers’ requests for private spaces for lactation or pumping.  

Q: Have any changes been made regarding Dressing Room, Holding, and Sanitary Provisions? 
A: “Holding Area” has been added to the title of A2001- Dressing Room and Sanitary Provisions. While the Union’s stance has always been that the rules of this Article also apply to Background Holding, we hope this addition provides the clarity needed for Productions to have suitable Holding areas on set for our members doing work in a Background category. In addition to this, there is now a clarification that no Performer may be asked to change in a public washroom or unsanitary facilities. Lastly, the Producer, shall, where possible, provide appropriate shelter during inclement or intemperate weather. 

Q: How does the Agreement support Performers’ representation, identity, and credits? 
A: The Agreement has introduced updates that include a field for pronouns on the Performer Contract. Additionally, a new Letter of Understanding ensures that Producers will assist Performers in correcting or adding credits on IMDb. 

Q: What general updates have been made to the Agreement regarding inclusivity and language? 
A: The Agreement commits to updating language to reflect gender-neutral terms and pronouns throughout, ensuring inclusivity and respect for all Performers.

Q: What are the changes to the Minimum Number of Qualified Background Performers per day? 
A: The Minimum Number of Qualified Background Performer count requirements have been increased as follows: 

• For Productions (excluding feature films with budgets over $20 million), the count will increase from 16 to 17 (not counting Special Ability Background Performers or Stand Ins) per day. 

• For feature films with budgets over $20 million, the minimum daily count will increase from 26 to 27 (not counting Special Ability Background Performers or Photo Doubles) per day.  

Q: How has the Agreement improved the clarity and fairness in the booking process for Background Performers? 
A: Background Performers will now receive notice of the date, time, and place of location (whether interior or exterior) at least 12 hours prior to their Call time. 

Q: Are there any changes to the Agreement around rest periods for Background Performers?
A: Yes, the Producers agreed to a Bulletin that will be issued to productions on a regular basis that reminds productions to recognize the need for rest periods at reasonable times and to ensure that production clearly communicates with Background Performers about the timing of such rest periods. 

Q: What changes have been made regarding the definition of Special Ability Background Performer? 
A: The definition of SABP now includes the driving of any motor vehicle requiring a specialized license (any license other than a Class 5), and any action for which the Producer requires the Background Performer to have a specialized license or certificate to perform on-camera work. An example of this would be a Producer requiring a Red Seal certificate to perform on-camera welding.   

Q: Was anything done to address the issues raised with current Casting and Engagement practices? 
A: The Producers agreed with the Union that they are not in support of these practices, and have agreed to establish a Committee to review and make recommendations in respect to different aspects of the background casting process, including the engagement process of General Background Performers, the engagement process of Stand-Ins, concerns raised in respect of “do not hire” lists, and practices surrounding availability inquiries. The Committee’s central focus will be the development of a “Best-Practices” reference document for Background Performer Casting and Engagement. 

Q: What improvements did we achieve for tutoring Performers? 
A: Now those Performers who are 17 or 18 years of age and are no longer considered a Minor (under the age of 17) but are still in high school will receive tutoring as required by the agreement for Minors. 

Q: What additional protections were achieved for those Performers who are 17 years old?
A: A parent and/or guardian may request to accompany a Performer aged 17 years of age to set, including any requirements to travel as provided for Minor Performers. 

Q: Were any changes to the Minors Trust requirements? 
A: The previously agreed to changes, now allowing Minor Performers to elect to have their Trust amounts remitted to either ACTRA PRS or the BC Public Guardian and Trustee, have now been formalized in the BCMPA. 

Q: What did UBCP/ACTRA achieve in residuals during this round of negotiations? 
A: UBCP/ACTRA achieved two important changes with respect to the Advance Option: 

• No Advance Option for Foreign Series: Foreign service Productions of Series no longer have access to the Advance Option, which gives Performers a better chance to share in the profits. 

• Lower Advance Limits: The maximum cap on the individual Performer’s Advance payment that can be attributed to the overall Aggregate Advance for a Production has been reduced from multiplier 20 to 12. This means, each Production may recoup their total Aggregate Advance earlier, for Performers to participate in the commercial success of Producers sooner.  

 Q: How will these changes affect UBCP/ACTRA members’ residuals? 
A: These changes benefit members in the following ways: 

• Better Profit Rights: Excluding the Advance Option on non-Canadian series forces the Producer to choose the Prepayment Option and start paying residuals at the end of the Option term. 

• Fairer Advances: With the multiplier reduced from 20 to 12, Performers have a better chance to receive residuals. 

 Q: What can UBCP/ACTRA members expect in terms of residuals/Use fees for the next three years? 
A: UBCP/ACTRA and the Negotiating Producers committed to set up individual meetings with the companies to review the reporting procedure for streaming platforms to ensure proper determination and allocation of Distributors Gross Revenue once the prepayment periods expire. 

Q: Did we achieve any other modifications for Dancer and Choreographer? 
A: Yes, the Producers have committed to work with the Union to create a Dancer and Choreographer specific section for inclusion in the next BCMPA. 

Q: What changes have been made to the definition of Risk Performance for Performers? 
A: The definition of Risk Performance has been expanded to include any action by a Performer that could reasonably be considered dangerous or beyond the Performer’s general experience. 

Q: What changes have been made to protect Performer earnings? 
A: The Agreement will now require Producers who have never worked with the Union to post a larger Performance Bond to protect Performer earnings in case the production fails to meet their payroll obligations. 

Q: How have the treatment of Fact-based and Lifestyle Productions been updated in the Agreement? 
A: The references in Appendix “P” – Fact Based/Lifestyle and Documentary Programs of the Agreement have been updated to include Reality Productions and reflect that these Productions are no longer considered an emerging genre. Additionally, the monetary threshold for Fact-based, Lifestyle, and Reality Productions to access the terms in Part F has been removed. 

Q: What restructuring has been done to Appendix “Q” BC Independent Production Incentive Program  (BC Indie)? 
A: The budget thresholds for the BC Indie Program have been increased by 5.5% to account for wage increases and inflation. 

Q: What changes were made to Appendix “R” – Made for New Media?  
A: The budget thresholds for low budget Canadian Made for New Media Productions were increased to account to remain competitive with other jurisdictions. 

Q: Who is eligible to vote on the ratification of the renewed BCMPA? 
A: You are eligible to vote on the ratification of the renewed BCMPA if: 

• You are a Full Member in good standing as of Feb. 12, 2025 and you have worked under the 2018 – 2021 BCMPA, the 2021 – 2024 BCMPA or the 2024 – 2025 1-year extended BCMPA; or 

• You are an Apprentice Member who has completed 2 professional engagements in a residual category under the 2021-2024 BCMPA or 2024-2025 extended BCMPA; or  

• You are an Apprentice Member who does background work and you submit proof satisfactory to UBCP/ACTRA that you have worked in Background roles for at least 8 work-days per year for each year of the 2021 – 2024 or extended 2024 – 2025 BCMPA; or 

• You are a Background Member who meets the voter eligibility requirements under 6 b. of Appendix D of the ACTRA National By-Laws. (proof of 15 days worked per year under the expiring agreement, prorated from joining date) 

Q: When is the voting period?
A: You may cast your vote from February 19 at 3pm PST until March 5 at 3pm PST.

Q: Is my vote confidential? 
A: UBCP/ACTRA has engaged Simply Voting, a third-party Canadian online voting software company, to conduct the online vote for the ratification of the renewal of the British Columbia Master Production Agreement. Under British Columbia Labour Code it is a legal requirement that your vote is confidential. Conducting this vote by online ballot allows you to vote in a reliable, compliant and secure way. Simply Voting will ensure complete anonymity and confidentiality for eligible voters. Simply Voting has a history of conducting audited 3rd party voting for organizations across Canada, including fellow film and tv unions and guilds using Canada-based servers and staff. Because the vote is being conducted by a third-party, UBCP/ACTRA will not have any knowledge of who has voted.