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At Wrapbook, we pride ourselves on providing outstanding free resources to producers and their crews, but this post is for informational purposes only as of the date above. The content on our website is not intended to provide and should not be relied on for legal, accounting, or tax advice. You should consult with your own legal, accounting, or tax advisors to determine how this general information may apply to your specific circumstances.
If you’re running a non-union production, you may eventually find yourself facing the possibility of your project “getting flipped.” And if this is your first time navigating the process, it can feel overwhelming.
But don’t panic—Wrapbook has your back.
In this guide, we’ll walk through the essentials of what to do when your production gets flipped. We’ll explain how flips occur, break down the basics of union grievances, outline the risks of non-union vs. union production, and offer practical steps for maintaining a smooth working relationship with the unions.
First things first…
A production “gets flipped” when it transitions from non-union to union status after filming has already begun. Because this happens mid-process—long after budgets, schedules, and crew expectations have been set—it can create substantial shifts in cost, workflow, and logistics. You may also hear this process referred to as a production “organizing.”
Most flips are initiated by crew members. In many cases, one or more crew members report the production to a union such as the Teamsters or IATSE. Sometimes, though, a production is flagged externally—perhaps a union rep passes by set, notices signage, or becomes aware that a non-signatory production is operating nearby.
Above-the-line unions operate under different protocols and generally do not participate in flipping a production mid-shoot. They are usually engaged during pre-production and post-production, making mid-filming intervention uncommon—though not impossible.
A project can be organized into a union production for many reasons.
Common triggers include:
These examples represent only a portion of situations that may lead to a production being organized or “flipped.”
Once a union receives a report, they have a legal obligation to investigate. While not every report results in a flip, the review process begins the moment the call is made.
If the union determines that organizing is appropriate, union members may choose to walk off the job unless the production agrees to become a union signatory. We’ll cover what it means to be a signatory—and how to become one—later in this guide.
When a non-union production is at risk of being flipped, a union representative will typically arrive on set and present their credentials to you or another producer. They may carry a call sheet and will often speak with individual crew members. Their goal is to assess the production and determine whether it qualifies to be organized.
As part of this assessment, non-union crew members may speak with the rep if they’re interested in joining the union. If the rep determines that the project has a budget appropriate for union work, they’ll meet with the union-affiliated crew to discuss next steps, including whether they want to initiate a vote to organize.
If enough crew members express interest—thresholds vary by union and project—a blind vote is held. Should the vote pass, the union rep will meet with the producer to present the applicable agreement, which depends on the project’s budget and medium (film, television, commercial, music video, new media, etc.).
In some cases, a crew member may raise a workplace concern, but both the producer and the union determine that organizing isn’t the right path. The union rep may still offer guidance on remedies, such as filing a claim with the state labor commissioner for late payment. In other situations, the individual may simply choose to leave the production.
Regardless of how the process begins, once your production is in danger of being flipped, transparent collaboration with union reps is essential. This often means reviewing the applicable IATSE or Teamsters agreement, ensuring your production can meet its obligations, and preparing to become a signatory if the vote passes.
And remember: non-union shoots draw union attention more easily than many producers expect. Equipment trucks, large crews, and visible signage can all bring a union rep to set. Being transparent from the start is always the best approach.
Once you know your production is getting flipped, the first step is to adjust your budget and schedule to align with the union agreement you’ll be operating under.
Because the most immediate shift is typically increased crew pay rates, a flip will often require you to review your budget and identify areas where costs can be reduced. Maybe there’s a scene you were unsure about that hasn’t been shot yet, or equipment rentals that fall more into the “nice to have” category. Expect to make cuts or reallocations to cover union-mandated wages and benefits.
Beyond pay increases, you’ll also need to address any additional compliance requirements, from overtime provisions to meal penalties to health and pension contributions. Ensuring payments are calculated correctly and issued on time is critical to staying in good standing with the union.
This is where your payroll tools matter. Using Wrapbook can help ensure that all payments are union-compliant, even during a mid-production transition. Our platform streamlines onboarding, accelerates payment processing, and makes real-time cost tracking far more efficient—a major advantage whether your project is union or non-union.
During pre-production, producers must decide whether their project will operate as a union or non-union production. If they choose to go union, they’ll approach the appropriate union with their budget and request to become a signatory. The union will then determine which agreement the project qualifies for, based on both its budget and its medium (film, television, commercial, music video, new media, etc.).
Signatories are companies that formally enter into bargaining agreements that allow them to hire union members. Production companies that sign these agreements—often referred to as signatory producers—agree to comply with all applicable union rules, including regulations related to wages, benefits, meal breaks, pensions, working conditions, and more.
It’s important to recognize the stakes of this decision. If you decline to become a signatory after the crew votes to organize, union members may choose to walk out. In many cases, this can halt production entirely.
When you agree to become a signatory producer on a production that has flipped, you’ll typically have 30 days to retroactively apply the union agreement to everyone already on payroll. This means issuing backpay to cover the difference between each crew member’s original rate and the union-mandated rate for their position.
For example, imagine you’ve hired a crew for a three-week shoot. In week two, a union rep arrives and the crew votes to organize. You will need to revisit all payments from week one within that 30-day window. This includes applying the correct scale rates, overtime rules, meal penalties, and pension and health contributions required under the union agreement.
To do this correctly, you’ll need to provide your payroll company with the finalized union agreement, and your payroll provider can handle the recalculations and adjustments from there.
If you need support applying updated payments to a flipped production—or any other project—our team can help you get everything squared away quickly and accurately.
It’s worth noting that becoming a signatory mid-production is far more stressful than handling it in pre-production. However, if you remain transparent and cooperative with union reps during the process, they are generally willing to assist and answer questions. The last thing you want is a contentious relationship with a union while your production is actively transitioning.
A union grievance occurs when a union member or representative reports a violation of a union agreement—typically involving issues like wages, hours, or working conditions. Grievances are most commonly associated with IATSE and the Teamsters, as above-the-line unions have separate processes for resolving contract violations.
Importantly, a grievance cannot be filed unless a union agreement is already in place. This means a non-union production, whether pre-flip or never flipped at all, cannot have a formal grievance filed against it.
For example, if a crew member believes they were shorted on overtime or denied a required meal break, their first step is to speak with their department head. Union projects operate under the assumption that payroll oversights are accidental. If the producer does not correct the issue, the crew member may then report the problem to their union, which initiates the grievance process.
Once a claim is submitted, the union conducts an assessment to determine whether the grievance has merit.
If the union believes the grievance is valid, here’s what typically happens:
The union contacts the production to explain the apparent violation and reference the relevant contract terms. The producer is given an opportunity to resolve the issue—often by issuing backpay or correcting the oversight.
If the production does not comply, the union sends a written grievance, usually within about 10 days. This notice formally states the violation and provides a defined window for the production to become compliant.
If the production still does not resolve the issue, the union escalates the claim to CSATF, and the grievance proceeds to a hearing. Representatives from both sides present their cases, and the goal is to reach a binding settlement.
If the parties do not reach a settlement, a hearing officer issues a ruling. For instance, in a meal penalty dispute, the officer may determine that crew members are owed compensation—perhaps a $500 penalty per individual, depending on the contract.
Once the ruling is issued, the producer has a limited window to pay the violation or otherwise fulfill the required action. When the production complies, the grievance is considered resolved.
Depending on the circumstances, the cost of a grievance may be lower than the cost of hiring a union crew outright, but in other cases the penalties can accumulate quickly. Fines may include lost wages, missing benefits contributions, and the administrative time spent by union representatives managing the claim.
Acting quickly when a grievance is filed can work strongly in your favor. Both the union and your production team save time, money, and stress when issues are resolved before a formal hearing becomes necessary. In many cases, a verbal agreement or prompt correction is enough to settle the matter.
Once a grievance is in motion, your production team must decide how to proceed—whether to adjust the budget to resolve the claim, prepare for arbitration, or, in extreme circumstances, shut down production to regroup and re-staff. Each path carries financial and logistical implications, making timely action essential.
The risks associated with getting flipped—or facing a grievance—should never be underestimated. While hiring non-union crew may seem cheaper or simpler, unaddressed issues can quickly lead to higher costs, lost time, and strained relationships.
Part of risk mitigation is understanding union rules before you start. Knowing the basics—Can SAG-AFTRA actors work non-union? What penalties might apply? What working conditions are mandatory under various agreements?—helps you make informed decisions that protect both your production and your crew.
It’s also important to remember that union rules exist to protect workers from unsafe or unfair conditions. With that in mind, the best way to avoid getting flipped is simple: treat your cast and crew well from the start.
If you choose to operate as a non-union production, fair pay, reasonable hours, and safe working conditions will dramatically reduce the risk of crew reporting the project. And if your production is reported anyway, you’ll be in a far stronger position to collaborate with union reps and negotiate a deal that won’t derail your budget or schedule.
Getting flipped mid-shoot can be a jarring experience, but your response—and your willingness to work transparently with the union—will determine how smoothly the process unfolds. By staying communicative, proactive, and open to collaboration, you can often resolve challenges quickly and even build positive relationships with union representatives that benefit future productions.
For more on working with unions, explore our guide to paying union scale without breaking a sweat or learn how Wrapbook’s next-gen payroll tools simplify union compliance and make managing agreements easier than ever.
