![]() Some music supervisors described instances where their payments were delayed after they had completed their jobs. “You’re working for the same amount of money on less episodes for a longer period of time, which means that you ultimately make less money per hour,” Urdang said. A series could have an average of seven to 10 episodes and span more than a year of work, Urdang said. Shows on streaming platforms, however, are not necessarily timed to certain seasons. When shows were based on a network’s TV season, the payments were on a more regular schedule, with a show having 12 to 18 episodes per season, which could take about six to eight months of work, said Robin Urdang, who has worked as a music supervisor on Netflix series including “The Baby-Sitters Club” and Amazon’s “The Marvelous Mrs. The payment comes out of the series’ or film’s budget. Pay for music supervisors is typically a fee that can be negotiated per episode or for an entire project like a series or film. Tensions with music supervisors have escalated amid the boom in streaming, which has shortened TV seasons. ![]() ![]() Manish Raval, a 48-year-old music supervisor who worked on the Netflix film “The Gray Man” and shows like NBC’s “This is Us,” supports the union effort. They have the momentum right now to try and get organized and try and get recognized as a union.” “We have a great demonstration to point to the cultural impact that supervisors can have and the creative value of their services. “Placed music has been a huge driving factor in the music industry for a long time,” said Michael Peters, an attorney at Ramo Law PC. Felder, who suggested “Running Up That Hill” for “Stranger Things 4,” won an Emmy for music supervision. In 2018, music supervisors could qualify to win Grammys in the compilation soundtrack album category. The unionizing efforts comes as music supervisors have become more prominent culturally and professionally. “Our position means there will be an election if the union files a recognition petition with the National Labor Relations Board, allowing each employee to cast a vote,” he said. The alliance rejected IATSE’s request “because we believe that employees should have a free choice in deciding whether they wish to be represented by a union,” said AMPTP spokesperson Jarryd Gonzales. IATSE said that more than 75% of music supervisors supported joining their union, which represents camera operators, set decorators, makeup artists and other technical jobs on sets. Music supervisors requested Netflix and the Alliance of Motion Picture and Television Producers voluntarily recognize their union earlier this year, which would have skipped the step of a formal election, but they declined. “Despite this cultural influence, music supervisors are joining together to set standards and address longstanding issues for those in the craft,” IATSE said in a statement. IATSE said it is focusing its organizing efforts around Netflix because it is the largest employer of music supervisors in the industry. They requested a union certification election with the National Labor Relations Board. ![]() To remedy that, Wolfington and other freelance supervisors recently took a key step to join the International Alliance of Theatrical Stage Employees, the union representing crews on film and TV productions. So we’re just looking to be on par with our colleagues who we work with.” “Almost everybody on set in Hollywood is paid through a union and supported through a union and has their rates and payment schedules standardized through a union. “We are currently a group of gig workers who have to get our own insurance and have to figure out our own pension,” said Lindsay Wolfington, a freelance music supervisor.
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