Local 600

Local 600

noun | Industry & Business

The International Cinematographers Guild, officially IATSE Local 600 — the union local of the International Alliance of Theatrical Stage Employees (IATSE) that represents the camera department on film and television productions in the United States. Local 600 covers directors of photography, camera operators, first and second assistant camera technicians (focus pullers and 2nd ACs), digital imaging technicians, still photographers, and other camera-related crew working in the American film and television industry. Membership in Local 600 is a standard requirement for camera department employment on union productions.

Quick Reference

The Explanation: How & Why

Local 600 is the guild that sets the professional standards, minimum wages, working conditions, and classification rules for the camera department on union productions in the United States. Understanding what Local 600 is and does requires understanding the broader union structure of the American film industry.

The IATSE structure:

The International Alliance of Theatrical Stage Employees (IATSE) is the parent union that encompasses many film and television craft unions, each of which is a "local" with its own jurisdiction, membership, and leadership. IATSE Local 600 covers the camera department; IATSE Local 700 covers the Motion Picture Editors Guild (editors, assistants, and post-production crew); IATSE Local 800 covers the Art Directors Guild; and so on. The Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) covers actors; the Directors Guild of America (DGA) covers directors. Together, these guilds establish the labour framework within which the American film industry operates.

What Local 600 does:

Minimum rates: Local 600 negotiates minimum wage rates for every classification in the camera department, from the director of photography down to the loader. These rates are set in the collective bargaining agreement with the Alliance of Motion Picture and Television Producers (AMPTP). Productions working under the Basic Agreement must pay at least these minimums; many negotiate higher rates for specific crew.

Working conditions: Local 600's agreements establish standard working conditions — meal penalties for late meals, turnaround time requirements between wrap and call, overtime rates, kit rental allowances, and safety standards. These protections are legally binding on signatory productions.

Classifications: Local 600 defines the specific job classifications within the camera department and what work falls within each classification. Only Local 600 members in the appropriate classification can perform certain work on union productions — a director of photography must be a Local 600 DP; a focus puller must be a Local 600 1st AC.

The roster and entry:

Local 600 membership is accessed through a roster system. To get on the roster, a new member must typically demonstrate a certain number of days worked in the relevant classification on qualifying productions. Roster access is tiered — some productions require crew to be on the "Active" roster; others allow "permit" status (non-members working on productions that have applied for a permit to use non-union crew). The entry process is a significant professional milestone for camera department crew building their careers.

Non-union production:

Many independent, low-budget, student, and emerging productions operate non-union — they are not signatories to Local 600's Basic Agreement and are therefore not obligated to use union crew, pay union minimums, or follow union working conditions. For crew members who are not yet on the Local 600 roster, non-union productions are an important route to building the experience and day counts required for roster eligibility.

Historical Context & Origin

Local 600 was formed in 1996 through the merger of several regional IATSE camera locals — Local 659 (Hollywood), Local 644 (New York), Local 666 (Chicago), and others. Prior to the merger, these regional locals operated independently, which created complications for nationally distributed productions working across multiple locations. The merger created a single national guild with a unified agreement, simplified the classification system, and gave the camera department a single unified voice in negotiations with producers. The guild publishes ICG Magazine, one of the professional film industry's leading trade publications, which covers cinematography, technology, and industry issues.

How It's Used in Practice

Scenario 1 -- Union Production (DP / Production): A major studio feature is a signatory to Local 600's Basic Agreement. The DP hired for the production must be a Local 600 member in the appropriate classification. The camera operator, 1st AC, 2nd AC, and DIT must all be Local 600 members in their respective classifications. The production pays at minimum the Local 600 contract rates for each classification and follows the working condition provisions of the Basic Agreement.

Scenario 2 -- Roster Entry (1st AC / Career): A focus puller with several years of non-union production experience applies for Local 600 roster entry. They document their qualifying days worked, submit their application, and pay the initiation fee. Once on the roster, they are eligible to work on union productions as a classified Local 600 1st AC — opening a substantially wider range of high-budget production employment.

Scenario 3 -- Low-Budget Agreement (Independent Producer): An independent production applies for Local 600's Low Budget Agreement, which allows them to use union crew at reduced rates that reflect the production's limited budget. The agreement specifies the minimum rates applicable to the production's budget tier. The production uses Local 600 crew under the modified agreement and benefits from the professional standards that guild membership ensures.

Usage Examples in Sentences

"The production is a Local 600 signatory. The entire camera department needs to be on the roster."

"Getting on the Local 600 roster changed everything. Suddenly you are eligible for the big budget productions."

"The DP wanted to hire someone she had worked with before, but they were not on Local 600. On a union show, that is not an option."

"ICG Magazine covers the cinematography industry better than any other publication. It is one of the benefits of guild membership."

Common Confusions & Misuse

Local 600 vs. DGA: The Directors Guild of America (DGA) covers directors, assistant directors, and unit production managers. Local 600 covers the camera department — directors of photography, camera operators, and assistants. On a union production, the director is a DGA member while the DP is a Local 600 member. They are separate guilds covering different roles, even though the director and DP work in very close collaboration.

Local 600 vs. SAG-AFTRA: SAG-AFTRA covers performers — actors, stunt performers, singers, and broadcast journalists. Local 600 covers camera department crew. They are both IATSE-adjacent or AFL-CIO affiliated unions but represent entirely different sectors of the production workforce.

Related Terms

• Union -- The broader concept; Local 600 is a specific union local within the IATSE structure
• Above the Line -- The executive and creative roles (director, producer, writer, cast); Local 600 covers below-the-line camera crew
• Below the Line -- The technical crew including the camera department that Local 600 represents
• Focus Puller -- The 1st AC; one of the primary classifications covered by Local 600
• 1st AC -- The focus puller designation used as a Local 600 classification title

See Also / Tools

The Shot List Generator is the working tool of the camera department that Local 600 represents — every setup on the shot list is executed by the DP, camera operator, 1st AC, and 2nd AC working under Local 600 jurisdiction on union productions.