Local 600

Local 600

noun | Production

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 publicists. Membership in Local 600 is a standard requirement for camera department employment on union-signatory productions. The guild sets minimum wage rates, working conditions, and classification rules through collective bargaining with the Alliance of Motion Picture and Television Producers (AMPTP).

Quick Reference

The Explanation: How & Why

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

The IATSE structure: IATSE is the parent union encompassing many film and television craft unions, each a "local" with its own jurisdiction. Local 600 covers the camera department. Local 700 covers the Motion Picture Editors Guild (editors, assistants, post-production crew). Local 800 covers the Art Directors Guild. Local 52 covers New York production technicians. The IATSE Basic Agreement is the master contract negotiated with the AMPTP that sets minimum rates, working conditions, and health and pension benefits across all IATSE locals. SAG-AFTRA covers actors. The DGA covers directors, assistant directors, and unit production managers. Together, these guilds establish the labor 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. For the 2025-2026 contract period, the Western Region minimum daily rate for a Director of Photography is $1,163.60 for an 8-hour day (Occupation Code 1901), with a weekly guarantee of $5,441.10. A Camera Operator (Code 1911) has a minimum daily rate of $719.28. These rates are published in the ICG rate cards and are legally binding on signatory productions. Productions may negotiate higher rates for specific crew; they may not pay less.

Working conditions: Local 600's agreements establish standard working conditions: meal penalties for late meals, turnaround time requirements between wrap and call, overtime rates (1.5x after 8 hours, 2x after 12 hours on most agreements), kit rental allowances, and safety standards. These protections are legally binding on signatory productions. Violations trigger financial penalties payable to the crew member.

Classifications: Local 600 defines the specific job classifications within the camera department. 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. A DIT must be a Local 600 member in the DIT classification. This classification system prevents producers from asking a 2nd AC to perform 1st AC work at 2nd AC rates.

Low Budget Agreement: Local 600 offers a Low Budget Theatrical Agreement for productions with budgets under specified thresholds. For 2026, the Ultra Low tier applies to productions with budgets at or below $3.3 million, with rates starting at 125% of applicable minimum wage or $15/hour, whichever is higher. Tier 1A, Tier 1B, Tier 2, and Tier 3 have progressively higher rate requirements based on the production's budget level. This allows independent productions to use union crew at rates that reflect their limited financing.

Roster and entry: Local 600 membership is accessed through a roster system. A new member must document a specific number of days worked in the relevant classification on qualifying productions. The entry process requires an application, documentation of qualifying days, and an initiation fee. Once on the roster, members are eligible to work on union productions in their classification. The roster is tiered: some productions require crew to be on the "Active" roster; others allow "permit" status for non-members working on productions that have applied for a permit.

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. A production shooting in Los Angeles and New York had to deal with two different locals, two different agreements, and two different classification systems. The merger created a single national guild with a unified agreement, simplified the classification system, and gave the camera department a single voice in negotiations with producers.

The guild publishes ICG Magazine, one of the professional film industry's leading trade publications, covering cinematography, technology, and industry issues. The ICG website publishes current rate cards, contract documents, and a rates and contracts search tool that allows productions to determine which agreement applies to their specific project.

The 2021 IATSE Basic Agreement negotiation, which nearly resulted in a nationwide strike, highlighted the ongoing tensions between streaming-era production volumes and union working conditions. Local 600 members voted overwhelmingly to authorize a strike before a last-minute deal was reached. The current Basic Agreement runs through 2026, with rate cards published for the August 2025 to August 2026 period.

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 DP 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 Western Region contract rates: $1,163.60/day for the DP, $719.28/day for the camera operator. The production follows all working condition provisions: 10-hour turnaround, meal penalties after 6 hours, overtime at 1.5x after 8 hours.

Scenario 2 - Roster Entry (1st AC / Career): A focus puller with 400 days of non-union production experience applies for Local 600 roster entry. They document their qualifying days with call sheets and production reports, submit their application with the initiation fee, and are placed on the roster as a 1st AC. Once on the roster, they are eligible to work on union productions as a classified Local 600 1st AC, opening access to substantially higher-budget productions with better rates and working conditions.

Scenario 3 - Low Budget Agreement (Independent Producer): An independent production with a $2.5 million budget applies for Local 600's Low Budget Theatrical Agreement. Under the 2026 rate card, the production qualifies for the Ultra Low tier, which allows rates at 125% of applicable minimum wage or $15/hour, whichever is higher. The production uses Local 600 crew at the reduced rates, benefits from the professional standards that guild membership ensures, and the crew members earn days toward their roster status. The agreement specifies the minimum rates applicable to the production's budget tier and requires the production to follow all safety and working condition provisions.

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."

"Check the 2025-2026 rate card. The DP minimum on the Western Region is $1,163.60 for an 8-hour day."

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 close collaboration. A director cannot perform camera operating work on a union set without a Local 600 camera operator, except in specific circumstances defined by the agreement.

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 AFL-CIO affiliated unions but represent entirely different sectors of the production workforce. A SAG-AFTRA actor does not operate the camera; a Local 600 camera operator does not appear on camera as a performer.

Local 600 vs. IATSE Local 700: Local 700 is the Motion Picture Editors Guild, covering editors, assistant editors, sound editors, and post-production crew. Local 600 covers the camera department. Both are IATSE locals, but they have separate jurisdictions, separate rate cards, and separate membership requirements. A 1st AC working on set is Local 600; an assistant editor working in post is Local 700.

Variations by Context

Key People & Films

Local 600's membership includes many of the most prominent cinematographers working today. Roger Deakins, a long-time Local 600 member, has won three Academy Awards for Blade Runner 2049 (2017), 1917 (2019), and Empire of Light (2022). Hoyte van Hoytema, another Local 600 DP, shot Oppenheimer (2023) on 65mm IMAX film. Linus Sandgren, also a member, shot La La Land (2016) and First Man (2018). The guild's publication, ICG Magazine, regularly features interviews with these members about their technical and creative approaches. The guild's history is documented in its archives, which trace the evolution of the camera department from the regional locals of the pre-merger era to the unified national organization of today.

Equipment / Tools Reference

Local 600 classifications directly determine which equipment a member is qualified to operate. A DP (Code 1901) operates the camera and makes lighting and composition decisions. A Camera Operator (Code 1911) operates the camera during the take. A 1st AC (focus puller) maintains focus and manages the lens. A 2nd AC manages the slate, lens changes, and camera setup. A DIT (Digital Imaging Technician) manages on-set color, data backup, and camera settings. The guild's rates and contracts search tool allows productions to determine which agreement and rate card applies to their specific project. The ICG website publishes downloadable PDF rate cards for all regions and agreement types, including the Western Region, Eastern Region, Central Region, Low Budget Theatrical, AICP Commercial, and Videotape Agreement.

Standards & Specifications

The IATSE Basic Agreement is the master contract that governs Local 600's relationship with signatory producers. The current agreement covers the period through 2026, with rate cards published for August 2025 to August 1, 2026. Key specifications include: 8-hour minimum call (overtime at 1.5x after 8 hours, 2x after 12 hours on most panels); 10-hour turnaround between wrap and next call time; meal penalty of $25 for the first 30 minutes and $35 for each subsequent 30 minutes when a meal is not called within 6 hours; weekly guarantee of 42-45 cumulative hours depending on panel. The Low Budget Theatrical Agreement defines budget tiers from Ultra Low (under $3.3M) through Tier 3, with rate requirements scaling with budget. The AICP Commercial Agreement covers advertising production under a separate rate card effective through 2028.

Common Questions / FAQ

Q: How do you join Local 600?

A: You must document a specific number of days worked in your classification on qualifying productions, submit an application with supporting documentation (call sheets, production reports), and pay an initiation fee. The exact day requirements vary by classification. Non-union production days can count toward eligibility. Once accepted, you are placed on the roster and become eligible to work on union-signatory productions.

Q: Can a non-union production use Local 600 crew?

A: Yes, but the production must apply for a permit to use non-union crew, or the crew members can work on the non-union production and use those days toward roster eligibility. Non-union productions are not obligated to pay union minimums or follow union working conditions, but crew members who are already on the roster may choose to work on non-union productions.

Q: What is the difference between Local 600 and IATSE?

A: Local 600 is a local union within IATSE. IATSE is the International Alliance of Theatrical Stage Employees, the parent union. Local 600 is specifically the International Cinematographers Guild, covering the camera department. Other IATSE locals cover other crafts: Local 700 covers editors, Local 800 covers art directors, and so on. All operate under the IATSE Basic Agreement but have their own rate cards and classification systems.

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 (Occupation Code 1921)

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. Use it to plan your camera setups and understand the labor requirements for each shot on your production.