What Does The SAG/WGA Strike Mean To Sync?

With the Screen Actor’s Guild joining the Writer’s Guild Of America on strike, TV and film production in the USA is effectively shut down until a new agreement is reached between the unions and the studios.

The reasons for the strike by both unions are myriad, most notably disagreements on basic pay, residual pay from steaming networks, the usage of AI by the studios and AI’s potential impact on the careers and livelihoods of actors and writers.

And, while defining more equitable streaming residuals and pay for actors and writers is an important immediate concern, I personally believe the main sticking point for both the unions and the studios is how creators will be protected and remunerated in a world where AI has the potential to greatly affect (read diminish) the roles and the incomes of actors and writers in the creation and production of content by the studios.

And it’s easy to see what both sides are fighting for.

From the perspective of the studios, AI can create new efficiencies and lower costs in the scripting of shows and films, potential reducing the number of writers and editors needed to scripts shows and films. And AI can also potentially reduce the number of actors employed in productions by integrating the likenesses of non-speaking or limited-speaking actors into productions without having to hire actors for crowd scenes, etc. That’s just the start.

As for the writers and actors, what they’re fighting for is obvious: their livelihoods and their future in a world where AI can potentially make many of them redundant. AI has the potential to take over many of the current roles filled by actors and writers, and if SAG/WGA members are to have a future in their chosen fields, they must ensure that when AI uses their likeness and their creative work to produce content, actors and writers are properly remunerated.

I believe the outcome of this strike will not only have implications for the way TV/Film content is created and how the industry evolves, but it will also set precedents that will have repercussions for how AI is implemented in other industries, including music. It’s that important. I wish the writers and actors well in their quest for equity and respect.

But the strike doesn’t just affect those on the picket lines.?The strike also affects everyone working in TV and film music from musical artists to editors to music supervisors, coordinators to sync agents – all of us.

With all of this said, the question that’s been on my mind since SAG-AFTRA President Fran Drescher’s speech today is what can and should we all do during the strike? I have some ideas I’d like to share that could be helpful.

1.?????If you know a music supervisor or coordinator, let them know they have your support. I know a lot of music supervisors in TV and Film are being affected (i.e., their projects are shut down) by the strike right now and they could use a kind word of support.

2.????Support the Guild Of Music Supervisors.?Become a friend of the Guild. Go to the GMS conference next month in LA. Offer to volunteer if there’s a Guild chapter near you. Supporting the Guild not only helps music supervisors at this difficult time, it also gives you the opportunity to get to know music supervisors as people and make lifelong connections.

3.????If you’re in NY or LA and have time, go support SAG and WGA strikers on picket lines in solidarity or donate to the Entertainment Community Fund.

4.????Work on preparing your music for licensing. Get your metadata right. Make sure your split sheets and ownership details are correct. It will serve you well when productions begin again.

5.????Learn about areas of music licensing beyond TV and how to work with them. It’s important to remember that while TV and Film productions are shut in the US, brands, ad agencies, TV promotions, game companies, interactive platforms, social media, podcasts, independent video content creators and apps are all still working on projects and all commissioning and licensing music. Research these projects.?Learn how their industries work and how to service them and research ways to make contact.

6.????Learn more about the international market.?Non-SAG/WGA series and films are still in production outside the US.?Research these projects and the music supervisors in these markets and find ways to connect your music to these international decision makers.

7.????Work on new collaborations and new music.

At the end of the day, keep perspective. Eventually this strike will be over, and when it is over, and when production starts again, the studios will attempt to create as much content as possible as quickly as possible to replenish their roster, and all of these productions will need music.

And it will be those who are best prepared who will be best positioned to be of service to music supervisors in TV/Film post-strike and ultimately most successful in sync.