ACTRA on a micro-budget: what working with the union taught us
- Nick Bohle
- Jan 15
- 6 min read
Updated: Jan 16
And why it's worth it
“Union” is one of those words that makes micro-budget filmmakers either puff up with confidence or quietly back away from the room.
Before There Are No Squirrels in Lethbridge, I’ll be honest: I had that little voice too—the one that says union productions are for other people. Bigger budgets. Bigger teams. Bigger paperwork tolerance. I had never done anything with ACTRA to this scale as a producer.
Then we did it anyway.
For our pilot (short), ACTRA Alberta signed off to allow ACTRA performers to work on our production under an AIP Class 1 agreement (under $75,000)—and the experience didn’t just change my opinion of the process… it changed the ceiling of what I believe we can pull off in Alberta on a lean budget.
This is what I learned.
What “union-performer approved” meant in our case
working with the union
in plain language
In our context, “union accredited” didn’t mean we suddenly became a massive studio machine.
It also didn't mean it cost us thousands of dollars more than we had intended or that we couldn't bring on non-union actors if they were the better fit.
It meant this:
we did the required prep and paperwork correctly
we followed professional standards for performer engagement
we got the proper insurance and WCB coverage
and we ran the production in a way that earned union confidence and approval for ACTRA performers to participate.
That’s it. No mysticism. No secret handshake.
Just doing the work.
The biggest myth I debunked
Myth: Union productions are too complicated to tackle yourself on a micro-budget.
Reality: They’re structured — and structure is exactly what micro-budgets need.
The difference-maker for me was support.
Bao Hong (1st AD) and Christine Salinas (2nd AD) were literal assistant director superheroes. I met Bao a few years back on another indie set and was taken by his poise, work ethic and general aura of all-round good vibes. When it came time to consider team members Bao was top of mind. When we finally were lucky enough to lock Bao down as 1st AD he had one condition... "Let me pick my 2nd AD." We agreed. That 2nd was Christine and today I shudder to think what might have happened if we hadn't secured such a dynamite AD leading duo. [Thanks, you two.]
Donna Burwood (ACTRA) was also a huge help. She coached me through the process, helped me understand what mattered, and made sure the paperwork I/we completed was accurate.
The result? I’m no longer intimidated by the idea of doing this again. I’m confident in the process, the people and the systems (with a few tweaks) for the next union production—and that confidence is a serious asset when you’re building bigger projects.
The three “admin realities” you have to respect
I won’t get into sensitive contract/payment specifics here, but I will tell you where the real effort lives, because it’s the same places most producers get burned:
1) Time sheet reporting
Union reporting requires accuracy. Your set needs a clean rhythm for tracking hours and ensuring you’re not scrambling after wrap trying to reconstruct reality from memory. ACTRA has instruction for this process in a PDF document they will send. Pair that with assistance from Donna (ACTRA) and from Bao and Christine and we made it through.
2) Contract drafting + negotiation
Even when the deal points are straightforward, you need a solid process for papering performers cleanly and professionally—before you’re rolling cameras. ACTRA also has instruction for this process in a PDF document they will send. However, you will still need to draft and complete deal memos with each performer.
3) Locations management
Locations can quietly become the most stressful department on a micro-budget: permissions, logistics, schedules, access windows, and making sure your day doesn’t collapse because you lost a doorway.
When you’re working with the union, the stakes of clarity go up—not because anyone’s being difficult, but because professional standards demand professional planning.
Following the standards is itself a guide to a more professional production so don't wish it was easier - wish you were better... then do it and get better. You'll thank youself later.
Why it’s worth it
even when it feels like extra work
Here’s the part that surprised me most:
The talent and support resources available through the union WILL elevate your production.
That elevation isn’t just performance quality (though yes, absolutely).
It shows up in:
overall professionalism and efficiency on the day
clearer expectations across departments and performers
stronger accountability with less risk
and a deeper sense that what you’re doing is real work—not a hobby disguised as a film set
On a micro-budget, that’s priceless and can be the difference between a film that falls flat or a gem emerging from the rough indie landscape.
The team that made it possible
Productions like this don’t happen because one person “hustled harder.” They happen because the right people showed up and carried weight together.
A few major shout-outs from our side:
Our AD department — exceptional, steady, and crucial. Like I said. Game changers.
Scott Lepp (Eyeland Productions) — mentor support that sharpened hard and soft skills.
Curtis Huisman (DOP) and Christine Huisman (1st AC) — the image quality speaks for itself.
Hannah Zerr — Key HMUA for their subtle, tasteful, and period accurate applications.
Sierra 'Cici' Jackson — Key Costume designer for her costumes that were always on period and on point. For a first time costumer on a project anywhere close to this side she crushed it and I'm so proud.
TELUS STORYHIVE — the spark that put this in motion.
Shaun Cathcart (project manager) and Jessica Gibson (NSI) — instrumental support, kindness, patience and insights through the process.
Charlie Christensen (not a crew member on this one due to no lack of effort, scheduling conflict) — a friend of mine and outstanding grip/gaffer who gave us a killer deal on a grip gear rental package and came to the rescue on day 1 with a latter so we could get a shot on a roof across the street from Jack's office.
Our crew and volunteers who donated part of or all of their time and effort to make TANSIL a success.
If you’re a producer reading this: build your circle early. Your future projects depend on it.
My practical advice if you want to go ACTRA on a micro-budget
If you take nothing else from this post, take this:
Start earlier than you think, you must
Union-related prep is not something you want to do while you’re also trying to lock locations, cast, build schedules, manage gear, and solve ten emergencies a day.
Treat paperwork as part of “production value”
On micro-budgets, people obsess over lenses and lighting and forget the hidden foundation: logistics, documentation, clarity.
Clean paperwork creates calmer sets. Calmer sets create better performances.
Don’t do it alone if you don’t have to
Ask for guidance. Learn from someone who’s done it. Use the resources available. It’s not weakness—it’s professional. Listen to your elders and those who came before. They know things you don't. You need their knowledge, guidance and support; and they need you for your energy, creativity and passion. We're all one big family in the indie film industry to some degree. Families are healthier when they work together and share their talents, skills, resources and love for the betterment of the whole.
We're all in this together, folks. Wishing you all the best sets and even better results on your next project.
But if you need a hand... I know a guy.
Want help setting up your own micro-budget union-performer production?
If you’re building an indie project and want a producer who’s lived this process (and can help you avoid the classic mistakes), book a session with me.
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