The Union and the Producers (the “Parties”) agree that everyone should be able to work without fear of harassment or violence, in a safe and healthy environment. The Parties further agree to work cooperatively with each other so that the principles of this section are honored.

1. The Producer shall use its best efforts to maintain a working environment that is free from sexual, racial, or personal harassment, violence and discrimination on grounds prohibited by the BC Human Rights Code as it may be amended from time to time. Currently, the prohibited grounds include race, colour, ancestry, place of origin, political belief, religion, marital status, family status, physical or mental disability, sex (which incorporates pregnancy and breast-feeding), sexual orientation, gender identity or expression, and age. To that end, the Producer shall comply with all applicable obligations pursuant to human rights and health and safety legislation.

3. For the purposes of this Article, racial harassment includes engaging in a course of comment or conduct that is known or ought reasonably to be known to be unwelcome, where such comment or conduct shows disrespect or causes humiliation to a Performer because of the Performer’s race, colour, ancestry, or place of origin, and may include:
   1. actions or comments that are known or ought reasonably to be known to create an intimidating, demeaning or offensive work environment;
   2. actions or comments that may be reasonably perceived to demean, belittle, compromise or cause personal humiliation or embarrassment; and
   3. any act of intimidation or threat.

4. For the purposes of this Article, personal harassment includes any comment or conduct that is known or ought reasonably to be known to be unwelcome or offensive, which creates an unduly intimidating working environment, which denies individual dignity and respect or which threatens the economic livelihood of that individual.
5. When a Performer believes that this Article has been breached in any way, the Performer shall immediately inform the Producer or its designated representative, either directly or with the assistance of a Union representative, of the unwelcome or offensive comment or conduct. When authorized by the complainant, the Union representative shall immediately make the complaint known to a representative of the Producer. The Union will refer the complainant to the Producer’s harassment policies and encourage the complainant to notify the Producer. In any event, the Union will request permission to notify the Producer of the complaint. The Performer has the discretion to make the Performer’s disapproval known to the individual whose conduct is in question. The Producer shall take immediate steps to investigate the complaint in as discreet and confidential a manner as possible, and to take appropriate action, up to and including dismissal, against any person found to have violated this Article. The Producer shall inform the complainant, and the Union (if the Union has been involved in bringing the complaint), that it has undertaken and concluded an investigation.
6. Because of the sensitive nature of these types of complaints, all Parties shall address and resolve these complaints promptly and in as confidential a manner as possible.
7. The Producer will develop a statement on anti-harassment and violence prevention which will be communicated to the cast and crew prior to or on the first day of production. The Producer shall be deemed to have developed such statement where the statement replicates the language of paragraphs (a) to (f) of this Article.
8. The Parties agree that a Producer shall have just and reasonable cause to cancel a Performer’s engagement for purposes of Article A1905 of the BCMPA if the Performer violates this Article of the BCMPA or violates the Producer’s statement on anti-harassment and violence prevention by engaging in harassing and/or violent behaviour towards any other individual engaged on the Production, or by not respecting the statement.
9. Retaliation or reprisals against any Performer by a Producer or any person acting on the Producer’s behalf who, in good faith, raises a bona fide complaint pursuant to this Article will not be tolerated

All time spent by a Performer for make-up, hairdressing, wardrobe or fitting, immediately prior to the Performer’s production Call, shall be considered as part of the regular eight (8) hour day.

When a Performer is required to report on other than a regular production day for choosing or fitting wardrobe or for a make-up/hair test, there shall be a minimum call of two (2) hours for such work at the Performer’s contracted hourly rate. Any work time in excess of two (2) hours shall be paid at Performer’s contracted hourly rate, paid in one-tenth (0.1) hour units.

1. No Performer shall be required to cut or change the style or colour of the Performer’s hair unless this has been agreed upon prior to Booking. When significant changes to the style of the Performer’s hair are required (including changes to the colour), the Producer shall be responsible for changing and maintaining the hairstyle or paying for the reasonable approved third-party costs of changing and maintaining the required hairstyle during production. If significant changes are made to a Performer’s hair or a Performer’s hair is significantly damaged during the course of production, at the Performer’s election, the Producer and the Performer will discuss and the Producer will provide reasonable accommodations to restore or repair the Performer’s original hairstyle or establish a new hairstyle if the previous style cannot be reasonably restored or repaired (e.g., if previously long hair has been cut short).
2. No Performer shall cut or change the style or colour of the Performer’s hair after the time of Booking without the consent of the Producer.

1. On Productions that are providing hair and makeup services to Performer(s), each Performer, excluding Background Performer(s), shall be offered an opportunity to meaningfully consult with the hair and make-up department (or other production staff delegated to provide information to the applicable department(s)) regarding any hair and make-up needs (e.g., product and tool preferences, use of particular hairstyling techniques) prior to commencing work, so that the hair and/or make-up department is adequately prepared to work with the Performer, including ensuring that the Production has appropriate hair and make-up products and equipment.
2. Time spent in consultation under this provision is not work time.

Where a Stunt Performer doubles for a role which is identifiable as female or a visible minority, and the race and/or sex of the double is/are also identifiable, every effort shall be made to cast qualified persons of the same sex and/or race involved. When the Stunt Performer is not so identifiable, the Producer shall use best efforts to increase the employment of women and visible minorities for such Stunts.

The practice known as “painting down” is presumptively improper. Any disputes regarding “painting down” shall be dealt with expeditiously and shall first be a discussion between the Union’s Director of Contracts (or designee) and the President of the AMPTP or the Vice-President, BC Industrial Relations, of the CMPA-BC (or their respective designees), or the Producer (if not an affiliate of the AMPTP or member of the CMPA-BC), as applicable. The parties will make good faith efforts to resolve the issue; however, if a resolution is not achievable, the Union retains the right to grieve.

1. On Productions that are providing hair and makeup services to Performer(s), if a Producer determines it is unable to provide hair and/or make-up professionals with the appropriate skill set, equipment or products to work with the Performer, subject to the prior approval by the Producer, costs of hair and/or make-up services shall be reimbursed and time spent receiving hair and/or makeup services shall be paid in accordance with this Letter of Understanding.
2. When 1., above, applies and the Performer is approved by the Producer to receive hair and/or makeup services from a third-party service provider(s), the Performer shall be paid for two (2) hours or the actual time spent in receiving the approved hair and/or make-up services, whichever is greater, at the Performer’s contracted hourly rate.
3. When 1., above, applies and a Performer is approved by the Producer to self-style hair and/or self-apply makeup: (a) On a day that is not a workday, the Performer shall be paid two (2) hours or the approved time spent in self-styling of hair and/or self-application of makeup, whichever is greater, at the Performer’s contracted hourly rate; (b) On a day that is a workday, the Performer shall be paid for the approved time spent in self-styling hair and/or self-applying of makeup.
4. Days on which Performers are entitled to payments pursuant to 2. and 3. shall only be a workday for the purposes of the Agreement if the Performer also works in front of the camera or behind the microphone on that day (i.e., it is otherwise a “work day” in accordance with Article A334). For clarity, payments for days that are not workdays are excluded from the calculation of Net Fees in accordance with Article A334(b).
5. For the purpose of this Letter of Understanding, the term “Performer” does not include Background Performers.
6. This measure shall be in place while the Parties work towards bolstering the talent pool of hair stylists and makeup artists who can service all Performers on set. In the final year before the expiry of the BCMPA, the Parties will reconvene to evaluate the progress of this initiative and discuss required updates to Appendix “U” for the next iteration of the BCMPA.

1. Should the Producer request changes to the Background Performer’s natural hair texture or current textured hairstyle, the Background Performer shall advise the Producer if such changes shall require in excess of thirty (30) minutes of self-styling or styling by a third-party service provider. If the Producer instructs the Background Performer to perform such self-styling or attend a third-party service provider for styling, the Producer shall cover all pre-approved expenses related to the required changes.
2. When paragraph 1., above, applies and the Background Performer is approved by the Producer to self-style in excess of thirty (30) minutes or receive hair services from a third party service provider(s), the Background Performer shall be paid:
   1. The approved time at the Background Performer’s contracted hourly rate, which shall not be included in the computation of overtime, when styling is performed away from the Producer’s premises on a day that the Background Performer works for the Producer; or
   2. Two (2) hours or the approved time spent in self-styling of hair or in receiving the approved hair services, whichever is greater, at the Background Performer’s contracted hourly rate when styling is performed on a day that the Background Performer does not otherwise work for the Producer.”
3. 1. A Producer, or its designee, may, at the Producer’s discretion, request a photo of any Background Performer with the Background Performer’s current hairstyle in advance of the Booking.
   2. When a photo is requested, the Background Performer shall provide a photo clearly showing the Background Performer’s current hairstyle and colour.
   3. When 3(a) and (b), above, apply, the Background Performer shall, prior to Booking, confirm that the Background Performer’s current hairstyle and colour match the photo provided. No Background Performer shall change the current hairstyle, cut, or colour after the time of Booking without the explicit consent of the Producer.

Union of B.C. Performers – 2025-2028 B.C. Master Production Agreement This Hair and Makeup Bulletin was jointly issued by UBCP/ACTRA, the CMPA-BC and the AMPTP in December 2021. This Bulletin is included as an Appendix to the BCMPA for reference only. The terms of this Bulletin are understood to be jointly endorsed best practices and are not terms or conditions of the BCMPA.

The Alliance of Motion Picture and Television Producers (AMPTP), the Canadian Media Producers Association – BC Producers Branch (CMPA-BC), and the Union of BC Performers (UBCP/ACTRA) are committed to safe and respectful worksites, and an industry free of discrimination.

In an effort to advance the above principles, the AMPTP, CMPA-BC and UBCP/ACTRA have agreed to the issuance of this bulletin relating to when Producers are providing hair and makeup services on set to Performers, and specifically when providing hair and makeup services to Black, Indigenous, and People of Colour Performers:

• Where appropriate, and as early as reasonably practicable, the Hair and Makeup Heads of Department should seek to ensure their crew members are experienced in meeting the hair and makeup needs of Black, Indigenous, and People of Colour Performers engaged on the production.
• Where appropriate, Heads of Department should ensure, as early as reasonably practicable, that proper hair and makeup equipment and products necessary to meet the needs of Black, Indigenous, and People of Colour Performers engaged on the production are available, for example, with respect to makeup shades, hair products, tools and other styling considerations.
• Where the proper skill set, equipment or products necessary to meet the needs of Black, Indigenous, and People of Colour Performers engaged on the production are not available on-set, Producers should consult, as appropriate, with the Performer, Head of Department and/or the applicable union/guild with respect to accessing other qualified stylists and artists, or other alternate means of providing appropriate hair and makeup services to Black, Indigenous, and People of Colour Performers.
• An open and constructive dialogue between all parties should be developed to ensure that the hair and makeup needs of Black, Indigenous, and People of Colour Performers are included in the overall assessment of hair and makeup services, when hair and makeup services are being provided by the Producer. Performers are encouraged to bring issues forward to the Producer representative on set in the event hair and makeup needs are not being adequately met.
• Producers are encouraged to make this bulletin available to Performers.
• Producers should ensure that a copy of this bulletin is distributed to the appropriate production personnel at their company. The AMPTP, CMPA-BC, and UBCP/ACTRA will continue to work alongside other industry stakeholders to continue to advance the goals of equity, diversity, inclusion and belonging. UBCP/ACTRA members are encouraged to reach out to UBCP/ACTRA representatives if they have questions or concerns. Producers with questions are encouraged to contact Sophie Caird, Director, BC Industrial Relations, CMPA-BC at sophie.caird@cmpa.ca, 604-694-2713 or Christina Bulbrook, Consultant to the Canadian Affiliates of the AMPTP at christina@amptp.ca, 604-817-3442.

2. GENDER
   Every effort must be made to match the gender of the performer being doubled.
   1. “Wigging”, the hiring of men to double women, is inappropriate and unacceptable.
   2. The Stunt Coordinator should consult with the Producer if they are unable to find an appropriate double (e.g., when small adult women are required to double young boys) and should advise the union, the performer being doubled, and the stunt double prior to the engagement of the stunt double.

3. RACE
   1. Every effort must be made to match the race of the performer being doubled.
      1. The “painting down” of white performers to double performers of different races is inappropriate and unacceptable.
      2. If the stunt double is of the same race as the performer being doubled, but has different skin tone, changing the skin tone of the stunt double is acceptable and appropriate (this is not considered “painting”).
      3. Searches should include the UBCP/ACTRA membership, ACTRA National membership and then performers internationally, as necessary.
   2. If all options have been explored and it is not possible to match the race of the performer, hiring a BIPOC performer with similar skin tone may be an acceptable option.
      1. Changing the skin tone of such double should be limited to minor adjustments only.
   3. The Stunt Coordinator should consult with the Producer if they are unable to find an appropriate double and advise the union, the performer being doubled, and prior to their engagement, the stunt double being engaged. Alternative means to address the situation could include, but are not limited to:
      1. Reworking the stunt sequence so it is achievable with doubles that are appropriate matches.
      2. Job sharing – use multiple doubles with specific skillsets for different parts of the stunt sequences.

4. OTHER CONSIDERATIONS
   1. Hair, Facial or Other Features
      Consider other specific characteristics that may be important for the doubling of a performer:
      1. Bald head, brush cuts, hairlines, hair colour, necessity to use the double’s own hair, beards, facial hair, etc.
      2. Head shape (i.e., shows more if head is bald, very round, long, etc. in some cases)
      3. Are the stunt performer’s tattoos a significant issue/impediment for doubling?