Hiring and Working with a Choreographer:
We created this handbook for choreographers and producers to provide some guidance and avoid surprises, making sure everyone is prepared to do their jobs at the highest level of excellence. Of course, requirements will vary depending on the nature of the project and the individual choreographer’s needs, but the following information can provide a helpful starting point.
Depending on the project, the Choreographer may work as part of a team including Associate Choreographer(s) and Assistant Choreographer(s). We have provided definitions of these roles at the end of this handbook.
Pre-Production
Here are typical requirements to prepare for a production prior to working with talent.
Casting
A casting day is defined as any day where the Choreographer must review, select, discuss, and/or audition prospective talent, whether remotely (via Zoom or similar platform) or in person, by an open call or by invitation. Casting days also include any day when the Choreographer is prepping materials for auditions such as short dance sequences for dancers to learn.
If a casting director is present, the Choreographer’s services may be requested to consult, advise, recommend talent, and otherwise provide expertise on prospective talent.
If the Choreographer is responsible for casting, Production must provide the following for initial auditions and subsequent callbacks unless otherwise discussed:
- Space rental. The Choreographer may advise on proper location to hold auditions based on the project’s needs. This may be a dance studio, rehearsal hall, soundstage, etc., but must have appropriate flooring, speakers, mirrors, tables, and chairs. Production is responsible for booking and payment.
- For large auditions, a holding area that protects talent from inclement weather is to be organized with the location.
- Production is responsible for on-site administrative tasks such as managing check-in and related processes, and providing necessary supplies and IT support.
- For virtual or remote auditions, production is responsible for all IT platforms and support.
Note that SAG-AFTRA contracts may have other requirements related to auditions for dancers.
Meetings with Other Departments Prior to Production
At the request of Production or on the advice of the Choreographer, there may be pre-production meetings with other departments. For example:
- Director (understanding the vision)
- Music Department, Music Supervisor, or Composer (access to music, adding musical accents/breakdowns, checking tempo & playback cues for shoot days)
- Wardrobe, Makeup and Hair Departments (range of movement, type of garment, shoes, prosthetics, safety requirements)
- Location Scout (necessary when dancing occurs on-site to ensure safe conditions)
- Stunt Coordinator (when script dictates stunts and dancing in the same scene)
- Set Designer (type of flooring, heights, and sizes of platforms, stairs, entrances and exits, lifts, water treatment, and overall set dimensions)
- Special Effects Department (pyro, fog, cryo, water, lasers, lighting, etc.)
- Sound (playback operator, set cues for shoot days)
- Puppeteer
- Motion/Performance Capture Team
- Animation Department
Safety
Production should familiarize themselves with SAG-AFTRA language concerning any potentially hazardous performances. The Choreographer may additionally use their professional judgment to advocate for the safety of performers.
Prep of Choreography
A Choreography Prep Day is a work day where the Choreographer is creating movement, either alone or with their team or with reduced cast size (skeleton crew), minimal props, etc. Prep days occur prior to the first day of contracted rehearsals with a full cast. The Choreographer is “prepping” the material to be rehearsed.
If a Skeleton Crew is used, it must be paid separately by Production according to terms negotiated by SAG-AFTRA and/or talent agents.
The Choreographer will advise on space requirements for prep of choreography.
During Production
For all Production Days, Production is responsible for hiring all talent, including dancers. This includes negotiating rates, officially booking, providing and collecting paperwork, and all other deal points related to their engagement (travel, etc). Production days include Rehearsal Days and Shoot Days.
Rehearsal Days
A rehearsal day is any day when the Choreographer is setting movement on talent, whether remotely or in person. Rehearsals differ from prep days in that a full cast may be present, and music, props, wardrobe, and set pieces may also be present.
Rehearsals require space rental, which is the responsibility of Production. The Choreographer may advise on a proper location to rehearse based on the project’s needs.
Requirements for Rehearsal Days (may apply to Prep Days above as well)
Production is to provide the following unless otherwise discussed:
- Space for Rehearsal. The Choreographer may advise on proper location to rehearse based on the project’s needs. This may be a dance studio, rehearsal hall, soundstage, etc., but must have appropriate flooring, speakers, mirrors, tables, and chairs. Production is responsible for booking and payment.
- Proper rehearsal time allotted to actors outside of their lunch breaks.
- The most current edit of music, with click track or lead in if requested.
- Any wardrobe, props, set pieces, lyric sheets, scripts, storyboards, and stage dimensions, if requested.
- Before dress rehearsal, making sure that the stage material, wardrobe, hair/make-up, props, etc., are all agreed upon.
Shoot Days
A shoot day is any day when the Choreographer is on set with principal photography. The Choreographer must be on set while dance/movement or choreography is filmed unless explicitly agreed otherwise.
Requirements for Shoot Days
Production is to provide the following unless otherwise agreed upon:
- Parking, transportation and meals as provided for other personnel.
- Trailer, if such an option is available for talent. If this option is not available for talent, a secured, private green room for the Choreographer and their belongings must be provided.
- Director’s chair at video village while the Choreographer is needed on set.
- If needed, a microphone (god mic), megaphone, or other method of amplification for voice to serve production in open spaces, sound stages, etc.
- Sound system appropriate for the size of the set.
- Playback personnel to run music.
Any ancillary services requested of the Choreographer on the shoot day for use on a platform other than that outlined in the initial contract must be negotiated at a separate rate (i.e., a TikTok video made while on set for a music video). Any use of the Choreographer’s material in a paid promotion must be disclosed to the Choreographer and negotiated at a separate rate. The Choreographer must also be provided proper approval and release forms for all footage used in “behind-the-scenes” or “making-of” content.
Post-Production
Post-production work includes any work rendered after shooting has completed.
The Choreographer’s services may be requested in the editing phase in regards to the pacing, edit, and selection of shots of the choreography scene(s) that best represents their work.
For choreography-related sounds or foley recording (for example, tap dancing, footwork, body percussion, etc.), the Choreographer (and dancer/s, as appropriate) must be involved.
Screen Credit
The producer must provide screen credit for the Choreographer and any additional choreography team members for any project in which the director and any other above-the-line personnel are credited. Screen credit for the Choreographer should be as “Choreographer,” “Choreographed by,” or “Choreography by,” unless otherwise agreed to in writing.
For a film or episode that includes multiple dance numbers by the same Choreographer, the Choreographer should be credited on an individual title card. The additional choreography team members must also receive screen credit, with placement subject to individual negotiation.
For all other film and television productions, the Choreographer and choreography team members must receive screen credit, with placement subject to individual negotiation.
For videos featuring the Choreographer’s choreography posted on YouTube, Instagram, TikTok, and other platforms, in instances where the director or other above-the-line personnel are credited, the Producer must credit the Choreographer on-screen or in the description.
Rates
Rates may be negotiated individually with the Choreographer and their talent representation, with due consideration for low-budget projects. For film, television, commercials, and music videos, Choreographers Guild standards are that minimum rates for Choreographers are at least 200% of the minimum dancer or principal performer rates for a given project. Assistant and Associate Choreographers are at least 100% of the minimum dancer or principal performer rates for a given project.
Travel and Per Diem
Production is responsible for booking and payment of all out-of-town travel and accommodation, including flights, ground transportation, hotel room and per diem commensurate with that for other above-the-line personnel.
Roles
Choreographer: A Choreographer is hired to create, stage, and direct dance or movement. Choreographers may work as part of teams including one or more of the following roles, which we refer to collectively as choreography teams:
- Assistant Choreographer: An Assistant Choreographer assists the Choreographer in carrying out their vision, which may include administrative duties as well as assisting during rehearsals or production.
- Associate Choreographer: An Associate Choreographer may take on some or all of the duties of an Assistant Choreographer, but additionally makes an independent contribution to the choreography and operates at least part of the time with autonomy from the Choreographer.
- Co-Choreographer: A Co-Choreographer is considered as equivalent to a Choreographer, working as part of an equal partnership.
- Supervising Choreographer: A Supervising Choreographer is primarily responsible for coordinating the work of multiple choreographers on a production.
Movement Coach: A Movement Coach may also be referred to as a Movement Coordinator or Movement Director. They create and instruct general movement that is an organic part of a performance which is character-driven and not necessarily dance-driven. Movement coaches are within the scope of Choreographers Guild and generally fall within the requirements described in this handbook.