“These workers help bring some of the most ambitious stories in entertainment to life, and they deserve a meaningful voice in shaping their working conditions,” said ������ƵInternational President Matthew D. Loeb. “We are proud to welcome these visual effects professionals into our proud Union.”

Visual effects workers have long been essential to modern film and television production, helping create the worlds, characters, and experiences that audiences see on screen. As the industry continues to evolve, workers across visual effects are increasingly seeking the protections, benefits, and collective bargaining rights that come with union representation.

Today, these workers joining the ������Ƶto advocate for industry-standard wages, benefits and working conditions sends a clear message about the power of solidarity. If you work in visual effects and want to learn more about organizing a union at your workplace, visit .

The post On-Set Visual Effects Workers on Star Wars Productions Join IATSE appeared first on IATSE.

Swaybox is currently working on a Warner Bros. Pictures Animation feature with a budget of approximately $90 million. As a result, this victory represents one of the largest organizing drives in film and television production undertaken by ������Ƶin recent years and expands union representation into an area of animation where workers have long lacked industry-standard protections.

The newly organized bargaining unit includes 136 workers, a number expected to grow significantly as Swaybox moves deeper into production on current and future projects. The group includes a broad cross-section of animation, visual effects, editorial, puppet and set fabrication, costume, prop, technical, engineering, production support, information technology, facilities, and administrative workers who bring Swaybox’s stop-motion productions to life.

Workers voted to unionize after reaching out to ������Ƶseeking support for industry standard wages, working conditions, benefits, and a stronger voice on the job- conditions that are standard in Warner Bros. and other major studios agreements with the IATSE. The margin of victory of counted ballots was 71.4 percent. 

Workers began this campaign by taking the first step and reaching out to their union for help. “Too many workers in this segment of the entertainment industry believe they have to accept low pay or poor conditions because they’re told that’s how the job works,” said ������ƵInternational President Matthew D. Loeb. “The workers at Swaybox proved otherwise. If you’re working non-union and things aren’t right, if pay is low, take the first step and call the union. We’ll have your back.”

Simonette Berry, Business Agent of ������ƵLocal 478, said: “This campaign began last summer when Swaybox workers from across the production reached out to Local 478 because they wanted a real voice on the job. Today, by standing together across crafts and departments, they’ve shown that productions coming to Louisiana to build world-class films can’t expect to succeed by lowering standards or ignoring the people whose talent and dedication bring those projects to life. Their courage and solidarity send a powerful message: when workers stand together, they have the power to shape their future. This victory belongs to the crew.”

������Ƶalso called attention to what the union describes as an unnecessary and costly anti-union campaign. Rather than proactively recognizing workers’ desire for representation and working toward an industry-standard labor agreement, the union says Swaybox and its production partners chose a different path.

“Swaybox and Warner Bros. Pictures Animation had every opportunity to do the right thing and engage constructively with workers and their union from the beginning,” said ������ƵInternational Vice President Mike Miller. “Instead, workers were forced through an extended election process while management retained an expensive union-busting law firm. That decision created unnecessary conflict, expense, and delay.”

The union further argued that the campaign raises broader questions about the role and responsibilities of Warner Bros. Pictures Animation, which has publicly asserted ownership and control over the intellectual property and production associated with the project. According to IATSE, Warner Bros. Pictures Animation sought to portray Swaybox workers and the production itself as integral to its intellectual property interests, while simultaneously distancing itself from responsibility for labor standards and established union relationships within the motion picture industry.

The union is calling on the leaders of Swaybox, along with Warner Bros. Pictures Animation, to move immediately toward negotiating an industry-standard collective bargaining agreement that respects the workers’ democratic decision to unionize. “The workers have now spoken clearly, and we expect Swaybox and Warner Bros. to come to an industry standard agreement immediately,” said Vice President Miller.

The election result is a call to action among film, television, animation, and digital media workers seeking collective bargaining rights across North America. As production models evolve and new sectors emerge, workers are increasingly demanding the same wages, benefits, protections, and workplace voice that union standards have established throughout much of the entertainment industry.

Arvid Cristina, Assistant MoMo Editor said, “When workers feel heard, morale improves, and productivity improves. This will be a good thing for all parties involved.  I have enjoyed my time here, and have enjoyed watching them grow. This is the next step in that growth.”

Natalie Usie, Production Secretary said, “I am incredibly proud to stand alongside our crew members, who dedicate immense time and creative energy to bringing this film to life. More than that, I am proud of how we collectively stood up for one another to secure an opportunity to collaborate with Swaybox for our future. We have finally earned the power to negotiate in good faith for proper titles, fair pay, enhanced benefits, job security, and better working conditions.

One of the most rewarding parts of this project has been handling diverse tasks that span across various positions and skill sets. While we are grateful for the experience and knowledge gained by stepping outside our traditional roles, proper titles and compensation are deserved for the actual work our crew has delivered. This versatility is something we deeply value, and many of us hope to continue working at these multifaceted levels. I look forward to seeing this project to completion and supporting both this film and the future of Swaybox as a studio. Ultimately, our goal is to pave the way for future generations of Swaybox employees, ensuring they receive the same benefits we are fighting for today.“

Matthew Laird, Puppet Generalist said, “I love the art of puppetry. It’s been my career for 20 years. As technology evolves, puppetry has become more of a novelty. That’s why I believe Swaybox is doing something really special and innovative. But when you grow rapidly from a small-scale operation to a big-budget movie, you need help. People and concerns get left behind. So it’s exciting as an employee to unionize. This is a legitimizing force for Swaybox. It puts them and all of us on the map in a big way. Working as a collective and sitting down at the table together means Swaybox has truly arrived on the scene. I’m looking forward to seeing this project completed, and I can’t wait to see what’s next for Swaybox.”  

The post Swaybox Workers in Louisiana Vote to Unionize, Winning One of the Largest Organizing Campaigns in Recent Film and Television History appeared first on IATSE.

The results were as follows:

The Federal Theatre: 11 Yes, 2 No
The Oriental Theater: 5 Yes, 1 No
HQ Denver: 5 Yes, 1 No
(Some workers were eligible to vote in more than one election)

The three venues share common ownership and together represent a significant presence in Denver’s independent rock and roll market, operating outside the Live Nation and AEG ecosystem that dominates much of the city’s entertainment landscape. The Federal Theatre, which had sat vacant for several years, reopened last year as a music venue, making this organizing victory part of its new chapter.

Workers first reached out to a Local 7 organizer about unionizing the venues following staffing changes at the properties. A majority of authorization cards were collected in early May 2026, and the successful votes followed on June 30th.

“The live music industry has long left its crews behind. Unstable conditions, little to no benefits, and wages that fall well short of what a skilled workforce deserves,” said Local 7 President Bryant Preston. “We look forward to sitting down with the employer and getting to work on the issues these workers face every day on the job.”

Les travailleurs de l'événementiel qui souhaitent s'unir pour obtenir de meilleurs lieux de travail peuvent se rendre à l'adresse suivante iatse.net/join pour contacter un organisateur de l'IATSE.

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Opened in 2009, Brooklyn Bowl Williamsburg has grown into one of New York City’s premier live music destinations, hosting up to 1,000 guests and welcoming notable acts including Les Claypool, The Roots, and Elvis Costello, among many others.

The path to this victory began years before the election. Around 2022, Local 4 planted the seed with the crew, and over time, interest grew steadily, with Local 4’s leadership providing the support needed to run an effective campaign.

Once a supermajority of workers had signed authorization cards, Local 4 submitted a letter to the employer requesting voluntary recognition, with a response deadline of May 1st. The employer requested an extension to May 15th, which was granted, but provided no further response. Local 4 then filed an RC petition with NLRB Region 29, accompanied by the signed authorization cards, and won the subsequent election by an overwhelming margin.

“This victory shows once again that when workers come together to improve their conditions, anything is possible,” said ������ƵSpecial Representative Joseph Juntunen. “Local 4 and the IA stand ready to assist and represent stagehands and workers throughout the entertainment ecosystem to build a stronger future for all.”

Crew member Ryan Ramirez put it plainly: “Union representation for me means I have support and protection as a working-class person. Working within an organization that earns when I earn rather than being a red line item against profitability.”

This win is part of a broader surge in organizing activity across Local 4’s jurisdiction, as workers throughout the live entertainment industry continue to build power on the job. Entertainment workers looking to join together to win better workplaces can head to iatse.net/join pour contacter un organisateur de l'IATSE.

The post Brooklyn Bowl Stagehands Vote to Join ������ƵLocal 4 appeared first on IATSE.

As ������Ƶmembers, we understand that solidarity is more than a word, it is standing together on every call, in every venue, and through every challenge. Juneteenth reminds us that progress is made when working people lift each other up and ensure every member has the opportunity to succeed, be heard, and be treated with dignity and respect.

This Juneteenth, we honor the struggles of those who came before us, celebrate how far we have come, and recommit ourselves to building a stronger, more united ������Ƶfor future generations.

Par solidarité,

Comité de la diversité, de l'équité et de l'inclusion de l'IATSE

For more information about Juneteenth, please visit:

The Smithsonian National Museum of African American History

Why Juneteenth Is Important For America

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The agreement reflects the commitment of the membership and their representatives to securing fair wages, improved working conditions, and greater stability for theatre workers at Canada’s oldest and largest theatres for young audiences.

“We are proud of the dedication and solidarity shown by the members throughout certification, bargaining, and ratification. We thank all nine certifying members for their leadership and commitment, and especially recognize Maeve Byrnes and Christopher Jakobs for their contributions throughout this process and their active involvement as young workers in the local,” said Michelle DiCesare, Business Agent for ������ƵLocal 822.

The agreement, which was ratified June 9th, demonstrates the strength of collective bargaining and the important role theatre professionals play in delivering exceptional productions and educational programming across the Greater Toronto Area (GTA).

For workers interested in joining this growing movement, head to .

The post ������ƵLocal 822 Members Ratify First Contract at Young People’s Theatre appeared first on IATSE.

The FLCA mirrors a key provision of the Loi sur la protection du droit syndical (PRO) to speed up first contracts for new unions. The bill would amend the National Labor Relations Act (NLRA) to require that employers must begin bargaining within 10 days of a successful union election. Under the proposed FLCA, if parties fail to reach an agreement within 90 days, the dispute proceeds to mediation and, if necessary, binding arbitration to secure an initial contract. Under current law, there is no deadline for reaching a first contract, allowing employers to drag out negotiations and deny workers the wages, benefits, and protections they voted to secure.

“This successful vote on the Faster Labor Contracts Act shows that even in a Washington where corporate interests wield inordinate sway, workers and our allies in Congress can still organize and win,” said ������ƵInternational President Matthew D. Loeb. “Too often, employers stall first contract negotiations to wear workers down and deprive them of their rights. While this legislation faces an uphill battle in the Senate, it represents an important step toward securing the necessary reforms contained within the PRO Act. ������Ƶis grateful to Reps. Norcross, Stauber, and every member of Congress who stood with workers on this issue.”    

Timely first contracts are particularly important for entertainment workers, whose livelihoods often depend on moving from job to job. Securing a first contract quickly can be critical before a motion picture production wraps or a theater season ends. Delays in bargaining can mean missing out on the industry standards and protections we fight for. ������Ƶwill keep fighting for the FLCA and the full slate of PRO Act reforms to restore balance and power to America’s workers.

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The court found that the closure plan failed to meet basic obligations and relied on incomplete information. and disruptions affecting ������Ƶmembers and other union workers.

“This ruling confirms that you cannot dismantle a workforce through a flawed process,” said International President Matthew D. Loeb. “Workers deserve lawful decision-making, transparency, and a real voice in choices that affect their livelihoods and this institution’s future.”

The decision does not end the labor disputes at the Kennedy Center, as the Kennedy Center has told its employees that the Center is considering all of its options. The Kennedy Center has not returned the laid-off employees to their jobs, despite calls by the Union to do so in light of the court’s ruling. Moreover, unfair labor practice charges remain pending, contract negotiations are still unresolved, and workers continue to demand legally required negotiations  over any changes that affect jobs, schedules, or working conditions. More demonstrations and legal actions are expected in the coming days and weeks.

“The fight to protect good union jobs at the Kennedy Center is far from over,” Loeb said. “Our members are ready to do their jobs. We expect management to do theirs by bargaining in good faith, respecting workers’ rights, and honoring the public mission of the center.”

The post IATSE: Kennedy Center Ruling Confirms Concerns and Strengthens Workers’ Case, But Fight for Jobs Continues appeared first on IATSE.

The ������Ƶhas long maintained a flexible approach to the On-Line Streaming Act and the need for the CRTC to weigh and consider the increasingly complicated forces, both domestic and global, which are impacting the industry. 

A strong industry which supports Canadian Creative voices recognizes the need for a strong domestic sector as well as a vibrant foreign service sector.  The two are not mutually exclusive. There was a time not too long ago when the industry recognised this reality and spoke with one unified voice.  Stability has been a cornerstone for the growth of our industry.  This period of relative uncertainty needs to conclude to ensure both foreign and domestic producers have the confidence to invest in the industry and in good-paying Canadian jobs.    

The ������Ƶwill once again be a strong advocate for its members and for the entire industry as the CRTC takes these matters under consideration.  The ������Ƶwill continue to speak to sustainable funding requirements which take into account current levels of investments to support the domestic industry and Canadian Creative talent.

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