Pensions and VFX
As a VFX worker, have you ever thought about what it will be like when you reach the age of 67? Will your pension be enough for you to live on? Will your health still allow you to work 70 hours a week to deliver the latest instalment of your grandchildren’s favourite superhero movie? And will it still be OK if you only get paid for 40 out of those 70 hours?With a current average life expectancy in Western Europe of 84 years for females and 79 years for males, chances are that sooner or later we will have to answer those questions.In the tables below, the Bectu VFX branch - i.e. ordinary VFX workers like you - have gathered and compared pension schemes from some of the major London VFX companies, based on the information provided to us by our colleagues who work at these companies. Let’s have a look:(N.B. The real attraction of these contributions from yourself and your employers is that they are “tax-free” - it is a very efficient way to save for your old age).
| Double Negative | |
| Address | 160 Great Portland Street, London W1W 5QA |
| Number of employees | 900-1000 |
| Pension provider | Scottish Widows |
| Enrollment | Available after 3 months of service |
| Contribution structure (% of salary) | From Oct. 2013: employee contribution 1%, employer contribution 1%.From Oct. 2017: employee contribution 3%, employer contribution 2%.From Oct. 2018: employee contribution 5%, employer contribution 3%. |
| Framestore | |
| Address | 19-23 Wells Street, London W1T 3PQ |
| Number of employees | 700-800 |
| Pension provider | Scottish Widows |
| Enrollment | Available twice annually. |
| Contribution structure (% of salary) | Employees may pay any percentage they wish; Framestore matches the employee's contribution up to the following limits:0-1 years' service: no employer contribution.1-2 years' service: employer matches employee contribution, capped at 1%.2-3 years' service: employer matches employee contribution, capped at 2%.3-4 years' service: employer matches employee contribution, capped at 3%.4+ years' service: employer matches employee contribution, capped at 4%. |
| Industrial Light & Magic (ILM) | |
| Address | Hend House, 233 Shaftesbury Avenue, London WC2H 8EE |
| Number of employees | 300-400 |
| Pension provider | Royal London |
| Enrollment | Available after 3 months of service |
| Contribution structure (% of salary) | Year 1: employer contribution 1%, employee contribution 1%.Year 2: employer contribution 3%, employee contribution 3%.Year 3 onwards: employer contribution 4%, employee contribution 5%. |
| The Moving Picture Company (MPC) | |
| Address | 127 Wardour Street, London W1F 0NL |
| Number of employees | Approx. 700 |
| Pension provider | Aegon |
| Enrollment | Available after 3 months of service |
| Contribution structure (% of salary) | Until April 2018: employer contribution 1%, employee contribution 1%.Until April 2019: employer contribution 2%, employee contribution 3%.Beyond April 2019: employer contribution 3%, employee contribution 5%. |
So, for example, let’s say you are a freelance VFX artist who gets hired by ILM on a 6-month PAYE contract. After 3 months of service you will be offered to join the company’s Royal London pension scheme. If you opt-in, ILM will take 1% of your salary from your monthly payroll and match it with another 1%, all of which goes into the Royal London pension pot. Jolly good.After 3 months of payments into your pension, your contract ends. ILM will stop making contributions into your fund, which becomes dormant.You go job hunting again and you are lucky enough to land a 1-year contract at Framestore. During that time you will have the option to join the company’s Scottish Widows pension scheme, but unfortunately Framestore will not match any of your contributions into your pension pot.When your contract at Framestore comes to an end, you are hired again by ILM, where - after 3 months of service - you will again be offered to start making contributions into the same Royal London pension scheme you joined a year and 3 months earlier, starting again from the lowest contribution level.Chances are that by the time you reach your retirement age you will have collected at least half a dozen small pension funds from different providers. Every time you move home or your circumstances change you will have to notify each and every one of them. Until, when it's finally time to retire, you are likely to receive a very small amount of money from a multitude of pension providers.On top of that, there are a lot of three-month periods where you will not be earning any pension at all.It’s finally worth noting that these levels of contributions are fairly close to being the bare legal minimum in most cases.Bectu negotiates with employers in the TV and Film industries who offer contributions that are “matched” (i.e. employees and employers both contribute 5%) or even “better than matched” (i.e. a 1-for-2 scheme where employees contribute 4% and employers pay in 8%) with very high caps - often up to 10%.We are in an age where state provision of welfare is falling and the expectation of private pension provision is rising. It’s time that VFX companies step up and care about the welfare of their employees.
What can the Bectu VFX branch do?
Quite a lot, actually. The union can push for London VFX companies to adopt the same pension provider, so that if you keep moving from one company to another on short term contracts you will cumulatively keep making payments into one single pension pot. The NEST scheme was set up with exactly this eventuality in mind. And if you return to a company after a few years you won't have to start all over again from the lowest contribution level. Bectu can also push for a better pension deal in line with what other media companies are already offering.These things are not impossible to get, and no they won’t kill the London VFX industry. But there is a catch. The Bectu VFX branch is a union of VFX workers, and as such is only as strong as the sum of its members. We have grown a lot in recent times, but even with the current membership numbers we are simply not strong enough to be able to challenge big VFX companies, which can happily keep offering their employees only the bare minimum of employee benefits. A tiny improvement in your pension provision would more than cover the cost of your union dues.If we don’t stick together right now asking for a better pension deal, we will certainly be on our own when - after a lifetime of sitting down in dark rooms staring at computer screens - our health will fade and we will no longer be able to sustain the punishing working hours of a movie delivery schedule.Joining Bectu is confidential and requires no political affiliation.Happy 2017!
Sausage Party and Nitrogen - an open letter
To the VFX & CG-feature communities,
Many of you will have heard in the last week about working conditions on the recently-released "Sausage Party”. What started in the comments section on Cartoon Brew has now been reported by The Washington Post, The LA Times, Variety, The Hollywood Reporter, and many more besides. It's sad to say, but stories of poor working conditions are becoming an embarrassingly regular occurrence in our industry. From the infamous MPC Variety article, to the Life of Pi Oscar debacle, time and again we’ve found our industry’s troubles in the spotlight. We've seen reports of a client saying "If I don’t put a visual effects shop out of business (on my movie), I’m not doing my job". We've seen a facility exec tell an audience that if you don't like long hours then you should get out. We've seen hundreds of VFX artists left off the credits of Star Trek Beyond. We’ve seen friends and colleagues forced to uproot their lives and move around the globe to chase tax-breaks and production whims. The question is this: when are things finally going to change?The problems in our industry are well-known and well-documented. Whether because of over-promising to clients, underbidding to compete with tax breaks, creative mismanagement, inexperience or a simple lack of people, the result is always the same. Workers are pressured to meet impossible deadlines by regularly working late for little-to-no compensation during “crunch-time”. The "lucky ones" are rolled onto another project, where the whole sorry cycle repeats again and again until they burn out and leave. The “unlucky ones” are thanked for their hard work by being laid off. Many of us in this industry spend our lives jumping between companies and countries, trying to find a stable income and work-life-balance in a fickle industry that increasingly allows neither. And yet, our industry continues to cling to the antiquated and destructive motto that "we must deliver at all costs".However - things are changing. A process has started in London in the last 12 months which has given our industry a legitimate ray of hope. We launched a branch of BECTU for VFX workers in the UK, and gathered hundreds of members. We launched recognition bids at MPC and at Framestore, and we fought for representation for VFX workers at all the big London VFX studios. This has sent shockwaves through the industry. Our work is ongoing, and there's still lots to do. However, we've started a process here, and we intend to see it through.There are three groups of people we would like to address:
1. To the animators at Nitrogen. Congratulations to all of you on the release of Sausage Party. The film’s been a great success, and you should be very proud. We're sorry to hear about the poor working conditions many of you experienced; that you encountered ‘intimidating staff into working past official studio hours, disciplinary measures utilizing fear tactics [...] (such as threatening to terminate employment), implying that other departments are working overtime “voluntarily” as a reason to deny compensation’. We're sorry to hear that some of you were threatened with blacklisting, or were denied credits for your hard work because you dared to ask for fair treatment. The fact that this happened on a CG feature - where your employer has even greater freedom over who to credit than a typical VFX vendor - makes things even worse.
To each one of you that stood up for fair treatment, by signing your petition or by speaking out to the press - a massive "well done" from all of us. It's not easy to take a stand on working conditions in this industry (we know, we’ve been there!), and we hope that others will follow your lead. We feel - and we hope you agree - that this is a discussion that our entire industry should be having. You are not alone. The VFX branch of BECTU and its members have heard your story, and we stand with you. We hope that this is a turning point, and that management at Nitrogen listen to your concerns. But if not, you should know that you still have options. It absolutely doesn't have to be this way. You've all experienced first-hand just how important it is that we have a voice in how we’re treated. This is exactly what a union is for. We know that our sister labour union in the US and Canada, the IATSE, would love to help you improve your working conditions. After all the coverage you've had in the press, we would eagerly encourage you to reach out to them. Nothing is impossible if you all speak to each other, talk about this, and get organised. It's making a difference here in London, and it can make a difference for you too. Don’t let this chance to improve things go to waste. If there's anything we can do to help, then please do get in touch.
2. To management at Nitrogen. We can't imagine that it's been an easy week for you. To see stories like this about your company after all the hard work on Sausage Party must be difficult. We're not here to point fingers. We know that experiences vary by project and by team, and we don’t imagine that all of your employees are unhappy. However, judging by the number of people speaking out, there's clearly a problem here - not just at Nitrogen, but across much of the industry. Nitrogen is not the first company to step on the giant landmine that is VFX working conditions; it is merely the latest.
It's not in anyone's interest - yours or ours - to see stories like this emerge every time a facility tries to talk proudly about its work after a tough project. We hope that you and other facility owners will agree that things cannot go on like this. We want to see public outpourings of anger like this and the MPC Variety article become a thing of the past. We're sure that you do too.
Now is the time for facility owners to listen and to show leadership. Our industry is facing a crisis in working conditions, and to dismiss this outpouring from Nitrogen's employees as the work of a disgruntled or opportunistic few would be a grave mistake. Hundreds have joined us here in the UK because there is a clear and widespread feeling in our industry that things cannot carry on the way they are. We - your workforce - don't want a fight. We don’t want to cheat you out of money, or to make you uncompetitive. The vast majority of us just want a normal work-life balance and the chance to bring stories to life. We would love to work constructively with you to make this happen. However, we cannot do so if you bury your heads in the sand, deny the problem, or refuse to engage. We've spoken to many senior figures in this industry off-the-record, and we know that many of you share our frustrations in how this industry operates. We would challenge all facility owners in this industry to ask their employees to anonymously answer the following question: "What does this company do to protect me from mistreatment when a project goes wrong?". If the answer is "nothing", then it's time to reach out to other facilities, and to talk about a shared solution. Without common industry-wide standards on issues like overtime, this industry will consume itself - and then we all lose.
3. To everyone working in VFX and CG features. We've talked to many hundreds of you now. Some of you are happy, but a great many more of you are not. We've heard your stories. The late nights, the weekends. The hundreds of hours of unpaid work. The missed holidays, the uncertainty of short-term contracts being extended week-by-week. The stress. The crunch-time. The fear of speaking out because of blacklisting. The trouble getting showreel material. The wage suppression. We've seen you share the stories, we've seen some of you even turn your profile pictures green. But unfortunately, sharing the stories isn't enough. Things won't change until we act.
Things started here in London when a group of us had enough, and decided to do something. We invited friends and colleagues out for lunch and coffee to discuss working conditions. We made chat groups, we shared ideas. We challenged each other to sign up, we set friendly challenges to see who could get the most colleagues to join. We made leaflets, we spoke out. We acted. And when we did, the facilities really sat up and took notice.
So what about you, dear reader? Have you joined a union? Have you talked to your friends and co-workers about joining a union? Because if not (and we hate to put it this way) - then you are currently part of the problem. Until we decide as a workforce that enough is enough, until we choose to establish a voice for ourselves, this steady drip-feed of horror stories is likely to continue. The facilities have had years to address these problems, but as we can see from the stream of stories like this one, their efforts to date have been sorely lacking. Crunch-time and insecurity remain rife within our industry. The next big story could be your next project. Ask yourself this: "Would I be prepared to stay in this industry and work at this level until I retire in my 60s?" If the answer is no, then it's time to get off the fence and do something.
We would like to invite everyone around the world who's read Nitrogen's story and recognised these horror stories to join their local VFX union. We've started a process here in London. However, our recognition bids are only one piece of the puzzle. If you're waiting for us to fix everything for you world-wide, then you're in for a long wait. This is a big industry, and we can’t change the whole thing without you. We need to act together.We've seen first-hand the improvements that happen at the workplace when workers get together in large numbers to declare "it’s time for a change". We hope that you'll get to see it too. There are unions and groups of people around the world that would love to help us finally improve the working conditions in our industry. The question is: will you let them?Thank you for your time.Kind regards,VFX Union UK
VFX Branch wins award!
At the BECTU National Conference over the weekend, the Visual Effects Branch was honoured with the Roger Bolton Memorial Award. It's basically the unions "branch of the year" award and it was presented to members of the committee at the conference in recognition of our record breaking recruitment over the last year and our recognition campaigns at MPC and Framestore!Come along to our Thursday VFX Lunchmeet today from 1-2pm at Jurassic Church (St. Anne's, Wardour Street - nr. Shatesbury Avenue) so we can give each other high fives and pats on the back! Grab a sandwich or some sushi, sit on the grass, soak up a little sunshine and chat about what's happening in the world of London VFX!
1:00-2:00pm Thursday
The Jurassic Church
(St. Anne's, Wardour Street - nr. Shaftesbury Avenue)
Discounted Union Membership for a limited time only!
Normally, your first years membership in the union is £10 per month but for a limited time, we have a special deal: Any new members working in VFX who join the union this week (before the end of the day on Sunday 14th Feb) will be able to join for a rate of £7.50 per month for the first year of membership! That's an annual savings of £30!You can do this online as long as you...
- put "VFX Branch" as the answer to the question "Branch - if known"
- tick "Freelance" as your employment status*
- on stage 5a of the online application, you use this Promo Code: PBSSFY
* If you're not freelance, it's OK. BECTU will confirm your employment details once the application has been received. 
If you prefer to fill in a form and post it, you can click the image below to download a form to print out. 