Motion Picture Information

Calgary, Alberta is a three hour flight northeast of Los Angeles and has some of the best film production locations in the world. This international city of one million people is one of the fastest growing in North America. Strong economic growth has attracted the country's youngest and most affluent population. This in turn has led to the development of a vibrant modern dining, arts and cultural scene. Within an hour's drive of Calgary you will find mountains, forests, prairies, badlands, rivers, lakes, small towns, several western movie sets and wide open spaces.

Motion Picture Departments

Department Requirements Tools
Accounting ACC None
Art/Production Design ART None
Construction CON CON TOOLS
Editing EDI None
First Aid / Craft Service FACS FACS TOOLS
Lighting / Electrics LE LE TOOLS
Paramedic PAR None
Props PRO None
Script Supervisor SCR None
Security / Watchman SEC SEC TOOLS
Set Decorating SET SET TOOLS
Sound SND None
Special Effects SPE SPE TOOLS


How to apply for Motion Picture

Step 1: To the left are Motion Picture Departments, please go through and decide which department, to a maximum of 2 departments, best suits your skills and education. Be sure to complete any department requirements as noted. Step 2: Complete the Motion Picture Permit Application.

Please be sure ALL requirements have been met prior to submitting your application to IATSE 212 - INCOMPLETE OR PARTIAL APPLICATIONS WILL NOT BE ACCEPTED.

These documents are in PDF format. To view them you will need Adobe Acrobat Reader
  • Motion Picture Permit Application Form
    The Set Etiquette & Protocol course is a mandatory requirement of ALL Motion Picture departments. Please be sure to include a copy of your card or register with IATSE Local 212 for the next upcoming course.
  • Sister Status Application Form
    This form to be used by Members of the IATSE. Be sure to include a letter of good standing from your home local.
  • Set Etiquette & Protocol Course
    The Set Etiquette & Protocol course is a mandatory requirement of ALL Motion Picture departments. Please be sure to include a copy of your card or register with IATSE Local 212 for the next upcoming course.
  • Motion Picture Evaluation Form
    The Motion Picture Evaluation Form should be completed by your Head of Department or First Assistant after you've completed a work call. The form should be submitted to the IATSE Local 212 Office.
  • Department Activity Form
    If you are already listed with IATSE 212 use this form to update your file and make changes.
  • Membership Application
    To be completed when 60 days/480 hours have been completed under an IATSE 212 Collective Agreement.

To SUBMIT questions or your application please contact
Fax: 403-250-9769
Toll-Free Fax: 1-866-246-4178

Motion Picture Dispatch - How it works

The Union operates a dispatch system based on qualified seniority. The seniority number is based on a person's induction date into the Union. Qualification is determined by the Departments, based on testing, certification etc.

Here is how it works:

A production may hire any member in good standing as they deem to be qualified. They must hire a member over a permit, providing the member is qualified for the job. Crewing is usually left up to the Heads of Department. A production may also choose to go through the Union Dispatch system. Before a Department Head or Employer can go off the Membership list, the Union must first, verify that there are no qualified and available members who have not been offered the work The Union Dispatch person goes to the department list and phones those people who are listed as 'available', in order of their seniority number. This availability designation is up to the members and permits to keep up to date. You can do this on the secure website within your Member Availability page on your profile or by phoning Film Dispatch @ 403-250-5562

The allowed time for individuals to respond to the call is as follows:
  • Calls placed more than 72 hours in advance of the call: A member/permit has 6 hours to respond or they relinquish their right to the call.
  • Calls placed 24 to 72 hours in advance of the call time: A member/permit has 2 hours to respond.
  • Calls placed less than 24 hours in advance: The first available member/permit reached in person shall be offered the call.
It is essential for people to respond to the calls as quickly as possible whether or not they want the job. This frees up the Dispatch person to proceed down the seniority list to fill the positions in a timely manner. All Hall Calls are placed by seniority in the above manner. In the event that there are no members to fill the position, the Dispatch person will proceed to the permit list. There is no seniority to the permit list. A Department Head may request any permit over another permit. If none are specified, then Dispatch will call the permits in a rotational order, trying to make sure everyone gets a chance to work.

You can enhance your chances of working by:
  • Being reachable. Have an answering machine or pager. Carry a cell phone.
  • Checking your messages frequently.
  • Updating your availability as soon as you have finished work on a project.
  • Taking calls. Be as available as you can for short notice calls.
  • Being a valuable worker. Update your skills. Work cooperatively without attitude.

New Members

You've accepted your first Union call to work. Congratulations! NOW WHAT?!
Be sure to get the following information when accepting a call:
  • The name of the production or production company
  • The phone number of the production company (This can also be accessed on the website) Shooting Schedule
  • The time of your call
  • Your rate of pay
  • The location or venue of the work
  • A map if necessary
  • Who you will be reporting to
This information may not be available from Dispatch. Phone the production company directly for these details. if needed.
The specific tool/kit requirements are listed on the website under each department; see Department Tool Requirements

Useful Information

Dress Code

Be sure to dress for changing weather. Keep additional winter gear in your vehicle. You never know when the weather will change even in the middle of summer.
Come to work clean, and in clothing suitable to the filming location. Short shorts, muscle shirts, clothing with offensive slogans, and bare midriffs are often forbidden by production companies.

Be On Time

Give yourself plenty of time to get to your call. Consider traffic and road conditions. Do not be late.
Upon arrival, report to your Department Head or Crew Supervisor to be given your work tasks. Always follow the instructions you have been given. There are no stupid questions, but there are better times than others to ask them. Unless safety is an issue, save your questions for a slow time; not when everyone is under the gun to get things set up. Beyond anything else, work safely. If you are asked to do something that you feel is unsafe, you have the responsibility to speak up. If you do not know how to do something, admit it. Do not put others in jeopardy by doing something the wrong way.


Movie productions often provide breakfast for the crew. This is on your own time prior to the start of your work day. The catering and eating tent are located in an area called 'the circus'' which is often close to crew parking but away from the filming location.
On a movie set, a catered lunch is provided. It occurs at the beginning of the 6th hour of work after Crew Call. It is either an hour or a half hour in length, with the time measured after the last IATSE member has been served. Snacks and drinks are available throughout the day at the Craft Service table. If you are working at a Theatre or on a non-shooting crew, you should bring your lunch. In most cases, a break away lunch is not possible.

Set Etiquette

Do not leave your work area without notifying someone in your department. There are washroom facilities on every set. Carry hand sanitizer with you if there is no water available for hand washing.
On a movie set, it is forbidden to take pictures. Candid shots of performers is definitely a no-no! It is also frowned upon to engage in conversation with the Director or actors unless they initiate it. Everyone is there to work. Do not, under any circumstance, report details of a movie or movie set on a blog, chat room, social network site, or to your friends.
Never be caught on a film set with your cell phone ringing! The embarrassment does not outweigh the consequences! Turn them off or leave them in your car.
Be the best you can be. Work efficiently and happily. Leave your troubles at home. Get along with the others in the department. Think ahead. Be proactive.

Getting Paid

Be sure to fill out a start pack. You cannot get paid without one. You will get this from your Department Head or Crew Supervisor. If you are unsure of anything, be sure to ask. You will also need to fill out a time sheet. These are filled out in military time. Military time does not have am or pm designations. It is based on a 24 hour clock. Therefore, 1am to noon becomes 100 to 1200. 1pm to midnight becomes 1300 to 2400. On film sets you are paid in 6 minute increments or .10 of 60. You adjust your time out to the next increment of 6. So, if you are clocking out and your watch says 5:15pm, you would put 1718 on your timesheet. The Theatre and Stage contracts vary in their pay increments; although most are in 15 minute increments. Ask your Department Supervisor if you are unsure.
When the work is done or you have been released, clean up quickly and sign out. Leave your time sheet with your Department Head. They will check it, sign it and turn it in to the Production office. Your cheque will be available at the Production office on the Friday of the following week.

Permit Hours

Carry permit evaluation forms with you. You need your Department Head to fill these out and send them in on your behalf. You can obtain these forms from the Union office. Keep your paystubs as proof of the work you have done.


Information regarding our Motion Picture Agreements is private and secured via login.
Please click the following link, login and you will be able to view the current Motion Picture Agreements for our Union:


This information is provided to our members as a service of the union and should not be disclosed to non-members.
Please click the following link and enter your login information to access the maps for Film Locations:
View Maps


Pre-P = Pre-Production Date
Shoot = Shoot Date
Wrap = Wrap Date
Print Page
Show Name Type of Show Pre-P Shoot Wrap
Tin Star :: TV Series3/21/2016 :: 6/15/2016 :: 12/12/2016 

PC: Joy Bond Phone: (587) 393-8181
PM: Darin Wilson Phone: (587) 393-8181
2nd Assistant Props: Jason Eskeland
Art Department Trainee: Nathan Blackie
Art Director: Bill Ives
Assistant Art Director: Joel Tobman
Assistant Art Director: Cathy Cowan
Assistant Costume Designer: Rebecca Duncan
Assistant Costume Designer: Patricia Livingstone
Assistant Costume Designer: Adejoke Taiwo
Assistant Props Master/Armourer: Greg Auch
Assistant Set Decorator: Jason Coxwrothy
Assistant Set Decorator: Alan McCullagh
Best Boy (Grip): Neil Mcewan
Best Boy (LX): Amelia Doescher
Best Boy (SPFX): Michael Gibney
Best Boy Greens: Eugene Gogowich
Boom Operator: Geo Major
Breakdown Artist: Kim Lennox
Breakdown Artist (daily): Hilary Boterman
Construction Buyer: Danielle French
Construction CoOrdinator: Warren Simmons
Construction Foreman: John Bouman
Costume CoOrdinator: Michelle Carr-Johnston
Costume CoOrdinator: Jessica Hayward
Costume Designer: Charlotte Morris
Costume Designer: Jennifer Haffenden
Costume Trainee: Julia Dudas
Director: Various
Dolly Grip "B": Travis Ontkean
Dolly Grp "A": Kyle Robson
DOP (Even Episodes): Paul Sarossy
DOP (Odd Episodes): Dale McCready
Extras Costumer: Yvonne Mullock
Extras Costumer: Yvonne Mullock
FA/CS Assistant: Jordyn Adshead
Gaffer: Martin Keough
Genny Op: Clayton Budd
Graphic Artist: Ty Semaka
Grip: Gary Winter
Grip: Stephanie Muir
Grip: Josh DeRuigh
Hair Assistant: Danielle Hanson
Hair HOD: Laura DeMoissac
Head Greens: Thomas Yaremko
Head Makeup Artist: Samantha Rumball
Key FA/CS: Avaline Ashead
Key Grip: Mark Woodgate
Lamp Op: Colin Allen
Lamp Op: David Whyte
Lamp Op: Scott Lutley
Lead Set Dresser: Jack Crowells
Lead Set Dresser: Jason Coxworthy
Makeup Assistant: Michael Devanney
OnSet Dresser: Luke Burton
On-Set Dresser: Darcy Healy
On-Set Greens: Cheryl Allsen
Paint CoOrdinator: Gary Ripley
Paint Foreman: Randy Janzen
Payroll Accountant: Barbara Unrau
Production Accountant: Tony Desmond
Production Designer: John Blackie
Property Assistant: Tye Blackie
Props Buyer: Wendy Haffner
Props Buyer: Shanna Orgovan
Props Master: Justin Onofriechuk
Rigging Gaffer: Gordon Schmidt
Script Supervisor: Sandi Cameron
Security CoOrdinator: Bill Walton
Set Dec Buyer: Alex Lingnau
Set Dec CoOrdinator: Leena Gajjar
Set Decorator: Paul Healy
Set Dresser: Jack Crowells
Set Dresser: Tony Nagle
Set Dresser: Steven Kajorinne
Set Supervisor: Toni Baker
Set Supervisor: Tracey Graham
Sound Assistant: Joe Vizsmeg
Sound Recordist: Garrell Clark
SPFX Assistant: Carl Lee Mclellan
SPFX Assistant: Chris Macrae
SPFX Assistant: Micahel Gibney
SPFX CoOrdinator: Jason Paradis
Storyboard Artist: Al Berg
Truck Costumer: Heather Mitchell
Truck Supervisor: Teresa Grant
Tutor: Myrtle Fisher
UK Hair/Makeup Artist: Jo Adams

Heartland - Season 10 :: TV Series5/9/2016 :: 4/18/2016 :: 12/15/2016 

PC: Joe D'Adetta Phone: (587) 352-7410
PM: Lorenz Augustin Phone: (587) 352-7410
1st Assistant Payroll: Lyndsay Fonnyadt
Art Department CoOrdinator: Anisa Lalani
Art Director: Dale Marushy
Assistant Art Director: Jerod Fahlman
Assistant Costume Designer: Jamie Block
Assistant Set Decorator: Candice Husum
Best Boy (Grip): Chris Speers
Best Boy (LX): Kyle Mrazek
Boom Operator: Les Pahl
Construction CoOrdinator: Ian Wallace
Construction Foreman: Simeon Perrault
Costume Designer: Andre Ricard
Costume Supervisor: Stacey Douglas
Dolly Grip: Clint Silzer
DOP: Jarrett Craig
Dresser: Keri-Lyn Halfacre
FA/CS Assistant: Ryan Willock
FA/CS Key: Amy Dyck
Gaffer: Tom Kolafa
Genny Op: Terry Arnholtz
Grip: Sam McManus
Grip: Tyler Mandrusiak
Hair Assistant: Sasha McLaughlin
Head Greens: John Dambrauskas
Key Grip: Rick Schmidt
Key Hair: Chris Glimsdale
Key Makeup: Donna Fuller
Lamp Op: Murray O'Shea
Lamp Op: Sam Horvat
Lead Dresser: Tom Edwards
Makeup Assistant: Annie Parkinson
OnSet Dresser: Matthew Carswell
OnSet Greens: Jim Patrick
Paint CoOrdinator: Charmaine Husum
Production Accountant: Antoinette Fulford
Production Designer: Trevor Smith
Property Master: Johnny Jones
Props Assistant: Ileana Tschabold
Props Assistant: Jim Sanderson
Script Supervisor: Wayne Pells
Security CoOrdinator: Bill Walton
Set Decorator: Christopher Smith
Set Supervisor: Tannis Moore
Sound Assistant: Alex Mitchell
Sound Mixer: George Tarrant
SPFX Assistant: Dominic Smart
SPFX CoOrdinator: Leo Wieser
SPFX Supervisor: Wade Maurer
Truck Costumer: Jill Fry
Tutor: Sarah Finkbeiner

Fargo - Season 3 :: TV Series9/21/2016 :: 12/1/2016 :: 4/30/2017 

PC: Michelle Gougeon Phone: (403) 454-8873
PM: Leslie Cowan Phone: (403) 454-8873
1st Assistant Accountant (Payroll): Sandralynn Trent
2nd Assistant Art Director: Melissa Neumiller
Art Department CoOrdinator: Errin Massolin
Art Department Trainee: Kim Morrison
Art Director: Larry Spittle
Assistant Art Director: Marie Massolin
Assistant Costume Designer: Adejoke Taiwo
Assistant PC: Meghan Westelmajer
Assistant Set Decorator: Lee Campbell
Breakdown Artist: Kim Lennox
Carpenter: Alex Debolt
Clearance CoOrdinator: Sam Gainer
Construction CoOrdinator: Leonard Ayotte
Costruction Buyer: James Kilcher
Costruction Foreman: Barry Debolt
Costume Buyer: Judy Mitchell
Costume Designer: Carol Case
Costume Supervisor: Michelle Carr-Johnston
DOP: Dana Gonzales
DOP: Craig Wrobleski
Graphic Artist: Jennifer Bain
Key Hair: Chris Glimsdale
Key Makeup: Gail Kennedy
Lead Carpenter: Pierre Bartlette
Lead Dresser: Rachel Nickerson
On-Set Standby/Scenic Painter: Chauntel Swann
Paint CoOrdinator: Crystal Husum
Paint Foreman: Jeffrey Anthony
Production Accountant: Leslie Maynes
Production Designer: Elisabeth Williams
Props Buyer: Bonnie Jones
Props master: Justin Onofriechuk
Scenic Carpenter: Lawrence Glover
Scenic Carpenter: Joel Hansen
Scenic Carpenter: Richard Brouillet
Scenic Foreman: Barbara Chandler
Scenic Painter: Christine McDonald
Scenic Painter: Loyola Lewis
Set Dec Buyer: Laura Cuthill-Luft
Set Decorator: Darlene Lewis
Set Designer: Evan Spence

Wynonna Earp - Season 2 :: TV Series11/7/2016 :: 12/15/2016 :: 4/17/2017 

PM: Doug Steeden Phone: (587) 356-1768