Resources
New tax guidelines for freelance workers
There has been a lot of concern expressed by the freelance editing community, and other cohorts in the film, TV and media sectors, about the guidelines determining employment status for tax purposes issued by the Revenue’s last May. In a nutshell, Revenue has created a series of criteria for self employed workers which will bring a greater number of them into the PAYE tax system as distinct from invoicing under Schedule D. Yes, self-employed people can be on PAYE, not a widely known fact.
The Revenue’s guidelines can be downloaded here and you can also download a summary created by Screen Guilds Ireland here. Another useful document is the Code of Practice to Determine Emplyment Status which can be downloaded from its gov.ie webpage. It is worthwhile studying these documents, particularly sections 1, 2, 3 and 4.2.5 of Revenue’s document. Examples are given of scenarios illustrating the circumstances where it is mandatory to be under the PAYE system and where invoicing under Schedule D can apply.
If an editor or assistant editor trades using their own personal services company, i.e. a partnership or a limited company, then they will not have to be taxed under PAYE, they will be trading under their business name and can issue invoices for their services. This also applies to individuals who have their invoicing done by their agents. There is anecdotal evidence that some production companies take a flexible view and don’t insist on going on to the PAYE system if, for example, an editor or assistant editor supplies their own equipment, works from their own premises/home and/or works non prescribed hours. However this latter point is a grey area so each project will have to be negotiated separately.
One advantage of being on PAYE is that an individual can gain credits that will go towards social welfare, e.g. jobseeker’s allowance. Another is that holiday pay is automatically included at around 8% on top of the rate, something which freelancers have missed out on a lot under the Schedule D system. It is available if you ask for it when invoicing but a lot of freelancers don’t realise this or don’t want to rock the boat by demanding holiday pay. Our advice is to make sure holiday pay is added in all scenarios. Another advantage is that the size of the year-end tax bill in the following November, is reduced or even eliminated, along with the preliminary tax that’s added on account for the following year. One disadvantage is the possible reduction in claimed expenses but one can claim for heat, electricity, refuse and insurance if working from home as well as mileage and accommodation if working far from home under PAYE.
Setting up partnerships or limited companies is straightforward and not subject to minimum income limits. As these entities require a minimum of two roles (partners in a partnership and director & company secretary in a limited company), you will have to have the cooperation of another person to set up such an entity even though they will usually have a minority or token role in the business. This other person is generally the freelancer’s significant other, relative or close friend. Accountancy costs are higher, particularly for a limited company, but these can be offset by paying oneself as a PAYE employee and paying corporation tax on the profit after deducting one’s salary.
ISE recommends that our members consult their accountant and/or financial advisor to determine the best course of action for them under the new guidelines, remembering that there are no bad options, only a different set of trading circumstances to those most people have become accustomed to. ISE also recommends contacting the Revenue Commissioners directly, they are very helpful and they have a very good reputation for clear, helpful and unbiased advice. We will update this item as more information comes to light.
Podcasts, websites & online edit tools
There are a number of podcasts and websites that give great insights into the world of editing and post-production while providing valuable educational and practical resources for editors and assistant editors.
An excellent example is the Substack blog by ISE committee member Shane Woods which has a great selection of tips, shortcuts, workarounds etc., to which he is adding new entries regularly. We recommend that you subscribe and support his very useful and illuminating work at
https://shanewozere.substack.com/
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We have compiled a list of podcasts, websites and online tools which you can access below.
Please contact us at info@irishscreeneditors.com with any suggestions to add to the list.
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Websites
Screen Skills Ireland resource pages
Screen Skills Ireland have created a crew availability list page where freelancers can show when they will be available for work. There is also a general skills page which will gives insights into Screen Ireland's skills training opportunities.
ISE Webinars
ISE organised an Assistant Editor Webinar in September 2021 with Siân Fever, Fiona Starogardski and Eoin McGuirk on the panel. The purpose of the webinar was to provide information and insights for people considering getting into the editorial world as an assistant editor and ISE is pleased to say that it was very well attended.
A video recording of the webinar can be seen here and a transcript can be viewed or downloaded here.
ISE organised two editing webinars in February 2022,
An Introduction to Drama Editing and An Introduction to Documentary Editing.
The drama webinar had Nathan Nugent (Swan Song, Normal People), Victoria Boydell (Operation Mincemeat, The Last Vermeer, Saltburn) and Mags Arnold (Big Little Lies, The Trip) on the panel.
The video recording can be viewed here and the audio of same can be heard here.
The documentary webinar had Connie Farrell (New York Our Time, The End of Romance), Maeve O'Boyle (The Devil's Advocate, The 8th) and Mick Mahon (Nothing Compares, Gaza).
The video recording can be viewed here and the audio of same can be heard here.
Both webinars offer excellent insights into the working lives and knowledge of highly experienced drama and documentary editors.
ISE presented a webinar in April 2023 which was a detailed look at the tasks, skills and general daily requirements for assistant editors on TV drama and feature films. It was presented by Shane Woods, who has worked on high end dramas such as Peaky Blinders and The Crown. This was presented live on 22nd April 2023 and the recording can be viewed here.
24/7 Mental Wellbeing Support
Giving access for the creative community to experienced team of trained counsellors and psychotherapists who can offer medium-term intervention and advice covering practical, day-to-day issues that cause anxiety and stress.
Contract/Agreement guide
In response to a number of queries from members we have put together some information that may be helpful when starting a new job or beginning to work with a new client or employer.
ISE recommends that the following should be agreed before starting on a new project:
• Extent of editing to be carried out (offline/online/finishing/grade/titles/audio mix) and deadline for completion
• Weekly and daily rate
• Working hours per day
• Project overrun contingency
• Fee for working from home and use of editor’s kit if applicable
• Time frame for payment
• Any additional expenses (travel costs, accommodation and subsistence)
Covid T&C's:
• In case of self-isolation by editor/director/other crew
• In case editor contracts Covid and can't work (paused vs. replaced)
• In case there's a suspected case in the facility
• Measures being taken on site regarding social distancing/contacts in the edit suite
A good protection for editors and assistants is having an agreement/contract in place for medium to long term projects. This ensures that the fees, conditions, hours etc for the editor/assistant have been discussed and agreed by all parties.
A guide agreement/contract can be downloaded here - this is not a definitive contract, but it is intended as a template to use in negotiations with clients and also to give ISE members who have little or no experience of contracts an idea of what they generally contain. Naturally there will be different and/or additional clauses depending on the project and the production company.
ISE stresses that contracts are not necessary for every project, for example in the situation where the editor/assistant has an ongoing relationship with clients.
Workshops
We had a number of in person workshops open to ISE members before the onset of the Covid-19 pandemic put paid to these types of events. You can read about these workshops here. We hope to organise more workshops in the near future.
Mentorships
The ISE Mentoring Scheme was designed to provide up-and-coming editors with an opportunity to experience how more experienced editors work. This scheme differed from “assistant” placements or “work experience” in that the mentee was not expected to contribute to the work of the edit suite: they are there to see how the mentor works, how they approach their day, and how they deal with directors and producers over the course of that day. Due to the pandemic, however, we have had to suspend the programme until further notice.
The format of the mentoring is built on observation and dialogue. The recipient of the mentoring spends two days in the edit suite of the mentor as they work. The setup is informal, and intended to be be unobtrusive; it is vitally important that the mentor’s work should not be compromised by the presence of the mentee. More information is available here.
The first participant in the scheme was Dave Thorpe who spent time with acclaimed editor Tony Cranstoun A.C.E. - you can read his piece about his experience observing Tony at work here.
Another participant was Luke Byrne who shadowed Derek Holland as Derek was editing the TV series Blood. You can read about his experience here.
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