Casting a commercial in Los Angeles follows one sequence whether the spot is a network broadcast or a social ad: write a breakdown, find candidates, audition, call back, book, fit, sign. What changes with union and non-union status is who you can hire, how you contract them and what the budget has to cover. This guide walks through the process from brief to booking for the clients who cast and the actors who audition, and keeps the contract detail at a high level on purpose.
From brief to booking
1. Write the breakdown
A breakdown is a short description of each role: age range, look, any skills needed (driving, sport, comedy timing), whether the role has lines, wardrobe notes, the shoot date and location, and whether the role is union or non-union. The more precise the breakdown, the fewer unusable submissions you receive. Say what the role does in the spot, not only how the person should look.
2. Source candidates
There are three common routes. A casting director can run the process end to end. Talent agencies can submit actors for the roles. A casting call can be posted for non-agency actors. Smaller digital-first productions often combine routes. Whichever you use, set a deadline for submissions and be clear on the audition format.
3. Audition
Auditions are in person, by self-tape or both. A self-tape lets you see more people quickly and lets actors in other cities apply. In person lets you see how someone takes direction. For a spot with dialogue, ask every actor to read the same lines so the comparison is fair. For a non-speaking role, ask for natural actions rather than a performance.
4. Callbacks
Callbacks narrow the list to a few people per role. This is the stage where the director and the client (or agency) see actors in combinations: does the pair look like a family, do the coworkers look like they’ve worked together? Bring wardrobe options if you can, and test the actors against the product or set if that matters.
5. Booking and availability
Before an offer, confirm availability for every shoot day plus fitting and any pickup time. Hold backup choices until contracts are signed. A booking that falls through the day before the shoot is far more expensive than a few extra calls during casting.
6. Fitting and contracts
A wardrobe fitting a few days before the shoot catches problems such as clothes that do not photograph well or do not match the brand. Contracts follow. At a high level, a talent agreement states the role, the shoot dates, the rate and how long and where the commercial will run (the “usage”). Wider usage generally costs more. Read this part carefully: an actor who agrees to a six-month web run has not agreed to a national broadcast.
Union and non-union: what changes
Union status affects two groups. Crew may belong to IATSE, the union covering many film and production crafts. Talent may belong to SAG-AFTRA, the union for performers. A shoot can be fully union, fully non-union, or mixed in ways that depend on the agreements involved.
LV Productions’ Los Angeles page gives the practical rule of thumb: union is typical for network broadcast and major streaming, while non-union fits digital-first brand video. The choice depends on budget and where the spot will air.
What this means in practice:
- Who you can hire. Union members work under their union’s agreements, so using union talent or crew means working within those agreements. Whether a given actor or crew member can take a non-union job is a question for the union and their representative, not for the production to guess.
- Cost. Union work comes with minimums and obligations the production has to budget for, so it can raise the total. Non-union productions have more flexibility on budget but may draw from a different pool of talent and crew.
- Where the spot runs. A spot for network broadcast or a major streaming service often expects union crews and talent. A spot for your own website and paid social often does not.
- Planning. The decision belongs in the brief, before casting begins, because it changes who can audition.
This article does not restate SAG-AFTRA’s rates or contract rules. They change, and they differ by agreement. For specifics, read the union’s own published pages on commercials contracts, or ask a production accountant or payroll service that handles union productions before you cast.
What changes in the budget
Three budget lines move most with casting and union decisions: talent fees, crew and usage. Talent fees are separate from production costs and are often quoted on their own line. Crew rates differ between union and non-union teams. Usage terms set how long and where the spot runs, which feeds back into talent pay.
The Los Angeles premium is real. Live-action commercials in Los Angeles often run 20 to 40% above San Francisco, according to LV Productions’ Los Angeles page. Part of that comes from the factors above and part from locations, permits and stages. Budget a separate contingency for talent and permits.
For actors: what clients look for on a commercial set
Actors working commercial gigs for the first time usually learn the same things from experience. Clients and directors tend to value:
- Arriving prepared. Know the schedule, the wardrobe requirements and the script or action notes before you reach the set. Commercials move quickly.
- Taking direction well. A director may give the same note three ways. Respond calmly and adjust. Do not defend the last take.
- Repeatable actions. Commercial editing cuts between takes. If you pick up a glass on a certain word, do it on that word every time. This is called continuity, and it saves hours in the edit.
- Hitting marks and eyelines. Know where to stand, where to look and how to hold a product so the label faces the lens.
- Natural reactions. Many spots rely on small expressions. Clients usually prefer a believable reaction over a large one.
- Energy across a long day. The twelfth take should feel as fresh as the first.
- Professional conduct. Be on time, be quiet while the crew works, be kind to everyone. Clients remember the people who made the day easier.
- No surprises. Tell the production in advance about allergies, injuries or anything that could affect the shot.
For auditions, the same applies in miniature: read the breakdown, wear something close to the role without a costume, slate clearly and follow the instructions exactly. If the casting notice asks for a 30-second self-tape, deliver 30 seconds.
One studio’s Los Angeles approach
LV Productions is a San Francisco-founded studio that works in Los Angeles with a local LA crew network. Its Los Angeles page states that union (IATSE and SAG-AFTRA) is typical for network broadcast and major streaming, and that non-union fits digital-first brand video. It publishes Los Angeles commercial video at $60,000 to $130,000+, sends a line-item quote before work starts, and quotes talent fees separately on its pricing page. A line-item quote is the useful part for any casting plan, because it shows where talent, crew and permits each sit in the total.
FAQ
Do I need a casting director for a commercial?
Not always. A casting director saves time on larger or union projects and brings relationships with agents. For a small digital shoot, a producer can run the process with agency submissions and a self-tape deadline. The more roles and the tighter the schedule, the more a casting director helps.
Can union and non-union talent work on the same commercial?
It depends on the agreements the production has signed, and the answer differs by case. Do not assume. Ask your payroll provider or the union directly before offering roles.
How far ahead should casting start?
Start at least a few weeks before the shoot date, longer if you need union talent, a specific skill or a fitting. Permits and location bookings have their own lead times, and casting should not be the item that sets the schedule.
Your next step
Decide union or non-union status before you write the breakdown, then draft the breakdown for each role and set a submission deadline. If you want to see how crew, talent, permits and stages are itemized for a Los Angeles shoot, ask for a line-item quote and compare it with your own budget.