As the government has prioritised soft power as a key policy, concrete steps are needed to enhance the quality of life for those in the creative industry, especially film and TV production crews.
The Creative Workers Union Thailand (CUT) wants to acknowledge these people as legitimate workers because they have dedicated themselves to a craft, yet they often face challenges that compromise their well-being.
Recognising their vital contributions is essential to ensuring they receive the respect and support they deserve, according to CUT.
Not an ideal environment
Ketnakorn Pojanavorapong, co-founder of CUT, said many jobs in the industry are freelance positions, lacking the benefits and job security associated with permanent employment.
Many workers have responsibilities similar to those of full-time employees, but are hired without contracts, much like freelancers.
Ms Ketnakorn said this approach is because studios want to reduce costs, avoiding the financial obligations that come with full-time employees, such as welfare and benefits.
With productions often scheduled for specific days, companies may hesitate to hire permanent staff during quieter periods, viewing it as a financial burden, she said.
As a result, many workers find themselves on a freelance or project-based contract.
In the Thai media production system, Ms Ketnakorn said while directors and producers might not be permanently employed, they often earn high salaries, categorised as "above the line" professionals.
In contrast, jobs such as lighting crew, costume staff, make-up artists, and extras often receive much lower pay, classified as "below the line" positions.
Some Thai film crews work up to 16 hours per shift, whereas international productions typically operate on shorter hours.
This results in unfavourable working conditions for everyone, regardless of income level, whether they are above or below the line, she said.
Ms Ketnakorn also expressed concerns over safety standards on Thai TV series and film sets, noting the use of high-voltage equipment and the risks of working at heights -- often with inadequate protective measures.
She said these unsafe practices were the result of cost-cutting approaches.
For example, some special effects supervisors who manage practical effects such as explosions and fire jokingly claim that scars or missing fingers are the mark of long-time professionals in the field, said Ms Ketnakorn.
While the humour is dark, it underscores the unsafe working conditions, she said.
In a competitive media environment, worker welfare has significantly declined, said Ms Ketnakorn.
Pressure to increase ratings has led to tighter production budgets, forcing crews to take on heavier workloads for less pay, she said.
Work Constraints
A Thai lighting crew member who requested anonymity said there was a growing trend among employers to reduce crew sizes, expecting workers to take on multiple roles.
Many crew members end up working beyond their scope of duties, said the lighting technician who asked to be called Mr Ton. For example, those hired as board operators to manage digital lighting systems such as digital multiplex (DMX) controls and dimmers often have to also perform as lighting technicians, setting up and powering the lights.
Based on his observations, international film sets tend to have clearer definitions of roles.
Positions such as lighting technicians and grips have specific tasks that do not overlap, said Mr Ton.
Generally, the lighting department handles all aspects of lighting design and operation, including fixture placement, cable management, and adjustments during shooting.
The grip department handles rigging equipment such as stands, flags, silks, nets and reflectors. They are responsible for setting up lights in difficult spots such as walls, ceilings or cranes.
Mr Ton said wages for lighting crew members usually consist of a base salary, job-based wages and overtime pay.
He called for standardised wage rates, noting the absence of clear benchmarks for compensation based on experience or skills.
In his view, lower-level crew members are often underpaid and depend on overtime to earn a sufficient income.
"If wages were higher and workers had the option to choose their hours, they could have a better work-life balance while still earning enough," said Mr Ton.
He proposed a maximum of 12 working hours a day, with compensatory rest days if those limits are surpassed.
There is no union representing lighting crews in Thailand.
Typically the individuals leading unionisation efforts tend to be in higher-ranking roles such as directors and producers, leaving technical staff feeling disconnected from union representatives, said Mr Ton.
Call for Labour Protection
As Thailand's creative workers grapple with low wages, Ms Ketnakorn said stronger labour unions could help promote fair pay and significantly enhance workers' quality of life.
She said a collective organisation would facilitate better discussions on appropriate working hours.
"Industry employees are the ones who should shape and negotiate their wages, not the government," said Ms Ketnakorn.
Thailand has long debated the legal status of freelance labour. Many app-based drivers and delivery workers are often labelled as "partners" rather than employees, which limits their access to essential labour protections, similar to freelancers in the creative sector.
She said legal protections are a necessary first step towards enabling the formation of unions.
Thai law specifies that all union members must be from the same company or sector.
Ms Ketnakorn said this restriction should be relaxed, allowing those who are indirectly connected to the industry to participate, allowing for the expansion of the support network.
She said the process of forming labour groups should not require prior legal approval, and easing these regulations could enable a more accessible and effective path for unionisation.
Setting up a task force
The Labour Ministry responded to CUT's recommendations by urging employers in the creative sector to comply with existing labour laws, including child labour protections under the Labour Protection Act, according to a statement issued to the Bangkok Post.
The law includes enforcement of occupational safety laws, especially for work involving electric systems or tasks performed at dangerous heights.
In terms of a long-term solution, the ministry introduced the Independent Labour Promotion and Protection Act.
This draft legislation is under review by the Council of State and awaits cabinet approval. If passed, it would empower the ministry to create specific regulations for various categories of freelance labour, including actors and production staff, the statement noted.
The ministry's Department of Skill Development is supporting 12 creative sectors under the supervision of the Creative Economy Agency, including crafts, film and broadcasting.
To enhance skills, the department developed training programmes in digital media production, game design, animation, and software development.
Chalermchatri Yukol, chairman of the National Soft Power Development Subcommittee for film, documentaries, animation and TV series, acknowledged there are challenges in the Thai creative sector.
The welfare of film and TV crews is one of many critical issues facing the industry, he said.
The subcommittee established a dedicated task force four months ago to address these issues, focused on welfare, labour protection, unionisation, and drafting relevant legislation, said Mr Chalermchatri.
Among the proposals is creating collective agreements that define professional standards and expectations.
The task force comprises diverse members including representatives from the Department of Skill Development as well as workers in the industry, he said.
Priorities include safeguarding child actors, ensuring animal welfare on sets, and preventing exploitative contracts, said Mr Chalermchatri.
The task force is also examining turnaround time, regarding the minimum rest period between projects, ensuring workers have adequate recovery time before starting a new production, he said.
Measures regarding sexual harassment on set is another priority for the group, said Mr Chalermchatri.
"All parties must work towards mutual agreement without suppressing any group," he said.
Ms Ketnakorn said industry advancement requires improving the conditions for workers.
"When workers are properly protected, it creates the foundation for meaningful and sustainable growth," she said.
Mr Chalermchatri says concerns about the welfare of Thai film and TV crews is a critical challenge.