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Los Angeles is coming back online. Slowly, imperfectly, but the numbers are moving in the right direction. Feature film production in LA logged a 52 percent year-over-year increase in the first quarter of 2026, according to the Hollywood Reporter, and California's expanded $750 million film and television tax credit is pulling productions back that had been bleeding out to other states for years. Baywatch is returning to California shores. Netflix and Amazon MGM Studios have approved titles shooting in-state. The pipeline is filling. For any production in that pipeline, one of the first calls you need to make is to your stunt coordinator. And before that call, you need to know what you're looking at contractually. SAG-AFTRA governs stunt work on union productions, and the rates and fringe obligations for the current contract period are something every line producer, UPM, and production accountant should have memorized before they start budgeting action. Here is a plain-language breakdown of what the current contracts actually say for stunt performers working in Los Angeles. Current SAG-AFTRA Rates for Stunt Performers (July 2025 to June 2026) The current contract period runs from July 1, 2025 through June 30, 2026. Rates increase again on July 1, 2026, so every budget you build right now should be locked to this window. Stunt Performer (Stunt Double and Utility Stunt) Scale is $1,246 per day under both the Theatrical and Television agreements. Stunt performers are contracted as principal performers, meaning they fall under the same base rate structure as speaking cast. Their day rate, however, is only the floor. Stunt Adjustment Here is where most productions get surprised. When a performer executes a stunt beyond the scope of what was originally negotiated, that work triggers a stunt adjustment, which gets added on top of the base day rate. The adjustment amount is negotiated based on the nature and risk of the stunt, and once agreed to, it becomes part of the performer's base compensation for that day. That adjusted base then flows into overtime, sixth-day premiums, seventh-day premiums, and holiday pay calculations. If you are budgeting action without accounting for stunt adjustments, your budget is wrong. Stunt Coordinator $1,246 per day, or $4,646 per week under a flat deal, for all theatrical agreements. Television rates mirror these figures. On complex productions, coordinators are often brought on weeks before principal photography begins for prep, stunt design, casting stunt performers, and coordinating with the director and DP on shooting methodologies. That prep time is billable. Budget accordingly. Health and Pension (H&P) Fringe 21 percent on all gross wages. This applies to every stunt performer and every stunt coordinator on a SAG-AFTRA production. It is not optional and it is not negotiable. If you have five stunt performers working a four-day action sequence, add 21 percent to every dollar in performer wages before you present that number to a financier. Stunt Driver When the action involves precision driving, the driver classification applies separately. Rates align with the base stunt performer scale, but the stunt adjustment structure for driving work has its own negotiation criteria based on speed, proximity, and risk level. Any production involving car work should have a stunt coordinator who specializes in driving sequences locked in before the stunt driver conversations begin. What This Means for Productions Shooting in Los Angeles Right Now The tax credit surge is real, but it comes with a hiring reality: when production activity increases across the board in a single market, experienced stunt coordinators get booked fast. The Baywatch reboot alone is running 95 shooting days. Netflix's "One Attempt Remaining" and Amazon MGM's "Nightwatching" are both approved and in the pipeline. These are productions pulling from the same pool of experienced stunt professionals based in Los Angeles. Productions that build their stunt budgets using scale minimums and nothing else are the ones that end up scrambling when a coordinator prices the actual work and the numbers do not match what was approved. Scale is a floor, not a market rate. Experienced coordinators with the credits to handle complex action work on a major studio or streaming production earn above scale. Build that into your planning from the start. The other thing Los Angeles productions need to account for in 2026 is prep time. Second unit action sequences, vehicle work, and stunt rigging all require significant setup. A coordinator who is brought on at the last minute cannot deliver the same level of stunt design, performer selection, and safety planning as one who has been in the room during pre-production. The best coordinators are already calendared for the rest of the year. If you are building your 2026 production schedule, now is the time to make contact. Bryan McCoy Is Available in Los Angeles Real McCoy Stunts is currently working in Los Angeles and available for production inquiries. Bryan McCoy is a professional stunt coordinator and stuntman with credits across major studio productions, streaming originals, and second unit work. He works across all three primary production markets, including Atlanta and Albuquerque, but Los Angeles is home base and where RMS is active right now. If you are a production in the current California tax credit cycle, or building a 2026 production schedule that includes action sequences, contact Real McCoy Stunts directly at realmccoystunts.com. The earlier you bring a stunt coordinator into the conversation, the better your budget, your schedule, and your action sequences will be. SAG-AFTRA contact for stunt and safety questions: (323) 549-6855.

How AI Is Changing Stunt Work in Los Angeles, Atlanta, and New Mexico. The conversation about AI in the film industry has been happening for years. In 2026, it stopped being a conversation and started being a job requirement. Digital doubles, AI-generated stunt sequences, studio body scan demands, and a SAG-AFTRA contract negotiation with AI at the center of everything: if you work as a stunt performer or stunt coordinator in Los Angeles, Atlanta, or New Mexico, this is the environment you are operating in right now. Here is what is actually happening in each of these three markets, and what it means for the people doing the work. Los Angeles: Ground Zero for the Digital Double Debate Los Angeles is where this fight is being fought most visibly. Studios there have been requiring stunt and background performers to submit to high-tech 3D body scans on set, often with minimal explanation of how and when those scans will be used downstream. AI advancements mean a single scan can generate a digital replica capable of performing any action the studio needs, indefinitely, without residuals. The technology is not hypothetical. Companies like Digital Domain and ILM have built AI-enhanced digital human pipelines capable of producing highly realistic stunt sequences without a human performer on set. Synthetic performers are already taking over the work that is easiest to replicate: background action, stock-style sequences, and scenes that would otherwise require a stunt double in a controlled environment. SAG-AFTRA has moved to close some of these gaps. The Interactive Media Agreement ratified in July 2025 requires informed consent and disclosure before a studio can create or reuse a digital replica of a performer. But the leverage is uneven. For stunt performers working in the middle tier of television and commercial production, the protections are present on paper, but enforcement is the harder problem. Looking toward the fall 2026 contract negotiations, SAG-AFTRA has proposed what is internally being called the "Tilly Tax": a royalty that studios would pay the guild any time they use an AI-generated performer in place of a real human being. The intent is to create a financial disincentive for wholesale replacement and generate a revenue stream that flows back to working performers. Whether that gets into the final contract is still an open question. What stunt performers in LA need right now is an understanding of what they are consenting to on set and what their rights are under current SAG agreements. That is not optional knowledge anymore. It is professional self-defense. Atlanta: Georgia's Legislature Is Already in the Room Atlanta's film industry has been paying close attention to what is happening in Los Angeles, and the Georgia state legislature has been in those conversations. Studio executives briefed Georgia lawmakers on AI's potential role in film production, including the use of synthetic or digital doubles as stand-ins for stunt performers in scenes that carry injury risk. The argument studios are making is efficiency and safety: AI doubles do not get hurt. The counterargument from the stunt community is that safety on a physical film set is not a solved problem just because one performer's digital likeness is substituted in post-production. Practical set safety, coordination of physical action, and the judgment calls that happen in real time on a stunt set still require a human coordinator who knows what they're doing. Georgia has been considering legislation that would require productions using synthetic or digital doubles in place of real performers to license those likenesses through a formal process that keeps revenue in-state. That framing is specifically designed to balance the studios' interest in efficiency with the state's interest in protecting its film workforce, which has become one of the most significant economic engines in Georgia. Atlanta alone accounts for a substantial share of that, driven by productions at Tyler Perry Studios, Trilith, and the surrounding infrastructure that has made Georgia the third-largest film production market in the United States. For stunt coordinators working in Atlanta, the immediate practical reality is that the volume of production has not dropped. The demand for experienced coordinators who can plan and execute complex physical action sequences is still there. What is changing is the expectation around documentation, digital asset releases, and the paper trail that follows a stunt performer through a production. Understanding what you are signing matters more than it did five years ago. New Mexico: Netflix ABQ and the Quiet Arrival of AI Tools New Mexico's film market is mature in a way that does not always get the credit it deserves. Netflix Studios Albuquerque has continued expanding its footprint with multiple soundstages and the infrastructure to support large-scale series and feature productions. The state's competitive incentive program keeps major productions coming back. Albuquerque has become a genuine second home for the kind of projects that require diverse terrain, experienced local crew, and the logistical capacity to handle extended shoots. AI has arrived here too, but more quietly. The primary pressure right now is not studios replacing stunt performers with digital doubles on Albuquerque sets. It is the gradual integration of AI-assisted planning, previsualization, and virtual production tools into the prep process. What that means practically is that some of the pre-production work that used to be done by a full team of coordinators and second unit directors is being compressed, with AI tools running scenario planning and sequence visualization that used to require more hours and more personnel. This is not a crisis, but it is a shift worth understanding. The stunt coordinators in New Mexico who are building familiarity with these pre-production tools, understanding how previz integrates with practical stunt planning, and staying current on what productions are expecting from their department leads are the ones who will have more leverage going into 2026 and beyond. The New Mexico film labor market is also watching what happens in Los Angeles closely. Whatever SAG-AFTRA negotiates into the fall 2026 contract regarding digital replicas and AI-generated performers will set the floor for what productions operating in New Mexico are required to follow. How to Stay Ahead of This The stunt performers and coordinators who are going to come out of this period in the best position are not the ones waiting to see how it shakes out. They are the ones who understand what is being asked of them, know their contract rights, and are building the skills that AI cannot replicate. A digital double can perform a scripted sequence. It cannot read a set, adapt in real time when a rigging system fails, or make the judgment calls that keep a cast and crew safe when a live-action sequence goes sideways. That expertise, built through years of practical experience, is not going away. The question is whether the people who have it are also current on the business and contractual landscape around AI. A few things worth doing right now, regardless of which market you work in: Know what you are signing. Any body scan release, digital likeness agreement, or consent form on a production set is a legal document. Read it. If you are SAG-AFTRA, understand the consent and disclosure requirements the union has already negotiated. If something on set does not match those requirements, that is a conversation worth having before you step in front of the scanner. Stay connected to your market. Los Angeles, Atlanta, and New Mexico all have active professional communities working through these questions in real time. Those conversations are happening whether you are in them or not. Keep building the skills AI cannot replace. Fight choreography, wire work, precision driving, fire effects, and the safety planning that sits underneath all of it: that is the foundation. The coordinators who know how to do all of it, and can articulate that clearly to a production that is weighing options, will stay in demand. Bryan McCoy is a stunt coordinator and stuntman available across Los Angeles, Atlanta, and New Mexico. Reach out at realmccoystunts.com.

Some of the most jaw-dropping moments in film a superhero flying through the air, a character falling from a skyscraper, a performer being launched across a room are made possible by stunt rigging. It's one of the most technical disciplines in the stunt world, and one of the most critical to get right. What Is Stunt Rigging? Stunt rigging refers to the systems of wires, cables, harnesses, and mechanical devices used to safely perform aerial and high-impact stunts. This includes wire work for flying and suspension sequences, ratchets for explosive knockback effects, descenders for controlled falls, and winch systems for high-speed pulls. Every element of a rigging system is engineered to specific load tolerances and tested thoroughly before any performer is attached. The Pre-Production Process Rigging sequences require significant planning before the shoot day. The rigging coordinator often the stunt coordinator or a specialist they bring in assesses the location, determines anchor points, calculates load requirements, and designs the system. For complex sequences involving truss grids, ceiling-mounted eye beams, or large-scale aerial work, this process involves collaboration with structural engineers to ensure the building or set can support the required loads. Equipment is selected based on the specific requirements of the stunt. Wire gauges, rigging hardware, harness types, and control systems are all specified in advance and inspected before use. On Set: Testing and Execution Before any performer is attached to a rigging system, it goes through a thorough testing process. Load tests verify that every component can handle the required forces. The system is run through its full range of motion without a performer to identify any issues. Only when the rigging coordinator is fully satisfied does a performer enter the system and even then, all rehearsals begin at slow speed before progressing to full execution. Safety Standards Stunt rigging is governed by strict safety standards developed over decades of industry experience. SAG-AFTRA has specific guidelines for rigging work, and any coordinator working on a union production is expected to adhere to them. Beyond union requirements, experienced riggers apply additional layers of redundancy backup systems, secondary attachment points, and multiple crew members assigned to monitor different aspects of the system during execution. Real McCoy Stunts and Rigging Bryan McCoy has extensive experience in stunt rigging, including large-scale work on major studio productions. His rigging credits span feature films and television series, and include complex sequences requiring engineering consultation and precision execution. If your production requires rigging work from simple wire assists to full aerial sequences Real McCoy Stunts has the experience to plan and execute it safely. Ready to Work With a Proven Stunt Professional? Real McCoy Stunts is available for film, TV, and commercial productions nationwide. Bryan McCoy brings major studio experience including credits on Captain America: Brave New World, The Matrix Resurrections, and Renfield to every project. Visit realmccoystunts.com/hire-a-stunt-coordinator or contact Bryan directly at bryan@realmccoystunts.com to discuss your production.

Bryan McCoy — Hollywood stunt coordinator for film & TV. Serving LA, Atlanta & Albuquerque. Precision driving, fight choreography, stunt teams. BRYAN MCCOY HOLLYWOOD STUNTMAN REAL MCCOY STUNTS CREDITS REAL MCCOY STUNTS RIGGING COORDINATOR REAL MCCOY STUNTS STUNT COORDINATOR 1/1 CREDITS STUNTS PROJECTS PROJECTS ABOUT ABOUT REAL MCCOY STUNTS Bryan McCoy grew up in a small town, where ranch life and a family legacy of racing fueled his passion for speed and adrenaline. His grandfather helped build the Uranium Speedway, sparking Bryan’s obsession with horsepower before he could walk. Inspired by action films and legends like Evel Knievel, Bryan wasn’t just watching stunts. He was living them. His fearless spirit earned him the nickname "Awful Knaweful " from his father. At 15, he made a bold promise : "One day, my name will shine here." At 19, Bryan moved to Los Angeles. After years of grinding through background roles and small gigs, he earned his SAG card and landed his first major stunt role in 2012. Today, as the founder of Real McCoy Stunts (RMS), Bryan is known as a skilled and versatile stunt professional. Stunt driving is his specialty. From fire burns, high falls, and horse work to rigging and weapons handling, Bryan delivers precision and dedication on every project. His credits include blockbuster films like "The Matrix Resurrections", "Eternals", and "Captain America: Brave New World", as well as hit shows like "Outer Banks", "The Rookie", and "The Last Frontier". He has also coordinated stunts for major music videos, including Machine Gun Kelly's "My Ex's Best Friend". With skills in drifting, off-road driving, ground pounder combat, and fire safety, Bryan continues to push new limits. "Risking it all so your heroes don’t have to." PARTNERS Load more

Hire Bryan McCoy — SAG stunt coordinator & action director for film, TV, and commercials in Atlanta, Albuquerque, and Los Angeles. Available now. Hire a Stunt Coordinator for Film, TV & Commercials Real McCoy Stunts | Bryan McCoy | Atlanta · Los Angeles · Nationwide · New Mexico Professional Stunt Coordination You Can Count On Real McCoy Stunts is a professional stunt coordination and stunt performance company founded by Hollywood stuntman and stunt coordinator Bryan McCoy. With major studio film credits, a proven track record on union productions, and deep roots in Atlanta's thriving film market, Real McCoy Stunts delivers safe, camera-ready action for productions of every scale. Whether you're a first AD pre-production planning, a director developing an action sequence, or a production company sourcing stunt talent, you've found the right team. Major Film Credits Bryan McCoy has worked on productions distributed by major studios including Marvel Studios and Warner Bros. Selected credits include: Captain America: Brave New World (Marvel Studios, 2025) The Matrix Resurrections (Warner Bros., 2021) Renfield (Universal Pictures, 2023) Full credits available on IMDb. Stunt Coordination Services 1 Stunt Coordination Full-service stunt coordination for film, TV, and commercial productions. Bryan McCoy handles stunt design, performer safety, schedule integration, and on-set supervision from pre-production through wrap. 2 Stunt Rigging Precision wire and rigging work for high falls, flying sequences, and specialty gags. Designed in collaboration with production engineers and executed to SAG-AFTRA safety standards. 3 Stunt Driving High-speed vehicle work, precision driving, car hits, and automotive specialty gags for feature film and commercial productions. Available for closed-course and location-based shoots. 4 Fight Choreography Camera-ready fight choreography designed for maximum visual impact. Specializing in hand-to-hand combat, weapon work, and action sequences that read clean on any lens. 5 Fire & Burns Controlled burn sequences, full-body fire burns, and fire gag coordination. All fire work is designed and executed with production safety as the primary objective. 6 High Falls Precision high fall work for building exteriors, interiors, and specialty rigged environments. Experienced in falls from 30+ feet with proper airbag, ratchet, and crash pad setups. Production Markets Served Atlanta & Georgia Real McCoy Stunts is based in the Atlanta metro area and is deeply embedded in Georgia's production ecosystem. Bryan McCoy has worked on productions at Assembly Studios and throughout the region, making Real McCoy Stunts a go-to resource for stunt coordination in one of the busiest film markets in the country. If you're looking for a stunt coordinator in Atlanta or Georgia, you're in the right place. Los Angeles Bryan McCoy maintains an active presence in Los Angeles and is available for studio and independent productions in the LA market. Real McCoy Stunts brings the same level of major studio experience to LA-based productions that has earned credits on Marvel and Warner Bros. features. New Mexico With strong ties to New Mexico's growing production community, Real McCoy Stunts is available for film and television productions shooting in Albuquerque, Santa Fe, and throughout the state. Nationwide Real McCoy Stunts travels for production. Wherever your shoot is located across the United States, Bryan McCoy is available to coordinate, perform, and deliver professional stunt work on your timeline. Why Productions Hire Real McCoy Stunts Major studio film credits on Marvel and Warner Bros. productions SAG-AFTRA experience - familiar with union set protocols and performer agreements Full-service coordination: from stunt design in pre-production through on-set execution Available for film, television, commercials, and live events Based in Atlanta with active presence in Los Angeles - no learning curve on either market Direct communication with the coordinator, not an agency middleman Book Bryan McCoy for Your Production Ready to lock in your stunt coordinator? Contact Real McCoy Stunts directly with your project details - shoot dates, location, stunt requirements, and budget range - and Bryan will get back to you fast. Contact STUNT REEL Real McCoy Stunts Play Video All Videos