Did you use SAG actors? What union covered the actors for this shoot? Which of the contracts from the union covered this shoot? Thanks!

ACTRA. Canada's version of SAG.

We were covered under the standard IPA for the million $ film, but made "Bull" under a great program called TIP (Toronto Indie Production Agreement.)
This program allowed the producers to access higher profile actors like Maury Chaykin, and save greatly on fees, as long as the whole cast was Canadian. (I also think we were required to shoot in Toronto.)
I shot a short film earlier this year under the "Co-Op" agreement where the director, producer, writer and all performers were required to be members of ACTRA.

I know SAG actors are not allowed to work non-union anywhere in the world, but I don't know the rules when another union has jurisdiction. Since you didn't shoot film, I suppose SAG has no issues in this situation. I suppose AFTRA would be the relevant union in the U.S., but I don't know the details. I just know SAG actors have to be very careful to check all the issues.
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On a separate topic, how did you slate your scenes? If you were working from an outline and improvising, rather than from a shooting script, how did you keep track of all the scenes, footage, takes, etc. Did you ever use two cameras to shoot? or was it all single camera? Again, thanks!

It is exactly the same with ACTRA. Their members are not allowed to work non-union (non-ACTRA signatory) shows without penalties or other possible repercussions. However, all of the productions I worked on that I mentioned above were ACTRA by way of the various production agreements. Going union in one department doesn't mean that all departments need to be union. They are not that coordinated...yet.
Most of the other unions and guilds don't have the same restrictions on their members as ACTRA and SAG. Most of our technicians were not IATSE or NABET, and even though our AD may have been a member of the director's guild, their members are still allowed to work non-union without penalty.
I asked an IATSE rep once why I wouldn't be able to work a non-IA production once I joined and she basically said "We can't stop you, but we also can't protect you."

We dumb slated everything because we simply couldn't afford TC slate.
On "Bull" our sound recordist recorded 4-tracks to digital nagra with time-of-day stamps on each file. We would sync our free run TC with him at the top of each day to make the syncing job easier. The sound recordist would also send a rough 2-track mix to the HD100 for reference and "instant" dailies.
The 2nd A.C. kept detailed camera reports with TC on a HD report I designed earlier this year.

Bull had a very well written script and Kent Tessman made some wonderful storyboards and animated pre-viz for the FX scenes.

We only used multiple cameras for some exterior street scenes in the downtown core of Toronto's financial district (King & Bay.) Our permits limited our time down there (on a weekday) so multiple cameras were the most efficient way to capture the mostly-M.O.S. action. Our backup camera was used by the EPK crew on a few days.