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Production Sound, Video Engineers & Studio Projectionists

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Union Membership: Our Responsibilities

by Ryan Pedersen

I grew up in the northwest suburbs of Chicago, which is a strong union city, along with the state of Illinois. When I was 15 years old, I became a bagger at a local grocery store. Even though I was a part-time minimum wage worker making $5.25 an hour, I was required to join the union associated with the grocery store. I was young and didn’t understand why I had to pay what little I was making toward union dues. I didn’t understand what a union was, nor how it benefited me. A lot has changed since that first experience. I now live in a household where I am not only a member of a union, but my wife is as well. I’ve grown to understand the history behind unions, why we need them, and what they offer working people.

When we become members of Local 695, we make a pledge to accept and abide by the provisions set forth in both our Local 695 Constitution and By-Laws, as well the IATSE’s governing documents. While signing your name at the bottom of this pledge is an easy task, there is much more entailed in being a member. When we apply for membership, we are stating that we are of good moral character and reputation. As we continue our membership, we are expected to maintain our good standing both morally and financially.

Our Local 695 Constitution lays out the objectives of our Local and indicates our own responsibilities as members. We and the Local have agreed to strive to:

a) Improve the wages, job security, and working conditions
b) Advance our economic, social, and cultural interests
c) Establish peaceful and harmonious relationships between our members and the employers and increase stability of the industry
d) Assure full employment
e) Promote and support democracy and free trade unionism
f) Engage to strengthen the labor movement and extend the collective bargaining process to all trades and industries

It is not just the responsibility of members elected to office or the staff in the office to try to fulfill these objectives. The general membership makes the Local what it is. It is up to us as members to fulfill these objectives. These objectives are the core of what it means to be a member of a union.

Knowing our objectives and responsibilities is the easiest part of being a member of our Local. Accomplishing these objectives is the more difficult thing to do. It is our shared responsibility to engage with our Local. Some of the ways we engage are by discussing these topics with each other, communicating with our leadership, voting both for our leadership and for our contracts, attending membership meetings, attending trainings, volunteering our time for union activities, and participating in the different committees organized by our Local.

One aspect of union membership is that we refer to each other as brothers, sisters, and kin and I think that this is at the heart of our union. This is a foundational element of union membership. We are a family. The last couple of years have been some of the hardest for us as filmmakers. We have experienced major economic loss. Our mental health is suffering and our sense of identity as filmmakers is at a crucial tipping point. We have a responsibility to each other that lacks in most workplaces and that’s because we are connected in our shared pledge. We have a responsibility to look out for each other and support each other.

Times of hardship are when we really shine as union members. It could be as simple as a phone call to see how someone is doing or sharing a few days of work with them if your situation allows. We need to build each other up and not tear others down. I know that not everyone in our Local will see eye-to-eye on many things and that some people may not get along with others. However, our Local will thrive when we have members of different backgrounds with diverse thoughts. One of the things that we ask of our employers is to treat us with dignity and respect amongst many other things. We should heed our own advice and seek the same things amongst each other.

As I write this article, Amazon workers are striking across the country to force Amazon to recognize their desire to bargain for a union contract. After the 2023 writers’ and actors’ strikes and the continued downturn in our industry, I believe that we understand the sacrifice that they are experiencing so that they can better their lives. Supporting workers in other industries as they strike for better pay and conditions is yet another way that we are active union members.

Our influence reaches far and wide. Union membership is on the rise but our rights as workers are never guaranteed, especially as we’ve come into 2025. It is really easy to take our membership for granted. As we enter the new year with many of us lacking work, financial resources, and healthcare, we should renew our pledges to go forth and support the objectives that we all agreed to when we joined our Local. No union or organization is perfect, and needs us to participate to make it better. Martin Luther King Jr. said, “If you can’t fly then run, if you can’t run then walk, if you can’t walk then crawl, but whatever you do, you have to keep moving forward.” It’s not expected that you dedicate all your free time to the Local, but it is part of our responsibility to be active participants in the process. Small contributions by many hands make light work.

Over the next couple of months, we will have the opportunity to help get additional incentives passed in California and possibly nationally over the next year. The IATSE International Convention is approaching in the coming year and, in about eighteen months, we will start the election process for our Local’s elected officials and the year after that, we will be voting on a new contract. Between now and then, the members need to be active in order to be heard. This last round of negotiations was very effective for our Local’s issues because we had good member participation. We can build on our contract progress while building on the incentives to bring more jobs back to Los Angeles. Let’s get to work!

Ric Rambles

by Ric Teller

Encounters.

So many encounters. We’re lousy with the famous and infamous on every talk show, awards show, and special, just ask Craig. Working in the entertainment side of television, you might meet anyone from the Beatles to Bette Davis. In fact, some Beatles and Bette might both show up later in this ramble. I love when every once in a while, on the set, on location, or even in everyday life, I get surprised by an unexpected encounter.

When you watched Star Search, and don’t deny it, I know you watched. The host, Ed McMahon, made an entrance, walked downstage, and at some point, an arm raised from the audience to hand him a microphone. Sometimes that arm belonged to Val Valentin, a top recording engineer, and a friend of mixer Ed Greene. His list of album credits is stunning. An unlikely A2, Val would come and regale us with tales of his days as Director of Engineering for MGM and Verve Records, being in the studio with Frank Sinatra, and much more. It was always great to see him, perhaps never more so than at a show for Sinatra’s 75th birthday at the Beverly Hilton Hotel, where Val was escorting Ella Fitzgerald. Ever the gentleman, Val properly introduced us, and I tried not to gush like a fanboy. But Ella Fitzgerald! She and Frank closed the show together, singing a Rodgers and Hart number with the Henry Mancini Orchestra. It was terrific! That show was also where I met Ray Charles. No, not the one you are thinking of. The “other” Ray Charles. Go ahead, look him up. I’ll wait… As with Val, Ray was a true gentleman. It was a great pleasure to work with him, most often on the Kennedy Center Honors.

I met Scott Ostler recently. You may ask, who is that? I’ll tell you. He is a revered newspaper sports columnist. One of the best and funniest. His son was a contestant on America’s favorite quiz show. I work there. Scott was in the audience. I first read his work in the Los Angeles Times back when the sports section had Jim Murray and baseball box scores. He was recruited by editor Frank Deford to write for The National Sports Daily, a short-lived, tabloid-format newspaper that lasted just under eighteen months in 1990-91. For sports fans, it was terrific. Since then, Scott has written for the San Francisco Examiner. I really admire his work. It was nice to be able to tell him.

Did you ever go to The Reseda Country Club? Honestly, I don’t remember attending a show there but did work on an episode of a popular sitcom that featured the Beach Boys playing live. Well, I believe it was live-ish. At lunch, I picked up a tray with the requisite chicken-like substance from catering and took a seat in a quiet area. About thirty seconds later, a man sat down across from me. I looked up and realized that I was having lunch with Carl Wilson. We talked about baseball and other stuff, not music so much. But the whole time, I was silently shouting to myself, “You sang, ‘God Only Knows’!!!”

The first time I saw a motion picture being made, it was Stagecoach. No, not the John Wayne version. Sheesh. It was the 1966 remake, starring Ann-Margret and Red Buttons. We saw them shooting an action sequence at the very scenic Caribou Ranch on the front range of the Rocky Mountains in Colorado. Later in life, I got to tell both of them about seeing the stagecoach being attacked. Ann-Margret remembered how beautiful the location was. Red Buttons tried to go to catering but never got a dinner.

A couple of years later, in New York City, I saw another film shooting on location. I was with my family. We were walking back to the Americana Hotel after dinner at Mamma Leone’s and saw a crew out on the street shooting Midnight Cowboy. About ten years later, I got a ticket while driving in Los Angeles. I don’t remember the specifics, but I was allowed to go to traffic school back when you attended in person. Jon Voight was also in that class, and I told him about watching them film. We were both in an eight-hour class that included a meal break. I took John to lunch at Café Tel Aviv on Fairfax, an easy walk from the class location. It was a nice break from school, a good memory, and a tasty falafel.

In keeping with the theme of unexpected lunch encounters, I was traveling somewhere in some airport to work on some show some time ago. The layover was long enough to sit and have a bite of lunch. I ordered a nondescript chicken sandwich and moments later, a very attractive woman walked up and asked if she could join me for lunch. Yes, of course. We chatted and laughed and agreed about how interesting life can be. After lunch, we said a cordial goodbye and headed in opposite directions to make our next flights. I did a lot of shows with Naomi Judd over the years. She was a sweet person, a talented artist, and a lovely lunch companion.
At the beginning of this column, I mentioned the Beatles. So, let’s talk about their album, Sgt. Pepper’s Lonely Hearts Club Band. OK, let’s just talk about the front cover of that iconic album featuring the four lads in uniform and about sixty-five cutouts and wax models of people with varying degrees of fame.

I’ve encountered nine.

  • Three Beatles—At the Grammys and other occasions
  • Shirley Temple—Grand Marshal of the Tournament of Roses Parade
  • Dion DiMucci—Sang “I Wonder Why” on a PBS ’50s music special
  • Marlon Brando—An appearance on Michael Jackson: 30th Anniversary Celebration at Madison Square Garden Sept. 10, 2001
  • Bob Dylan—The 2011 Grammys (find it on Vimeo)
  • Mae West—Ringo and I were both in Sextette, her last movie
  • Huntz Hall—I introduced myself to the original Dead End Kid who also played Horace Debussy “Sach” Jones in the Bowery Boys series. He was on the KTLA lot shooting something and enjoyed that a person from the younger generation (I was in my twenties) recognized him.

One more unexpected Beatles-related story. A few years back, I was climbing around on a band riser adjusting drum mics for a Grammys performance. The kit belonged to Abe Laboriel, Jr. He’s a heavy hitter and sometimes the mics and stands move around a bit. As I reached for one of the overheads, to give it a little love, a voice behind me asked about the placement. Without looking around, I answered that I thought by aiming the sweet spot of the overhead mics slightly away from the snare, clearly the loudest drum, it would have a better chance of hearing cymbals and the overall kit sound. At some point, mid-sentence, my words hung in the air as if they were frozen in a cartoon dialog bubble. I realized that I was discussing drum mic placement for a Paul McCartney performance with Geoff Emerick, the engineer who recorded Revolver, Sgt. Pepper’s Lonely Hearts Club Band, and Abbey Road. I got off the riser, introduced myself, and continued the conversation with “…wherever you would like them.” He was a kind and gentle man whose gifts have enhanced my life for more than fifty years.

And more recently, at the Grammys, we were sound-checking Billy Joel and his terrific band. After all the instruments were good, the terrific music mixer John Harris requested that I ask Billy to sing something. I walked to the piano, leaned over, and asked Billy if he would sing “Something.” He did. The George Harrison song.

Each of those encounters was special. I’ve only asked to take one photo and have only requested three autographs in all my working years, but I’m very happy to hang onto the memories.

It is difficult to explain to those not in our business how specific our jobs can be. In forty-plus years, I’ve made one commercial (with Monty Hall and an elephant), and once, a long time ago, I worked for two days on a feature. Two. Total. I can’t remember the name of the movie. My career has been a combination of talk shows, sitcoms, game shows, and a lot of award shows and specials. Sometimes the crews are pretty big but often the same friendly faces appear in the hello portion of the day. When we say, “I’ll see you on the next one,” there is a very good chance that it will happen. Perhaps because of the size of the crews and the complicated challenges of doing a big live show, there is often a feeling of camaraderie. And when things go well, of accomplishment. Does that family feeling translate to episodic, features, and other formats where groups work together for long periods (both clock and calendar)? I hope so. At 35, I began playing regularly in the big-show sandbox. It was 1987, and I had been working in television for eight years. When I started to freelance in early 1985, the idea of joining that esteemed group seemed unlikely. Then some of the regulars began mixing shows and a spot for an A2 opened for me. After all, I could lift heavy things and drive a forklift, they, in turn, could make every difficult live television show work successfully under any circumstances. No pressure.

This new situation presented an exciting set of possibilities, including one that I have tried wholeheartedly to embrace. We endeavor to help our fellow crew members get to important family events, perhaps a birthday or anniversary, a child’s band concert, a dance recital, or a ballgame, we will try to make it happen when we can. Of course, sometimes (often) the timing doesn’t work out. But when it does, it feels really good.

The retirement report:
As my friend, Mr. Mays, reminds me, we are somewhere between the back nine and the walk to the clubhouse. Not being a golfer, I hope to find other ways to wisely use my time in retirement, whenever that comes. Everyone says that staying busy and active is the key; there are retirement options for nearly every interest. I’ve always enjoyed the social time aspect of work (some would say storytime) and hope to find a way to include that in my next ventures. Whenever I stop working, I will strive to maintain the close friendships that have enhanced my life. So many hellos. One difficult product of age and work longevity is the increasing number of goodbyes. Friends and coworkers who are leaving us. That is, the big leaving us, not just moving to Florida. As these passages come, it is important to be present for each other and to remember how these friends have enhanced our lives whether sharing tangible skills or teaching life lessons. I was sad to learn that two of the great engineers from my days working at KTLA have passed recently. Murray Clawson and John Cook were encouraging, shared knowledge, and pushed me to learn and become better and more valuable at my job. In addition to their expertise, they were both really good men who will be missed. I am fortunate to have known them.

My career has been a combination of talk shows, sitcoms, game shows, and a lot of award shows and specials. Sometimes the crews are pretty big but often the same friendly faces appear in the hello portion of the day. When we say, “I’ll see you on the next one,” there is a very good chance that it will happen.

At almost every awards show and special in recent memory, Margot Carlson and Kris Claver greeted us and took care of our parking, credentials, and other bits of production business. Every time it was personal with kindness and smiles. When Kris got sick, a GoFundMe page was started to help with her care. Within a few days, the fund counted six hundred donations. Since she passed, at every show I see friends wearing a credential with her photo. Family supports family. Make the time for a phone call, send a card, go for a visit, bring food, it all makes a difference. My mother often provided a dish she just called vermicelli. It is a warm, filling, comfort food gift. Mom was a terrific cook, but we always wondered how a Jewish woman from a small town in Nebraska became locally famous for her Italian-American casserole. Give a little of yourself, it will help bridge between hello and goodbye. As my sixth-grade teacher Noel Roberts closes each correspondence: “Take care of each other.”

My good friend, Robyn, believes that my ability to recall and write about this history is enhanced by AI (alta cocker intelligence). No doubt, she is correct.

Oh, I almost forgot. The Bette Davis story. She came to KTLA to be interviewed by television’s Tom Hatten. I introduced myself and asked if I could place a lav on her. She said no.

News & Announcements


Southern California Wildfires

On January 7, a series of wildfire spurred by strong winds, broke out in Southern California. These fires have devastated the area, with more than forty thousand acres burned and more than one hundred thousand LA County residents having been displaced from their homes. More than three hundred IATSE members have lost their homes in the blaze.

The IATSE has compiled resources to assist those who have been impacted by the fires. This includes everything from shelter locations, financial aid, emergency prescription help, mental health services, legal representation, and tools for recovering critical documents. Please visit www.local695.com/wildfirerelief/ for more information.


Financial Relief for Entertainment Partners

The ongoing prolonged work stoppages have been devastating to the entertainment community across the nation. In Hollywood, our community has been supported by the profound efforts of the Motion Picture Television Fund (MPTF) and the Entertainment Community Fund (formerly The Actors Fund). Both these charities have long histories of offering safety-net services and aid for entertainment workers and their families. They aided the entertainment unions, including Local 695, in administering their relief funds throughout the 2023 WGA & SAG-AFTRA strikes against the AMPTP.

Though the strikes have ended, the financial impact will continue to be felt for some time and both MPTF and the Entertainment Community Fund still have resources available to help. If you work in entertainment and you or your family are in need, please visit their websites online at www.mptf.com and www.entertainmentcommunity.org


IATSE Education

LinkedIn Learning (formerly Lynda.com) is an excellent source of online training tutorials covering topics such as Avid Pro Tools, Media Composer, Adobe Premiere Pro, Photoshop, After Effects, Illustrator, Rhino, Vectorworks, Final Cut Pro, Filemaker, AutoCad, Cubase, Logic Pro, ShotPut Pro, DaVinci Resolve, Vegas Pro, as well as Project Management, Software Development, Network Administration, Finance and Accounting, Marketing, and much more. All IATSE members are eligible to sign up for a free LinkedIn Learning Account by visiting https://www.iatsetrainingtrust.org/lil

You can also view a multitude of free educational webinars sponsored by the IA Training Trust Fund online at www.gotostage.com/channel/iaeducationforall. These webinars cover a range of topics from labor and voting rights; the basics of equity, diversity, and inclusion; mental health subjects such as depression, substance abuse; physical safety and well-being at work; and so much more.


IATSE PAC

Following the 2024 election, you might consider donating to the IATSE PAC. This Political Action Committee is run entirely by the IATSE Political/Legislative Department and funded entirely by the donations of IATSE members and staffers. It backs pro-labor candidates whose values align with the IATSE Federal Issue Agenda and all campaigns are thoroughly vetted before the PAC distributes a dime. This is one of the safest ways to donate and be assured that your contribution is supporting candidates who support your livelihood. Since its inception in 1999, the PAC has contributed to candidates who have helped create thousands of IATSE jobs, provided financial support to IATSE members during times of crisis, and expanded the power and budget of the National Labor Relations Board

Recurring donors receive a quarterly newsletter outlining PAC expenditures and current political updates from the union, so that you can remain in the loop as to how your money is being spent. If you pledge to donate at the $10, $20, or $40 a month funding level, you’ll receive a membership pin.

Our Local is proud to be a Bronze Level participant in the PAC, thanks to the participation of our members. Our continued support has an impact on the lives of workers and the entertainment community across the nation.


Local 695 New Members

Zach Hazelwood A2
Pablo Mena Davalos Y-1
Parker Morris Y-1


In Memoriam

Joseph Biedenbach, Projectionist
April 9,1935 – December 14, 2024
Ryan Fecteau, Y-1
December 16, 1975 – December 19, 2024

Our Contributors

James Delhauer


James Delhauer serves as Local 695’s Director of Communications and Political Affairs. His career began as a video engineer and records specialist before coming to work in the local office. He is a member of both the California IATSE Council (CIC) and Entertainment Union Coalition, working to advance entertainment community’s interests within the California legislature.


Richard Lightstone CAS AMPS


Richard began his career in Montreal, and continues to mix in Los
Angeles. He is the Co-editor of Production Sound & Video, served
on the Executive Board of Local 695, and President of the Cinema Audio Society for two terms.


Tod A. Maitland CAS


Tod was born into the sound business. His father, Dennis Maitland CAS, received the CAS Career Achievement Award which Tod will be receiving this year. Tod’s career spans over 45 years, 110 films, 5 Academy Award nominations, and Head of Sound at NYU Grad School.


Terence McCormack Maitland


Terence McCormack Maitland is a native Brooklynite who now splits his time between NYC and Sweden. He has been a Local 52 member since 2010 and has had a blast making movies and TV ever since.


Ryan Pedersen


Ryan Pedersen has loved sound his whole life, even as a little kid. He originally planned on working in live sound or recording music in studios but found his way into film production and has been doing that ever since. He has seen a large portion of the world from his early documentary work but now spends most of his time in Los Angeles doing music playback or mixing scripted projects. When not on set or at home with his wife and four kids, he finds refuge at his train club at Griffith Park.


Ric Teller


I’ve been very fortunate in my more than forty years working in television, going places and doing things that a kid from a small town in Nebraska could not have imagined.


Casey Weiss


Casey Weiss serves as the Director of Education & Training for Local 695. As the long time daughter of a Local 695 Sound Mixer, she grew up on set and is passionate about the union movement and its benefits to both its members and its greater community. Casey is ready to “roll” up her sleeves and help advance our members.

From the Editors

This edition of Production Sound & Video comes in the midst of the Southern California wildfires.
As of this writing, more than forty thousand acres of Los Angeles County have burned and one hundred thousand residents have been displaced. At this time, news is still changing daily. We will be back in our Summer edition with more comprehensive coverage of this event and what it means for the entertainment community. But for now, our hearts go out to all of those who have been impacted by this disaster. If you have the means, please consider volunteering for or donating to relief efforts. The spirit of Los Angeles is a powerful thing and, as a community, we will work through this difficult time.

In this jam-packed issue, we have the long-awaited next installment of “Ric Rambles.” Steven Morrow takes us behind the scenes of his fifth collaboration with Director Jason Reitman on the film Saturday Night. Tod A Maitland and Terence McCormack Maitland bring us stories from the set of the Bob Dylan biopic, A Complete Unknown.

Ryan Pedersen brings us “Union Membership: Our Responsibilities,” a look at the relationship we as members have with our unions. Local 695 Education & Training Director Casey Weiss discusses the six-figure BRIC Grant Local 695 received to train members in virtual production in 2024. Co-editor James Delhauer takes an in-depth look at the relationship between Teradek + Frame.io and how 695 video engineers can use it to accelerate workflows.

In Solidarity,

James Delhauer & Richard Lightstone
Production Sound & Video Co-editors

From the Business Representative

A Day Longer, A Day Stronger

Los Angeles is in the middle of the most destructive fires in the history of our state. As I write this, the fires that continue to burn across the Los Angeles area have killed at least twenty-seven people, destroyed more than seventeen thousand structures—including more than ten thousand—and charred more than sixty square miles. Unfortunately, this tragedy has affected many of our IATSE members and their loved ones.

Our production families are an extension of our blood family, and I am so proud of the IATSE community, not just those here in Los Angeles, but across the country. One thing our production crews do best is jump in and help their brothers, sisters, and kin in times of need. The outreach and the offers of help and support are beyond description. Within the first twenty-four hours, the thirteen Hollywood business agents and the IATSE West Coast office had two donation centers established with food, clothes, personal hygiene items, gift cards, and just about anything our members would need. In the first two days, our members donated so many items that both centers were overflowing with supplies for those who were affected by the fires.

Articles in Production Sound & Video typically highlight our members’ fantastic work on sets worldwide and the technology our members influence to better the industry, but what you don’t see is the other side of our union membership; the humanity side of our members. The support that we have for one another is unmatched and inspiring. We are family and we will show up for one another. We lift each other up every day and not just on sets.

Members who have lost everything are just starting the rebuilding process and will need support for months and maybe even years to come. If you are one of those members, please know that your IATSE brothers and sisters and all the unions in Los Angeles will be with you every step of the way. If you need this kind of support, you have my assurance that we will have your back. This is what families do for each other.

Our members have endured a lot over the last four years. I’m so proud of my labor family and know that together we will rebuild better than ever.

In Solidarity,

Scott Bernard
Business Representative

From the President

Let’s talk about what’s trending… 

With the new year upon us, I wanted to outline one of my goals for 2025—the emergence of a Technical Trends Task Force.

The Local 695 Technical Trends Committee was formed in 2008 to monitor emerging technologies that will have an impact upon our jurisdictional crafts. This committee has traditionally been spearheaded by former Vice President and current Trustee Jay Patterson. It is under his legacy that the FCC Licensing Project was created as a response to the possibility of white space devices interfering with RF spectrum used by wireless microphones.

As our Local grows and takes on new technological challenges, Jay will take on an emeritus role within this group. Jay and I hope to bring on the next generation of technical leadership with the transition to the Technical Trends Task Force. Our goal is to add two to three new leaders, encompassing as many facets of our Local as possible. James Delhauer, Video Engineer and Director of Communications/Political Affairs, will spearhead the video side of this group. I’m fielding inquiries for leadership in AI, IT, Video Walls, and Sound/Audio subsets for additional positions.

The heart of the Technical Trends Committee’s mission statement is “to seek out individuals outside of the production engineering community, whose relevant technical expertise can keep our understanding of the ongoing evolution of technology current, and help us understand the implications, ramifications, and applications of developments on the technology horizon.”

The main goal for 2025 is to research and collect information to help guide discussions in AI and emerging technology fields with the AMPTP. We need to expand upon the original mission statement and include the following questions:

  • What areas of AI or emerging technology will potentially impact our jurisdictions?
  • Where are potential uses of AI or emerging technology within our fields?
  • What software and hardware are currently being used or have potential uses in the future?
  • What are the economic impacts of implementing emerging technology both positive and negative?

And most important:

  • What areas are you most interested in learning more about?
  • What skills are you looking to learn or improve?
  • What education can we provide you?

Discussions with the AMPTP regarding our contractual educational up-skilling and reskilling program started in November 2024. The IATSE AI Subcommittee plans to meet with the AMPTP before the end of the first quarter of 2025. As a member of this committee, my focus is to help create a vision for the industry and program at large. I need your help to focus on the needs of our members so I can bring them to the table. I am assigning this agenda to the Technical Trends Task Force.

Local 695 is the technical Local of Hollywood’s IATSE bargaining unit. We have the opportunity to play a larger role in this technical evolution. Jay, James, and I have already begun working to assemble this task force, which will start to meet after the General Membership Meeting on February 8 at Local 44. Anyone interested is welcome to attend. If you are interested in being part of this group, please reach out to 695TechTrends@gmail.com

In Solidarity,

President Jillian Arnold

News & Announcements

California Governor Proposes Expanded Film & TV Tax Incentives

On October 27, California Gov. Gavin Newsom held a press conference in which he proposed expanding California’s Film & Television Tax Credit Program to $750 million a year in an effort to bring work back to the state. The current tax incentive program sits at $330 million. This effort is supported by the IATSE, the California IATSE Council, the Entertainment Union Coalition, the California Federation of Labor, and Los Angeles Mayor Karen Bass’s Entertainment Industry Council.

For more information on California’s Tax Incentive Program, check out the article “What’s Next for the California Film Incentives?” on page 14.


IATSE PAC

Following the 2024 election, you might consider donating to the IATSE PAC. This Political Action Committee (PAC) is run entirely by the IATSE Political/Legislative Department and funded entirely by the donations of IATSE members and staffers. It backs pro-labor candidates whose values align with the IATSE Federal Issue Agenda, and all campaigns are thoroughly vetted before the PAC distributes a dime. This is one of the safest ways to donate and be assured that your contribution is supporting candidates who support your livelihood. Since its inception in 1999, the PAC has contributed to candidates who have helped create thousands of IATSE jobs, provided financial support to IATSE members during times of crisis, and expanded the power and budget of the National Labor Relations Board.

Recurring donors receive a quarterly newsletter outlining PAC expenditures and current political updates from the union so that you can remain in the loop as to how your money is being spent. If you pledge to donate at the $10, $20, or $40 a month funding level, you’ll receive a membership pin.

Our Local is proud to be a Bronze Level participant in the PAC, thanks to the participation of our members. Our continued support has an impact on the lives of workers and the entertainment community across the nation.


Financial Relief for Entertainment Workers

This year’s prolonged work stoppages have been devastating to the entertainment community across the nation. In Hollywood, our community has been supported by the profound efforts of the Motion Picture Television Fund (MPTF) and the Entertainment Community Fund (formerly The Actors Fund). Both these charities have long histories of offering safety-net services and aid for entertainment workers and their families. They aided the entertainment unions, including Local 695, in administering their relief funds throughout the 2023 WGA & SAG-AFTRA strikes against the AMPTP.

Though the strikes have ended, the financial impact will continue to be felt for some time and both MPTF and the Entertainment Community Fund still have resources available to help. If you work in entertainment and you or your family are in need, please visit their websites online at www.mptf.com and www.entertainmentcommunity.org.


Hollywood Boom Operators

Back row (L-R): Beau Baker, Andy Adams, Rick Hays, Mark Burton, Roger Stevenson, Rene Defrancesch, Jonathan Fu, Fredrik Winberg, Chuck Homyak, Todd Bassman. Front row: Tom Hartig, Tim Song Jones, Patrick Martens, Jeff Wexler, Peggy Names, Randy Johnson, Rocky Quiroz, Mychal Smith.

You take a beautiful Saturday in November and populate the Sagebrush Cantina in Calabasas with some Hollywood old Boom Operators and some young ones. Sprinkle in a few iconic Production Sound Mixers, and you have a most enjoyable gathering!


Local 695 welcomes its New Members

Aisha Akins Y-7a
Noelle Aleman Proj.
Brandon Boldroff Y-4
Cam Broadbent Y-4
John Capps Y-4
Benjamin Cohen Y-13
Quinn Commans Y-8
Corey Dodd Y-4
Jared Flejter Y-7
Milken Gardner Y-1
Naola Greaves Y-16a
Jake Greenberg Y-7
Michael Hahn Y-4
Billy Hansard III Proj.
Richard Harvey Y-1
Andrew Hodges A2
Zak Holley Y-4
Tom Hopper Y-16a
Amy Khuong Y-4
Armando Lopez Y-7a
Matt McAdam Y-4
Bryce Mercier A2
Daniel Morez Proj.
Chris Nakamura Y-4
Maribeth Powers Y-16a
Parker Rasmussen Y-4
Omar Rodriguez Y-4
Shane Rovello Y-4
Brandon Schulleri Y-4
Robbi Sutherland A2
Garret Vander Leek Y-4
Steve Vaughn Y-4


In Memoriam

Pat Lucatorto Y-1
August 8, 1948 – February 23, 2024


IATSE Education

LinkedIn Learning (formerly Lynda.com) is an excellent source of online training tutorials covering topics such as Avid Pro Tools, Media Composer, Adobe Premiere Pro, Photoshop, After Effects, Illustrator, Rhino, Vectorworks, Final Cut Pro, Filemaker, AutoCad, Cubase, Logic Pro, ShotPut Pro, DaVinci Resolve, Vegas Pro, as well as Project Management, Software Development, Network Administration, Finance and Accounting, Marketing, and much more. All IATSE members are eligible to sign up for a free LinkedIn Learning Account by visiting https://www.iatsetrainingtrust.org/lil

You can also view a multitude of free educational webinars sponsored by the IA Training Trust Fund online at www.gotostage.com/channel/iaeducationforall. These webinars cover a range of topics from labor and voting rights; the basics of equity, diversity, and inclusion; mental health subjects such as depression, substance abuse; physical safety and well-being at work; and so much more.

From the Editors

Welcome to the winter edition of Production Sound & Video and a wealth of articles. There is “Matlock” by Ross Levy, Ryan Pedersen and James Delhauer contribute “What’s Next for California’s Film Tax Credit Incentives?”

Simon Hayes does a deep dive on his team’s work on Wicked, and an “An Interview With Willie Burton CAS.” A discussion on the new wireless multichannel audio signal protocol in “WMAS: Next Generation Wireless.” There’s also “The Stream Team.”

This marks the 16th year of the Local’s magazine, starting back in 2008. We are very proud to continue to give you interesting content that serves the membership of Local 695 and the film community at large.

We wish you all safe and happy holidays and a Happy New Year. Onto 2025!

In Solidarity,
Richard Lightstone & James Delhauer
Production Sound & Video Co-editors

Our Contributors


Willie D. Burton CAS


He is a two-time Oscar winner, Bird (1988) and Dreamgirls (2006), and one of two African Americans to receive the Academy Award for Best Sound. His Academy Award nominations include his work on The Buddy Holly Story, Altered States, War Games, The Shawshank Redemption, The Green Mile, and Oppenheimer. His recent credits include Spider-Man: No Way Home, The Haunted Mansion, Beverly Hills Cop 4, Origin, and RIP


James Delhauer


James Delhauer was born in Southern California and never made it very far from home. Since 2014, he has worked as a television engineer specializing in Pronology’s mRes platform. He joined Local 695 because he desperately needed friends. James is Co-editor of Production Sound & Video.


Simon Hayes AMPS CAS


Simon Hayes received an Academy Award, BAFTA Award, and CAS Award for Tom Hooper’s groundbreaking Les Miserables, which featured live sung vocals. An advocate of educating the next generation of Production Sound Mixers, he champions creative collaborations as a filmmaker and supporting actors’ original performances. A strong believer in building relationships between production and post sound professionals, he continues to forge ties between both communities.


Ross Levy CAS


Ross is a Southern Californian native and has been a member of Local 695 since 1996. He spent the first eighteen years working primarily in feature films and episodic television as a Utility Sound Technician. He made the jump to Production Sound Mixer on NCIS: Los Angeles in 2016, mixing nearly one hundred and eighty episodes. Ross just wrapped Matlock season one and is looking forward to season two in the summer of 2025.


Ryan Pedersen


Ryan Pedersen has loved sound his whole life, even as a little kid. He originally planned on working in live sound or recording music in studios but found his way into film production and has been doing that ever since. He has seen a large portion of the world from his early documentary work but now spends most of his time in Los Angeles doing music playback or mixing scripted projects. When not on set or at home with his wife and four kids, he finds refuge at his train club at Griffith Park.


From the President

Let’s talk about Lee Smith. 

Congratulations to the 2024 World Series Champions: The Los Angeles Dodgers. What a fun and exciting series to watch!

A further congratulations goes to all the crew who make baseball and any sport a reality for our viewers. The days are long, the turnarounds can be a grind, and I know from personal experience that crew support is not as verbalized as it should be. Thank you for your hard work. 

To all of you who are New York Yankee fans out there … Well … as we say in Chicago, there’s always next year. 

If we’re being honest, the Dodgers are not my team. I was rooting for them, but I’m a Chicago fan through and through. It’s something that I inherited from my grandmother. She moved from South Dakota to the big city because of the Chicago Cubs. To this day, there are certain players we don’t mention in front of Grandpa and my mother used to tell me stories about when dinner was usually burned when the Cubs lost. Grandma’s a woman after my own heart.

One of my favorite players, Lee Smith, was drafted in 1975. He was described as an intimidating figure on the pitcher’s mound, standing at six feet, six inches, with a ninety-five mile-per-hour fastball.

He holds the current Cubs’ team record for career saves with one hundred eighty. Smith was never inducted into the Hall of Fame, despite being one of the best closing pitchers in MLB history—a fact which has puzzled some baseball historians. However, despite Smith being one “of the best one-inning pitchers the game has ever seen,” my respect for this man was earned on his exit from the bullpen. 

Smith is credited by starting the slow walk from the bullpen to the mound. This technique has been adopted by many closing pitchers, some taking it to more dramatic levels like Los Angeles Dodger Eric Gagne between 2002 and 2004. 

In an interview where he was asked about why his pre-pitching routine lacked urgency, Smith replied by saying, “I had a lot of friends on the grounds crew at Wrigley Field. I found out they got time and a half if the game went past 4:30 pm, so I took my time getting to the mound. The slow walk to the mound became part of my routine.”

Smith took care of his crew.

As a union leader, I find that very inspiring. The day-to-day stressors of today’s political, economic, and industry-wide climate have had an impact on all of us, but it’s important to take a moment to make sure the teams we work with are also taken care of. It’s the little things we can do for our coworkers or our teams that help create a better and more productive work environment. What may have started as a slow walk to get a few extra dollars in the pockets of the turf management, helped families pay for food on the table, healthcare, mortgages, and more. These small acts of thoughtfulness, I know firsthand pay dividends in ways we will never expect. 

Now, onto hockey season! Let’s talk about the Blackhawks.

In Solidarity,

President Jillian Arnold

From the Business Representative

This magazine is a record of our union’s history.

When I first took office in 2015, my goal was to make sure that everyone, including the employers, knew that we were not just the “Sound Local.” That may have been our humble beginning in 1930, before the advent of video, but our role in our entertainment community goes far beyond that now. My first order of business was to change the title of our 695 Quarterly magazine and, in the spring of 2016, we launched our revamped publication entitled Production Sound & Video—the very same magazine you are reading now. We’ve come a long way since 2015.

We have a one-on-one with Academy Oscar winner Willie Burton on his time working with Eddie Murphy. On a personal note, Wille is a longtime friend of our family. He worked with my father on Gunsmoke, and I spent a few long cold nights working with Willie and Microphone Boom Operator Marvin Lewis as their Utility Sound Tech. I highly encourage you all to read it and learn from a man who taught me so much.

As this is our final issue of 2024, I wish everyone a wonderful holiday season with family and friends. I know that for many, this year has been challenging as we’ve experienced California’s entertainment industry contraction. In this edition of Production Sound & Video, we closely examine California’s Film & Television Tax Incentive Program and give you a timeline of where we are and where we need to go in 2025.

Local 695 is one of the founding members of the California IATSE Council (CIC) and we were boots on the ground in 2009 to get the first film and television tax incentive program in our state. Our Local is now involved in efforts to expand the current program and will take a leadership role in fighting to bring work back to California.

However, we will need your help. Just as we needed our members to succeed in negotiations in 2024, we will need our members in order to succeed in lobbying for new legislation in 2025. So, keep an eye on your communications from the Local on ways to get involved in the new year.

Happy holidays everyone. Here’s to a phenomenal 2025.

Scott Bernard

News & Announcements


IATSE Negotiations Contract Ratification

On July 18, the IATSE announced that its members had overwhelmingly voted to ratify the 2024-2027 Basic, Videotape Electronic Supplemental, and Area Standards Agreements. This brings an end to this year’s IATSE negotiations with the AMPTP. The new Basic and Videotape Agreements took effect on August 1, 2024, while the Videotape Agreement takes effect on October 1, 2024.

The new agreement includes wage increase of 7%, 4%, and 3.5% in the first, second, and third years of the contract, respectively. New residual funding mechanisms have been created to keep the union’s health and pension plan strong and eliminate funding deficits in the coming years. First-of-their-kind AI protections will keep union members at the forefront of technological change in our industry.

In our Local Agreement, new provisions include individual wage increases for boom operators, critical staffing protections for both the Sound and Video Departments, and added the titles of “First Assistant Sound” and “Second Assisstant Sound” to Y-8 Boom Opeator and Y-7A Utility Sound Technician classifications in order to create common language with the sound community across the globe.

Local 695 members can find the complete Memorandum of Agreement and a detailed summart of all changes in these new contracts on our website.


Financial Relief for Entertainment Workers

This year’s prolonged work stoppages have been devastating to the entertainment community across the nation. In Hollywood, our community has been supported by the profound efforts of the Motion Picture Television Fund (MPTF) and the Entertainment Community Fund (formerly The Actors Fund). Both these charities have long histories of offering safety-net services and aid for entertainment workers and their families. They aided the entertainment unions, including Local 695, in administering their relief funds throughout the 2023 WGA & SAG-AFTRA strikes against the AMPTP.







Though the strikes have ended, the financial impact will continue to be felt for some time and both MPTF and the Entertainment Community Fund still have resources available to help. If you work in entertainment and you or your family are in need, please visit their websites online at www.mptf.com and www.entertainmentcommunity.org.


IATSE Education
LinkedIn Learning (formerly Lynda.com) is an excellent source of online training tutorials covering topics such as Avid Pro Tools, Media Composer, Adobe Premiere Pro, Photoshop, After Effects, Illustrator, Rhino, Vectorworks, Final Cut Pro, Filemaker, AutoCad, Cubase, Logic Pro, Shot Put Pro, DaVinci Resolve, Vegas Pro, as well as Project Management, Software Development, Network Administration, Finance and Accounting, Marketing, and much more. All IATSE members are eligible to sign up for a free LinkedIn Learning Account by visiting https://www.iatsetrainingtrust.org/lil

You can also view a multitude of free educational webinars sponsored by the IA Training Trust Fund online at www.gotostage.com/channel/iaeducationforall. These webinars cover a range of topics from labor and voting rights; the basics of equity, diversity, and inclusion; mental health subjects such as depression, substance abuse; physical safety and well-being at work; and so much more.


IATSE PAC

If you are going to donate money during this political cycle, you are highly encouraged to do your research and make sure your money is going where you think it is going. Only donate to reputable, verifiable services that are affiliated with official campaigns. Most political campaigns are only too happy to direct you to their official donation page if you contact them via their official website.

You might also consider donating to the IATSE PAC. This Political Action Committee is run entirely by the IATSE Political/Legislative Department and funded entirely by the donations of IATSE members and staffers. It backs pro-labor candidates whose values align with the IATSE Federal Issue Agenda and all campaigns are thoroughly vetted before the PAC distributes a dime. This is one of the safest ways to donate and be assured that your contribution is supporting candidates who support your liveihood. Since its inception in 1999, the PAC has contributed to candidates who have helped create thousands of IATSE jobs, provided financial support to IATSE members during times of crisis, and expanded the power and budget of the National Labor Relations Board.

Recurring donors receive a quarterly newsletter outlining PAC expenditures and current political updates from the union so that you can remain in the loop as to how your money is being spent. If you pledge to donate at the $10, $20, or $40 a month funding level, you’ll receive a membershipship pin.

Our Local is pround to be a Bronze Level participant in the PAC, thanks to the participation of our members. Our continued support has an impact on the lives of workers and the entertainment community across the nation.


New Members

Local 695 welcomes its new members

Jeffery Coombs Y-4
Sydnee Crichi Y-7A
Joseph Hartshorn Y-8
Paul Padilla Y-3
Nasser Saededdin Y-7A
John Skoglund Y-1
Shayla Tates Y-16A
Barry Weaver Y-4

Our Contributors


Beau Baker CAS
With a degree from the renowned USC School of Cinema, Beau Baker CAS has over 46 years of experience in production sound recording. He has traveled worldwide on such films as Ladyhawke, nominated for a Best Sound Academy Award, and all over the US with over 30 features to his credit, including Twister, Blade Runner, and Cruel Intentions. He has over 400 episodes of popular television such as Grey’s Anatomy, Angel, One Mississippi, and House M.D.


Juan Cisneros CAS
Juan Cisneros CAS is from Lima, Peru, and has been based in Los Angeles since 1989. With over 26 years of experience, he has won two Emmys, and three Emmy nominations. His work includes shows like House M.D., Real Husbands of Hollywood, Pam & Tommy, Mayans MC, Truth be Told, and Station 19. Juan is a member of the Academy of Television Arts & Sciences and the Cinema Audio Society, having served on the Board of Directors for Local 695 and currently serving on the Board of Directors for the Cinema Audio Society. His career reflects his unwavering dedication, talent, and commitment to excellence in the entertainment industry.


Devendra Cleary CAS
Devendra Cleary CAS is a Los Angeles-based Y-1 Production Sound Mixer. Recently completed filming Star Wars: Skeleton Crew for Lucasfilm, Wolfs for Apple Original Films, and Twisters for Universal Pictures. Currently serving his second term as Vice President here at I.A.T.S.E. Local 695 and has served on the Board of Directors since 2015. He’s also currently a Board member for the Cinema Audio Society. He joined Local 695 as a Y-7a in 2001. 


Bill Kaplan CAS
My father started in film in the silent days. My first Local 695 feature was Animal House, 47 years ago. I have received seven Oscar nominations. I have two wonderfully successful children. I’m almost 80, still working full time and loving it.


Josh Levy
Joshua Levy Owner/Operator Joshvideo LLC on-set video services. 30-Year member Local 695. Born and raised in Los Angeles, California, Josh’s parents were both in the entertainment business. His grandfather was a Sound Editor for Filmation Animation and Josh was lucky enough to get the a call one day to try out “Video-Assist.” He started his journey in feature films and now finds himself working primarily on streaming episodic productions. He feels that we are all blessed to be a part of the best Local in the motion picture industry, stating that “The talent and skill levels of our members is second to none.”


Ryan Pedersen
Ryan Pedersen has loved sound his whole life, even as a little kid. He originally planned on working in live sound or recording music in studios but found his way into film production and has been doing that ever since. He has seen a large portion of the world from his early documentary work but now spends most of his time in Los Angeles doing music playback or mixing scripted projects. When not on set or at home with his wife and four kids, he finds refuge at his train club at Griffith Park.

From the Editors

Welcome to the (almost) fall edition of our magazine.

This edition comes at the conclusion of the IATSE’s Basic and Videotape Supplemental Negotiations with the AMPTP and has been tremendously challenging to produce during this busy time. We’d like to thank our partners at IngleDodd Media and our various contributors for their patience throughout this process. Our partnerships are what have always made this publication a success, but that has never been more true than with this edition.

But that doesn’t mean that we don’t have just as much content for you to enjoy! We spotlight William B. Kaplan in “My Path in Sound.” Devendra Cleary, Beau Baker, and Juan Cisneros take us behind the scenes of the Sound Departments of Twisters, Grey’s Anatomy, and Station 19. Then Josh Levy shares his story at the bargaining table with the AMPTP in “My Last Monday.” Ryan Pedersen shares some insights about the mental health of the filmmaking community during the recent work shortages.

There’s a lot to enjoy in this one and we hope you do.

In Solidarity,
James Delhauer & Richard Lightstone
Production Sound & Video Co-editors.

From the President

Let’s talk about Zarya of the Dawn. 

As I write this, I’m currently en route to work as the Recordist for The Daily Show’s coverage of the Republican National Convention (RNC) in Milwaukee. In August, I’ll fly home to Chicago to work the Democratic National Convention. These events have been a career bucket list item for as long as I can remember. Though I was supposed to check them off my list in 2020, the COVID-19 pandemic forced me to postpone endeavors until now. But this year’s election seems to hit a little closer to home. For the past year, I have poured my heart and soul into my research on artificial intelligence (AI) for this year’s Basic and Videotape Supplemental Agreement negotiations. A large part of that research revolved around copyright laws and how they pertain to our industry. 
 
According to the U.S. Copyright Office, AI or generative AI, models “train” on vast quantities of unstructured, preexisting human-authored data. A human “prompts” or creates a text instruction, which is converted into tokens that the AI model uses to find patterns within that data set to draw from. The machine then uses those inferences from the trained data set to generate new content or output. This output can be text, audio, or visual in format.
 
The questions becomes who is the author of the output? The human who wrote the prompt or the AI model?
 
The Copyright Act defines the scope of copyright protection as an “original work of authorship fixed in any tangible medium of expression.” The term “original,” according to the Supreme Court, consists of two components: independent creation and sufficient creativity. The work must be independently created by a human author and must possess sufficient creativity. “Works of authorship” have uniformly been limited to human creation. Therefore, an output from an AI system is authored by the machine, not by the human prompting it. 
 
Several case studies are available on the U.S. Copyright Office website (www.copyright.gov) for a leisurely Friday-night read. However, one stands out amongst the rest. Zarya of the Dawn is an eighteen-page comic book consisting of both text and visual material. Upon further investigation by the US copyright office, the comic book text was human authored, but the images were generated by a text-to-image AI service called Midjourney. Midjourney, which operates on top of a third-party communication service called Discord, takes a user’s input text and generates images based on Midjourney’s individual server data. 
 
In February 2023, the Copyright Office concluded that Zarya of the Dawn was comprised of human-authored text, which did constitute a copyrightable work. However, the individual images themselves generated by Midjourney could not be protected by copyright because the authorship of the content is attributed to the AI model or the machine, not the person prompting it. Therefore, parts of the comic book are copyrightable, but because AI was used in the creation of the totality of the project, the finished product is not. I recommend reading the full document on the copyright website for more information. 
 
The current copyright laws mandate human authorship in the process of creation in order for corporations to apply and receive copyright. This is critical to the future of our industry. It ensures the need for human creativity—the very soul of what we bring to the table—to be a part of the process when producing works deserving of legal protection in our country. This not only ensures a level of protection for our jobs in the future as more AI systems become available, but also ensures that the product we strive to make has the ability to connect with our audiences on a real and human level—For Humans, By Humans. 
 
This fall’s presidential election results could change all of that though. AI and tech companies, as well as major corporations, are lobbying to change the laws to economize labor and receive copyright protections for non-human authored work. This could do indescribable harm to our workers, our industry as a whole, and other industries like ours. When you vote this fall (and if you’re not planning to vote, please vote this fall), it is important that you do so in a manner that reflects your stance on these laws and the need to keep our industry and its content safe.
 
I have been working with International Political Affairs Director Tyler Macintosh and Local 695 Political Affairs Director James Delhauer to educate our members going into the 2024 election. Our Local will be releasing voter information guides outlining candidates supported by the IATSE, the California IATSE Council, and the California Federation of Labor for their worker-first records of service so that you know which candidates have your best interests at heart.

UPDATE (and editorial plot twist): Five days later, I’m revising my second pass at this article on the way back to Los Angeles, a day before the RNC commences. Producers of The Daily Show canceled our Milwaukee RNC shows three hours after the attempted assassination of former President Donald Trump.

As their press release said, “Our apologies for the inconvenience, but due to logistical issues and the evoling situation in Milwaukee, we need to reschedule our events…” We wrapped two days before we went to air, and three days into ESU.

I applaud the producers of The Daily Show for making crew safety a priority. Despite the growing number of pre-production hours by the entire crew to get that show off the ground, execs made the choice to put the safety of the cast and crew before all. Production was incredibly generous, empathetic, and flexible to our needs. They are a model crew top to bottom.

As you know, our political season is already layered with complexity. Stay Safe. Stay Curious. Vote.

In Solidarity,

President Jillian Arnold

From the Business Representative

Sometimes I hear IATSE members say, “I don’t know why the union is so involved in politics.”

This is an understandable sentiment, as politics in our country have become more divisive in the past decade. It is essential that union members understand the role politics play in achieving success within the labor unions’ mission. The fact is, as Business Agents, our primary job is to negotiate the best contracts we possibly can for our members and enforce those contracts, but what we win at the bargaining table can be lost at the ballot box if not supported by our elected officials.

As a union, we need to support candidates who support workers’ rights and labor unions and for this reason, I recommend you consider supporting Kamala Harris as the Democratic nominee for President of the United States.

Vice President Harris has been a friend and ally to the IATSE and the Labor Movement during her time in Washington. She has been a champion for unions for many years. President Biden and Vice President Harris care about union families and I believe that is why he selected her to be his Vice President. I have personally spoken with Kamala regarding labor issues and have seen firsthand how she supports union workers.

In 2021, it was Harris’ tie-breaking vote that helped pass the American Rescue Plan Act that supports union members. This bill provides expanded unemployment benefits, healthcare subsidies, and direct support to trade union members. IATSE members were given the space to voice their needs to the White House, and because of this opportunity, we gained substantial benefits.

In 2022, Harris opened the door for IATSE Organizer Rachel Gitlevich to visit the White House and allowed Gitlevich the opportunity to give her input to the White House Task Force on Worker Organizing and Empowerment. Our union’s recommendations on grant funding were reflected in the seventy policy proposals set forth by the Biden-Harris Administration focusing on worker protections and making the federal government a model employer benefiting our members.

Beginning in 2023, the IATSE participated in multiple discussions with the Executive Branch to set guidelines surrounding the rise of artificial intelligence (AI). Then, in 2024, Vice President Harris unveiled safe, secure, and responsible AI guidelines for federal agencies, guidelines that were developed with the participation of IATSE and other labor organizations in mind.

Adam Schiff, one of our union’s closest allies in Washington, has endorsed Harris. Adam is a friend of the IATSE and calls Burbank home. Schiff’s support of the union is so strong. He kicked off his Senate campaign in the parking lot of Local 80. His support of Kamala Harris’ candidacy speaks volumes.

We’ve made tremendous improvements in our contract this year, and all of them could be at stake without proper support from Washington. The President appoints the Labor Secretary, who heads the Department of Labor. This position is critical to the union as this official can and will directly affect your daily work life. So, when you vote, look closely at the candidate and ask yourself, do they have my best interest at heart?

In Solidarity,

Scott Bernard

News & Announcements

IATSE-AMPTP Negotiations

On March 4, the IATSE and AMPTP began negotiations for the 2024 Hollywood Basic Agreement, the Videotape Supplemental Agreement, and the Area Standards Agreement. These contracts form the basis of narrative-driven union productions in the United States. IATSE is joined in its negotiations for the Motion Picture Industry Health & Pension Plans by the Hollywood Teamsters, Local 399, and Hollywood Basic Crafts in order to collectively bargain our shared benefits.

On March 25, Local 695 reached a tentative agreement for the Local collective Bargaining Agreement with the producers, securing important gains that members have been requesting for years. The Local’s proposals focused on pay equity, on-set safety, and adequate staffing in the Sound & Video Departments on set. After Local negotiations concluded, general negotiations for the Basic Agreement began. Hollywood leaders and representatives for the studios bargained for three weeks. Though significant progress has been made, an agreement has not yet been reached. These talks will resume in June, following negotiations for the Area Standards Agreement.


IATSE Education

LinkedIn Learning (formerly Lynda.com) is an excellent source of online training tutorials covering topics such as Avid Pro Tools, Media Composer, Adobe Premiere Pro, Photoshop, After Effects, Illustrator, Rhino, Vectorworks, Final Cut Pro, Filemaker, AutoCad, Cubase, Logic Pro, Shot Put Pro, DaVinci Resolve, Vegas Pro, as well as Project Management, Software Development, Network Administration, Finance and Accounting, Marketing, and much more. All IATSE members are eligible to sign up for a free LinkedIn Learning Account by visiting https://www.iatsetrainingtrust.org/lil

You can also view a multitude of free educational webinars sponsored by the IA Training Trust Fund online at www.gotostage.com/channel/iaeducationforall. These webinars cover a range of topics from labor and voting rights; the basics of equity, diversity, and inclusion; mental health subjects such as depression, substance abuse; physical safety and well-being at work; and so much more.


Financial Relief for Entertainment Workers

This year’s prolonged work stoppages have been devastating to the entertainment community across the nation. In Hollywood, our community has been supported by the profound efforts of the Motion Picture Television Fund (MPTF) and the Entertainment Community Fund (formerly The Actors Fund). Both of these charities have long histories of offering safety-net services and aid for entertainment workers and their families. Both these organizations aided the entertainment unions, including Local 695, in administering their relief funds throughout the 2023 WGA & SAG-AFTRA strikes against the AMPTP.

Though the strikes have ended, the financial impact will continue to be felt for some time and both MPTF and the Entertainment Community Fund still have resources available to help. If you work in entertainment and you or your family are in need, please visit their websites online at www.mptf.com and www.entertainmentcommunity.org.


New Members

Local 695 welcomes its new members

Richard Armstrong Y-4
Dan Battista Y-9
Colin Brant Proj.
Kenneth Bromberek Y-8
John Paul Golaski Y-1
Damian Gordon Y-7a
David Hecht Y-16a
Erik Jue Y-4
Sean Milburn Y-1
Nancy Perry A2
Alex Saededdin Y-7a
James Salini Y-1
Preston Soper Y-7a
Seung Sul Y-4
Craig Vincent Y-1


In Memoriam

Douglas Barry Y-4
February 25, 1953 – January 6, 2024

Timothy Burke Projectionist
March 16, 1961 – February 24, 2024

Thomas Dickson Projectionist
August 15, 1958 – September 19, 2023

Robert Harris Y-7a
April 29, 1942 – April 14, 2024

Scott Nall Projectionist
August 15, 1958 – January 30, 2024


Negotiations Solidarity Rally

Local 695 video engineering members with IATSE International President Matthew Loeb & International Vice President Michael Miller.

On March 3, the IATSE, Teamsters, and Basic Crafts came together in a rally of solidarity and support before beginning this year’s contract negotiations with the AMPTP. More than 2,000 members of the entertainment unions showed up in person to voice their support for below-the-line workers as they prepared to negotiate for better terms and conditions for the next three years. Speakers from the IATSE, Teamsters, Basic Crafts, DGA, WGA, SAG-AFTRA, the Los Angeles Federation of Labor, and the California Federation of Labor all came out with the same message: “Though we are many crafts, we are joined in one fight.”

The event was livestreamed to an audience of almost 6,000 addition viewers, making this one of the largest solidarity events in the history of our unions. The livestream was engineered and overseen by Holley Video, a boutique video consultation company owned by Local 695 member Zak Holley. The video team consisted of 695 members Zak Holley, Tristen Poliseno, Brandon Boldroff, and Cam Broadbent, while members Bill Kaplan and Patrick Simon engineered and mixed the sound for the event. Local 695 would like to thank all of its members who contributed to making this a successful show of solidarity and support for our union, our fellow unions, and the labor movement as a whole.

L-R: International Vice President Michael Miller, Local 695 members Tristen Poliseno, Cameron Broadbent, Brandon Boldroff, Zak Holley, International President Matthew Loeb, and 695 Communications Director James Delhauer.

The Local would also like to thank James Wood (IATSE Secretary-Treasurer), Jonas Loeb (IATSE Director of Communications), Sean Miller (IATSE Press Secretary), Amy Gorton (Teamsters 399 Communication & Operations Director), Jill Wilk (Local 600 Director of Communications), Scott Collins (Local 700 Director of Communications), Doug Boney (Local 892 Assistant Business Agent), Anthony Pawluc (International Representative), and the many members of the IATSE Negotiations Subcommittees for Communications & Logistics who worked so hard to bring this event together.


Local 695 Office New Hire

In March, Local 695 hired Lauren Sorrells as our new Director of Operations. Lauren brings with her a wealth of experience from working to improve efficiency for companies like Verizon, American Express, and Kaiser Permanente. It will be her responsibility to coordinate internal office affairs and external partnerships so that the Local can offer more services to its members going forward.

Our Contributors

Amanda Beggs CAS

Amanda Beggs CAS works as a Production Sound Mixer in Los Angeles and has worked on both features and television. She received a BFA in film & television from SCAD. She’s been honored with two CAS Award nominations and two Emmy nominations. She is currently serving on IATSE Local 695’s Executive Board, and she is a member of the Academy of Motion Picture Arts and Sciences, the Television Academy, and the Cinema Audio Society.


James Delhauer

James Delhauer was born in Southern California and never made it very far from home. Since 2014, he has worked as a television engineer specializing in Pronology’s mRes platform. He joined Local 695 because he desperately needed friends. James is Co-editor of Production Sound & Video.


Steven A. Morrow CAS

Steven A. Morrow CAS has been a member of Local 695 for the past 27 years. He currently works almost exclusively on feature films but enjoys the occasional TV series. He loves to mentor and learn from all of our collective experiences. 


Gary Raymond

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Gary Raymond is a thirty-year member of Local 695 and has provided music playback & recording on over 120 films, including the Best Sound Emmy Award-winning episode of Scrubs, “My Musical.” He’s also worked on Sound Oscar and Emmy-nominated projects Once Upon a Time in Hollywood and Dexter. In addition to his work on production, Gary has provided sound and lighting for over 400 music bands and developed several industry tools for use in live music.  


Ric Teller

I’ve been very fortunate in my more than forty years working in television, going places and doing things that a kid from a small town in Nebraska could not have imagined.


Tarn Willers AMPS

Academy Award winner Tarn Willers AMPS has worked in film production sound since graduating from the UK’s National Film and Television School in 2003. After serving his time as a trainee, Boom Op and 2nd Unit Mixer, he has established himself as a Production Sound Mixer, both in the UK and Europe. In 2024, along with an Academy Award, Tarn’s work on The Zone of Interest also received recognition at the BAFTA’s, the European Film Awards, and by AMPS. He is also an Ambassador for Ciné Schools whose mission is to create a safe, communal space for primary schoolchildren to create and make films, regardless of their background.

From the Editors

Welcome to the summer edition and to bountiful reading.

Oscar winner for sound, Tarn Willers, describes The Zone of Interest. Amanda Beggs writes about The Bikeriders and Steve Morrow explains his team’s work on the live recording of music and overlapping dialog on Maestro.

On the topic of music, Gary Raymond gives us “Music Playback Audio Ninja.” Co-editor James Delhauer interviews Rene Amador, CEO of ARwall, a virtual production company about the new tools and technologies available for members of Local 695 at this year’s NAB.

We also have “An Interview with Jenn Raudman,” a career in the broadcast reality world, “Ric Rambles” returns by Ric Teller, and Dmitry Kovalev explores how the process shot has evolved over the years in a virtual production/video wall environment in “Exploring the Virtual Process Shot.”

Settle back with your favorite beverage and enjoy all the content.

In Solidarity,
Richard Lightstone & James Delhauer,
Production Sound & Video Co-editors

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IATSE LOCAL 695
5439 Cahuenga Boulevard
North Hollywood, CA 91601

phone  (818) 985-9204
email  info@local695.com

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