Departments

---

Keep Film in LA Rally

On April 6, 2025, “Stay in LA” hosted a rally at SirReel Studio Services in Sun Valley. A series of speakers, including local, state, and national politicians took the stage and called on leadership to do more to help our industry. It is well known that film, TV, and commercial production support tens of thousands of workers in Southern California.

Working with government representatives, IATSE, and other trade organizations, Stay in LA formed after the devastating wildfires that subsequently hindered production. The organization created a slate of proposals to be included in the overall disaster relief efforts. One proposal would remove tax-incentive caps for productions that shoot in Los Angeles County.

Representative Sydney Kamlager-Dove (D-Los Angeles) attended the rally because Hollywood production is incredibly important to our local and state economy. “This is a nationwide issue, we’re competing against countries taking our business, our assets, our storytelling and hiring their crews instead of our crews, and that’s not good for business,” he said.

The speakers called for more localized help for Los Angeles, urging local government and the state of California to take action to reduce the cost of filming in LA. Speakers at the rally called on studios and streamers to pledge that at least ten percent of their productions locate in Los Angeles. They called for lowering or eliminating local film permit fees, and create more crew parking at affordable rates.

“In 2020, a generational pandemic shuttered production and post-production, pushed projects out of state, and left behind California’s creators, crew members and the surrounding businesses that support production, including technicians, makeup artists, hairstylists, and editors.” said Pamala Buzick Kim, a production talent representative and founding member of the organization. “Now, we turn to our government to act,” said Buzick Kim, “to pass legislation that keeps entertainment in California, invests in our communities, and helps rebuild an industry and save a dream at risk of disappearing.”

Despite the end of the SAG and WGA labor strikes, production has been slow to recover. Filming in Los Angeles has dropped thirty percent over the last five years, the annual sound stage occupancy dropped and entertainment companies have slashed spending on productions as many have taken advantage of lucrative tax incentives offered outside California. The rally reached out to the community for support, and was well attended by members of SAG, WGA, and IATSE. Crew members, business owners, community organizers, and union officials were also in attendance.

L.A. City Councilwoman Imelda Padilla (District 6) called upon her elected colleagues to help with the cause. “Councilmembers are talking about it. With an upcoming City Council vote, we hope to make some changes.” she said. “To everyone who lives in LA, I highly encourage you to call or write your councilmembers. Make it a priority. Let your voice be heard. We all are in favor of keeping jobs in Los Angeles, that I can assure you.”
Local 695 members were well represented by Yvette Marxer, Sam Hamer, Jennifer Winslow, and Kevin Sante, among others from sister LA locals. Sam Hamer commented: “It was heartening to see so many people from so many crafts here to show support and let our elected representatives know that the film industry isn’t just about premieres and private jets; it’s working-class tradesmen and women supporting families and supporting the small businesses that keep this town going.”

Ms. Marxer explained the need for this rally. “What started with just a handful of determined crew members has grown into a powerful force—exactly what we witnessed at this event. Our elected representatives are finally starting to take note. But this is just the beginning. We must keep showing up, keep raising our voices, and together, keep building the future!”

Jennifer Winslow stated, “695 and all the IATSE representatives who traveled to Sacramento have been instrumental in bringing about this change. It’s good to have boots on the ground in multiple forms and different arenas. There’s power in the voicing of our concerns to our leaders in government. The more we join together in the form of rallies, letter writing, and calling our representatives, the better.”

---

In Memoriam

Thomas R. Loewy Y-4
May 30, 1949 – June 26, 2024
John Hill Jr. Y-4
January 21, 1950 – January 22, 2025

John Hill, owner/operator of Video Assist Systems, Inc., passed away on January 22.

An icon in the commercial world, and at the forefront of technology, beginning in the early 1980s. John was much loved, and in-demand for his calm demeanor and expertise. On March 22, there was a memorial and remembrance of John’s life at a tavern in Canoga Park. Some of the attendees were Roger Daniell, Crew Chamberlain, Moe Chamberlain, Cory Glazer, Jora Nelstein, and Randy Johnson.

---

Rallies Work

On April 29, 2025, LA City Council voted unanimously to approve Council member Adrian Nazarian’s motion to help keep film and TV production in Los Angeles. This includes establishment of more competitive fee structures and streamlining film permit reviews in the city. All of the city agencies involved in film and TV production will research and give recommendations on how to cut the red tape. Rank-and-file production workers, representatives of motion picture trade and craft unions rallied with councilmembers to help push this measure through.

In Nazarian’s motion, the City Chief Legislative Analyst and all relevant city departments are being called upon to recommend adjustments to city fees, permits, parking, and security requirements for shooting in LA, as well as on city-owned property. Certifying new sound stages is also being considered. With LA’s vast pool of talent, experienced workers, and superior facilities, the city is invested in discovering opportunities to bring motion picture employment back to the city of Los Angeles.

This is a win for IATSE! Stay involved, call, or write your representatives and city councilmembers. Contact the Local 695 office for more information.

---

New Members

Local 695 Welcomes its New Members

Jason Bowden Y-4
Benjamin Cohen Y-13
Adrien Morales Y-7
David Schwerkolt Y-4
Roderick Sigmon A-2

---

Entertainment Community Fund: Resource Portal

The Entertainment Community Fund, formerly The Actors Fund, has recently launched an online portal where they host a variety of free programs and services. Their portal is designed to cater to entertainment professionals’ individual needs and interests, offering access to a wide range of workshops, programs, and resources—all with the guidance and understanding of what it takes to build a life and career in an often-unpredictable industry.

This resource is completely free to IATSE members and can be accessed via the “Portal Login” at: https://entertainmentcommunity.org/

by Ric Teller

I’ll take the soup.

My grandpa Dave liked Mussorgsky, Tchaikovsky, and matzo ball soup. He wasn’t educated in music; in fact, he left school after the sixth grade to go to work, eventually running a men’s clothing store. For decades, many businessmen in Lincoln, Nebraska, dressed in suits from Clark’s Clothing. I have a vivid memory of him sitting on an ornate wooden chair in his living room, conducting the New York Philharmonic, the Chicago Symphony, or another esteemed orchestra while listening to them on television or an L.P. For those who have forgotten, L.P. is an analog sound storage and playback medium, a phonograph record with a speed of 331⁄3 rpm. The initials L.P. stand, of course, for Louie Prima.

In television, we don’t get too many opportunities to work with an orchestra. The ensemble at the Tony Awards in New York features Broadway show music, and at the Memorial Day and 4th of July holiday shows in D.C., the National Symphony performs familiar often patriotic tunes. My two regulars are the Oscars Orchestra, made up of an amazing group of studio musicians playing film music past and present. And the ensemble from the Kennedy Center Honors under the direction of Patrick Vaccariello. It is an accomplished group of players and many, including concertmaster Oleg Rylatko, come from the Kennedy Center Opera House Orchestra, the rest are “hired guns,” assembled by the talented music contractor Kimberlee Wertz. Each year, they perform a diverse and interesting variety of content based on the honorees. Ms. Wertz is the contractor for the Tonys, Oscars, and other shows as well. The Honors Orchestra sounds terrific, a combination of the hard work and professionalism of Patrick and the excellent musicians, combined with the skill of music mixer Paul Sandweiss. In addition to the orchestra, the Honors features an excellent house band, and often an additional ensemble or two. One small group in particular comes to mind. I can’t tell you the name of the honoree. Not because I’m sworn to silence and you don’t know the secret handshake, I just can’t remember. The mixer, Ed Greene, told us that one of the honors would include a piano quintet. Traditionally, the most common form of the piano quintet includes the piano (duh) and a standard string quartet, two violins, a viola, and there’s always room for a cello. I learned this and much more from Emanuel Wishnow at the University of Nebraska School of Music. Ed challenged me to make the mics as invisible as possible. The piano would be at full stick, and the string players made it clear that they did not want mics on their instruments. Inside the piano, I mounted two AKG414’s near the downstage wall of the case, hidden from the camera shot, one near the high strings near the hammers and the other about halfway down, near the lower strings. For the quartet, I taped two Countryman Isomax Hyper Cardioid mics with the heads at a 90-degree angle at the top of a plain black mic stand that hid well with the music stands used by the string players. Ed made it sound great. I loved when he would present a challenge like that. He is truly missed.

I’ve been very fortunate to work with a wide variety of extraordinary musicians over the years. One of the first big music shows that came my way starred Steve Allen, a very talented pianist, songwriter, humorist, and host. About forty years ago, we did six episodes of his program, Steve Allen’s Music Room at KTLA. I was tasked with mixing FOH and monitors on two linked 16-input Yamaha PM 1000’s. In addition to Steve hosting and playing, the show had a fantastic house band led by vibes player Terry Gibbs. The rest of the band was an all-star ensemble.

The stellar guest list included Jayne Meadows, Steve Lawrence, Eydie Gorme, Melba Moore, Joe Williams, Paul Williams, Henry Mancini, Dizzy Gillespie, Sarah Vaughn, Patti Page, Doc Severinsen, Ann Jillian, Burt Bacharach, Carole Bayer Sager, Anthony Newley, Rosemary Clooney, Lou Rawls, and Red Holloway. One more note: The show featured a little known twenty-seven-year-old announcer/sidekick, Bill Maher. All six of these programs are available on YouTube. Here is a link to number five, probably the best of the bunch. https://www.youtube.com/watch?v=u_IV5u3099A

JAMES BROWN! JAMES BROWN! JAMES BROWN! In 1991, James Brown and his band did a live concert for broadcast at The Wiltern Theatre. Now, for anybody my age, and you know who you are even if you don’t admit it, James Brown was a big deal. I remember the T.A.M.I. Show where James and the Famous Flames blew the doors off the place much to the chagrin of the Rolling Stones. So, getting to work with him on a live TV show was a huge treat. We were in the middle of rehearsal, the band was pumping and suddenly, James cut off the music. His band was well rehearsed and clearly knew how to follow directions. Then James turned and walked over to me. He spoke quickly but I got it. He turned and as he addressed some musical issue, one of his guys walked behind me and asked if I knew what he said. I answered in the affirmative. James thought the guitar amp had too much high end and was aimed too directly at his vocal mic. I rotated the offending amp just a little off-stage, covered it with a light cloth, and asked the guitar player if he would take a tiny bit of treble out of his amp. On the next pass, James turned and nodded, and his guy came back to say that it was good. Then I asked if I could learn the proper way to prepare his mic, cable, and stand. The prep, attaching the cable to the mic stand with wraps of electrical tape was important for an integral part of his performance. I did the mic preparation for that live show and several other James Brown performances proudly earning my J.B. Mic Prep merit badge.

Like many of you, The Music Man is one of my favorite Broadway musicals. Many years ago, when I was new to California and trying to become a trombone player with a pager, I got a call to play in the pit orchestra for a Beverly Hills summer stock theater run of that show. On opening night, an older man slowly made his way down the aisle to the orchestra and asked if he could sit in on the flute. He played the entire show. It was Meredith Willson. I played in the pit orchestra for The Music Man with Meredith Willson! The show revolves around a con man selling band instruments to the Iowa townsfolk. He plans to teach the boys in his band how to play using “the think system.” At the Emmys last September (congratulations to all the nominees and winners), I was having a lovely lunch with some even lovelier coworkers/friends when one, Joey Adelman, asked about an event that happened long ago. He wanted to know if a nearly forgotten story of an A2 misadventure was truth or legend. As the story goes, Murray Siegel, A2 Emeritus, and his accomplice, decided to set all the vocal mics for the live, three-hour American Music Awards by using “the think system.” They … um … we … put down no marks on the Shrine Auditorium stage. Needless to say, it was quite a challenge. Like The Music Man, in the end it turned out fine … well, except that we didn’t have a marching band. In hindsight, I guess it is both truth and legend.

I’ve mentioned my start at KTLA in many of these columns. Recently, I was in a discussion about retirement (as in, why don’t you stop working and let someone else have a turn), and the subject of institutional knowledge came up. Everyone has a different experience getting into our business and learning the craft. In the late 1970s, when I began, there were still a lot of staff jobs at the networks and independent TV stations. KTLA had more than one hundred engineers to keep the station on the air, tape the shows that were produced on their stages, and maintain all of the equipment. In 1979, twenty-five of those engineers had worked there for more than twenty-five years. The most senior engineers in that group started in the 1940s, the newest began in 1954. All worked with Klaus Landsberg. Even as a complete novice, the vast institutional knowledge affected me in a big way. I am not surprised when even today, I tap into some method or detail or process or even a phrase that I learned from those men like “pick up that sleeping beauty” IYKYO (If You Know, You’re Old). In short, the lessons I learned allowed me to begin a career that has lasted forty-five years. Of course, my education continued in the freelance world, especially when I joined the group doing specials and award shows. To this day, we continue to invent ways to make shows work. Usually, a product of aggregate knowledge and more than a little experimentation. Even now, I love to learn new ways, and when I see someone younger applying the tried-and-true methods, I think about the audio engineering DNA that made that happen. I wish I could let those KTLA teachers know how much they have contributed.

Last May, I had my picture made with fellow Local 695 forty-year pin holder, Tad Scripter, at the Academy of Country Music Awards, in Frisco, Texas. We captioned it: 95 years of television experience in three square feet. Broadcast TV has existed in Los Angeles for just under eighty years (yes, experimental stations started further back in time). Tad and I have participated in more than half of that history since the first station, KTLA, went on the air. Somewhere in my credential pile, one from the 22nd ACM’s at Knott’s Berry Farm is a mathematical reminder. We recently did the 60th. Man, it goes fast.

I am grateful to be able to write and share these memories, in some little way, it is my contribution to the institutional knowledge of making entertainment television. I’m sorry that I didn’t get to share any of these tales of musical adventures with grandpa Dave. It would have been great fun to sit him down in front of a live orchestra. I’m sure he would have conducted along. Then, we could have gone out for a bowl of soup.

It’s a Global Industry

California has been synonymous with the motion picture industry for one hundred and fourteen years. Millions of tourists come to “Hollywood” each year to see where their favorite movie or TV show was shot. We are home to iconic film studios that set up shop here as early as 1911, because of a wealth of talent, ideal weather, and diverse shooting locations. However, the Golden State has seen a marked contraction in motion picture production in recent years. This shift is reshaping California’s economic landscape and cultural identity. Someday, we could be known as the place where it all started and ended.

While California may no longer hold an unchallenged monopoly on motion picture production, it remains a significant player in the global entertainment industry. The state’s concentration of talent, industry know-how, post-production facilities, and historic legacy give it a competitive edge that cannot be easily replicated.

One of the most significant causes of this migration has been the aggressive tax incentives offered by other regions. First, they were provided by several states, and now they’re offered globally by many countries. At any given time, $1.5 billion in incentives are available.

In 2009, California introduced its film and television tax credit program and expanded it in subsequent years. The latest version, “California Film & Television Tax Credit Program 4.0,” goes into effect in July this year. We are working on two bills that will restructure Program 4.0 to be globally competitive, AB 1138 and SB 630, to increase the funding to $750 million annually. Our campaign, “Keep California Rolling,” is in full gear with members and Local leaders traveling to Sacramento to educate the new legislators on the economic value of the California Film & Television Tax Credit Program. Studies show that for every dollar in credits, results in generating $24.00 into the state’s economy. From local mom-and-pop businesses to hotels, florists, dry cleaners, etc., that all support the industry. This is the value of the program.

California must continue refining its incentive programs, invest in cutting-edge production technology, and perhaps most importantly, support the next generation of filmmakers and crew members who still dream of making it big in Hollywood.

In Solidarity,

Scott Bernard
Business Representative

Jim Lakin CAS

Jim Lakin began in sound in the late ’90s as a teaching assistant for Richard Portman while attending the FSU College of Motion Picture Arts. He relocated to LA in 2002 and joined Local 695 in 2004. Jim has worked in more than twenty countries on feature films, documentaries, commercials, infotainment television, and scripted television. His work includes Hacks, 9-1-1, Dollface, and The Mighty Ducks Game Changers.

---

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.

---

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.

---

Mark Ulano CAS AMPS

Mark has been a Y-1 Production Mixer in Local 695 since 1983 and mixed more than 150 film and television projects. He is a four-time Oscar nominee, most recently for Once Upon a Time in Hollywood, Ad Astra, and Inglorious Basterds. His work on Titanic won him an Academy Award for Sound Mixing, as well as the Cinema Audio Society Award. Mark is very active in the cinema mentoring world as a teacher of workshops and speaker at sound symposiums internationally. 

---

Russell White CAS

Originally from the Midwest, Russell has been mixing sound for twenty years. His career includes improv comedy, Tim and Eric’s Awesome Show, Great Job, and The Kroll Show, and scripted projects: Gilmore Girls, Super Pumped, and Insecure.

---

Jennifer Winslow

Jennifer is a Utility Sound Technician/Boom Operator serving her third term as a Trustee for Local 695. She is currently working on Criminal Minds: Evolution. Jennifer has worked in features, commercials, and television. Some credits include Be Cool, Lone Star, Problem Child, Chicago Hope, Dear White People, Grace & Frankie, and Suits LA. She is a longtime member of Local 695.

Welcome to the summer edition of Production Sound & Video.

It’s time for BBQ’s, more work in LA, beach visits, and even more work returning to LA, and of course, Emmy nomination time. Sound Mixer Jim Lakin gives us the goods on the popular show, Hacks, and we get the courtside view on the new Netflix show, Running Point, by Russell White.

“Interview with Joe Aredas, Jr.” from new Co-editor Mark Ulano and the ever-entertaining column, “Ric Rambles” from Ric Teller. We look at this year’s award winners: Oscars, CAS Awards, BAFTA’s, and AMPS, and Jennifer Winslow gives us “News & Announcements.”

We would also like to thank James Delhauer for his time as Co-editor of this magazine and wish him success in his new endeavors.

Enjoy the read and let’s get a lot of work going in Los Angeles and beyond.

In Solidarity

Richard Lightstone & Mark Ulano
Production Sound & Video Co-editors

 Let’s talk about Tomorrowland. 

When I was a kid, my family loaded up the station wagon and drove from Chicago to Disney World for Christmas. I was twelve years older than my younger half-siblings, but Disney was a place where that never mattered. We were all just the right age, regardless of age. Mickey Breakfasts for my little sister and teacup rides for my little brother, but I loved Tomorrowland. Truth be told, I still love Tomorrowland.

When Disneyland opened on July 17, 1955, Walt Disney dedicated these words to Tomorrowland: “A vista into a world of wondrous ideas, signifying man’s achievements … a step into the future, with predictions of constructive things to come.”

At the time, there was a beautiful poster made up of pastel-colored vertical lines that resembled a futuristic city enveloped in an atomic symbol. The only text on it read, “Tomorrowland. Make the Future.” It was such a simple tagline, but the opportunity behind it was boundless.

These words have never felt more relevant than they do today.

In April, I was invited to a think tank dinner hosted by the Mozilla Foundation and the Berggruen Institute. The Mozilla Foundation is a global nonprofit aimed at shaping a safer digital world. They are best known for their subsidiary, which owns and operates the Firefox web browser. Still, the parent foundation seeks to pave a safer digital future for our society by bringing together experts from all sectors to imagine what that future might look like. By partnering with the Berggruen Institute, they have cultivated a network of global thinkers and specialists who can collaborate to tackle some of the world’s most significant challenges.

Our small dinner party of twelve included journalists, illustrators, activists, academics, and technologists. The purpose of this particular gathering was to assess the future of deliberative democracy and technology. Does technology, specifically AI (artificial intelligence), enhance human deliberation in the democratic process? What are the pros and cons of integrating algorithms into this process? Is “something” lost when deliberation is mediated by technology? How does consent operate in the space of deliberation when AI agents and algorithms intervene? What guardrails should we put in place to ensure that the information being exchanged is accurate and honest? Most importantly, what role do governments, unions, and corporations all play in this technological cultural shift?

These questions require more time and space than a small salon of experts can tackle in a single night, but building a future often begins with nothing more than a group of thinkers coming together to share ideas and think through the challenges we face, both singularly and collectively. For my part, this dinner left me asking myself a lot of new questions.

What do we see as our role in the future of technology, both within our industry and globally? What types of discussions can our Technological Changes Committee facilitate in order to help steer our Local and our industry in this new era of technology?

As one of the technical Locals in Hollywood, I encourage all our members to start having these discussions. Speak to your friends, your co-workers, and your families about these complex ideas. We are all stakeholders in this changing landscape, and we must all be engaged if we hope to guide the future in a direction where technology works for workers. Together, we can co-create the future narratives of technology and build a better future for us all.

In Solidarity,

President Jillian Arnold