IATSE Local 695

Production Sound, Video Engineers & Studio Projectionists

Departments

News & Announcements

by Casey Weiss

Day at the Ranch – Sunday, November 8, 2026

The latest MPTF-IATSE fundraiser, Day at the Ranch, will be held on Sunday, November 8, at Calamigos Ranch. Come together to celebrate unity with our entertainment family with great lunch buffet, auction & raffle, lots of fun outdoor activities, and much more!

Your support helps workers facing life’s challenges right now and enables MPTF to continue helping industry workers in times of need, including financial assistance, subsidized childcare, and caring for aging parents.

For more information and ticketing, please visit: www.mptf.com/events/day-at-the-ranch/

Support: The IATSE Political Action Committee (PAC)

The IATSE PAC is currently working on the implementation of a federal tax incentive for the entertainment industry, as a response to runaway productions overseas. Your support of the PAC Fund will directly benefit the pursuit of this initiative, impacting hundreds of thousands of IATSE workers nationally. For more information and how to support, visit: www.local695.com/iatsepac/

Free Webinar: Why Unions Matter

The “IATSE Road Show: Why Unions Matter” is an informative and enlightening presentation developed by the Labor Education Program at the University of Arkansas Little Rock and the IATSE.

The Road Show covers:
• How are unions essential to a healthy political & economic democracy?
• Who acts as the safeguard to corporate power?
• What role do unions have in building an equitable future for all?
• How Worker Power Builds an Economy That Creates Jobs, Raises Wages & Promotes Economic Dignity for All.

To access a recording of “Why Unions Matter,” register here: https://iatse.co/May11whyunionsmatter

New Members

Adam Michael Consolo Y-7A
Aidan Frank Delear Y-7
Scott DuVall Projectionist
Phillip Parker Metzger Y-4

In Memoriam

Gregory J. Curda – Y-1
January 26, 1955 – May 30, 2026

Jay M. Huntoon -– Y-4
January 11, 1953 – May 6, 2026

Ric Rambles

Joe Kendall’s first axiom states: Once you know where the electrons go, you can’t work on the floor no more.

In many ways, Joe was right, as usual. We all know a few audio folk who are a foot smarter than average, and there are some jobs that require a deeper understanding of “where the electrons go.” It seems logical that those with specialized knowledge and abilities should gravitate to positions that match their skill set. I will readily admit that rocket surgery is not in my A2 oeuvre. That we depend on them is common knowledge. The best of them not only know, they teach. And teach. And teach. I know that many times it is easier for them to just do the task. Maybe they are hopeful that we will remember the lessons and sometimes we do. But when repetition is infrequent and technology and gear changes, for me, and possibly others, retaining the lessons is sometimes difficult. I am, and have always been, grateful to those engineers who point us in the right direction and help us understand the troubleshooting process, especially with new technology. The first in my television experience was Craig Debban at KTLA. He was knowledgeable and patient. Craig taught me how to patch an audio control room and why the Ward Beck consoles did not supply phantom power. Still a bit of a mystery. He also talked about troubleshooting. Power supply first. I am grateful for his guidance.

Recently, while I served a 16-day sentence working on two music award shows back-to-back at the MGM Grand Garden Arena in Las Vegas, I asked somewhere around one hundred sixteen and a half questions of two indispensable resources. Truck audio engineer Hugh Healy, Audio Engineer in Charge for Denali/NEP, and FOH Mixer/System Tech Jeff Peterson, Project Manager/Designer, ATK Audiotek, something about Clair. They are the answer men, the brain trust, the Dynamic Dante Duo, the Sultans of Circuits, the Potentates of AoIP. I asked each of them to make a list of work items that the A2’s should know more about, learn, and remember. I appreciate their participation, and I hope they will forgive my egregious editing for the West Coast feed.

We are all experiencing changes, and the resulting complications, in the systems that have become more common in our setups. As they often require extra knowledge and effort, productions have been responsive by cutting prep time, sometimes by a day, and shortening ESU. Recently, on a rehearsal day, we were given a 10-minute ESU to start work with a host on stage. We depend a lot on the plug-and-play aspect of the new devices, but when we have questions, it almost always ends up at the Hugh and Jeff level. Oh, by the way, we want to change blah, blah, blah. That won’t take long, will it? If, as A2’s, we can help, just by learning to troubleshoot some things from the stage, it might save them a bit of time that they really need to use elsewhere.

Screenshot
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Let’s look at this as a practical situation, not theoretical. We’ve arrived at the Unlimited Funds Corporation Arena to work on the Pat Ourselves on the Back Awards. Margo greets us and gives us our credentials complete with an advertising logo lanyard. Although there are often differences, we look for similarities in our show setups. Split World is the hub of stage audio. Analog signals from RF’s, bands, audience mics, and other sources are patched into and dispersed from the splitters to the production truck, the music truck(s), and the FOH and monitor positions. Whether a large setup like The Grammys or a smaller show like the Pat Ourselves on the Back Awards, the splitter outputs feed devices that turn the signals into a digital language sent via fiber to each destination’s console.

At this moment, DiGiCo is the console of choice for FOH and monitors. Each DiGiCo console and SD rack is connected to a bidirectional fiber loop. A large show might have five or six desks, and eight or more SD stage racks. Every console and rack must be part of that fiber loop, and each is assigned an ID number by the system tech. A2’s connect inputs usually with a W-4 from the splitter and occasionally access outputs for emergency backups from the FOH console to the production truck. We commonly use MADI outputs from an SD rack to feed RF mic audio to Pro Tools operators for tuning purposes. The SD rack LCD menu needs to be set up to feed the MADI BNC ports with the proper signal. To use the MADI ports as general MADI splits of the rack, change the MADI mode on the output from SDrk (SD Rack) to either 56ch or 64ch. 

The MADI ports are referred to as main, aux, split main, and split aux. In the menu, you can configure the split main (SM) or split aux (SX) to be Standard MADI splits of the rack. If the rack is running at 96k because the fiber loop is at 96k, you can set the SM or SX ports to run at 1/2 sample rate, giving you all fifty-six channels on one MADI split port. If the cable run is more than 50’ between the rack and the Pro Tools system, put a media converter on the SD rack end and run fiber to the Pro Tools location, then put another media converter on to finish the run.

—Electrical MADI is very sensitive to ground potential differences.
—Coax MADI has a low output level.
—The receiver circuit does not deal well with noise, ground potential issues, and long cable runs.
Using single-mode fiber allows us to go longer than the 300m limit that is typical of multi-mode fiber and allows us to use the same fiber that’s used in SDI video distribution instead of always running audio-specific fiber. Thanks, Bill and Kit.

There are a lot of coax-to-fiber converters on the market made by different manufacturers, The number that can pass MADI is small because most of them have video reclocking circuitry. MADI will not successfully pass if the circuit is attempting to reclock the MADI signal according to SDI bit rates. Of course, Hugh built his own (for everyone’s use). They only pass MADI, have multiple channels and multiple outputs per channel, and redundant power supplies. They’re also built tough. 

The connection from Split World to the production truck is almost always either a Calrec Hydra Box or a Studer Box. Here on the Pat Ourselves on the Back Awards, we are fortunate to have a Denali truck with Hydras. When Hercules was an A2, setting up the Hydra was the second of his Twelve Labors. For the record, putting out Audience Mics was tenth … maybe eleventh. Here on the Denali truck, we usually see two types of Hydras: Fixed Format and Modular. Let’s look at a Fixed Format forty-eight inputs X sixteen outputs. Other configurations are available, but for us, connectivity and the LED status lights are consistent.

Connect the Hydra with a SMPTE jumper (if you are using the Denali box that takes in two Denali Tac 12’s with Delphi connectors and breaks them out to six SMPTE cables (don’t forget to bring the jumpers) and 12 ST connectors on the front of the box. If you are connecting to the Hydra with ST’s from a Tac-12, make sure the Hydra is patched that way.

Once you have AC power and fiber connected, look at the front of the Hydra. A series of LED’s will help you find out the status of your connection.

If your Hydra(s) are lit, like the example, check with the mixer or audio maintenance person to see if the Hydra is making the proper connection to the desk. If the lights are not like the picture, clean the fiber, swap the two fibers, check the lights after each change. If you still do not have satisfactory LED’s, squirt some light from the truck and check the fiber cable at the Hydra. The Status LED information from Calrec gives a more detailed description of the function and explanation of the display. Once you have taken the troubleshooting steps and can describe the current status of the LED’s, ask for help.

A few more things to think about.

Clocking. Albert Einstein once quipped, “The only reason for time is so that everything doesn’t happen at once.” A lesser known aphorism from his days as an A2 states, “The only reason for clocking is so that everything will happen at once.” Clocking is the process of locking all video, audio, and production equipment to a single, ultra-precise master reference signal. For A2’s, it is important to be aware that guest tuning and playback systems may not be set up to follow our master clock. Ticking, clicking, or popping is an indication that the clocking should be checked.

SMPTE Timecode. Now that we have every frame clocking together, we need a way to identify each one. Timecode! Eight digits: hours, minutes, seconds, frames. It can display Time of Day, or in a music show, a separate hour start code assigned for each performance. Timecode triggers video, lights, special FX, and other things. On a recent show, I had six devices at FOH that each needed timecode. Three lighting boards, special FX, video, and “Lasers.” For long cable runs, often we use a Distripalyser, a very handy tool that identifies the format, the drop frame status, the frame rate, and displays the code in real time. It reshapes the code before sending it out and can identify issues such as repeated frames and drop-outs which triggers it to play Disney’s “It’s a Small World” over and over until the problem is resolved. The first line of troubleshooting is to listen for the timecode. Second, make sure that the devices are looking for the timecode format you are providing. Level matters, signal cleanliness matters, hum matters. 

Hugh Healy and chickens.
Jeff Petersen

Hugh on Dante: It’s not the best system for AoIP, none of them are. To paraphrase Winston Churchill: “Dante is the worst network audio protocol there is—except for all the others.” There are plenty of ways to attain a helpful skill level in the Dante and networking world. With some time and education, we may disprove Joe’s Axiom. Imagine if we could help troubleshoot by knowing the meaning of LED lights and accurately describing an issue. And then go mic a challenging gown on the Oscars and a band on the Grammys.

Well, the Pat Ourselves on the Back Awards is finished, the confetti are everywhere, and as Guy Jones often says, “The show is on its way to Pluto.” The only thing left is to give my profound thanks to Jeff and Hugh for co-writing this column. Your expertise is always very much appreciated.

I read somewhere that there are two stages in an A2’s life. ‘Youth’ and ‘You look great.’ Being just shy of five decades in, I am grateful to still be on the call sheet.

Our Contributors

Willie D. Burton CAS

Willie D. Burton CAS 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 films The Buddy Holly Story, Altered States, War Game, The Shawshank Redemption, The Green Mile, and Oppenheimer. His recent credits includes Spider-Man: No Way Home, The Haunted Mansion, Beverly Hills Cop 4, Origin, The Rip and The Odyssey

Drew Kunin

Drew Kunin was born and raised in Minnesota, and is now based in Brooklyn, New York, where he lives with his wife, Dina and son, Rafael. Drew went to university to study marine biology, but he inadvertently fell into the film business and has been unable to extricate himself since. For more than 40 years, Drew has supported himself as an itinerant Sound Mixer, recording films varying in scope from tiny indie movies to huge studio extravaganzas, and shooting on locations all over the U.S. and the world. Having shot films on six continents, Drew is still waiting to get a call for that Antarctica movie

Douglas Shamburger

Born in Culver City, CA,. to Lee and Valerie Shamburger, I basically grew up exposed to the film industry due to my father’s career as a Boom Operator. I was fortunate enough to be able to come to various sets as a young child which sparked my interest behind the camera. It wasn’t until I was in high school that it occurred to me that I might follow in my father’s footsteps. I became interested in the important process of recording dialog and telling the story that was on screen. I first began in commercials in the 1980’s as a PA or Grip/Electrician, and the occasional Boom Operator jobs (through my dad) which led to TV and then film. By 1985, I was able to join the union and began to carve a niche for myself. Over four decades later, I have garnered a reputation that proceeds me amongst my peers.

Ric Teller

I’ve been very fortunate in my more than 40 years working in television, going places and doing things that a kid from a small town in Nebraska could not have imagined.

Anna Wilborn CAS

Anna Wilborn CAS is a Production Sound Mixer from Los Angeles, California. She has two very cool teenage daughters she is slightly afraid of (especially the tall one). She enjoys concerts, playing guitar, and keeping plants alive(ish). Her current projects are Stuart Fails to Save the Universe and Shrinking. She just received her second Emmy nomination for Shrinking.

Photos courtesy of the respective contributors.

From the Editor

Welcome to the Fall issue.

Willie D. Burton CAS and Douglas Shamburger describe the work on their worldwide adventure of The Odyssey. Anna Wilborn writes about the third season of the popular series, Shrinking, now with her second Emmy nomination.

On the topic of the Emmys, we present the 78th Emmy Sound Mixing nominations. Ric Teller brings us another adventure of “Ric Rambles.” There is “News & Announcements” and Drew Kunin tells us about working on Steven Spielberg’s Disclosure Day.

In solidarity,

Richard Lightstone CAS AMPS
Production Sound & Video Editor

From the Business Representative

Partnership Drives Production

As our industry continues to recover and adapt to a changing production landscape, one thing has remained constant: Successful productions are built on strong partnerships.

For more than ninety years, the members of IATSE Local 695 have provided the professional expertise that allows productions to move efficiently from pre-production through final wrap. Whether working in production sound, video playback, video assist, communications, studio projection, or one of our many specialized classifications, our members bring the knowledge, experience, and dedication that today’s productions demand.

Technology continues to transform how films and television programs are produced. Virtual production, LED volumes, IP-based workflows, cloud collaboration, and increasingly sophisticated audio and video systems have changed the way productions operate. These advances create exciting opportunities, but they also require highly trained professionals who can adapt quickly while maintaining the reliability that producers and directors depend on.

At Local 695, we believe that investing in skilled professionals, benefits everyone. Experienced crews help productions stay on schedule, solve technical challenges before they become costly delays, and maintain the high standards audiences have come to expect. Just as important is the relationship between labor and management. While collective bargaining establishes the framework for wages, benefits, and working conditions, it is the day-to-day collaboration between employers and skilled union professionals that allows productions to succeed. Every completed production represents thousands of decisions made by people working together toward a common goal.

As production continues to expand across multiple platforms and technologies, Local 695 remains committed to working with producers, studios, and vendors to meet the evolving needs of our industry. We recognize the challenges facing production today, just as employers recognize the value that experienced union professionals bring to every project. Our mission has always been straightforward: protect the standards that have made this industry successful while embracing the innovation that will shape its future.

When labor and management work together with mutual respect and a shared commitment to excellence, everyone benefits—the employer, the crew, and ultimately, the audience.

On behalf of the officers, staff, and nearly two thousand members of Local 695, thank you to the studios, producers, employers, and signatory companies that continue to invest in skilled union professionals. We look forward to continuing our partnership and building an even stronger motion picture and television industry together.

In Solidarity,

Scott Bernard
Business Representative
scottb@local695.com

From The President

Let’s talk… Part 1  

I grew up in a traditional Irish Catholic family. I have cousins, uncles, and great-uncles who are ordained priests or deacons. I had a great-aunt who lived as a devout nun. I would not consider myself a Catholic today, but I attended a beatification at St. Peter’s Basilica, walked the fields of Bethlehem, knelt at the Church of the Holy Sepulcher, and visited the Western Wall in Jerusalem.

More so, I take unwavering pride that the first American Pope and I are not only from the same city but also share the same sentiment toward the Green Bay Packers (Chicago Popes: 1; Green Bay Popes: 0). Pope Leo XIV is a White Sox fan. I love the Cubs, but we share a philosophy and a futurist vision for artificial intelligence.

We believe in a people-first vision of AI.

On May 25, 2026, Pope Leo XIV presented the encyclical letter Magnifica Humanitas on safeguarding the human person in the time of artificial intelligence. The letter is deliberately dated May 15, marking the 135th anniversary of Leo XIII’s Rerum Novarum—the 1891 encyclical that responded to the Industrial Revolution. This groundbreaking papal encyclical responded to rampant child labor, inhumane working conditions, and a growing increase in gender and financial inequality. Rerum Novarum called for fair pay, improved working conditions, trade unions, and welfare organizations. The 1891 encyclical letter positioned the Catholic Church, for the first time, squarely on the side of workers.

Magnifica Humanitas is a 245-paragraph document that places the dignity of the human person at the center of all reflection, treating it as the fundamental criterion for guiding technological progress and for assessing its social, cultural, and moral consequences. It asserts that technology has significant social benefits, but is not the solution to humanity’s problems.

“In the era of artificial intelligence, when human dignity is threatened by new forms of dehumanization, ours is the pressing duty to remain profoundly human.”

Human experience, expression, and intelligence are not comparable to AI systems. The Pope emphasizes the need to protect workers, combat all forms of worker exploitation, and design systems centered on workers rather than on the machine’s performance.

Pope Leo states, “Work is not simply the instrument; it expresses and enhances the dignity of our lives.” As our industry’s work contracts, I believe, more than ever, that this statement is a core truth many of our union members feel. The work is not merely what we do but an expression of who we are. Every Mixer, Boom Operator, Video Engineer, Projectionist, and Technician in this Local knows that truth in their bones—it’s why we do this work and it’s why defending it matters.

This modern-day encyclical is not meant to be a policy advisement, but an open letter to policymakers to establish social criteria for innovation. The Pope also says, “New collaborative efforts are needed among political leaders, labor organizations, the business world and the scientific community in order to develop rapidly adequate shared regulations and protections, including at the international level.” He calls for corporate commitment to include the quality and dignity of work as indicators of success.

Former Brookings Institution senior fellow Molly Kinder attended a two-day AI summit hosted by the Vatican and Notre Dame University. There, Kinder’s advocacy at the intersection of workers’ rights, policy, technology, and social change is reflected in this document. The American labor movement had a seat at the highest levels of papal consultation.

No matter what your perspectives on the Catholic Church are or the doctrines you subscribe to, Pope Leo XIV is an international figure whose research, discussions, and writings are inspiring people to think critically about the use of artificial intelligence. This document serves as a reminder that “We must avoid the misconception of equating this type of ‘intelligence’ with that of human beings.”

I want to emphasize this final point—artificial intelligence is not human intelligence. The rest of my year will be spent preparing for next year’s negotiations. Your input is valuable. I want to hear it and discuss it. Your participation will help shape the next round of proposals on artificial intelligence and the future of our industry.

On July 27, President Matthew D. Loeb announced that I would become IATSE’s first Labor & Technology Intelligence Officer during the AI Commission Report at the Summer General Executive Board Meeting in Toronto. This new position will advise President Loeb and IATSE leadership on technology and innovation in service of our members across the Alliance—work that has become increasingly urgent as we integrate artificial intelligence and other emerging technologies in a safe and ethical way for our industry and our crafts.
I am excited to take on this new role, though it also brings the grief that accompanies all transitions. This full-time position means I am retiring from my role as a Video Engineer/Recordist or “the artist formerly known as the Tape Operator,” in live TV environments. My time in this position has been magical. I have traveled around the world and worked with amazing creatives, technicians, and artists. I am grateful to many who have supported and championed me along the way, but it is time to stretch my brain and focus full time on this work at the intersection of labor advocacy and the age of artificial intelligence.

Pope Leo XIV writes that each generation inherits the task of shaping its own era. For us, that era gets shaped in very specific rooms: at the bargaining table, in Committee Meetings, and at General Membership Meetings where you show up and speak. The proposals we bring to next year’s negotiations will be stronger if they carry your voice, your experience on set, your concerns about the tools, and your ideas about what protections actually look like in practice. So, let’s talk. I mean that literally. Reach out, come to the meetings, and tell me what you’re seeing. The future of this industry will be written either way. I’d rather we hold the pen.

In Solidarity,

Jillian Arnold

News & Announcements

by Casey Weiss

LA IS A UNION TOWN: May Day March

On Friday, May 1, in honor of International Workers Day, also known as May Day, hundreds of union members and kin marched through the streets of Downtown Los Angeles. The crowd was full of creative displays of union artistry from handcrafted puppets, totems, and banners to mobile bands playing along the roughly three-mile route. IATSE was represented by the many members proudly wearing their union gear and displaying their signage. LA is and will always be a union town!

Local 695 Assistant Business Representative Heidi Nakamura

Report Your Work

As the improved tax incentive credits begin to increase entertainment work in California, it is more crucial than ever for workers to report their jobs. Whether signatory or nonunion, reporting your work helps us understand production trends and identify opportunities for organizing, which then supports the Motion Picture Health and Pension Plan. It is easy to report your work online: https://www.local695.com/membership-services/job-repor ting/

IATSE Training Trust Fund: Safety First! Webinars

Biweekly and completely free webinars are available to all IATSE workers through the IATSE Training Trust Fund. Topics range from Basic Entertainment Safety, Sets Utilizing SFX and Fog Effects, Biological Hazards, and more. Keep yourself and your fellow crew members safer on set by checking out upcoming webinars at:
https://www.iatsetrainingtrust.org/webinars

OLD FRIENDS

Front row: Joel Schryack, Peggy Names, Rene Defrancesch, Dave Kirshner, Joe Kenworthy, Devin Golub, Knox White.
Second row: Alenka Pavlin, Misty Coen, Glenn Berkovitiz, Mychal Smith,
Tim Song Jones, Andy Adams, Natasha Fagan.
Third row: Johnny Evans, Andy Rovins, Kevin Becker, Eric Alstad, Gunnar Walter, Rob Cunningham, Patrick Martins, David Raymond, Michael Primmer, Mitchell Gebhard, Rebecca Chan, Tanya Peel, Rie Nasu, Yvette Marxer, Nick Allen, Veronica Kahn, Eva Rismanforoursh, Frederick Weinberg, Richard Novick, Todd Bassman, Roger Stevenson, Randy Johnson, Scott Solan, Tom Hartig. Others in attendance, but not in the photo: Doug Shamberger, Jonathon Fu, Rocky Quiroz, Steve Morantz, and Joe Turrentine

On March 15, Randy Johnson writes that the H.O.B.O.S. (Hollywood Old Boom Operators), a random group of friends and working partnerships over many years, got together. There was no agenda beyond relating some favorite stories with hugs and hardy hand clasps. It was special to me and heartening to reaffirm how many great people there are in this business of ours.

New Members

Local 695 Welcomes its New Members
Jacquelyn Andrade Y-7
Kevin Erpenbach Y-16
Fiona Gay Y-1
Wesley Harris A-2
Francisco Hinojosa Y-7a
Andrew Huigens Y-6
Hunter Jackson Y-7
Pearce Lawrence Y-16a
Brian Nowac Y-4
Matthew Ortiz Y-16
Steven Ricks Projectionist
Shorif Suhel Y-16a
Arthur Tran Y-16a

IN MEMORIAM

LARRY A. LASOTA – Y-1
March 21, 1949 – May 2, 2026

WILLIAM JOEL PARSONS – Y-16
May 9, 1971 – April 20, 2026

MICHAEL SEEMAN – Y-7a
July 15, 1944 – April 3, 2026

ANDREW C. STRAUBER – Y-1
April 17, 1952 – February 10, 2026

KIRK H. FRANCIS – Y-1
August 27, 1947 – February 8, 2026

THOMAS D. CAUSEY – Y-1
December 5, 1949 – January 11, 2026

DONALD C. ROGERS – Y-1
May 4, 1931- January 4, 2026

Ric Rambles

Sometimes work in television can be more fun than fun.

Yeah, I didn’t make that up. Um, I borrowed it (and don’t start a sentence with ‘Um’). If you wrote it, let me know and I’ll credit you in the next column. As I write this, I have enjoyed a lovely week on a music awards show in Miami, working with a group of people I am grateful to call friends. Today, during the dress rehearsal, I was upstage of a video wall, the talented live band was encouraging everyone to dance. At that moment, I thought about how very fortunate I have been to do what we do instead of working. And heck yes, I danced. At a pretty early age, I figured out that I wasn’t really smart. Rocket surgery was out, and I realized that I wasn’t a great rule follower. Not that rules don’t apply, just that I sometimes see them as suggestions that can be modifiable. The idea of not having a job … at a place … every day, was kind of a career goal. Young people, when I started this adventure, picture was 4:3, sound was mono, and the networks and local Los Angeles television stations had staffs of engineers. KTLA alone had about one hundred in their engineering unit. It was educational and also comfortable; you could make a nice living, health insurance and retirement included. For a beginner, it was perfect. A comprehensive learning experience taught by true professionals. With pay.

A2’s all dressed up

Then I met some of the freelancers. Television was not always a freelance-friendly occupation. Once upon a time, nearly everyone in television worked for a network, a studio, or a local TV station. As I have often noted in these columns, KTLA, in the late ’70s and early ’80s, was a very busy TV station and production facility. Like most of the network/studio/broadcast facilities, you had to be on staff to work there. On a rare occasion, a freelancer would appear, usually requested by a director or producer. Even then, the production hired a KTLA staffer to man-for-man that position. I would explain man-for-man, but it is an archaic term like roll tape, a rock on the AT, and of course, fiddlesticks. In 1985, the station no longer wanted to be in the facilities business. I left, along with about half the crew. I was freelancing. Soon, the three networks, Metromedia, and other facilities companies were shedding full-time employees and freelance became the norm. It seemed to happen in one fell swoop. Yes, I quoted Shakespeare. Macbeth. No, the original quote wasn’t about freelancing.

Immediately, the stages at KTLA became available for rent by productions that hired their own crews. Freelance crews. I had some experience doing shows on those stages and ended up getting work there on a couple of classic game shows. A lovely and talented woman named Kat Landsberg called me into her office and told me that she thought Russ Gary and I would get along well and should work together on Let’s Make a Deal, starring Monty Hall. Russ, prior to a long career in television, mixed records. A lot of really great records. We teamed up for about fifteen years on game shows, talk shows, and on many sitcoms, including a very nice run of film shows with Miller/Boyett Productions. Thanks to Kat and Russ, the trajectory of my career changed drastically. Within a year, Russ asked me to do a sitcom at Warner Bros. The Technical Director, Chris Donovan, was very involved with crewing Dick Clark shows. He kindly asked me to join and with that, I added specials and award shows to my calendar. As JFK might have said, “Ich bin ein freiberufler.”

With freelancing came travel. At last count, I’ve worked in twenty-six states. A few countries as well. I learned to pack efficiently and be prepared for weather. All kinds of weather, including rain and snow, and all the other possibilities recounted by Herodotus when writing about sound crews in the Greco-Persian Empire. I wonder what the rate was back then (what’s a Grecian earn?). Anyway, there I was, holding a fishpole in a heavy snowstorm, capturing dialog in Aspen, Colorado, happy to have good boots, coat, scarf, and hat, all very helpful on the job and on a snowshoe hike in the Rockies the next day. As I have mentioned in previous columns, friends and I have searched for and found a wide variety of excellent local food choices. And on occasion, sometimes by design and often by dumb luck, a special event or opportunity presents itself. I’ve tried to find ways to appreciate those fortunate circumstances. While on location, I’ve visited several baseball parks, including trips to Yankee Stadium (the original one), Veterans Stadium in Philadelphia for Sean McClintock’s birthday, an opening day visit to Wrigley Field in Chicago, a game at Nationals Park in Washington, D.C. where you can get a half-smoke with chili from Ben’s Chili Bowl (mustard and onions, please), and a very special visit to Orioles Park at Camden Yards. Music adventures include John Hobb’s all-star band at a club in Nashville, Preservation Hall in New Orleans, and trips to the Iridium in New York to see Les Paul up close. New York has also provided shows on Broadway and shows Off-Broadway and shows so far from Broadway that you would have to consult the Hagstrom New York City Five Borough Atlas to locate the theaters. LA friends, the Hagstrom Atlas is the New York version of our Thomas Guide. Young people, The Thomas Guide was like Google Maps, but on paper. I’ve been in waist-deep water up close with a dolphin named Lono, while carrying a mixer and a fishpole in Hawaii, and on the same trip, I enjoyed a long bike ride from Waikoloa to find a Malasada and coffee. On one trip, I walked the Freedom Trail in Boston. I’ve explored all over Washington, D.C. Gone sailing off Waikiki. And the most memorable, watching a Space Shuttle Discovery launch (STS 96) with friends from the causeway at Cape Canaveral. To be able to share so much fun while on location with wonderful friend workers has been one of the great pleasures of my life.

Splitters and stage boxes

And now for something completely different.

I took a little break from writing, and now It’s Oscar time. No, not while you are reading this, it’s Oscar time while I am writing. Working on the Academy Awards has been one of the great honors of my career. I believe this was my 34th. Maybe 35th. Bob Hope hosted the first live broadcast of the Oscars in 1953; I was too young to appreciate it. We didn’t have a television until six or seven years after that. The Oscar audio crew which totals around forty mixers, techs, and A2’s all collaborate to work for a common goal: to find a decent place to have lunch near the Dolby Theatre. Lead A2, Steve Anderson, assigns tasks to each of the A2’s: Bandey, Hostey, Leader, Tuxey, Patchey, Short Straw, Schoepsey, and Edgey.
Some jobs are part of the setup, others are important for rehearsals and the live show. Steve keeps the Audio Patch Book that he creates, along with FOH Engineer Pat Baltzell, Orchestra Mixer Caleb Morris, and Denali Engineer Hugh Healy. He then assigns mics on the rundown and creates a mic grid. The rest of us organize, set up, and prepare for rehearsals and the show. The biggest challenge was wiring the eighty-input orchestra by dropping the cables through holes cut in the platform for a clean look. Eddie, Damon, and Niles did an amazing job. My little portion includes patching in the rack room.

Harp strings, orchestra

The Audio Patch Book details all the show’s patching needs. RF mics, orchestra instruments, band instruments, vocal mics, and the audience mics come as analog inputs. Others arrive via fiber, including ATPB, VTPB, Pro Tools, and other high-level feeds. All are turned into analog sources to patch into our three 56-input analog splitters. Each splitter has a direct output and three split outputs. The direct is patched to the console providing phantom power. The direct and split outputs feed proprietary devices for each type of console. FOH and monitors use DiGiCo desks and are connected to DiGiCo SD stage racks, the Denali Summit truck uses a Calrec console which is connected to Hydra stage boxes, and the two M3 music trucks feature Lawo desks and 5×8 stage boxes. In the patch room for the Oscars, we used six SD racks, three Hydras, and four Lawo boxes, two for the orchestra going to M3 Eclipse and two for bands and vocals patched to M3 Voyager. All the stage boxes connect with the consoles via fiber using proprietary language. The DiGiCo speaks Optocorean, the Hydra uses Hydrish, and the Lawo language is Lawonian.

Composer and Arranger Chris Walden

Many of my Oscar highlights involve the wonderful orchestra made up of forty of the best players anywhere.

I am fortunate to have known many of these talented musicians for years. First trombone player, Andy Martin, and I met in 1979, months before I started in television. Harpist Gayle Levant has graced almost every Oscars I’ve attended. Being in the presence of this amazingly talented ensemble is a special kind of fun. One last bit of Oscar Orchestra business. For the first time in my tenure, I put a mic on a bum drum.

As Damon would say: END IT.

Our Contributors

Shawn Holden
Shawn began her career traveling around the world as a network news Sound Technician. In 1995, she moved to Los Angeles to transition into narrative filmmaking. She is a CAS and Emmy award-winning Sound Mixer and currently serves as a Trustee on the IATSE Local 695 Executive Board. She holds membership in the CAS, the Television Academy and the Academy of Motion Picture Arts and Sciences.

Ed Novick
Ed Novick has been a Production Sound Mixer for over 40 years. He has enjoyed a long working relationship with Director Antoine Fuqua (Michael), spanning more than twenty years. Ed has an Academy Award, a BAFTA award, and numerous nominations. He continues to enjoy new challenges with each new project.

Screenshot

Ric Teller
I’ve been very fortunate in my more than 40 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 Ulano has been recording sound for film since 1976 with over 150 film and television projects. He is a four-time Oscar nominee, and his work on Titanic won him an Academy Award, and the Cinema Audio Society Award. Mark has also served as both Vice President and President of the CAS as well as five terms as President of IA Local 695.

From the Editor

Welcome to the summer edition of Production Sound & Video.

Ed Novick describes the challenges of the film Michael and Shawn Holden writes on the newest in the Star Wars franchise, The Mandalorian and Grogu.

“The Sound of Time” by Mark Ulano with a global panel of Production Sound Mixers discuss the use of working period microphones. We pay tribute to passing of Thomas Causey and Ric Teller gives us “Ric Rambles.” We round it all out with this year’s Sound Award winners and “News & Announcements.”

Enjoy the read.

In solidarity,

Richard Lightstone CAS AMPS
Production Sound & Video Editor

From the Business Representative

Respecting the Craft: What Goes Into the Work You Don’t See

In every production, there are moments that stand out—the performances, the visuals, the final product that reaches the screen. What often goes unseen is the work behind the scenes that makes those moments possible. For the members of IATSE Local 695, that work is constant, detailed, and essential.

Sound and video departments operate in a space with little margin for error. When everything works, it’s invisible. When it doesn’t, it’s immediately noticeable.

What may appear on the surface as a simple setup—a microphone, a playback system, a video assist feed—actually involves layers of preparation, coordination, and technical expertise. Long before a camera rolls, crews test equipment, coordinate with other departments, troubleshoot potential issues, and make adjustments to meet the specific needs of each production.

Every environment presents its own challenges. Whether it’s managing audio in difficult locations, adapting to last-minute changes, or ensuring seamless communication across departments, the work requires both technical skill and real-time problem-solving. There’s no pause button on set, and no opportunity to “fix it later” when it comes to capturing clean sound or maintaining reliable video workflows.

That level of consistency doesn’t happen by chance. It comes from experience, and the members of Local 695 bring years—often decades of knowledge to their craft. They understand not only the equipment, but how to work efficiently within the fast pace of production. They anticipate problems before they arise, communicate effectively with other departments, and adapt quickly when conditions change. This expertise also plays a direct role in keeping productions on schedule and on budget. Avoiding delays, minimizing retakes, and ensuring that technical systems function reliably all contribute to a smoother production process. In that sense, the value of skilled crews extends well beyond their individual departments.

The human element to this work shouldn’t be overlooked. Long hours, tight turnarounds, and physically demanding conditions are part of the job. Maintaining focus and precision under those circumstances requires professionalism and commitment. It’s a standard our members take seriously. For employers, understanding the scope of this work helps explain why proper staffing, realistic scheduling, and respect for established working conditions matter. These are not just contractual considerations—they are part of what allows crews to perform at a high level, consistently and safely.

For our members, it’s a reminder that the work you do—often without recognition—is critical to every production’s success.

Respecting the craft means recognizing both the visible and the invisible contributions that bring a project to life. It’s that collective effort, built on skill and experience, that continues to define the standard of our industry.

In Solidarity,

Scott Bernard
Business Representative

From the President

Let’s talk about breaking tech.  

On April 10 at 5:07 PST, four crew members of NASA’s Artemis II moon mission returned to Earth. The Artemis II mission was the first to travel toward the moon in more than fifty years. This crew of four set a new record for the farthest distance ever traveled from Earth. NASA recovered the astronauts from the Orion spacecraft in the Pacific Ocean. Reentry, or any entry onto planetary surfaces, is one of the riskiest parts of spaceflight. Most of my time at NASA’s Jet Propulsion Laboratory (JPL) was spent testing for the entry, descent, and landing (EDL) teams on various spaceflight hardware. The process of stress-testing software and hardware for planetary reentry takes years of human spacecraft interaction to find the limitations of their designs. Identifying technological limitations is the first step toward human control. This is the lesson I learned on my assignment with the Orion spacecraft.

Fifteen years ago, I was assigned to shoot footage of Orion’s waterdrop tests. It was a frigid February week at the Aberdeen Proving Grounds, north of Baltimore, Maryland. Our role was to set up high-speed, stereoscopic 3D cameras around Orion to record drop tests into an almost frozen, manufactured lake. At the time, I weighed about half the payload of the camera rig, which consisted of a Ronford Baker tripod with two fully accessorized Red One cameras, each with a long zoom lens, mounted side-by-side. I rigged the payload to the small three-person barge, using every ratchet and bungee in our arsenal. The tests involved hoisting Orion into the air by crane and releasing it into the water about twenty-five feet from the barge

I heard the countdown from the crane operator over the walkie-talkie. “Five-Four-Three…” The barge captain yelled at me, “Hold on, girlie!”

“Two-One-Drop Craft.”

Orion dropped from the sky into the lake, creating a wave so big that I went flying off the back of the barge, barely managing to grab an anchored oar attached to the boat. As I pulled myself up, I looked at the cameras and panicked. Did I strap down NASA’s only two Red Ones well enough? Thankfully, I did. I got hit with another wave and flew through the air again. In hindsight, what I did not account for was my own well-being.

The waves continued to crash against the barge from the direction of the spacecraft until they hit the retaining wall behind us and returned. The barge captain and I now had waves hitting us from both sides. He laughed hysterically as he watched me being tossed around. I was a little banged up, but I did not get seasick.

We did this test ten times.

That day, I learned a few lessons. Hold onto the barge for dear life, do not trust that the testing pool’s water is safe enough to touch skin (It was not; it burned), and keep testing until you find the limitation.

One of the best lessons I learned during my time at JPL was the purpose and process of testing new hardware. With each drop test and every parachute test, engineers and scientists are looking for the breaking point of their designs. If we don’t know the limitations and, with that, the scope of the hardware or software’s potential, we can’t fully control operations in our day-to-day activities. Finding the breaking point of a design is never a failure for these engineers; it is an opportunity to reimagine design and workflow, ultimately strengthening the project. This process for Orion’s team took more than fifteen years. Like our own industry, it is not usual for the payoff of our labor to be celebrated years later.

Fifteen years later, I am back in Baltimore, Maryland. It is the week of the Artemis II reentry. This time, I am working with a group that is trying to integrate AI (artificial intelligence) into their workflows safely and ethically. This hands-on, practical workshop, in partnership with the American Federation of Teachers (AFT), gave this group an entry-level taste of how AI can optimize their time-consuming workflows without displacing their jobs.

One member of the class admitted that his top takeaway from the workshop was the encouragement to experiment and to find the model’s breaking point. He also said that, so often, when we learn new technology, the process feels fragile. We don’t want to break it, so learning new products can be intimidating or off-putting. When he found an endpoint to the process he was trying to prompt, he felt reassured. Being encouraged to find a model’s frustrations or faults made him feel more comfortable that artificial Intelligence wasn’t going to take over his life. At this point, AI still needs human intervention to fully carry out tasks that feel authentic to humans.

I was flying back from Baltimore when Orion made its splash in the Pacific. There was something poetic to me that fifteen years later, I was not in the water next to the spacecraft, but in the sky it came from. There was a huge sense of relief when I watched the broadcast and the four crew members returned to Earth safely. That assurance and that safety came from years of human testing and evaluation of technology’s limitations, and from the creative redesigning and reimagining to course-correct and offset the spacecraft’s limitations—all done by humans.

In Solidarity,

Jillian Arnold

PS October 31, 2000, was the last time all of humanity was on Earth. Since then, there has always been at least one person in space.

News & Announcements

Lean in & Lean On Holiday Party & Toy Drive: 2025 Recap

Local 80 full of IATSE families enjoying games and the toy hall.

Our 2025 Lean In & Lean On Holiday Party & Toy Drive on December 13 was an overwhelming success, thanks to the generosity of our members, volunteers, and sister Locals. Nearly 400 families—over 1,500 attendees—joined us for a day filled with smiles, community, and holiday cheer. With the help of 90 volunteers, we distributed 300 food boxes, hundreds of gift cards, and an incredible assortment of toys, ensuring meaningful support for our member families.

Santa on a ride through the outdoor activities, including bounce houses and food trucks hosting a variety of great food.

The event also raised more than $42,000 to cover gifts, toys, and event costs, featured a new member-maker marketplace with vendors from multiple Locals, and included raffles, food, and festive treats enjoyed by all. From Santa’s Workshop to churros, hot cocoa, and popcorn, the joy was undeniable. Thank you to everyone who helped make this growing tradition such a powerful reminder of what we can accomplish together.

Operation Warm: Another Successful Drive

Volunteers from Locals 44, 695, 700, 728, and 800 with International Reps from the IA West Coast office.

Hollywood-based locals partnered with Operation Warm to distribute coats to the children who attended Flory Academy of Sciences and Technology in Moorpark on December 17, 2025. Midwest and East Coast locals have been working with Operation Warm for years, and in turn, inspired the Hollywood locals to volunteer to help keep kids warm during winter.

Operation Warm has been distributing coats and shoes to children for over 26 years. Their motto is to “Give the gift of warmth, confidence, and hope.”

New Members

Local 695 welcomes its new members

Chad Algarin Projectionist
Joshua Beg Y-9
Jess Daily Projectionist
Michael Napoli Y-7a
James Nelson Y-16a
Cole Ryden Y-7a
Bryce Stiell Y-4

Free AVIXA Training through the IATSE Training Trust Fund

Part association, part society, AVIXA provides training and certifications for the constantly evolving world of audiovisual (AV) technologies. Through the IATSE Training Trust Fund (TTF)/AVIXA partnership, their Elite Membership tier is free to access for all IATSE members, and includes online AV training. For additional classes, as well as the CTS exam, generous discounts are also on offer. To learn more about these resources and to register for your free AVIXA account, please
visit: https://www.iatsetrainingtrust.org/avixa

IN LOVING MEMORY OF
JEFF WEXLER Y-1
April 18, 1947 – December 9, 2025

by Vanessa Withers, Jeff’s daughter

Yesterday, (Tuesday, December 9), our dad, Jeff Wexler, passed away at his home in Santa Monica after years of struggling with chronic kidney disease. He was 78. Losing him is overwhelming, even though we knew his body had been fighting for a long time.

Our dad was kind in a way that felt effortless, generous in a way that asked for nothing back, and endlessly curious about the world. What meant the most to him was his family. He was a source of unwavering support, encouragement, and love, always present for us regardless of his professional commitments.

He also had a life in cinema that shaped who he was. He grew up around film sets as the son of Haskell Wexler, but he carved out his own path. He once thought he would become a sociology teacher, until a summer job on Harold and Maude showed him exactly where he belonged: right there on set, actively listening, creatively contributing, paying attention in the way only he could.

Over the next five decades, he became one of the great Production Sound Mixers, working on more than seventy films. His credits include Coming Home, Fight Club, Almost Famous, The Last Samurai, Jerry Maguire, As Good as It Gets, and so many others. He cared deeply about his craft and was always pushing it forward. He helped usher in new recording technologies long before they became standard. He mentored younger sound people. He loved problem-solving. He loved being part of something bigger than himself.

But the main thing we want people to know is that he was a great dad. Someone who showed up for us. A man of quiet integrity, whose deep and comprehensive exploration of the human condition was evident in all he did. He loved film for its ability to connect people.

Our stepmom, Carol, passed away earlier this year, and even though losing them both so close together feels surreal, we are grateful they are at peace. We know our dad will be missed far beyond our family. The film community loved him, learned from him, and was inspired by him. We were fortunate to have him as a father, and despite his physical absence, he remains with us always.

With love, Vanessa and David

Jeff Wexler wearing a bag rig, for the first time ever at NAB 2015 at the K-Tek booth with Dan Hale booming Eric Toline. Photo by Whit Norris

Steve Nelson

Along with all the richly deserved accolades and loving memories, what is also significant in his legacy is that Jeff was a community builder. JWSoundgroup.net is a place not only for buying, selling, and trading equipment, but where knowledge and expertise is freely shared and passed along. Newbies can ask without fear and be answered by those who know. Jeff was key in making a formerly atomized group of folks all doing the same work, all over the world, and creating a community. Always a generous and lovely soul, he will be missed.

Peter J. Devlin

As so many have said, Jeff created community, and what a legacy he has left. His work speaks to a different era in cinema, and he always embraced technological change. It was in 1999 when I spoke to him in a long telephone call about my concerns in moving to hard disk recording, he told me of his own battles with post production and their adapting to how he wanted to record on set. He soothed my fears and I knew he was always available to talk. His appearance at so many events, Zooms, and sound gatherings spoke to how he was so invested in this art form and he gave so much to us. He will be sorely missed and I know that any time in the future when I watch his films, I will feel fortunate to have met him and know that his work influenced so many of us.

Jeff Wexler and Brenda Klemme. Photo by Whit Norris

Simon Hayes

Rather than write about his gargantuan contribution to the film industry & sound mixing which really goes beyond words, I’m going to write what he meant to me.
Jeff was someone who has inspired me since I started my journey as a Mixer. I would read interviews with him and scour journals and articles for his thoughts and workflows as a 20-year-old. I followed his career in awe.
When I finally found myself in a unique and unexpected situation: being thrust into a spotlight with Les Miserables being recognized internationally, it was Jeff who first reached out and wanted to know all about it. It was like Pelé contacting a young footballer: one of the globe’s most revered and storied Sound Mixers wanted to talk to me about my work. I was completely taken aback.
Jeff told me I’d be coming to LA: He called it, and told me the moment I arrived he wanted to meet up. We had lunch in his favorite restaurant in Santa Monica and spent the afternoon telling film stories and laughing.
It was the start of a beautiful friendship & mentorship. We were constantly in touch and each time I went to LA, we’d meet and laugh. It was like we’d known each other forever. Jeff was so generous, so inviting. So eager to share his thoughts and always seemed very interested in my opinions. He was an extremely important person in my journey.
Thank you, Jeff, for everything. I will miss you greatly. Our industry and craft lost one of the greats. Rest in peace, Jeff. Until we meet again.

Whit Norris

Jeff was a good friend and colleague. Over the years, we spent many Saturday and Sunday mornings with fellow mixers on Jan McLaughlin’s Zoom group. I greatly benefited from all of his advice, techniques, wisdom, and stories. It was always an honor to sit with him for many years at the CAS Awards, as well as meeting his father, Haskell Wexler.

TRIBUTE TO
Frank Zaragoza Y-8
June 23, 1969 – October 30, 2025

Frank Zaragoza’s legacy is a beautiful blend of kindness, creativity, and a wickedly funny sense of humor. He instilled in us the vital lesson of being present for others, no matter how chaotic life may become. His deep passion for filmmaking drove him to generously offer his time and expertise to support friends in pursuit of their dream projects. At Frank’s Celebration of Life, his family and work family felt exactly the same way about him. We both grieve his loss deeply and find comfort in our happy memories. Our friendship flourished through our shared interests and created countless cherished memories. Go Raiders! May the Force be with you, always. 
–Susan Moore-Chong & Dirk Stout

In Memoriam

Thomas Causey – Y-1
12/5/1949 – 1/11/2026

Donald C. Rogers – Y-1
5/4/1931 – 1/4/2026

Jeffrey S. Wexler – Y-1
4/18/1947 – 12/9/2025

Ric Rambles

by Ric Teller

Try having ’em sing into a 58

Show of hands. How many of you played in a band when you were young? No, not the school concert band or the marching band, although I am a big supporter of school music. In my younger days, I enjoyed time in the Hastings Junior High Band, under the direction of the terrific Jack Minshall, followed by the Hastings High School Marching Tigers Band. And in the fall of 1970, I passed the audition for the University of Nebraska Cornhusker Marching Band, 188 marching men under the direction of the great Jack Snider. That’s right, from its roots as an offshoot of ROTC, no girls participated in the band. That changed in 1972 with the passage of Title IX. My sister, Beth, joined the band a couple of years later, one of the pioneers. Okay, thanks for indulging my marching band reminiscence; now, back to the original question. Did you play in a band? One that had microphones and a PA. I believe many of us were introduced to sound gear while playing in someone’s garage or basement. Often those stories, including mine, begin with, “When I saw the Beatles on The Ed Sullivan Show…” A few years later, The Fabulous Flippers, a terrific band from Lawrence, Kansas, featuring an excellent horn section, played at The Hastings City Auditorium. There was the lead vocalist, Denny Loewen, singing into what was probably a Shure mic. Maybe a 565, but more likely an SM58. Who can remember that far back?

The famous newspaper, the iconic microphone, and the man who was President when I was born

The first band I joined had high-impedance microphones. Our Sound Mixer, Don Robertson, sat right in front of the seven-piece band in order to keep the length of mic cables under twenty feet. In the high-impedance world, longer cables have higher capacitance, creating a low-pass filter, cutting the high frequencies, resulting in lower output and a duller sound. Each night, Don would jump up from his mixing position, hop onto the stage, and sing “Jumpin’ Jack Flash.” It was the best thing about having him set up so close to the band. A couple of years later, I was asked to play in the Chancellors. Not the Minneapolis Chancellors who covered Bill Medley’s “Little Latin Lupe Lu.” Personal note: The best version was recorded by Mitch Ryder & The Detroit Wheels. I played in the Chancellors from Lincoln, Nebraska.
We were a popular regional band that had a PA from Stanal Sound, and a bunch of Shure SM58’s. Our PA Tech/Mixer was Monte Krabiel, who worked for Stan Miller at Stanal for a long time.

This year, the Shure SM58 turned sixty years old. Every band I played in had them or wanted to get them. The Shure corporation recently celebrated a century in business. They have had a remarkable series of products with longevity not often seen in the professional audio world. Among other things, they are known for making the most visually recognizable microphone, the Shure 55. In 1939, when it was released, the 55 offered performance superior to its competitors and an iconic design. Through various versions in its eighy-seven years, the 55 is still in use and can be found in many logos and photos, including the famous picture of Harry Truman holding the front page of the Chicago Tribune with the banner headline, DEWEY DEFEATS TRUMAN. Spoiler alert. He didn’t.

When the SM58 was released in 1966, it wasn’t a big hit. Same story is true for the SM57 that entered the market a year earlier. The SM, which stands for studio microphone, had a lot of competition. In recording studios, the Neumann U87 was released about the same year. RCA had the very popular 77DX on the market about a decade earlier, and the reliable and rugged 635A from Electro Voice became popular for TV, radio, and carpentry applications. According to Michael Petterson, Director of Corporate History at Shure: “Sales were sluggish, and plans were afoot to discontinue the SM58 and the SM57. As a last-ditch effort, the Shure national sales manager suggested introducing the mics to live sound engineers in Las Vegas. The mics were a hit in Vegas, and entertainers began to embrace these models for live performance.” Soon the SM58 became the standard for live vocal mics, whether you were Roger Daltrey on tour with The Who or in a combo playing songs at a Holiday Inn Lounge.

Today on Amazon, you can purchase a Neumann U87 Ai for $3,750, an RCA 77DX is available on Reverb for $2,850, the Electro Voice 635A, discontinued in 2024, after a sixty-year run, can be found used for around $200, and you can purchase a new Shure SM58 for $99 wherever quality microphones are sold.

It’s only a flesh wound

In the 1960s, about the time of the birth of the SM57 and SM58, the abbreviation for microphone changed from mike to mic, making the present participle of the verb “to mic” the somewhat confusing ‘micing,” which looks like it has something to do with a small rodent. Some use “miking,” others “mic’ing.” The etymology of micification can be mystifying. Around that time, Dad had a Wollensak tape recorder for business use. It was my first personal experience with a microphone and with reel-to-reel tape. My good friend, Jim Standley, and I recorded radio commercials for high school events on that rugged machine. The same year, I successfully auditioned for the Nebraska All-State Orchestra. I had never played trombone in an orchestra (I was a percussionist in the Hastings High School ensemble my senior year). Being selected was kind of a big deal. Players from high schools all over the state traveled to Omaha, spent a couple of days rehearsing with a guest conductor, and performed a concert, including the “1812 Overture” by Tchaikovsky. We each received an LP of the live recording. Wish I could travel back to see what mics and recording equipment were used to make that record. Today, I learned that my maternal grandmother’s life overlapped with Tchaikovsky’s. Her husband, my grandfather, was born before time zones existed. In 1972, after the passage of the 26th Amendment, I was excited about voting for the first time. My grandmother told me that she had that same feeling at age 35 when she first got to vote in the 1920 election. The first election after the passage of the 19th Amendment. The first time women voted. I like time-span factoids and will share another favorite later in this ramble if space allows.
Those of us who have reached a certain age probably remember pulling cable in the plenum of the Shrine Auditorium and the Pantages Theatre, or maybe dragging a long DT12 through the wet grass and mud in Pasadena for the Rose Parade. If you never experienced that rite of passage, be grateful. When the Calrec Alpha came on the scene, we began to embrace audio signals being transported over fiber optic cables. In the beginning, we ran copper backups for the fiber, but now we are totally reliant on those lightweight, back-pain-saving cables. On a recent show, audio information between the stage and the broadcast truck ran on TAC 12 fiber to and from the Calrec Hydras (stage boxes). FOH and monitor Digico consoles were connected with Optocore fiber. We used a Ferrofish, an AD/DA device to send Pro Tools and Autotune outputs to the splits, a Yamaha Rio on fiber to the truck for emergency backups, audience mics, and lighting board timecode at FOH, and a CPT Systems Dio 0808MA-XLR for emergency backups between split world and the truck.

The meeting of analog and digital in split world

We still run some copper mults, mostly W-2 and W-4, but not nearly as much as we once did. I wonder what is next. Whatever it is, chances are good that an SM58 will still be involved. Oh, yeah, and it has been years since I’ve been in a plenum.

The voice of Vin Scully, whether coming through a Shure SM58 or any other microphone, is iconic. In 1950, when Vin started announcing for the Brooklyn Dodgers, Connie Mack was still the manager of the Philadelphia Athletics. Connie Mack was born when Lincoln was President.

Our Contributors

Ebiut Cervantes
I’ve been a Local 695 union member since 2016, specializing in playback work on award shows. I have had the privilege of working on shows like The Oscars, American Music Awards, BET Awards, Kids’ Choice Awards, and ACMA’s, to name a few.

Simon Hayes CAS AMPS
Simon Hayes is an Academy Award-winning Production Sound Mixer. His innovative techniques on Les Misérables redefined on-set vocal recording, setting a new standard for authenticity and emotional resonance in musical films.

Jeffrey Humphreys
Jeff’s film career began in 1978, working on many epic films like Body Bags, Drillbit Taylor, and Meet the Deedles. Jeff hasn’t won any awards, and isn’t in any sound or film societies. He continued in the business because “Life is for people that can’t handle the film business.”

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

Susan Moore-Chong
Susan has been a member of Local 695 since 1983 and worked primarily as an episodic television Production Sound Mixer. She also served on the Board of Trustees for several terms. She is happily retired and living in Hawaii once again.

Ric Teller
I’ve been very fortunate in my more than 40 years working in television, going places, and doing things that a kid from a small town in Nebraska could not have imagined.

From the Editor

Welcome to 2026. Sadly we begin this year mourning the loss of members of our sound community: Frank Zaragoza left us in October, then Jeffrey S. Wexler, this past December, and in January, Donald C. Rogers and Thomas Causey, all sound legends and gentlemen. They will be sorely missed.

It is the unofficial beginning of awards season, and we give you the sound nominations from AMPS, CAS, BAFTA’s, and Oscars. We have an interview with the sound crew of One Battle After Another and Simon Hayes goes deep into Wicked: For Good.

Retired Boom Operator Jeffrey Humphreys reflects on the Production Mixers who enriched his career and Ric Teller continues to regale us in “Ric Rambles.”

Skip Kent, Larry Reed, and Ebiut Cervantes explain the complexities of the monumental work they do to bring us the 2025 Rock & Roll Hall of Fame Induction Ceremony.

There is “News & Announcements” from Casey Weiss, and loving tributes to Frank Zaragoza and Jeff Wexler.

Wishing all a safe, happy, and successful year.

In Solidarity

Richard Lightstone CAS AMPS
Production Sound & Video Editor

From the Business Representative

A Look Ahead

The past year has been one of the most challenging periods many of our members have faced in a long time. Extended slowdowns, canceled projects, and long gaps between calls created real uncertainty for working families across our crafts. For some, it meant hard financial choices; for others, it meant stepping away from the industry entirely, even if only temporarily. That reality should not be forgotten as we look ahead.

As we move into the new year, there are signs that the industry is beginning to regain momentum. Production is slowly increasing, more projects are moving forward, and more of our members are getting back to work. The pace of recovery remains uneven, and no one should expect an overnight return to “normal,” but the overall direction is positive. For many members, even incremental improvement makes a meaningful difference.

At the same time, technology continues to evolve rapidly and reshape the way our work is done. Wireless communication systems are more powerful and more complex. Remote workflows, once considered a temporary solution, are now a standard part of production. Virtual and hybrid production models continue to expand, changing how crews collaborate both on set and in post. These tools may be new, but the requirement for skilled professionals is not. In fact, as technology advances, the need for experience, judgment, and problem-solving only increases.

Producers are moving forward with tighter schedules and closer budget scrutiny, placing additional pressure on crews to deliver high-quality work efficiently. Our members do that every day. Sound, video, and communications are critical to production, and they require preparation, training, and professionalism. These are not areas where shortcuts lead to success, and the industry continues to rely on our crafts to meet increasingly high expectations.

This environment makes the role of the union more important than ever. Protecting jurisdiction, defending standards, and ensuring that new technologies are implemented responsibly are essential to preserving good jobs and safe working conditions. Training and education remain key priorities, not only to help members adapt to new tools, but to ensure that those tools are used in ways that respect the work and the workers.

There are still challenges ahead, and the road forward will not be without obstacles. But as production increases and the industry continues to evolve, our focus remains clear: supporting our members, protecting the work, and advocating for the value of skilled professionals. The strength of Local 695 has always come from the people who do the work, and that will continue to guide us in the year ahead.

In Solidarity,

Scott Bernard
Business Representative

From the President

Let’s talk about sports. 

The end of the 2025-2026 NFL season marks my eleventh season. During those eleven seasons, I worked the final San Diego Chargers game at Qualcomm Stadium, welcomed and closed out the Rams at the Los Angeles Coliseum, and survived the opening seasons of both teams at SoFi amid a pandemic. However, in the world of sports broadcasting, the pinnacle gig to book is Super Bowl week.

The Super Bowl was held on February 8 in San Francisco, California. The big game is more than two teams duking it out for the Vince Lombardi Trophy. The Super Bowl machine is a sports-based entertainment program that feeds into one of the largest global economic revenue streams, fueled by union labor from all corners, in and out of the stadium. Let’s break it down…

According to the online publication Sportico, a news outlet dedicated to the business of sports, consumer spending on sports and sports-related entertainment is at an all-time high in 2025. For example, every NFL team receives more than $400 million from the league before a single down is played, and top MLB teams now earn more than $4 million per game in ticket revenue. The revenue from a single event is just a line item in the global sports economy.

Sports revenue spans the broader range of how fans spend their money across three sectors—fan engagement, sports products, and sports participation. To comprehensively analyze the global economic impact of sports, we need to not only include the money fans spend at or adjacent to a sporting event but also the fees they pay for gym memberships, golf and tennis clubs, and access to outdoor recreational areas. In addition, sporting equipment, recreational gear, sports medicine, and footwear and apparel are included. Lastly, fantasy sports, sports betting, sports bars, merchandise, collectibles, and licensing and monthly fees for streaming and transmission media packages must be included in the final tabulation.

The full economic magnitude of the sports industry is estimated at a global revenue stream of $2.65 trillion. The sports market should not be overlooked or undermined.

The Super Bowl has a significant financial impact on the host city. According to the US Chamber of Commerce, the final estimated economic impact of the 2024 Super Bowl in Las Vegas, Nevada, was $1 billion. New Orleans, the host of Super Bowl 2025, reported that the event generated $1.25 billion, creating almost 10,000 local jobs and $395 million in wages for Louisiana workers, according to the Louisiana Economic Development website.

The Super Bowl also represents thousands of hardworking union members from many AFL-CIO affiliates. Union members are not only on the field but also in all corners of the stadium and in the travel and hospitality surrounding the big event. At the 2023 Super Bowl, hosted by Glendale, Arizona, the players, referees, the broadcast and halftime shows, the electricity, stadium construction, food, journalism, local transportation, hotels, travel, and first responders were all represented by union membership.

The official game balls of the NFL are also produced by union labor. The leather is crafted by members of the United Food and Commercial Workers (UFCW) Local 1546 who work at the Horween Leather Company in Chicago, Illinois. The Super Bowl footballs used at the game are handmade by Workers United Local 1385 in Ada, Ohio.

Every punt, pass, and throw executed at the Super Bowl is union-made.

Local 695 has a strong presence during Super Bowl week. Our Local membership provides broadcast engineers, record-and-playback operators, and technical services for audio mixing, recording, and playback at all scales. Our members also operate and engineer all comms systems, projection, and video wall playback for various shows in and around the big game.

We must recognize that events like the Super Bowl and other sporting events are essential to our Local’s economic stability, and we should be proud to help produce events that bring so many people together and support so many union families. That is why it is essential that we protect this jurisdiction. As the entertainment landscape shifts, some companies have tried to maximize profits by cutting labor costs. Union crewers who have been at the table for decades are being replaced by nonunion crewers who are bent on cutting rates. Rather than handcrafting a show around the unique experience of each game, some are looking to produce content factories run by a nonunion skeleton crew.

Sports matter. The work our members do to bring communities together matters. When the last second of the game has come to pass, and ticker tape has fallen, the IATSE, along with other union affiliates, will be there to support one of the most significant sports broadcast entertainment events of the year.

In Solidarity,

President Jillian Arnold

News & Announcements

IATSE Training Trust Fund

IATSE Training Trust Fund Summit Panel ‘Staying Motivated in Difficult Times’ with Casey Weiss (L695), Tim Adams (L631), Rocco Palmieri (L52), Alan Chang (L134), and Jenn Bullock (L798)

This past October, the IATSE Training Trust Fund (TTF) hosted their second annual Education Director Summit in Orlando, FL. IATSE training directors from the US and Canada met for three days to establish training partnerships and learn more about how the IA and TTF will be enhancing educational resources for the membership in the new year. Local 695’s very own Director of Communications & Education, Casey Weiss, was invited to participate on a panel with several other training directors representing various crafts/jurisdictions, sharing how we are staying motivated in difficult times. TTF has expanded their LinkedIn Learning platform, as well as their partnership with AVIXA. These resources, along with more exciting releases coming soon, are all free to IATSE members. To learn more, please visit: https://www.iatsetrainingtrust.org/additional-training

Member Spotlight

MEMBER SPOTLIGHT

Member Ray Porter with Assistant Business Reps Heidi Nakamura and Joe Aredas; Ray at the “All-In” Mixer with Local 33 Board member Caroline Hyndman and Joe Aredas

Say hello to member Ray Porter, A2/PL Comms, on such shows as The Voice, The Oscars, American Idol, and the MTV Movie Awards. Ray’s been a member of Local 695 for more than twenty years. He’s not been active for a while due to an illness but he’s recuperating and getting back on his feet!
Reps Joe Aredas and Heidi Nakamura had the privilege of visiting Ray recently and he came out to enjoy the “All-In” Mixer PAC Fundraiser event on October 11, 2025.

Lean In & Lean On: Holiday Party/Toy Drive Event

Mark your calendars for the return of the Lean In & Lean On: Holiday Party/Toy Drive, which returns to IATSE Local 80 on Saturday, December 13, 2025. Last year, this initiative raised more than $63,000 and distributed more than 1,000 gifts to IA families. This season, the Hollywood IATSE Locals, Basic Crafts, and Teamsters are partnering with Labor Community Services to support more than five hundred families by providing a joyful celebration with food, gift cards, and toys for the kids. Let’s make this our most impactful year yet!

New Members

Local 695 Welcomes Its New Members

Alexandre Gilroy Y-1
Zachary Harvey Y-4
Dustin Hudson Y-4
Joshua Manville Y-7
Joshua Muehlberger Y-4
Charles Phillips Projectionist
Indrani Robinson Y-7a
Zachary Sager A-2
Nathaniel Siggard Y-16

In Memoriam

Frank G. Zaragoza Y-8
June 23, 1969 – October 30, 2025

Ted Karounos Y-9
September 28, 1949 – October 3, 2025

Gregory Ferrara Y-8
December 31, 1963 – August 1, 2025

Eric L. Roberts Y-7
December 13, 1949 – July 26, 2025

Beau Hodges Y-1
January 10, 1977 – July 1, 2025

Our Contributors

Julian Howarth
Born in the UK, with a background in music, Julian Howarth has been working in production sound on film and television shows for more than 30 years. Julian moved to the United States in 2010 after working on the award-winning BBC flagship show Doctor Who, to continue on his sonic journey. Los Angeles is now his home.

Tony Johnson
Tony trained at the New Zealand National Film Unit before freelancing in sound editing and location recording before deciding mixing sound on set was where he wanted to be. Forty-plus years and still loving it.

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

Whit Norris CAS
Whit Norris is an Atlanta-based Production Sound Mixer with more than 35 years of experience in film and television. He has been a member of Local 695 for 25 years. Whit has contributed to numerous major motion pictures and TV series. He is also an active leader in Atlanta’s sound community, helping connect and support fellow sound professionals through industry events and mentorship.

Ric Teller
I’ve been very fortunate in my more than 40 years working in television, going places, and doing things that a kid from a small town in Nebraska could not have imagined.

Photos courtesy of the respective contributors.

IATSE LOCAL 695
5439 Cahuenga Boulevard
North Hollywood, CA 91601
phone  (818) 985-9204
email  info@local695.com