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Production Sound, Video Engineers & Studio Projectionists

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From the President

GOOD FRIENDS
Short and Sweet

We have the good news that a major job action by the Writers Guild was averted and an agreement has taken place. This settles a great deal of immediate anxiety for our members and the industry at large. It also gives us a reminder of how important it is to be prepared for the conversations that take place in negotiations, to have our ducks in a row.

With this in mind, I’d like to ask you all to please contribute to our preparation for our own upcoming contract negotiations in three ways:

First, please, please log in your work assignments with the Local when you get hired. This statistical information is an essential component, not only of ongoing administration of the union’s day-to-day process, but also as a tool when discussing specifics in negotiations for better wages and conditions.

Second, please forward your thoughts and ideas regarding proposals for negotiations. We are currently vetting these issues as we prioritize and your input is essential.

And third, take a close look at all the training opportunities being provided to you by the Local and actively engage in this training. It keeps you on the cutting edge of your craft and again, provides valuable documentation of how in tune our membership is with the ongoing tidal wave of technology and workflow evolution saturating our industry. We are a key technology union and the skills we bring to the workplace are fundamental to the success of the entertainment world.

Best,

Mark Ulano CAS AMPS
President IATSE Local 695

From the Editors

Welcome to the spring edition of Production Sound & Video. The work of our Video Engineers is an important part of this Local, whether it is video playback, compositing or setting the LUT for a DP. Daron James tells us about Key Video Assist Willow Jenkins.

Courtney Goodin looks into the miniaturization of PC’s in “It’s a Small, Small World” and how they can be utilized by Video Engineers.

The hit NBC show This Is Us is explained from the perspective of Production Sound Mixer Michael Krikorian CAS and the late Re-recording Mixer Richard Portman is given a tribute by Steve Nelson CAS.

A new feature, the “Young Workers Political Action Report,” from Eva Rismanforoush & Timothy O’Malley of the Young Workers Committee, begins and we continue the “FCC Update” and “Sound Apps.”

We hope you enjoy the spring issue and drop us an email if you would like to contribute an article; mag@Local695.com.

Happy reading.

Fraternally yours,
Richard Lightstone and Mark Ulano

Production Sound Award Nominees

LOCAL 695 HONORS THE ART OF PRODUCTION SOUND THROUGH THE SUCCESS OF ALL AWARD NOMINEES

[Names in BOLD are Local 695 members.]

CAS Award Nominees

MOTION PICTURES: LIVE ACTION

Doctor Strange
John Midgley CAS, Tom Johnson, Juan Peralta, Peter Cobbin, Doc Kane CAS, Scott Curtis
Production Sound Team:
Howard Bevan, Charlotte Gray

Hacksaw Ridge
Peter Grace, Kevin O’Connell CAS, Andy Wright, Robert Mackenzie, Daniel Kresco, Diego Ruiz, Alex Francis
Production Sound Team:
Shanti Burn, Sue Kerr, Tania Payne

La La Land
Steven Morrow CAS, Andy Nelson CAS, Ai-Ling Lee, Nicholai Baxter, David Betancourt, James Ashwill
Production Sound Team:
Craig A. Dollinger, Michael H. Kaleta

Rogue One: A Star Wars Story
Stuart Wilson, Christopher Scarabosio, David Parker, Joel Iwataki, Nick Cray, Frank Rinella
Production Sound Team: 
Orin Beaton, Thomas Fennell, David Giles

Sully
Jose Antonio Garcia, John Reitz, Tom Ozanich, Bobby Fernandez, Thomas J. O’Connell, James Ashwill
Production Sound Team:
Jonathan Fuh, Gail Carroll-Coe,
 Ken Swartz

MOTION PICTURES: ANIMATED

Finding Dory
Doc Kane CAS, Nathan Nance, Michael Semanick CAS, Thomas Vicari CAS, Scott Curtis

Kubo and the Two Strings
Carlos Sotolongo, Tim Chau, Tim LeBlanc, Nick Wollage, Darrin Mann

Moana
Paul McGrath, David E. Fluhr CAS, Gabriel Guy CAS, David Boucher, Scott Curtis

The Secret Life of Pets
Carlos Sotolongo, Gary A. Rizzo CAS, David Accord, Frank Wolf, Jason Butler

Zootopia
Paul McGrath, David E. Fluhr CAS, Gabriel Guy CAS, Joel Iwataki, Scott Curtis

MOTION PICTURES: DOCUMENTARY

13th
Jeffrey Perkins
Production Sound Team:
M. Scott Blynder

Eat That Question: Frank Zappa in His Own Words
Mark Fragstein, Marvin Keil, Armelle Mahé
Production Sound Team:
Marc Fragstein, Armelle Mahé

Gleason
Mark A. Rozett CAS, James Scullion

O.J.: Made in America
Keith Hodne, Eric Di Stefano

The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble
Dimitri Tisseyre, Dennis Hamlin, Peter Horner

TELEVISION MOVIE OR MINI-SERIES

11.22.63
“The Rabbit Hole”
John J. Thomson, Pete Elia CAS, Kevin Roache CAS, Judah Getz, Brett Voss CAS
Production Sound Team:
Sean Paul Armstrong, Shawn M. Kirkby

Black Mirror
“San Junipero”
Adrian Bell, Martin Jensen, Philip Clements, Rory de Carteret
Production Sound Team:
Adam Ridge, Jennifer Annor

Sherlock: The Abominable Bride
John Mooney CAS, Howard Bargroff, Nick Wollage, Peter Gleaves CAS, Jamie Talbutt
Production Sound Team:
Bradley Kendrick, Lee Sharp

The Night Manager
Episode 1
Aitor Berenguer, Howard Bargroff
Production Sound Team:
Dámaso Hernández, Ryan McMurray

The People v. O.J. Simpson: American Crime Story
John Bauman, Joe Earle CAS, Doug Andham CAS, Judah Getz, John Guentner
Production Sound Team:
Ace Williams, Andy Adams, Don Coufal, Kris Wilcox, Brian Robinson, Chris Quilty, Scott Farr

TELEVISION SERIES – ONE HOUR

Better Call Saul
“Klick”
Phillip W. Palmer CAS,
 Larry B. Benjamin CAS, Kevin Valentine, Matt Hovland, David Michael Torres
Production Sound Team:
Mitchell Gebhard, Steve Willer

Game of Thrones
“Battle of the Bastards”
Ronan Hill CAS, Onnalee Blank CAS, Mathew Waters CAS, Richard Dyer CAS, Brett Voss CAS
Production Sound Team:
Simon Kerr, Jonny Waite, Andrew McNeill

Mr. Robot
“eps2.8_h1dden-pr0cess.axx”
William Sarokin, CAS, John W. Cook II CAS, Bill Freesh CAS, Beauxregard Neylon, Mike Marino
Production Sound Team:
Paul Koronkevic, George Leong, Dan Wesson, Schavaria Reeves, Michael Sanchez, Egor Panchenko

Stranger Things
“The Bath Tub”
Chris Durfy CAS, Joe Barnett, Adam Jenkins, Judah Getz, John Guentner
Production Sound Team:
Chris Isaac, Joey Meyerhoff

Westworld
“The Original”
John Pritchett CAS, Keith Rogers CAS, Scott Weber, Mark Kondracki, Geordy Sincavage
Production Sound Team:
David M. Roberts, Kevin Faber

TELEVISION SERIES – HALF-HOUR

Black-ish
“God”
Tom N. Stasinis CAS, Peter J. Nusbaum CAS, Whitney Purple
Production Sound Team:
Adam Blantz, Damon Harris

Modern Family
“The Storm”
Stephen A. Tibbo CAS, Dean Okrand CAS, Brian R. Harman CAS
Production Sound Team:
Srdjan ‘Serge’ Popovic

Silicon Valley
“Daily Active Users”
Benjamin A. Patrick CAS, Elmo Ponsdomenech, Todd Beckett
Production Sound Team:
Chris Diamond, Corey Woods, Devendra Cleary CAS, Tim Salmon, Alexander Miles Burstein, Mike O’Heney

Transparent
“Exciting and New”
Sam Hamer CAS, Andy D’addario, Gary Gegan
Production Sound Team:
Eddie Casares, Ted Hamer

Veep
“Congressional Ball”
William MacPherson CAS, John W. Cook II CAS, Bill Freesh CAS
Production Sound Team:
Steve Saada, Alexandra Gallo, Steve Klinghoffer

TELEVISION NON-FICTION, VARIETY, MUSIC SERIES OR SPECIALS

Anthony Bourdain: Parts Unknown
“Hanoi”
Benny Mouthon CAS

Deadliest Catch
“The Widowmaker” (Part 1)
Bob Bronow CAS

Grease Live!
J. Mark King, Biff Dawes, Eric Johnston, Pablo Munguia,  Bob LaMasney,  Kevin Wapner,  John Protzko, John Garlick, Barrance D. Warrick

Production Sound Team:
Bruce Arledge Jr., Doug Wingert, Fernanda Starling, Jeff Peterson,  Jason Sears, Sean Pritchett, Allen Vega, Steve Anderson, Craig Rovello, Jeffrey Fecteau, Debbie Fecteau, Ric Teller, Bill Kappelman, Randy Gary, Kim Petty, Dennis Mays, Victor Mercado, Eddie McKarge, Pete San Filipo, Kirk Donovan, Danny Cruz, Greg Ferrara, Dan Berlin

Mars
“Novo Mundo”
Christopher Barnett CAS, Roy Waldspurger, Jason Butler

We Will Rise: Michelle Obama’s Mission to Educate Girls Around the World
Rich Cutler

BEST SOUND MIXING

Arrival
Claude La Haye, Bernard Gariépy Strobl, Sylvain Bellemare
Production Sound Team:
Francis Péloquin, Ilyaa Ghafouri

Hacksaw Ridge
Peter Grace, Robert Mackenzie, Kevin O’Connell CAS, Andy Wright
Production Sound Team:
Shanti Burn, Sue Kerr, Tania Payne

La La Land
Mildred Iatrou Morgan, Ai-Ling Lee, Steve A. Morrow CAS, Andy Nelson CAS
Production Sound Team:
Craig A. Dollinger, Michael H. Kaleta

Rogue One: A Star Wars Story
Stuart Wilson, Christopher Scarabosio, David Parker, Joel Iwataki, Nick Cray, Frank Rinella
Production Sound Team:
Orin Beaton, Thomas Fennell, David Giles

13 Hours: The Secret Soldiers of Benghazi
Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Mac Ruth
Production Sound Team:
David Hadder, Nourdine Zaoui

BAFTA AWARD NOMINEES

BEST SOUND

Arrival
Claude La Haye, Bernard Gariépy Strobl, Sylvain Bellemare
Production Sound Team:
Francis Péloquin, Ilyaa Ghafouri

Deepwater Horizon
Mike Prestwood Smith, Dror Mohar, Wylie Stateman, David Wyman
Production Sound Team:
Betsy Lindell, Ryan Putz

Fantastic Beasts and Where to Find Them
Niv Adiri, Glenn Freemantle, Simon Hayes, Andy Nelson, Ian Tapp
Production Sound Team:
Robin Johnson, Ben Jeffes

Hacksaw Ridge
Peter Grace, Robert Mackenzie, Kevin O’Connell CAS, Andy Wright
Production Sound Team:
Shanti Burn, Sue Kerr, Tania Payne

La La Land
Mildred Iatrou Morgan, Ai-Ling Lee, Steve A. Morrow CAS, Andy Nelson CAS
Production Sound Team:
Craig A. Dollinger, Michael H. Kaleta

AMPS NOMINEES

EXCELLENCE IN SOUND FOR A FEATURE FILM

Arrival
Claude La Haye, Bernard Gariépy Strobl, Sylvain Bellemare
Production Sound Team:
Francis Péloquin, Ilyaa Ghafouri

Deepwater Horizon
Mike Prestwood Smith, Dror Mohar, Wylie Stateman, David Wyman
Production Sound Team:
Betsy Lindell, Ryan Putz

Fantastic Beasts and Where to Find Them
Niv Adiri, Glenn Freemantle, Simon Hayes, Andy Nelson, Ian Tapp
Production Sound Team:
Robin Johnson, Ben Jeffes

Hacksaw Ridge
Peter Grace, Robert Mackenzie, Kevin O’Connell, Andy Wright
Production Sound Team:
Shanti Burn, Sue Kerr, Tania Payne

La La Land
Mildred Iatrou Morgan, Ai-Ling Lee, Steve A. Morrow CAS, Andy Nelson CAS
Production Sound Team:
Craig A. Dollinger, Michael H. Kaleta

FCC Update

Status of the Current FCC Incentive Auction

The FCC Incentive Auction, currently in the final segment of Stage 4, may come to an end after the last round of “Forward Auction” bidding, which concluded on Wednesday, January 25. The “target” result of the Stage 4 “Reverse Auction” (where UHF TV stations have determined their desire to vacate the bands in the “Clearing Target” of 84 MHz, along with their costs of relocating or relinquishing their licenses), is $12,011,676,822, and the expected result of the “Forward Auction” (those bidding for the bandwidth) is $17,650,000,000. If the $5,000,000,000 “Profit” exceeds the FCC’s costs of the Auction and the remaining balance qualifies as an acceptable “profit” for the government, the auction will be over.

The “Clearing Target,” which was reduced to 84 MHz, will encompass the entire available UHF spectrum above UHF TV Channel 37 (reserved for Radio Astronomy) and below 698 MHz.

In terms of Lectrosonics ‘blocks,’ all of Block 23 and lower will have been spared, allowing Primary Licensees (TV stations), Secondary Licensees (Part 74 License holders and UHF repeaters) and unlicensed wireless microphone users access to the spectrum, in that order of priority. Note that in each market where a UHF TV station or stations have opted to relocate, they will be relocated below Channel 37, making the 6 MHz band for each relocated station unusable for wireless microphone use.

Jay Patterson CAS
Vice President, Local 695
Co-chair, Technical Trends Committee

News & Announcements

News & Announcements

Local 695 Open House

In October 2016, Business Representative Scott Bernard and the entire staff at the office hosted representatives from the IA’s West Coast office, Hollywood IA Locals, Contract Services and Labor Relations representatives from all major studios. The purpose of this invitational was to unveil the newly renovated building and showcase Local 695’s continuous progress.

“The reception was a considerable success and a vital element in strengthening our working relationships in the industry.” –Scott Bernard


Young Workers Committee

The Young Workers Committee invites you to join us on our Spring Hike on Sunday, March 12, 2017. All current & prospective members and their families are invited. It’s a fairly easy hike with a beautiful flora and some stunning views. We’ll meet at the Topanga State Park entrance, 20828 Entrada Road, Topanga, CA, at 9 a.m. For more information, contact ywc@local695.com.


Welcome New Members

Josue Pena Y-1
Jacques Pienaar Y-8
Brandon Walz Y-8
Chad Sonenberg Y-1
Garett Martocello Y-1
Johnny Camilo Y-1
Peter Beer Y-1
Daniel Kloch Y-8
Armen Allen Y-4
Kalo Tovar Y-7/SB
Janna Lopez Y-7A
Al-Zahir Born Y-7
Louis Molnar Y-4
Cody Peterson Y-1
Damien Tinsley Y-7
Sefer Turk Y-7
Olivia Arthur Y-1
Greg Mueth Y-4
Thomas Winch Y-1


Job Reporting

Job reporting helps us organize, and organizing creates more union jobs with the potential for:

• More opportunities to earn healthcare hours.
• More contributions made to fund our health plan.
• Higher monthly retirement pension.
• Bigger IAP (Individual Account Plan) retirement cash payout.
• Better work conditions.
• A safer workplace.

By adding your job information to our database, we get a more accurate picture of the workplace. We cross-reference member-submitted information with the contracts we have on file and with data provided by the IA. This helps us resolve problems you may have at work. It strengthens our position when dealing with Producers, and it provides crucially important information when the time comes to organize. The Local 695 Constitution & Bylaws require that all members report all jobs: IA shows and non-IA shows, longterm assignments and day-calls, theatrical and TV productions, sports, commercials, music videos … everything. https://www.local695.com/mbr/jobreport.php


Holiday Brunch & Brews

The annual Holiday Brunch & Brews event, hosted by Chris Howland, Steve Morantz and Devendra Cleary, took place on Dec. 4, 2016. One hundred and fifty-two sound & video professionals, many of them members of Local 695 from the Los Angeles area, participated in the four-hour-long mixer, which concluded in a manufacturers-sponsored raffle. New friendships were formed and existing ones rekindled at Golden Road Brewery in Glendale, CA.

“In light of the growing pace of virtual interaction, it is important to make time for face-to-face conversations with the people that truly understand your pursuits and passions. Thank you to everyone who showed up to help make a group of people into a community. And a big thanks to our raffle sponsors.” –Chris Howland

​


In Memoriam

DONALD “DON” PAUL PERRY
Projectionist
October 16, 1925 – August 20, 2016

JOHNNY M. MEDEIROS
Y-4
January 14, 1976 – January 9, 2017

LES LAZAROWITZ
Y-1
October 2, 1941 – January 6, 2017

JOHN WOODS JR.
Y-8
February 27, 1960 – January 19, 2017

RICHARD PORTMAN
Y-1
April 22, 1934 – January 28, 2017å

From the Editors

From the Editors

Welcome to the winter edition of Production Sound & Video. Award season is upon us and in full bloom. Our email in-box is busy with multiple reminders of screenings and Guild voting deadlines. Many of us are fortunate to be able to attend these presentations and hear from the filmmakers and cast. Obvious to all of us is the general lack of participation on these panels of the Production Sound Mixer. Hopefully, with a gentle and respectful request of the studios and their publicists, we can turn the tide.

That is what this magazine’s mission is; to inform the entertainment community of everything this Local is about. You are welcome to request additional copies from the Local to distribute this publication to the ‘above the line’ executives and spread the word about our incredible contribution to the crafts.

Willie Burton describes the work on Fences, and La La Land is discussed by Steve Morrow.

Richard interviews James LaFarge, the prolific developer of LectroRM, FreqFinder and Timecard Buddy in “Sound Apps.”

Happy reading.

Fraternally yours,
Richard Lightstone and Mark Ulano

Contributors

WILLIE BURTON CAS
Willie Burton CAS began his career as a Navy Sonar Engineer and after three-and-a-half years, moved into sound mixing, joined Local 695, where he has mixed for more than three decades, wining two Oscars and multiple nominations.

RICHARD LIGHTSTONE CAS AMPS
Richard began his career in Montreal, and continues to mix in Los Angeles. He is currently on the Executive Board of Local 695, Co-editor of Production Sound & Video and a former President of the Cinema Audio Society.

STEVE MORROW CAS
Steve Morrow CAS started his career in Seattle, Washington, at 18 and moved to Los Angeles a year later to pursue his dream of sound mixing. He joined Local 695 in 1998 and has now been mixing for more than twenty-two years.

Photos courtesy of the respective contributors

From the Business Representative

I hope everybody had a nice holiday season with family and friends. Looking back on 2016, I’m happy to report that production was up both in California and Hollywood. Hours reported to the Motion Picture Pension and Health Plan on behalf of Local 695 members were up five percent from the previous year. The importance of these numbers is that it reflects directly on the contributions made by the Producers into our Pension and Health plans. 2016 was also the first full year of California’s new tax incentive program, which has kept many projects in the state that might have shot elsewhere. In January, I will be in Sacramento with the CIC (California IATSE Council) to thank the legislators for their past support, and show that the current data substantiates the success of the FROM THE BUSINESS REPRESENTATIVE tax incentives. I will also recommend that we need their continued support and to extend the current program in the coming years.

Local 695 will continue to work closely with Contract Services in 2017, offering our advanced training classes and we plan to keep adding new classes as new technology is introduced. While we do offer training, it’s up to our members to stay on top of the latest gear, and if you see or hear about a new piece of equipment, let our Education Coordinator know, so we can set up a training program. Over the coming year, our Social Media Committee will be putting together more events for our members. On March 12, our Young Workers Committee has planned a Spring Hike at Topanga State Park for all members and their families. So watch for details and come join us for the day.

One very important note for our members; if you experience unsafe working conditions on production, we need to hear from you. When safety concerns arise on production, it is imperative that you call the IA’s Safety Hotline (844-422-9273) or the Local right away, so we can assist the crew. This is what being a member of a union means, supporting and looking out for your fellow sisters and brothers. Standing together is more important now than years past. Our new President and many in the Congress have expressed clear intentions to attack union families and the middle class. We will stay strong and united to ensure that your wages, your working conditions and your hardearned benefits will be there for you when you need them.

Union Strong!!!!

Scott Bernard
Business Representative

From the President

From the President

We have many members who till the rocky soil of sports broadcast as their professional world. Their dedication and professionalism is world-renown and often unsung but they perform day in and day out under the most challenging conditions and always deliver.

After many long and arduous months of negotiations, January 2, 2016, through December 20, 2016, we have successfully won an unusually long five-year term contract with Fox Sports and three other regional IATSE Locals creating a four-jurisdiction Master Agreement. Whereas before, we were in separate and stand-alone negotiating periods, we now have dramatically increased our leverage by syncing the contract cycles of these four regions, all together. It is quite an achievement.

The ratification vote passed in all four regions with the LA ratio in favor at almost 2 to 1 with “Yes” votes more than sixty-two percent.

There are several areas that distinguish this agreement from the expired agreements it replaces.

  • The travel provisions have been revamped to be more equitable, inclusive of benefits
  • Fee adders in the crafts descriptions are now included in the base wages
  • A new Employer’s contribution to the IATSE Training Trust is detailed
  • Three percent general wage increases each year throughout the life of the Agreement, now uniformly occurring on April 1 of each year; (LA is prorated the first year as the prior increase is already in place for three months)

A lot of work went into getting these four jurisdictions under one agreement. Importantly, it is a very unusual five-year deal providing stability for our members in the very fluid world of live sports broadcasting.

Along with solid leadership from the IA’s Sandra England and Steve Belsky, I’d like to single out the very important contributions made by Local 695 members during this challenging endeavor. A shout-out to Cameron Cheevers, Antony Hurd, Tom Anderson and Edgar Lopez for their informed and steadfast participation during the many negotiating sessions. They contributed beyond their own interests and significantly helped keep the talks on track.

I’d also like to give thanks to Scott Bernard, whose beat this used to be, for his solid guidance during this work. It is a very specialized area for our Local. I believe our members have gotten a very good contract.

Congrats to all.

Mark Ulano CAS AMPS
President
IATSE Local 695

Sound Apps

by Matt Price

With the proliferation of iPhones, iPads and Android devices, there are many new and powerful apps that help us each day. In this edition, we feature a free app designed by Matt Price in Great Britain, called Soundrolling.

Matt explains, “Soundrolling app is basically a natural progression of my blogs and other ventures over the past five years. Gear was coming down in price and more people were buying equipment and getting started, so I felt as a community, we need to better communicate the values and unwritten rules.

I decided to make the app free because to me, the real value is the community; with more people, there are more ideas that have a multiplier effect of helping the people and attracting a wider audience. There are some great ideas coming out of Soundrolling I will eventually incorporate other departments such as editorial and post production sound to essentially be a central source that is as fluid as the community it serves.

“I’ve spent around £2,000-f3,000 on the app with failed attempts and even trying to unsuccessfully outsource it a few times, so I decided just to do it all myself and found an interface that works really well along with £60 a month going to support from others to help implement some features and keep the app with as little bugs as possible. I will be spending about £800 a year in outsourcing some tasks and £97 goes to Apple every year for being a developer.”

Despite his own expenses, Matt is determined to keep the app free.

“I have had over two thousand downloads and plenty of suggestions for more features. I’m really looking forward to how it develops, and I’m currently getting between 1,000-2,000 page views a day.

The more people get involved, the better it will become and I am more than happy to fit pieces of this giant puzzle together.”

HERE ARE ITS FEATURES:

1 – CAMERA CHEAT SHEET

This is where you can view the timecode inputs and audio inputs for major digital production cameras (Arri, Blackmagic, RED, Sony, Canon …)

2 – YOU TUBE VIDEOS

From tutorials on how to recover formatted cards to comparing £1.20 lavalier to a £270 lavalier. I’ve been on You- Tube for more than five years doing tutorials and sharing what I do.

3 – SOUND CHATS

I have more than forty interviews with Dialog Editors, Sound Mixers, Re-recording Mixers, Foley Artists and Boom Operators on some of the world’s biggest blockbusters and Oscar-winning films. These are also available as podcasts and videos.

4 – FINDING LOCAL AUDIO VENDORS AROUND THE WORLD

Finding audio vendors local to where you are at the moment is going to vastly cut down your research time and get you on with the job at hand.

5 – BOOM POLE CHEAT SHEET

This compares more than 125 boom poles in min height/max height/weight/material/locking mechanism and units are in imperial and metric measurements. There is a view to sort them all by weight as well.

6 – FREQ FINDER

Find legal frequencies for countries around the world as sourced by mixers who live or work there, with links to government websites for extra reading. Meaning you can travel around the world and recommend the best ones to build up a better picture. You can also submit scans using your phone camera.

7 – BLOG (BETA)

Over the past five years, I’ve added more than three hundred- plus blog posts to soundrolling.com and I’m in the process of making it easy to find them through this app.

8 – SOUND MANUALS/TIMECODE MANUALS

PDF versions of some popular products along with a firmware checklist with links to manuals and firmware notes. Timecode manuals link directly to manuals and firmware pages also.

9 – FOLEY CHEAT SHEET

I’ve added more than two hundred items and ideas for Foley you can do to make awesome sound effects. I’m building more and more Foley-related material out of my previous articles.

10 – SOUND EVENTS ONLINE AND AROUND THE WORLD

This is a list of sound Meet-ups and industry events for sound people so you can connect with other mixers around the world and in your local area. It’s really simple to submit new listings.

11 – POST PRODUCTION HELP AND FAQS

Here are useful docs for importing and exporting AAF/OMF’s and more, to help explain post to others. The idea is to better integrate editorial and other members of the team with the Sound Department and vice versa to solve those pesky communication errors that can occur with different deliverables.

12 – SOUND TRIVIA/ JOKES

This is a collection of articles I’ve collected from around the web, of trivia for the sound world. Just a bit of fun and light reading, along with some on-set banter.

13 – POCKET SOUND DICTIONARY

Two hundred-plus sound terms explained right on your phone.

14 – WIRING DIAGRAM ARCHIVE

This is a collection for all those who DIY and make their own cables or you want to make sure you are wiring them correctly. This is also useful for different connections to different cameras like the RED.

15 – FACEBOOK GROUP

There is a Facebook group setup for those with the app to easily make suggestions and connect with each other and build a community. I’m also trying to incentivize feedback with polls and prizes.

16 – BUY/SELL FREE

List your used gear and get in front of more than two thousand sound professionals for free. In 2017, listings will be no commission and just £1 to submit. All organized into categories.

Matt is very happy to have all feedback emailed to him at matt@soundrolling. com. Check it out. It’s a free app, so you can’t lose.

68th Emmys: Production Sound Winners

68th Emmys: Production Sound Winners

Local 695 honors the art of production sound through the success of all the Emmy Award winners.

[Names in BOLD are Local 695 members.]

Local 695 honors the art of production sound through the success of all the Emmy Award winners.

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (ONE HOUR)

Game of Thrones “Battle of the Bastards” HBO
Richard Dyer, Ronan Hill CAS, Onnalee Blank CAS, Mathew Waters CAS
Production Sound Team:
Simon Kerr, Jonny Waite, Andrew McNeill, Bradley Kendrick, Daniel McCabe, Sean McGarrity

OUTSTANDING SOUND MIXING FOR A LIMITED SERIES OR MOVIE

The People v. O.J. Simpson: American Crime Story “From the Ashes of Tragedy” FX Networks
John Bauman CAS, Doug Andham CAS, Joe Earle CAS
Production Sound Team:
Andy Adams, Kris Wilcox

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION

Mozart in the Jungle “Nothing Resonates Like Rhinoceros Foreskin” Amazon
Thomas Varga, Andy D’Addario, Bill Higley, Chris Navarro
Production Sound Team: 
Bryant Musgrove, Antonio Arroyo, Egor Panchenko, Derek Pacuk

OUTSTANDING SOUND MIXING FOR A VARIETY SERIES OR SPECIAL

Live From Lincoln Center “Danny Elfman’s Music From the Films of Tim Burton” PBS
Paul Bevan, Ken Hahn, Skip Kent, Lawrence Rock
Production Sound Team: 
Lucas “RIco” Corrubia, Kristyn R. Smith, Brian Buno, Bill Pierce, Matt Israel

OUTSTANDING SOUND MIXING FOR NONFICTION PROGRAMMING (SINGLE- OR MULTI-CAMERA)

Vice “Fighting ISIS” HBO
Erik Schuiten
Production Sound Team:
John Northcraft, Dean White, J.R. Rodriguez, Arseniy Savenkov

FCC Update

FCC Update

A new round of bidding in the FCC’s Reverse Auction of the UHF spectrum began on November 1. This begins Stage 3

In Stage 1 and Stage 2, the buyers (mostly the broadband industry) failed to bid enough to cover the amounts required to buy up the licenses, the costs of relocating stations, as well as profits for the federal government to complete the auction.

The Stage 3 Reverse Auction has the current license holders establishing the price for their licenses. A smaller group, as with each subsequent stage, the amount of spectrum to be auctioned off gets smaller. When this auction is complete, the Stage 3 Forward Auction will commence.

As of the end of Stage 2, it appears that everything below the sacrosanct UHF Channel 37 is no longer for sale. Lectrosonics translation: Blocks up to 23 are still available for use. Blocks 24 through 26 are still up for sale. Spectrum up to 608 MHz will remain available for wireless microphone use, however, every UHF TV station above 614 MHz that sells its license and continues to operate will be relocated below 608 MHz, either sharing existing UHF TV channels or acquiring their own.

Bandwidth for wireless microphone use is becoming increasingly crowded, and licensed users have priority over nonlicensed users. If you haven’t acquired a Part 74 License, please apply.

https://www.local695.com/fcc/how-to-get-a-license/

Jay Patterson CAS
Vice President, Local 695
Co-chair, Technical Trends Committee

News & Announcements

News & Announcements

Two Days of Fiber Optic Training
The usage of more and more cameras at ever higher definitions is gradually maxing out the bandwidth capabilities of traditional copper cabling, leading to fiber optic as the only solution capable of meeting highvolume on-set data transmission needs. And in addition to vastly more bandwidth, fiber is stronger, more secure and cheaper than copper. Fiber is definitely in our future and perhaps that’s why there wasn’t an empty seat in the room during our two days of fiber optic training in November.

Attendees learned how to properly handle, clean, test and identify the standard fiber optic cables and connectors used in the entertainment industry. The classes were geared specifically toward teaching the skills and knowhow needed on a show-by-show basis to make sure our members are confident and knowledgeable when it comes to fiber optics. Under the guidance of our instructor, Jesse Madison, and his training assistants, the class included lots of hands-on time plus one-on-one with the instructors. As well as a repeat of this introductory session, we will be running an Advanced Fiber Optic class soon.

Demand for both of these classes was high and we still weren’t able to accommodate everyone but for those who missed out this time, watch for announcements of more classes soon.


Third Quarter On-Location Filming Up 3 Percent Last Quarter in Greater Los Angeles
FilmL.A. Research issued a new report this week, revealing that on-location filming in Greater Los Angeles increased 3.0 percent last quarter to a record-setting 9,795 shoot days. From July through September, an increase in television production (up 2.7 percent to 4,423 SDs) offset modest declines in on-location feature (down 5 percent to 1,089 SDs) and commercials (down 2.6 percent to 1,245 SDs).

“From 2015 to 2016, we had four straight quarters of triple—or near triple-digit—growth in TV comedy,” said Adrian McDonald, Research Analyst for FilmL.A. “Year to date, 2016 is actually leading 2015 in total comedy shoot days, with 1,623 SDs this year so far compared to 1,554 SDs at the same time last year.”

“California’s film incentive is now helping to sustain local TV production after seven straight quarters of growth,” noted FilmL.A. President Paul Audley. “We knew we’d see a leveling off as the program reached full utilization. With the program doing all it can to support filming in California, our focus is on the neighborhoods where filming happens and on managing the activity taking place.”


Welcome New Members
Peter Beer, Y-1
Johny Camilo, Y-1
Angelo Carvuoto, II, Y-1
John “JP” De La Cruz, Y-7A
Joshua Hawcraft, Y-8
Garett Martocello, Y-1
Josue Pena, Y-1
Jacques Pienaar, Y-8
Alex Sethian, Y-7A
Cgad Sonenberg, Y-1
Charles Stroh, Y-1
Janet Travis, KTLA
Alberto Vasquez, Y-9
Brandon Walz, Y-8


SAVE THE DATE!
The next General Membership Meeting is scheduled for 10 a.m. on Saturday, January 21, 2017, at the Local 80 Stage, 2520 W. Olive Avenue in Burbank.


IN MEMORIAM
DONALD BERRY
Projectionist
October 16, 1925 – August 20, 2016

Contributors

Contributors

DONAVAN DEAR CAS
Donavan studied engineering and physics in college, and then started working in sound at an acoustics research/testing company. Credits include Titanic and Pearl Harbor as a boom operator. As Sound Mixer, over four hundred episodes of television, including CSI, CSI: NY, CSI: Miami, and currently, the third season of Scorpion.

VINCENT PARKER
Vincent began his career in 1998 in the technology industry creating 3D effects for broadcast video hardware. He joined Local 695 as a Video Engineer in 2001. He is also a software developer, creating most of the tools he uses for computer & video playback.

MATT PRICE
Matt is a Sound Mixer and Sound Editor with over 350 projects focusing around film, commercials and corporate projects. Matt is very passionate about documenting his career and providing more content for the sound community.

GARY RAYMOND
After college in the ’70s, Gary toured as a bass player and singer with the Serendipity Singers, The Platters, Eric Burdon and War. He was Technical Coordinator at Disneyland and has worked as a Studio Musician, Live Sound Engineer with over 400 major bands and since 1993, Music Playback Operator in Local 695 with an Emmy for the Scrubs musical. Gary is also a Sound Artist with exhibits at the Long Beach Museum of Art and the Coachella Valley Music and Arts Festival.

JEFF WEXLER CAS
Jeff Wexler CAS, in his 46th year as a Production Sound Mixer, honored with a BAFTA Film Award for Best Sound for Almost Famous, nominated twice by the Academy and the Cinema Audio Society for his work on The Last Samurai and Independence Day, noted for his work on Jerry Maguire, Get Shorty, The Natural and Being There. He was also nominated for an Emmy and a CAS Award for the HBO movie 61*. The first to use DAT in production, he went on to introduce the first-ever file-based production recorder, the original Zaxcom Deva I. Jeff is also a recipient of the CAS Career Achievement Award.

From the Business Representative

From the Business Representative

HAPPY HOLIDAYS TO OUR BROTHERS AND SISTERS AND THEIR FAMILIES
 

I hope that 2016 was a busy work year for you, full of new challenges and new business relationships. During the holiday season, we should take stock of what’s really important and hold your families close.

Think about your extended family at the Motion Picture Television Fund (MPTF), ready to help your family when you need it. The humble beginning of the MPTF began when Charlie Chaplin was having lunch at the famous Brown Derby, when a fellow actor approached. This young actor, hungry and without money for lunch, asked Mr. Chaplin for help. That day, “The Little Tramp” put a coin box at the counter of the Brown Derby, where fellow entertainment industry workers would deposit spare change to help anybody who couldn’t afford to purchase a meal.

The Motion Picture Relief Fund (MPRF) was incorporated in 1921 with Mary Pickford as its first president. The sole purpose for the MPRF was to reach out and support workers in the entertainment industry who fell on hard times.

Today, it’s called the Motion Picture Television Fund, but the mission remains the same; supporting workers in the motion picture and television industry when they need it most. The wide range of services and assistance offered by the MPTF are solely supported by donations. Throughout its history, the MPTF has helped many Local 695 brothers and sisters. This past October, Local 695 was a Gold Sponsor for the 5th annual “Day at the Races” fundraiser at Santa Anita Park. Local 695 and the other IATSE and entertainment industry unions helped raise more than $140,000 for the MPTF.

In 2015, MPTF social workers gave $2,835,503 in financial assistance. Through this support, 3,793 lives where changed. The MPTF has continued the tradition “taking care of our own.” Please consider donating to the MPTF, your extended family.

Fraternally,
Scott Bernard
Business Representative

From the President

From the President

GOOD FRIENDS, JUST A COUPLE OF NOTES THIS ISSUE:

FIRST, A SIMPLE REMINDER: With an affectionate nudge, LEARN, LEARN, LEARN, so you can EARN, EARN, EARN.

We are blessed with a fully formed and dedicated education program, headed up by our passionately committed Education Director, Laurence Abrams.

Our educational program maintains its high-gear progression with multiple in-house training programs filling our halls over the last few months. Take special note of our fiber cable training, SRO attendance to the rapidly proliferating specialty was a great success, as was our ongoing classes in video engineering, cable clinic, Fisher boom training and the broad pallet of classes offered by your heavily discounted access to Lynda.com.

We’re in one of the most fluid times for our work and a dedicated commitment to stay ahead of the learning curve is one of your best protections for staying relevant in the eyes of employers and peers.

Please look into and take advantage of the wide range of learning opportunities your Local provides.

And next:
To my fellow members,

I am reaching out to the Local and establishing a Veterans Committee. With this in mind, we’d like to hear from members in two ways:

1. If you are comfortable in sharing the information, please let us know if you have served or are currently serving our country.

2. Regardless of service history, please let us know if you would like to participate or volunteer your time to the Veterans Committee.

You can send your responses to https://www.local695.com/html/contact.php

Fraternally yours,
Mark Ulano CAS AMPS
Local 695 President

From the Editors

From the Editors

Welcome to the fall edition of Production Sound & Video. By the time you receive this issue, Thanksgiving will be in the rear-view mirror and the holidays (dare I name them) Christmas and Hanukah ahead.

Jeff Wexler and Donavan Dear go in depth on “Roadies: A Sound Experience” and Gary Raymond explains the “Live Record for Roadies.” In a sense, this show was a microcosm on the work of every Local 695 member. Each project morphs into a new ‘family’ and the days and weeks tick by; but we love the experience, excel no matter what the circumstances and go through a mini-withdrawal when it’s over.

Vince Parker describes the challenges of video playback on the motion picture Passengers.

Jay Patterson continues updating us on the FCC and we welcome a new column, Sound Apps, where we explore the latest IOS and Android tools to make our work easier. Our first quest contributor is Matt Price.

Finally, this will be the last edition that our co-editor, Eric Pierce, will be participating in. Eric has been with us since this magazine began seven years ago, in the spring of 2009. He has always been there, delivering timely articles, News & Announcements, award nominations and award winners. Eric was always there, working steadfastly and helping to carry the load of putting this publication together. Thank you Eric, we’ll miss you.

Happy reading and the best for the holidays and new year.

Fraternally,

Richard Lightstone, Eric Pierce and Mark Ulano

Asset Management

by Jillian Arnolda

Aboard the new Viacom truck known as Atlas, you will see Video Engineers with the title “Tape Operator” at their positions operating interfaces connected to a network of computers, digital recording systems and storage. The various interfaces monitor, record, encode, transcode, duplicate and sync up to forty-eight streams of video, paired with sixteen unique audio tracks, saving multiple versions in different codecs and wrappers.

Asset Management may be progressing as we continue on in this technological age, but the history and tradition of Local 695’s presence in this position remains the same. The progression from two-inch helical scan analog, to digital tape, to file-based digital data is part of a long tradition and is increasing in complexity at a dizzying pace. As evidenced by the moniker, “Tape Operator” in a tapeless environment, this cultural shift in the economics, politics and infrastructure of all aspects of media creation requires diverse new skill sets while retaining the core competency of previous generations of technicians. Every day, I’m immersed in this exciting landscape while working on the Atlas truck, which uses a state-of-the-art asset management system called Pronology.

WHAT IS PRONOLOGY?

Pronology is an asset management system that was designed by veteran users. Beginning in 2012, I have worked closely with Pronology’s partners, Jonathan Aroesty, a member of Local 695 for thirty years, and developer Seth Wright on several reality shows, including Fox’s Utopia and ABC’s Glass House. Last year, we tackled the FIFA Women’s World Cup, a month-long international event with multiple resolutions, codecs and wrappers moving back-and-forth between Vancouver and Los Angeles.

On Utopia, fifteen American contestants were tasked with creating their own civilization from the ground up. Although the show failed to meet viewer expectations, the technical feats achieved by the engineering, editorial and Pronology departments were exceptional. More than one hundred and thirty cameras were switched into twelve feeds in the control room. Subsequently, these twelve video sources were fed to twelve first generation mRes™ boxes, which recorded high- and low-resolution files, as well as a web proxy. Each video stream also recorded eight audio feeds.

Producers could watch these twelve live streams from anywhere with internet services, via Pronology’s web portal, where they could take notes, create additional metadata and make assembly cuts of footage for the editorial team. With our tight turnaround to fill two hours of programming weekly, our system had to be streamlined to meet the expectations of the editorial, promos and story departments. My job on Utopia was to oversee all of this while also training the story, editorial and Pronology teams, scheduling department personnel and archiving LTO.

When Utopia was canceled, the crew’s biggest disappointment wasn’t the sudden lack of work—it was that our powerful and robust system capable of working 24/7 would be shut off. When cutting-edge technology is paired with content that doesn’t seem to resonate with audiences, it is both comforting and frustrating to know that the program’s premature ending was caused not by technological failures but audience indifference.

A year later, I was delighted to learn of Pronology’s new venture: the second-generation mRes box was becoming a permanent installation in Viacom’s new truck, Atlas. The mRes is the only uncompressed loop recording device on the digital acquisition market currently; its robust nature and flexibility is ideal for Viacom’s live recording environments. With the ability to record four sources of video with sixteen channels of audio simultaneous, the mRes box first records onto a local recording server before transferring a compressed file to any external storage device you choose. Once the machine is booted and the sources are routed correctly, mRes continuously records, with a seven-hour loop that eventually eats its own tail. The anxiety of missing a shot is a nonissue because I now have the ability to go back in time and re-record media shot as much as seven hours ago.

mRes supports a variety of codecs, including uncompressed, AVC-intra, the Avid DNxHD family of codecs (H.264) and Apple’s ProRes family. Wrapper support includes QuickTime self-contained files, MXF-Op1a, MXF-Op Atoms, MP4 and others. The current generation of mRes box on Atlas is configured for resolutions up to 1080p, with frame rates ranging from 23.98p to 60p. However, a 4k box debuted at NAB this past April, boasting capabilities that rival its biggest competitors.

ClipController, mRes’s GUI, is both easy to use and configure, plus it allows for expansion from one to many recording channels. The integration of this recording interface, along with the strength of Pronology’s proprietary recording hardware (as well as the archival potential and distribution add on modules), create ease and reliability for any production.

I have currently operated on at least seven Atlas productions since its maiden voyage. Each project has its own unique experiences as we navigate this new technology and change the culture of TV. The journey has been rocky and yet extremely rewarding. I continually remind myself that forging new technological paths is an uphill battle, with extreme rewards in moments of success and education in every failure. Technological pioneers must never cease to think outside the norm and anticipate the needs of others before they arise.

Here are my notes along this journey:

JANUARY: GREASE LIVE! MAKE IT WORK. NO MATTER WHAT.

Fox’s presentation of Grease Live! redefined primetime live musicals with its outstanding performances, elaborate choreography and impressive camerawork. Atlas’s first official outing occurred while re-creating one of my favorite childhood films. The biggest test of my career was whether I could sing along while simultaneously ingesting and managing assets.

This was the first time I worked with mRes’s new ClipController interface. Pronology’s development team created an easy-to-configure, scalable interface, and with only a few hours of training, I was able to record the production and distribute the media with success.

Our delivery requirements for Grease Live! had to serve three functions. Recorded media was simultaneously delivered to Paramount’s post department, Fox’s promotional department and our on-site editor (who was in Pronology’s separate postproduction truck, not far from Atlas).

Our assignments were:

Five camera ISO tracks

• A full program feed with graphics

• A clean program feed without graphics

• An additional clean program feed for immediate promotional Use

• An additional full program feed for future screener copies

• A tape backup

Each mRes video channel recorded eight audio channels. Audio channels one and two were designated for program left and right for each mRes channel. Remaining audio channels were designated to characters, house music mix, dialogue mix, sound effects and backup feeds. Production Sound Mixer Mark King and his production team were an invaluable resource in ensuring that sound records were clean and organized as they entered our system.

Each ISO and program feed was recorded three times, a primary, secondary and tertiary. The primary and secondary records were recorded in a 1080p, 23.98 psf, ProRes HQ format, onto a Small Tree TZ portable raid. This was my first time working with the Small Tree storage solutions, and I appreciated that I was able to hand post a robust yet portable raid solution at the end of the show. The interface made it easy to configure the raid for our specific needs.

A third set of recordings (five ISOs and a single program feed) were recorded in 1080p, 23.98 DNx175, OP-Atom, onto an Avid ISIS, which was connected to the on-site Pronology editing truck. Our West Coast airtime immediately followed our East Coast broadcast conclusion, necessitating a fast turnaround for Editor Mark Stepp. Mark used Avid’s Edit-While-Capture feature to create growing video files. Since I created new files for each of the show’s acts during the East Coast broadcast, Mark was able to use those AAFs (Avid files used to transfer sequence/timeline information from one program to another) to make changes to his growing Avid sequence. Coupled with this feature, communication between Tape Producer on the truck, and Mark in the Avid suite allowed for fixes at an impressive speed.

After minor fixes were complete, Mark exported files back onto the Avid ISIS as DNxHD MXF OP1a files. I bridged the gap between Mark and Video Playback Operator Scott Cruit, as I pushed files between the Small Tree Z8, shared storage raids on the truck and the ISIS for post.

As a Pronology operator, I am constantly scanning my GUI for inconsistencies or signs of unexpected issues that may arise during media capture, distribution and archiving. Pronology allows me to efficiently monitor these processes for quality assurance, while devoting more attention to the organizational tasks of asset management. Because this software is created by users, for users, Jon and Seth’s Pronology team understands perfectly the challenges that can arise during recording and asset management. This dedication to the user experience is evident in the fact that they have consulted me for user-development notes for all of Pronology’s modules over the years.

As Pronology’s first operator, my role is to connect production and the developers by providing notes and feedback. I call myself their number one “breaker”—I love to break any system. I push the interface and hardware hard and fast in order to find the breaking point. I never go onto a show without knowing what software and hardware limitations exist. This way I can diagnose problems during the course of operation. Although I keep detailed notes on each operation for future productions, nothing is more valuable than having an experienced operator handy who not only knows what the limitations are, but also can rely on muscle memory to correct errors.

Within an hour of show wrap, Post walked away with drives in hand and we shut down our mRes controller for its journey to the next production. I’m pleased to say that I can sing all the words to “You’re the One That I Want” (and dance to “Born to Hand Jive”) while recording media, thanks to Pronology. Grease Live! was a truly great experience. I’m proud to have worked on something with such a huge audience reception, while tackling the monumental technical feats required by a live project of this scale.

APRIL: THE MTV MOVIE AWARDS. WHAT’S IN A NAME?

My goals for Grease Live! were to learn the new interface, find the breaking points in the system during test records and record the show with file integrity. The MTV Movie Awards had a different set of deliverables and requirements because of its tight editorial, eighteen-hour turnaround.

The two questions I’m most frequently asked are: “What do we call you?” and “Can you explain what you do?” This presents a very basic but important question: What do you call a position that is entrenched in the ongoing progression of recording and distributing video and audio signals? This is no different than what our local has seen in the past, black-and-white to color television or film to digital cinema. The position and its title may progress, but the importance in the storytelling process remains the same.

The title “Tape Operator” implies the use of tape, physical proof that a recording occurred. Tape operators configured tape decks and ensured that video and audio sources were correctly routed for recording and duplication. They handed the tapes to post, and walked away from a show empty-handed.

Atlas has two tape decks in its digital acquisition rack of equipment. The MTV Movie Awards would be one of Viacom’s first productions that chose not to use tape as a backup. While there were those that looked at this with fear, I looked at this with excitement. While I know how to use tape decks, when I first entered the truck, I decided that I would use my youth as a pushback to tape altogether. I stated outright that my goal was to replace those decks with more digital boxes.

Today’s recording job is an organization of ones and zeros, onto local and shared storage. The only physical objects involved are the drives shuttled back-and-forth to post. One of The MTV Movie Awards requirements was the delivery of the low-resolution files over the internet from the Warner Bros. lot to Chainsaw post facility in Hollywood.

My position is a collection of duties: show and screener recording, confirming file integrity, organizing files, IT configuring, managing assets and transferring files. More so than in the past, all of these duties require an operator to be involved in the earliest stages of pre-production, since operators are the bridge between production and post production. Open communication is necessary before an operator steps aboard the truck so that all parties understand all the involved information, including edit system platform and operating system, shared or standalone storage, the need for either offline or direct to online edit, codec type, bitrate, frame rate, file wrapper, audio configuration, file naming and metadata requirements. These important details can easily cost a production time and money if not worked out before ESU.

Within the jurisdiction of Local 695, this position falls under a Y4-Video Engineer, but most people outside of this position have trouble associating the term with the involved skillset. Production has called me Tape Operator, Media Manager, Media Wrangler, Media Services and even settled on the name Recordist. I prefer the name Media Overlord, but we quickly realized that MO on a PL feed was too ambiguous.

On this project, I realized the limitations of a single operator. Production required screener copies of the rehearsals and the show. Screeners are low-res files that a person can walk away with on a USB stick for immediate viewing. Standalone files with program audio, they can be viewed on any platform, without editing software. I was overseeing forty-eight streams of video and one hundred ninety-two streams of audio as it traveled onto three different storage platforms. In the eight years that I have been doing asset management and recording, this was my limit. Technology may streamline our lives, but sometimes the attention to all of those machines is too much for one operator to handle. Thankfully, Local 695 Video Engineer Tom Vanasse was available to step up and fill this highly visible role as the screener recordist. His expertise in file distribution pushed this position to a new level with new methods that I didn’t have the time to think about.

The lessons learned on The MTV Movie Awards are lessons I share with all new tech supervisors and production crewmembers. We can continue to iron out the kinks and improve our workflow with each new production.

MAY: GABRIEL IGLESIAS NETFLIX SPECIAL 4K

Alongside the Pronology mRes recording system on the Atlas truck is the new PWS-4500 recording and playback box from Sony. Atlas is home to the first ten boxes of this kind nationwide. Playback operators on Atlas use four boxes for package playback, melts and rehearsal recordings, while I configure the other six as recording devices.

The Sony PWS-4500 is limited in the number of codecs it can record: DNxHD and XAVC in an Op1a wrapper. The advantage of this system is that it can record three, 4k channels simultaneously—impressive for a single recording box. Though I often use the Sony boxes as a backup record to the mRes 1080 captures, for Netflix’s comedy special starring Gabriel Iglesias, the Sony box was our main recording device. This production was Atlas’s first 4k production.

When Sony first unveiled the 4500s, they did not create a user interface for recording alone. Their playback GUI is similar to other professional playback systems, but their configuring interface is still a work in progress.

I was able to control the hardware with a CenterPoint interface created by the Pronology development team. CenterPoint houses all of its workflow modules, including Live Logging, Search Functions, Storyboard application, Workflow Builder and Archival. This allows me to create a folder structure within the database, highlighting certain record channels. Its ability to seamlessly transition from one file to the next was a huge asset.

The CenterPoint application indicates if the transfer workflows I configured are kicked off and completed, giving me peace of mind during the record process. On this particular show, I configured the Sony boxes to record to its internal four Terabyte hard drive, where I took off the loop recording function, as well as a Small Tree Z5 shared storage. The first night, 5.5 TB of data was recorded for a three-hour show. The second night, we recorded over 6 TB of data. What’s great about this workflow is that the transfer of footage happens in real-time, making it possible to walk away with all files minutes after production concludes.

I was excited to work on a show with a new 4k workflow. But I’ll admit that the show went so smoothly following the hours of testing completed by Pronology’s developers, it was almost a letdown. I love testing new workflows and configurations, but I found almost no anomalies in the process. CenterPoint’s configuration was solid, and the transfer off the Sony boxes was better than expected. Failure in technology is always exciting to me. It means a new challenge, and room to start fresh with a new idea. Having said that, as a seasoned operator, stress-free productions are now obviously welcome, and my appreciation only grows for the behind-the-scenes developers.

Seven months into our first year on Atlas, and I now call the truck, “my other ride.” The recordist station is continuously being improved for two operators to comfortably work in a small galley environment. The sound of six mRes boxes, ten Sony PWS-4500 servers and a dozen other machines is now comforting. I know their sounds like a mother knows her child’s sleeping patterns. Forty-eight streams of video are now commonplace, and productions are continuously pushing the technology in ways that are exciting and adventurous. Recently, I set a truck, and personal record of one hundred and thirty-six terabytes recorded, with integrity, in forty hours of production.

As I continue to push this position to new perimeters, I am reminded of the members of our Local that came before me. The technology I am using today was created by our members, for our members. The experience we have amassed in our careers becomes a means of development and innovation for the next generation of video engineers. I still turn on the two tape decks that sit in Atlas as I boot up the rest of the rack. To this Video Engineer, their presence is a romantic gesture to the past.

68th Emmys: Production Sound Nominees

68th EMMYS

Local 695 honors the art of production sound through the success of all the Emmy award nominees.

[Names in BOLD are Local 695 members.]

Emmy Award Nominees

The Creative Arts Emmys will take place at the Microsoft Theatre at L.A. LIVE over two consecutive nights, September 10 & 11, with the Sound categories awarded on the Saturday night. FXX will broadcast an edited version both nights on Saturday, September 17, 2016, at 8 p.m.

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (ONE HOUR)

Better Call Saul “Klick” AMC
Nominees:

Phillip W. Palmer CAS, Larry Benjamin, Kevin Valentine
Production Sound Team:
Mitchell Gebhard, Steven Willer

Downton Abbey Episode 9 PBS
Nominees:

David Lascelles, Nigel Heath
Production Sound Team:
Jim Hok, Duncan Craig, Hanna Tailleur

Game of Thrones “Battle of the Bastards” HBO
Nominees:

Richard Dyer, Ronan Hill CAS, Onnalee Blank CAS, Mathew Waters CAS
Production Sound Team:
Simon Kerr, Jonny Waite, Andrew McNeill, Bradley Kendrick, Daniel McCabe, Sean McGarrity

House of Cards “Chapter 52” Netflix
Nominees:

Lorenzo Millan, Scott R. Lewis, Nathan Nance
Production Sound Team:
Randy Pease, Chris Jones

Mr. Robot “eps1.5_br4ve-trave1er.asf” USA
Nominees:

Timothia Sellers, John W. Cook II, Bill Freesh, Andrew Morgado
Production Sound Team: 
Vince Camuto, Jonathan Munoz

Ray Donovan “Exsuscito” Showtime
Nominees: 

Harrison ‘Duke’ Marsh, Robert Edmondson, R. Russell Smith
Production Sound Team:
Michael Fredricksz, David Wallace

OUTSTANDING SOUND MIXING FOR A LIMITED SERIES OR MOVIE

Fargo “Gift of the Magi” FX Networks
Nominees: 

Michael Playfair CAS, Martin Lee, Kirk Lynds
Production Sound Team:
Robert “Arjay” Joly, Valerie Siu, Mike Markiw, David Brown

The Night Manager Episode 5 AMC
Nominees: 

Aitor Bernguer, Howard Bargroff
Production Sound Team:
Damaso Hernandez, Ryan McMurray, Nourdine Zaoui, Brahim Ait Belkas

The People v. O.J. Simpson: American Crime Story “From the Ashes of Tragedy” FX Networks
Nominees:

John Bauman CAS, Doug Andham CAS, Joe Earle CAS
Production Sound Team:
Andy Adams, Kris Wilcox

Sherlock “The Abominable Bride” PBS
Nominees: 

John Mooney, Howard Bargroff, Peter Gleaves, Nick Wollage
Production Sound Team: 
Bradley Kendrick, Lee Sharpe, Jordan Newman

True Detective “Down Will Come” HBO
Nominees: 

Geoffrey Patterson, Daniel J. Leahy, Steve Pederson, Ron Bedrosian
Production Sound Team: 
Jeffrey Humphreys, David Fiske Raymond

OUTSTANDING SOUND MIXING FOR A VARIETY SERIES OR SPECIAL

Live From Lincoln Center “Danny Elfman’s Music From the Films of Tim Burton” PBS
Nominees: 

Paul Bevan, Ken Hahn
Production Sound Team: 
Lucas “RIco” Corrubia, Kristyn R. Smith, Brian Buno, Bill Pierce, Matt Israel

Grease Live! FOX 
Nominees: 

J. Mark King, Biff Dawes, Eric Johnston, Bob LaMasney, Pablo Munguia, Kevin Wapner, John Protzko, John Garlick, Barrance D. Warrick
Production Sound Team: 
Bruce Arledge Jr., Doug Wingert, Fernanda Starling, Jeff Peterson, Jason Sears, Sean Pritchett, Allen Vega, Steve Anderson, Craig Rovello, Jeffrey Fecteau, Debbie Fecteau, Ric Teller, Bill Kappelman, Randy Gary, Kim Petty, Dennis Mays, Victor Mercado, Eddie McKarge, Pete San Filipo, Kirk Donovan, Danny Cruz, Greg Ferrara, Dan Berlin, Dave Bellamy, William Bellamy, Corey Dodd, Grant Greene, Mike Dodd, Tim Arden, Chris Eckert, Steve Schuman, Steve Vaughan, Rod Sigmon

Last Week Tonight With John Oliver Episode 225 HBO
Nominees: 

Steve Watson, Charlie Jones, Steve Lettie, Tony Rollins
Production Sound Team: 
Steve Lettie, Tony Rollins, Jason Dyer, Max Perez

The Oscars ABC
Nominees: 

Paul Sandweiss, Tommy Vicari, Marc Repp, Pablo Munguia, Michael Parker, Tom Pesa, Patrick Baltzell, Kristian Pedregon, Bob LaMasney
Production Sound Team: 
Michael Parker, Bob LaMasney, Emily McDonnell, Hugh Healy, Jeff Peterson, Ric Teller, Steve Anderson, Jeff Fecteau, Debbie Fecteau, Bruce Arledge Jr., Dan Vicari, David Mounts, Eddie McKarge, Larry Reed, John Perez, JP Velasco, Larry Mah, Jenny Cote, Oren Hadar, Robert Brogden, Tom Pesa, Dave Bellamy

The Voice Episode 1018A NBC
Nominees: 

Michael Abbott, Randy Faustino, Kenyata Westbrook, John Koster, Robert P. Matthews, Jr., Sterling Cross, Ryan Young, Brian Riordan, Tim Hatayama, Eric White, William Dietzman, Eddie Marquez, Christian Schrader, Andrew Fletcher
Production Sound Team: 
Hugh Healy, Stephen Emrich, Glenn Hazlett, Michael Cruz, Michael Faustino, Pete San Filipo, Damon Andres, Alan Vega, Jason Sears, Steve Schuman, Jim Fay, Matt Campisi, Alex Hoyo, Billy McKarge, Paul Chapman, Ozzie Garcia, Robert Brogden

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION

Modern Family “The Storm” ABC
Nominees: 

Stephen A. Tibbo CAS, Dean Okrand CAS, Brian R. Harman
Production Sound Team: 
Srdjan Popovic, William Munroe, Peter Hansen

Mozart in the Jungle “Nothing Resonates Like Rhinoceros Foreskin” Amazon
Nominees: 

Thomas Varga, Andy D’Addario, Bill Higley, Chris Navarro
Production Sound Team: 
Bryant Musgrove, Antonio Arroyo, Egor Panchenko, Derek Pacuk

Silicon Valley “Bachmanity Insanity” HBO
Nominees: 

Ben Patrick CAS, Elmo Ponsdomenech, Todd Beckett
Production Sound Team:
Chris Diamond, Corey Woods, Devendra Cleary CAS, Tim Salmon

The Simpsons “Halloween of Horror” FOX
Nominees:

Mark Linden, Tara Paul

Veep “Congressional Ball” HBO
Nominees: 

Bill MacPherson, John W. Cook II, Bill Freesh
Production Sound Team:
Steve Saada, Alexandra Gallo

OUTSTANDING SOUND MIXING FOR NONFICTION PROGRAMMING (SINGLE- OR MULTI-CAMERA)

Anthony Bourdain: Parts Unknown “Ethiopia” CNN
Nominee: 

Benny Mouthon

Deadliest Catch “Carpe Diem” Discovery
Nominee: 

Bob Bronow CAS

Making a Murderer “Lack of Humility” Netflix
Nominee: 

Leslie Shatz
Production Sound Team:
Moira Demos, Laura Ricciardi, Joshua Convey

Vice “Fighting ISIS” HBO
Nominee: 

Erik Schuiten
Production Sound Team:
John Northcraft, Dean White, J.R. Rodriguez, Arseniy Savenkov

What Happened, Miss Simone? Netflix
Nominees: 

Tony Volante, Tammy Douglas
Production Sound Team:
Christophe Couot

FCC Update

The Local 695 Technical Trends Committee will attempt to post relevant info and articles on the ongoing Incentive Auction.

Last month, the following papers were published, both relevant:

DA 16-479 “White Space Devices and Unlicensed Wireless Microphones”

https://apps.fcc.gov/edocs_public/ attachmatch/DA-16-479A1.pdf

DA 16-526 “Promoting Spectrum Access for Wireless Microphone Operations Expanding the Economic and Innovation Opportunities of Spectrum Through Incentive Auctions”

https://apps.fcc.gov/edocs_public/ attachmatch/DA-16-526A1.pdf

Both are worth reading. Please don’t get too upset about all of the revenue the FCC will make, all of the revenue that the broadband leaseholders will make, while we wireless mic users will have to “adjust” to the tune of millions of dollars, as our existing gear becomes unlawful to use, and we need to retool.

Jay Patterson CAS

Vice President, Local 695

Co-chair, Technical Trends Committee

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