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IATSE Local 695

Production Sound, Video Engineers & Studio Projectionists

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From the Editors

Goals, objectives and desired results form every aspect of our lives. It might be a goal to spend more time with the family, improve your sound package, achieve better sounding tracks, a better workout or just your quality of life.

We regularly set goals for ourselves and work to bring them to fruition.

The goal of the 695 Quarterly is to bring you a great read, full of information in every discipline Local 695’s membership provides to the entertainment industry.

This issue begins a three-part series by James Tanenbaum, “The Cable Connection,” that explains everything you need to know about interconnecting cables on your sound cart. Steve Nelson explores the travails of mixing the challenging episodic series The River, in Puerto Rico and Hawaii, and Scott Smith returns with “When Sound Was Reel-9.”

Our goal is to give you new insight into the incredibly complex work our membership does each and every day.

Enjoy.

Fraternally,
Richard Lightstone, Eric Pierce and David Waelder

Award Nominees

[Names in BOLD are Local 695 members]

Cinema Audio Society

It’s awards season and we’re proud that Local 695 is well represented in the sound categories. Here’s a salute to all those nominated, and their production sound teams! The nominees were announced for the Cinema Audio Society’s 48th Annual Awards. Ceremonies were held on January 19 at the Millennium Biltmore Hotel.

MOTION PICTURES

Hanna

Roland Winke, Christopher Scarabosio, Craig Berkey CAS, Andrew Dudman, Thomas Wallis, Noah Timan, Hunor Schauschitz, Jeanne Gilliland, Nourdine Zaoui

Hugo

John Midgley, Tom Fleischman CAS, Simon Rhodes, Mike Reardon, Charlotte Gray, Dash Mason-Malik, Peter Clarke, Martin Seeley, Clive Osborne, Andrew Sissons, Simon Brown

Moneyball

Ed Novick, Deb Adair CAS, Ron Bochar CAS, David Giammarco, Brad Haehnel,Knox White, Chris (Catfish) Walmer, Marc-Jon Sullivan, Andy Edelman, Glenn Berkovitz CAS, Bill King, Bob Tiwana, Niel Riha, Joel Reidy, David C. Manahan

Pirates of the Caribbean: On Stranger Tides

Lee Orloff CAS, Paul Massey CAS, Chris Boyes, Alan Meyerson, Jeffrey Humphreys, Jonathan Fuh, Joseph Magee, Michael Anderson, John Gareth, Ivan Sharrock, Paul Schwartz, Christian Joyce, John Reynolds, Richard Linke

Super 8

Mark Ulano CAS, Andy Nelson, Anna Behlmer, Dan Wallin, Tom Johnson, Adam Blantz, Juan Cisneros, Jesse Kaplan, Eric Pierce CAS, Brion Condon

TELEVISION MOVIES & MINI-SERIES

Cinema Verite

Petur Hliddal, Lora Hirschberg, Scott Lewis, Douglas Murray, Greg Townley, Carl Fisher, Frank Stettner, Amanda
Jacques

Innocent

Shane Connelly, Mark Hensley, Tamara Johnson CAS, Chris Higgins

The Kennedys – “Hour 7”

Henry Embry CAS, Frank Morrone CAS, Stephen Traub, Larold Rebhun, Denis Bellingham

Mildred Pierce – “Part 5”

Drew Kunin, Leslie Shatz, Todd Whitelock, Mark Goodernote, Paul Koronkiewicz, Jason Staium

Too Big to Fail

James J. Sabat CAS, Chris Jenkins, Robert J. Beemer CAS, Chris Fogel, Michael Schmidt, James J. Sabat Jr.

TELEVISION SERIES

Boardwalk Empire – “To the Lost”

Franklin D. Stettner CAS, Tom Fleischman CAS, Sam Perry, Peter Fonda, Toussaint Kotright, Egor Pachenco

Breaking Bad – “Face Off”

Darryl L. Frank CAS, Jeffrey Perkins, Eric Justen

Dexter – “Just Let Go”

Greg Agalsoff, Pete Elia CAS, Kevin Roache CAS, Ken Keauchene, Kim Podzimek

Game of Thrones – “Baelor”

Ronan Hill, Mark Taylor, Derek Hehir, Billy Quinn

The Walking Dead – “What Lies Ahead”

Bartek Swiatek CAS, Gary D. Rogers CAS, Daniel J. Hiland CAS, Kevin Summers, Brian Didsbury, Drew Ponder, Anthony Cargioli, Robert Maxfield,James Peterson, Adam Mohundro, Christopher J. Harris, Michael P. Clark, Aron Siegel

TELEVISION NON-FICTION, VARIETY, MUSIC SERIES OR SPECIALS

American Experience – “Triangle Fire”

G. John Garrett CAS, Rick Angelella, Everett Wong, Coll Anderson

Bobby Fischer Against the World

Mark Maloof, Bill Marino

Deadliest Catch – “New Blood”

Bob Bronow CAS

Great Performances at the Met: Nixon in China

Ken Hahn CAS, Jay David Saks

Lady Gaga Monster Ball Tour

John Harris, Brian Riordan CAS

Satellite Award for Best Sound (Editing and Mixing)

The Satellite Award or Best Sound (Editing and Mising), presented by the International Press Academy on December 18, 2011, went to:

Drive

Robert Eber CAS, Dave Paterson, Lon Bender, Robert Fernandez, Victor Ray Ennis, Scott Edelson, Sean Byrnes

Congratulations to the rest of the nominees:

Super 8

Mark Ulano CAS, Andy Nelson, Anna Behlmer, Ben Burtt, Matthew Wood, Tom Johnson, Adam Blantz, Juan Cisneros, Jesse Kaplan, Eric Pierce CAS, Brion Condon

The Tree of Life

John Pritchett CAS, Kirk Francis CAS, Christopher Scarabosio, Craig Berkey, Erik Aadahl, Jeremy Peirson, David Roberts, Scott Jacobs, Shawn Harper, Kay Colvin

War Horse

Gary Dodkin, Chris Murphy Stuart Wilson AMPS, Andy Nelson, Gary Rydstrom, Richard Hymns, Tom Johnson, Orin Beaton, Mitch Low, Thomas Fennell, Alan McFeely, Danny Hambrook, Christian Joyce, Matt Taylor

Transformers: Dark of the Moon

Peter J. Devlin CAS, Erik Aadahl, Ethan Van Der Ryn, Gary Summers, Greg P. Russell, Jeffrey J. Haboush, Kevin Cerchiai, Scott Solan, Kevin Summers

Harry Potter and the Deathly Hallows Part 2

Stuart Wilson AMPS, Adam Scrivener, James Mather, Mike Dowson, Stuart Hilliker, Orin Beaton, Mitch Low, John Casali, Gary Dodkin, Chris Murphy

BAFTA Nominees

The nominees for the Orange BAFTA (British Academy Awards) for Sound were announced January 17, 2012. Ceremonies will take place at The Royal Opera House on February 12, 2012.

The Artist

Michael Krikorian CAS, Nadine Muse, Gérard Lamps, Valeria Ghiran

Harry Potter and the Deathly Hallows Part 2

Stuart Wilson AMPS, James Mather, Stuart Hilliker, Mike Dowson, Adam Scrivener, Orin Beaton, Mitch Low, John Casali, Gary Dodkin, Chris Murphy

Hugo

John Midgley, Philip Stockton, Eugene Gearty, Tom Fleischman CAS, Mike Reardon, Martin Seeley, Charlotte Gray

Tinker Tailor Soldier Spy

John Casali, Howard Bargroff, Doug Cooper, Stephen Griffiths, Andy Shelley, Chris Murphy, Tim White, Orin Beaton, Alan MacFeely, Márton Kristóf, György Rajna

War Horse

Stuart Wilson AMPS, Gary Rydstrom CAS, Andy Nelson, Tom Johnson, Richard Hymns, Orin Beaton, Mitch Low, Thomas Fennell, Alan McFeely, Danny Hambrook, Christian Joyce, Matt Taylor

Oscars Nominees

The Academy of Motion Picture Arts and Sciences announced the nominees in the category of “Achievement in Sound Mixing” on January 24. The Oscars will be presented at the 84th Academy Awards on Sunday, February 26.

The Girl With the Dragon Tattoo

Bo Persson, David Parker, Michael Semanick, Ren Klyce, Stefan Ljungberg, Jonas Rudels, Mark Weingarten CAS, Michael Primmar, Mark Gretch, David Raymond, Daniel Greenwald, Chris Munro, Steve Finn

Hugo

John Midgley, Tom Fleischman, Mike Reardon, Charlotte Gray, Dash Mason- Malik, Peter Clarke, Martin Seeley, Clive Osborne, Andrew Sissons, Simon Brown

Moneyball

Ed Novick, Deb Adair, Ron Bochar, Dave Giammarco, Knox White, Chris (Catfish) Walmer, Marc-Jon Sullivan, Andy Edelman, Glenn Berkovitz CAS, Bill King, Bob Tiwana, Niel Riha, Joel Reidy, David C. Manahan

Transformers: Dark of the Moon

Peter J. Devlin CAS, Greg P. Russell, Gary Summers, Jeffrey J. Haboush, Kevin Cerchiai, Scott Solan, Kevin Summers

War Horse

Stuart Wilson, Gary Rydstrom, Andy Nelson, Tom Johnson, Orin Beaton, Mitch Low, Thomas Fennell, Alan Mcfeely, Danny Hambrook, Christian Joyce, Matt Taylor

Critics’ Choice Movie Award

On January 12, 2012, the 17th Annual Critics’ Choice Movie Award for Best Sound went to:

Harry Potter and the Deathly Hallows Part 2

Stuart Wilson AMPS, Orin Beaton, Mitch Low, Gary Dodkin, Chris Murphy

Congratulations to the rest of the nominees:

Hugo

John Midgley, Mike Reardon, Charlotte Gray, Dash Mason-Malik, Peter Clarke, Martin Seeley, Clive Osborne, Andrew Sissons, Simon Brown

Super 8

Mark Ulano CAS, Adam Blantz, Juan Cisneros, Jesse Kaplan, Eric Pierce CAS, Brion Condon

The Tree of Life

John Pritchett CAS, Kirk Francis CAS, David Roberts, Scott Jacobs, Shawn Harper, Kay Colvin

War Horse

Stuart Wilson AMPS, Orin Beaton, Mitch Low, Thomas Fennell, Alan McFeely, Danny Hambrook, Christian Joyce, Matt Taylor

Education & Training

by Laurence B. Abrams

Deadline Passed for Safety Pass Class

Most of our members have already completed the required “A-2 Environmental Safety” course, which is the most recently added course in the Safety Pass Training Program, but there may still be some who have not yet attended this class.  Be aware that Contract Services has announced that individuals who do not complete all required classes will be suspended from the Industry Experience Roster and may be considered ineligible for employment.  For those who haven’t yet taken it, the 3-hour “A-2” class is offered daily, Monday through Saturday, and provides a great deal of information that relates to the work we do.  For details about this training and easy online registration, see www.csatf.org/safety.shtml.  If you have questions about the Safety Pass Program, you can call Contract Services directly at 818.565.0550 ext. 1100.

Fisher Microphone Boom Training

Once the tool of choice for nearly every motion picture and television production sound team, the Fisher Microphone Boom has seen much less use in recent years.  Nonetheless, it is a hugely valuable tool that becomes more relevant today, as multi-camera HD shoots place impossible demands on the boom operator with a fishpole.  Local 695’s Fisher Microphone Boom: One-on-One Intensive Training is a unique and important training opportunity that is exclusive for Local 695 members and cannot be found anywhere else.  Microphone Boom Operators, Utility Sound Technicians and also Production Sound Mixers are strongly encouraged to attend this ongoing program that provides personalized hands-on instruction for the Model 2 and Model 7 Fisher microphone boom arms and the Model 3 and Model 6E Fisher boom bases.  HD cameras and long shooting takes have changed the way we do our work and have given you good reason to be fully trained on the use of a Fisher.  The AMPTP’s endorsement of the “Safety Bulletin on Extended and Successive Shooting Takes” (see www.local695.com/html/long-takes.php) makes it clear that your Producers are aware of the significant health and safety issues associated with long shooting takes and that they are on your side, ready to provide a Fisher Boom when one is needed.  Local 695’s Fisher Boom training is free to all 695 members, is entirely supported by the Local and is independent of the CSATTF training requirements.  For details on how to schedule one of these appointment-only Fisher Boom training sessions, visit www.local695.com/mbr/edu-fbt.php.

Pro Tools Training

In coordination with Contract Services Administrative Training Trust Fund’s skills training program, Local 695 members just completed a 4-day Pro Tools class at the Guitar Center Studios training facility in Woodland Hills.  The Avid-certified PT-101 class conducted during January 2012 covered all functionalities of the software, with emphasis on location recording and playback.  This training was free to members qualified for the Contract Services skills training grant.  If the grant is approved for the year starting February 2012, we anticipate additional PT-101 classes as well as expanding to include the advanced PT-110 class.  This training is free for Local 695 members who meet these CSATTF training requirements:

  • Must be on the Industry Experience Roster.  (If you’re not currently on the Roster, see www.local695.com/html/roster.php)
  • Must have completed all required Safety Pass Training . (If you haven’t completed the training, see www.local695.com/html/saftpssprt.php)
  • Must have an unexpired I-9 on-file at Contract Services.  (For details about the I-9, your current I-9 status and the renewal process, see www.local695.com/html/edu-i9.php)

Software Tutorials

Members of Local 695 still have the opportunity to take advantage of free access to over 1,000 comprehensive online software tutorials.  The list of courses grows continually as new software and versions are released.  These self-paced  online tutorials allow you to stop and start and review as needed.  And since you can keep multiple windows open, it’s easy to switch back and forth and experiment with the actual software while the tutorial progresses.  The list of available courses covers an enormous variety of topics, including Avid Pro Tools, Apple Logic, FL Studio, Steinberg WaveLab, Adobe Audition, Adobe Soundbooth, Apple Soundtrack Pro, Cubase, Sony Sound Forge, Adobe Premiere, Apple Final Cut Pro X, Adobe After Effects, Sony Vegas Pro 10, NewTek LightWave, Adobe Flash, Adobe Director, Adobe Dreamweaver, Adobe Photoshop, Apple Shake, Cleaner Pro, Adobe Fireworks, networking, databases, digital photography, website design and much more.  This training is completely free to all 695 members, is paid for by the Local and is totally independent of the CSATTF training requirements.  Take advantage of this free training while it remains available.  Further details and information about signing up for access to this training is at www.local695.com/mbr/edu-vtc.php.

For members who aren’t already registered on the Local 695 website with a current email address, you may want to do that now.  The most effective way for you to stay informed about educational resources, upcoming training announcements, updates and news about the Local is via email and the Local 695 website.  If you haven’t done so in a while, please log onto the website at www.local695.com to make sure that you are registered and that your email address is correct.

News & Announcements

Do you want to cruise previous issues of the Local 695 Quarterly? Send a link to an article to a friend or read the current issue on set? All issues of the Local 695 Quarterly are online at www.local695.com. The entire catalogue of the 695 Quarterly is available in a PDF format whenever you want it.

While you’re there, click on the “695 Gear” tab to see all the cool swag available. New items are added continuously, so check back often. The latest additions are 10 packs of “Local 695” stickers.


Southern Hospitality

Whit Norris held a gathering with Local 695 members from Los Angeles and Atlanta’s sound crews at his home in Atlanta, Georgia, on Sunday, November 6. Sound and video crews represented by Locals 695 and 479 enjoyed barbecue and beverages together on a pleasant Georgia afternoon.

CLICK TO ENLARGE

Front row: (l-r) Aron Siegal L479, Allen Williams L479, Paul Sorohan L479, Jim Hawkins L695-479, Chris Durfy L479 and son Devon, Richard Lightstone L695, Whit Norris L695-479, Bartek Swiatek L695-479, Jeff Wexler L695, Mary Ellis L695-479, Alex Lowe L479, Don Coufal L695, Bill Kaplan L695, Tommy Giordano L695 2nd row: (l-r) Hank Martin L479, Michael Clark L479, Bob Branam L695, David Goldstein L695, Glen Valentino L479, Matt Robinson L479, Eric Pierce L695, John Tendrich L695, Jorge Delvalle L479, Michael Wynn, Kevin Raser L479, Matt Durber L479


​In Remembrance: Alan F. Bernard

Local 695 Production Sound Mixer Alan Bernard passed away in the presence of his family on December 11, 2011. He leaves behind his wife Linda, daughter Cindy and sons Scott and David, both members of Local 695, and four grandchildren. Alan was a member of Local 695 for more than 50 years, and was an IATSE Gold Card member. Much of his time was devoted to the service of Local 695, volunteering for many committees and holding elected office. Alan was profiled in the fall 2011 edition of the 695 Quarterly, and can be read online at www.local695.com/Quarterly. A “Celebration of Life” for Alan was held on February 12 at Local 80 in Burbank.


Production Tracking Database

The Local 695 Production Tracking Database has been proving to be a great tool to help the office answer member’s questions about contracts and conditions on various productions. Keep filling out your job reports at www.local695.com/mbr/jobreport.php


Building the Buy Union!

LA Labor 411 is committed to empowering American consumers to buy quality products that are safe, made here in the U.S., and at a price point that means value. Union-made products enhance our community and build the cornerstone of our society—the middle class. Each one of us can make a difference every time we shop by choosing American-made, union-made products. Visit www.LALabor411.org for more information, and to use their online directory.


Stand Up To Content Theft

“Creative America continues to look for ways to eliminate the threat of digital content theft by rogue offshore websites. Recent debate on the issue is leading legislators toward solutions that effectively protect the rights and interests of all involved. Creative America is the grass-roots coalition formed by labor unions, guilds, studios and networks to look for ways to protect the jobs of more than 2 million Americans whose livelihoods are supported by the film and television industry. Visit www.creativeamerica.org to learn more about the impact of content theft on jobs, benefits and future work opportunities and to find out how you can help put an end to piracy.”


In Memoriam

DEAN G. HODGES
Production Sound Mixer
May 14, 1926 – Jan. 4, 2012

ALAN BERNARD
Production Sound Mixer
Jan. 30, 1934 – Dec. 11, 2011

FRANK A. RAINEY
Maintenance Engineer
Feb. 2, 1954 – Nov. 9, 2011

ALBERT AQUINO
Microphone Boom Operator
Aug. 7, 1957 – Jan. 9, 2012

From the President

When we start
All fire in the belly
To get to excellence
To make it
To make it right

This union thing
off the radar at first
Under the first layers
of what we think
we need know

Time pushes and pushes
Till it’s clear, looking back,
Tools we need to have
How to get good at this

Less about the hammers and nails
More about the blueprint,
a larger purpose
the overall

And the humans
We journey with…

This Union makes sense
To me, in this way
Another essential piece

A connection
Professional, personal
A solution seeking problems
Not perfect
but then, what is?

We are musicians,
sidemen,
session players

Perpetual students
Always practice, practice, practice
This is the task
This is the passion
This is the discipline

Fraternally,
Mark Ulano
President, IATSE Local 695

From the Business Representative

In Perspective

Workflow in its legal definition is a term covering all forms of physical and mental exertion to achieve an objective other than recreation or amusement.

In our industry, “workflow” has particular specialized meanings that apply to recording and transferring data at each stage of the process. A fundamental point is sometimes lost in all the technical specifications: skilled people perform these tasks; the people run the machines, not the other way around. A workflow, then, is simply a map of the tasks engineers and technicians undertake to produce a result.

In a workflow plan for managing digital images and sound, the tasks necessary at each stage include recording and transferring data, making computer entries, manipulating data files, servicing the audio and video equipment and similar chores. The technicians and engineers performing this work, both historically and contractually, do so under the jurisdiction of Local 695. Specific language in the IATSE-Producer contracts, as well as custom and practices agreed to between the parties, affirms the essential role of Local 695 bargaining unit employees in data management.

As the industry continues its migration to digital technology, there will be new challenges and a need for flexible new workflows. But it’s important to keep in perspective that these all refer to tasks performed by people, tasks that have been performed with skill and distinction by our members.

Should the reader require further information regarding this perspective, please address your inquiries to the Local 695 Business Office.

Very best wishes,
James A. Osburn, CAS
Business Representative Executive Director

From the Editors

We would like to wish all of you a Happy New Year! Each new year brings feelings of promise, good health and great success.

There is something about the calendar page turning to January 1 that makes all of us extremely hopeful for the future.

As 2012 begins, we can also celebrate the end of our third year of publishing the 695 Quarterly. That is quite an achievement for any new publication and a testament to our contributors as well as you, our readers.

Our goal has always been to highlight the membership of Local 695 and the incredible talent that we bring to our industry. These are dedicated technicians and innovators, always at the ‘bleeding’ edge of technology.

Every current development has a past to build on and Scott D. Smith, CAS explains it in “When Sound Was Reel 8.” But there is more; the second part of the profile of Courtney Goodin by David Waelder and “The Workflow of Oz” by Ian Kelley. Great reading.

Fraternally,
Eric Pierce, David Waelder and Richard Lightstone

Award Nominees and Recipients

Local 695 Salutes the 2010 Awards Nominees

[Local 695 members are in BOLD]

The nominees for the 47th Annual Cinema Audio Society Awards for Outstanding Achievement in Sound Mixing were announced on January 6, 2011. The ceremony will be held on February 19, 2011, at the Millennium Biltmore Hotel. Also on that night, Taylor Hackford will receive the CAS Filmmaker Award, and Local 695 member Jeff S. Wexler CAS, will be honored with the Career Achievement Award. Congratulations to all the nominees and production sound teams!

The 695 Quarterly would like to congratulate Ed Novick, Steve Nelson CAS, Christopher Atkinson, Tawakalitu Durowoju, Mike Markiew, William Munroe, Sterling Moore, David Raymond, Brian Robinson, Rin Takada and Nourdine Zaoui for their work as the production sound team on Inception, named “Best Sound” by the Broadcast Film Critics Association at the 16th Annual Critics Choice Awards ceremony, held on Friday, January 14, 2011, at the Hollywood Palladium. A big congratulations goes to all the nominees and production sound teams.

127 Hours
Douglas Cameron, Steven C. Laneri, Jason Brady, Noel Espinosa, Joseph L. Garrard, Marisa Kelley

Black Swan
Ken Ishii CAS, Anguibe Guindo, Brendan O’Brien, Seth Tallman, Joe Origlieri

Toy Story 3
Doc Kane

The Social Network
Mark Weingarten CAS, Tom Williams CAS, David Raymond, Mark Fay, David C. Manahan

MOTION PICTURES

Black Swan
Ken Ishii CAS, Dominick Tavella CAS, Craig Henighan, Anguibe Guindo, Brendan O’Brien, Seth Tallman, Joe Origlieri

Inception
Ed Novick, Lora Hirschberg, Gary A. Rizzo, Steve Nelson CAS, Christopher Atkinson, Tawakalitu Durowoju, Mike Markiew, William Munroe, Sterling Moore, David Raymond, Brian Robinson, Rin Takada, Nourdine Zaoui

Shutter Island
Petur Hliddal, Tom Fleischman CAS, Carl Fischer, Kelly Doran

The Social Network
Mark Weingarten CAS, Ren Klyce, David Parker, Michael Semanick CAS, Tom Williams CAS, David Raymond, Mark Fay, David C. Manahan

True Grit
Peter F. Kurland CAS, Skip Lievsay CAS, Craig Berkey CAS, Greg Orloff CAS, Douglas Axtell CAS, Randy Johnson, Kay Colvin

TELEVISION MOVIES & MINI-SERIES

The Pacific Part 2
Andrew Ramage, Michael Minkler CAS, Daniel Leahy, Dean Ryan, Glen Townson

The Pacific Part 5
Andrew Ramage, Michael Minkler CAS, Daniel Leahy, Craig Mann, Dean Ryan, Glen Townson

The Pacific Part 8
Gary Wilkins CAS, Michael Minkler CAS, Daniel Leahy, Mark J. Wasiutak, Chris O’Shea, Scott Bruce

The Pacific Part 9
Gary Wilkins CAS, Michael Minkler CAS, Daniel Leahy, Mark J. Wasiutak, Chris O’Shea, Scott Bruce

Temple Grandin
Ethan Andrus, Rick Ash, Tom Sturgis, Michael Swanner

TELEVISION SERIES

24
“3:00 PM – 4:00 PM”
William F. Gocke CAS, Michael Olman CAS, Kenneth Kobett CAS, Todd Overton, Corey Woods

Boardwalk Empire
“A Return to Normalcy”
Episode 12
Franklin D. Stettner CAS, Tom Fleischman CAS, Larry Provost, Sam Perry, Peter Fonda, Toussaint Kotright, Egor Panchenko, Tim Elder, Michelle Mader

Dexter
“Take It”
Greg Agalsoff, Pete Elia CAS, Kevin Roache, Jeff Williams, Kim Podzimek, Gary Raymond

Glee
“The Power of Madonna”
Phillip W. Palmer CAS, Joseph H. Earle Jr. CAS, Doug Andham CAS, Patrick Martens, Devendra Cleary, Hanna Collins

Modern Family
“Chirp”
Stephen A. Tibbo CAS, Dean Okrand, Preston Conner, Dan Lipe, Noel Espinosa

TELEVISION: NON-FICTION, VARIETY OR MUSIC SERIES OR SPECIALS

Baseball
“The Tenth Inning: Bottom of the Tenth”
Dominick Tavella CAS, Mark Roy, John Zecca, Francis X. Coakley, Peter J. Miller, David Obermeyer, Bob Silverthorne,  G. John Garrett CAS, Scott Harber

Deadliest Catch: Redemption Day
Bob Bronow CAS

Genius Within: The Inner Life of Glenn Gould
Bruce Cameron, Ian Rodness

Great Performances at the Met: Armida
Jay Saks, Ken Hahn CAS

LENNONYC
Roger Phenix

DVD ORIGINAL PROGRAMMING

30 Days of Night: Dark Days
Michael T. Williamson CAS, Eric Lalicata CAS, Martin LaCroix, William A. Unrau

Calvin Marshall
Kent Romney, Mark Server, David Raines CAS, Phil Gerke, Chris Espinosa, Randy Voris

Lost Boys: The Thirst
Conrad Kuhne, Kelly Vandever, Todd Beckett, Jacques Pienaar

Space Chimps 2: Zartog Strikes Back
Mark Rozett CAS, Kelly Vandever

Tinkerbell and the Great Fairy Rescue
Doc Kane, David E. Fluhr CAS, Adam Jenkins

The 2011 Orange British Academy Awards will be held Sunday, February 13, 2011, at the Royal Opera House in London’s Covent Garden. The ceremony will be broadcast in the UK on the BBC, and in the U.S. on BBC America. The nominees and production sound teams for Best Sound are:

127 Hours
Douglas Cameron, Glenn Freemantle, Ian Tapp CAS, Richard Pryke CAS, Steven C. Laneri, Jason Brady, Noel Espinosa, Joseph L. Garrard, Marisa Kelley

Black Swan
Ken Ishii CAS, Craig Henighan, Dominick Tavella CAS, Anguibe Guindo, Brendan O’Brien, Seth Tallman, Joe Origlieri

Inception
Ed Novick, Richard King, Lora Hirschberg, Gary A. Rizzo, Steve Nelson CAS, Christopher Atkinson, Tawakalitu Durowoju, Mike Markiew, William Munroe, Sterling Moore, David Raymond, Brian Robinson, Rin Takada, Nourdine Zaoui

The King’s Speech
John Midgley, Lee Walpole, Paul Hamblin, Mike Reardon, Dash Mason-Malik

True Grit
Peter F. Kurland CAS, Douglas Axtell CAS, Skip Lievsay CAS, Craig Berkey CAS, Greg Orloff CAS, Randy Johnson, Kay Colvin

The nominations for the 83rd Academy Awards were announced on Tuesday, January 25, 2011. The awards ceremony will be held on Sunday, February 27, 2011, at the Kodak Theatre in Hollywood, and broadcast worldwide. In the  category of “Sound Mixing,” the nominated sound mixers and the production sound teams are:

Inception
Ed Novick, Lora Hirschberg, Gary A. Rizzo, Steve Nelson CAS, Christopher Atkinson, Tawakalitu Durowoju, Mike Markiew, William Munroe, Sterling Moore, David Raymond, Brian Robinson, Rin Takada, Nourdine Zaoui

The King’s Speech
John Midgley, Lee Walpole, Paul Hamblin, Mike Reardon, Dash Mason-Malik

Salt
William Sarokin, Jeffrey J. Haboush CAS, Greg P. Russell CAS, Scott Millan CAS, George Leong, Richard Murphy, Jason Stasium, Stuart Deutsch, Michael Barosky

The Social Network
Mark Weingarten CAS, Ren Klyce, David Parker, Michael Semanick CAS, Tom Williams CAS, David Raymond, Mark Fay, David C. Manahan

True Grit
Peter F. Kurland CAS, Skip Lievsay CAS, Craig Berkey CAS, Greg Orloff CAS, Douglas Axtell CAS, Randy Johnson, Kay Colvin

News & Announcements

Local 695 Officers Start New Three-Year Term

The January 15 Executive Board meeting began with the swearing in of the Officers of Local 695, with IATSE Vice President Michael F. Miller administering the oath.

We welcome two new officers this term: Executive Board member Jeff Wexler, who has served on the Board previously, and Trustee Peggy Names.

Returning Officers are Business Agent James Osburn; President Mark Ulano; Vice President Jay Patterson; Secretary-Treasurer Susan Moore-Chong; Recording Secretary Elizabeth Alvarez; Sergeant-at-Arms Dean Striepeke; Executive Board members Laurence B. Abrams, Scott Bernard, Courtney Goodin, Richard Lightstone and Andy Rovins; Board of Trustees Gene Cantamessa and Eric Pierce.

We would like to express our deepest gratitude to departing Officers Alan Bernard and Agamemnon Andrianos for their service to the members of Local 695.


James Osburn Receives Honorary CAS Membership

At the September 25, 2010 Local 695 General Membership meeting, Edward Moskowitz, President the Cinema Audio Society, presented Business Representative James Osburn with an honorary CAS membership.  In order for one to be granted an honorary membership, they must be approved by the CAS Board of Directors unanimously.

Mr. Moskowitz tells us that membership in the CAS is earned by dedication to a person’s craft, demonstrated by the duration of service performing their craft, and represents a level of respect that has been earned after many years, and knowledge, experience, preparation and teamwork are traits that the Board of Directors considers when granting membership.

In his speech, Edward told the audience “(Jim Osburn) has worked tirelessly for more than 40 years to demonstrate these many goals of the CAS. He has worked in many parts of the sound industry and has been a leader to many people in this room today. His production credits cover a broad range, including The Great Gatsby, The Wild Bunch, Chinatown, Ol’ Blue Eyes, The Godfather, The Godfather: Part II, Marathon Man, Looking for Mr. Goodbar, Close Encounters of the Third Kind, and Titanic.”

James A. Osburn, CAS joins a list of honorary CAS members that include Leo Chaloukian, Richard Topham, Sr. and Ray Dolby.


Education & Training Programs for Members Not on the Industry Experience Roster

Certain training programs funded by Contract Services are only available to members on the Industry Experience Roster. However, some 695 members aren’t required to be on the Roster if they work, for example, at KTLA, KCET or on certain sports broadcast productions under Contracts not covered by the Basic and Local Agreements. But if you’ve worked at least 100 days in your job classification over the past three years, you probably do meet the Roster requirements. You may want to consider pursuing Roster placement in order to become eligible for some of our training programs as well as to possibly expand your work opportunities outside of the area in which you are currently employed. Log on to www.csatf.org for complete details regarding Roster placement. If you have questions regarding documentation, contact Kim Pryor at Contract Services at Roster.Specialist2@csatf.org or at (818) 565-0550 ext.1112.


Your Weingarten Rights

The U.S. Supreme Court has ruled that the National Labor Relations Act gives workers the right to request Union representation during investigatory interviews by supervisors, security personnel, and other managerial staff. These are called Weingarten Rights. NLRB v.J. Weingarten, Inc., 420 U.S. 251, 88 LRRM 2689 (U.S. Sup. Ct. 1975)

An investigatory interview occurs if 1) management questions you to obtain information; and 2) you have reasonable apprehension that your answers could be used as a basis for discipline or other adverse action.

You must ask for Union representation either before or during an investigatory interview. Management does not have to remind you of this right.

If your request is refused and management continues asking questions, you may refuse to answer. Your employer is guilty of an unfair labor practice and charges may be filed.

If you are questioned in a situation where Weingarten may apply, read or present the following statement:

“If this interview could in any way lead to my being disciplined or terminated, or affect my personal working conditions, I respectfully request that my Union Representative, Officer or Steward be present at this meeting. Until my Representative arrives; I choose not to participate in this discussion.”


New HBO Contract

International President Matt Loeb has informed us that the IA has negotiated a new contract with HBO Entertainment that will result in increased wages and higher benefit contributions for HBO productions. In addition, and for the first time, the bargaining committee negotiated a bonus payment to all employees of HBO Entertainment in 2010.


IATSE Convention Delegates

Scott Bernard, John S. Coffey, Elizabeth S. Alvarez and Edward Moskowitz were elected as convention Delegates for Local 695, and will join Business Representative James Osburn and President Mark Ulano at the 66th IATSE Quadrennial Convention in Boston.


In Memoriam

CARROLL PRATT – Mixer
April 19, 1921 – Nov. 11, 2010

From the Business Representative

OSCARS

According to The Huffington Post, 41.3 million viewers saw and heard the 2010 Oscars telecast. It is conspicuously the most popular awards show, drawing nearly as many viewers as the combined audience for the Grammys, the Tonys and the Emmys.

Global research company Penn Schoen Berland recently conducted an online poll of 700 Oscar telecast viewers for The Hollywood Reporter. Among many areas of inquiry, the viewers were asked to speculate on awards categories they believe should be removed from the live telecast of the Oscars. Sixty-three percent of the respondents were in favor of continuing to include the award for “Best Sound Mixing” in the live telecast of the Oscar presentation.

However, from these published facts, it is evident that 37 percent (259) of those participating viewers have little to no comprehension of the artistic and technical contribution of production sound mixers and little to no comprehension of the collaborative contribution of their support teams.

Both current and past producers of the Academy Awards telecasts have supported public recognition of excellence achieved by wide variety of behind-the-scenes technicians, artists and craftspeople in the motion picture family. There is an established history of the broad appreciation of the many skills and talents that go into a successful picture. We congratulate the Academy Awards producers on continuing this inclusive practice.

Many of my age group were introduced to the Academy Awards in radio broadcasts hosted by Bob Hope. The current live telecast far exceeds those earlier radio broadcasts but the popularity of the show, now watched by more than 40 million, is a constant. We believe that an important part of that popularity is recognition of the authenticity of awards determined by the participants themselves, honoring excellence within their own community.

Here is yet another example of the purpose of the 695 Quarterly. By highlighting the many significant contributions made by our members, our value to the production of motion pictures, television, commercials, sports, and live-telecast productions may continue to be properly appreciated.

James A. Osburn
Local 695 Business Representative

From the President

State Of The Union January 2011

The Board of Directors, the Business Representative and I have all been returned to office. We are honored by this vote of confidence and grateful for the participation of all the candidates. Welcome and thank you. Win or lose, please stay involved.

With this Board of Directors, we are blessed with a group of capable, experienced, independent thinkers. These folks have each built their careers, brick by brick, preparing them well for the tough future we face as union members. Eventually, the pervasive anti-union rhetoric of the present will have to be reconciled with the severely hammered working middle class of this country. Thirty-six percent of the wealth in the hands of 0.5% of the population.

Your Board of Directors gets it, gladly giving their most valuable asset, their personal time. Other than the Business Representative, none of the officers of Local 695 receive any financial compensation for their participation as officers—not even the waiving of their dues, although it is their right. Not a single Board member has chosen to claim it. These people volunteer their time for long, complex discussion and decision making, on average, one day a month, plus additional time for committee work, projects, negotiations, etc.

They know that without taking ownership, their ability to influence policy is dramatically limited. Please come witness and engage in this process for your own self-interest, either by joining a committee, auditing a Board meeting and/or attending the General Membership meetings as a voting member. You own a piece of “The Rock.” Don’t leave it unattended.

When I first took on this job, I imagined three phases essential to our future survival as a professional community. First, I saw us coming together as a cohesive unit, second, establishing the building blocks of education and communications and third, making a living blueprint for navigating the future of our mutual interests.

Phase one took place when we came out of the terrible trusteeship in the late 1990s. Naysayers predicted that we couldn’t survive as an organization, that too much internal damage had happened and that we would soon disappear. We have proven these predictions wrong! We firmly established a proactive and positive stance.

Some great people stepped up, continuing a long tradition. More have continued to do so. It still inspires me how quickly the private political agendas were recognized, challenged and overcome by the enlightened self-interest of the membership and their elected officers. We healed ourselves.

This isn’t to say that debate and spirited disagreement doesn’t take place as we work toward policy decisions. Thankfully, it does. No rubber stamps here. But there is genuine awareness and concern as well as mutual respect among the players. The arguments are always won by the best idea, not the loudest voice.

Phase two, the focus on education, communications and service, commenced once the cohesiveness of the team became clear.

We knew how urgent it was to return to an education program that could last and grow. It has since become a fixture of Local 695’s profile to the members and the industry. Second to none among the IATSE’s many locals, our training program provides skills for surviving in the workplace. It tickles me that in recent years, newer members have no knowledge that the education program had so long been absent or that this publication hadn’t existed. We have also accomplished dramatic improvements with our representation for the members, be it informational, legal or just policing the jurisdiction. Ask around and you’ll see how far we have come. These new members would and should raise hell with anyone who tries to take away the current level of service they receive from 695. We are not standing still; we continue to build and improve, working hard to make it better.

Phase three. The second decade of the 21st century is filled with uncertainty and chaos. The sandbagging of the middle class, the carte blanche deregulation and consolidation of virtually every industry into fewer and fewer players on the world stage, gives testimony to the rapacious dominance of corporatism. These guys celebrate the 18-cent-an-hour Chinese worker killing himself to buy his first locally built car in a society with a 100% carbon footprint. They want to return to the robber-baron feudal system of the 19th century as the dominant form of government.

Well, as a “dyed in the wool” neo-Jeffersonian capitalist (with a small “c”), I don’t buy it. No one who works for a living should.

Without apology, I am blatantly optimistic. Against conventional wisdom, I believe that Labor itself is the real growth industry. The human instinct for survival is transforming this cycle into a more rational state. Along with assaulting the American worker, these world “marketeers” have been dismantling the American market, the most dynamic market the world has ever seen. If people don’t make sufficient income, they cannot buy goods, simple arithmetic.

Within ten years, it is possible that the present model for monetizing the entertainment industry will be a distant memory, replaced by something more like the studio system of mid-century America. We have already witnessed reintegration of production and distribution in the film and television business. Regulation of this is what broke up the old studio system in the first place. Lower production costs will result from better use of already-owned and under-utilized studio facilities. Savings are to be had by negotiating more realistic deals with on-camera talent (who’s piece of the pie is already contracting). Further economies are made possible from returning to a staff versus freelance model for below-the-line employees, creating much greater security for everyone in the bargain. And cost cutting will come from creating location environments in computers, instead of on location. In addition, we can see political realities emerging as management faces irresistible and xenophobic pressures to protect jobs and job creation here at home. All these elements are converging.

What does it mean to us? It means that we must maintain a constant state of readiness to perform our essential and specialized skills in the market. Although little understood by our industry colleagues, what we do is vital to the process. It is done by hand and is not susceptible to automation. Without it, movies and television cannot be made. This is our strength. This is what we contribute.

Phase three is using this effectively to our mutual benefit on an industry-wide scale. We must continue to ally ourselves with all of like knowledge and skill to achieve appropriate wages and conditions for the essential work we do. This is not a conceit; rather, it is just common sense. There is nothing impossible about it when you consider the cure for polio, the Great Wall of China or landing on the moon. It is the matter of creating a coherent strategy and the will to implement it.

Fraternally,

Mark Ulano
President

From the Editors

Happy New Year and welcome to the winter edition of the 695 Quarterly. Every new year seems to bring a renewed vision and a resolve to do better and that’s what we three editors strive to do as we reach the end of the second year of this periodical. This is also the Awards Season and we congratulate all the nominees.

Our mission is to inform the members of Local 695 as well as the entertainment community at large. Scott Smith writes expansively on the history of this Local and the development of the technology of the recording medium. David Waelder continues to analyze the tools of our craft.

The common thread in all this is that each member of our “crew” brings a necessary ingredient to the entire creation. This formula is no different than the industry we work in where synergy is the operative word.

Synergy is defined as the interaction, or cooperation, of two or more organizations or individuals whose combined effect is greater than the sum of their separate efforts. The members of this Local do that every day.

Recently, the CAS held a symposium on the “Digital Gameplan: Successful Workflow Approaches on Set Thru Post.” The overarching conclusion was that we must trust the professionals and communicate effectively and succinctly with all the individuals and departments that work with us.

That is what we are trying to do, and we welcome your thoughts and contributions to this publication.

We would like to suggest that you call the Local for additional copies of the 695 Quarterly to distribute to your producer, UPM, DP, gaffer or favorite wardrobe supervisor. It is helpful to get more people reading about what we do—so expertly. You can reach us directly on the Contact Page.

Fraternally,
Richard Lightstone, David Waelder and Eric Pierce

47th Annual CAS Awards

The 47th Annual CAS Awards were held on Saturday, February 19, 2011, at the Millennium Biltmore Hotel in Downtown Los Angeles.

[Local 695 members are in BOLD]

Inception took home both the Oscar for Sound Mixing, as well as the BAFTA Award for Best Sound at the Orange British Academy Film Awards. Congratulations to Ed Novick, Lora Hirschberg, Gary A. Rizzo, Richard King, Steve Nelson CAS, Christopher Atkinson, Tawakalitu Durowoju, Mike Markiew, William Munroe, Sterling Moore, David Raymond, Brian Robinson, Rin Takada, Nourdine Zaoui.

Outstanding Achievement in Sound Mixing for Motion Pictures
True Grit
Peter F. Kurland CAS
, Skip Lievsay CAS, Craig Berkey CAS, Greg Orloff CAS, Douglas Axtell, Randy Johnson, Kay Colvin

Outstanding Achievement in Sound Mixing for a Television Movie and Mini-Series
Temple Grandin

Ethan Andrus, Rick Ash, Tom Sturgis, Michael Swanner

Outstanding Achievement in Sound Mixing for a Television Series
Boardwalk Empire
“A Return to Normalcy” Episode 12

Franklin D. Stettner CAS, Tom Fleischman CAS, Larry Provost, Sam Perry, Toussaint Kotright, Egor Panchenko, Tim Elder, Michelle Mader

Oustanding Achievement in Sound Mixing for Television Non-Fiction, Variety or Music – Series or Specials
Deadliest Catch

“Redemption Day”
Bob Bronow CAS

Outstanding Achievement in Sound Mixing for DVD Original Programming
30 Days of Night: Dark Days

Michael T. Williamson CAS, Eric Lalicata CAS, Martin LaCroix, William A. Unrau

Education & Training

We hope you continue take full advantage of the various Education and Training resources made available to you through Local 695.

More than 900 comprehensive online software tutorials are still being provided free to the membership.  These continually updated online classes provide an excellent opportunity for self-paced training that covers an enormous variety of topics, including Avid Pro Tools, Apple Logic, FL Studio, Steinberg WaveLab, Adobe Audition, Adobe Soundbooth, Apple Soundtrack Pro, Cubase, Sony Sound Forge, Adobe Premiere, Apple Final Cut Pro, Adobe After Effects, Sony Vegas, NewTek LightWave, Adobe Flash, Adobe Director, Adobe Dreamweaver, Adobe Photoshop, Apple Shake, Cleaner Pro, Adobe Fireworks and literally hundreds more.  See www.local695.com/mbr/edu-vtc.php for further details and for information about how to sign up for free access to this training.

Microphone Boom Operators, Utility Sound Technicians and also Production Sound Mixers are encouraged to attend our ongoing program, Fisher Microphone Boom Training: One-on-One Intensive, which provides personalized hands-on instruction for the Model 2 and Model 7 Fisher microphone boom arms and the Model 3 and Model 6E Fisher boom bases.  This unique and important training opportunity is exclusive for Local 695 members and cannot be found anywhere else.  HD cameras and long shooting takes have changed the way we do our work and have given you good reason to be fully trained on the use of a Fisher.  The AMPTP’s “Safety Bulletin on Extended and Successive Shooting Takes” makes it clear that the Producers are aware of the significant health and safety issues that are associated with long shooting takes and that they are on your side, ready to provide a Fisher Boom when you need one.  If you haven’t read about this yet, please visit www.local695.com/html/long-takes.php.  For details on how to schedule one of these appointment-only Fisher Boom training sessions, visit www.local695.com/mbr/edu-fbt.php.

In addition to training provided entirely by the Local, some of the training we offer to members is funded in part by a training grant from the Contract Services Administration Training Trust Fund (CSATTF).  As specified in the “Basic Agreement” between the IATSE and the AMPTP, this training money is derived from contributions made by signatory Producers as a negotiated benefit for every hour that you work under that contract.  In other words, you’ve earned this training money… so use it.

The list of classes available through this year’s CSATTF training grant, which can be seen at www.local695.com/mbr/edu-csatfrmb.php, includes Pro Tools, Final Cut Pro, After Effects, Red Camera and REDucation, Avid Media Composer, Flash, Illustrator, Maya, Nuke, Photoshop, Rhino, Sketchup and more.  The eligibility requirements for partial reimbursement of classes covered by this training grant are as follows…

•    You must be on the Industry Experience Roster and…

•    You must have a current I-9 on-file at Contract Services and…

•    You must have completed all of your required classes for the Safety Pass Program.

To assist members who need to update their I-9’s, Contract Services is open on Saturdays from 7:00 am to 3:00 pm, as well as during the week from 7:00 am to 5:00 pm.  If you have any questions about I-9 renewals or about requirements and scheduling for the Safety Pass Program, you can call Contract Services at 818.565.0550 ext. 1100.

For members who are not on the Industry Experience Roster, and thus not eligible for some CSATTF-funded training, you may want to find out if you do, in fact, qualify for Roster placement.

Many of our members find themselves working under Contracts that are not covered by the Basic Agreement and Local Agreement and therefore, those members are not required to be on the Industry Experience Roster.  This would include, for example, members who work at KTLA, KCET and on certain sports broadcast productions.  But if you’ve worked at least 100 days in your job classification over the past 3 years, you probably do meet the requirements for Roster placement.  If that’s the case, you may want to consider pursuing Roster placement in order to become eligible for some of these training programs, as well as to possibly expand your work opportunities outside of the area in which you are currently employed.  See www.csatf.org for complete details regarding Roster placement.  If you have questions regarding documentation, contact Kim Pryor at Contract Services at Roster.Specialist2@csatf.org or at 818.565.0550 ext.1112.

For members who aren’t already registered on the Local 695 website with a current email address, you may want to do that now.

The most effective way for you to stay informed about educational resources, upcoming training announcements and updates is via email and the Local 695 website.  Please log onto the website at www.local695.com to make sure that your email address is correct.


Color Science for Projectionists and Video Engineers

This past April, Local 695 Studio Projectionists and Video Engineers participated in two days of comprehensive training on color science and color management conducted at the well-equipped training facility at Videotape Products, Inc. (VTP) in Burbank.  The training was conducted by Cine-tal engineer Michael Chenery, a leading expert in color science for the digital cinema and video industries.  During the all-day sessions, Local 695 members received an in-depth and extremely detailed presentation covering the topics of color science, color theory and color models including XYZ, RGB and YCbCr, XvYcc, as well as gamma, logarithmic and linear encoding including Rec709, RedLog, Panalog, ArriLog, FilmStream and sLog, with opportunity for hands-on participation transforming data between color models, profiling display technology including digital projection, building look up tables (LUTs), and implementing color management practices.  All that, plus lunch!

News & Announcements

Highlights From 1st Quarter Membership Meeting

Todd Lindgren of Film L.A. Inc., the organization that coordinates and processes film permits in Los Angeles, spoke to the membership about their media campaign, Film Works. Partnering with studios, supply companies, entertainment unions, and anyone else affected by runaway production, Film Works www.filmworksla.com is getting the message out that local film production is good for the whole community.

Todd presented the Film Works campaign, an ongoing advertising effort to acquaint people with the many technicians involved in production and their contributions to their local communities. He handed out bumper and window stickers, and also highlighted donated media, such as billboards and a PSA that will run before each feature at the Mann Theater chain. They are also compiling videos of film and television workers telling their own stories, which can be viewed at www.youtube.com/filmworksla. They encourage film and video workers to upload their own videos to provide material for additional ads so the site may show a wide diversity of affected people.


Seth & Kriky’s Sound BBQ

Seth Gilbert and Michael “Kriky” Krikorians’ Fifth Annual Sound Department BBQ is being planned for June. Great food, BYOB, and a great networking opportunity with fellow Soundies! To get on their mailing list, send an email to soundbbq@kriky.com or visit Kriky & Seth’s Sound Department BBQ on Facebook.


FCC Licensing Project

Jay Patterson, CAS and Tim Holly made a presentation on FCC Low Power Broadcast Auxiliary Licensing for Audio and Video Production. Jay and Tim went through the process involved in obtaining a license, and described the advantages that the production sound and video community would have as licensed operators. As Jay tells it, “With sound and video operators licensed in the frequency bands that they operate in, they will fully understand the responsibilities and regulations that come with obtaining a license, and consequently have FCC protection against infringing non-licensed operators, such as white space devices. Importantly, as licensed operators, they will now have a voice with the FCC in the use of these frequencies.” For more information, go to www.local695.com/html/rf-info.html


J.L.Fisher BBQ

The spring/summer season started off with sizzle at the J.L.Fisher annual BBQ on Saturday, May 14, 2011. There were tours of the facilities, panel discussions by ASC members, demonstrations of all sorts of camera support gear and lots of good food. And there was a chance to try one’s hand at cueing a Fisher boom under the supervision of Local 695 members Laurence Abrams and Andy Rovins.


AB1069

Assemblyman Felipe Fuentes has authored bill AB1069, which is being introduced to the California State Assembly. This bill seeks to extend the California Film & Television Tax Credit through 2019, giving film and television producers a long-term incentive to shoot in California.


Jeff Wexler Receives CAS Career Achievement Award

Jeffrey Wexler, CAS was presented with the Career Achievement Award at the 47th Annual CAS Awards, February 19, 2011, at the Millennium Biltmore Hotel. Jeff was a pioneer in the early days of digital audio tape and then file-based recording. He has been active in many organizations, is currently a Trustee on the Board of Directors for Local 695, and is an active speaker at seminars and discussion groups, including his own at www.jwsound.net. Jeff’s impressive body of work spans four decades of feature film production. When Jeff was selected for this award, CAS President Edward Moskowitz told us, “The Cinema Audio Society’s credo is ‘dedicated to the Advancement of Sound.’ We search for an individual who exemplifies this spirit, and Jeff has certainly met and surpassed this goal.”


Darryl Linkow 1945-2011

Brother Darryl Linkow, CAS passed away on February 12, 2011. In 2009, Darryl went through treatment for esophageal cancer and beat the disease. However, the lingering weakness from the old radiation treatments robbed his ability to fight off an infection he caught during a recent unrelated surgery. Darryl was a longtime member of the Local as a production sound mixer. He was an enthusiast for electronica music, especially rock & roll, and a ham radio operator. As an amateur radio operator, Darryl, KE6IHA, was an important part of the L.A. County Disaster Communications Service for the Los Angeles Sheriff’s Department, Lost Hills Division, for more than 20 years. Darryl joined Local 695 in 1980, working in features, sports, episodic and commercials in his early years. He transitioned primarily into ENG as that field opened up in the ’80s and spent most of the last 20 years in news, documentaries and magazine shows. He was a familiar face for Entertainment Tonightand The Insider on red carpet lines at all the major award shows. He also worked for CBS, NBC and ABC. Those who knew Darryl remember him as friendly, knowledgeable, loyal, and opinionated as hell. He was a good friend—available, helpful, and almost always ready to render advice. Darryl was always there for his friends, and he made a lot of friends. He loved a good discussion— or argument—about the correct ways of recording, mixing, mic’ing, or setting up radios. I think he enjoyed the discussions as much as doing the work, but above all, Darryl was a damn good sound guy. Darryl leaves behind Karen, his wife of 32 years.

–Andy Rovins, CAS & Bill Bass


In Memoriam

BERNIE CELEK – Maintenance Engineer
April 2, 1948 – April 5, 2011

DENNIS L. MAITLAND – Mixer
March 31, 1931 – April 1, 2011

EDWARD E. RUE – Mixer
Feb. 13, 1945 – Feb. 19, 2011

DARRYL G. LINKOW – Mixer
Aug. 30, 1945 – Feb. 12, 2011

JAMES W. MACHOWSKI – Mixer
Sept. 3, 1962 – Feb. 9, 2011

From the Business Representative

It is with profound regret that I share with you the sad news of the passing of Harold W. Varney—“Bill,” a 31-year member of IATSE Local 695. Bill distinguished himself unequivocally as an Academy Award–winning sound mixer, having received Oscars for best sound recording on The Empire Strikes Back (1980) and Raiders of the Lost Ark(1981).

Bill also received Oscar nominations for Dune (1984) and Back to the Future (1985), as well as an Emmy Award nomination for the TV series Roots (1977). Bill’s sound recording credits are extensive.

In addition to his significant Industry awards, Bill also served as President of the Cinema Audio Society in 1977 and Vice President of Sound Operations for Universal Studios Pictures.

Bill also led the sound restoration efforts on the Orson Wells 1958 film movie classic Touch of Evil, relying on state-of-the-art digital recording to enhance the clarity of the original 40-year old production recordings.

Bill’s professional advocacy for direct lines of communication between the production mixer and the post-production mixer had a profound effect and resulted in procedures that yielded cost savings for all involved.

Those of us who were fortunate to have worked with Bill during his 14 years employed at Samuel Goldwyn Studios Sound Operations , knew Bill as a professional in every sense of the word and a person having profound compassion both for his support recording team and his family. In simple terms, Bill was without question a wonderful person and shall always be remembered for his presence, compassion and contributions.

From the President

Helping Your Neighbor and FCC Licensing

Dateline: New Orleans, La.
My team and I are working in the provinces—long hours and under one of the “creative” tiered contracts, but glad for the work in these tough times. Like most of us, we are freelancers and essentially “leaves in the wind” when it comes to work. Good years and bad years meld together as the work cycles turn. Our survival strategy is to make the best of resources when we are working, keeping debt as low as possible and putting something away for the dry spells if possible. Not all of us have the option to spread it that way so, if you see the opportunity to steer some work or benefit hours to fellow members in need, please try to help out. Some guidance on how to do this properly is on our Web page: https://www.local695.com/mbr/hours.php

That being said, I am hopeful. It seems that there is an up tick in the workflow both locally and nationally so we may see a more normalized work year ahead of us. I pray this is true for all of our members.

In the meantime, I think it is wise to be your own best guardian of your work-related preparation. Licensing with the FCC certainly falls into this category. We were very fortunate to have our Vice President, Jay Patterson, put together an FCC licensing program for the General Membership meeting this quarter. The landscape of spectrum allocation is changing constantly and being properly licensed may improve your options in the future. Detailed information is available at https://www.local695.com/html/rf-info.html

Check it out. If it makes sense for your situation in either wireless audio or video transmission, submit your application.

Warm regards,
Mark Ulano President,
IATSE Local 695

From the Editors

It is often said that California does not have seasons. We disagree.

Pilot season has just ended. Film-going audiences everywhere are eagerly awaiting the start of the summer blockbuster season. That will quickly be followed by the television season and then the awards season. These are the events that mark the tempo of our professional lives. These ‘seasons’ continue to build upon the traditions fought for throughout the 80-year history of Local 695.

You can read all of our endeavors, right here. Lee Orloff tells us about his experiences recording the dialog for the animated feature Rango. Scott Smith gives us part three of the incredible history of this Local. Jim Tanenbaum digs into the more technical aspects of wireless microphones and Eric Pierce explains how data servers have been replacing video tape in the fast-paced world of live and live to tape television production.

You can now find every issue of the 695 Quarterly online at our new stand alone website https://www.local695.com/Quarterly/. As they say, “Bookmark it.”

We also encourage you to distribute copies of this magazine among fellow crewmembers, producers and production managers. Let them see all the disciplines we do so professionally as members of Local 695.

You may request additional copies by calling the Local’s office, and you can reach us directly at mag@659.com.

Fraternally,
David Waelder, Eric Pierce and Richard Lightstone

The 63rd Annual Emmy Awards

Congratulations to the nominees and their production sound teams for the 63rd Annual Emmy Awards in the category of Outstanding Sound Mixing. The Creative Arts Awards and Ball will be held on September 10, 2011, and will be broadcast Saturday, Sept. 17, at 8 p.m on the ReelzChannel.

[Names in bold are Local 695 members]

COMEDY OR DRAMA SERIES (HALF-HOUR) & ANIMATION

Modern Family – “Halloween” – ABC
Stephen A. Tibbo CAS, Dean Okrand, Brian R. Harman CAS, Preston Conner, Dan Lipe, Colin Campbell

Family Guy – “Road to the North Pole” – FOX
Patrick Clark, James F. Fitzpatrick CAS

The Office – “Andy’s Play” – NBC
Ben Patrick CAS, John W. Cook CAS, Peter J. Nusbaum CAS, Brian Wittle, Nick Carbone, Mark Agostino

Parks and Recreation – “Andy and April’s Fancy Party” – NBC
Steve Morantz CAS, John W. Cook CAS, Peter J. Nusbaum CAS, Aaron Wallace, Mitch Cohn

Californication – “The Last Supper” – Showtime
Daniel Church, Edward C. Carr, Todd Grace CAS, Abel Schiro, Lance Wandling

COMEDY OR DRAMA SERIES (ONE-HOUR)

Boardwalk Empire – (Pilot) – HBO
Frank Stettner CAS, Jeff Pullman CAS, Tom Fleishman CAS, Irin Strauss, Claire Houghtalen, Egor Panchenko

Mad Men – “The Suitcase” – AMC
Peter Bentley CAS, Ken Teaney CAS, Todd Orr, David Raymond, Chris Sposa

Dexter – “Take It!” – Showtime
Greg Agalsoff, Pete Elia CAS, Kevin Roache, Jeremy Balko, Jeff Williams, Kim Podzimek, Gary Raymond, Courtney Goodin

Glee – “The Substitute” – FOX
Phillip W. Palmer CAS
, Joseph H. Earle CAS, Doug Andham CAS, Geoff Patterson CAS, Patrick Martens, Devendra Cleary CAS, Mitchell Gebhard, Allister Mann, Devin Golub, Scott Solan

House – “Bombshells” – FOX
Von Varga, Juan Cisneros, Joseph DeAngelis, Brad North, Ken Strain, Mark Agostino,Bobby Watkins, Laurence B. Abrams, Linda Murphy

Burn Notice – “Last Stand” – USA
Scott Clements CAS, David Raines CAS, Sherry Klein CAS, Fred Kupfer, Jacob Kemp, Ray Rifice CAS, Michael Pisano

MINISERIES OR MOVIE

Mildred Pierce – (Part Five) – HBO
Drew Kunin, Leslie Shatz, Bobby Johanson, Joshua Reinhardt, Mark Goodermote, Jason Stasium

The Kennedys – “Lancer and Lace” – ReelzChannel
Henry Embry CAS, Frank Morrone CAS, Stephen Traub, Larold Rebhun, Denis Bellingham, Zack Hunter

Cinema Verite – HBO
Petur Hliddal, Lora Hirschberg, Scott Lewis, Douglas Murray, Amanda Jacques, Frank Stettner CAS

Too Big to Fail – HBO
Jimmy Sabat CAS, Chris Jenkins, Bob Beemer CAS, JJ Sabat, Michael Schmidt

VARIETY OR MUSIC SERIES OR SPECIAL

The 53rd Annual Grammy Awards – CBS
Thomas Holmes, John Harris, Eric Schilling, Bob La Masney, Eric Johnston, Michael Abbott, Rick Bramlette, Jeff Peterson, Phil Ramone, Barry Warrick, Andres Arango, Hank Neuberger, Billy McCarge, Dave Rickmears, JP Velasco, Pablo Munguia, Steven Anderson, Craig Rovello, Bill Kappelman, Pete San Filipo, Ric Teller, Damon Andres, Eddie McKarge, Paul Chapman, Dennis Mays, Bruce Arledge, Mikael Stewart, Kirk Donovan, Dave Bellamy, Grant Greene, Ron Reaves, John Arenas, Matt Campisi, Jim Fay, Thomas Ryden, Hugh Healy, Max Feldman, Hardi Kamsani, Joel Singer, Charles Campbell, Anthony Catalano, Gary Epstein CAS, Mike Babbitt

The 83rd Annual Academy Awards – ABC
Paul Sandweiss, Tommy Vicari, Kristian Pedregon, Pablo Munguia, Josh Morton, Bob La Masney, John Perez, Eddie McKarge, Dan Vicari, Patrick Baltzell CAS, Michael Parker, Debbie Fecteau, Jeffrey Fecteau, Ric Teller, Larry Reed, Hugh Healy, Dave Hewitt, Phil Gitomer, David Bellamy

American Idol “Finale” – FOX
Ed Greene CAS, Randy Faustino, Patrick Baltzell CAS, Michael Parker, Gary Long, Brian Riordan CAS, Christian Schrader, Debbie Fecteau, Dennis Mays, Ric Teller, Ryan Young, Billy McCarge

NONFICTION PROGRAMMING

The Amazing Race – “You Don’t Get Paid Unless You Win” – CBS
Jim Ursulak, Dean Gaveau, CAS, Jerry Chabane, Bruce Beacom, Alfredo R. del Portillo, Glenn Finnan, Gustavo Gama Rodrigues, Fernando Gironas, Burt Gregory, Mark McIntyre, Mickey McMullen, Mike Ormsby, Ryan Sevy, Barry Weisman

American Masters – “LENNONYC” – PBS
Ed Campbell, Scott Harber CAS, Roger Phenix, Rob Stevens, Simon Ware

Deadliest Catch – “Redemption Day” – Discovery Channel
Bob Bronow, CAS

American Idol – “Auditions No. 2: New Orleans” – FOX
Kamal I. Humphrey CAS, Phil Valdivia, Chris Tront, Brian P. Riordan CAS, Bennie McRae, Daniel McCoy CAS, Tim Paul, Jenn Raudman, Greg Ferrara

Gettysburg – History Channel
Dieter Keck, Tumelo Maesela

Photo History – 1953

Photo History

“International Sound Technician” – April 1953

Original photo caption:
Stereophonic sound crew shooting “The Robe”, showing Carl Daniels, Danny Daniels,and Roy Potts operating the three booms with Barney Freericks at the mixing paneland J.K. “Rocky” Nelson, stage man, standing behind him.

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