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IATSE Local 695

Production Sound, Video Engineers & Studio Projectionists

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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.

Education & Training

Hearing Safety

by Laurence B. Abrams

“That Sound Mixer can hear grass grow!”

It’s an expression we’ve heard often, suggesting that the Production Sound Mixer is capable of listening so intently as to be aware of even the slightest and most subtle of sounds. Quite true. Even as developments in digital audio processing provide more tools and methods for suppressing extraneous and unwanted sounds, there is still no substitute for clean tracks … and when they get them, Sound Editors and Producers are thankful for the time and money saved when minimal repair is required.

This type of critical listening relies not just on training and knowing what to listen for but also on healthy ears capable of differentiating a wide range of the audio spectrum. That is why it’s so important to have an informed understanding of how to protect your ears from situations that can cause irreversible and, perhaps, even career-ending hearing damage.

The auditory system is an extraordinarily intricate and fragile mechanism built for the singular purpose of converting acoustic energy into electrical energy. Once transmitted to the brain, this complex surge of electrical pulses is processed and interpreted into the lush tapestry of voices, music and sounds that fill our world.

But this remarkably evolved sensory structure does not always perform fully up to spec. To a hearing specialist, a failure of the auditory system is described as either Conductive Hearing Loss or Sensorineural Hearing Loss. Conductive Hearing Loss can result from the buildup of earwax or from certain diseases and disorders. In such cases, a visit to an Ear, Nose and Throat (ENT) physician can often provide treatment that will improve hearing.

The prognosis for Sensorineural Hearing Loss, however, is less encouraging. This type of hearing loss is associated with a variety of nerve-based disorders and occurs when one of the two critical components of the auditory system are damaged or compromised. These two mechanisms are the microscopic hair cells of the cochlea, which vibrate in response to the sound waves they are exposed to, and the nerve fibers, which transmit electrical signals to the brain. This type of hearing loss usually turns out to be irreversible.

Sensorineural Hearing Loss can be genetic, age-related, triggered by disease and high fever … and it can be caused by excessive and cumulative exposure to very loud noises.

Repeated exposure to loud sound levels permanently damages the microscopic hairs of the cochlea, causing the gradual loss of hearing. This Noise-Induced Hearing Loss (NIHL) accounts for more than 30% of all cases of permanent hearing loss in the United States. The main factors that impact Noise-Induced Hearing Loss are:

• Loudness

• Duration

• Frequency

Loudness, of course, is measured in decibels (dB). The decibel is a logarithmic unit of measurement, which is to say that an increase of 10dB indicates that the sound levels and the air pressures have become 10 times more intense. In a qualitative sense, however, that same tenfold increase in sound pressure tends to be perceived as though it were only about twice the loudness. This deceiving difference between actual change in loudness and perceived change in loudness makes it all too easy to be unaware of potentially harmful sound levels. Furthermore, recent studies have shown that one’s perception of loudness diminishes significantly after prolonged exposure. The longer damaging noise levels are present, the greater the risk … and yet the less likely you are to notice that the levels are so high as to endanger your hearing.

Damage to the ear can be caused either by very loud sounds in short duration (such as gunshots) or by moderately high-volume sounds that are longer in duration. At first glance, that message is fairly intuitive … the louder the noise, the less time your ears can tolerate exposure to it before some degree of damage occurs. But the chart below reveals the reality about the nonlinear relationship between levels and exposure.

With just a 3dB increase in sound levels, the safe exposure time is cut in half … and each subsequent increase of 3dB cuts the safe time by yet another half. To put this into real-world perspective:

• With an average output of about 80dB, you can let the alarm clock ring all day long.

• A lawn mower putting out about 90dB can begin to cause hearing loss in a little more than two hours.

• Turn on the leaf blower at 102dB and you’re beginning to damage your unprotected ears after only about seven minutes.

• Some rock concerts are as loud as 120dB but even a more tame concert at 110dB starts to induce hearing damage in LESS THAN TWO MINUTES.

• A jet takeoff at 140dB? Do the math.

Noise-Induced Hearing Loss is cumulative and the higher frequencies are usually the first to go. You might not notice it after a single occurrence, but the effect is additive over time. Tinnitus (ringing in the ears) is another consequence of this type of hearing damage. While some of these symptoms are temporary, with a limited degree of recovery within 24 to 48 hours, the unfortunate truth is that all those rock concerts you attended in your carefree youth probably did chip away at your hearing. The only thing you can do about it now is to take measures to prevent it from getting worse.

Here are some things that you can do to reduce further hearing damage:

• Be aware that noises above 85dB can begin to cause hearing damage after prolonged or repeated exposure.

• Sounds very much louder than 85dB should be avoided whenever you can.

• Don’t run the gain on your headphones any louder than you absolutely need to and perhaps reduce the headphone level a little bit when the camera’s not rolling.

• When there is something loud happening on set, like Ritter fans or gunshots or trains or loud machinery, let your closed-ear headphones provide you with some protection by muffling the sound a little bit and consider using foam earplugs when practical.

• After periods of exposure to loud sounds, give your ears a chance to rest and recover with a 15-minute break far from the noise source.

• It may be too late for you to undo the past damage but make sure to tell your kids that with ear buds plugged tightly into the auditory canal, their mobile phones and MP3 players need to be operated at safe levels at all times. And remind them that foam earplugs are cheap and easy to bring to music concerts and that there’s nothing at all “uncool” about wearing them … in fact, if you look closely, you’ll see that almost every rock musician performing on the stage today wears a custom set of noise-suppressing earplugs at every performance.

Good hearing is essential for the work we do. Take measures to protect your ears from prolonged exposure to sound levels above 85dB. If you suspect that your hearing has diminished, see a physician who specializes in hearing disorders. Further information and advice about maintaining good hearing health and safety can be found on the website of the House Ear Institute at http://www.hei.org. Most importantly, be smart and protect your ears whenever you can.

News & Announcements

​News & Announcements

MPTF Kicks Off the “Every Member Counts” Campaign

The Motion Picture & Television Fund (MPTF), along with the IATSE, have introduced the “Every Member Counts” fundraising and volunteer program. “Every Member Counts” wants to make union members aware that volunteering and contributions are needed to keep the Fund alive.

The Motion Picture & Television Fund was created in 1921 for the purpose of providing a safety net for those in the industry who need it the most. It is supported by fellow entertainment industry members who have contributed to the Fund, knowing that if they were ever in a tight spot, the MPTF would be there for them too. The MPTF provides an array of services for eligible industry members, including emergency financial assistance, charitable services, social services, retirement living, senior care and services, counseling, childcare and more.

At the “Every Member Counts” launch event on June 15, 2011, the membership of Local 695 was represented by Business Rep James Osburn and Executive Board members Elizabeth Alvarez, Scott Bernard, Dean Striepeke, Peggy Names and Susan Moore-Chong, held at the Motion Picture & Television Fund’s Wasserman campus in Woodland Hills. Before beginning a tour of the campus, Local 695 projectionist and retired IATSE Gold Card member Frank Fassnacht, a resident at the MPTF facility, spoke to the attendees about how vitally important MPTF services have been to him and to so many others in the motion picture and television industry.

In addition to contributions, volunteerism is another important way to help the Fund. For the past several years, Local 695 boom operator Mark Musella has been volunteering his time at the Motion Picture and Television Home in Woodland Hills as a “pool buddy,” assisting elderly patients getting in and out of the pool and also as a “fitness buddy” in MPTF’s state-of-the-art gym, helping patients who are exercising with weights and the fitness machines. Mark says the youngest people there are in their 80s and are a very interesting and diverse group who have worked in all areas of the television and film industry. Speaking at the launch event, Mark explained that he has developed great relationships with some of the patients, and says, “I get much more back than I give.” (See the text of Mark Musella’s presentation to the right.)

Volunteer opportunities include MPTF Advocate Volunteers, Channel 22 (a closed-circuit resident TV station), Computer Tutors, Rebuilding Together & Home Safe Home Programs, Phone Buddies, Pet Care Program, Friendly Visitors, Grocery Shopper and Pool Buddies/ Fitness Floor Buddies to name just a few. Donations to the MPTF can be made on a one-time basis or as a payroll deduction.

To find out more information about how you can get involved, please visit www.mptvfund.org/ia

Presentation by Mark Musella, Local 695 Boom Operator

My wife Janice and I had been using the health center on the (Woodland Hills) campus for 30-plus years but never had much contact with any of the residents.

When the Saban Center for Health and Wellness opened, we happened in and got a tour of the facility. During our visit a resident using the gym asked, “What are the young people doing here?” We looked around to see what the young people were up to. Turns out it was us (I’m 62, my wife, a year younger). I decided I could hang out there. We both joined the gym and started attending regularly.

We started interacting with the residents, which erased any fears I had of aging. Watching the grace with which the elders live their lives is amazing. Always easy to start a conversation. Just have to ask, “What did you do in the industry?”

An opportunity to volunteer arose. I have been rather fortunate in life and thought, here’s a chance to give something back. We have always supported the fund monetarily, but here was a chance to give some time. I’m still working on the giving part— I have received a heck of a lot more than I have ever given.

I volunteer as a “pool buddy” and “fitness buddy.” Pool buddies accompany those who need a little assistance in the Saban Center pool. 

They arrive in their walkers or wheelchairs. Once in the pool, they are free of their physical constraints and move around unhindered.

My most memorable pool buddy is a guy who is somewhere in his 80s. He was from upstate New York originally. He floats like a cork. I’m a good swimmer but wear a belt in case I have to help someone out of the water. This guy had no belt on and I still had to work to keep up with him as he swam around. Finally, he took a break. Flipped on his back; both hands behind his head all 10 toes sticking out of the water as he floated. Told me as a boy he used to enjoy swimming with his buddies in the quarries in upstate New York. In that moment, I could clearly see him as a kid, not the 80-plus man in front of me.

I’m also a fitness buddy in the state-of-the-art Saban Center gym. I assist people with their workout and on the equipment.

This is where I met Chester Duncan, retired prop master, and member of Local 44. He immediately became my inspiration. If I’m fortunate enough to reach his age, I hope I’m in his condition. Hard to tell his age by looking at him but I learned he was 93. He was a lucid, fit, happy-go-lucky, go-with-the-flow kind of guy. Prided himself on knowing and greeting everyone by name. Everyone knew his name. He lived in the cottages and walked to the Saban daily. We’d have some conversation and workout.

As the years passed, he started to arrive using a walker. A little less workout and more conversation. Eventually, he started arriving on a scooter. As he approached 96, he moved from the cottages to the Frances Goldwyn Lodge—still making the daily trip on his scooter.

As 97 approached, he started to slow down a bit. Debra Greenwood (manager, Aquatic & Fitness Center) put together a workout routine Chester could do in his room. The highlight of my morning was going to his place for morning workout. After awhile, more conversation less workout.

He made his ‘97th birthday but was rapidly declining. I had met his daughter when she had some personal things to take care of and asked if I could spend the morning with him. Of course, I said yes. She was afraid he’d wake up and be alone. (I, too, quite frankly, was concerned he might slip away alone.) I sat with him, he’d wake up for three or four minutes, greet me with “Well. hello there, Mark,” then drift off to wherever he was headed. Never should have been concerned about him being alone either. Not 10 minutes would pass before someone stuck their head in the door to check on him. Staff from the floor, as you would expect; staff from all other parts of the campus, not what you would expect, and various other volunteers. Chester was not alone and was never going to be alone.

He passed away the next morning with his daughter in attendance.

Taught me one last lesson. I had a fear of growing old and being “put in a home.” Motion Picture Home is not “a” home or “the” home. It’s just home.

Easy concept for my IA associates to grasp. We spend our working day watching out for our union brothers and sisters.

The Motion Picture Home is where we look out for our moms and dads.


Healthcare Options

Very low-cost partial coverage for members not currently qualified for the Health Plan
A new program called “Bridge to Health” offers limited healthcare services to members who have not accrued enough hours to qualify for the Motion Picture Health Plan. Available to members and their dependents age 13 and up, office visits cost only $25 and lab services and X-rays are free when performed at the Motion Picture clinics. For complete details and eligibility information, see www.mptvfund.org/page.aspx?pid=528

Full healthcare for members who did not qualify
The Industry Advantage Health Plans offer members the chance to purchase full medical coverage using the doctors and resources of the Motion Picture & Television Fund. For details, see www.mptvfund.org/health-plans

“Health Wheels” takes healthcare on location
“Health Wheels” is a 33-foot mobile health center with two well-equipped private examination rooms and staffed with a doctor and licensed vocational nurse. “Health Wheels” is available to members covered by the Health Plan as well as members participating in the “Bridge to Health” program (see above). To find out where Health Wheels will be next, visit the Health Wheels page at www.mptvfund.org/health-wheels


CSATF Environmental Safety

All Local 695 members must take the A-2 Environmental Safety course by October 31, 2011. This course covers a wide range of subjects, including studio lot & location safety, heat illness, severe weather, disaster/emergency response, environmental awareness, transportation of dangerous goods, electrical safety, and workplace cleanliness.

This is a required course as part of the Safety Pass program. Don’t risk any job opportunities by not completing the A-2 course by October 31. More information and sign-up is at www.csatf.org


2012 Membership Directory

The deadline for submitting information to the 2012 Local 695 Membership Directory is October 2. If you’ve already entered your info, all previously submitted data will remain intact (presuming there has not been a break in your membership status) but please take this opportunity to verify and update as needed. The new edition will be published in December. To update or review your info, go to www.local695.com/mbr/dir-review2.php


Wages Increase 3%

On July 31, 2011, minimum wages on the Local Basic Agreement increased 3%. Rate cards are available at www.local695.com/mbr/contract.php


Union Cards

Local 695 wants to remind you that they are making more set visits, and they will ask to see your union card to verify membership. Please remember to keep your union card with you at work.


Production Tracking Database

Our database helps us protect the contract and protect your job. To enhance its effectiveness, it’s important that you submit your job information now and each time you take a job. www.local695.com/mbr/jobreport.php


Photos from the annual BBQ

Hosted by 695 members Michael (Kriky) Krikorian and Seth Gilbert


In Memoriam

HAROLD “BILL” VARNEY
Re-recording Mixer
Jan. 22, 1934 – April 2, 2011

PETER A. GREGORY
Projectionist
Oct. 24, 1948 – Feb. 7, 2011

DONALD R. HANSARD SR.
Projectionist
Sept. 4, 1925 – Oct. 3, 2010

From the Business Respresentative

In Perspective

“A chicken in every pot and a car in every garage.”

When at the age of 7, and invited into the sanctuary of my grandmother’s bedroom, two elegantly framed portraits were displayed on the east wall.  One portrait was that of Pope Pius XII and the other portrait was Franklin Delano Roosevelt, then President of the United States.

I had acquired a certainty for the purpose why Pope Pius XII was so commemorated having attended Catholic elementary. I was uncertain about President Roosevelt’s portrait and as is my nature, I inquired.

Grandmother confirmed he was the man we listen to on the radio giving his fireside chats. More importantly, my grandmother held Mr. Roosevelt in high esteem because of his advocacy of the “Second Bill of Rights,” which he presented in his State of the Union Address on January 11, 1944. President Roosevelt argued the “political rights” guaranteed by the U.S. Constitution and Bill of Rights had proven inadequate to protect and assure workers equality in the pursuit of happiness.
 

The remedy Mr. Roosevelt advocated was an “Economic Bill of Rights” which would guarantee every American the following:

•  Employment, with a living wage

•  Freedom from unfair competition and monopolies

•  Housing

•  Medical Care

•  Education

•  Social Security Retirement

That visit to my grandmother’s room was some 66 years past. President Roosevelt’s “Economic Bill of Rights” was broadcasted the year before and, at the time, it was considered futuristic, extraordinarily progressive.

I totally understand my grandmother’s reverence of President Roosevelt, especially today when so many Americans are beneficiaries of his foresight and what he accomplished. Yet this matter is again at the forefront of our concerns today.

I would appreciate hearing from you concerning your concerns on this matter. You may find President Roosevelt’s January 11, 1944, State of the Union Message to Congress at http://www.fdrlibrary.marist.edu/archives/address_text.html  And you may e-mail me at Jim@local695.com Keep apprised, best wishes.

Fraternally,
James A. Osburn, CAS
Business Representative
Executive Director

Lobbying AB 1069

Visiting a set these days, there’s hardly any eye contact. Heads are titled down, and a ghostly light frames their faces. It seems like everyone on production is living in their own solitary world. They’re all staring at their PDAs, iPhones, Droids, Androids, tablets, iPads, either texting, reading emails, surfing the Web or occasionally, making phone calls.

The Web has taken over and virtually anything in print can be found there. That’s why this publication and all the back issues are available to you 24/7 right here.

You also receive this magazine by mail and frankly, there is nothing better. No scrolling, no finger swipes, no expanding the text, just simple dignified page turning. Reading and rereading at your leisure, big and bright, just like the old days.

Members contribute an impressive range of interesting, informative material to each issue. It’s a pleasure to share their experiences with you.

David Waelder continues to explore wireless antenna systems, in this issue it’s transmitting antenas. Scott D. Smith, CAS delves into recording history with another installment of “When Sound Was Reel.” We also have a fascinating interview with Courtney Goodin.

So whether you are reading this on your personal digital assistant or holding this great four-color publication in your hands,
enjoy!

Fraternally,
Eric Pierce, David Waelder
and Richard Lightstone

From the President

From the Business Representative

Ownership…

Recently, I found myself in a Socratic debate with an old friend regarding our responsibility for the survival of the work we create. This came about as our industry is migrating from recording to a stable medium that can be stored in vaults to trading out memory cards that are returned to us and reused. From my perspective, we mixers are among the primary players capturing original performances. We are “laying the bed” for all that follows regarding the dialog and effects, not unlike the creative recording producer in the music world. Up to this point, my friend and I are in agreement. But I take the further position that we also have a responsibility for the long-term survivability of the work we create. I think we need to raise this issue with our clients and employers and encourage them to adopt policies conducive to archival preservation. Acquiescing to a program where recordings exist only as temporary files is, to me, an irresponsible position.

Although sympathetic, and equally concerned about the end result, my friend’s position is quite different. Essentially, once we hand off the goods he believes the full and total responsibility lies with the producers and owners of the end result. Of course, legally and technically, my friend has a point. And the absence of a universally accepted archival storage medium also factors in the argument. But a large part of my disagreement comes from knowledge of how things tend to play out. History shows us clearly that companies and institutions have a poor record of responsibility toward the assets they create and accumulate. Cultural obligations fly out the window when corporate administrations change and the average turnover at film studios is under two years. Forget about hundred-year storage being a concern to the new guys.

By taking an active role in preservation we become participants in a larger community of professionals.  This issue of ownership of consequences has larger implications. Engagement in one issue leads naturally to involvement in others and extends, I hope, to greater involvement with the union and the issues that concern us all. Without participation, ownership can become meaningless. With it, anything is possible.

Warm regards,
Mark Ulano
President, IATSE Local 695

Education & Training

Website: On the importance of getting online

Judging by usage statistics, most of our membership makes great use of the Local 695 web site, with members taking advantage of its content and features on a regular basis.  But for registered members who may have overlooked some of the available features, and also for that smaller group who still haven’t even registered yet, here is some of what you’re missing:

  • News & Announcements – Updated every few days, a good way to keep up with what’s going on.
  • Education and Training – Info about upcoming classes (many free), training resources, online videos, etc.
  • Membership Directory – An excellent way to promote your job skills (updatable in realtime).
  • Available for Work List – Another great way to generate work opportunities or fill openings on your crew (updatable in realtime).
  • Trading work days to get or share hours for healthcare qualification – If you’re worried about being a few days short, this could help.  And for members needing to hire someone for a few days, this is a great place to look.
  • Classified Ads – Free ad listings for 695 members.
  • Health and Safety – Links and information.
  • Online access to the “695 Quarterly” – With archive of previous issues.
  • Discounts – Including cellphone, insurance, mortgage, car buying, travel, entertainment and more.
  • Online Store – Lots of new Local 695 accessories, including mugs, license plate frames, bags, hats, water bottles, wall clocks and more.

Registration only takes about 30 seconds at www.local695.com.

Yet another reason to register is to provide an email address that we can use to send occasional messages with announcements about training and events and other business related to the Local.  Don’t worry… you won’t get bombarded with tons of unwanted email.

PLEASE NOTE:  In the interest of conserving printing supplies and economizing mailing costs, the Local may use email for certain communications.  In order to receive these messages, you must provide a valid email address and see to it that these emails are not being blocked by your spam filters.  In some instances, you may need to add info@local695.com to your “whitelist”.  For those who are already registered on the website but haven’t been online in a while, please log in to make sure that the email address we have for you is still valid.


Production Tracking Database: On the importance of “Calling In” your jobs

Since going online two years ago, the Local 695 Production Tracking Database has made it possible for us collect detailed information on more than 1,800 film and television productions, providing us with instant access to a huge volume of essential information.

This continuously expanding database, allows us to search and cross-reference historical data going back years… an indispensable tool for your Representatives at the Local 695 office.  We use this information to enforce the contracts, to help to ensure that you’ve been paid correctly and with proper contributions made for your health and welfare benefits, to help protect your job and the jobs of your union Brothers and Sisters, and also to support the IA’s continuing efforts to organize non-IA productions and create more union job opportunities for all IA members.  The earlier we know about these non-IA projects, the better chance there is to work with those companies to negotiate an IATSE contract before the project is completed.  In case you haven’t noticed, the organizing team at the IA has been very active lately, with numerous successes on projects both large and small.  Information stored in the Production Tracking Database is vitally important to our support of those efforts.

And if that’s still not enough reason to call in jobs, don’t forget that it’s one of the fundamental responsibilities of your membership in Local 695, as stated in Article Thirteen of the Local 695 By-Laws:

All members shall upon receiving employment immediately notify the Local No. 695 business office either by phone or electronic mail [or Website], when hired and provide the following information;

[a]  The name of the Employer.

[b]  The name of the production, studio and/or laboratory where employed.

[c]  The date[s] of employment assignment.

[d]  The name of the “payroll” company, if used.

[e]  The date of layoff and re-hire.

This pertains to every job that you accept… long-term assignments and day-calls… IA productions and non-IA shoots… films, television, commercials, so-called “reality programming”, sports broadcasting, “webisodes” and other content headed for the internet, documentaries, music videos, political ads… everything.

The next time you accept a job, you can phone the information in to our Office at (818) 985-9204 or you can email it to info@local695.com but the easiest and fastest way to report your job info right now and each time you take a job is to visitwww.local695.com/mbr/jobreport.php.  Just a few clicks and you’re done.  It is extremely helpful if you are also able to submit one of your call-sheets.  Attach the call-sheet with your email, fax it to (818) 760-4681, or the easiest way is to just include the callsheet PDF file with the input form you submit atwww.local695.com/mbr/jobreport.php.

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IATSE LOCAL 695
5439 Cahuenga Boulevard
North Hollywood, CA 91601

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

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