IATSE Local 695

Production Sound, Video Engineers & Studio Projectionists

Departments

Our Contributors

James Delhauer
James Delhauer was born in Southern California and never made it very far from home. Since 2014, he has worked as a television engineer specializing in Pronology’s mRes platform. He joined Local 695 because he desperately needed friends.

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

Jay Patterson CAS
Jay’s career in sound began in ‘65 as a child’s voice in radio, and has never stopped. He’s a Trustee of Local 695 and served five terms as VP, Chairperson, the Technical Trends Committee, and still mixing.

Eva Rismanforoush
Eva began working in sound while attending college in Northern California. Shortly after graduation, she joined Local 695 and is working as a Utility Sound Technician in Los Angeles. She has been the Co-chair of the Young Workers Committee since 2014.

Jim Tanenbaum CAS ATAS SMPTE Life Member
Jim’s half-century-plus career runs from Avatar to Zodiac, The House Of. Not wanting to “take his secrets to the grave,” he teaches at Local 695, UCLA, USC, AES, Art Center of Design, and in China, Japan, and Viet Nam. He writes articles for Production Sound & Video, The Coffey Files, and Mix.

Jennifer Winslow
Jennifer has been a member of Local 695 since 1990 and is currently serving as an Executive Board member and Trustee. A Utility Sound Technician and Boom Operator, some of her feature credits include Problem Child, Lone Star, and Be Cool. Her work in TV includes Star Trek: Deep Space Nine, Chicago Hope, and Dear White People.

From the Editors

The heat is on and welcome to the summer edition of Production Sound & Video. Bryan Cahill and Ken Strain continue their appraisal of exoskeletons, with an in the field review “Using an Exoskeleton in Real-World Settings.”

I contribute an article on the evolution of sound carts and those that build them with “The Sound Cart Builders.” Co-editor James Delhauer gives us two articles: “As Productions Go Online” and “The 2019 Mac Pro.”

Jim Tanenbaum delves into his informative “How I Got My Godlike Reputation Part 2.”

We report on the 2019 Sound Emmy nominations and the winners of the BAFTA Television Awards for Sound. Jennifer Winslow gives her impressions of being a delegate for the first time at this year’s 75th Annual District 2 Convention held in Hawaii.

Finally, Eva Rismanforoush contributes News & Announcements. This will be her final writing, as Eva has gotten too busy to continue. We thank Eva for all her time and incredible work. Jennifer Winslow picks up the mantle and will be contributing in the fall issue.  

Stay cool out there.

Fraternally,
Richard Lightstone &
James Delhauer

From the President

FLEXIBILITY IS THE IDEA…

A question that often comes my way is what are the options for members considering a change of work classification as their career progresses?

This is actually not a complicated area and one to consider as members plan their personal strategies.
 
There are a few situations when this applies, but the most common is when a member either feels ready to move into a different classification for professional satisfaction or when work opportunity in a different classification presents itself.
 
Remember, we are part of a community and mutual respect includes working within the guidelines of your current classification. If you’re making a change, you must follow the proper steps.

Local 695 works hard to balance the progression of an individual’s career within a framework of fairness to fellow members.

Members can elect to re-classify at their own discretion by following the proper procedure. As always, call the Local and speak to a representative to guide you through any such change.

If a member feels they might be ready to make a change to a different classification, we also provide a Temporary Re-classification option. This allows the “trial” change for thirty days at a minimal cost. This can be renewed one time for an additional thirty days. This gives the member a chance to evaluate their choice.

At the end of the temporary period, the member’s original classification will be automatically restored. If the experience fulfills the member’s expectations and they should decide to move forward with a permanent change, the member can then elect to do so by following the required procedure. Please be aware if the member is moving up to a higher classification, e.g., Boom Operator Y-8 to Production Mixer Y-1, then be prepared to have the applicable raise in dues and the additional difference in the current initiation fee required at the time of the change.
 
The issue of interchange is related to this discussion. Be aware not all of our classifications accommodate interchange. Although extremely reasonable, there are some contractual limits.

Of course, once again, please call the Local for guidance.
I’m including here the contract language from the Local 695 Basic Agreement (the red book) which every member should have a copy of for reference. The new edition based on the last contract cycle should be available soon, but the most recent past edition has the same language regarding this subject and can be found on pages 61 and 62.

12. Interchange of Job Classifications

(a) The following job classifications are interchangeable at the discretion of the Producer:
Among Occ. Code Nos. 8131 (Y-6), 8176 (Y-6), 8141 (Y-7), 8178 (Y-7), 8144 (Y-7a), 8180 (Y-7a), 8151 (Y-8) and 8181 (Y-8).
Among Occ. Code Nos. 8109 (Y-3), 8173 (Y-3), 8105 (Y-1) and 8171 (Y-1).
Among Occ. Code Nos. 8109 (Y-3), 8173 (Y-3), 8111(Y-4) and 8174 (Y-4).

(b) Occ. Code Nos. 8111 and 8174 (Y-4) employees may perform the work of Occ. Code Nos. 8131 (Y-6), 8176 (Y-6), 8141 (Y-7), 8178 (Y-7), 8144 (Y-7a) and 8180 (Y-7a) without reduction in rate of pay. Occ. Code Nos. 8144 and 8170 (Y-7a) employees can be assigned the work of Occ. Code Nos. 8141 (Y-7) and 8178 (Y-7).
Occ. Code Nos. 8161, 8182 (Y-9), Sound/Video Service Person Level III, Occ. Code Nos. 8194-8184 (Y-13), Sound/Video Service Person Level II and Occ. Code No. 8185 (Y-16) Sound/Video Service Person Level I are interchangeable at the discretion of the Producer.

(c) In the event Producer wishes to elevate an employee on daily calls between the interchangeable groups listed in subparagraphs (a) and (b) above, approval shall be obtained from the Union.

(d) In an emergency, any person covered under this Agreement can perform in any classification when approved by the Union.

(e) Producer may promote any person covered under this Agreement to any higher classification of work for a period of six (6) or more weeks.
Work time in either a higher or a lower classification shall be credited to fulfill the minimum call of the current classification.

(f) Projectionists shall be interchangeable with Occ. Code Nos. 4150 (Y-9) and 4118 (Y-9) and with all other employees covered under this Agreement. The IATSE agrees to resolve any internal Union matters (e.g., membership, payment of dues, roster standing, etc.) requiring resolution as a result of such interchange.

(g) Projectionists or any person employed under this Agreement, other than a Production Sound Trainee, may operate projection equipment on distant location.

(h) Persons covered under this Agreement shall be freely interchangeable in the performance of mechanical maintenance work.

(i) Any projection employee may be required to perform work in any projection job classification listed in the wage scale (Paragraph 1).

13. Working in Higher Classification
If any part of the workday is worked in a classification higher than the classification under which the employee is called for work, the higher rate shall prevail for the entire workday. The employee reverts to his regular classification on the following day unless notified to the contrary. However, the provisions of this Paragraph do not apply unless the employee is assigned to work in the higher classification for two (2) hours or more.

Mark Ulano CAS AMPS
President, IATSE Local 695

From the Business Representative

In the March 1953 issue of Local 695’s International Sound Technician magazine, Local 695 Video Engineer Murray Jarvis wrote, “While the video magnetic recording process is still in the experimental stage, great progress is being made toward its perfection by its enthusiastic developers. And while the resolution of the visual image produced by this process in its present form has restrictions, the industry is watching this with anxious interest for it has the potential to revolutionize the entire motion picture technique as we know it.” I wonder if Murray had any idea how prophetic his words would prove to be. Indeed, the industry and Local 695 continue to watch with interest as new techniques continue to be developed. One of the most interesting things we’re seeing now is a remake of the old process shot … the front- or rear-screen projection techniques that go all the way back to the 1930s.

However this time, Local 695 Video Projection Engineers are adding a few tricks. This new process is called “The Volume,” which is a 360-degree display created out of a huge array of video screens. Because the images are so good and so bright, we can now display a moving image that looks like you’re on location and not just shooting on stage. 695 Video Engineers are currently developing the software needed to allow these moving backgrounds, whether filmed images or computer-generated 3D renderings to travel in sync with the camera movement so as to perfectly recreate, and go far beyond, anything that can be shot on location. It’s exciting to see this amazing new process work in action and to see the new job opportunities it will offer to the Video Engineers of Local 695 and our sister Studio Mechanics Locals. You can read more about this new technology in the second quarter 2019 IATSE bulletin you received in July.

The March Video Caucus was an opportunity to discuss the new work opportunities arising from these enhancements in video playback techniques. On July 13, we held a craft meeting for all 695 members working on commercials.

We will continue to hold these meetings to stay in touch with issues unique to the type of production you work on. Watch for the emails about future meeting dates and times. I encourage you to come to these craft meetings to participate and bring your personal experience and expertise to share with your sisters and brothers.

Fraternally yours,

Scott Bernard
scottb@local695.com
Business Representative

Video Caucus

by James Delhauer

On March 30 of this year, almost fifty of the foremost video specialist members of Local 695 came together and held the Spring 2019 Video Caucus. The assembled specialists featured a diverse group of artists, each with their own sphere of expertise. Video Assist Technicians, Digital Media Managers, Playback Operators, Broadcast Video Engineers, and Projectionists all sat down with one another to take stock of the current state of affairs within both the union and the industry. Chaired by Vice President Jillian Arnold, the meeting served as an opportunity for workers across all fields to discuss their shared challenges on sets with local leadership and to explore constructive means of addressing those challenges. Local 695 Business Representative Scott Bernard, Recording Secretary and Education & Communications Director Laurence Abrams, Assistant Business Representatives Joe Aredas and Heidi Nakamura were all in attendance to field questions from the group and listen to feedback on how the Local can best serve the membership moving forward.

Throughout the day, a wide variety of topics were discussed, including how the evolution of technology has impacted the role of 695 workers, ways in which we can prepare for future developments in technology, maintaining our craft integrity, and means of effectively reporting contractual violations to the union.
 
Since the turn of the century, we have seen the technology that defines our industry growth at the prodigious rate. Innovations in digital cinema cameras, server-based media, LED projection panels, and web-based streaming platforms have altered the landscape of the video local. Digital video has come to be omnipresent on the set now, with modern workflows requiring monitors for most departments, digital dailies to be distributed across a variety of web-based platforms, terabytes of data to be captured and secured, and sometimes dozens of screens to be populated so they may be properly recorded on camera. For Local 695 Video, Playback, and Projection Artists—whose responsibilities include media playback, on-set chroma keying, off-camera recording, copying files from camera media to external storage devices, backup and redundancy creation, transcoding, and syncing—the changing technical needs require perpetual innovation. Our Video Engineers are at the forefront of the most bleeding-edge developments in service to our clients and our productions. Vice President Jillian Arnold stated that “Education is the key. Our membership needs to make sure it is abreast of what is coming out. If you can go to trade shows, go. Read every periodical you can. As the world continues to innovate, I know that the industry is finding that 695 techs not only have the knowledge required but have the passion and drive that makes them the best in the field. We need to continue that.”
 
To that end, the Local is committed to doing what it can to help. Recording Secretary and Education & Communications Director Laurence Abrams stated to the assembled workers, “We already offer free classes at the Local. And I want to offer more. If anyone has a need for training that would benefit our membership, come talk to me and we will try to put it together.”

But the growth of technology has not been without its drawbacks. In a time where digital media is such a prevalent force on the set, more and more 695 Video Engineers are finding their work being infringed upon by a variety of non-695 members. In fact, the majority of the caucus participants had personal anecdotes regarding others assuming their duties at work. Video Playback, on-set screen or projection work (sometimes referred to as 24-frame playback), and digital media management are all too often being mis-assigned to other departments, despite being long established duties of 695 workers. The widespread nature of these stories would suggest that these issues are not confined to a small series of isolated incidents.

Though technology has advanced and many displays are now outfitted with their own media playback devices, Local 695 specialists are trained in playback troubleshooting. Relying on others to do our jobs in order to save money can cause costly problems during productions. When the system goes down and plug and play doesn’t work, the whole shoot can come grinding to a halt and each minute that ticks away is an expensive waste of time. At that point, it is essential to bring in a 695 engineer who should have already been there from the start. A production that has tried to save itself money has lost more in the long run.

But the largest subject of craft integrity was the topic of digital media management. Every single media specialist in the room had a personal story in which they were told that they could not copy files from camera media to external drives because that is the responsibility of a Local 600 DIT.

This is factually incorrect.

In March of 2017, IATSE President Matthew Loeb issued a ruling on this very subject, stating that the tasks of copying files from camera media to external storage drives, backup creation, transcoding, applying previously created LUTS, quality control, and syncing and recording copies for dailies creation were all contained within the Local 695 Basic Agreement and that going forward, jurisdiction would be shared between the two Locals. Nonetheless, the misconception is still prevalent.

With all of these issues out in the open amongst 695 membership, the conversation turned to what to do next. The leadership was vocal about their intention to address these issues and will continue working on them for the membership. Scott Bernard will continue his diplomatic efforts with other Locals to ensure that 695 work is being done by 695 members. Going forward, Local 695 intends to hold additional video caucuses on a regular basis so that it can continue to gain valuable feedback and insight from its members and work to address issues in that area. In the interim, all members are encouraged to reach out to the Local if they have and questions, concerns, or comments.

News & Announcements

Politics

California Tax Incentive in Action

The California Film Commission announced on April 2, 2019, that eighteen film projects, including the big-budget Akira, have been selected for the latest round of tax credits under the state’s Film & TV Tax Credit Program 2.0.

Together, the projects (ten non-independent, eight independent) will generate an estimated $408 million in qualified expenditures (defined as below-the-line wages and payments to in-state vendors). Overall, in-state production spending will be significantly greater than qualified spending with the addition of above-the-line wages and other production expenditures that do not qualify for tax credits under Program 2.0.

Based on data provided with each tax credit application, the projects announced today will employ an estimated 2,575 crew, 812 cast, and 29,000 extras/stand-ins (the latter measured in “man-days”) over a combined seven hundred and forty shoot days in California.

Education

Community Outreach at LA City College

Alan Rowe (728), Lesli Lytle (44), Angela Whiting (44), Thom Davis (80), Assemblymember Adrin Nazarian, Lydia Graboski-Bauer (892), Doug Boney (871), Winona Wacker (600), Laurence Abrams (695), Bob Denne (729)

On April 11, 2019, more than one hundred attendees came to Los Angeles Valley College to learn about unions and about jobs that are available in the motion picture and television industry.

The event was organized by State Assembly member Adrin Nazarian from California’s 46th Assembly District and featured a group of panelists representing  Local 695, Property Local 44, Set Painters Local 729, Camera Local 600, Lighting Technicians Local 728, Script Supervisors Local 871, and Costume Designers Local 892.

The main presentation was by Laurence Abrams, 695’s Education & Communications Director, giving attendees a review of labor history in the US and showing why labor unions are still so important for the country’s economy and for the safety and security of the middle class. After that, each Local explained their respective crafts and talked about working in our industry.

This event was part of a growing effort by California’s IATSE Locals to reach out to surrounding communities, helping to develop diversity employment opportunities, as well as spread education and understanding about the role of unions in California’s huge and still-growing entertainment economy.

Young Workers

Third Annual YWC Environmental Cleanup

Top row: Brian Udoff, Jonathan Hong, Nathan Whitcomb, Mindy Trim. Bottom: Carolyn Benane, Ryan Murray, Matthew Borek


On April 20, 2019, members of Local 695 and more IATSE Young Workers Committee (YWC) members gathered at Bond Park to participate in FOLAR’s (Friends of the Los Angeles River) annual river cleanup. The nonprofit has been restoring the Los Angeles River since 1986. In 2018, FOLAR and friends removed over 120,000 lbs of plastic trash from the LA riverbed and prevented waste from harming marine life and polluting our beaches. Environmental activism is key to our health and safety and Local 695 is proud to be an active participant.YWC’s Co-chairs Aaron Eberhardt and Nathan Whitcomb frequently collaborate with our sister Locals and nonprofit organizations. IA solidarity and improving our members’ quality of life are on the forefront of the committee’s agenda. To participate or get information about upcoming events, please contact IATSE Local 695 or email ywc@local695.com

New Members

Local 695 welcomes its new members

Ian Cain    Y-3
Michael Kool    Y-1
Jason Batuyong    Y-1
Zachary Allen    Y-1
Don Thompson    Y-4
Thomas Doolittle    Y-7A
Josue Zeta Rojas    Y-1
Hugo Marcotte    Y-7A
Richard Novick    Y-7A
David Hoffman    Y-4
Alejandro Rodriguez    Y-1
Francisco Huizar    Y-7A
Jet Ladomade    Y-16
Eric Anthony    Y-8
Aaron Cooley    Y-1
Mike De Lorenzo    Proj.
Jose Adrian Sanchez    Proj.

In Memoriam

Ron Finkelstein
Proj.
November 9, 1945 – February 21, 2019

Patrick Coffey
Y-7A
February 3, 1938 – December 4, 2018

Donald J. Miller
Y-7A
November 5, 1932 – November 25, 2018

Kelly Rush  
Y-1
January 4, 1957 – March 15, 2019

Our Contributors

Agamemnon Andrianos CAS

A Production Sound Mixer for forty-six years, now finally retired! A ten-time Emmy and CAS nominee, served two terms on the 695 and CAS Executive boards. Currently enjoying the eclectic Northern Calfornia lifestyle. He has a continued interest in mentoring the next generation of sound mixers to be the best at their craft and a love for his Cantar recorders and their noble legacy.

Bryan Cahill

Bryan Cahill began his career in San Diego as the mixer on a documentary in Mexico with President Jimmy Carter. He moved to Los Angeles in 1990 and currently serves as Production Sound Administrator at Loyola Marymount University.

James Delhauer

James Delhauer was born in Southern California and never made it very far from home. Since 2014, he has worked as a television engineer specializing in Pronology’s mRes platform. He joined Local 695 because he desperately needed friends.

Eva Rismanforoush

Eva began working in sound while attending college in Northern California. Shortly after graduation, she joined Local 695 and is working as a Utility Sound Technician in Los Angeles. She has been the Co-chair of the Young Workers Committee since 2014.

Scott Smith

A forty-five-year veteran of the film and music business, Mr. Smith has recorded sound for more than forty film and TV shows. He received the first CAS Award for Best Feature Film Sound for his work on The Fugitive in 1994, and has been twice nominated for an Academy Award. Mr. Smith writes extensively on the history of film sound recording.

Jim Tanenbaum CAS ATAS SMPTE Life Member

Jim’s half-century-plus career runs from Avatar to Zodiac, The House Of. Not wanting to “take his secrets to the grave,” he teaches at Local 695, UCLA, USC, AES, Art Center of Design, and in China, Japan, and Viet Nam. He writes articles for Production Sound & Video, The Coffey Files, and Mix.

Stephen Tibbo CAS

Stephen A. Tibbo CAS is a Production Sound Mixer and Re-recording Mixer. He is a member of both Local 695 and Local 700. He currently works on the television show Modern Family. In addition to his work on set, Stephen works as an ADR and Re-recording Mixer on independent films and television. He has three Primetime Emmys and five CAS Awards for production sound mixing.

Photos courtesy of the respective contributors.

From the Editors

Welcome to the spring edition of Production Sound & Video. We are blossoming with content for your reading enjoyment.

Bryan Cahill writes about the introduction of exoskeletons for boom operators in the hope that this new technology will alleviate the physical stresses of long takes. Stephen Tibbo gives us his working philosophy on Modern Family.

Jim Tanenbaum returns with another of his very informative articles, “How I Got My Godlike Reputation Part 1.” Continuing with numbers, Scott Smith continues with “The Way We Were (Part 4).” Agamemnon Andrianos pens a personal tribute on the passing of Jean Pierre Beauviala, whose engineering brilliance brought us the Cantar recorder and the Aaton camera.

Our Co-editor, James Delhauer, reports on the recent Video Caucus. Eva Rismanforoush contributes “News & Announcements” and the sound award winners.

All in all, a jam-packed issue.

If you have a topic you would like to contribute to this publication, please email us at mag@Local695.com. Expanding the number of members writing for Production Sound & Video would be wonderful.

Fraternally,
Richard Lightstone &
James Delhauer

From the President

REALITY CHECK: Our Video Caucus Meeting

We’ve created an important forum. The Video Caucus establishes opportunity for dynamic discussion between members and the leadership about what is happening in the real world of our video members. Led by our Vice President and Video Engineer, Jillian Arnold, and other Board members, we will continue to schedule this type of town hall meeting on a regular basis. It’s instrumental in keeping the lines of communication open and keeping our support technique for members relevant.

For me, this is a solidarity moment. We should pause, review, and compare our personal experiences in our professional environments.

Quite a few attendees to the meeting described non-reporting of contract violations in our workplaces by our members. Roughly, three types of explanations came up in the conversation.  
1. Fear of employer reprisal
2. Unawareness of what is a violation
3. More significantly, what to do if members do witness a contract violation

This implies that for some of our members, there may be a misunderstanding of the mutual relationship between all of us as stakeholders in our local union.

As I see it, we all enter into a partnership with each other when we are sworn into membership. It’s a contract we commit to in good faith and it really goes to the heart of what a union should and can be…

It’s not a top-down thing, but a joining of enlightened self-interest. It is a bond of trust that we share and benefit from. And like all commitments, it carries some basic responsibilities.

This short but important checklist has helped me over the years:
Meet and know our union representatives. Call them up and say hello. They’re as passionate about their work as you are about yours. Don’t wait for some crisis to establish awareness of the team supporting you.

Like other items in your kit, reading the manuals is the doorway to mastering their operation. Read the contracts you’re working under. Read our Constitution and By-laws and know your rights and how your union functions.

Most importantly, if you don’t know the answer, ask someone who does. Speak up when it counts!

This is a street thing, not a lip-service thing.

What we can be saying to each other if we see any violation is, call it in to the Local with the confidence that you are doing so in privacy. You are part of a system of protecting yourself by protecting each other. You have trained professionals working for you at the union, at the ready to engage in securing your work jurisdiction when violated and can do so without placing you at risk. It’s their job and they’re good at it. But they cannot perform without the information you must provide.
 
Expand your thinking of this concept to remember that you’re part of the whole Local 695 unit. This means if you’re in sound, you’re also part of the video team and if you’re in video, you’re part of the sound team. No walls between you when it comes to the jurisdiction won by contract negotiations. We all want to be certain that Local 695 members perform 695 work. It is what puts food on your table, a roof over your head, and pays the doctor bills.

So … sound sisters and brothers, please don’t ignore video playback violations by non-Local 695 members when you see it. We are all affected by ignoring these things and the next wave of “I can do your job” won’t be isolated to any single classification. By saying nothing, we erode the ground we all stand on. And video sisters and brothers, resist that sense of isolation you may feel and reach out to your sound colleagues when you are stressed or at risk. Please team up when you can.

When you let us know what is happening, you become the essential part of the solution.

Thank you for listening.

E pluribus unum!

Mark Ulano CAS AMPS
President
IATSE Local 695

From the Business Representative

On Saturday, March 23, we held a very productive caucus with Local 695 Video Engineers. The turnout was amazing and the discussion was lively. What struck me the most while looking around at the women and men in the room, was the incredible expertise and talent they represent. The purpose of the caucus was to share with the membership the progress the office has made in representation of our video engineers, as well as a discussion of the issues our members are facing in job assignments that are often assigned to the wrong department. We also discussed new technologies that have increased the work opportunities for our members. Look for James Delhauer’s article covering the caucus in this issue.

On April 24, I traveled to Sacramento with the California IATSE Council (CIC) to testify before the Senate Labor, Public Employment, and Retirement Committee hearing on SB 271. Authored by Sen. Scott Wiener, SB 271 would ensure that California residents working on motion picture and television productions have access to the unemployment, disability, and paid family leave benefits which they are entitled to when they work on a production that takes them outside of California. The CIC is one of the chief sponsors of the legislation, and the bill passed the Committee with bipartisan support, the first step to get SB 271 passed and signed into law in 2019.

The Employment Development Department has difficulty in understanding what we do, and we are asking them to establish guidelines relevant to our industry, and to place a check box on their forms for motion picture workers.

We were in New York the last week of April as part of the Commercial Agreement Negotiation Committee for the AICP contract, where we addressed several issues that affect our members.

Please join us at our quarterly membership meetings if your schedule permits. This is a great opportunity to hear what’s going on at the Local, network, and to share your on-set experiences.

In solidarity,

Scott Bernard
scottb@local695.com
Business Representative

Local 695 Awards

CAS Award Nominees

On January 8, 2019, the Cinema Audio Society announced the nominees for the 55th Annual CAS Awards for Outstanding Achievement in Sound Mixing for 2018 in seven categories.
 
The winners will be revealed at the 55th Annual CAS Awards Saturday, February 16, 2019, InterContinental Los Angeles Downtown Hotel – Wilshire Grand Ballroom, Los Angeles, California

Names in BOLD are Local 695 Members

Motion Pictures – Live Action

A Quiet Place
Production Mixer: Michael Barosky
Re-recording Mixer: Brandon Proctor
Re-recording Mixer: Michael Barry CAS
Scoring Mixer: Tyson Lozensky
ADR Mixer: Bob Lacivita
Foley Mixer: Peter Persaud CAS
Production Sound Team: Frank Graziadei, John-Paul Natysin

A Star Is Born
Production Mixer: Steven A. Morrow CAS
Re-recording Mixer: Tom Ozanich
Re-recording Mixer: Dean Zupancic
Scoring Mixer: Jason Ruder
ADR Mixer: Thomas J. O’Connell
Foley Mixer: Richard Duarte
Production Sound Team: Craig Dollinger, Michael Kaleta, Nick Baxter

Black Panther
Production Mixer: Peter Devlin CAS
Re-recording Mixer: Steven Boeddeker
Re-recording Mixer: Brandon Proctor
Scoring Mixer: Christopher Fogel CAS
ADR Mixer: Doc Kane CAS
Foley Mixer: Scott Curtis
Production Sound Team: David Raymond, Jason C. Lewis

Bohemian Rhapsody
Production Mixer: John Casali
Re-recording Mixer: Paul Massey
Re-recording Mixer: Tim Cavagin
Re-recording Mixer: Niv Adiri CAS
Production Sound Team:
Chris Murphy, Joe Nattrass

First Man
Production Mixer: Mary H. Ellis CAS
Re-recording Mixer: Jon Taylor CAS
Re-recording Mixer: Frank A. Montaño
Scoring Mixer: Ai-Ling Lee CAS
ADR Mixer: Thomas J. O’Connell
Foley Mixer: Richard Duarte
Production Sound Team:
James Peterson, Nikki Dengel

Motion Pictures – Animated

Incredibles 2
Original Dialogue Mixer:
Vince Caro CAS
Re-recording Mixer:
Michael Semanick CAS
Re-recording Mixer: Nathan Nance
Scoring Mixer: Joel Iwataki
Foley Mixer: Scott Curtis

Isle of Dogs
Original Dialogue Mixer: Darrin Moore
Re-recording Mixer:
Christopher Scarabosio
Re-recording Mixer: Wayne Lemmer
Scoring Mixer: Xavier Forcioli
Scoring Mixer: Simon Rhodes
Foley Mixer: Peter Persaud CAS

Ralph Breaks the Internet
Original Dialogue Mixer/
Re-recording Mixer:
Gabriel Guy CAS
Re-recording Mixer:
David E. Fluhr CAS
Re-recording Mixer:
Alan Meyerson CAS
ADR Mixer: Doc Kane CAS
Foley Mixer: Scott Curtis

Spider-Man: Into the Spider-Verse
Original Dialogue Mixers:
Brian Smith, Aaron Hasson,
Howard London CAS
Re-recording Mixer:
Michael Semanick CAS
Re-recording Mixer:
Tony Lamberti CAS
Scoring Mixer: Sam Okell
Foley Mixer: Randy K. Singer CAS

The Grinch
Original Dialogue Mixer:
Michael Miller CAS
Re-recording Mixer: Gary A. Rizzo CAS
Re-recording Mixer: Juan Peralta
Scoring Mixer: Noah Scot Snyder
Foley Mixer: Blake Collins CAS

Motion Pictures – Documentary

Fahrenheit 11/9
Production Mixer: Mark Roy
Re-recording Mixer: Andy Kris
Re-recording Mixer: Lee Salevan
Re-recording Mixer: Skip Lievsay CAS
Production Sound Team: Tammy Douglas, Shawn Lind, Daniel McMullen

Free Solo
Production Mixer: Jim Hurst
Re-recording Mixer:
Tom Fleischman CAS
Re-recording Mixer: Ric Schnupp
Scoring Mixer: Tyson Lozensky
ADR Mixer: David Boulton
Foley Mixer: Joana Niza Braga

Quincy
Production Mixer: Al Hicks
Re-recording Mixer:
Jonathan Wales CAS
Production Sound Team:
Corey Brown

They’ll Love Me When I’m Dead
Production Mixer: Rob Filmore CAS
Re-recording Mixer:
Brian Riordan CAS

Won’t You Be
My Neighbor?
Production Mixer: Pete Horner
Re-recording Mixer: Jeff King
Production Sound Team:
Arjun Banga, Steve Bores, Dennis Hamlin, Jade Howard, Dan Mazur, Richard K. Pooler, Anne Pope, Craig Rhee, Chris Rudyk, John Sessoms, Qiao Xin

Television Movie or Limited Series

American Crime Story:
The Assassination of Gianni Versace (Part 1)
“The Man Who Would Be Vogue”
Production Mixer: John Bauman CAS
Re-recording Mixer: Joe Earle CAS
Re-recording Mixer: Doug Andham CAS
ADR Mixer: Judah Getz CAS
Foley Mixer: Arno Stephanian
Production Sound Team:
Kevin Cerchiai

Escape at Dannemora:
Episode 101  
Production Mixer: Thomas Nelson CAS
Re-recording Mixer: Bob Chefalas
Re-recording Mixer: Jacob Ribicoff
Scoring Mixer: John Chapman
ADR Mixer: Kris Chevannes
Foley Mixer: George A. Lara CAS
Production Sound Team: Julie Wilde, David Tirolo

Fahrenheit 451
Production Mixer: Henry Embry CAS
Re-recording Mixer: Tom Fleischman CAS
Re-recording Mixer: Jacob Ribicoff
ADR Mixer: Mark DeSimone CAS
Foley Mixer: George A. Lara CAS
Production Sound Team: Pat Cassin, Derek Bohne

Genius: Picasso
“Chapter 1”
Production Mixer: Tamás Csaba CAS
Re-recording Mixer: Bob Bronow CAS
Re-recording Mixer: Mark Hensley
ADR Mixer: Beau Emory
ADR Mixer: Matt Hovland
Production Sound Team:
Andrea Pasqualetti

The Romanoffs
“House of Special Purpose”
Production Mixer: Mark Weber CAS
Re-recording Mixer: Larry Benjamin CAS
Re-recording Mixer: Kevin Valentine
ADR Mixer: Chris Navarro CAS
ADR Mixer: Michael Miller CAS
Foley Mixer: David Jobe CAS
Production Sound Team: Thomas Cervenka, Alexander Turner, Ondrej Jirsa

Television Series – One Hour

Better Call Saul
“Talk”
Production Mixer: Phillip W. Palmer CAS
Re-recording Mixer:
Larry B. Benjamin CAS
Re-recording Mixer: Kevin Valentine
ADR Mixer: Chris Navarro CAS
Foley Mixer: Stacey Michaels
Production Sound Team: Mitchell Gebhard, Steven Willer

Ozark
“The Badger”
Production Mixer: Felipe Borrero CAS
Re-recording Mixer:
Larry B. Benjamin CAS
Re-recording Mixer: Kevin Valentine
Scoring Mixer: Phillip McGowan CAS
ADR Mixer: Matt Hovland
Foley Mixer: David Torres CAS
Production Sound Team:
Akira Fukusawa

The Handmaid’s Tale
“Holly”
Production Mixer: Sylvain Arseneault CAS
Re-recording Mixer: Lou Solakofski
Re-recording Mixer: Joe Morrow
Scoring Mixer: Adam Taylor
ADR Mixer: Mark DeSimone CAS
Foley Mixer: Jack Heeren

The Marvelous Mrs. Maisel
“Vote for Kennedy,
Vote for Kennedy”
Production Mixer: Mathew Price CAS
Re-recording Mixer: Ron Bochar CAS
Re-recording Mixer: Michael Miller CAS
ADR Mixer: David Boulton
Foley Mixer: Steven Visscher
Production Sound Team:
Carmine Picarello

Westworld
“The Passenger”
Production Mixers: Geoffrey Patterson CAS, Roger V. Stevenson CAS
Re-recording Mixer: Keith Rogers CAS
Re-recording Mixer: Andy King CAS
ADR Mixer: Michael Botha
Foley Mixer: Michael Head
Production Sound Team:
David Raymond, Zach Wrobel,
Larry Commans Utah unit:
Brandon Loulias, Sara Glaser

Television Series – Half-Hour

Ballers
“The Kids Are Alright”
Production Mixer: Scott Harber CAS
Re-recording Mixer:
Michael Colomby CAS
Re-recording Mixer:
Richard Weingart CAS
ADR Mixer: Michael Miller CAS
Foley Mixer: James Howe
Production Sound Team:
Patrick Martens, Erik Altstadt

Barry
“Loud, Fast, and Keep Going”
Production Mixer:
Benjamin A. Patrick CAS
Re-recording Mixer:
Elmo Ponsdomenech CAS
Re-recording Mixer: Todd Beckett CAS
Scoring Mixer: David Wingo
ADR Mixer: Aaron Hasson
Foley Mixer: John Sanacore CAS

Modern Family
“Did the Chicken Cross the Road”
Production Mixer:
Stephen A. Tibbo CAS
Re-recording Mixer: Dean Okrand CAS
Re-recording Mixer: Brian R. Harman CAS
ADR Mixer: Matt Hovland
Foley Mixer: David Torres CAS
Production Sound Team: Srdjan Popovic, William Munroe, Dan Lipe

Mozart in the Jungle
“Domo Arigato”
Production Mixer: Ryotaro Harada
Re-recording Mixer: Andy D’Addario
Re-recording Mixer: Chris Jacobson CAS
ADR Mixer: Patrick Christensen
Foley Mixer: Gary DeLeone

Silicon Valley
“Fifty-One Percent”
Production Mixer:
Benjamin A. Patrick CAS
Re-recording Mixer:
Elmo Ponsdomenech CAS
Re-recording Mixer: Todd Beckett CAS
Scoring Mixer: Oren Hadar
ADR Mixer: Aaron Hasson
Foley Mixer: Aran Tanchum
Production Sound Team:
Ken Strain, Brenton Stumpf

TELEVISION NON-FICTION, VARIETY, MUSIC SERIES or SPECIALS

Anthony Bourdain: Parts Unknown
“Bhutan”
Re-recording Mixer:
Benny Mouthon CAS

Carpool Karaoke: Primetime Special 2018
Production Sound Mixer:
William Kaplan
Production Sound Mixer:
Scott Smolev
Foldback Mixer: Chris Maddalone
Scoring Mixer: Otto Svoboda

Deadliest Catch
“Last Damn Arctic Storm”
Re-recording Mixer:
Bob Bronow CAS

Jesus Christ Superstar Live in Concert
Production Mixer: Tom Holmes
Re-recording Mixer:
Brian Flanzbaum
Re-recording Mixer:
Christian Schrader
Re-recording Mixer: Ellen Fitton
Scoring Mixer: John Harris
ADR Mixer: Anthony Lalumia

The Late Show with Stephen Colbert
Production Mixer:
Pierre DeLaforcade
FoH Mixer: Tom Herman
Monitor Mixer: Al Bonomo
Scoring Mixer: Harvey Goldberg

Oscar Nominees

The 91st Academy Awards ceremony, presented by the Academy of Motion Picture Arts and Sciences (AMPAS), will honor the best films of 2018 and will take place at the Dolby Theatre in Hollywood, Los Angeles, California. The ceremony will be held on February 24, 2019. Local 695 congratulates the nominees!

Best Sound Mixing

Black Panther
Steve Boeddeker, Brandon Proctor
and Peter Devlin
Production Sound Team:
David Raymond, Jason C. Lewis

Bohemian Rhapsody
Paul Massey, Tim Cavagin
and John Casal
Production Sound Team:
Chris Murphy, Joe Nattrass

First Man
Jon Taylor, Frank A. Montaño,
Ai-Ling Lee and Mary H. Ellis
Production Sound Team:
Nikki Dengel, James Peterson,
Reagan Wexler

Roma
Skip Lievsay, Craig Henighan
and José Antonio García
Production Sound Team:
Ernesto Munoz

image is approved for 9.10.18 fall movie preview use with permission nicholas.ritchie@warnerbros.com A Star is Born Bradley Cooper and Lady Gaga

A Star Is Born
Tom Ozanich, Dean Zupancic,
Jason Ruder and Steve Morrow
Production Sound Team:
Craig Dollinger, Michael Kaleta,
Nick Baxter

BAFTA Award Nominees

The 72nd British Academy Film Awards, the BAFTAs, will be held on February 10, 2019, at the Royal Albert Hall in London, honoring the best national and foreign films of 2018. Presented by the British Academy of Film and Television Arts, accolades will be handed out for the best feature-length film and documentaries of any nationality that were screened at British cinemas in 2018. Like last year, actress Joanna Lumley will host the awards ceremony.

The nominees were announced on January 9, 2019. Local 695 Congratulates all the nominees!

Best Sound

maxresdefault.jpg

Bohemian Rhapsody
John Casali, Tim Cavagin,
Nina Hartstone, Paul Massey,
John Warhurst
Production Sound Team:
Chris Murphy, Joe Nattrass,
Jerome McCAnn, Dash Mason-Malik

First Man
Mary H. Ellis, Mildred Iatrou Morgan, Ai-Ling Lee, Frank A. Montaño,
Jon Taylor
Production Sound Team:
Nikki Dengel, James Peterson, Reagan Wexler

Mission: Impossible – Fallout
Gilbert Lake, James H. Mather, Christopher Munro,
Mike Prestwood Smith
Production Sound Team:
Lloyd Dudley, Jim Hok, Gauthier Isern, Hosea Ntaborwa, Steve Harris,
Jim McBride

A Quiet Place
Erik Aadahl, Michael Barosky,
Brandon Procter, Ethan Van der Ryn
Production Sound Team:
Frank Graziadei, John-Paul Natysin, Jonathan Walter Reyes,
Luke Q. Iaciafnao

A Star Is Born
Steve Morrow, Alan Robert Murray, Jason Ruder, Tom Ozanich,
Dean Zupancic
Production Sound Team:
Craig Dollinger, Michael Kaleta, Nick Baxter, Antoine Arvizu

Sixth Annual AMPS Awards

Local 695 congratulates the nominees for the sixth annual awards presented by The Association of Motion Picture Sound (AMPS).

AMPS Nominees

Excellence in Sound for a Feature Film

A Quiet Place
Michael Barosky, Frank J. Graziadei, Robert Jackson, Ethan Van Der Ryn, Brandon Proctor
Production Sound Team:
John-Paul Natysin,
Luke Q. Iaciofano

A Star Is Born
Steve Morrow, Craig Dollinger, Kira Roessler, Alan Robert Murray, Tom Ozanich
Production Sound Team:
Michael Kaleta, Nick Baxter

Bohemian Rhapsody
John Casali AMPS, Chris Murphy, Nina Hartstone AMPS, John Warhurst, Paul Massey
Production Sound Team:
Joe Nattrass

First Man
Mary H. Ellis, James Peterson, Susan Dawes, Ai-Ling Lee,
Jon Taylor
Production Sound Team:
Nikki Dengel, Alexander Lowe, Reagan Wexler, Julian Cabrera, Jason Sullivan

Roma
Jose Antonio Garcia, Ernesto Munoz, Carlos Honc Navarro,
Sergio Diaz, Skip Lievsay

CAS Outstanding Product Award Nominees

Production

Aaton: Cantaress
Dan Dugan Sound Design: Dugan Automixing in Sound Devices 633 Compact Mixer
Denecke, Inc.: JB-1 Compact Timecode Generator
Lectrosonics: SMWB Series Wideband Transmitter
Sound Devices, LLC: A10 Digital Wireless System

Post-Production

Audionamix: IDC (Instant Dialogue Cleaner)
Exponential Audio: Stratus 3D and Symphony 3D Reverbs
iZotope, Inc.: RX 7
Sound Particles: Doppler + Air
Todd-AO: Absentia DX

Tech Trends Committee

The Technical Trends Committee

2018 has come and gone, and so has much of the spectrum “real estate” we have used for wireless mic use. After the Spectrum Incentive Auction, not only did we lose the 600 MHz band, but the allowable FM deviation for any transmitter made after September was reduced from 75 KHz to the EU standard of 50 KHz. As each broadcast UHF station that operated in the 600 MHz band is “re-packed” into the 500 MHz band, we lose another 6 MHz of usable spectrum.

Scanning the spectrum one wants to use before turning transmitters on should be considered mandatory. If one is using transmitters in the 600 MHz band, be on the lookout for a sudden loss of usable spectrum due to broadband use (primarily T-Mobile), and if one is using transmitters in the 500 MHz band, be on the lookout for a digital UHF station going on the air.

Anecdotally, here in Los Angeles, on December 12, 2018, my company was shooting splits, I had thirteen transmitters operating in the 500 MHz band (Lectro A1 & A2, blocks 19 through 22) and all was well. Came back from dinner and two channels in Lectro block 20 were unusable! An hour earlier all was fine, but while we were eating, a digital UHF station, re-packed into UHF 24 (530 MHz to 536 MHz – KPXN) started transmitting. I scanned and saw the channel, and with the help of FrequencyFinder, found two other slots that were free and didn’t present IM issues. Los Angeles is also set to lose UHF 25 (536 MHz to 542 MHz – KVEA), which straddles Lectro A1 & A2—blocks 20 & 21.

Lastly, where this column usually ends with the shout “Get your Part 74 license!” to my knowledge, the FCC has not issued any new Part 74 licenses since the auction. The Local 695 web pages for applying for the license are down, pending a successful application under the new codes being issued. When the pages are once again active, it will be announced, and these pages will be open for all professionals in the entertainment field who use transmitters in UHF, union and nonunion. Local 695’s membership feels that obtaining a license is so important that it happily makes these pages available to all.

Become a contributor!

If you have an insight or detect a coming trend,
feel free to contribute!

Trends, comments, or questions can be sent to:
techtrends@local695.com

News & Announcements

Politics

Good News for US Labor Unions

Less than a year ago, we reported on a congressional bill, H.R. 785, the National Right-to-Work (RTW) Act. H.R. 785 aims at defunding and decimating public and private sector labor unions on a federal level. Since its introduction to the House floor in March of 2017, it has gained 129 Republican co-sponsors and is currently under review by the House Committee of Education and Workforce.

Last year’s Republican stronghold in the House and Senate was an impasse for organized labor. However, the midterms of November 2018 turned the tides in the House of Representatives. Moving the bill into the Senate requires a simple majority of 218 of 435 votes. As of January 2019, Republicans only hold 199 seats in the House. The odds of this bill reaching the Senate are significantly lower than in the last election cycle, however, supporters of right-to-work legislation are very well funded and relentless in their mission. Since 1946, twenty-seven states have adopted right-to-work laws in an effort to destroy American unions.


The Democratic House majority is a welcome temporary roadblock against the National Right-to-Work bill, but the think tanks responsible for crafting the legislation have been quite successful in implementing RTW laws in individual states and will remain vigilant in the 2020 Congressional election.

To view all co-sponsors and actions for H.R. 785, please visit congress.gov.

IATSE Local 695 Supports UTLA Teachers

During the week of January 14, 2019, Local 695 officers and the Young Workers Committee adopted East Valley STEM High School in support of the United Teachers of Los Angeles.

Joe Aredas, Lawrence B. Abrams, Heidi Nakamura, Aaron Eberhardt, Monson Douglas, and Scott Bernard on the picket line supporting UTLA Teachers on strike.

Community

LA Sound Mixers 2019 Coffee Kickoff

Gene Martin and the Audio Department crew deserve a huge thank-you for allowing us to overrun their place of business for this event on January 2, 2019. Seventy-eight people came out making this the largest Coffee Kickoff. This brings the sound community back together after our holiday hiatus. Copious amounts of caffeine were consumed, new friendships were made, and old relationships were strengthened. This was the third event which was organized by Chris Howland CAS.

LA Sound Mixers Holiday Brunch & Brews 2018

The LA Sound Mixers Holiday Brunch & Brews event took place on December 9, 2018, with one hundred and forty-two people in attendance. Everyone had a wonderful opportunity to reconnect with old friends and reflect on 2018. This marks the fifth year for the event which was capped off by an audio manufacturer-sponsored raffle. The event was organized by CAS members Chris Howland, Steve Morantz, and Devendra Cleary.

Young Workers

Welcome New Members!

Cheyenne Wood, Heather Fink, John Wassel, Phil Jackson, Steven Allmendinger, Monson Douglas, Zachary Porter, and Grant Greene, welcome to the Local 695 Young Workers Committee!

Join us for the annual HomeWalk 2019! Like last year, we will again join forces with our fellow I.A.T.S.E. locals and Angelinos for the United Way annual fundraiser to end homelessness in Los Angeles. The 5k run/walk will kick off in Grand Park DTLA on Saturday, May 18, 2019. Over the last decade, HomeWalk participants raised more than $8.6 million and housed 19k people.
For registration, please contact us at
ywc@local695.com or visit
https://homewalk.unitedwayla.org

New Members

Local 695 Welcomes Its New Members

Evan L. Eder    Y-1
Samuel Young    Y-1
Raed Hassouneh    A2/SB
Cheyenne Wood    Y-4
Jeffrey Tungyoo    Y-4
Joshua Gardner    A2/SB
Lara Jessen    Y-4

Thi Dinh    Y-1
Kevin Coons    Y-8
Ian Gutierrez    A2
Ivan Zabaluyev    Y-7A
Doug Pearson    Y-1

Joe Sanchez    Y-1
Peter Joyce    Y-4
Matthew Brucell    Y-3
Justin White    Y-4
Maksim Osadchenko    Y-4
Christopher Haynes    Y-4

In Memoriam

Walter Gest
Y-9
March 13, 1929 – November 13, 2018

Our Contriubutors

James Delhauer

James Delhauer was born in Southern California and never made it very far from home. Since 2014, he has worked as a television engineer specializing in Pronology’s mRes platform. He joined Local 695 because he desperately needed friends.

Aaron Eberhardt

Aaron Eberhardt has highly enjoyed working as both a Production and Post-production Mixer in Los Angeles since 2009. He works primarily on feature films, commercials, and television for such companies as CBS, NBCUniversal, Disney, ESPN, and many others. When he’s not sound mixing, he enjoys writing product reviews for Sound and Picture magazine, strolling along with his delightful wife and fluffy white dog named Samwise Gamgee, mountain biking, and performing in theatre around the Greater Los Angeles area.

Daron James

Daron James is a veteran journalist having written about the film and television industry for over a decade. He’s currently seeking the best sope in Los Angeles, CA

Jay Patterson CAS

Jay’s career in sound began in ‘65 as a child’s voice in radio, and has never stopped. He’s a Trustee of Local 695 and served five terms as V.P. Chairperson, the Technical Trends Committee, and still mixing.  

Eva Rismanforoush

Eva began working in sound while attending college in Northern California. Shortly after graduation, she joined Local 695 and is working as a Utility Sound Technician in Los Angeles. She has been the Co-chair of the Young Workers Committee since 2014.

Scott Smith

A forty-five-year veteran of the film and music business, Mr. Smith has recorded sound for more than forty film and TV shows. He received the first CAS Award for Best Feature Film Sound for his work on The Fugitive in 1994, and has been twice nominated for an Academy Award. Mr. Smith writes extensively on the history of film sound recording.

Photos courtesy of the respective contributors.

From the Editors

As the new year begins, I am pleased to announce that James Delhauer has joined our publication as Co-editor. James is a Video Engineer specializing in recording, data asset management, production, and post-production workflows. You have been reading James’ informative articles for over a year and he will be a valuable asset to Production Sound & Video.

In this issue, we look at both First Man and Vice, two very distinct feature films with challenging production sound from contributor Daron James. Scott Smith continues with “The Way We Were (Part 3)” and Mr. Delhauer delves into “Recovering a Failed Storage Unit.”

Eva Rismanforoush gives us “News & Announcements,” as well as the CAS, BAFTA, and Academy sound nominations. Tech Trends from Jay Patterson rounds out this edition.

Have a bountiful and healthy year and enjoy reading this edition!


Fraternally,
Richard Lightstone &
James Delhauer

From the Business Representative

2018 was a busy year for Hollywood and the membership of Local 695. The California Film & TV Tax Credit Program, with a five-year extension to 2025, continues to bring new and relocated shows to California. Three of the most recent examples are: new Star Trek series, Flowers of Helvetica, and Why Women Kill. California Film Commission Executive Director Amy Lemisch tells us “Our TV tax credits are in high demand, so we’re pleased to have ample credits available to bring these three large-scale series to California.” Amy continues, “So many producers tell us that California is their first choice because no other locale can match what we have to offer, especially at the end of the shooting day going to their own homes each night.”
 
In the last cycle, fifteen projects received a tax credit, including the big-budget Space Jam 2, which produced more than one hundred million dollars in qualified spending, resulting in over forty three million dollars in below-the-line wages. These fifteen projects are on track to produce a total of one hundred and ninety five million in wages for their crews. The California Film & TV Tax Credit Program is meeting our highest expectations, generating economic stimulus not only in Southern California but throughout the entire state. Many of the businesses that support the industry were on the verge of shutting down due to productions leaving California; now they are thriving as a result of this dramatic growth in production. The motion picture industry is a key economic driver for the state of California and it’s clear that our elected representatives understand this and support the work of our IATSE members.
 
Many members of our Local live in areas where fires devastated communities. This reminds us about what is most important and how union Sisters and Brothers share in the support and safety of our neighbors. If you ever find yourself in need of support, remember that you’re not alone. There are many services available to the members of Local 695. Contact the Local and the Motion Picture Television Fund (MPTF). The MPTF is there to help, whether it’s financial support, finding a caregiver for a child or adult, housing, job training, career changes and much, much more. All of these services are available to you free of charge from the MPTF. Local 695 will continue to support the MPTF with education and fundraisers to make sure that all these incredible programs remain available to our members. Join me and please consider making a monthly tax-deductible donation to MPTF. Visit their website at www.mptf.com to learn more about what they offer, how to make a donation, and also, how you can volunteer some of your time to help out at MPTF.
 
Now, let’s get back to doing what we do best, making entertainment…
 
In solidarity,


Scott Bernard
scottb@local695.com
Business Representative

From the President

Here we are in the new year, 2019. I always think of this time of year as a time to reflect on the past and plan for the future. I sit quietly and review my goals list from this time last year and draw from it a starting point for setting down my goals for this new year coming. I usually break it down into categories: Family, Friends, Health, Creativity, Projects, Continuing Education, Finances, etc.

My wife and I have this tradition of New Year’s Day being quiet, reflective, and not a day for social interaction. Rather, we have dedicated this time to look within. Over the years, it appears that actually writing down goals dramatically increases the likelihood of them coming to pass for us. I’m not sure why this is, but I know if I don’t perform the simple ritual of committing a goal to print, it just isn’t as probable to achieve it. It doesn’t seem to matter how large or small the goal is.

I suspect this may have something to do with the way our brains work. Different neural paths or connections are made when writing it down. I should probably do the research on this but, somehow I just enjoy the process and appreciate the outcomes.
 
I have a few guidelines that I try to apply with this process; I try not to judge others so much, I try to come from a loving place, and I try to remember that I am not responsible for the choices of others.
 
I also try to stay connected with what seems most important and it’s not a long list really. My kids, family and friends, and the work I’ve been passionate about in my life. My father had a saying that he lived by: he would say that he didn’t have a budget for a bad day. This has stuck with me as an important affirmation. The older I get, the more I see the wisdom in this as the precious gift of each day becomes more apparent. I remind myself of Spencer Tracy’s advice to not take myself so seriously but to work hard at whatever I’m committed to. I think it’s a good combo.

I recently saw a joyous documentary, If You’re Not in the Obit, Eat Breakfast. The plot summary states: “Carl Reiner presents the stories of people in the over-ninety age category who display exceptional success in combating common aspects of aging. Growing old is what you make of it. The stars of this show sing, dance, joke, and philosophize about how to stay young at heart.” This sticks with me and has added a few items to this year’s goals list…
 
Warm regards to all of you. May 2019 successfully reflect your heartfelt goals. Thank you all so very much for including my family and I in the special Local 695 community.


Mark Ulano CAS AMPS
President
IATSE Local 695

70th Primetime Emmy Winners

The 70th Primetime Emmy Awards celebrated the best in US primetime television programming from June 1, 2017, until May 31, 2018, as chosen by the Academy of Television Arts & Sciences. The ceremony was held on Monday, Sept. 17, at the Microsoft Theater in Los Angeles. The Saturday Night Live weekend update anchors Colin Jost and Michael Che hosted the show.

Local 695 congratulates the winners!

Outstanding Sound Mixing fora Comedy or Drama Series (One Hour)

Game of Thrones “Beyond the Wall”
Onnalee Blank CAS, Re-recording Mixer
Mathew Waters CAS, Re-recording Mixer
Richard Dyer, Production Mixer
Ronan Hill CAS, Production Mixer

Production Sound Team: James Atkinson, Jonathan Riddell, Jeff Welch,
Daniel McCabe, Conor McErlane, Andrew McNeill

Outstanding Sound Mixing for a Limited Series or a Movie

Genius: Picasso “Chapter One”
Bob Bronow, Re-recording Mixer
Mark Hensley, Re-recording Mixer
Tamás Csaba, Production Mixer

Production Sound Team: Gábor Máté, Norbert Szekeres

Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation

Barry “Chapter Seven: Loud, Fast and Keep Going”
Todd Beckett, Re-recording Mixer
Elmo Ponsdomenech, Re-recording Mixer
Benjamin Patrick CAS, Production Mixer

Production Sound Team: Chris Diamond, Corey Woods

Outstanding Sound Mixing for a Variety Series or Special

Jesus Christ Superstar Live in Concert
Thomas Holmes, Production Mixer
Ellen Fitton, Production Mixer
John Harris, Production Music Mixer
Brian Flanzbaum, Music Mixer
Mark Weglinski, Music Playback Mixer
David Crawford, FOH Mixer
Dan Gerhard, FOH Mixer
Mike Bove, Monitor Mixer
Jason Sears, Monitor Mixer
Christian Schrader, Sweetening Mixer

Outstanding Sound Mixing for Nonfiction Programming (Single- or Multi-Camera)

Anthony Bourdain: Parts Unknown  “Lagos”
Benny Mouthon CAS, Re-recording Mixer

Names in bold are Local 695 members

News & Announcements

Politics

The New Basic Agreement Is Ratified: New Provisions in 2018

In addition to adding two sources of increased funding to our Pension and Health plans, the newly ratified contract contains these items that you should be aware of:

  • Term of the Contract: This contract runs from August 1, 2018, through July 31, 2021.
  • Three Percent Wage Increase: The three percent wage increase is retroactive to August 1, 2018 and applies to all work covered under the Basic Agreement. The payroll companies are now calculating all back payments owed since August 1 and will sending out checks soon.
  • Increased Rest Periods: This change will take place ninety days from the 10/10/18 date of ratification: For local and nearby daily and weekly hires, there will be a ten-hour turnaround (increased nine hours) on miniseries and on one-hour and 1/2-hour single-camera series beginning with the second season.  For features and long-form productions, ten-hour turnaround will apply after two consecutive fourteen-hour days worked.
  • Mandatory Courtesy Housing or Transportation: For work in excess of fourteen hours in the Thirty-mile Zone and twelve hours in the Secondary Zone, courtesy housing, or transportation home and back to work the next day, must be provided upon request.
  • Mid-Budget New Media Productions Are No Longer “Fully Negotiable”: For productions where previously the wages, terms, and conditions were “fully negotiable,” the New Media sideletter now provides wages, terms, and conditions on “mid-budget productions” made for initial exhibition on a Subscription Video-On-Demand (SVOD) platforms such as Netflix, Hulu, Amazon Prime, etc. The new Mid-Budget Tier is defined as:
  • 20–35 minutes    $900,000–$1,300,000
  • 36–65 minutes    $1,750,000–$2,500,000
  • 66 minutes +     $2,100,000–$3,000,000
  • On these productions, the following mid-budget terms and conditions apply:
  • Special conditions for Long-form Television Motion Pictures Sideletter with staffing and roster requirements as per the existing provision for the sub-high-budget SVOD new media productions.
  • Wages shall be long-form wages with a two-year lag.
  • Higher Budget New Media Productions Follow the Full Basic: On New Media SVOD features budgeted at over $30 million (which previously followed the Long-form Sideletter), the wages, terms and conditions of the full Basic Agreement will now apply. Paragraph 106 applies. Three-person crew now included on Mid-Budget Tier productions.
  • The Rest of Huntington Beach: The Secondary Zone will now expand a few blocks to include all of Huntington Beach.
  • Canadian Holiday Swap: If you’re working in Canada, the Producer can now, at their option and with advance notice, swap Victoria Day for Memorial Day, and swap Canada Day for Independence Day.
  • New Media Roster Is Eliminated: In addition to eliminating the New Media Roster, all qualified workdays that were listed on the New Media Roster have been moved over to the Industry Experience Roster
  • Diversity and Inclusion Taskforce: The Taskforce will consist of representatives from the IATSE and the AMPTP and will review existing initiatives and develop new ones aimed at increasing employment of underrepresented groups.
  • Stipend for Safety Pass Training Will Increase: Beginning August 4, 2019, the stipend for Safety Pass training taken both in-person and online will increase to $20 per hour. NOTE: As of now, ALL Local 695-required Safety Pass training is available online.
  •  More Time to Complete Safety Pass Training: The deadline to complete required Safety Passport is now extended from ninety days to six months.
  • No Givebacks, No Concessions: This contract contains no reduction in terms and conditions.

Education

Fisher Boom Training: Long Arm for Long Takes

The production sound crew has a limited toolbox—fishpole, plant, wireless mic. Add a fourth tool by taking advantage of 695’s free Fisher Boom Training: One-on-One. Whether you’ve never been on a Fisher or you just need a refresher, this personalized training on Model 2 and Model 7 booms covers prep, safety, applications for the Fisher, movement of the perambulator, and hands-on operation using our dialog simulator.

Production Sound Mixers – Learn what you need to know to add a Fisher as a tool in your arsenal.  
Boom Operators – Go to any job with confidence that you can set up and operate a Fisher.  
Utility Sound Technicians – Learn to prep, cable, and operate a Fisher, add Boom Pusher for multi-camera productions to your skill set and be ready when needed to jump on the Fisher as a 1st or 2nd Boom Op.

Training Requirements – Must be on the Roster, up-to-date on Safety Pass classes, and have valid I-9 on file at CSATF.

Contact fisherboom@local695.com to schedule this training.

Community

Day at the Races: A Special Thanks!

Thanks to all who came out to Santa Anita Park on October 21 for the annual MPTF Day at the Races fundraiser. It was a spectacular day full of horse racing, food, silent auctions, lots of family fun, and “giving something back.” Much appreciation goes to all the sponsors and all the guests for helping make the day such a great success. This year, over $177,000 was raised for the benefit of MPTF, an organization dedicated to serving the entertainment community in times of need. MPTF is committed to helping thousands of industry members like you by providing essential financial and social services. We hope you join us again next year!

New Members

Local 695 welcomes its new members!

Rolando Arenas    Y-7

Joseph Bourdet    Y-8

Joseph “Crow” Duemig    Y-8

Joseph Gjura    Y-4

Thomas Larsen    Proj.

Kyle McLane    Y-1   

Rachel Schroeder    Y-7A

David Scobbie    A2

In Memoriam

James Emswiller
Y-1
January 4, 1957 – October 11, 2018

Walter Gest
Y-9
March 13, 1928 – November 13, 2018

William Tucker
Projectionist
November 26, 1943 – September 24, 2018

Lance Wandling
Y-7
February 20, 1953 – April 22, 2018

Young Workers in Action

On Nov. 4, Local 695 members Heather Fink, John Wassel, and Nathan Whitcomb joined the IA Young Workers of Los Angeles to canvass for Katie Hill, the pro-labor candidate for California’s 25th Congressional District. Katie would go on to win her tightly contested race in this traditionally conservative district.

IA Young Workers of Los Angeles canvassing.

In September 2018, Local 695 Young Workers Committee Co-chairs Nathan Whitcomb and Aaron Eberhardt had the privilege of attending the 3rd Biennial Young Workers Conference in Silver Springs, Maryland. This year’s two-day conference was packed with educational seminars on US labor history, rhetoric, and political action. The co-chairs made excellent connections during networking opportunities and had tremendous positive takeaways for our Local as a whole. Here is their report:

This last September, Nathan Whitcomb, along with Aaron Eberhardt, had the honor of representing Local 695 at the IA Young Workers Committee Conference in Silver Springs, Maryland. This was the second time that the 695 YWC has attended this conference, with Tim O’Malley and Eva Rismanforoush having attended the previous conference in 2016 in Atlanta, Georgia.

We partook in a full slate of workshops on a range of topics, including the long history and structure of the IA, a rundown on current national labor issues, the importance of union solidarity in our national economy, proper copyright law, and strategies for making pro-labor arguments and when speaking to politicians and other nonunion audiences. We learned many useful tips and tricks on how to relate to these audiences and how to establish a safe and more neutral environment for these often charged conversations. We also acquired the answers to mysteries like what really goes on at IA Board meetings, and the logic behind assigning Local numbers (there is none).

IA member & Charlotte City Councilman Braxton Winston spoke before the YW Conference 2018
Local 695 YWC Co-chairs Nathan Whitcomb, IA President Matt Loeb, and Aaron Eberhardt

We were also able to hear from several inspiring guest speakers from across the country. The first, Braxton Winston, is an IA member who was recently elected to the Charlotte City Council. He spoke heavily on the importance of becoming involved in your city’s local politics and representing your local union with pride. IA President Matthew Loeb also stopped by to address the conference and congratulate us on becoming the leaders of the future.

While the official programming was truly outstanding, we felt the most valuable part of the conference was the chance to meet and network with many YWC chairs from across the country. We took home a lot of valuable ideas for future Young Workers events. Several of the other Southern California locals were represented as well, and together we made plans for future collaborations between all our YWCs, including fundraising events for the I.A.T.S.E. Political Action Committee. We thank our Local 695 Board of Directors for sending us to this year’s conference, and we look forward to integrating our newly acquired knowledge to help our Young Workers Committee and our Local thrive.

Our Contributors

James Delhauer

James Delhauer was born in Southern California and never made it very far from home. Since 2014, he has worked as a television engineer specializing in Pronology’s mRes platform. He joined Local 695 because he desperately needed friends.

Daron James

Daron James is a veteran journalist having written about the film and television industry for over a decade.

Steve Morrow

Steven A. Morrow began his career in sound in 1997 and has recorded sound on over 130 film and television projects. Morrow is known to enjoy technically challenging movies that require creative solutions. He received the CAS Award for Motion Pictures – Live Action for his work on La La Land in 2017, and was also nominated for a BAFTA and an Academy Award.

Chris Munro

Chris has collaborated with some of the most respected filmmakers, winning two Oscars and two BAFTAs; Steven Spielberg, Ridley Scott, Paul Greengrass, Ron Howard, Alfonso Cuarón, and M. Night Shyamalan. Notable credits are Black Hawk Down, Captain Phillips, United 93, Mission: Impossible – Rogue Nation, Ready Player One, Wonder Woman, Mission: Impossible – Fallout, Spider-Man: Far from Home. He has also been Production Mixer on five James Bond films.

Eva Rismanforoush

Eva began working in sound while attending college in Northern California. Shortly after graduation, she joined Local 695 and is working as a Utility Sound Technician in Los Angeles. She has been the Co-chair of the Young Workers Committee since 2014.

Scott Smith

A forty-five-year veteran of the film and music business, Mr. Smith has recorded sound for more than forty film and TV shows. He received the first CAS Award for Best Feature Film Sound for his work on The Fugitive in 1994, and has been twice nominated for an Academy Award. Mr. Smith writes extensively on the history of film sound recording.

Photos courtesy of the respective contributors.

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