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IATSE Local 695

Production Sound, Video Engineers & Studio Projectionists

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Departments

From the President

Dear Friends

Our heart goes out to our colleagues impacted by the unprecedented fires here at home and up north. If you are directly affected, please make sure to keep the Local informed of your situation so that we can direct you to any appropriate assistance available. You and your family’s well-being are of paramount importance to us and we want to hear from you if you are in need.
 
In turbulent times, it seems to me that fear rears its head to tempt us into impulsive responses to a dangerous world. But for me, it strikes another chord, one of collaboration with our community, an opportunity to keep a steady head and to stay aware, informed, proactive, and mutually supportive.

We are a trade union. We represent the ability of working people to come together in common interest to improve the lives and security of our family and profession.

This is a reality and not lip service.

Daily, we are witnessing a kind of chaos in the national discourse. Many examples of authoritarianism are on the international stage. It is up to each one of us to stay grounded and be respectful of each other during this time and avoid the trap of dehumanizing each other. We are an interdependent community and must never lose sight of it. If flames of anger, fear, and fury are burning in you, please consider taking a beat and hitting the pause button for a stretch. Our skill to agree to disagree, while maintaining our friendship and mutual regard needs nurturing around now.  

As we move into the holiday season, I’d like to express my warmest wishes for a safe and happy time for you and your families. A reflective time of year, a time to consider what we have achieved, and for what we can be thankful for.

Mark Ulano CAS
President

From the Business Representative

Happy holidays!  Wishing all our Local 695 Sisters and Brothers and your families a wonderful holiday season. We have ratified the Basic Agreement with a return of thirty-nine percent of the ballots, which is four percent higher than the previous vote three years ago. I’m happy to see the increase in return ballots, but I encourage our members to be active not only in voting but attending meetings and getting involved in our many committees, and the Local’s sponsored activities.

The new Basic Agreement has significant improvements and it’s important that we take advantage of these new benefits.

So, what has changed? If your workday is more than fourteen hours in the Studio Zone or twelve hours in the Secondary Zone, the employer must provide you either a ride home from production and a ride back to work the following day or a hotel room for the evening when you request it. As part of your package, we suggest putting together an overnight bag with all the essentials. Our hope is that you never need to utilize this new contract requirement, and that productions generate efficient shooting schedules.

You also have an additional hour of turnaround when working in television and new media productions after the first season. This is a step in the right direction, and in the next round, we will propose the inclusion of pilots and first-season productions. We were successful in getting rid of the new media Roster, and the next goal will be to get rid of the term “New Media” altogether.  It’s all the same work just different ‘broadcast’ platforms. Mid-tier new media productions will now have an established set of wages and working conditions, completely removing the words “to be negotiated” from these contracts.  

An across-the-board three percent pay raise is now in effect. Payments for back pay retroactive to August 1 will be sent to you if you haven’t received by now. If you have questions about provisions in the new contract, just contact Joe or myself at the office.

Important: If you’re traveled under a 695 contract outside of the state and are being paid through Cast & Crew, your disability insurance is not being sent to California. To receive proper credit for these hours, you can ask Cast & Crew for a form you can fill out to have your disability withholding sent to California.

We plan on addressing this with the CIC with the possibly of introducing a bill that would make it mandatory for the employer to send your disability insurance back to California. There are six states including California that have state disability insurance, they are New Jersey, New York, Hawaii, Road Island and Puerto Rico. If you work in one of these other states that have SDI you will not be able to have your SDI sent to California.

I’m very happy to announce a new addition to our team, Heidi Nakamura, with 18 years of experience representing IA members in Hollywood. Heidi will now be working in the Field alongside Joe Aredas. Welcome Heidi!

I wish you and your family a wonderful and prosperous 2019. If I can be any help, please, don’t hesitate to give me a call or stop by the office. This is your union and I’m honored and proud to be your Business Representative.
 
In solidarity,

From the Business RepresentativeScott Bernard
scottb@local695.com
Business Representative

From the Editor

Welcome to the fall edition of Production Sound & Video. We are now in the thick of “Awards Season” and I imagine that your email inboxes are filled with screening invites and if you are a member of another guild, you are receiving DVDs. Take advantage of the opportunity to attend a screening and see and most importantly, hear how they were intended. Support your fellow brothers and sisters and applaud their tireless hard work.

You can read about some of our members’ hard work right here. Steve Morrow describes how he mixed A Star Is Born. Chris Munro on his innovative methods in capturing the sound of Mission: Impossible – Fallout and Daron James contributes on Drew Kunin in BlacKkKlansman.

Scott D. Smith delves into the advances in mixing panels during the ’70s and ’80s in “The Way We Were (Part 2).”

Finally, many of you have been severely affected by the multiple fires raging in California. I wish you all the best, and hope that you and your family and friends are safe. I express my sorrow if you have lost your home and wish everyone a return to normalcy.

As we approach the end of 2018, a Happy Thanksgiving, best for the holidays, and a Happy New Year!

Fraternally,
Richard Lightstone

The Technical Trends Committee

FCC Update

At the beginning of June 2018, T-Mobile announced that they are ahead of schedule in the testing of their Extended LTE operations in the 600 MHz band, and they expect to have active testing of the C, D, and E bands on line by the last quarter of 2018, in almost a thousand counties across the USA. This will render the bands between 627 MHz and 642 MHz, and between 673 MHz and 688 MHz unusable and against the law to operate in. This equates to approximately the upper half of Lectro Block 24, and most of Lectro Block 26.

A list of areas expected to be up and running in these bands, listed by state and county, is available via the T-Mobile web pages at: https://howmobileworks.com/spectrum/

The 600 MHz band is no longer referenced by UHF TV stations 38 through 51 (614 MHz to 698 MHz). 614 MHz to 617 MHz is the GUARD BAND between UHF 36, reserved for radio astronomy, and the DOWNLINK bands, 5 MHz each, A through G (617 MHz to 652 MHz). An 11 MHz band, the DUPLEX GAP, is between 652 MHz and 663 MHz, followed by the UPLINK bands A through G (663 MHz to 698 MHz).

What does this mean for wireless microphone use?

First, a reminder that any transmitter working at 698 MHz or above has been unlawful to use for over a decade. Do not go there…

In 2020, it will be unlawful to operate transmitters in the 600 MHz band, with a few exceptions—limited use of the GUARD BAND and limited use of the DUPLEX GAP. Note that areas in the old VHF band have been made available for wireless mic use, along with a few slices of the 900 MHz band (941 MHz and 944 MHz). An in-depth review of these new areas will be the subject of an upcoming tech trends column. It is important to note that a good chunk of the DUPLEX GAP will be reserved for licensed users.

Till then, transmitters operating between 614 MHz and 698 MHz are allowed unless T-Mobile is testing operations on those frequencies. Scan the bands intended to be used before turning transmitters on; if the cell system is operating in one or more of the cell bands, it will be obvious in the scan. If a cell band is active, it may not be used for wireless mic operation.

If you hold a Part 74 license, continue to operate, but be aware that operation in 600 MHz could go away overnight. If you do not hold a license, don’t get caught operating where you shouldn’t. No one has been fined for unlawful operation yet, but the penalties can be significant—$11,000/transmitter/day with a cap at $82,000, and up to six months in jail.

Currently, the Local 695 web pages for applying for a Part 74 license are down. We are in the process of vetting new applications under the new “post incentive auction” rules; when we are sure the process is working, the web pages will go back online.  

In other news from the Local 695 Technical Trends Committee, plans are underway for an up-to-date reboot of the Local’s Survival Guide pages, where one can brush up on the operation of unfamiliar recorders, mixers, and control surfaces.

Also, the Technical Trends Committee is participating in the growing cross-departmental “Voluntary Stewardship of the
2.4 GHz and 5 GHz Bands” program that aims to establish protocols for interdepartmental coordination of the Wi-Fi bands in the production environment, and to make the AMPTP and producers aware of the need for coordination in these bands during pre-production.

Questions or comments – TechTrends@Local695.com

2018 Dinner Cruise

2018 Local 695
Dinner Cruise Under the Stars

Fundraiser for the MPTF

by Laurence B. Abrams

“Weigh anchor! All engines full!”

OK, not quite that dramatic but it was still pretty darn cool when the 145-foot “Entertainer,” the flagship yacht in Hornblower Cruises’ Marina del Rey fleet, pulled out of the slip an hour before sunset on a mild June evening with a big “IATSE LOCAL 695” banner lashed to the forward rails. 695 heading out to take on the wide open seas! Or, well, just kind of making slow turns round and round in the dead quiet waters of the harbor …  but it was still loads of fun!

Raffle winner Jake White

Guests came aboard on the main deck of the ship, greeted by our first bartender, as well as by the musical stylings of DJ Evan Freeman (aka Production Sound Mixer Evan Freeman) and DJ Bobby “Nice” Arredondo (aka Utility Sound Technician Bobby “Nice” Arredondo) filling the night air with a bit of cool funk and some Electric House. Local 695 members had a chance to take a close look at the product displays set up by our Dinner Cruise Premiere Sponsor, Blackmagic Design, represented by Cinematography Product Specialist Tor Johansen and by our two Gold Sponsors, Sennheiser with Thom Salisbury, Customer Development/Applications Engineering-Americas  and AJA Video Systems Regional Manager Western US & Canada, Mark Pinkel. We thank each of them and the Silver Sponsors, Audio Department, Cinema Audio Society, JL Fisher, K-Tek, and Tentacle Sync for their generous support.

Beau Baker won four Dodgers tickets with seats right behind first base

Also on the main deck were Aaron Eberhardt and Nathan Whitcomb, Chairpersons of Local 695’s Young Workers Committee, on hand to answer questions about the IATSE PAC Fund, which helps energize and organize IA members who wish to support candidates and legislative initiatives that advance the safety and security of working IATSE members and their families.

Auction winners for a night at the Magic Castle: Steve Weiss with his girlfriend Gail, and Jon Ailetcher with his wife Dawn

The upper deck was pretty much what you’d hope for in an upper deck … another bartender and a nice quiet space with soft comfortable chairs, beautiful harbor views, pleasant evening breezes, a great opportunity to chat with old friends and new friends and an opportunity to watch Boom Operator Brion Condon’s very cool kid, Chance, dancing up a storm.

Shane Hoyt and Young Kim; 5. VanAn Tranchi from MPTF

But the mid-deck was where most of the action took place. The folks at Hornblower refer to this part of the ship as having “swanky lounge areas, dazzling light fixtures, and plush modern carpets in metallic tones” but Local 695 members seemed to be paying more attention to the big Italian buffet dinner, to yet another bartender and to Michael Gutenplan, the roaming Comedian/Emcee/Magician. Jokes? We got jokes.

VanAn Tranchi from MPTF

And then there were the raffle tickets. $1 apiece or $20 for the number of inches you are tall. Yes, Brandon Loulias was there and for twenty bucks, it seemed as though he got, like, maybe a thousand tickets? Raffle winners took home an iPad, some Tentacle Sync timecode generators, gift certificates from our friends at Audio Department, Location Sound, Sound Devices, and Trew Audio, a Denecke Mic Power Supply, a K-Tek Dinner Cruise Care Package, four Dodgers tickets, seven pairs of very cool Sennheiser Bluetooth headphones, as well as items from Warner Bros. Imagine Products Inc., and Blackmagic Design. Utility Sound Technician Jennifer Winslow somehow managed to come up with THREE winning tickets and Production Sound Mixer Josh Wilkinson won the big prize, walking off the ship with a Sharp 43” HDR 4K Roku television. Congrats to all!

Triple raffle winner Jennifer Winslow

But the big winner of the night was the Motion Picture Television Fund (MPTF). VanAn Tranchi, who is the Annual Fund Manager at MPTF, was on hand to speak with Local 695 members about the essential programs and services offered to our members at no cost by MPTF, providing much-needed assistance to 695 sisters and brothers and others in our industry when they find themselves in times of need. We’re very happy to say that when Van An left the ship, she took with her a donation of $7,267 raised from the sale of cruise and raffle tickets. “Helping Our Own” is not just the motto at MPTF but also something they do very well and Local 695 members are proud to have been able to contribute to that. If you want to learn more about how MPTF can help you, and how you can help MPTF with their many different volunteer opportunities or just by making a donation, please visit their website at www.mptf.com.

Chris Howland and his wife Yalda

Much appreciation goes to Linda Skinner, from our 695 office, for all the great planning and organizing that went into this event and of course, lots of thanks to all the Local 695 members and families who came out and joined us on this 2018 Local 695 Dinner Cruise Under the Stars. Next year? Stay tuned…

Josh Wilkinson doesn’t know it yet but in a couple of hours these two go home with the 4K HDR TV right behind them
Brion Condon with his son Chance
Tino Liberatore and Brenda Klemme from K-Tek, along with Janna Lopez, Thomas Popp and his wife Natalie, and Noel Espinosa

SPONSORS:


PREMIERE SPONSOR


GOLD SPONSORS


SILVER SPONSORS

70th Emmies

70th EMMY Award Nominations for Sound Production

Nominations for the 70th Primetime Emmy Awards were announced Thursday, July 12, 2018. The awards show will be held on Monday, September 17, at the Microsoft Theater in Los Angeles. The Saturday Night Live weekend update anchors Colin Jost and Michael Che will host the ceremony.

Local 695 congratulates all the nominees!


Outstanding Sound Mixing for a Comedy or Drama Series (One Hour)

Game of Thrones “Beyond the Wall”

Game of Thrones
“Beyond the Wall”
HBO

Nominees:
Onnalee Blank CAS, Re-recording Mixer
Mathew Waters CAS, Re-recording Mixer
Richard Dyer CAS, Production Mixer
Ronan Hill CAS, Production Mixer
Production Sound Team:
James Atkinson, Jonathan Riddell,
Jeff Welch, Daniel McCabe, Conor McErlane,
Andrew McNeill

The Handmaid’s Tale “June”
The Handmaid’s Tale “June”

The Handmaid’s Tale  
“June”
Hulu

Nominees: Joe Morrow, Re-recording Mixer
Lou Solakofski, Re-recording Mixer
Sylvain Arseneault CAS, Production Mixer
Production Sound Team: Joey Siracusa

Mr. Robot “Eps 3.4_runtime-error.r00”
Mr. Robot “Eps 3.4_runtime-error.r00”

Mr. Robot  
“Eps 3.4_runtime-error.r00”  
USA

Nominees:
John W. Cook II, Re-recording Mixer
Bill Freesh CAS, Re-recording Mixer
Joe White, Production Mixer
Paul Drenning, ADR Mixer
Production Sound Team:
Jason Benjamin, Robert A. Sacchetti

Stranger Things “Chapter Eight: The Mind Flayer”
Stranger Things “Chapter Eight: The Mind Flayer”

Stranger Things
“Chapter Eight: The Mind Flayer”
Netflix

Nominees: Joe Barnett, Re-recording Mixer
Adam Jenkins, Re-recording Mixer
Michael P. Clark CAS, Production Mixer
Bill Higley CAS, ADR Mixer
Production Sound Team: Allen Lee Williams III,
Joey Meyerhoff, Dennis Sanborn

Westworld “Akane No Mai”
Westworld “Akane No Mai”

Westworld
“Akane No Mai”
HBO

Nominees: Andy King, Re-recording Mixer
Keith Rogers, Re-recording Mixer
Geoffrey Patterson, Production Mixer  
Production Sound Team:
David F. Raymond, Zachary Wrobel


Outstanding Sound Mixing for a Limited Series or Movie

The Assassination of Gianni Versace: American Crime Story “The Man Who Would Be Vogue”
The Assassination of Gianni Versace: American Crime Story “The Man Who Would Be Vogue”

The Assassination of Gianni Versace: American Crime Story
“The Man Who Would Be Vogue”
FX

Nominees:
Doug Andham CAS, Re-recording Mixer
Joe Earle CAS, Re-recording Mixer
John Bauman CAS, Production Mixer
Judah Getz, ADR Mixer
Production Sound Team:
Chris Quilty, Scott Farr, Ace Williams,
Kris Wilcox, Kevin Cerchiai, 
Mark Weber

Fahrenheit 451
Fahrenheit 451

Fahrenheit 451  
HBO

Nominees:
Tom Fleischman CAS, Re-recording Mixer
Henry Embry CAS, Production Mixer
George Lara, Foley Mixer
Production Sound Team: Pat Cassin

Genius “Picasso: Chapter One”
Genius “Picasso: Chapter One”

Genius
“Picasso: Chapter One”  
National Geographic

Nominees:Bob Bronow CAS, Re-recording Mixer
Mark Hensley, Re-recording Mixer
Tamás Csaba, Production Mixer
Production Sound Team: Gábor Máté,
Norbert Szekeres

Twin Peaks “Part 8”
Twin Peaks “Part 8”

Twin Peaks
“Part 8”
Showtime

Nominees:
Ron Eng, Re-recording Mixer
Dean Hurley, Re-recording Mixer
Douglas Axtell, Production Mixer
Production Sound Team: Gunnar Ted Walker,
Anna D. Wilborn, Kelsey Wood

Waco “Operation Showtime”
Waco “Operation Showtime”

Waco  
“Operation Showtime”
Paramount Network

Nominees: Craig Mann, Re-recording Mixer
Laura Wiest, Re-recording Mixer
David Brownlow, Production Mixer
Production Sound Team: Rob Hidalgo


Outstanding Sound Mixing for a Variety Series or Special

60th Annual Grammy Awards
60th Annual Grammy Awards

60th Annual Grammy Awards
CBS

Nominees: Thomas Holmes, Production Mixer
Mikael Stewart, Production Mixer; John Harris, Broadcast Music Mixer
Eric Schilling, Broadcast Music Mixer; Ron Reaves, Front of House Music Mixer
Thomas Pesa, Stage Foldback Mixer; Simon Welch, Stage Foldback Mixer
Eric Johnston, Playback Music Mixer; Pablo Munguia, Pro Tools Mixer
Josh Morton, Post Audio Mixer; Bob La Masney, Sweetening Mixer

Jesus Christ Superstar Live in Concert


Jesus Christ Superstar Live in Concert
NBC

Nominees: 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

Last Week Tonight With John Oliver “Episode 421”
Last Week Tonight With John Oliver “Episode 421”

Last Week Tonight With John Oliver
“Episode 421”
HBO

Nominees: Steve Watson, Production Mixer
Charlie Jones, Music Mixer; Patrick Smith, Music Mixer
Steve Lettie, FOH Mixer; Anthony Lalumia, Monitor Mixer
Jason Dyer Sainsbury, Pro Tools Music Mixer
Max Perez, Pro Tools Mixer

The Oscars

The Oscars

The Oscars
ABC

Nominees: Paul Sandweiss, Broadcast Production Mixer
Kristian Pedregon, Re-recording Mixer; Tommy Vicari, Music Mixer
Michael Parker, Monitor Mixer; Tom Pesa, Orchestra Monitor Mixer
Mark Repp, Orchestra Monitor Mixer; Patrick Baltzell, House PA Mixer
Christian Schrader, Supplemental Audio Mixer; John Perez, VO Mixer
Pablo Munguia, Pro Tools Mixer

 The Voice “Live Finale (Part 2)”
The Voice “Live Finale (Part 2)”

The Voice
“Live Finale (Part 2)”
NBC

Nominees: Michael Abbott, Broadcast Production Mixer
Randy Faustino, Broadcast Music Mixer; Kenyata Westbrook, Reality Supervising Mixer
John Koster, Production Reality Mixer; Robert P. Mathews, Jr., Production Reality Mixer
Brian Riordan, Re-recording Mixer; Ryan Young, Re-recording Mixer
Tim Hatayama, Re-recording Music Mixer; Eric White, Re-recording Music Mixer
Shaun Sebastian, Monitor Mixer/Music Mixer Reality; Michael Bernard, Music Sub Mixer
Carlos Torres, Interstitial Music Playback Mixer; Christian Schrader, Supplemental Audio Mixer
Andrew Fletcher, House PA Mixer


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

Barry “Chapter Seven: Loud, Fast and Keep Going”
Barry “Chapter Seven: Loud, Fast and Keep Going”

Barry  
“Chapter Seven: Loud, Fast and Keep Going”
HBO

Nominees:
Todd Beckett, Re-recording Mixer
Elmo Ponsdomenech, Re-recording Mixer
Benjamin Patrick CAS, Production Mixer

Family Guy “Three Directors”
Family Guy “Three Directors”

Family Guy
“Three Directors”     
FOX

Nominees:
Jim Fitzpatrick CAS, Re-recording Mixer
Patrick Clark CAS, Production Mixer

Modern Family
“Lake Life”   
ABC

Nominees:
Brian R. Harman CAS, Re-recording Mixer
Dean Okrand CAS, Re-recording Mixer
Stephen Alan Tibbo CAS, Production Mixer
Production Sound Team:
Srdjan “Serge” Popovic, William Munroe, Jacques PienaarMozart-in-the-Jungle-S04E06-06e8c849035cd05ce1acd935aa6f40a7-full.jpgMozart in the Jungle “Domo Arigato”

Mozart in the Jungle
“Domo Arigato”
Prime Video | Amazon Studios

Nominees: Andy D’Addario, Re-recording Mixer
Chris Jacobson, Re-recording Mixer
Ryotaro Harada, Production Sound Mixer

Silicon Valley “Fifty-One Percent”
Silicon Valley “Fifty-One Percent”

Silicon Valley
“Fifty-One Percent”  
HBO

Nominees:Todd Beckett, Re-recording Mixer
Elmo Ponsdomenech, Re-recording Mixer
Ben Patrick CAS, Production Mixer


Outstanding Sound Mixing for Nonfiction Programming (single or multi-camera)

Anthony Bourdain: Parts Unknown “Lagos”
Anthony Bourdain: Parts Unknown “Lagos”

Anthony Bourdain: Parts Unknown  
“Lagos”
CNN

Nominee:
Benny Mouthon CAS, Re-recording Mixer

The Defiant Ones “Episode 1”
The Defiant Ones “Episode 1”

The Defiant Ones
“Episode 1”  
HBO

Nominees:
Christopher Jenkins, Re-recording Mixer
Gabriel Andy Giner, Production Mixer

Jane  
National Geographic

Nominees:
David E. Fluhr CAS, Re-recording Mixer
Marc Fishman, Re-recording Mixer
Lee Smith, Production Mixer
Derek Lee, Scoring Mixer

The Vietnam War “Episode 6: Things Fall Apart (January 1968-July 1968)”
The Vietnam War “Episode 6: Things Fall Apart (January 1968-July 1968)”

The Vietnam War
“Episode 6: Things Fall Apart (January 1968-July 1968)”
PBS

Nominee:
Dominick Tavella, Re-recording Mixer

 Wild Wild Country “Part 1”
Wild Wild Country “Part 1”

Wild Wild Country
“Part 1”
Netflix

Nominee:
Chapman Way, Production Mixer


Names in bold are Local 695 members

News & Announcements

POLITICS

Janus v AFSCME

(American Federation of State, County and Municipal Employees)

On June 27, 2018, the Supreme Court ruled that nonunion members no longer have to pay their “fair share” for union representation in collective bargaining negotiations. The case—Janus v AFSCME will impact public sector unions in twenty-two states and aims to permanently defund organized labor in the United States. In a 5-4 decision, the court rescinded the right of public sector unions to collect administrative fees from non-members, ruling it was inconsistent with the First Amendment. Meaning unions will lose fees from non-members but also lose members who are content with the union’s work but do not want to pay for it. Lee Saunders, AFSCME President, called the ruling a “unprecedented and nefarious political attack—designed to further rig the rules against working people.”


EDUCATION

3 Safety Pass Training Deadlines Have Passed

For those who are required to take the Safety Pass “A” and “A2” refresher classes, and for those who haven’t taken the HP1 or HP2 Harassment Preventation classes, THE DEADLINES HAVE PASSED. Failure to complete this training can jeopardize your eligibility to work on jobs subject to the Safety Pass training requirements.

To enroll for online courses, individuals eligible for Safety Pass training can go to http://www.csatf.org/safety.shtml and click on “Click here for On-Line Registration.”


YOUNG WORKERS

Spring Hike 2018

The 695 YWC thanks everyone who joined us on our annual Spring Hike this year! Spirits were high and Stough Canyon Nature Center in full bloom!


HEALTHCARE

Urgent Care After Hours Are Changing

Effective July 1, 2018, extended care hours (evenings, weekends, and holidays) currently offered at the UCLA Health-Motion Picture & Television Fund (UCLA-MPTF) Jack H. Skirball Health Center in Woodland Hills, CA, will transition to the UCLA-MPTF Toluca Lake Health Center.
 
Located at 4323 Riverside Drive in Burbank, CA, the UCLA-MPTF Toluca Lake Health Center will be open Monday through Friday, 7 a.m. to 8 p.m., and Saturday, Sunday and holidays from 8 a.m. to 4 p.m.

The UCLA-MPTF Jack H. Skirball Health Center will remain open Monday through Friday, 8 a.m. to 5 p.m., and Saturday, 8 a.m. to 4 p.m. The health center is located at 23388 Mulholland Drive in Woodland Hills.

Participants who use the UCLA-MPTF Jack H. Skirball Health Center for extended care may also use the Exer Urgent Care (“Exer”) clinic in Calabasas, California, for urgent care as an alternative. The Exer clinic in Calabasas is open seven days a week from 9 a.m. to 9 p.m. Participants who use the Exer clinic will be required to pay a $15 co-pay.

New Health Plan Benefits for Anthem Blue Cross Enrollees
The following benefits through the Motion Picture Industry Health Plan (MPIHP) are covered, effective March 1, 2018.

  • Shingrix Vaccination – The Shingrix vaccination is a CDC-recommended two-shot vaccine series against shingles that can replace the Zostavax vaccination. It should be given to people over the age of fifty years old, whether or not they have a history of chicken pox, shingles, or a previous Zostavax vaccine.
  • Elective Termination of a Pregnancy: The elective termination of a pregnancy is covered. 
  • Generic to Replace Brand Medications: If any of the following rare circumstances exist, brand-name medications may be fully covered: The physician documents an allergy, decreased effectiveness of the generic medication, a drug shortage of all generic alternatives, anti-seizure medications that meet all of the requirements.

NEW MEMBERS

Grant Greene    A2
Zachary Porter    Y-1
Hunter Grey Carlson    Y-4
Melquan Williams    A2
Ramiro Saldivar    Y-7A
Lumiere Hayes    Y-1    Spencer Lee    Y-7A
Samantha Cowan    A2
Trevor Arenas    A2
Albert Aucoin    Y-4
Jackson Bramlette    A2
Eric Enroth    Y-1
Behnam Ghahramani    KTLA
Joaquin Martinez    Proj.
Kevin Owen     Y-4
David Santos    Y-4
Fernanda Lage Starling    Y-7
John Wassel    Y-8


In Memoriam

Hans Michael Pickel

Y-7
July 16, 1965 – May 27, 2018


Our Contributors

Crew Chamberlain

Crew Chamberlain started his sound career in 1976 after graduating from USC School of Cinema. A proud member of Local 695 IATSE for forty years and counting.


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 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.


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.


Nathan Whitcomb

Nathan grew up in Colorado and moved to SoCal to attend film school. He has worked in production audio for ten years and is Co-chair of the Young Workers Committee.


Photos courtesy of the respective contributors.

From the Vice President

Editor’s note: The following is a guest column written by Jillian Arnold, Vice President of Local 695, by invitation from President Mark Ulano CAS AMPS, in response to the television and film industry’s cultural change on equal pay and leadership within the work environment.

The first six months as the Vice President of Local 695 have been an unexpected journey of learning and discovery. They have been filled with daily challenges that have given me new perspective and insight into the unique crafts of our members. I have striven to become intimately acquainted with the needs of all the sectors of our Local—Sound, Video, and Projection. With the rise in cultural awareness of gender discrimination and sexual harassment in our industry, I have looked to other locals and other tech-based industries to gain inspiration and guidance in building a new foundation for members within our own Local.

In June, I had the privilege to attend my first District 2 Convention—an annual event where the IATSE locals from Arizona, California, Hawaii, and Nevada come together to address the needs and well-being of their members on a localized scale. In both formal and informal conversations throughout the conference, the topic of gender roles in TV and cinema came up repeatedly, specifically about the work being done by Local 871 (Script Supervisors, Coordinators, and Accountants) and their “#ReelEquity” campaign.

The campaign, which seeks to end gender pay bias within the film and television industries, conducted an in-depth study into compensation trends that found strong evidence of gender-based discrimination when it comes to pay in Hollywood. The topic of gender equality has long been institutionalized within their Local, as women predominantly fill their crafts.

The analysis, which can be read in the article “Script Girls, Secretaries, and Stereotypes: Gender Pay Quality on Film and Television Crews,” compares compensation rates of Local 871’s female-dominated roles, such as Script Supervisors, Production Coordinators, and Art Department Coordinators, with more male-dominated jobs, such as the various Assistant Director positions and Key Location Manager jobs of other union jurisdictions, and draws three main conclusions:

Conclusion 1: A long history of gender segregation and stereotyping—and a current culture of gender bias and sexual harassment in film and television production—affects the work opportunities available to members of these female-dominated crafts and how the industry values their contributions.

Conclusion 2: These Local 871 crafts are paid hundreds or even thousands of dollars per week less than counterparts in comparable male-dominated crafts, even though California’s Fair Pay Act generally requires equal pay for men and women performing substantially similar work and federal law bars gender discrimination in pay.

Conclusion 3: The industry should undertake a thorough review of pay for male- and female-dominated crafts in light of its obligations under California and federal law and correct any inequities.

Upon reading this report, I began to reflect upon gender roles within our own Local and the challenges women face in our technical fields. Local 695 currently has one thousand eight hundred and eighty-five active members, with women accounting for only one hundred and forty-eight (or 7.8 percent) of them. Though Local 695’s minimum wage scale does not have its roots in gender discrimination or pay inequality the way that other locals do but, in talking to the women within our Local, the perception is that we are all still susceptible to this systemic issue. Many feel that the letter of the California Equal Pay Act may be intact but the spirit of it remains to be found. Our Local does not traditionally have classifications thought of as female-based positions. Discrimination still simmers within the perception that women in technical fields are unqualified to hold leadership positions within their departments. Women are still undervalued, undermined, and “mansplained” to on a daily basis. Oftentimes, they are regarded with disbelief and skepticism. To borrow a quote from Peggy Names, an early woman pioneer in the production sound arena, “We look forward to the day when people stop saying, ‘I’ve never seen a woman sound person before.‘”

We need to improve.

But we should also be commended. Although the ratio of female to male members may be low, women do occupy strong leadership roles within our ranks. Four of our fifteen (or just over twenty-six percent) elected members of our Board of Directors are women. Two of our three Trustees are women. Our Local has just sworn in its first female Vice President since its charter in 1930. Furthermore, of the one hundred and forty-eight active women in Local 695, forty-two of them are classified as Y-1 Production Mixers. Three of them are classified as Y-3 Supervising Engineers. Ten of them are classified as Y-4 Operative Supervisors/Video Engineers/Maintenance Engineers/24-Frame Video Recording/EVS Technicians. Altogether, thirty-seven percent of the women in our Local hold leadership classifications.

This raises the question: Why do we still have a perception issue with regards to women holding leadership roles in technical fields?

If we, as a local and then as an industry, could combat this misconception, we could combat multiple societal issues. To start, a woman who receives equal pay for equal work is less likely to be the victim of gender discrimination or sexual harassment. A woman with a strong financial base is more likely to stand up to a perpetrator and can prioritize her own safety and well-being over the fear of losing her means of income. And this is only the beginning. The benefits of financial solvency extend beyond any one woman and create opportunities for the pursuit of higher education, more stable retirement planning, family planning, and a more confident self-image.

As Chair of the Gender Discrimination and Sexual Harassment Advisory Committee, I invite you to explore the future with me and to help me tackle these issues both on the local level and on a global front. What are some of the issues our members are facing in their work environment that the local can become more involved in? How can your local’s leadership best help with concerning or unsafe work environments? Are there issues specific to Local 695 that we need to address?

If you would like to be a part of the discussion and join this committee, please reach out to me at jillian.h.arnold@gmail.com. I encourage and invite both men and women to be a part of this effort. Every comment and concern is of importance in this pursuit.

For more information on Local 871’s #ReelEquity analysis, please visit www.reelequity.org and sign the open letter in support of pay equity.


Jillian Arnold
Vice President

From the Business Representative

Everybody had a wonderful evening on June 16 aboard the Hornblower, “The Entertainer,” on our first 2018 Local 695 Dinner Cruise Under the Stars. Thanks to all our sponsors and the office staff for helping to make this such a memorable evening.

On June 27, Gov. Jerry Brown signed the new state budget which included an extension of the current California Film & TV Tax Credit Program, adding $330 million in annual incentive tax credits through 2025. This is important because it allows producers to plan their television production budgets further in the future, allowing them to commit to shooting more episodic television, as well as relocating television series back to California. We have already seen quick benefits from this extension with two television series relocating, NBC’s Good Girls (season two) from Atlanta and Lifetime’s You (season two) coming to California from New York City. These two shows alone will employ about four hundred and twenty crew members, four hundred and twenty-nine cast members, and seven thousand and sixty background (including stand-ins, measured in days of work) and bring in $61.4 million in qualified expenditures.

Aboard the 2018 Local 695 Dinner Cruise (l-r): Jay Patterson, Laurence Abrams, Joe Aredas Jr., Mark Ulano, Devendra Cleary, Scott Bernard, Chris Howland, Eva Rismanforoush, and Jennifer Winslow
Aboard the 2018 Local 695 Dinner Cruise (l-r): Jay Patterson, Laurence Abrams, Joe Aredas Jr., Mark Ulano, Devendra Cleary, Scott Bernard, Chris Howland, Eva Rismanforoush, and Jennifer Winslow

We are seeing growth in the use of video walls on feature, television, and live/recorded broadcast productions for Local 695 members. The technology is evolving significantly from earlier forms of video playback and front/rear projection and is now capable of efficiently replacing still digital backgrounds printed on vinyl (the Translux) with moving video images. This form of video projection has been the long-standing jurisdiction of Local 695 Video Engineers and we’re happy to see our members introducing this technology on more and more productions. Local 695 Representatives have been in the field to assure that producers are hiring Local 695 members to perform this work and we want to remind all of our members to let us know if they observe otherwise. If you are hired to perform video wall work but are asked to do so as a nonunion hire on a union production, call me at the Local. When you are employed on an IATSE production, we want to make sure that you receive the Motion Picture Industry Pension & Health Plan contributions you’re entitled to.

At the halfway point in 2018, we’re happy to report that the industry is enjoying yet another record year, with April’s record box-office grosses topping $1 billion for the first time ever. Thanks to the extension of the California Film & TV Tax Credit Program, and to the growing new avenues of streaming distribution, the future looks bright for production in California and for the members of Local 695.

Fraternally yours,

Scott Bernard
scottb@local695.com
Business Representative

From the Editor

It’s another hot summer and what could be better than this edition of Production Sound & Video while you try to stay cool.

Our Vice President, Jillian Arnold, gifts us with a guest column on equal pay and leadership. Crew Chamberlain gives us his insights on his life as a Commercial Sound Mixer.

“The Way We Were (Part 1)” by Scott Smith is an engaging look back at our industry. Aaron Eberhardt and Nathan Whitcomb, the Co-chairs of the Young Workers Committee, give us an update.

Laurence Abrams writes about the Local 695 Dinner Cruise and James Delhauer, “Adapting to 4K & Beyond,” educates us about new developments for Video Engineers.

There is also Jay Patterson’s “Technical Trends Committee” report (formerly “FCC Update”) and the sound Emmy nominees.

Lots of good reading while you gather around your air conditioners.

Fraternally,
Richard Lightstone

Production Sound Award Winners

2017 Awards

Local 695 congratulates the winners of the Cinema Audio Society Awards, the Academy Awards, the British Academy Film Awards and the Association of Motion Picture Sound Awards


ACADEMY AWARDS

The 90th Oscars ceremony aired live on ABC on Sunday, March 4, 2018. Local 695 congratulates the winners!

DUNKIRK

Alex Gibson, Richard King, Gregg Landaker, Gary A. Rizzo CAS, Mark Weingarten CAS
Production Sound Team: Tom Caton, Lawrence L. Commans, Tim Surrey, Dominic Happé, Gautier Isern, Zach Wrobel

Mark Weingarten with Gary A. Rizzo and Gregg Landaker (Photo: AMPAS)

BAFTA WINNERS

The EE British Academy Film Awards took place on Sunday, February 18, at the Royal Albert Hall, London. The ceremony was hosted by Joanna Lumley and broadcast in all major territories around the world. I.A.T.S.E. Local 695 congratulates the nominees.

DUNKIRK

Alex Gibson, Richard King, Gregg Landaker, Gary A. Rizzo CAS, Mark Weingarten CAS
Production Sound Team: Tom Caton, Lawrence L. Commans, Tim Surrey, Dominic Happé, Gautier Isern, Zach Wrobel

Alex Gibson, Gregg Landaker, Gary A. Rizzo and Mark Weingarten (Photo: Guy Levy)


AMPS

The Fifth Annual AMPS Awards for Excellence in Sound.

MOTION PICTURE

BABY DRIVER

Production Sound Mixer – Mary H. Ellis CAS
Supervising Sound Editor – Julian Slater
Lead Re-recording Mixer – Tim Cavagin
Production Sound Team: James Zardos Peterson,
Thomas J. Doolittle, Alexander Lowe, Michael P. Clark,
Dennis Sanborn, John Maskew

Mary Ellis, Tim Cavagin and Julian Slater (Photo: AMPS)
Mary Ellis, Tim Cavagin and Julian Slater (Photo: AMPS)

TELEVISION DRAMA

BLACK MIRROR “USS Callister”

Production Sound Mixer – John Rodda AMPS
Dialogue Editor – Matthew Skelding
Supervising Sound Editor – Kenny Clark
Lead Re-recording Mixer – Tim Cavagin
Production Sound Team: Kyle Pickford, Emma Chilton

tvdrama.jpg

Black Mirror “USS Callister” (Photo: Jonathan Prime)


CINEMA AUDIO SOCIETY AWARDS

The awards were presented at a sealed-envelope dinner on February 24 in the Bunker Hill Ballroom of the OMNI Los Angeles Hotel at California Plaza. During the awards, the highest honor of the CAS, the CAS Career Achievement Award, was presented to Re-recording Mixer Anna Behlmer, the CAS Filmmaker Award was given to Joe Wright and the Edward J. Greene Award for the Advancement of Sound will be presented to Tomlinson Holman CAS.

MOTION PICTURES LIVE-ACTION

DUNKIRK

Production Mixer – Mark Weingarten CAS
Re-recording Mixer – Gregg Landaker
Re-recording Mixer – Gary Rizzo CAS
Scoring Mixer – Alan Meyerson CAS
ADR Mixer – Thomas J. O’Connell
Foley Mixer – Scott Curtis
Production Sound Team: Tom Caton, Lawrence L. Commans,
Tim Surrey, Dominic Happé, Gautier Isern, Zach Wrobel

Mark Weingarten, Gregg Landaker, Gary Rizzo, Scott Curtis and Alan Meyerson for Dunkirk, Motion Pictures - Live Action  (Photo: Alex J. Berliner/ABImages)
Mark Weingarten, Gregg Landaker, Gary Rizzo, Scott Curtis and Alan Meyerson for Dunkirk, Motion Pictures – Live Action (Photo: Alex J. Berliner/ABImages)

MOTION PICTURES – DOCUMENTARY

JANE

Production Mixer – Lee Smith
Re-recording Mixer – David E. Fluhr CAS
Re-recording Mixer – Warren Shaw
Scoring Mixer – Derek Lee
ADR Mixer – Chris Navarro CAS
Foley Mixer – Ryan Maguiref

Ryan Maguire, David E. Fluhr and Chris Navarro for Jane, Motion Pictures - Documentary (Photo: Alex J. Berliner/ABImages)
Ryan Maguire, David E. Fluhr and Chris Navarro for Jane, Motion Pictures – Documentary (Photo: Alex J. Berliner/ABImages)

MOTION PICTURES – ANIMATED

COCO

Original Dialogue Mixer – Vince Caro
Re-recording Mixer – Christopher Boyes
Re-recording Mixer – Michael Semanick CAS
Scoring Mixer – Joel Iwataki
Foley Mixer – Blake Collins

animated.jpg

Vince Caro, Joel Iwataki, Blake Collins and Michael Semanick for Coco, Motion Pictures - Animated  (Photo: Alex J. Berliner/ABImages)
Vince Caro, Joel Iwataki, Blake Collins and Michael Semanick for Coco, Motion Pictures – Animated (Photo: Alex J. Berliner/ABImages)

TELEVISION MOVIES & MINI-SERIES

BLACK MIRROR “USS Callister”

Production Mixer – John Rodda CAS
Re-recording Mixer – Tim Cavagin
Re-recording Mixer – Dafydd Archard
Re-recording Mixer – William Miller
ADR Mixer – Nick Baldock
Foley Mixer – Sophia Hardman
Production Sound Team: Kyle Pickford, Emma Chilton

John Rodda, William Miller, Tim Cavagin, Dafydd Archard, Sophia Hardman and Nick Baldock for Black Mirror “USS Callister” Television Movies and Mini-Series (Photo: Alex J. Berliner/ABImages)
John Rodda, William Miller, Tim Cavagin, Dafydd Archard, Sophia Hardman and Nick Baldock for Black Mirror “USS Callister” Television Movies and Mini-Series (Photo: Alex J. Berliner/ABImages)

TELEVISION SERIES – ONE HOUR

GAMES OF THRONES “Beyond the Wall”

Production Mixer – Ronan Hill CAS
Production Mixer – Richard Dyer CAS
Re-recording Mixer – Onnalee Blank CAS
Re-recording Mixer – Mathew Waters CAS
Foley Mixer – Brett Voss CAS
Production Sound Team: James Atkinson, Jonathan Riddell, Jeff Welch, Daniel McCabe, Conor McErlane, Andrew McNeill

Brett Voss, Foley Mixer (Photo: Alex J. Berliner/ABImages)

TELEVISION SERIES – HALF-HOUR

SILICON VALLEY  Episode 9 “Hooli-Con”

Production Mixer – Benjamin A. Patrick CAS
Re-recording Mixer – Elmo Ponsdomenech
Re-recording Mixer – Todd Beckett

Elmo Ponsdomenech and Todd Beckett (Photo: Alex J. Berliner/ABImages)

TELEVISION NON-FICTION, VARIETY, MUSIC SERIES or SPECIALS

ROLLING STONE: STORIES FROM THE EDGE

Production Mixer – David Hocs
Production Mixer – Tom Tierney
Re-recording Mixer – Tom Fleischman CAS

Tom Tierney, Production Mixer

Names in Bold are Local 695 members


STUDENT RECOGNITION AWARD & $2,500 PRIZE WINNER:

Xiang Li – Chapman University

News & Announcements

COMMUNITY

Save the Date! JUNE 16, 2018, 7-11 PM, MARINA DEL REY, CA

Local 695 invites you to the Dinner Cruise Under the Stars, benefiting the Motion Picture Television Fund. Local 695 members plus one guest are invited to enjoy a relaxing habor cruise out of Marina Del Rey, complete with sunset dinner and entertainment. Thanks to our generous sponsors, tickets are only $49 per person. Space is limited, so reserve your seats today. “Don’t miss the boat!”

Winter Lunch 2018

Kevin Cerchiai, George Flores and Scott D. Stolz

On February 25, 2018, sound mixers Chris Howland, Devendra Cleary and Steve Morantz held their annual Winter Lunch Mixer at River Rock Lounge in Studio City. Sound and video professionals from Los Angeles and across the nation got together for this post-CAS Awards annual gathering.

Yalda Sharif Howland and Chris Howland

EDUCATION

Safety Pass Deadlines Have Passed

If your job requires placement on the Roster, failure to complete all required training will make you ineligible for work. The deadlines have passed for Rostered 695 members to complete the following training:

Safety Pass Refresher Training:
A and A2

This training can be taken ONLINE.
(If you took this after 7/1/15, you’re NOT required to repeat it now.)

Harassment Prevention:
HP1 or HP2

This training can be taken ONLINE.
To check the status of your training and verify that you are current, go to www.csatf.org and on the left, click Online Roster/General Access and then enter your last name and Local number.

Info about Safety Passport:
www.csatf.org/safety.shtml
Online registration:
https://portal.csatf.org/auth/login
Refresher Training FAQ:
https://csatf.org/refresher_train ing_faq.pdf

Contact Contract Services: 818.847.0040 ext. 1200


POLITICS

IA Solidarity Bowling

On March 25, 2018, thirteen Hollywood Locals and Local 839 (The Animation Guild) came out in support of #IASolidarity at our first Bowling for Solidarity event. The International Cinematographers Guild Local 600 thanks everyone who came and bowled alongside their fellow IA Sisters and Brothers.

#IASOLIDARITY

IATSE locals in the motion picture film and television industry have come together to build strength and unity to:
Support each other in negotiations;

  • Build a strong, unified IATSE;
  • Protect our standard of living;
  • Maintain sustainable health and retirement benefits;
  • Ensure our safety at work;

WHEN WE STAND TOGETHER,
WE THRIVE TOGETHER.

Harrison “Duke” Marsh on the set of Seal

To find out more,
visit IASOLIDARITY.COM


YOUNG WORKERS

Charles Hamyak, Aaron Eberhart, Paul Gonzales, Nathan Whitcomb, Evan Freeman, MaryJo Devenney, Danny Maurer and Sam Bedard. (Photo: Megan Duquette)

LA River Cleanup 2018

On April 14, 2018, members of Local 695 and the Young Workers Committee joined Friends of the LA River on their annual cleanup day at Glendale Narrows Riverwalk.

Since 1986, the Friends of the LA River has been devoted to restoring the LA River’s natural habitat and is fueled by the dream of a river free from concrete and to transform it into a swimmable, boat-able, fishable, bike-able river for all. Thank you to all Local 695 members who dedicated their time to clean up our river!


NEW MEMBERS

Local 695 welcomes its new members

Aaron Martz
Wyatt Bartel
Erika Sampson
Nicholas Stuebe
Kari Aiya Barber
Tyler Blythe
Jacob Varley
Cassiano “Casey” Pereira
Arik Freeman-Anderson
Thomas Duarte
Nick Amico
Mark Lyons
Jaime Sanchez, Jr.
Russell Walbert
Douglas V. Monson
Jade Carter
Jason Denagy
Chris Dahlstrom
Arran Murphy
Patrick Hanlon
Nelson Cruz
Danny Maurer
Kendra Bates
Michael Flores
Robert “Marty” Warren
Boramey “Mey” Chan


IN MEMORIAM

BARRY THOMAS
Y-1
June 8, 1932 – October 3, 2017
 

CHARLES HOUSE
Projectionist
May 19, 1935 – February 16, 2018

From the Business Representative

2017 was a banner year for production in Hollywood, supported by the Film & Television Tax Credit Program 2.0 that was passed in 2015. This five-year program infused $1.5 billion into production in California over a five-year period. A portion of the funds was slated to bring television series that went to other states back to California. To date, twelve television series have relocated back to this state. The employment in the motion picture industry increased 12.38 percent from 162,300 jobs in 2015 to 182,400 in 2016. As of the end of 2017, there have been 131 film and television projects resulting $1.9 billion in wages, $1.6 billion in non-wage spending. We have proven that this Tax Credit Program works. The production does not receive the tax credit until after the production wraps and the members have received all their wages and benefits.  

Scott Bernard at the State Capitol on his visit to support the new tax credit bill.

This Tax Credit Program has been an overwhelming success, but we must extend the program beyond 2019 to keep productions in the state of California and not go to a competing state with their own tax incentives. As the Co-chair of the California IATSE Councils Legislative Committee, myself, along with other IATSE West Coast Business Representatives have made several trips to Sacramento to support Sen. Holly Mitchell’s bill, SB 951 and Majority Leader Ian C. Calderon’s bill, AB 1734. These bills will extend the current program and add some new improvements that will continue to support a robust production schedule in California.

Willie Burton CAS, Majority Leader Ian C. Calderon, Joanetta Stowers of Local 706 and her husband Charles Stowers.

State legislators were treated to a special screening of A Wrinkle in Time from Disney Studios as a way to thank them for their support of the motion picture industry and the successful Tax Credit Program. The feature was shot in Northern California, as a result of the tax credit. Willie Burton CAS, Local 695 member who was the mixer on A Wrinkle in Time, was a special guest at the screening and was asked to address the audience on the importance of the Tax Credit Program. Willie had the opportunity to meet with one of the bill authors, Ian Calderon, and thank him for his continued support. Willie also met with other key supporters of these new bills. Willie proved to be the perfect ambassador for all IATSE working men and women in our historic film industry.

In the coming months, we will be in Sacramento again to help our supporters push through the bill that will keep productions in California.

On June 16, 2018, Local 695 will offer a Dinner Cruise to benefit the Motion Picture Television Fund. Please go online and purchase your tickets. This looks to be a wonderful evening to enjoy some good food, music, dancing and friendship while supporting an organization that does so much for the workers in our industry.

Fraternally yours,

Scott Bernard
scottb@local695.com
Business Representative

Our Contributors

AMES 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 more than a decade.

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 45-year veteran of the film and music business, Mr. Smith has recorded sound for more than forty film and television 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.

DAVID WAELDER

David is a Local 695 Sound Mixer, now retired. Until recently, he was a co-editor of this journal.

From the President

We received a copy of this memo from Local 695 former Director Agamemnon Andrianos.

It was created by the Local 600 Safety Committee and we want to share it with our members as well. We encourage Local 695 members to have your eyes and ears open to the safety issues described in this memo and share your concerns with us so we can advocate for safe working conditions on your behalf.

We would like to start by thanking those of you who completed the recent driving survey that was sent a few weeks back. Your answers and more specifically, your comments, verified that the problem of handheld filming in vehicles driven by actors and others (“free driving”) is a growing safety issue that needs to be dealt with.
 
Members of our committee have been speaking with experts in the field of crash technology for the past month and we would like to share the following information with you:

What We Have Learned So Far

  • While a crash is the most obvious concern in a free driving situation, airbag deployment is the greatest specific danger that we must consider.
  • Airbags can deploy due to sudden deceleration in vehicles traveling as slow as 8 mph or even if something gets lodged underneath the vehicle’s frame.
  • Airbags can deploy at speeds comparable to 200 mph within 1/20th of a second, leaving no time to react.
  • The passenger-side airbag is physically larger and deploys with more force than the driver-side airbag which is situated farther away from the occupant.
  • The National Highway Traffic Safety Administration (NHTSA) guidelines state that sitting within ten inches of an airbag is dangerous.
  • Most vehicles now have weight sensors in the seats that help determine how much force an airbag should use to deploy. Sitting with a camera on a shoulder will therefore result in a higher weight reading and cause the airbag to deploy with greater force than necessary.
  • Anything unsecured in a vehicle, including a handheld camera, will act as a projectile when propelled by an exploding airbag.
  • Acting while driving falls within the NHTSA criteria for distracted driving, so operators and assistants are not the only crew members at risk.
  • Dealing with driving shots on the day is the worst time to do, so as it can hold up production and limit options, and as a result, may not yield safe alternatives. Discussing these shots as early as possible in prep is the time to communicate your concerns so that they can be addressed properly.

What We Continue to Work On

  • Communicating with federal regulators, engineers and lawyers, as well as crash test experts to determine the safety of this practice and if there are any precedents we can cite to move forward.
  • Connecting with the DGA, SAG, Stunts and Grip Locals to devise specific guidelines for shooting in moving vehicles that are being free driven by actors.
  • Sourcing OOPS (Out of Position Simulation) crash test videos that will show the effects of projectiles (dash cams, etc.) in vehicle crashes that are more specific to our situation.
  • Providing our Business Representatives (BRs) with guidelines to use when speaking to production about these types of shots, and how best to handle free driving situations when they are reported.

What We Suggest at This Time

  • Use the Safety App to report ANY driving shot THE MOMENT YOU SEE IT IN A SCRIPT OR LEARN ABOUT IT! Any and every Local 600 member should report these shots so that nothing is missed.
  • As early as possible in your shoot or prep, discuss the issue of free driving with the AD, Key Grip, Stunt Coordinator or anyone else that may facilitate creating safe driving shots. If you feel that your concerns are not being considered, call one of your BRs and ask that they contact production to speak about the dangers of this practice.
  • Always request that the camera be mounted and secured rather than handheld, as a handheld camera creates a much greater risk to everyone in the vehicle.
  • If a free driving situation is unavoidable due to circumstances beyond your control, the airbags need to be de-activated by a trained technician prior to any rehearsal or shooting takes place (please note that pulling a fuse will not accomplish this as capacitors in the circuitry can still fire the airbags). If the airbags cannot be de-activated, a tow rig or other method should be utilized. While federal regulators and vehicle manufacturers do not recommend de-activating airbags, experts have agreed that this is a safer practice at this time. This is new territory for them, so these guidelines may change and we will update you should they do so.
  • If free driving at highway speeds is necessary, the camera should be hard-mounted and not handheld. When free driving at any speed, production should ideally close down the route in question, or, in the event you are shooting on a live street, should surround the shooting vehicle with cars driven by qualified drivers.
  • If you have a driving shot in the schedule and production does not appear to be taking your concerns seriously, request that a Local 600 rep be present on set when the shot is being done and also report this to the studio safety hotline listed on the call sheet.

We would like nothing better than to share definitive rulings as to what is, or is not, acceptably safe concerning driving speeds, airbags, vehicle types and beyond, but unfortunately, there are far too many variables that come into play with every scenario to consider. With that in mind, if something that you are being asked to do causes you concern for your safety or the safety of your fellow crew members, please speak up with the knowledge that the Local will support you.
 
While we continue to search for concrete solutions, please be aware that it takes a tremendous amount of time to deal with government institutions and the hierarchy within our own industry. Our absolute priority is the safety of our members and as such, we need to gather as much feedback as possible. Please help by alerting us about driving shots as far ahead of time as possible so that we may work with greater effectiveness toward protecting all of our members and all of your co-workers as well. Our belief is that all shots, given enough time and forethought, can be planned in a way that will allow our members to excel at their craft while keeping everyone safe, now and in the future.
 
Thank you for your time.

Fraternally,

Mark Ulano CAS AMPS
President
IATSE Local 695

From the Editors

Welcome to the spring edition of Production Sound & Video.

Fraternally, Richard Lightstone & Mark Ulano

Fraternally, Richard Lightstone & Mark Ulano

In this edition, we feature Robert Chartier, his team and company 24frame.com. They are innovative Video Engineers that have developed a groundbreaking system of rear screen projection.

James Delhauer delves into ProRes RAW, featured at this year’s NAB gathering. David Waelder contributes “Remembering Chinhda,” who passed away earlier this year. Scott Smith introduces a new series, “The Way We Were,” an intimate and nostalgic look back at the earlier days of sound mixing and the responsibilities of the sound crews—“In the old days, we used to…”

Daron James tells us about the new episodic Yellowstone with Production Mixer Tom Curley.

Frankly, we are a bloom with great reading material and invite you to enjoy it all.

Award Nominees

Local 695 Honors the Art of Production Sound through the Success of All Award Nominees.

Local 695 Members are in BOLD

CAS AWARD NOMINEES

The 54th Annual CAS Awards ceremony will be held on Saturday, February 24, in the Bunker Hill Ballroom of the OMNI Los Angeles Hotel at California Plaza.

MOTION PICTURES: LIVE ACTION

Baby Driver

Production Mixer: Mary H. Ellis CAS

Re-recording Mixer: Julian Slater CAS

Re-recording Mixer: Tim Cavagin

Scoring Mixer: Gareth Cousins CAS

ADR Mixer: Mark Appleby

Foley Mixer: Glen Gathard

Production Sound Team: James Zardos Peterson, Thomas J. Doolittle, Alexander Lowe, Michael P. Clark, Dennis Sanborn, John Maskew

Dunkirk

Production Mixer: Mark Weingarten CAS

Re-recording Mixer: Gregg Landaker

Re-recording Mixer: Gary Rizzo CAS

Scoring Mixer: Alan Meyerson CAS

ADR Mixer: Thomas J. O’Connell

Foley Mixer: Scott Curtis

Production Sound Team: Tom Caton, Lawrence L. Commans, Tim Surrey, Dominic Happé, Gautier Isern, Zach Wrobel

Star Wars: The Last Jedi

Production Mixer: Stuart Wilson CAS

Re-recording Mixer: David Parker

Re-recording Mixer: Michael Semanick

Re-recording Mixer: Ren Klyce

Scoring Mixer: Shawn Murphy

ADR Mixer: Doc Kane CAS

Foley Mixer: Frank Rinella

Production Sound Team: Orin Beaton, Kate Morath, Tom Fennell, David Giles, Tim White, Milos Momcilovic

The Shape of Water

Production Mixer: Glen Gauthier

Re-recording Mixer: Christian T. Cooke CAS

Re-recording Mixer: Brad Zoern CAS

Scoring Mixer: Peter Cobbin

Foley Mixer: Peter Persaud CAS

Production Sound Team: Stephen Switzer, Jason McFarling

Wonder Woman

Production Mixer: Chris Munro CAS

Re-recording Mixer: Chris Burdon

Re-recording Mixer: Gilbert Lake CAS

Scoring Mixer: Alan Meyerson CAS

ADR Mixer: Nick Kray

Foley Mixer: Glen Gathard

Production Sound Team: Steve Finn, Will Towers, Cei Frampton, Paul Munro, Alex Bryce

MOTION PICTURES: ANIMATED

Cars 3

Original Dialogue Mixer: Doc Kane CAS

Re-recording Mixer: Tom Meyers

Re-recording Mixer: Michael Semanick

Re-recording Mixer: Nathan Nance

Scoring Mixer: David Boucher

Foley Mixer: Blake Collins

Coco

Original Dialogue Mixer: Vince Caro

Re-recording Mixer: Christopher Boyes

Re-recording Mixer: Michael Semanick

Scoring Mixer: Joel Iwataki

Foley Mixer: Blake Collins

Despicable Me 3

Original Dialogue Mixer: Carlos Sotolongo

Re-recording Mixer: Randy Thom CAS

Re-recording Mixer: Tim Nielsen

Re-recording Mixer: Brandon Proctor

Scoring Mixer: Greg Hayes

Foley Mixer: Scott Curtis

Ferdinand

Original Dialogue Mixer: Bill Higley CAS

Re-recording Mixer: Randy Thom CAS

Re-recording Mixer: Lora Hirschberg

Re-recording Mixer: Leff Lefferts

Scoring Mixer: Shawn Murphy

Foley Mixer: Scott Curtis

The Lego Batman Movie

Original Dialogue Mixer: Jason Oliver

Re-recording Mixer: Michael Semanick

Re-recording Mixer: Gregg Landaker

Re-recording Mixer: Wayne Pashley

Scoring Mixer: Stephen Lipson

Foley Mixer: Lisa Simpson

MOTION PICTURES: DOCUMENTARY

An Inconvenient Sequel: Truth to Power

Production Mixer: Gabriel Monts

Re-recording Mixer: Kent Sparling

Re-recording Mixer: Gary Rizzo CAS

Re-recording Mixer: Zach Martin

Scoring Mixer: Jeff Beal

Foley Mixer: Jason Butler

Eric Clapton: Life in 12 Bars

Production Mixer: Russell Edwards

Re-recording Mixer: Tim Cavagin

Re-recording Mixer: William Miller

ADR Mixer: Adam Mendez CAS

Gaga: Five Foot Two

Re-recording Mixer: Jonathan Wales CAS

Re-recording Mixer: Jason Dotts

Jane

Production Mixer: Lee Smith

Re-recording Mixer: David E. Fluhr CAS

Re-recording Mixer: Warren Shaw

Scoring Mixer: Derek Lee

ADR Mixer: Chris Navarro CAS

Foley Mixer: Ryan Maguire

Long Strange Trip

Production Mixer: David Silberberg

Re-recording Mixer: Bob Chefalas

Re-recording Mixer: Jacob Ribicoff

TELEVISION MOVIE OR MINI-SERIES

Big Little Lies: Episode 7 “You Get What You Need”

Production Mixer: Brendan Beebe CAS

Re-recording Mixer: Gavin Fernandes CAS

Re-recording Mixer: Louis Gignac

Production Sound Team: Dennis Fuller, Sean Thomas Byrnes, Sean O’Malley, Sheraton Toyota,

Tom Pinney, Devin Golub

Black Mirror “USS Callister”

Production Mixer: John Rodda CAS

Re-recording Mixer: Tim Cavagin

Re-recording Mixer: Dafydd Archard

Re-recording Mixer: Will Miller

ADR Mixer: Nick Baldock

Foley Mixer: Sophia Hardman

Production Sound Team: Kyle Pickford, Emma Chilton

Fargo: Year 3 Episode 4 “The Narrow Escape Problem”

Production Mixer: Michael Playfair CAS

Re-recording Mixer: Kirk Lynds CAS

Re-recording Mixer: Martin Lee

Scoring Mixer: Michael Perfitt

Production Sound Team: David Brown, Valerie Siu

Sherlock “The Lying Detective”

Production Mixer: John Mooney CAS

Re-recording Mixer: Howard Bargroff

Scoring Mixer: Nick Wollage

ADR Mixer: Peter Gleaves CAS

Foley Mixer: Jamie Talbutt

Production Sound Team: Craig Burns, Emma Chilton

Twin Peaks – Part 8 “Gotta Light?”

Production Mixer: Douglas Axtell

Re-recording Mixer: Dean Hurley

Re-recording Mixer: Ron Eng

Production Sound Team: Gunnar Ted Walter, Steve Blazewick, Anna Wilborn

TELEVISION SERIES – ONE HOUR

Better Call Saul

“Lantern”

Production Mixer: Phillip W. Palmer CAS

Re-recording Mixer: Larry B. Benjamin CAS

Re-recording Mixer: Kevin Valentine

ADR Mixer: Matt Hovland

Foley Mixer: David Michael Torres CAS

Production Sound Team: Mitchell Gebhard, Steven Willer

Game of Thrones

“Beyond the Wall”

Production Mixer: Ronan Hill CAS

Production Mixer: Richard Dyer CAS

Re-recording Mixer: Onnalee Blank CAS

Re-recording Mixer: Mathew Waters CAS

Foley Mixer: Brett Voss CAS

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

Stranger Things: Chapter 8

“The Mind Flayer”

Production Mixer: Michael P. Clark CAS

Re-recording Mixer: Joe Barnett

Re-recording Mixer: Adam Jenkins

ADR Mixer: Bill Higley CAS

Foley Mixer: Antony Zeller CAS

Production Sound Team: Allen Lee Williams III, Robert Maxfield, Joey Meyerhoff

The Crown

“Misadventure”

Production Mixer: Chris Ashworth

Re-recording Mixer: Lee Walpole

Re-recording Mixer: Stuart Hilliker

Re-recording Mixer: Martin Jensen

ADR Mixer: Rory de Carteret

Foley Mixer: Philip Clements

Production Sound Team: Duran Darkins, Nina Rice, Josh Ward, James Harris, Joe Cary

The Handmaid’s Tale: Episode #1

“Offred”

Production Mixer: John J. Thomson CAS

Re-recording Mixer: Lou Solakofski

Re-recording Mixer: Joe Morrow

Scoring Mixer: Scott Smith

Foley Mixer: Don White

Production Sound Team: Peter Murphy, Ryan Longo

TELEVISION SERIES – HALF-HOUR

Ballers

“Yay Area”

Production Mixer: Scott Harber CAS

Re-recording Mixer: Michael Colomby CAS

Re-recording Mixer: Richard Weingart CAS

ADR Mixer: Michael Miller

Production Sound Team: Scott Solan, Erik Altstadt

Black-ish

“Juneteenth, the Musical”

Production Mixer: Tom N. Stasinis CAS

Re-recording Mixer: Peter J. Nusbaum CAS

Re-recording Mixer: Whitney Purple

Production Sound Team: Adam Blantz, Frank Zaragoza, Brandon Loulias, Jeffery Zimmerman

Modern Family

“Lake Life”

Production Mixer: Stephen A. Tibbo CAS

Re-recording Mixer: Dean Okrand CAS

Re-recording Mixer: Brian R. Harman CAS

Production Sound Team: Srdjan “Serge” Popovic, William Munroe, Jacques Pienaar

Silicon Valley: Episode 9

“Hooli-Con”

Production Mixer: Benjamin A. Patrick CAS

Re-recording Mixer: Elmo Ponsdomenech

Re-recording Mixer: Todd Beckett

Veep

“Omaha”

Production Mixer: William MacPherson CAS

Re-recording Mixer: John W. Cook II CAS

Re-recording Mixer: Bill Freesh CAS

Production Sound Team: Brandon Loulias, Rocky Quiroz

TELEVISION NON-FICTION, VARIETY, MUSIC SERIES OR SPECIALS

American Experience: The Great War “Part 3”

Production Mixer: John Jenkins

Re-recording Mixer: Ken Hahn

Anthony Bourdain: Parts Unknown

“Oman”

Re-recording Mixer: Benny Mouthon CAS

Deadliest Catch “Last Damn Arctic Storm”

Re-recording Mixer: John Warrin

Rolling Stone: Stories from the Edge

Production Mixer: David Hocs

Production Mixer: Tom Tierney

Re-recording Mixer: Tom Fleischman CAS

Who Killed Tupac? Episode 101

“Murder in Vegas”

Production Mixer: Steve Birchmeier

Re-recording Mixer: John Reese

OSCAR NOMINEES

On Tuesday, January 23, 2018, the Academy of Motion Picture Arts and Sciences announced the nominations for the 90th Oscars ceremony, which will air live on ABC on Sunday, March 4, 2018.

BEST SOUND MIXING

Baby Driver

Production Sound Mixer: Mary H. Ellis

Re-recording Mixer: Julian Slater CAS

Re-recording Mixer: Tim Cavagin

Scoring Mixer: Gareth Cousins CAS

ADR Mixer: Mark Appleby

Foley Mixer: Glen Gathard

Production Sound Team: James Zardos Peterson, Thomas J. Doolittle, Alexander Lowe, Michael P. Clark, Dennis Sanborn, John Maskew

Blade Runner 2049

Production Sound Mixer: Mac Ruth

Re-Recording Mixer: Ron Bartlett

Re-Recording Mixer: Doug Hemphill

Re-Recording Mixer: Mark Mangini

Production Sound Team: George Mihalyi, Balazs Varga, Aron Havasi, Janos Csaki Sr. and Janos Csaki Jr.

Dunkirk

Production Sound Mixer: Mark Weingarten CAS

Re-recording Mixer: Gregg Landaker

Re-recording Mixer: Gary Rizzo CAS

Scoring Mixer: Alan Meyerson CAS

ADR Mixer: Thomas J. O’Connell

Foley Mixer: Scott Curtis

Production Sound Team: Tom Caton, Lawrence L. Commans, Tim Surrey, Dominic Happé, Gautier Isern, Zach Wrobel

The Shape of Water

Production Sound Mixer: Glen Gauthier

Re-recording Mixer: Christian T. Cooke CAS

Re-recording Mixer: Brad Zoern CAS

Scoring Mixer: Peter Cobbin

ADR Mixer: Thomas J. O’Connell

Foley Mixer: Peter Persaud CAS

Production Sound Team: Stephen Switzer, Jason McFarling

Star Wars: The Last Jedi

Production Sound Mixer: Stuart Wilson CAS

Re-recording Mixer: David Parker

Re-recording Mixer: Michael Semanick

Re-recording Mixer: Ren Klyce

Scoring Mixer: Shawn Murphy

ADR Mixer: Doc Kane, CAS

Foley Mixer: Frank Rinella

Production Sound Team: Orin Beaton, Kate Morath, Tom Fennell, David Giles, Tim White, Milos Momcilovic

BAFTA AWARD NOMINEES

The EE British Academy Film Awards take place on Sunday, February 18, at the Royal Albert Hall, London. The ceremony will be hosted by Joanna Lumley and will be broadcast exclusively on BBC One and BBC One HD. The ceremony is also broadcast in all major territories around the world.

I.A.T.S.E. Local 695 congratulates the nominees.

BEST SOUND

Baby Driver

Tim Cavagin, Mary H. Ellis, Julian Slater

Production Sound Team: James Zardos Peterson, Thomas J. Doolittle, Alexander Lowe, Michael P. Clark, Dennis Sanborn, John Maskew

Blade Runner 2049

Production Sound Mixer: Mac Ruth

Re-Recording Mixer: Ron Bartlett

Re-Recording Mixer: Doug Hemphill

Re-Recording Mixer: Mark Mangini

Production Sound Team: George Mihalyi, Balazs Varga, Aron Havasi, Janos Csaki Sr. and Janos Csaki Jr.

Dunkirk

Richard King, Gregg Landaker, Gary A. Rizzo, Mark Weingarten

Production Sound Team: Tom Caton, Lawrence L. Commans, Tim Surrey, Dominic Happé, Gautier Isern, Zach Wrobel

The Shape of Water

Christian Cooke, Glen Gauthier, Nathan Robitaille, Brad Zoern

Production Sound Team: Stephen Switzer, Jason McFarling

Star Wars: The Last Jedi

Ren Klyce, David Parker, Michael Semanick, Stuart Wilson, Matthew Wood

Production Sound Team: Orin Beaton, Kate Morath, Tom Fennell, David Giles, Tim White, Milos Momcilovic

AMPS NOMINEES

Film award winners to be announced Sunday, February 11.

EXCELLENCE IN SOUND FOR A FEATURE FILM

Baby Driver

Mary H. Ellis, Julian Slater CAS,

Tim Cavagin, Gareth Cousins CAS, Mark Appleby, Glen Gathard

Production Sound Team: James Zardos Peterson, Thomas J. Doolittle, Alexander Lowe, Michael P. Clark, Dennis Sanborn, John Maskew

Blade Runner 2049

Ron Bartlett, Doug Hemphill, Mark Mangini, Mac Ruth

Production Sound Team: George Mihalyi, Balazs Varga, Aron Havasi, Janos Csaki Sr. and Janos Csaki Jr.

Dunkirk

Mark Weingarten CAS, Richard King, Gregg Landaker, Gary A. Rizzo CAS, Alan Meyerson CAS, Thomas J. O’Connell, Scott Curtis

Production Sound Team: Tom Caton, Lawrence L. Commans, Tim Surrey, Dominic Happé, Gautier Isern, Zach Wrobel

The Shape of Water

Glen Gauthier, Christian T. Cooke CAS, Brad Zoern CAS, Peter Cobbin, Peter Persaud CAS

Production Sound Team: Stephen Switzer, Jason McFarling

Three Billboards Outside Ebbing, Missouri

Jonathan Gaynor, Doug Cooper, Chris Burdon, Patrick Ghislain, Julien Naudin, Mark DeSimone

Production Sound Team: Timothy Cargioli, Elanor Rimassa

News & Announcements

Community Outreach at Valley College

On January 25, more than 200 attendees came to Los Angeles Valley College to learn about unions and jobs in the motion picture and television industry.

Hosted by Assembly member Adrin Nazarian (California 46th Assembly District) with panelists from Local 695, Property Local 44, 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 students a foundational understanding of Labor history, the development of unions and why labor unions are good for the country’s economy. At the conclusion of the evening, Laurence was joined by Production Mixer and Board member Steve Nelson answering questions with the attendees about our Local 695 crafts and how to get into the industry.

This event was part of a growing effort by 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 entertainment economy.

Lydia Graboski-Bauer (Local 892), Lesli Lytle (Local 44), Assemblyman Adrin Nazarian, Dawn Gilliam (Local 871), Laurence Abrams (Local 695), Greg Reeves (Local 728)

Holiday Brunch & Brews

On December 10, 2017, Chris Howland, Devendra Cleary and Steve Morantz hosted their annual Holiday Brunch & Brews Mixer. A huge thank-you goes out to Yalda Sharif Howland, the vendors and all the people who were willing to volunteer their time to help us pull the event together on the day.

Patrushkha Mierzwa, Steve Morantz, Devendra Cleary and Chris Howland

Young Workers Committee: HomeWalk 2017

On Saturday, November 18, 2017, the Local 695 Young Workers Committee walked for the AFL-CIO team, alongside Mayor Eric Garcetti and ten thousand LA residents in a 5K fundraiser. Collectively, $1 million was raised to house homeless veterans, families and individuals in Los Angeles.

Local 695 Young Workers Committee: Ben Lazarus, Ann Yuen (YW 705), Chris Thueson, Aaron Eberhardt & Eva Rismanforoush
Nathan Whitcomb (YW 695)

Young Workers Committee: Save a Life Sunday

On Sunday, January 7, 2018, the Young Workers Committees of Local 695, 892 and 705 co-hosted a blood drive in partnership with the Red Cross. We would like to thank Local 80 for providing its space for a second year in a row, but most importantly, we thank all forty-eight donors whose generous gift helped save the lives of their fellow Angelinos.

Lydia Graboski-Bauer (YW 892), Eva Rismanforoush (YW 695), Mark Ulano, President Local 695), Chris Thueson (YW 695), Anne Yuen & Rosalyn Isidro (YW 705), Kit Peterson (YW 892)

Welcome Local 695 New Members

John A. Garcia Y-4
Lena Alkhatib Y-1
Mike Budzik Y-1
Kevin Bellante Y-1
Joseph Oliveira, III Proj.
Michael Rich Y-1
George A. Gomez Y-1
Mayra Rodriguez Mejia Y-8
Ryan De Grazzio Y-4
Mike De Grazzio Y-4
Jake Garcia Y-4
Evan Menak Y-1
Patrick McQuown Y-16
Alexander Warrick A2
Philip Galler Y-4
Jefferson Fugitt Y-4
Johnny Karlsson Y-8
Kailyn Cornish Y-7
Eric Bucklin Y-1
Ryan Brennan Fee Y-7A
Dylan Acio Y-8
Ethan Speakman Proj.
John Anderson Y-1
Aaron Martz Proj.
Wyatt Bartel Y-4
Erika Sampson Y-4
Nicholas Stuebe Y-16
Kari Aiya Barber Y-1
Tyler Blythe Y-7A
Cassiano “Casey” Pereira Y-1
Arik Freeman-Anderson A2
Thomas Duarte Y-1
Jacob Varley Y-8


IN MEMORIAM

THOMAS BECKERT Y-1

STERLING CROSS Y-7A

EDWARD J. GREENE Y-1

MALCOLM “MEL” RENNINGS Y-8

Our Contributors

DARON JAMES
Daron James is a veteran journalist having written about the film and television industry for more than a decade.

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.

Photos courtesy of the respective contributors.

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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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