IATSE Local 695

Production Sound, Video Engineers & Studio Projectionists

Departments

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.

From the Business Representative

I think I can speak for all of the members of Local 695 by welcoming the newly elected Board of Directors. This new Board is made up of some first-time Board members, along with many who have served for one, two and as many as ten terms in office, all volunteering their time to help guide your Local into the future. 2017 was a very busy year for the members of Local 695. The overall work hours reported to the Motion Picture Plan well exceeded the previous year’s record results. Although we don’t have the final numbers yet, as of today, the hours reported on behalf of Local 695 members are up 5.6 percent from 2016. In the works at MPI are several new services that we plan to roll out to the membership of Local 695 in the coming months.

In March and April this year, we will be engaged in contract negotiations with the AMPTP for the Local, Basic and Electronic Supplemental Agreements. After receiving suggestions from the membership and the Board of Directors, the Negotiating Committee reviewed all of these proposals. After careful evaluation and consideration, 695’s completed proposals have been submitted to the Board of Directors for final approval.

Also coming up this year, will be efforts to ensure the renewal of the California Film and Television Tax incentive program, as well as the very important mid-term elections which are likely to have a significant impact on our members. Anti-worker legislation is on the table in the US Senate and House of Representatives and our members need to be informed as to how these bills can impact the security of our families. To bring members up to speed, Local 695 Education & Communications Director Laurence Abrams asked President Loeb to assist by sending the IA’s “Why Unions Still Matter” presentation to our January membership meeting, along with Assistant Political and Legislative Director Erika Dinkel-Smith. Most of us at the meeting walked away energized and inspired to step up and get involved. A good place to start is by making even just a small monthly contribution to the IATSE PAC fund right here http://www.iatse.net/get-involved/contribute.

I thank all the Brothers and Sisters of Local 695 for the great work you do on production. This work continues to prove that Local 695 members are industry leaders in the development and advancement of audio, video and projection in the motion picture industry. I also thank you for all the support you give me and the Board of Directors in our quest to represent you and your families. We are union, we are one, and always, we stand together in solidarity.

Fraternally,

Scott Bernard
scottb@local695.com
Business Representative

From the President

FIRST, FROM THE BOTTOM OF MY HEART, LET ME THANK THE OUTGOING MEMBERS OF OUR EXECUTIVE BOARD, Agamemnon Andrianos, Courtney Goodin, Richard Lightstone, Peggy Names, Andy Rovins and Jeff Wexler, for their years of service to our members. Their countless hours of contribution, friendship and commitment may not be known to all of our community, but their accomplishments can be felt daily by the policies this Local has in place in no small part due their selfless participation. We are blessed with their continuing interest in contribution through consultation, mentoring and committee work. Thank you all.

And, of course, let me congratulate our newly elected Executive Board. You have been given the opportunity and privilege to lead Local 695 into the future and to maintain and grow the pro-active culture that now thrives at its heart.

Our Constitution, Article VII, Section 8, describes the duties of the Executive Board. I include it here for all to review and be aware of the important responsibilities your elected leadership has committed to:

Section 8. EXECUTIVE BOARD

The Executive Board shall consist of the President, Vice-President, Recording-Secretary, Business Representative, Treasurer, Sergeant-at-Arms, the three trustees, and six (6) “members at large.” The duties, powers, and responsibilities of the Executive Board shall be:

(a) To decide upon all matters referred to them by the membership and their decision shall be binding unless reversed by a majority vote of the members present at a regular or special meeting of the Local. They shall decide upon the enforcement of the Locals’ laws and regulations and may perform such acts and make such rulings and decisions consistent with the Constitution and Bylaws as may be necessary to carry on the business and promote the interests of this Local when properly authorized by the General Membership of this Local.
(b) To act as a trial board of this Local unless the member elects to be tried at an open meeting as provided in Article 12, Section 15, hereof. They shall have the power to summon as a witness any members and those failing to answer may be adjudged in contempt and penalized for same by fine or suspension.
(c) To supervise the affairs, membership, business and activities of the Local, including but not limited to the activities of the Business Representative and Recording-Secretary, and the Treasurer as set forth above. The Executive Board shall be vested with all complete authority necessary for the government of this Local, subject to this Constitution and Bylaws and that of the International.
(d) To hold their meetings prior to the regular membership meeting, and full written report of their action submitted to the membership.
(e) To determine, guided by the principles of equity and fairness, and consistent with their fiduciary duty to the Local, hardship claims by members seeking relief, in whole or in part, through forgiveness, delayed payment, or otherwise, from their fees, dues and/or assessment obligations.
(f) In the event of a vacancy (i.e., death, resignation, removal from office) of any officer, other than the President of this Union, the Local’s Executive Board shall elect, by secret ballot, a member of this Local Union in good standing to serve the remainder of the vacated term.

I’d also like to congratulate the many members who have stepped up and put themselves forward as candidates in Local 695’s current election for Board and Delegates. It’s great to see new faces coming forward to engage in the Local’s destiny. I thank you all for your participation. Although, there are only a few slots for the many candidates, and a terrific group has been selected, I must emphasize that there are many more ways to participate beyond these positions.

Here is a list of the committees serving the Local and if you should see a subject that peaks your interest, please let me know if you would like to participate in the work of any of these teams.

Constitution and Bylaws Committee
Education
Contract Negotiating Committee
Social Media & Events
Young Workers Committee
Technical Trends
   Frequency Coordination Protocol Sub-Committee
Survey Committee
Historical Committee
Quarterly Publication Committee
Retirees Committee
Organizing Committee
Sports Broadcast Committee
Reality Production Committee
Commercial Production Committee
Video Engineers Committee
Diversity Committee
Building Committee
Political Action Committee
Harassment Resolution Protocol Committee.(The intent of this committee is to develop a protocol for members to follow in addition to reporting incidents to the employer. We need to create safe methods for members who experience abuse to receive support and advocacy for dealing with their situation. This committee is charged with examining available options and distilling them into a recommended protocol for members who are in need.)

Finally, warm New Year’s to all, thank you so much for your active participation in conducting the business of our union. We, who have just been sworn in to serve, are committed to doing our best.

Fraternally,

Mark Ulano CAS AMPS
President
IATSE Local 695

From the Editors

It’s hard to believe but this year marks the tenth year of this publication. Our first issue premiered in the spring of 2009, co-edited by myself, Eric Pierce and David Waelder. Thirty-six editions later, we are proud to continue to bring you interesting reading all about our craft and the multiple disciplines of Local 695.

In our winter issue, is a look into the mixing styles and conditions of three diverse feature films, Hostiles, The Greatest Showman and The Post.

In the Spring edition Scott Smith will introduce 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.

We editors have asked, cajoled, inspired and yes, sometimes begged our members to write about the projects they are on and what they do. Not only to inform our membership, but educate the entertainment community on what the “Sound Local” (a misnomer for sure) does every day.If you have an idea or a subject you want to see in this publication, contact us at mag@local695.com.

If you don’t consider yourself an author, we’ll jump in and assist. We know there are burning topics you want to read and talk about.

Happy reading,

Fraternally,
Richard Lightstone & Mark Ulano

Emmy Winners 2017

The 69th Emmys for Outstanding Sound Mixing

Microsoft Theater in Los Angeles, Sunday, September 17 (8:00-11:00 PM ET/5:00-8:00 PM PT) on CBS.

Names in BOLD are Local 695 members

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

Westworld “The Bicameral Mind”
Keith Rogers, Re-recording Mixer
Scott Weber, Re-recording Mixer
Roger Stevenson, Production Mixer
Kyle O’Neal, ADR Mixer
Production Sound Team: Larry Commans, Chuck Homyak

OUTSTANDING SOUND MIXING FOR A LIMITED SERIES OR A MOVIE

The Night of “The Beach”
Nicholas Renbeck, Re-recording Mixer
Michael Barry, Re-recording Mixer
Felix Andrew, Production Mixer
Larry Hoff, Production Mixer
Production Sound Team: Tim Elder, John Sember

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

Mozart in the Jungle “Now I Will Sing”
Andy D’Addario, Re-recording Mixer
Gary Gegan, Re-recording Mixer
Marco Fiumara, Production Mixer
Production Sound Team: Luigi Pini, Claudio Bagni

OUTSTANDING SOUND MIXING FOR A VARIETY SERIES OR SPECIAL

2017 Rock and Roll Hall of Fame Induction Ceremony
Al Centrella, Production Mixer
Susan Pelino, Music Mixer
Jay Vicari, Music Mixer
Dave Natale, FOH Mixer
Erik Von Ranson, FOH Mixer
Simon Welch, Monitor Mixer

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

The Beatles: Eight Days a Week–The Touring Years
Chris Jenkins, Re-recording Mixer
Cameron Frankley, Re-recording Mixer
Nathan Evans, Production Mixer
Sam Okell, Music Mixer

News & Announcements

ATSE Statement on Sexual Harassment
in the Entertainment Industry

As a labor union, we were founded upon equality, respect and fairness for all people. We commend the many who have courageously shared their stories of sexual abuse and harassment in the entertainment industry, and we absolutely support their right to speak out. Members are always encouraged to contact their union or the IATSE Safety Hotline (844 IA AWARE / 844-422-9273) if they are in a situation that feels wrong or unsafe.

This July, almost nine hundred Delegates elected to represent the IATSE membership convened for the IATSE International Convention, the highest legislative and judicial body in the IATSE. The Delegates unanimously voted to adopt the following:

RESOLUTION NO. 16

WHEREAS, The IATSE has acknowledged the safety and well-being of its members to be of the greatest concern;

WHEREAS, The IATSE Equality Statement reads in part “IATSE leaders and members must be vigilant in working, both with each other and with our employers, to promote an equal and welcoming environment for all people, through our actions, attitude and language”;

WHEREAS, No human being should ever be subjected to any type of sexual or physical abuse in the workplace;

THEREFORE, BE IT RESOLVED, That the Delegates to the IATSE 68th Quadrennial Convention condemn sexual or other physical abuse perpetrated in the workplace; and

BE IT FURTHER RESOLVED, That efforts be made to support IATSE members who report workplace abuse; and

BE IT FURTHER RESOLVED That the Locals of the IATSE will work together to inform members that such actions will not be tolerated and that anyone responsible for workplace abuse will be held accountable.

Convention Action: The Delegates adopted this Resolution. As required, the IATSE hereby reminds all local unions that the IATSE encourages and advocates for respectful work environments and adheres to antiharassment, anti-discrimination and anti-bullying workplaces. It further reminds Locals that the IATSE Equality Statement can be found on the International’s website at www.IATSE.net/equality [2].

We recognize that sexual harassment in the entertainment industry is not a one-time issue to confront. IATSE leaders and members are continuing to actively work together and with the larger entertainment industry to advocate for safer work environments for everyone.

Social Media Committee Boom Operators Master Class

On August 6, 2017, the Boom Operators Master Class, which was presented by the LA Sound Mixers, sponsored by K-Tek and masterfully taught by veteran Boom Op Ken Strain, took place at the Local 80 Sound Stage in Burbank, CA.

Safety Pass Refresher Training Deadline Has Passed

In order to remain eligible for work on the Industry Experience Roster, members are required to have taken two refresher courses by November 30, 2017. Beginning December 1, 2017, employers may refuse to hire individuals who have not completed the required safety refresher training:

• “A” – General Safety
• “A2” – Environmental Safety

If you took these classes AFTER July 1, 2015, you are NOT required to repeat the training at this time.

Both classes can be taken online or at Contract Services.

Info about Contract Services: www.csatf.org
Info about Safety Passport: www.csatf.org/safety.shtml
Online registration: https://portal.csatf.org/auth/login
Refresher Training FAQ: https://csatf.org/refresher_ training_faq.pdf
Call Contract Services: 818.847.0040 ext.1200

Welcome Local 695 New Members

Santiago Garcia Y-4
Erin Fitzgerald Y-8
Derek Mocarski Y-1
Eduardo Eguia Y-4
Peter Baigent A2
Nick Rumancki Y-1
Michael Sena A2
Kevin Culligan Y-7A
David Cook Y-1
Frederick Babson A2
Jesse Parker Y-1
Mateo Silverman Y-4
Chris Dwinell Y-4
Ben Kamm Y-1
Jimmy Xiloj A2
Thomas Fry Y-4
Samuel Tazartes Y-7
Zachary Alexander Y-4
Josh Gerson Y-1
Christopher Claypool Y-7A
Kevin Vermeersch Y-7
Herman Leijte Y-1
Jesse Dunham A2

Summer Mixer

On Sunday, July 23, Chris Howland, Devendra Cleary and Steve Morantz hosted their annual Summer Mixer at Beau Baker’s house. More than 150 of Los Angeles’ production sound and video professionals converged on Baker’s backyard for the biggest mixer west of the Rockies!

In Memoriam

CAROL TIPTON, Projectionist
December 25, 1952 – May 24, 2017

DON SHARPLESS, Y-1
January 8, 1933 – August 2, 2017

Our Contributors

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

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

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.

RIC TELLER
Ric Teller started in television at KTLA in the seventies and has been a freelance TV audio guy since 1985. He also is a pretty damn good baker. Here he is visiting the Hoover Dam.

From the Business Representative

Local 695 not only represents you and your family at the bargaining table and in the workplace, but in matters that support and protect your family. The CIC (California IATSE Council) lobbies at the state and local level, and the IATSE PAC works for you on the national level in Washington DC. The work that the CIC did in Sacramento was key in pushing through AB1839, the Film Tax Incentive bill, aimed at retaining and attracting production jobs and economic activity throughout the state. The three-year bill grants three hundred thirty million dollars ($330,000,000) in credits for the 2016–17 fiscal year and each fiscal year through 2020. AB1839 has already created over 22,700 behind-the–camera jobs in California with $1.78 billon in qualified wages and another $1.47 billion spent on California businesses. With AB1839 in place, California motion picture and television employment increased 12.38% between 2015 and 2016. That’s great news but if we do nothing, the program and the work that comes with it will end. That’s why we are already working on a campaign to extend the program and work towards gaining improvements and additional funding. When we kick off the campaign to renew AB1839, Local 695 will be asking you all to get involved to help keep production in the state. The CIC was also a leader on bill SB17, “Transparency in Drug Pricing.” SB17 provides sixty days’ advance notice before changes can be made to prescription drug prices when the cumulative increase over the prior two years is more than 10%. This advance notice goes to both public and private purchasers, including CaLPERS, Medi-Cal, Corrections, health plans, insurers, pharmacy benefits managers and plans like our Motion Picture Industry Pension and Health Plan (MPIPHP.) Looking at the cumulative price increases over the prior two years creates an incentive for prescription prices to fall below 10%. This helps keep the costs down on prescription drugs, which represents a very significant expense for our health plan. Reduced prescription prices means more resources become available to provide our families with essential health services.

Your union is always working to make you and your family’s life better and safer. Union = Family. We wish you and your family all the best this holiday season. If you would like to support our efforts in Washington, DC, sign up for the monthly IATSE PAC donation at http:// www.iatse.net/ get-involved/con tribute. Just $5 or $10 a month grows very big when we all join in and it can make all the difference when we have an issue that supports American working women and men seeking a fair wage and a safe place to work.

Fraternally,
Scott Bernard
scottb@local695.com
Business Representative

From the President

THE BEST OF ALL POSSIBLE WORLDS

Well, here we are in challenging times. It is quite amazing really, as the current sociopolitical landscape is almost unrecognizable from just a short while ago. This pervades in multiple realms; from the International to the Local and it brings to mind a sentiment expressed by Ben Hecht, the iconic Hollywood screenwriter and prolific scribbler. In 1958, he hosted a protean television talk show broadcast nightly in New York City. Years ahead of its time, it fearlessly featured talks with individuals from across the spectrum of society, inclusive of murderers and ministers, finally being canceled when his guest, the Spanish surrealist Salvador Dali, described his discovery of a new type of orgasm on live TV. Too much for the corporate minds of that era, but tame from our present-day perspective.

Here’s Hecht’s statement of intent from his premier broadcast that startles with its current relevance:

September 15, 1958

All the big and little thinkers are moaning low. The word optimism has almost gone out of our language. They say we are the fearful fifties waiting for the sinister sixties. There’s hardly a man, woman or child able to turn a television dial who isn’t convinced that our planet will wind up shortly as a lifeless cinder spinning emptily in space. Most of the thinking going on today is trying to figure out who is to blame for our impending extinction as a species. The way it looks now the last two humans left on Earth, presumably an American and a Russian, will point a righteous finger at each other and with a triumphant cry of you did it, drop dead. End of world. Invective and despair have taken over an era that waits for this distinction. I can think of no cure for this mood of panic. The best I can do as one man is not to add to it. Voltaire’s hero, young Candide, cried out after each disaster that smote him, ‘It’s the best of all possible worlds.’ Voltaire meant this cry to sound bitter and ironic. It never has to me. I’ve found the grin of life, however ironic, more important and persuasive than all its defeats. The inanities of our politicians, the poppycock produced by our fear of Communism and our fear of ourselves, in fact, the whole climate of invective and despair which covers us with its smog, is no more than that. An unfunny day. An individualist doesn’t have to strike his colors in bad weather. That in a fashion is my theme. I’ll try to stick to it and keep Candide’s slogan sounding: it’s the best of all possible worlds.

Hecht’s resilient optimism, having lived through both world wars, the Holocaust and more, strikes a chord as he reminds us that the present is a snapshot of an eternally flowing river. The push and pull of the social current is replete with the endless random collisions of individuals acting and reacting.

So it’s up to us to learn the rhythm of tides and to act on counsel from our better angels. The tsunami of incredible and often horrific revelations crashing upon us almost daily cannot be our collective cue to shut down in paralysis. Rather, it is a call to action, an invitation to set aside the apathy of being overwhelmed and engage, armed with grace, critical thinking and common sense as the countervailing forces to the outrageous.

With this in mind, I am asking you to build on the positive culture now thriving in our Local and take the next step as stakeholders and genuinely participate. This energy should arise from a sense of enlightened self-interest. This community we call Local 695 is not some third-party entity. It doesn’t exist just to police the rules and manage crises. It is us and our fellow members, joined in mutually beneficial action.

As always, the opportunity to take part in the union’s progress through committee and event participation continues and I am initiating significant expansion of these opportunities in several new ways:

We are daily being made aware of the problem of workplace harassment, sexual and otherwise. We generally are aware of industry reporting procedures being in place but when it comes to resolution and support, I know that we can do better. So, I’m calling out to the membership for volunteers to participate in a Harassment Resolution Protocol Committee. The intent is to develop a concrete protocol for members to follow in addition to reporting incidents to the employer. We need to create safe methods for members who experience abuse to receive support and advocacy for dealing with their situation. This committee is charged with examining available options and distilling them into a recommended protocol for members who are in need. Please contact me through the Local if you are interested in serving on this committee.

I have also created a Political Action Committee to help better align the interests of our union with opportunities and initiatives in proactive ways. Again, let me know of your interest in participating on this committee. THE BEST OF ALL POSSIBLE WORLDS Our Contract Negotiating Committee’s next meeting is coming up shortly and we are very grateful for the many cogent suggestions that have been submitted. We’ll be discussing these in full and I urge you to submit any suggestions you may have for potential proposals in our upcoming contract cycle next year.

As our recent nominations have shown, a genuine uptick in interest from all corners of our diverse community is emerging. In recognition of the need for experience and continuity in the union’s leadership of the future, I am inviting members who believe they would be interested in running for leadership positions in future 695 elections, to contact me about participating in Local 695’s new Leadership Training Program. Members will have the opportunity to be mentored and learn the tools of Board and Delegate-level engagement in the union’s leadership.

Let me encourage you to come forward and participate in the direction of your union. The experience of observing the Board of Directors at work, gives you the chance to support your union by being informed and prepared. We’ve been blessed with a great Board of Directors, a group of individuals genuinely committed to the success of Local 695, selfless and voluntary without compensation other than the satisfaction of service and taking responsibility for the course of our organization.

The more of us who add this experience to our work repertoire, the stronger this union will be, so…

Please consider participating. The time commitment is not so great. Virtually, all Board members have active lives with family and professional commitments and yet are able to squeeze in a couple of hours once a month. You’ll have the opportunity to soak up the experience of seasoned Board members and learn from the process.

I’d like to congratulate the many members who have stepped up and put themselves forward as candidates in Local 695’s current election. It’s great to see new faces coming forward to engage in the Local’s destiny. I thank you all for your participation. Likewise, I invite all of our members to reciprocate by voting in our election. This is your chance to express who you’d like to represent your interests in the future of our union.

Warmest fraternal regards,
Mark Ulano CAS AMPS
President IATSE Local 695

From the Editors

The fall issue represents the last edition of Production Sound & Video for 2017. Thanksgiving, Chanukah, Christmas and New Year’s Eve are not far behind. It’s a time to reflect, revitalize and enjoy family and friends, while thinking of the year ahead with hopes for continued health, work and prosperity.

Fall also brings a season unique to our industry, Awards Season, where our email inboxes are filled with screening invites. Take the opportunity to see these motion pictures in the venues they were designed for and support our Brothers and Sisters who toil so hard to bring us this year’s product.

We mourn the loss of legendary Production Mixer Ed Greene, with a fond tribute by Ric Teller. Daron James delves into the FCC’s reallocation of the 600 MHz spectrum, as well as a conversation with Video Engineer Chris Kieffer.

Our regular contributors, Jay Patterson with “FCC Update,” Eva Rismanforoush and the Young Workers Committee, this year’s Sound Emmy winners, “News & Announcements” and “Sound Apps” round out your reading.

Enjoy.

Fraternally yours,
Richard Lightstone and Mark Ulano

Emmy Nominations

69th Emmy Award Nominations for Sound Production

[Names in BOLD are Local 695 members.]

The 69th Emmy Award nominations for programs airing June 1, 2016–May 31, 2017, were announced in Los Angeles, CA, on July 13, 2017. The Awards show will telecast live from the Microsoft Theater in Los Angeles, Sunday, September 17. Stephen Colbert will serve as host.

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

Better Call Saul “Witness” – AMC
Nominees:
Phillip W. Palmer CAS, Larry Benjamin, Kevin Valentine
Production Sound Team:
Mitchell Gebhard, Steven Willer

House of Cards “Chapter 53” – Netflix
Nominees:
Lorenzo Millan, Nathan Nance, Scott R. Lewis
Production Sound Team:
Chris Jones, Steve Saada

Mr. Robot “eps2.8_hidden-pr0cess.axx” – USA
Nominees:
William Sarokin, John W. Cook II CAS, Bill Freesh CAS, Paul Drenning
Production Sound Team:
Robert A. Sacchetti

Stranger Things “Chapter Eight: The Upside Down” – Netflix
Nominees:
Chris Durfy CAS, Joe Barnett, Adam Jenkins, Bill Higley
Production Sound Team:
Chris Isaac, Joey Meyerhoff Westworld

“The Bicameral Mind” – HBO
Nominees:
Roger Stevenson, Keith Rogers, Scott Weber, Kyle O’Neal
Production Sound Team:
Larry Commans, Chuck Homyak

Outstanding Sound Mixing for a Limited Series or Movie

Big Little Lies “You Get What You Need” – HBO
Nominees:
Brendan Beebe CAS, Gavin Fernandes CAS, Louis Gignac
Production Sound Team:
Dennis Fuller, Sean Thomas Byrnes, Sean O’Malley, Devin Golub, Sheraton Toyota & Tom Pinney

Fargo “Who Rules the Land of Denial” – FX
Nominees:
Michael Playfair CAS, Kirk Lynds, Martin Lee, Michael Perfitt
Production Sound Team:
David Brown, Valerie Siu

Genius “Einstein: Chapter One” – National Geographic
Nominees:
Petr Forejt, Bob Bronow CAS, Mark Hensley
Production Sound Team:
Tomas Cervenka

The Night Of “The Beach” – HBO
Nominees:
Larry Hoff, Felix Andrew, Nicholas Renbeck, Michael Barry
Production Sound Team:
Tim Elder, John Sember

Sherlock “The Lying Detective” – PBS
Nominees:
John Mooney, Howard Bargroff, Peter Gleaves, Nick Wollage
Production Sound Team:
Craig Burns, Stewart McClutcheon

Outstanding Sound Mixing for a Variety Series or Special

59th Grammy Awards – CBS
Nominees:
Thomas Holmes, Mikael Stewart, Josh Morton, Eric Schilling, John Harris, Ron Reaves, Thomas Pesa, Michael Parker, Eric Johnston, Pablo Munguia, Robert LaMasney

Last Week Tonight With John Oliver “Sub-Prime Auto Loans” – HBO
Nominees:
Steve Watson, Charlie Jones, Steve Lettie, Jonathan Herrera

The Oscars – ABC
Nominees:
Paul Sandweiss, Kristian Pedregon, Tommy Vicari, Pablo Munguia, Pat Baltzell, Michael Parker, Bob LaMasney, John Perez, Tom Pesa, Brian Flanzbaum

2017 Rock and Roll Hall of Fame Induction Ceremony – HBO
Nominees:
Al Centrella, Susan Pelino, Jay Vicari, Dave Natale, Erik Von Ranson, Simon Welch

Super Bowl LI Halftime Show Starring Lady Gaga – FOX
Nominees:
Paul Sandweiss, Christian Schrader, Alex Guessard, Simon Higgs, Tom Pesa, Paul Ramsay, Pablo Munguia, Andre Bowman

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

Master of None “The Dinner Party” – Netflix
Nominees:
Michael Barosky, Joshua Berger
Production Sound Team:
Jonathan Walter Reyes

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

Mozart in the Jungle “Now I Will Sing” – Amazon
Nominees:
Marco Fiumara, Andy D’Addario, Gary Gegan
Production Sound Team:
Luigi Pini, Claudio Bagni

Silicon Valley “Intellectual Property” – HBO
Nominees:
Ben Patrick CAS, Elmo Ponsdomenech, Todd Beckett
Production Sound Team:
Chris Diamond, Corey Woods, Brian Wittle, Nick Carbone, Matthew Burgess, Jeff Snyder

Veep “Omaha” – HBO
Nominees:
Bill MacPherson, John W. Cook II CAS, Bill Freesh CAS
Production Sound Team:
Brandon Loulias, Rocky Quiroz

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

Anthony Bourdain: Parts Unknown “Rome” – CNN
Nominee:
Brian Bracken

The Beatles: Eight Days a Week – The Touring Years – Hulu
Nominees:
Nathan Evans, Chris Jenkins, Cameron Frankley, Sam Okell

O.J.: Made in America Part 2 – ESPN
Nominees:
Keith Hodne, Eric Di Stefano

Planet Earth II: Cities – BBC America
Nominee:
Graham Wild

13th – Netflix
Nominee:
Jeffrey Perkins

News & Announcements

Training for Local 695 Video Engineers: MEDIA MANAGEMENT

Digital downloading, data backup and QC, transcoding and digital dailies … This continually evolving area of our work is the topic of a series of training sessions Local 695 offers our Video Engineers. Recent classes have covered software solutions such as Pomfort Silverstack, ShotPut Pro, Pronology, Codex Production Suite and more. These training sessions will be repeated and new classes will be added soon, including special training customized for Local 695 at Sony’s Digital Motion Picture Center in Culver City.

Many of these classes have been developed in coordination with Contract Services Administration Training Trust Fund with the help of Ingrid Lohne, Jason Schomas and Debbie Garcia, and are either free to qualified Local 695 members or eligible for a two-third’s reimbursement of the training cost. See complete details about qualification at www.local695.com /mbr/edu-csatfrmb.html

Watch your email for announcements about upcoming classes and take advantage of this chance to develop your skills and expand your work opportunities. For more information about this and other 695 training, see www.local695.com or contact Laurence B. Abrams at edu@local695.com

Local 695 Video Engineer Jillian Arnold conducts Pronology training

Codex’s Brian Gaffney conducts training for Codex Production Suite

IA Delegation Successfully Lobbies to Stop Escalating Drug Prices

On June 27, 2017, a delegation of IA members, including Joe Aredas, Jr., spoke before the California Assembly in favor of SB-17, a bill that addresses current escalating pharmaceutical drug prices, which have a direct impact on MPI members. SB-17 was successfully passed by 11 to 4 votes in favor, a larger margin than previously expected. The Local 80 leadership expressed a special thank-you to Joe Aredas & Sue Cabral-Ebert for taking great initiative in this matter and sharing their research with the delegation.

The California IATSE Coalition (CIC) Delegation in Sacramento:

Joe Aredas, Jr., Local 695
Doug Boney, Local 871 and Local 884
Sue Cabral-Ebert, Local 706
Thom Davis, Local 80
Kedra Dawkins, Local 800
Bob Denne, Local 729
Joanne Desmond, Local 17
dooner, Local 800
Lesli Lytle, Local 871 and Local 44
Victor Reyes, Local 44

Upcoming Sound & Video Social Events

August 6: Boom Operators Master Class – Sponsored by K-Tek
August 12: Dodger Day – (6:10 pm vs. the Padres)
For more information & RSVP links, please visit the Local 695 Facebook forum.

Welcome New Members

Meghan Underwood Y-1
Delroy L. Cornick, Jr. Y-1
Matt Furman Y-3
Erik Mahoney Y-6
Duane A. Johnson Y-1
David Beede Y-1
Frank Thomas Kowalczyk Y-4
Evan Scheckwitz Y-7
Allan Hessler A2
Marisa Garcia A2
James Mullen Y-4
Devin Owens Y-6
Shaun Sebastian Y-1
Kristal Ramin Smith Y-1
Ian Wellman Y-1
Nathaniel Bell Y-3
Nick Kleissas Y-7A
Zlatan Cabaravdic Y-4
Rob Fillmore Y-1

Young Workers Committee

The YWC (Young Workers Committee) would like to thank everyone who came out to the river cleanup on Earth Day! Together, Friends of the Los Angeles River, members of Local 695 and nearly eight thousand more Angelinos removed an estimated ninety-six tons of trash from our river in less than two days.

Social Media Committee

On Saturday, April 29, a small subset of the L.A. Sound Mixers went to the Dodgers vs. Phillies game. We sat in the Executive Club Level, where the waiters kept the food and drinks coming while we (Well, most of us anyway) enjoyed the Dodgers four-run ninth inning to win the game in a walk-off. Huge thanks to Joshua Cumming for helping to make this possible.

IN MEMORIAM

ROBERT E. SHERIDAN, Y-1
April 15, 1928 – June 22, 2017

HAROLD “HAL” LANDAKER, Y-4
October 5, 1924 – June 2, 2017

Contributors

SAM HAMER
I found my way into sound through a love of music. I wanted to be involved in the punk scene but not onstage. I was always bothered by the poor-quality sound of the demo tapes that I’d buy at the DIY shows I’d go to. I wanted to contribute something to the community. I started putting on shows where I could be piecing together bits of equipment. I worked with some local sound reinforcement engineers and as I could afford it, I’d buy bits of their old gear so I could get the pink and hardcore shows a bit louder and a bit better. I also learned a lot of great techniques from my mentors. Eventually, I decided to learn studio techniques and enrolled in an evening course at the local high school. I took a two-year city and Guild course in sound engineering, followed by a bachelor’s degree in media arts and sound and music production from the London College of Music and Media.

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

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

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.

JENNIFER WINSLOW
Jennifer has been working as Boom and Utility ever since she graduated UMASS Amherst with a degree in English and screenwriting. Her career includes the films Problem Child, Lone Star and Be Cool. She has been working in television most recently, working on shows such as Dear White People, I Love Dick, You’re the Worst and The Secret Life of the American Teenager. Her love of writing has resulted in her contributing to this publication and other periodicals during her downtime, while raising her 17-year-old twins.

Photos courtesy of the respective contributors

From the Business Representative

The Local was informed a few weeks ago, that a 695 Boom Operator was injured on production after participating in a series of exceptionally long camera takes. We need to be aware and protect our Brothers and Sisters from all unsafe working conditions. Production Mixers, please pay close attention to the working conditions of your crew, and speak up when it becomes unsafe, especially for our Boom Operators. Holding your arms above your head for an extended period of time without rest can cause many serious health issues. If production won’t respond to your concerns, call the Local immediately and we will report the unsafe condition to the AMPTP/IATSE Joint Safety Committee and ask the Committee to visit the set. Safety is the concern of both the employer and the union.

Article XXXI, pages 80-81 in the Producers-IATSE Basic Agreement is reprinted below:

“It is agreed by the parties that too great an emphasis cannot be placed on the need to provide a safe working environment. In that context, it shall be incumbent on each employer (herein referred to as the Producer) to furnish employment and a place of employment which are safe and healthful for the employees therein; to furnish and use safety devices and safeguards, and adopt and use practices, means, methods, operations and processes which are reasonably adequate to render such employment and place of employment safe and healthful; to do every other thing reasonably necessary to protect the life, safety and health of employees. Correspondingly, no employer shall require or permit any employee to go or be in any employment or place of employment which is not safe and healthful. In addition, every employer and every employee shall comply with occupational safety and health standards and all rules, regulations and orders pursuant to applicable laws which are applicable to his/her own actions and conduct; no person (employer or employee) shall remove, displace, damage, destroy or carry off any safety device, safeguard, notice or warning, furnished for the use in any employment or place of employment; no person shall interfere with the use of any method or process adopted for the protection of any employee, including his/herself, in such employment or place of employment. FROM THE BUSINESS REPRESENTATIVE “Rigid observance of safety regulations must be adhered to and willful failure of any employee to follow safety rules and regulations can lead to disciplinary action, including discharge; however, no employee shall be discharged or otherwise disciplined for refusing to work on a job that exposes the individual to a clear and present danger to life or limb. No set of safety regulations, however, can comprehensively cover all possible unsafe practices of working. The Producer and the Union therefore, undertake to promote in every way possible the realization of the responsibility of the individual employee with regard to preventing accidents to himself or his fellow employees.”

During the summer months, keep a close watch for signs of heatstroke; throbbing headache, dizziness or lightheadedness, lack of sweating, red, hot and dry skin, muscle weakness or cramps, rapid heartbeat and rapid shallow breathing. If you observe these symptoms, get immediate help. Provide plenty of water and refrain from caffeinated drinks and sodas.

At the end of every workday, we should go home to our families, safe and sound.

Be informed and stay healthy.

Fraternally,
Scott Bernard
scottb@local695.com
Business Representative

From the President

LET’S NOT BE UNCOORDINATED

So, oodles of new technology keep washing up on our shores, much of it related to wireless sound and video work. At one time, this was the sole domain of 695 members but today, there is a massive proliferation of wireless being used by many departments: DMX for lighting, focus, video transmission, timecode, special efx remote control, drones, walkie-talkies, clear-com/ telex, EPK, Wi-Fi, Bluetooth, IT, IP, etc.

All these wonderful new tools have brought a great conundrum as they arrive on the set without frequency coordination and more and more often are creating a virtual tower of electronic Babel.

What to do?

Well, during Cinegear, our Vice President, Jay Patterson, and I were invited to and attended an informal conference on the topic in Los Angeles. There was some representation from our colleagues in the lighting world and the Broadway world, but the main body of attendees were manufacturers and vendors from around the world. This was a good thing, as this meeting became the starting point of collectively developing a draft document for on-set protocol for frequency coordination.

It became clear that different points of view were driving product development and what informally has been happening regarding the growing chaos. Some companies were going for the strongest signal possible, others were unaware of the negative impact that could thwart the success of their new products and so on.

The outcome of these talks was a consensus to develop an industry protocol for frequency coordination to be applied in pre-production.

Our more astute mixers have been acting on our strong recommendation to become licensees with the FCC, thus giving them significant priority and protections, when out-of-specification gear shows up unannounced on the set. (Something occurring more and more often as individual vendors or end-users irresponsibly “goose” up output to the detriment of other wireless working on the set.)

But more importantly, a major page out of the Broadway approach was discussed as a model of enlightened self-interest. The theatrical environment in NYC requires the use of many transmitters per show and many shows in theaters right next to other theaters. Common sense has prevailed as these engineers informally coordinate their frequencies with each other and use the least amount of power needed to achieve successful results.

The document being developed for our industry will embrace this practice with a strong set of steps for productions to follow in pre-production so that the departments become familiar with the reality that they do not operate in isolation and work out the specific issues well in advance of the potential territorial dual on the set.

Stay tuned, as we will keep you informed as this protocol becomes more formalized.

Warm regards,

Mark Ulano CAS AMPS
President IATSE Local 695

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