IATSE Local 695

Production Sound, Video Engineers & Studio Projectionists

Departments

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

From the Editors

Welcome to the summer edition of Production Sound & Video. Summer and blistering heat reminds me of a time when movie theaters would advertise that they were air-conditioned to attract audiences.

Today, we have a myriad of content providers creating feature films to half-hour cable shows. HBO and Showtime networks have new competition from Amazon, Hulu, Netflix, Lifetime, FX, USA and many more. Now, all you need is anyplace with air-conditioning and you can watch shows twenty-four/ seven.

Sam Hamer, with the help of Jennifer Winslow, describes the unique series from Amazon Studios, I Love Dick.

Daron James explores the work of Mark Weingarten on Dunkirk, directed by Christopher Nolan.

“The Era of Automation” and “Sound Apps” add to the already interesting content in this edition.

Stay cool and happy reading.

Fraternally yours,
Richard Lightstone and Mark Ulano

Sound Award Winners

LOCAL 695 HONORS THE ART OF PRODUCTION SOUND THROUGH THE SUCCESS OF ALL AWARD NOMINEES

[Names in BOLD are Local 695 members.]

Academy Award Winners

The Oscar winners for “Best Sound Mixing” were announced at the 89th Academy Awards ceremony on Sunday, February 26, at the Dolby Theater in Hollywood, California. The ceremony was broadcast on ABC Television and in more than 225 countries and territories worldwide.

Hacksaw Ridge
Peter Grace, Robert Mackenzie, Kevin O’Connell, Andy Wright
Production Sound Team:
Shanti Burn, Sue Kerr, Tania Payne

BAFTA Winners

The EE British Academy Film Award winners for “Best Sound” were announced at the awards ceremony on Sunday, February 12, 2017, at the Royal Albert Hall in London, England, and broadcast on BBC One and BBC One HD in the UK.

Arrival
Claude La Haye, Bernard Gariépy Strobl, Sylvain Bellemare
Production Sound Team: Francis Péloquin, Ilyaa Ghafouri

Cinema Society Awards

The 53rd Annual CAS Award winners were announced at the awards ceremony on Saturday, February 18, 2017, in the Bunker Hill Ballroom of the OMNI Los Angeles Hotel at California Plaza. The Cinema Audio Society was proud to present its highest accolade to a man who personifies the high standards of the Cinema Audio Society, John Pritchett CAS.

MOTION PICTURES – LIVE ACTION
La La Land
Production Mixer – Steven Morrow CAS
Re-recording Mixer – Andy Nelson CAS
Re-recording Mixer – Ai-Ling Lee
Scoring Mixer – Nicholai Baxter
ADR Mixer – David Betancourt
Production Sound Team: Craig A. Dollinger, Michael H. Kaleta

MOTION PICTURES – ANIMATED
Finding Dory
Original Dialogue Mixer – Doc Kane CAS
Re-recording Mixer – Nathan Nance
Re-recording Mixer – Michael Semanick CAS
Scoring Mixer – Thomas Vicari CAS
Foley Mixer – Scott Curtis

MOTION PICTURES – DOCUMENTARY
The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble
Production Mixer – Dimitri Tisseyre
Production Mixer – Dennis Hamlin
Re-recording Mixer – Peter Horner

TELEVISION SERIES – ONE HOUR
Game of Thrones “Battle of the Bastards”
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

TELEVISION SERIES – HALF-HOUR
Modern Family “The Storm”
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, Peter Hansen

TELEVISION NON-FICTION, VARIETY, MUSIC SERIES OR SPECIALS
Grease Live!
Production Mixer – J. Mark King
Music Mixer – Biff Dawes
Playback and SFX Mixer – Eric Johnston
Pro Tools Playback Music Mixer – Pablo Munguia

TELEVISION MOVIES AND MINI-SERIES
The People v. O.J. Simpson: American Crime Story
Production Mixer – John Bauman
Re-recording Mixer – Joe Earle CAS
Re-recording Mixer – Doug Andham CAS
ADR Mixer – Judah Getz
Foley Mixer – John Guentner
Production Sound Team: Ace Williams, Andy Adams, Don Coufal, Kris Wilcox, Brian Robinson, Chris Quilty, Scott Farr

AMPS Winners

On Sunday, February 12, 2017, the 4th Annual Association of Motion Picture Sound Award for Excellence in Sound for a Feature Film was awarded to Arrival.

Arrival
Claude La Haye, Bernard Gariépy Strobl, Sylvain Bellemare
Production Sound Team: Francis Péloquin, Ilyaa Ghafouri

FCC Update

Status of the Current FCC Incentive Auction

The Other Shoe

The FCC released DA-17-376A1 April 20, 2017, and though a bit unclear as to timelines, it does not bode very well for professional wireless users. The document is available at the FCC’s website: http://transition.fcc.gov/… /Dai…/2017/db0420/DA-17-376A1.pdf

Immediately after the auction, we all breathed a sigh of relief when we realized that the band below 608 MHz (Lectro Blocks 23 and below) would still be available for our use, pending the reallocation of any UHF TV stations that would be relocating.

The ‘other shoe’ has dropped.

The number of UHF TV stations relocating from above UHF Ch. 37 to below 37 in most of the major markets, is going to dramatically reduce the bandwidth available for licensed and unlicensed wireless microphone use.

Remember, UHF TV Ch. 37 is reserved for Radio Astronomy only!

IATSE Local 695 is in LA (FCC—please read that as Hollywood…), which is probably one of the ‘worst case’ scenarios. Though the actual timetable is as yet uncertain, when the transition is complete by July 2020, this is what the spectrum in LA will look like:

The following VHF and UHF channels will be occupied by TV stations:

VHF: 4, 5, 12
UHF: 22, 24, 25, 27, 30, 31, 32 and 35.
In terms of Lectro Blocks, which are 25.5 MHz wide,
Block 470 will have about 8 MHz open for us,
Block 19 will have between 6 MHz and 18 MHz open,
Block 20 will have 12 MHz open,
Block 21 will have between zero and 13.5 MHz open,
Block 22 will have between zero and 7.5 MHz open,
Block 23 will have between 6 MHz and 12 MHz open.
There will be a “Guard Band” just above Ch. 37, 614 MHz to 616 MHz (UHF Channel 38, Lectro Block 24) and this will be open for licensed and unlicensed use.

Greater Los Angeles Area UHF TV Spectrum, circa July 2020

A larger band, the infamous ‘duplex gap’ (the 11 MHz guard band between up and down broadband) is also available for wireless mic use. 653 MHz through 657 MHz is available for licensed use only, and 657 MHz through 663 MHz is available for licensed and unlicensed wireless mic use (straddling UHF Channels 44 to 46, all in Lectro Block 25), but limited to 20 mW output at the transmitter. Some existing stations seem to be repurposed (Ch. 22), but if existing stations (18, 28, and 34) stay where they are, look for the worst possible case.

I consulted with RF guru Bill Ruck in San Francisco as to my accuracy in the below chart. The chart is based on available information, and all the details aren’t in at this time, so please view as an accurate approximation, but still an approximation.

Bill Ruck’s reply to the FCC’s publication: “What is confusing me is that there is no place that I can find that gives details on which stations sold their channel and are going dark. Not sure if stations not listed are the ones going dark.

Stations were offered money to move from UHF to High Band VHF (7-13) and Low Band VHF (2-6). This allows them to keep transmitting which keeps them in cable TV systems as a broadcaster but really makes home off-air reception messier. Many “Digital TV Antennas” are UHF only and won’t receive 2-6 and 7-13 well.

Also, the Part 90 Land Mobile channels are mandated to go away but some jurisdictions, especially the LA Sheriff, have told the FCC, “I’ve got a gun and a badge and you can’t have my radio channels.”

They need to go back to Congress to change the law. The reason why TV channels 14-20 are not shown in the postauction transition plan is because those are still in FCC Part 90 Land Mobile and not available for TV broadcasting. Channels allotted to Part 90 are also not available for Part 74 Low Power Auxiliary Services (LPAS). When the repacking is over, the law requires that those channels go away from Part 90 Land Mobile but there are rumors that Congress may be convinced to change the law and allow areas with “T-Band” Part 90 Land Mobile channels to remain especially for Public Safety licensees.

Exactly how this plays out is completely unknown.

Note that FCC Rule 90.303 shows TV channels 14, 16, and 20 as allotted to Part 90 in Los Angeles County. But Got Broken Equipment? Send It Our Way! Lectrosonics – Zaxcom – Sound Designs Sennheiser – Shure – Cooper Mixers Contact Us At: 1.888.259.4684 or Visit our website at: dwsoundservice.com If your equipment is not listed here Experts in the Repair of Production Sound Systems the LA Sheriff has one more TV channel, 15, licensed in Part 90 with licensee “Los Angeles County.”

TV channels 17, 18, and 19 have no Part 90 licensees and have a bunch of LPAS licensees in LA so those can be used for wireless microphones.

The transition time is highly speculative. Congress mandated that but in many places the stations can’t change fast enough. The geographical phases are meant to organize the transition so every station moves, at the same time. Interlocking coverage makes it impossible to do this randomly. Everybody I talked to at the NAB show realizes that the transition schedule is not based on reality. Because of interlocking station moves, all it will take is one station to have a hiccup and the whole process falls apart. There is no way to predict this but I heard that the NAB will be petitioning the FCC to make a more realistic transition schedule. Problem is, though, that the FCC is not the one that mandated thirty-nine months, it was Congress. Again, it will take Congress to change that law to allow a more reasonable transition. Compound that with ATSC 3.0, a totally incompatible modulation scheme with present ATSC, and how to manage that transition, it gets complicated.

Also, best as I know, no manufacturer has been able to make 900 MHz wireless microphone transmitters that meet the new, tighter, RF mask. Lectrosonics has petitioned the FCC to reconsider this regulation and supporting filings have been made by the other wireless microphone transmitter manufacturers.

Overall, it is best to watch a train wreck from a distance.

In the meantime, “Bring lots of mic cable™.”

Bill Ruck San Francisco

There you have it. Look for updates in the next issue of Production Sound & Video.

Jay Patterson CAS
Vice President IATSE Local 695
Co-chair Technical Trends Committee

News & Announcements

Training: Recording Sound for VR
by Laurence B. Abrams

VR picture and VR sound are no longer just for gaming. More and more, we’re seeing that 3600 logo showing up for music, commercials, promos, news, specials features and now, we’re even starting to see long-form content producers find ways to use it. The future of VR is just about here. To help carry this technology forward, Local 695 created a “Sound for VR” class, conducted by Ben Adams, Local 695 member and expert in “ambisonic” recording.

Ambisonic recording takes surround sound to the next level by creating a full and accurate sphere of sound that completely envelopes the listener. It’s like three-dimensional M/S stereo with added channels for height and depth. In class, Ben demonstrated on-set workflow using a Soundfield ST-450 tetrahedral mic with a Sound Devices 788 to create the initial discrete four-channel recordings in “A Format.” After a discussion of timecode and monitoring issues, these A Format files were then converted to “First Order Ambisonics (FOA) B Format,” which combines the tracks but preserves them in a format that is completely controllable. The next step was to demonstrate how to spatialize the B Format data and combine it with mono and stereo point sources and the “headlocked” tracks and then manipulating each element to its precise location in the sound field.

Instructor Ben Adams

On hand for the class were a variety of ambisonic microphones (and binaural, too), a VR camera, recorders and post-processing software for extensive hands-on experimentation, giving everyone the chance to create sample recordings and listen to the results in fully interactive VR format.

The response to this training was enthusiastic, with two classes filling up immediately and with two more added to the schedule and filling up just as quickly. We do apologize to everyone still on the waiting list but this says a lot about the interest in this intriguing area of technology. We plan to announce more classes soon.

Exer Urgent Care Clinics

Beginning December 1, 2016, participants using the Motion Picture Industry Health Plan (“MPIHP”)/ Anthem Blue Cross network can visit an Exer Urgent Care (“Exer”) clinic and only pay a $15 copay. Participants using these urgent care clinics will not be required to pay a coinsurance. Exer’s clinics, which are located throughout the county of Los Angeles, are staffed by emergency room physicians, open seven days a week from 9 a.m. to 9 p.m., with the exception of Thanksgiving and Christmas, and see patients six months and older.

Telemedicine

Beginning December 1, 2016, participants enrolled in the Motion Picture Industry Health Plan (“MPIHP”)/Anthem Blue Cross network have the ability to use a new telemedicine benefit. Participants will be required to pay a $20 copay for this covered benefit and will not be required to pay a coinsurance.

Telemedicine allows a patient to visit with a physician by phone or to engage in online video communication through computer, smartphone or tablet. It is intended to provide low-cost medical care for after hours or when a participant is away from home. It should not be used if acute emergency help is needed.

Telemedicine is most commonly used by individuals to treat ear, nose and throat conditions, colds, sore throats, allergies, sinusitis, urinary tract infections and rashes. Participants who experience more severe symptoms will be referred immediately to the appropriate level of care. In true emergencies, the telemedicine physician will call 911 and stay on the line with the participant until the paramedics arrive.

Online to participants enrolled in MPIHP/Anthem Blue Cross. The service area includes all states in the United States, with the exception of Alaska, Arkansas and Texas. This service may not be used by a participant when they are outside of the United States.

Participants enrolled in Medicare should note that online telemedicine is not a covered benefit.

Access LiveHealth Online at www.livehealthonline.com

​MPTF: Looking for ways to give back to your community?

The MPTF (Motion Picture & Television Fund) supports our entertainment community in living and aging well, with dignity and purpose, and in helping each other in times of need.

MPTF is supported by the philanthropy and volunteer services of fellow entertainment industry members. Our industry is unique and we have a history of taking care of our own like no other industry in the world. People are at the heart of what we do each and every day and it’s because of the extraordinary generosity of countless donors, families and volunteers that we can deliver services to thousands of people each month.

MPTF currently has more than thirteen different volunteer programs. You can choose anything from assisting in art classes, being a fitness buddy, to utilizing your skills in the home-safe program, which focuses on repairs and improvements for independent senior living facilities. Please visit www.mptf.com for donations or sign up to volunteer.

Welcome New Members

Kevin Rosen-Quan Y-1
Joseph Maffei Y-1
Justin Edgerly Y-9
Steve Crane A2
Michael Robertson Y-8
Michael Morrell Y-1
Patrick Reilly A2
William “Billy” Spottiswood Y-16A
Keith Carlson Y-4
Christian Chapman A2
Chad Mantlo Y-7A
Charles (Chuck) Boyle, Jr. Y-7A
Shannon Cain Y-7A
Ethan Molmut Y-8
Alex Yukick A2
Alberto Delgado A2
Kelly Lewis Y-16A
Edgar Isaiah Reyes A2
Jim Agnor Y-7

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.

Sound & Video Social
by Chris Howland

On Sunday, April 23, 2017, the LA Sound Mixers held their third annual seminar entitled, “Bridging the Gap Between Production & Post: A Seminar.” The goal of the seminar was to give industry professionals an opportunity to experience the workflow at a state-of-the-art postproduction sound facility. Ongoing vocational training is key to maintaining excellence in our business and a critical element of the IA’s mission.

Thank you Gene Martin and the crew at Audio Department for the generous provisions. I want to thank them for helping to support this event for the second year in a row.

I would also like to thank Joel Shryack and Thomas Cassetta for putting on the seminar, the great demonstration and for facilitating a very informative conversation & Rob Dehn and the crew at Wildfire Sonic Magic.

IN MEMORIAM

DANIEL MOSSBARGER, Y-4
December 27, 1946 – March 11, 2017

From the Business Representative

Become engaged in the community, it’s easy to say, and really not that hard to do. From my perspective at Local 695, I see many ways we can become more involved in our community.

I’ve been approached at membership meetings by many who tell me it’s the first meeting they’ve been to in a very long time and they can’t believe how much our Local is doing. It’s true, and we always are trying to do more. Local 695 and the IATSE are dedicated to protecting the interests and workplace rights of our membership. We stand together for the rights of all, and we stand stronger when more of us step forward.

One way for you to be involved is to join us at our next membership meeting. Now is a good time to come and check it out. Those of you who have come to meet- ings regularly, I challenge you to bring one additional member with you next time, perhaps someone who has not have been to a meeting in a while. Let’s double our meeting attendance. Membership meetings are generally scheduled on the third Saturdays of January, April, July and October. Start planning now and watch for email announcements!

Reporting all of your work assignments to the Local is another way to get involved. This helps the Local to protect you and the contracts you work under, it’s important and it’s required by our Constitution & Bylaws. You can do this easily online at https://www.local695.com/mbr/jobreport.php.

Our community engagement extends far beyond the day-to-day activities of the Local. 695’s Young Workers Committee (YWC) is engaging our members to volunteer at events like the Playa Del Rey Beach Cleanup and the LA River Cleanup just a few weeks ago. The YWC has big plans for the future and they can use your help, so get engaged by contacting them at ywc@local695 .com.

Our engagement reaches even further when we support the efforts of the IATSE in Washington, D.C., where the security of our families faces substantial threats from legislative attack. We can’t afford to sit back and watch. We must be proactive to protect the rights of working women and men. We must do all we can to stop efforts to dismantle laws, created to protect American families. More than ever, it is truly important for us to get involved in the campaigns of candidates running for office who support Labor. I can’t think of another time this was more critical.

Please join me and many other Local 695 members who have signed up to support the IATSE PAC Fund. A small monthly contribution of $5 or $10 doesn’t cost you much but multiplies into larger numbers, and assures that our voices can and will be heard. Please go to the IATSE website: http://www.iatse.net/get-involved/pac faq for more info on the IATSE PAC and how to join. When you do, please send me an email at scottb @local695.com so I can add you to the list of Local 695 members who decided to “Stand Up and Fight Back.”

In solidarity,
Scott Bernard
scottb@local695.com
Business Representative

Contributors

COURTNEY GOODIN
Courtney Goodin is a Sound, Video and Software Engineer and has worked continuously in the film and television industry since the mid-’60s. Courtney has developed several commercial hardware and software products used in the industry, including Goodsound Monitor-talkback system, Compu=Prompt Teleprompting system, sound utilities—BWF-Widget Pro & TC-Transcriber, and the soon-to-be-released TechnoWeenies Video Playback toolkit. He is a life member of SMPTE and has been a member of Local 695 for more than thirty-eight years and is serving his fourth term on the Board of Directors.

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.

MICHAEL KRIKORIAN CAS
Michael (aka “Kriky”) began his career in studio music recording in West Hartford, Connecticut, in the early ’90s. He moved to Los Angeles in 2002 to work as a Production Sound Mixer in film and television. Many low-to-high budget films and several television shows later, he resides in Burbank with his wife and their two children.

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.

STEVE NELSON CAS
The first movie Steve mixed that anybody ever heard of was Repo Man in 1983. What’s kept him interested and excited since then is the support of his wife and daughter, great crews and riding his bicycle as far and fast as possible, especially during lunch—where getting “thrown under a bus” is not a metaphor! Steve is proudly serving a third term on the Local 695 Board of Directors.

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