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Production Sound, Video Engineers & Studio Projectionists

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Features

The Global Chip Shortage

by James Delhauer

circuit-board and microchips in a zoom effect concept

As vaccination rates continue to rise and COVID case numbers steadily decline here in the United States, it feels as though we have turned a corner in the pandemic. Life begins to resemble its old self. However, the effects of this global event continue to be felt.

Technological developments spearheaded by a need for a remote society are here to stay. We are more reliant than ever on communication tools. A record 2.26 billion internet-enabled devices were sold in 2020. All of these gizmos and gadgets require resources to manufacture and the pandemic has strained supply lines. This has resulted in a global shortage of semiconductor chips, integrated circuits used in the manufacturing of electronic devices. This chip shortage has resulted in limited availability of consumer electronics across the markets worldwide, leading to sharp price increases on goods. However, this might just be the beginning. As the current estimates foresee the shortage lasting until 2023, this shortage will have long-term consequences across every tech-reliant industry. The industries of film and television will be no exception.

To understand this situation, some context is needed. Integrated circuits are complicated to manufacture. Specialized machinery is used to integrate components that would be far too small for the human hand to manipulate. This is a delicate task. The slightest contamination of dust is enough to disrupt the process. And so the machinery is housed in air-tight clean rooms and a conveyer system is used to pass components from clean room to clean room, so as to prevent any chance of contamination. This sort of assembly line is expensive to manufacture and it is common for semiconductor fabrication plant construction costs to reach four billion dollars. Taiwan Semiconductor Manufacturing Company (TSMC), the world’s most valuable semiconductor company, estimates that its upcoming facility may reach costs of twenty billion.

Despite these exorbitant costs, fabrication plants are relatively short-term investments. The fabrication designs used in each plant are often obsolete within just a few years. As our need for faster and smarter devices grows, so do the demands we place on any given circuit board. A practical example is the 3.5-inch spinning disk hard drive. Fifteen years ago, these drives were commonly sold in units measuring in the gigabytes. Today, you can buy an 18-terabyte drive that conforms to the exact same size and specification. Increasing the data storage by that amount without changing the size required that more transistors—components used to conduct electrical currents—be packed into the same space. In fact, it has commonly held true that the number of transistors in a densely integrated circuit roughly doubles every two years. And this principle applies across the entire spectrum of electrical manufacturing. Smartphones, tablets, personal computers, televisions, gaming devices, cars, and anything else you can think of with a screen or plug. Therefore, each multi-billion-dollar facility only has a short window of time before they are manufacturing hardware that is no longer in wide demand. By the time one facility begins production, its replacement is already being built. It is a constant race to put up the next plant in time to keep up with innovation.

Then the pandemic hit and everything stopped. Demand for electronic devices skyrocketed. COVID-19 forced us to become more reliant on our phones and computers than ever before. Schools raced to send hundreds of thousands of laptops and tablets home with students in order to enable remote learning. Companies were forced to set up infrastructure in their employees’ homes. Assets had to be distributed via the cloud like never before. All of this required record amounts of hardware. And all the while, production on new fabrication plants had shut down. Intel, Samsung, and TSMC—the three largest suppliers of semiconductors globally—all have new plants in various stages of construction, with plans for additional plants being rushed into action to catch up with demand.

This chip shortage has resulted in limited availability of consumer electronics across the markets worldwide, leading to sharp price increases on goods. However, this might just be the beginning. As the current estimates foresee the shortage lasting until 2023, this shortage will have long-term consequences across every tech-reliant industry.

In the meantime, we find ourselves in a deficit. The gaming industry finds itself caught between two hardware generations as Sony and Microsoft’s new consoles remain difficult to procure at market value nearly a year after their launch. High-end graphics cards, essential to gaming, video processing, and crypto-mining alike, are impossible to find in stores, with scalpers charging more than double suggested retail value on sites like eBay. The dwindling supply of high-capacity media drives has already forced data storage costs to rise. However, auto manufacturers have been hit the hardest so far. The growing ubiquity of Wi-Fi access, global positioning systems, Bluetooth integration, and advanced safety features in cars combined with the rising demand for all-electric vehicles lead auto manufacturers to integrate computer components like never before. Now production has slowed to a trickle as companies struggle to source the necessary components.

Though initial projections hoped for an end to the shortage by early 2022, complications arose. Drought conditions in Taiwan have slowed production in TSMC plants, which can consume up to sixty-three thousand gallons of water per day. Trade disputes between the U.S. and China in 2020 have impacted supply lines today. Now the situation is expected to last until at least 2023.

Political leaders around the world have pledged to end this chip shortage as swiftly as possible. In the United States, President Joe Biden signed a February 23 Executive Order, directing U.S. agencies to work with industry leaders to strengthen supply of semiconductor and, after a 100-day review period, recommended Congress allocate fifty billion dollars for the construction of new plants within the nation in order to reduce U.S. dependence on overseas manufacturing. Unfortunately, industry experts expressed concern with such a figure, with Intel CEO Pat Gelsinger referring to it as “a great first step.”

If further steps are not taken, the problems we’re facing today may only be the tip of the iceberg. Our industry, one of the most tech-driven industries in the world, will be particularly susceptible to the rigors of this problem. So what should we expect to see?

The cost of gear is going to go up. Film and television sets use highly specialized tools and all of those tools will be more difficult to source. New hardware releases may see delays as developers struggle to meet manufacturing quotas. Those that do see release will likely do so in limited supplies at a premium. Software releases may stagnate as companies struggle to acquire hardware for product development and testing. Moreover, storage media will likely become a problem. Our productions burn through terabytes upon terabytes of data every day. All of it needs to be acquired, copied, backed up, distributed, and stored using drives and as productions migrate to higher resolutions and larger codecs, the number of drives used on a given production increases. All of this will drive production costs up. As budgets balloon, pressure will grow across all areas of production.

The somber reality, however, is that it is difficult to predict exactly how this situation will unfold. The uncertainties of weather conditions, international disputes, and emerging viral strains cast a shadow of doubt over any projections made today. The only common consensus is that things are going to get worse before they get better. Violence has already broken out over product launches and restocks. Unrest is likely to grow as supplies run dry. Members are encouraged to take ample care when handling or transporting expensive equipment. Common sense practices should be observed. Never leave gear unattended or unsecured. Never leave equipment visible in a parked car. When coordinating third-party rentals through platforms such as ShareGrid, never invite renters to your home or equipment-storage location. If coordinating a large rental with strangers, bring a friend to the drop-off/pickup with you. Conduct rental drop-offs and returns in public, well-occupied locations. Take great care to preserve equipment for as long as possible. Replacements may not be as readily available as they once were. Above all else, be safe.

Though we hope we are beginning to see the end of the COVID-19 pandemic, there is no doubt that its effects are going to continue to be felt for years to come. This global chip shortage highlights just how delicate our technological infrastructure can be and should serve as a warning of the dangers we face when it is disrupted. With climate projections predicting greater drought conditions in the future and a rise in natural disasters, we need to innovate like never before to ensure that we are ready for the problems of tomorrow. Our infrastructure will continue to face challenges but Local 695 and the whole of IATSE comprise some of the finest technical minds in the world. It is our job to lead the way in dynamic thinking and problem solving so that we can overcome the obstacles we are about to face and be an example to others in times of adversity.

Sports EVS: A Conversation with Edgar Lopez

by James Delhauer

Few things in our history draw people together the way that professional sports do. Stadiums fill to the breaking point with roaring fans dressed in memorabilia, each ready to cheer their team to victory whilst casting aspersions on the opposing team’s parentage. From the earliest Olympic Games some seven hundred years before the common era to today’s mega-events, competitive sports have been a cultural staple for all of living memory. In the modern era, broadcast sports generate more than twenty-two billion dollars a year in the United States alone.

The task of broadcasting these events, replete with live commentary, instant replays, and information graphics is an enormous undertaking. Recently, I had the pleasure of sitting down with Local 695 member Edgar Lopez, an EVS Operator who was kind enough to share some of his experiences working sports broadcasting

Edgar grew up in Anaheim and later studied television at Chapman University, where he fostered ambitions of becoming an editor. Despite enjoying the creative process of the craft, the slow and meticulous process of cutting content in a nonlinear editing platform proved tedious to him. Opportunities soon emerged in the world of sports, however, where Edgar first learned of the position of EVS Operator—a job which allowed him to edit content in fast-paced environments. After graduating, Edgar found opportunities substituting for other operators in weekly sports working for the NFL, NHL, NBA, and NASCAR. Coming up in Orange County, however, Edgar and his family had always supported their local teams—the Anaheim Angels and the Anaheim Ducks. Therefore, it seemed fitting when he was asked to become one of the lead EVS Operators for both teams, positions he has now held for over ten years. “It’s kind of surreal,” he told me. “My brothers and my family are all sports fans and they’re always talking about the games or specific plays that I was there for.”

Though critical to live events and sports broadcasting, the role of the EVS Operator is not as commonly understood as those of our brothers and sisters in production sound. These technicians are tasked with a variety of responsibilities and are often simultaneously responsible for juggling large amounts of data, recalling and cutting content moments after it occurs, sourcing clips for playback. The job is one- part tape operator, one-part editor, and one-part playback specialist all at the same time. At the heart of the operation sits the EVS media server, which Edgar describes as being like “a DVR on steroids.” This digital video production system is capable of recording, editing, and playing content from a wide variety of sources and in an equally wide variety of formats. The current line of XT media servers can support up to sixteen channels of HD video, ultra-high-definition resolutions of up to 8K, HDR encoding, and both traditional SDI-routed signals or those from a network-based IP source.

In a sports environment, EVS work can become hectic. The randomness of chance that makes sports so exhilarating to fans poses unique challenges to those broadcasting them. Games often require a dozen or more cameras in order to achieve proper coverage and all of those feeds need to be ingested. Instant replay packages need to be generated and rolled out before the moment of opportunity passes. New content must be generated in direct response to the game itself. In complicated environments, this can require teams of EVS Operators working in tandem with one another, each responsible for their own set of feeds but cutting and distributing packages for communal use.

“It’s not easy. It’s really hard,” Edgar told me. “We’re human. We make errors. We try to be perfect but mistakes happen. We don’t always see everything. For the first few years, it’s difficult to build up to the speed or know what kinds of footage producers might be looking for. Then, once you’re there for a while, you start to know what to expect and you have a Plan B in case it comes down to the wire. Experience prepares you best for any situation. If a home run happens, we’re usually editing it as the player’s rounding the bases so we have it ready to go.”

Despite the difficulty of the job, Edgar was quick to share many positive career-defining moments as well. The most significant came following the death of Tyler Skaggs, an Angels player who passed away in 2019.

“The game following that day was very difficult for everybody. You get to know the players pretty closely and it’s always hard to lose such a good guy. But we came home and they were having a big ceremony at the Angels Stadium. All the players were wearing his jersey. His mom got to throw out the first pitch. And at the end of the night, the team got a no-hitter. They all started taking off their jerseys and throwing them on the mound. It was just such a perfect baseball moment. It was like a dream for the Angels and all of us. And we all felt like we did a really good job at the end of the night. We felt like we represented the team and the player, so we were all pretty proud.”

It goes without saying that the world of sports was heavily impacted by the COVID-19 pandemic. In March of last year, sports seasons saw unprecedented disruptions as teams that had played through fire, storm, and flood were forced to return home. Stadiums that had once been filled with screaming throngs of fans sat in silence. The Summer Olympic Games were postponed, a disruption not seen since the cancellation of the 1944 Games during World War II. SoFi Stadium, finally complete after four years of construction, celebrated its inaugural games behind closed doors without any fans present. As one might expect, this impacted the jobs of those working in sports broadcast.

“There’s a lot more remote work now,” Edgar told me. “You were already starting to hear people saying, ‘Hey, this could be done remotely,’ but no one was willing to try it. Then last year, everything shut down. People weren’t allowed to sit in a truck for ten-hour days. What’s the solution? Well, we could try doing it remotely.” This was achieved by sending EVS controllers home with operators, who could then wirelessly access their machines at work and remote control them from home. This allowed productions to build their video infrastructure in a singular location and allow remote workers access rather than sending expensive encoding servers home with each operator. “The feeds aren’t as good though,” Edgar commented. “The biggest issue with remote work right now is the delay. The video they send home to you is compressed and isn’t as high quality as in the truck, which they do so there isn’t a major delay. But sometimes it still gets to you like a second late. So if we need to freeze the video, we aren’t really freezing it at the exact point because of the delay. When I hit stop, it takes a split second for the signal to get back to the truck. It’s not exactly frame accurate.”

These changes brought about by the pandemic have been positive for Edgar, who hopes to see remote work continue going forward. “Before COVID, I was traveling with the Angels and the Ducks. I’d be on their planes and stay in their hotels. If they were playing in New York, I’d fly out, do all the games there, and then move onto the next city. Now it looks like I won’t need to travel as much anymore. I get to stay home, sleep in my own bed, and see my kids every day. I have an eight year old and six year old. I’ve been home for the last year and now when I’m gone, it’s sad for them. It’s sad for me. So hopefully with this remote stuff, I can be home and spend more time with them.”

I would like to thank Edgar for taking the time to sit down and speak with me about his job, his career, and his family. More importantly, I’d like to extend a sincere thanks to him and all of his colleagues for bringing us our games week after week, year after year, and fighting to continue doing so even in the midst of a deadly virus. As we head into fall and turn yet another corner in the story of this pandemic, the world of sports has come back to life. Fans have returned to fill their stadiums with the cries of jubilation and frustration as they watch their teams go head-to-head. The now inaccurately named 2020 Summer Olympic Games are behind us, reinvigorating spirits of sportsmanship and competition across the globe as we look toward next year’s Winter Games.

Women’s Committee

From row L to R: Carrie Sheldon, Chantilly Hensley, MaryJo Devaney. Second row: Kathryn Korniloff,
Sara Glaser, Jennifer Winslow. Back row: Yancey Pon, Alexandra Gallo, Payton Paulson, Daniel Martinez, Rocky Quiroz, Jessy Bender, Heidi Nakamura, Anna Wilborn, Mihaela Jifcu, Claire Mondragon, Jenna Moore, Amanda Quesada, Lara Jessen, Fernanda Starling

by Jennifer Winslow

On a hot June day, as the new Local 695 Women’s Committee gathered for our first official meeting, a dream of mine was realized.

When I joined 695 in 1990, we had about as many female members as I could count on my two hands. Women were not welcomed into our industry. To the contrary, there were many who wouldn’t consider hiring women onto their crews at all. I was even subtly brainwashed into thinking two women on a sound crew would never work out! Can you imagine those days? The first sound and video women members were trailblazers in every sense of the word, breaking barriers and opening doors for future generations. Back then, I wondered if I’d be one of the few to continue with a career as a Sound/Video Tech. I was harassed, told by some men on the crew that their boss made less than me and I should feel ashamed, and generally bullied because of my gender.

Jennifer Winslow, Committee Chair, in front of the hot topics wall.

Despite the cards stacked against me, I persevered, pushing myself to become a better sound technician and continued learning, and as a result, I enjoyed the high level of success surrounded by my union brothers and sisters, from my early years, all the way through to today.

Fortunately, over my thirty-three years in the business, the tide changed, and the number of women working in sound and video grew. Female technicians were becoming a part of every film and TV crew. This level of growth and progress was much needed, and as fate would have it, we now have enough members and interest to warrant a Local 695 Women’s Committee.

With Jillian Arnold as our stereotype-smashing, ceiling-breaking president, the times have certainly changed. (Interesting fact: We’ve recently grown from six percent to eight percent of 695 represented by women and female identifying members.) And this growth is far from through, a PA on my current job just applied to the Local 695 Training Program hoping to become a Utility Sound Technician in her future career.

So, the launching of this committee was a big deal and our first meeting is a huge moment in our Local’s history!

Thanks to Mixer (and longtime 695 member) Anna Wilborn for generously hosting our meeting at her beautiful home. Under sunny skies, our committee gathered with positive energy, all joining together in community and forging a much-needed connection. A connection that has been lacking in years past (and especially over the last year with the Pandemic Social Distancing, Safer at Home Orders, and Safe Way Back to Work COVID Restrictions on set). After an extended period of emotional darkness, we’ve arrived in a new era of understanding, empathy, and progress.

Here comes the sun! It was so great to see everyone again after the difficult year that was 2020.

The committee is composed of more than forty Local 695 women, female identifying members and allies, twenty of whom were present, to support the committee’s work. Many members have expressed interest in joining us for our next quarterly meeting, to be held in the fall.

I’m a female mixer working in Los Angeles, and this opportunity to meet with fellow technicians old and new made me so grateful. Discussing matters that mean a lot to us, and hearing everyone’s feedback was so beneficial. I really value the relationships that we as a community are growing. It makes me feel very empowered. Can’t wait for the next.
Thank you. Chantilly Hensley

A post-COVID quandary arose as we faced the dilemma of how to navigate our first social gathering. Coming out of a worldwide pandemic wasn’t an easy task, and some anxiety existed: To mask or not to mask? Would single-serve packages of chips, or pre-packed cheese and crackers suffice? Would a large bowl of guacamole be OK? (Answer: Guacamole is always OK!)

As the afternoon unfolded and members arrived, we all realized how nice it was to see faces and smiles again! Soon enough, talk about masks was replaced by easy conversation amongst our sisters and kin. As we relaxed and enjoyed each other’s company, we shared stories, ate and drank, laughed, and commiserated, we listened with empathy, to the horror stories many have lived through in our past. The food was plentiful and the mood was powerful!

It wasn’t all social however; we tackled some tough issues facing women working in tech within the film and TV industry.

I had a goal to achieve for this first meeting. In particular, I was determined to identify four to five objectives for the committee to work on this year. I designed a group activity that I called the “Hot Topic Boards.”

The activity began with poster boards (decorated beautifully by Anna’s daughters) with large colorful Post-it notes, listing issues ranging from unequal level of promotion, to microaggressions at work. Together, members chose their top five issues from more than forty hot topics presented.

From left: Members Anna Wilborn, Jessy Bender, Rocky Quiroz, and Payton Paulson working on the pressing issues project.

When the results were compiled, we sat down and got to business. The meeting portion was rather spirited, and the survey of topics led way to epic levels of conversation. As soon as we selected five pressing issues of focus for the committee’s first efforts, many members came to a consensus that we have much work to do to create lasting change amongst our ranks.

The Women’s Committee meeting was engaging on many levels.
The members in attendance put forth what they felt were the most pressing in order of priority and it was a very welcoming environment all around. Hats off to Jennifer Winslow for putting it all together and for Anna Wilborn’s use of her lovely home.
Best regards, Heidi Nakamura Assistant Business Agent

The members read, discussed, and shared their valuable feedback on the following Local 695 Women’s Committee Mission Statement.

Mission Statement: The Local 695 Women’s Committee
The committee is dedicated to serving our members by providing networking and mentorship, promoting and celebrating our diversity, and encouraging growth. We plan to engage in social and community activism and outreach, provide resources, oversee educational opportunities for the women of IATSE Local 695, allies, and kin. The committee will endeavor to foster a deeper sense of community, set goals, and highlight the achievements of women in order to enhance all women’s advancement, and increase the potential for success in our union and industry.

After the meeting ended and official business was taken care of, I was able to relax and enjoy the rest of the time with our awesome members. I felt we did much more than dip our toes into the pool. We have our five top issues to dive into. We will focus our group’s attention, and continue to keep up with the growth cycle we are now enjoying. Co-chair Sara Glaser and I are already planning our next meeting.

The Local 695 Women’s Committee meeting turned out to be much more than I’d ever hoped for. Change may be a slow-moving train, but the new face of the members onboard will shape our future into a more diverse and dynamic community. I thank all who participated. See you this fall!

All Local 695 members are welcome!

I just have to express how wonderful our June 13 meeting of the Local 695 Women’s Committee made me feel. It was so inspiring to hear a cohort of our intelligent and committed members identifying and addressing issues that have needed changing for decades. Mary Jo Devenney

As a female Video Maintenance Engineer in a male-dominated occupation, I really appreciated the opportunity to meet other women in technical roles in the film and television industry and discuss the unique challenges that our group faces on the job. Lara Jessen

The breadth of experience in the Women’s Committee is inspiring. Lots of the issues brought up come from lived experience, and are things that would likely benefit all members. There are definitely issues that were brought up that resonated. I know if more voices (members) speak up and help make these changes possible, all members will benefit from a more equitable workplace. Daniel Martinez Local 695 member

It is absolutely critical for us to support each other. I really enjoyed learning about all the different paths our sisters have taken within our union. By coming together in a fun, relaxed atmosphere, we could really open up and discuss our ambitions and encourage each other to reach our goals. Anna Wilborn 

The Guilty

Filming the Perfect COVID-Time Movie

The Guilty is a feature film produced for Netflix based on the 2018 Danish film of the same name (Den Skyldige). Directed by Antoine Fuqua and produced by and starring Jake Gyllenhaal, the story follows a Los Angeles police officer awaiting a hearing for an undisclosed wrong-doing (you find out later) and is assigned to answer emergency calls at the LAPD Communications Division. The film takes place during the evening and night shifts of a single workday.

by Ed Novick

Director Antoine Fuqua and Actor-Producer Jake Gyllenhaal

Upon being hired as the Production Sound Mixer, the challenge for me was detailed two months prior to filming: the audience will never see, nor will the filmmakers ever photograph, the 9-1-1 emergency callers that the officer speaks with. Rather, the audience will hear what the officer hears and a good deal of the story will be told by off-camera actors and rich sound design. To make the workflow more complex, our main character will be switching back-and-forth between two communication devices: a cellphone and a Bluetooth headset. I knew I’d have to coordinate with Props and Set Decoration to make sure the devices worn by the officer would be practical and functioning. With that in place, patching the actor’s phone or computer into my mixing panel would be straightforward. Of course, having the off-camera actors in a room close to our set would be a given. How else to ensure quality audio recordings and allow for ease of communication with off-camera talent?

Here’s the problem: It’s 2020 and we live and work in an ongoing COVID-19 environment, so none of the callers will be on stage. In fact, they will all be working from home, wherever that might be. How to proceed?

I knew I’d need a reliable system that actors could easily operate without too much audio know-how. I created an “actor’s kit.” Each one was identical and contained a Sound Devices MixPre3, a Shure SM58 microphone, a desk stand, a flexi-arm with a clip, Sony 7506 headphones, and a pair of USB cables (depending on the user’s computer). Factory-sealed, disposable, screw-on mesh windscreens were included with every SM58 to assure COVID safety protocols. SD cards were formatted, folders were created, and the gain was set (based on Zoom rehearsals. I had a rough idea of how loud each character would be). In fact, with 32-bit float recording, I had ample dynamic range available. Instructions were created to help non-audio professionals succeed, including photos and YouTube videos. A spreadsheet was also created to map out which actor had which rig on which day, and were recording to which folder. I intentionally did not include batteries or a power supply for the MixPre3, thereby requiring it to be bus-powered and allowing it serve as both an interface and a recorder. Interface? Yes. All actors would be on a Zoom call (it’s 2020, remember?), as well as myself, the AD’s, and, of course, the lead actor. Off-camera actors were asked to join a separate Zoom call before joining the larger production Zoom. This first Zoom call provided the actors with basic instruction on (1) how to operate the rig; (2) how to assign their audio to the correct folder; (3) how to operate the MixPre3 faders; (4) how to get timecode and jam it into the recorder. Their instructor was Utility Sound Technician Richard Novick, my co-architect on all systems used on the movie.

Local 695 in the house (Front row): Production Sound Mixer Ed Novick, Utility Sound Technician Richard Novick, Boom Operator Knox White, Video Playback Erich Stuhl. (Back row): Video Assist Alex Sethian, Video Playback Supervisor Steve Irwin, Video Playback Terry Clifton

Oh, yes—timecode. With actors working from home—and home meant Los Angeles, New Orleans, Austin, New York, Toronto, and elsewhere—how to get all recorders in sync with each other, as well as with my on-set recorder and the cameras? My research found three different products that provide satellite-broadcast timecode. After considering price, availability, and ease of operation, we selected the Betso system. A Betso GPS calibration module, connected to a Betso SBOX-1N sync box, would be able to output timecode on Greenwich Mean Time (GMT) to the recorders used by the actors, as well as to me on set. We contacted Betso, learned they had eleven units left in stock, and production purchased all of them. This meant that we could provide timecode to ten actors’ kits, and to me, and everything would be in sync.

Rehearsals commenced in the week prior to production start, but with actors at home. Jake Gyllenhaal was given a duplicate Bluetooth headset to practice with, as adjusting the attached boom mic was important to his action. Zoom worked well enough to get everyone connected, at least for these rehearsals.

One actor’s kit

Admittedly, Day One of shooting was buggy. The issues we encountered were too many Zoom users, not enough bandwidth, as well as a lag that proved to be inconsistent, causing a varying offset between “real time” and “phone call time.” I pivoted quickly for Day Two (and beyond) to a cellular-based system, where everyone phoned into a conference call and remained muted until their turn. I had two cellphones in the conference, one for output (I captured the aggregate phone call on an isolated track) and one for input so I could provide sound effects and vocal cues to the actors in the conference. JK Audio’s Bluekeeper provided the interface between cellphones and the mixing panel, and the application Soundplant was employed for triggering audio cues.

Multiple audio sends had to be used as well. For example, the lighting dimmer board operator, who needed to coordinate the illuminated call signal at Jake’s desk with the calls occurring in the story, wore a Lectrosonics M4R receiver with pre-fade boom mic in his left ear, post-fade phone call track in his right ear, and channel one of the walkie-talkie in both, all routed through my Sonosax mixer.

Boom Operator Knox White with AirFrame exoskeleton system, mask, and goggles

As much as possible, the filmmakers wanted to film the drama like a play. That is, let it run as long as the narrative (or the camera card) would allow. With takes that often exceeded twenty-five minutes, the strain on Knox White, my Boom Operator and frequent collaborator for twenty-five years, would be substantial. Production agreed to rent an exoskeleton system for Knox to wear that would help alleviate the physical strain on his body from holding the boom for such long periods of time. Fellow Boom Operator and Local 695 member Bryan Cahill was able to set us up with a rig and instruction.

Jake Gyllenhaal as Officer Joe Baylor in the LAPD Communications Division. © Netflix

Knox was able to monitor his boom mic in pre-fade listen, while Comtek and the dailies mix were fed the scratch phone call, allowing both sides of the call to be heard. Granted, the phone call and the picture were out of sync, but that’s a matter easily fixed in Editorial. I monitored the phone call, Knox’s boom, the actor lavs, and my laptop, busily switching solo between them. When production was completed, I was able to retrieve the actor-recorded audio from all ten actors’ kits and at last, provide clean isolated tracks to post production.

In all, this little COVID-friendly movie, simple on the face of it (one main actor, mostly seated, in just two rooms), had a great many moving parts and proved to be among the most challenging projects I’ve worked on. But since the craft was able to assist the star rather than hinder him in order to best tell the story, then I’ll say all the extra effort was well worth it.

Ten actors’ kits (ready to ship)

Special thanks to:
Peter Schneider and all the helpful folks at Gotham Sound for their support. Patrick Martens and Stephen Vittoria, whose command of language is enviable.

Bond 25: No Time to Die (Part 2)

Daniel Craig as James Bond in his Land Rover Series III in Jamaica.

by Simon Hayes AMPS CAS

The first part of Simon’s article appeared early this year when No Time to Die was originally scheduled to be released in the spring. But like everything COVID, the release date has been pushed to October. –Editors

Jamaica, our next location, presented new challenges. We had a lot of vehicle dialog to record, including one scene with Bond on the back of a scooter. Cary Fukunaga favours realism and it was no surprise when I learned he wanted to shoot the dialog with the scooter being self-ridden, rather than being pulled on an A frame or on a low loader (flatbed). We always placed a lavalier on the exhaust of the scooter so the sound post team could give Cary options in the final mix on how loud he wanted the engine to be under the dialog. With the actors’ radio mics, it was a case of getting the lavs as close to their mouths as possible to try and increase the signal (dialog) to noise (scooter engine). We rigged the lavs far higher on the chest than we normally would. We try to keep the dialog sounding natural, and our usual placement would simply mean any quiet words, or times when the engine was revved harder, would have drowned out the dialog, so all bets were off, and we just aimed to record the dialog absolutely as close as possible.

Jamaica bar, Daniel Craig and Jeffrey Wright.

We also had to mic up Bond’s open-top Land Rover. As well as mic’ing the engine and exhaust as previously discussed (stereo lavs), we also had to capture his dialog. We did our usual workflow of rigging a Schoeps CMC6/MK41 capsule, using an active Colette cable to allow the capsule to be rigged remotely in the sun visor, as close to Bond’s mouth as possible. Unless the vehicle wasn’t moving, this placement wasn’t too successful. The exterior background and engine noise were just too loud to get what I considered to be rich, up-front dialog. So, once again, the DPA 6061 was my favourite choice in this scenario. The beauty of having twenty-four tracks was that I didn’t have to decide on the set; I could record all the elements and choices on the ISO tracks and making clear notes on the sound reports of what my preferred tracks were and what the components of the mix track were, giving the Dialog Editor a heads-up, and a starting point.

We also had scenarios where Bond would drive into shot, come to a halt and talk to someone on the sidewalk or in another vehicle. We could now swing in the booms with Schoeps Super CMIT’s due to the Land Rover having an open top, and capture the static dialog, creating another choice for post.

I had been looking forward to a nightclub scene in Jamaica. Cary said it was going to be a very high-energy, dancehall-type scene where the music would be loud and there would be a large number of dancers. Usually on these types of scenes, I use earwigs (wireless inductive earpieces) as my ‘go-to,’ but as we had no lip sync to worry about, and the set would be very dark and the dancing extremely energetic, I was concerned the generic earwigs we carry (i.e., not bespoke custom fitted to the individual ear canal) would potentially fall out of dancers’ ears and get lost, slowing the shoot down and costing production. I decided to go old school with our large JBL PA rig, including a high-power subwoofer, and about 15kW at our disposal. I asked Cary if he was cool with me using a thumper track. Cary was really excited about this, as he felt keeping the sub bass going during the six pages of dialog at a table on the edge of the dance floor would really help to keep the energy up, not just amongst the dancers but also from the actors. We have all been in situations where we are recording a nightclub scene and the actors start the scene talking loudly above the music, but as the scene progresses, their dialog levels slowly reduce, as they feel quite exposed speaking very loudly when there is no music in the background during the shooting. The beauty of using the thumper track is that it can be played loudly throughout the scene without being recorded by the microphones, and if there is any low frequency spill picked up, it can easily be filtered out in post. I chose 35Hz to create the thumper, as I feel that is low enough not to have any harmonics that will interfere with the dialog on the mics, but high enough that everyone in the club can hear it.

  • aniel Craig) and Moneypenny (Naomie Harris)
  • Robin picking up the car door slam and Arthur waiting curbside for the dialog; Daniel Craig
  • Simon Hayes checking the Schoeps MK41 placement on the plane rig.

A really important point regarding the scene was Daniel Craig’s support of this workflow. On Layer Cake, more than a decade earlier, after much discussion with the director and Daniel, we used a thumper track on a nightclub scene with excellent results. The actors kept their level up throughout, allowing the Re-recording Mixer and Director to really push the music cues in the mix without having to pull down the music for the dialog which, in my opinion, always sounds a bit wrong and weird. Daniel remembered that and was fully supportive of my decision to use a thumper again. On the rehearsals, he asked that we play the music tracks full range through the JBL’s, so he and the rest of the cast could find their level Cary had chosen these, and they were extremely bass-heavy dancehall-style tracks. I suggested to Cary, Daniel, and Jon the 1st AD that as soon as Jon called, “Standby!” I would start playing the music very loud, full range through the PA, while Jon got the sound and cameras rolling, and leave the music playing during the clapper boards. We were shooting two cameras then on the “A” of “ACTION!” I would drop anything above 35Hz and just continue with the thumper. This really helped the cast keep fresh in their mind how loud the music would be in the club and the vocal level they would use. As I was recording the dialog, I knew it sounded completely real and that Paul, the Re-recording Mixer, and Cary would really be able to go to town with the Dolby Atmos mix. Keeping the music level high without the fear of swamping the really important plot line dialog.

Cary and Linus’s decision to shoot with the same lens sizes on both cameras meant that we could get the booms in nice and tight onto the edges of frame without being pushed wide due to a ‘wide and tight’ scenario. Cary would now allow the actors to overlap when they felt the script would benefit from it.

Shooting cross mid-shots and then cross close-ups, always keeping everyone at the table in shot regardless of where they were sitting, gave Cary the ability to use direct action cuts on the overlaps. He spoke to me about this strategy and I wholeheartedly supported it. I always want to help and encourage anything that makes the performances more believable, and the scene really benefitted from the overlaps, bringing about an energy that can be difficult to find again in the edit. What was fantastic by keeping the lens sizes the same, was Cary and Linus knowing exactly how to make this work for the production sound. This enabled me to prioritise the booms and record really rich dialog. Although the nightclub was an interior, I decided to employ the Super CMIT’s, as they would be helpful at reducing the footfall from the dancers (I also had our 2nd AS, Ben Jeffes, removing the shoes of any dancers whose feet were not in shot), but I also knew the Super CMIT’s would be great at reducing, if not removing, the 35Hz thumper track. One of the issues of using a thumper is that sometimes the sub bass can rattle the set, or the glasses on the shelves behind the bar if they are touching, so there is a certain amount of audition time, playing the thumper before the shoot begins, and walking around to find rattles and reduce them. This can be by simply removing offending items, getting a standby carpenter to nail stuff down, or working with the set dresser to adjust any set dressing that is noisy. Once this is achieved, it is a good idea to use a volume that is loud, but just below the threshold that will rattle what is left, as the rattles could well be within the dialog frequencies and won’t be as easy to remove. I also put a very gentle slope 90Hz low-frequency cut onto the mix track. This is something I rarely do—I usually record completely flat with no bass cut, unless we have wind on the mics on an exterior, but I felt it was helpful to gently reduce the thump from the dailies and I knew 90Hz would not negatively affect the dialog.

Director Cary Fukunaga (center) with Daniel Craig (left) and
Lashana Lynch (right).

We used three booms, all of them with Super CMIT’s, as there were some very hard spotlights and mirrors in the club. We all felt that employing three booms would reduce the likelihood of shadows or mics in the mirrors, and reduce the swinging by placing a boom on each character. The scene worked really well and when I phoned Picture Editorial the next day to ask how much of the thumper they were hearing in the Avid, they said, “What thumper?” When I explained what we’d done, the 1st Assistant Editor couldn’t believe he couldn’t hear it and told me he would go into the ISO tracks and have a listen, as they had only been using my mix. When I called back, he let me know that on his studio monitors he could not hear the thumper on any of the booms or the lavs. This was really great news!

Simon Hayes embracing the camera barney and celebrating
filming in 35mm.

Our next location was the beautiful city of Matera, Italy. Constructed in 10 BC, it resembles a city in the Middle East. It is one of the oldest cities in Europe with its original architecture still intact. This location brought its own share of physical issues due to the restrictions on vehicular access, which meant carrying the sound cart and ancillary equipment up and down thousands of stairs per day. It was extremely physically demanding. For this work, we reduced the weight of my usual Eurocart, which is based around an alloy-tubed Ursta cart, which UK readers will be familiar with. We already run a very light 100Ah lithium battery on it, but for Matera, we removed anything that was not strictly necessary. We probably reduced its weight by around 10kg (25 pounds). I don’t like working in a bag for a lot of reasons; mainly the difficulty in watching three or more cameras without my usual monitors, and the compromises regarding radio and comms reception. I will go handheld in extreme circumstances, but for Matera, we decided to build an extremely lightweight cart for situations where we wanted to have access to all of our radio mics, sound crew comms, and picture monitoring, but in a location where it was impossible to carry our 80kg Eurocart. Our lightweight cart was the Cannibal Industries/Tone Mesa “Super Zuca” cart. These are great little Zuca carts, expertly modified for our industry to add some extra strength where required whilst still retaining the extremely lightweight and small footprint of the Zuca. I basically mirrored the equipment and capabilities of my main cart, but without the large 12-channel Audio Developments mixer board that I like to use. The Super Zuca housed a Zaxcom Deva 16, a Sound Devices 688 (for safety copy and additional output routing), a Lectrosonics Venue field receiver, along with a slightly simplified version of our Sennheiser RX/TX array for sound crew comms. This tiny cart was powerful, but could be carried up multiple staircases by one person. It also had the ability to become a true “bag” in a matter of seconds, simply by detaching from the cart and switching the power source. This was especially useful for interior car shots, or any ridiculously difficult locations that needed accessing.

Craig and Fukunaga

Our main Eurocart, once it had been on its ‘diet,’ was fairly easy to get into places so we only used the Super Zuca about three or four times while we were in Matera. When we did need the Zuca, it was invaluable and did its job adeptly and elegantly. The only compromise I had to make was mixing without Penny and Giles sliding faders!

The vast majority of our work in Matera were action sequences, generally involving vehicles.

Robin Johnson and Arthur Fenn double boom the scene.

Cary and his stunt team worked with the mantra of ‘keeping it real’ on the stunt and driving sequences. If Bond and his passenger had key dialog in a vehicle as it was being driven at speed, Cary still wanted to capture it, rather than putting the car on a low loader, limiting the speed the vehicle could travel and, consequently, the energy that real driving brings to the screen. A long time ago, I decided when faced with this kind of scenario, rather than try to keep within radio range in a follow vehicle, which is notoriously difficult to trust with so many elements that could conspire to leave us too far away. My strategy would be to use the huge dynamic range digital recording affords us by placing a bag in the trunk of the hero vehicle, strap it in, set reasonable levels based on my knowledge of what the vocal performances will entail, and leave the recorder running without me directly monitoring as we shoot. This means I am less able to supply an elegant mix for Picture Editorial, instead simply opening up the actors’ mics onto the mix track. The positive is, in my opinion, that sound post and the final movie will get better production dialog as the antennas and receivers are inside the vehicle with the actors, so range is perfect throughout. It also allows me to hardwire the Schoeps CMC6/MK41, so I am delivering a lav and a hardwired hyper-cardioid on each actor (the latter generally rigged in the header or the sun visor, depending on the shot).

When using this methodology, I have some limiters set up at the higher end of the dynamic range, so if there is a sudden scream or a shout, the limiters save the recording from square wave or digital overload. In the same token, I make sure I am using enough gain and set the mics close enough that if an actor reduces their level to a whisper, I still capture that and, though it may be at -40dBFS or -50dBFS, it can be boosted by the Dialog Editor without increasing electronic noise/hiss. For me, this is the safest way of delivering high-quality dialog in this kind of extreme circumstance, rather than trusting radio range and working from my cart in a follow vehicle. Although I can’t deliver a more crafted mix track, I know the Dialog Editor will remix the ISO’s in Pro Tools anyway.

I still ride in a follow vehicle, monitoring a Sennheiser EW pack (the UK version of a Comtek), so I can get a feel for the performance and hear if something disastrous happens, like a lav falling off an actor or a battery mysteriously running out. That way, each time we stop at the end of the ‘travel,’ I can get out, access the sound bag in the trunk, and fine-tune the ISO track gain levels based on the performances I am listening to. If necessary, I can also adjust the input gain settings on the actors’ Lectrosonics transmitters with the app.

Craig and Léa Seydoux

On these types of days, I would recognize the fact that my crew would probably have some downtime and sent our 2nd AS, Ben, out to capture stereo atmosphere tracks of interesting sounds unique to the location. This was something Cary specifically asked for, as he prefers using real ambience, feeling there is a truth within them, rather than synthetic or ‘built’ atmospheres. He likes to use a real atmosphere ‘bed’ for his sound designers to then build layers. At each location, at those times where I did not require my full crew, Ben would go off to harvest interesting sounds in M&S stereo, using my Neumann 191 mic. Oliver Tarney had asked that these tracks be delivered in M&S so he could decide later whether mono or stereo was appropriate, depending on the finished scene, the rest of the sound design, and the exact ambience he was using.

Christophe Waltz and Daniel Craig

When we arrived back in the UK, our work was mainly on interior studio sets. There were a lot of important storytelling scenes taking place in the MI6 offices, including M’s office. I have always loved these scenes in Bond movies, feeling they provide a quintessential British charm, in which Bond’s colleagues are usually relaxed, unruffled, and professional, despite the frenetic and energetic action sequences of the story they are often intercut with. I really wanted to use sound to help support this. I decided that all of the MI6 scenes were an excellent opportunity to let the dialog breathe by prioritising camera perspective. I knew that much of Bond 25 would require the Re-recording Mixer to use the close-up mic perspective choices on most scenes, to allow the score and sound effects volume to be raised. Whether the final choice was to be boom or lav was immaterial, it would be whichever sounded closer and richer. On the contrary, I felt it probable, based on the script and the way Bond films usually sound, that when we cut to the MI6 offices, the score would probably be lower in level and the sound effects sparse. It was an ideal opportunity to prioritise and celebrate camera perspective. We did this with three cabled booms on everything. At all times, we had the three boom poles cabled up and ready to go, with Ben Jeffes available to jump on to the third boom, joining Arthur Fenn and Robin Johnson whenever necessary.

We used my all-time favourite film dialog capsule on the booms—the beautiful Schoeps MK41 hyper-cardioids, which I have always felt sound completely natural whether in close or wide positions. I had also just been sent some new prototype preamps by Schoeps to evaluate. They were the CMC1, a miniature version of the classic CMC6. There is no compromise: The CMC1 sounds just as good as the CMC6, and on paper are actually slightly better due to the modern circuitry within them. To my ears, they sounded exactly the same, but were smaller and lighter; a ‘win-win’!

Ralph Fiennes, Naomie Harris & Rory Kinnear.

As far as ‘prioritising’ the camera perspective, I was still using DPA lavaliers and Lectrosonics transmitters on all the actors. However, I decided to never fade them into the mix track on these scenes. They were there as a fallback in case the Picture Editorial team or Oliver were presented with circumstances that really required close-up dialog on a mid or wide shot. I wanted to create a confidence and familiarity within the Avid cut for Cary and the Picture Editors that would promote the sound I was trying to deliver on the MI6 scenes; an old school fully boomed sound that matched the camera angles. We were able to use cables on all scenes apart from one Steadicam walk and talk through multiple offices. Cabled booms are always my priority, and aside from an ‘on-mic’ bass cut of 60Hz between capsule and preamp to reduce infrasonic disturbances from any boom handling, all of the MI6 dialog was recorded without any EQ to really deliver the rich dialog I was trying so hard to achieve.

Worthy of mention was another big scene we shot on the sound stage in the UK was a huge black tie event that Bond and actress Ana de Armas were attending. In this scene, both actors are able to talk to each other at a distance in whispers, via hidden comms, as they make their way separately through the party in constant covert communication. A lot of this scene would be covered by two cameras in real time, one camera on Bond and the other on Ana’s character as they navigated their solo routes talking to each other. This gave Cary the ability to use direct action cuts, but it also meant we couldn’t cheat the comms, they had to be real and reliable. We used our tried and tested ‘musical’ system of huge induction loops around the set, with Daniel and Ana fitted with bespoke earwigs that would be invisible on camera, unless Cary wanted them to be seen. The earwigs looked exactly the same as the items a real Secret Service agent would be using. I fed Daniel’s lavalier into Ana’s earwig and Ana’s lavalier into Daniel’s earwig, using auxiliary outputs on my Audio Developments AD149 mixer. This gave them the ability to communicate covertly and discreetly with each other in separate rooms exactly the same way two real agents would. It was a complex scene, and had we not have been able to deliver this audio solution, it would have compromised the approach Cary and Linus wanted to use with the cameras. I am very happy it all worked so smoothly.

One of the rarer sound workflows we used on No Time to Die was the VFX paint out. It was a big scene with Rami Malek shot in a huge, beautifully designed set with very hard lights, precluding the use of booms. It was a performance-driven scene with pages of narrative as Rami encountered different characters. Cary chose to shoot on three cameras with two of them using very long lenses to get in close, but the third camera shooting extremely wide to capture the architecture of the set in all its splendour. After a rehearsal, I knew that Rami’s costume was not going to allow us to get usable production dialog with a lavalier regardless where we placed it. Our booms could never get close, and even if we busted the wide shot, the booms would create shadows on the closer angles. I didn’t have much time before shooting, so I quickly called Arthur over and asked him to go and talk to Rami and his hairdresser and ask if we could place the lav in his hair. Arthur was, of course, concerned that we would see a cable running down Rami’s neck to the pack and I said, “leave that to me.” I immediately went to our VFX Supervisor and explained the issue. I told him that I’d watched the rehearsals and the chance of us ever seeing the back of Rami’s neck in the final cut was low, but if we did, could he agree to painting out the lav cable. The VFX Supervisor was extremely quick to agree to this at the last moment when time really was of the essence. All it took was for me to explain that his decision could potentially stop Rami and Cary having to ADR the whole scene. I think I was also helped by the fact this was the only time I asked for a paint out in the film. I went over to Arthur, Rami, and the hairdresser, who were in the middle of rigging the mic assuring all of them that VFX had given the all clear, reducing the concern (especially from the hairdresser). I then went to see Cary and Jon, the 1st AD, and explained that if they caught a wire on the back of Rami’s neck, not to be concerned because VFX were kindly going to remove it in post.

One of the great things about working with Cary was his ability to take in information like this and trust his crew. He was aware that the booms couldn’t get in close enough and he asked me, “will this mean no ADR,” which I replied, “yes,” and he immediately said, “that’s fine.” I usually like to have everything planned and agreed to in advance, especially when it comes to painting out lavs or booms but in this instance, it would have been impossible to plan ahead. Cary’s ability to support me instantly was incredibly motivating. The scene ended up sounding absolutely fantastic with Rami delivering lines captured by a close DPA 4061 right at the front of his hairline, expertly hidden by his hairdresser. This is exactly the kind of collaboration that was present between all departments through the entire shoot.

On reflection, shooting a Bond movie was indeed everything I hoped it would be. The crew were always treated by the production as if we were all collaborating at the highest level of filmmaking. This atmosphere was promoted by Producers Barbara Broccoli, Michael G. Wilson, Gregg Wilson, Chris Brigham, and Chris Brock. I cannot begin to explain just how much effort Barbara Broccoli puts into the minutiae of every detail. It honestly feels like you’re working on an intimate, independent project, where everyone’s opinion is valued and each crew member, from the HOD’s to the set PA’s, are treated with the utmost respect and supported throughout. I had often heard this was the case, but to actually experience it was something I will treasure for the rest of my career.

I’d like to thank my sound crew for their on-going collaboration, professionalism, and skill:

Main Unit
Key 1st AS: Arthur Fenn
1st AS: Robin Johnson
2nd AS: Ben Jeffes
Trainee: Millie Akerman-Blankley

Second Unit
Sound Mixer: Tom Barrow
1st AS: Loveday Harding
3rd AS: Francesca Renda

Splinter Unit
Sound Mixer: Alan Hill
1st AS: Jackson Milliken

Main Unit Equipment
Zaxcom Deva 24
Sound Devices 688
Audio Limited 149 bespoke 12-channel mixer with AES outputs
Schoeps boom mics: CMC1 MK41 & Super CMIT’s
DPA lavaliers
Zaxcom & Lectrosonics radios TX & RX
Sennheiser EW comms

2021 PRIMETIME Emmy Awards

Nominations for Outstanding Sound Mixing 73rd Primetime Creative Arts Emmy Awards

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

The Boys
“What I Know”
Alexandra Fehrman–Re-recording Mixer
Rich Weingart CAS–Re-recording Mixer
Thomas Hayek–Production Mixer
Production Sound Team: Pat Cassin, Michael Taylor, Derek Bohme,
Burton Lavery

The Crown
“Fairytale”
Lee Walpole–Re-recording Mixer
Stuart Hilliker–Re-recording Mixer
Martin Jensen–Re-recording Mixer
Chris Ashworth–Production Mixer
Production Sound Team:
Steve Hancock, Liam Cotter,
India Claydon-Richards

The Handmaid’s Tale — “Vows” – Episode 406 — After a shocking reunion with a dear friend, June contemplates the possibility of freedom, and confronts the unfulfilled promises she’s made to herself and to Luke. Moira (Samira Wiley) and June (Elisabeth Moss), shown. (Photo by: Sophie Giraud/Hulu)

The Handmaid’s Tale
“Chicago”
Lou Solakofski–Re-recording Mixer
Joe Morrow–Re-recording Mixer
Sylvain Arseneault–Production Mixer
Production Sound Team:
Michael Kearns, David Guerra,
Tim Sayle, Joseph Siracusa

Lovecraft Country
“Sundown”
Marc Fishman CAS–Re-recording Mixer
Mathew Waters CAS–Re-recording Mixer
Amanda Beggs CAS–Production Mixer
Production Sound Team:
Adam Mohundro, Thomas
Giordano, Mark Agostino

The Mandalorian
“Chapter 13: The Jedi”

Bonnie Wild–Re-recording Mixer
Stephen Urata–Re-recording Mixer
Shawn Holden CAS–Production Mixer
Christopher Fogel–Scoring Mixer
Production Sound Team: Patrick H. Martens, Randy Johnson, Veronica Kahn, Patrick “Moe” Chamberlain, Kraig Kishi, Cole Chamberlain

Outstanding Sound Mixing for a Limited or Anthology Series or Movie

Genius: Aretha
“Respect”

Dan Brennan–Re-recording Mixer
Ken Hahn CAS–Re-recording Mixer
Jay Meagher CAS–Production Mixer
Production Sound Team:
Brian Didsbury, Tiffany Mack,
John Maskew

Mare of Easttown
“
Sore Must Be the Storm”

Joe DeAngelis–Re-recording Mixer
Chris Carpenter–Re-recording Mixer
Richard Bullock–Production Mixer
Production Sound Team:
Tanya Peele, Kelly Lewis

The Queen’s Gambit
“End Game”

Eric Hoehn–Re-recording Mixer
Eric Hirsch–Re-recording Mixer
Roland Winke–Production Mixer
Lawrence Manchester–Scoring Mixer
Production Sound Team: Thomas Wallis, Andre Schick, Bill McMillan

The Underground Railroad
“Chapter 1: Georgia”

Onnalee Blank CAS–Re-recording Mixer
Mathew Waters CAS–Re-recording Mixer
Joe White CAS–Production Mixer
Kari Vähäkuopus–Foley Mixer
Production Sound Team: Alfredo
Viteri, Tyler Blythe, Timothy R. Boyce, Alexander Lowe

WandaVision
“The Series Finale”
Danielle Dupre–Re-recording Mixer
Chris Giles CAS–Production Mixer
Doc Kane–ADR Mixer
Casey Stone–Scoring Mixer
Production Sound Team:
Kurt Peterson, John Harton

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

“Life Expectancy” – Before their surgeries, Gina looks for a new apartment while Drew celebrates his last day of dialysis, on the first season finale of B POSITIVE, Thursday, May 13 (9:30-10:00 PM, ET/PT) on the CBS Television Network. Pictured (L-R): Terrence Terrell as Eli, Annaleigh Ashford as Gina, and Thomas Middleditch as Drew. Photo Credit: Michael Yarish/©2021 Warner Bros. Entertainment Inc. All Rights Reserved.

B Positive
“High Risk Factor”
Bob LaMasney–Re-Recording Mixer
Jeff A. Johnson CAS–Production Mixer
Production Sound Team: Ross Deane, Mark Tarizzo, Dean Plotnick,
Dale Burkett

Cobra Kai
“December 19”

Joe DeAngelis–Re-recording Mixer
Chris Carpenter–Re-recording Mixer
Mike Filosa CAS–Production Mixer
Phil McGowan–Scoring Mixer
Production Sound Team: Matt Robinson, Daniel Pruitt, Tiffany Mack

Hacks
“Falling”

John W. Cook II–Re-recording Mixer
Ben Wilkins–Re-recording Mixer
Jim Lakin–Production Mixer
Production Sound Team: Ryan Fee, Claire Mondragon

The Kominsky Method
“Chapter 21: Near, Far, Wherever You Are”

Yuri Reese–Re-recording Mixer
Sean Madsen–Re-recording Mixer
Brian Wittle–Production Mixer
Production Sound Team: Thomas Anthony Payne, Jeremy Sugalski

Ted Lasso
“The Hope That Kills You”

Ryan Kennedy–Re-recording Mixer
Sean Byrne–Re-recording Mixer
David Lascelles–Production Mixer
Production Sound Team: Emma Chilton, Andrew Mawson, Michael Fearon

Outstanding Sound Mixing for a Variety Series or Special

Bruce Springsteen’s
Letter to You
Kevin O’Connell–Re-recording Mixer
Kyle Arzt–Re-recording Mixer
Brad Bergbom–Production Mixer
Bob Clearmountain–Music Mixer

David Byrne’s
American Utopia
Paul Hsu–Re-recording Mixer
Michael Lonsdale–Production Mixer
Dane Lonsdale–Additional Sound Mixer
Pete Keppler–Music Mixer
Production Sound Team: Betsy Nagler

Hamilton
Tony Volante–Re-recording Mixer
Roberto Fernandez–Re-recording Mixer
Tim Latham–Re-recording Mixer
Justin Rathburn–Production Mixer
Production Sound Team:
Anna-Lee Craig, John Senter

Last Week Tonight
with John Oliver

Trump & Election Results/F*ck 2020
Siara Spreen–Re-recording Mixer
Eleanor Osborne–Re-recording Mixer

The Late Show
with Stephen Colbert

Live Show Following Capitol Insurrection; Senator Amy Klobuchar, Rep. Adam Kinzinger, Performance by Jamila Woods
Pierre de Laforcade–Production Mixer
Harvey Goldberg–Music Mixer
Alan Bonomo–Monitor Mixer

Outstanding Sound Mixing for a Nonfiction or Reality Program (Single or Multi-Camera)

Hard at work on their first united venture in nearly two years. Barry Gibb (24), who married former beauty queen Linda Gray 2 days earlier (1st sept.), broke his honeymoon to join his twin brothers Robin & Maurice Gibb in the studio. (Photo by Daily Mirror/Mirrorpix/Mirrorpix via Getty Images)

The Bee Gees: How Can You
Mend a Broken Heart

Gary A. Rizzo CAS–Re-recording Mixer
Jeff King–Re-recording Mixer
John Rampey–Production Mixer

Billie Eilish: The World’s
a Little Blurry
Elmo Ponsdomenech CAS–Re-recording Mixer
Jason “Frenchie” Gaya–Re-recording Mixer
Aron Forbes–Music Mixer
Jae Kim–Production Mixer
Andy Giner–Additional Mixer

David Attenborough:
A Life on Our Planet
Graham Wild–Re-recording Mixer

Life Below Zero
“The Other Side”
Tony Crowe–Re-recording Mixer

Stanley Tucci: Searching for Italy
“Naples and the Amalfi Coast”
Tom O’Pray–Re-recording Mixer
Chris Gibbions–Production Mixer

Tina
Lawrence Everson–Re-recording Mixer
Phil McGowan CAS–Scoring Mixer

Names in bold are Local 695 members

This year’s Creative Arts Emmys ceremony will take place on Saturday, September 11, and Sunday, September 12, in front of a limited live audience both days at the Microsoft Theater at L.A. Live

Nonlinear Editing Platforms DaVinci Resolve

by James Delhauer

The media landscape has changed. As technological innovation has driven advancement within our industry, a new level of technical literacy has become essential. Though our core duties remain unchanged, the role of the Local 695 Video Engineer continues to evolve with the times. Our diverse responsibilities on the set include media playback, on-set chroma keying, off-camera recording, copying files from camera media to external storage devices, backup and redundancy creation, transcoding media with or without previously created LUT’s, quality control, and syncing and recording copies for the purpose of dailies creation. With so many tasks to juggle, having all the tools necessary to perform our jobs is of critical importance. But today’s user is overwhelmed by choices. Countless hardware and software solutions span the entire spectrum of film and television production, with companies vying to attract customers to their products. Engineers require tools suited to handling a cross section of our various responsibilities and that cultivate efficient workflows for the production. Some might even go so far as to say that we need a little bit of black magic and, to that end, few pieces of software facilitate as many of our jobs on set as DaVinci Resolve by Blackmagic Design.

DaVinci Resolve began primarily as one of the first high-end digital color-correcting applications. First unveiled in 2004 by DaVinci Systems, the first Resolve products were turnkey platforms—self-contained hardware units designed for the single purpose of running their prepackaged software with maximum efficiency—intended to facilitate the earliest digital coloring workflows. These units were costly, with a price tag of more than $100,000 USD, pricing out the majority of consumers. When DaVinci Systems sold the platform in 2009, there were only about a hundred Resolve users worldwide. After being acquired by Blackmagic, Resolve was reworked over the course of a decade and now boasts millions of professional users around the globe. A software-only version was made available for $995 USD, representing more than a ninety-nine percent reduction in price, and a range of features meant to broaden the software’s usage application were added. Chief among them, Resolve transitioned from an emphasis on color-correction to become an end-to-end nonlinear editing platform. Blackmagic has continued to develop or acquire new modules to incorporate into their software, including the audio platform Fairlight CMI, originally developed by Fairlight.

In spite of the fact that film editing and post-production color both fall under the jurisdiction of our brothers and sisters in Local 700, there are a wealth of advantages to be found in Resolve for 695 engineers. As the system was originally designed with the intention of being used as a finishing program, Resolve features advanced functionality for communicating with and ingesting media from other nonlinear editing applications, such as Avid Media Composer, Adobe Premiere Pro, and Apple Final Cut Pro X. Projects originating in these ecosystems can be brought into Resolve, processed, and returned to their point of origin or forwarded to another destination. In short, a project originating in one application can be brought into Resolve before being sent along to an entirely different application, allowing workflows to be altered if an unforeseen issue arises. This allows programs with no ability to communicate with one another, such as Media Composer and Final Cut Pro, to share data indirectly with one another, thus closing gaps in software communication. This support for a vast number of video codecs and support files also makes it ideal for ingesting and performing quality assurance on media, regardless of the original source or format. Other nonlinear platforms are reliant on proprietary file formats or generate proxies for internal use, whereas Resolve works to debayer source media in real time. This makes it one of the best options for viewing an accurate representation of a captured image, especially when partnered with a color-accurate monitoring system.

This ability to play back full-quality assets is quickly becoming a more important feature as more productions move toward creating real time digital environments on set. Just as 695 Playback Specialists have been tasked with supplying video sources for screens appearing on screen for decades, it is our responsibility to play back the digital sets we’re beginning to see today and Resolve can be used to facilitate this task. DaVinci Resolve Systems can be used to outsource an image to an LED wall and manipulate the image in real time. This gives Playback Operators the ability to manipulate, color grade, relight and make other alterations to digital backgrounds on set, all while the director, cinematographer, and others are able to watch and give creative input. Advanced users can also take advantage of Fusion—an integrated visual effect plugin acquired by Blackmagic in 2018. Prior to its acquisition, Fusion was used on more than a thousand feature films for the purposes of effects compositing. When combined with Resolve, Local 695 Engineers have the ability to create and play back real time visual effects on set. In this regard, Playback Operators continue to blur and transcend the lines between technician and artist.

It is likely, however, that more engineers are familiar with the platform for its capabilities as a transcode utility. Resolve includes powerful tools for converting media from one format to another, making it useful both for generating easy-to-edit proxy media for editors to work with and dailies for the production team to review. Video and audio media from disparate sources can be automatically synchronized by aligning their timecode metadata or, in the event that a guide track was recorded to camera, analyzing their waveforms. Blackmagic also includes an arsenal of digital LUT’s (look up tables that can be used to apply a preset color look to an image) in their software, making it simple to apply a preset look when creating proxies or dailies. After sound is synced and the production look has been applied, then files can be exported in any industry-standard file format (support for encoding Apple’s ProRes family of video codecs is not available in the Windows edition of Resolve) for delivery to the necessary party.

As a member of the Blackmagic family of products, Resolve is compatible with all hardware accessories produced and manufactured by Blackmagic, including first- and third-party hardware controllers, GPU accelerators, and a wide variety of I/O adapters. The most recent edition of the app, DaVinci Resolve 17, released this year with hundreds of new updates and features, including enhanced support of high dynamic range content, a machine learning-based tracking tool, and support for multi-user collaboration. A supplemental update released in March of this year added full support for Apple’s new line of macOS computers featuring M1 processors, making Resolve the first third-party nonlinear editing application to take advantage of the enhanced capabilities of Apple’s new processor (Apple optimized Final Cut Pro X for use with the M1’s ARM architecture at the time of the processor’s release last year).

The current edition of DaVinci Resolve Studio retails for a flat rate of $295 and includes a lifetime of free upgrades. By eschewing a perpetual upgrade cycle or subscription-based licensing, Blackmagic has claimed the mantle of greatest value for price in the nonlinear editing wars. A comparable Adobe or Avid subscription costs in the range of $49.95 USD per month. Not being ones to rest on their laurels, however, Blackmagic took the pricing contest a step further by offering an almost fully featured free edition of Resolve. For those looking to test the waters or who do not need access to the platform’s entire suite of features, the free edition of the application includes all of the same powerful editing, playback, and transcoding tools as the Studio edition. However, it does not support resolutions higher than ultra-high definition, frame rates greater than 60fps, high dynamic range color grading, stereoscopic 3D processing, digital noise reduction, machine learning, or multi-user collaboration. In spite of these limitations, the free edition of Resolve remains the most professional no-cost tool on the market for nonlinear editing, playback, and transcode work.

Our industry will continue to evolve and as it does, we in Hollywood’s foremost technical local, will continue to evolve with the times. As we do, we need the absolute best tools available at our disposal. Despite being a relative newcomer to the world of editing platforms, Blackmagic has poised DaVinci Resolve to take a stop at the very top of the list. With its vast array of features, low-price point, and countless applications, this application is one that every Video Engineer is encouraged to familiarize themselves with. Members wishing to learn more are encouraged to explore the resources available on LinkedIn Learning—an educational service available for free to all IATSE members. Other free recourses include the countless tutorials, workflow demos, and classes available on YouTube and social media.

Paying It Forward: A Conversation with Ron Hairston

by James Delhauer

Tom Payne (left boom) and Ronald Hairston (right boom)booming on Agents of S.h.i.e.l.d.

At the heart of the labor union movement, there is a core belief that we are stronger together; that what may be impossible for one is achievable by the many. We work together for the betterment of all and when the work of others benefits us, it is our responsibility to pay it forward. Such is the philosophy of Ron Hairston, a Local 695 member with a rich history in our industry. Known for his work on NBC’s Heroes, Marvel’s Agents of S.H.I.E.L.D., and most recently, the BET comedy series Twenties, Ron has been a member of our union for the last fourteen years, where he serves as the co-chair of the Local’s committee for Equity, Diversity and Outreach (a role he shares with member Steve Nelson) and helps organize Local 695’s Black Sound and Video Alliance. I had the privilege of sitting down with Ron to discuss his storied career, the work that he does for our union, and what made him decide to become more active within the Local.

His career in sound began on the NBC television series Crossing Jordan, where he became friendly with the production sound team. Production Mixer Kenn Fuller and Boom Operators Thomas Payne and Jay Jayaraja expressed that Ron should explore joining Local 695 and, with their assistance, he soon became a member of the show’s Sound Department. But it was Agents of S.H.I.E.L.D. where Ron feels he really came into his own. “I grew up on that show personally and professionally. I did everything on that show. I was a Sound Utility, Boom Operator, Playback Operator, 2nd unit Sound Mixer, and a 1st unit Sound Mixer. We went seven seasons and became a family. Thanks to Kenn Fuller for the opportunities and for teaching me everything that I know about sound mixing and thanks to Tom Payne for teaching me everything that I know about booming. I got to learn from two of the best in 695.”

On set working on You. ©Netflix

This mentorship helped to shape Ron’s philosophy of returning the kindness shown to him. “[Kenn] gave me some really good advice when he got me into the union and said that I have to pay it forward and I think that’s really important.” As a result, he went on to become more active within our Local and took on a mentorship position of his own. “I just like to do the work but ever since George Floyd, I just realized that I needed to be doing more. I can’t just be worried about my job. I need to worry about other people as well,” he commented to me. “I’ve only met a couple Black sound people. I think we have somewhere around two percent membership in the union. Those numbers need to change and they kind of need to change yesterday.”

This spurred his decision to accept the position of co-chair for the newly formed committee for Equity, Diversity and Outreach and to aid in the implementation of the Local’s Y-16A trainee position—a classification allowing for productions to hire individuals lacking roster status for the purposes of training. In fact, Ron’s most recent job, the Lena Waithe comedy series Twenties for BET, hired two of the first trainee graduates, Y7-A Utilities Terrell Woodard and Britney Darrett—with Britney receiving her training from 695 members Jeremy Brill and Amanda Beggs while Terrell was trained by members Jamie Gambell and Ben Greaves. Ron also credits their success in part to Boom Operator Kevin Culligan, who took it upon himself to help continue their education while working together on Twenties.
Britney’s hiring in particular represented an important milestone for women of color within Local 695, as Ron pointed out. “Before this, I’ve known of one other Black woman in the sound union and that’s Veda Campbell,” he explained. “I met her a long time ago when my dad was doing craft services on a set and I just thought that was the coolest thing. Here was this Black female who was working on a set as a boss and I just remember it to this day. I didn’t realize it at the time but that was life-changing to see something like that; to see her make it that far. And now there are five more Black women going through the trainee process. That’s how I know that it’s working and that it’s getting results.” When asked, Ron expressed optimism about future trainees and the push for diversity within the Local as a whole. “I think the union has a lot of tools to help women and people of color be successful. The Y-16A is a position, not a program. Now, we just need to get the knowledge out there. The more I have gotten involved, I’ve realized that a lot of people don’t have the same resources and access that I have.”

Kenn Fuller, Jestin Willard (Y-16A), Kevin Culligan, and Ronald Hairston on Generation.

When asked to elaborate, Ron praised his father, Ronald Hairston, Sr., a UCLA graduate with a master’s in film who spent more than thirty years in the industry working in craft services. Though this was not Ron Sr.’s first choice, it was a career path he chose as it allowed him to work as his own boss and, by extension, side step the racial prejudices he encountered with previous employers. “It’s kind of sad,” Ron Jr. confided to me. “He was very accomplished for the childhood he had and was working on these shows where his education and his knowledge of film was greater than a lot of the people around him. But he was always trying to put us into a position to succeed. He spent all of his money on our education so I would be set up for success.” Ron went onto credit his father as the reason that he found his calling in Hollywood. “He got me where I am today. It’s just natural for me being on set. I saw the pirate ship on Hook being built. I got to feed lions on the set of George of the Jungle and meet Michael Jordan on the original Space Jam. That was all before I was even thirteen years old. Everything he’s done, everything he’s sacrificed to get me where I am today just made things so much easier than it could have been. Not everyone’s been put in a position to succeed like me. I’m fortunate and I know that, which is why it’s so important to give back.”

: Tom Payne and Ronald Hairston on Marvel’s Agents of S.H.I.E.L.D.

Ron expressed to me that he strives to provide his own children with the same opportunities for success that his father gave to him, though acknowledged the inherent challenges of such an endeavor. “Sound is easy but raising kids is hard. It’s the best worst thing I’ve ever done. Until I got into this position of trying to raise kids and working the hours I work, I didn’t realize how difficult it would be. When we welcomed our baby girl, I felt the need to get back to work to make sure I didn’t lose my job.” This feat would be impossible without the help of his partner and loving wife, Christina, whom he described as the MVP of their family. Nonetheless, he lamented the burden that his work in our industry has placed on her. “I couldn’t imagine doing my job and raising my kids the way I would like to,” he said. “I feel like it’s unfair that she has to do so much because of the hours I work and not being able to miss work. I want to be there for her and them more than I am. And there are days when things are hectic at her job or she just needs a break, so I just have to be the one who is more tired and figure out a way to get things done.”

Tom Payne, Kenn Fuller, Ronald Hairston, and Kevin Culligan on Marvel’s Agents of S.H.I.E.L.D.

Ron’s comments echo many made about the impact of long hours in Hollywood over the last several years. Though concerns centered on drowsy driving after periods of prolonged overtime, a phenomenon the industry has taken steps to counter, the impact on families remains a troubling issue. “It causes stress and concerns in the house,” he explained. “Jobs are taken off the table. I don’t feel like I can do a show out of town for a while with two young kids. A producer called me to go do Macgruber in New Mexico and my wife really didn’t want me to go. It was a real dilemma. I was worried that if I turned it down, I’d have to go back to doing utility work for a few months after I worked my way up to mixer. That’s the nature of this job.”

These issues and many more continue to plague our union. However, through the efforts of dedicated members like Ron Hairston and all of the women and men who offer up their time to the causes of equity, diversity, and opportunity, we are beginning to see things move in a positive direction. I would like to thank Ron for taking the time to sit down and speak with me about his career, his life, and the work he’s doing as a member of our union. His efforts are helping to forward Local 695 in its mission of nurturing equality within our industry. Members who are interested in being a part of this reform are encouraged to reach out to the Local about joining the Women’s Committee or the committee for Equity, Diversity and Outreach.

On December 2 of 2020, then President-Elect Joe Biden declared his intention to be “the most pro-union president you’ve ever seen.” This was a welcome proclamation, as union membership and influence has been in steady decline for decades. Today, it is estimated that just 10.8 percent of workers in America belong to a collective bargaining organization, down to less than a third of where we stood at our peak in the 1950’s. This is in spite of the fact that, by and large, research shows labor unions to be a net positive to their members. A 2020 report from the Bureau of Labor Statistics concluded that workers belonging to unions, on average, earned wages nineteen percent higher than their nonunion peers while an April 2021 study published in The Quarterly Journal of Economics determined that income inequality has waxed as the membership of unions has waned. Moreover, unions are popular. A Gallup poll published in September 2020 shows a sixty-five percent approval rating among Americans, their highest rating since 2003. With this unique opportunity afforded to us by both a high favorability rating and an ally in the White House, unions are relying on members like Ron Hairston to take charge and shape the change we need in the world.

The Four-Person Sound Crew

by Jamie Gambell

Daniel Quintana, Erin Fitzgerald, Jamie Gambell, Terrell Woodard, Johnny Evans

“Left track, boom, right track, radios”; the first words I said into the slate mic on the first shot of the first scene of my first feature film I mixed. The camera shooting through the door as two characters go through it and run down a flight of metal stairs following them down. A simple setup of an HHB Portadat, SQN field mixer,
and just two Audio Ltd 2020 radio mics (with Sanken
Cos-11’s). It was the only time that my team; myself, Boom Operator Ben Greaves, and Utility Tim Surrey, would use those radio mics for the entire show. How times have changed.

In the decades since that day, the role and workload of the Sound Utility has grown exponentially; multitrack recoding on set and the quality of the tools has seen radio mics becoming more and more prevalent, and, indeed, on some shows, we live and die by those tools. Good Trouble, the freeform series that I have been mixing for three seasons, is one of those shows. A spin-off from the earlier show, The Fosters, Good Trouble, follows two characters from the preceding series as they move to L.A., and into their twenties. The two sisters join a cast of characters living in a communal space, and we are introduced to a regular cast of eight who each come with their own cast of supporting characters through the trials of work or love life. More often than not, scenes feature most if not all of them. It is not uncommon to film scenes with fourteen to seventeen wires.

Daniel Quintana prepping Terrell Woodard to practice some booming

The filming style and ensemble nature of the show meant that my team had to adapt in two ways, Boom Operator Daniel Quintana found himself dancing alongside our camera operators, who used rehearsals to discover parameters rather than shots. Our DP, Marco Fargnoli, remains in constant contact with both camera operators and changes shot and frame on the fly. It’s frantic and frenetic, but Daniel is able to keep up with cast and operators alike. It can lead to many wide and tight situations, and our ability to roll with it and keep a smile on our faces has probably done more good these last few years, especially once I got the assurance from post that they were more than happy with what we were giving them.

For everything that Daniel does, and he does a lot, we lean hard into the wires, and the Utility, in this case, Johnny Evans.

A good Sound Utility is not only a member of the Sound Department, but also a ‘member’ of the Wardrobe and Production departments. Managing timing and expediency while bringing cast through the process, working with wardrobe to ensure that mics are hidden and effective. This ensures that production is able to maximize the use of the cast, that they are kept comfortable, and able to perform, and we are able to record a usable sound track with options for post.

Two things have become very apparent to me, firstly, the role of the Utility is no longer the “entry level” position that it was once seen to be, and secondly, more often than not, the workload of the Sound Department has grown to the extent that we should be asking for a four-person department. Indeed, I have made it part of my initial conversation with producers.

Day one on Good Trouble season three. L to R: Jamie Gambell,
Terrell Woodard, Daniel Quintana, Johnny Evans

First, the workload. Before Covid, I asked about the possibility of having that additional person be a permanent part of the team, but our producers hadn’t budgeted for that expense out the gate. However, I was able to get them to agree that when the cast count got above a certain number, we would bring in an additional Utility to help with wiring. It has proven to be very effective, and, when the producers started to talk to me about how to continue filming during the Covid era, while remaining safe and efficient, we continued to use this model. It may seem counter-intuitive to have more crew during a pandemic to some, but by having those extra hands, we are able to limit cross-contact and keep equipment sanitized and safe in a way that doesn’t add time to the day.

Jamie Gambell & crew. L to R: is Jamie Gambell,
Mitchell Gebhard, Daniel Quintana, Johnny Evans,
and Terrell Woodard

I also switched to the Shure Axient system to prepare for our return. I could write a whole article on the sound quality and confidence in wireless management, along with their battery life and hands-off control features that make them the ideal tool for this type of world we currently film in, but that’ll have to wait for another day!

Good Trouble is the second show that I have worked on with a four-person sound team. The other was It’s Always Sunny in Philadelphia, season fourteen. That show had a permanent four-person team (Boom Operator Daniel Quintana, Utility Alexis Schafer, and Sound Service Person, initially Kraig Kishi, later, Yohannes Skoda). It proved to be an excellent model, and definitely another option for productions to consider a permanent addition if the budget is tighter.

L to R: Iris von Haas, Terrell Woodard, Johnny Evans,
Jamie Gambell, Daniel Quintana

The role of Sound Utility has changed enough so that it is far from an entry-level job. One thing that became apparent to me, that we, as a local, need to work harder at mentoring and assisting those looking to join. Not only to ensure that they are doing well, but that we collectively are building a foundation of success and talent to make our craft better across the board. It was with this in mind, and conversations with other mixers, that I learned about the Local’s Y-16A position, the trainee position that encourages a safe, learning environment on set and avoids displacement.
I once again went back to our producers.

Good Trouble prides itself as being a diverse show, promoting minorities through casting and storytelling. I asked our incredibly supportive Producer, Chris Sacani, about the possibility of helping to promote that same diversity by bringing on a trainee. To her eternal credit, she went to bat and presented the idea to the network, who okayed us bringing on a trainee for season three, as well as continuing our current practice of bringing in extra hands as and when needed.

Gambell’s sound cart

We were joined in season three by Terrell Woodard. Ironically the separation and controlled Covid protocols helped in training, with each person’s role within the department being more defined and isolated, allowing Terrell to watch and find the time to ask questions.

Safety and sanitation protocols on some shows have created space for a fourth person on the team, often in the form of an on-set Sound Utility and a base-camp Wiring Utility. More shows are learning about the trainee position and embracing the idea. I’ve spoken to many mixers who are working with one or both additions to their crew. In an ideal world, a fourth person would be the norm to account for the expansion of work that our department has seen over time. An additional Utility or Sound Service Person in either a full-time or partial capacity, and a trainee would be beneficial. An additional crew member allows for a much more efficient production, especially when the schedule is king. Having an eye to the future, and providing a safe environment for people to learn and develop, will encourage more success for members as the additional workdays will do a lot to ensure that our members are kept busy.

Jamie Gambell uses a Cantar X3 and Cantaress Control Surface. His Boom Operators use Schoeps MK41/CMC1 with a Cut 60 Low Cut capsule indoors, and the Mini CMIT outside. He switched to the Shure Axient system, and uses the smaller ADX1M packs, with DPA 6061 lavs as his go-to mics.

A Conversation with Craig L. Woods

by Richard Lightstone CAS AMPS

L to R: Jane Fonda, Lily Tomlin, and Peter Gallagher

With more than forty-three years in the film industry, Craig Woods has an enviable amount of experience to draw from and great stories about his career.

“LA was really a hustle-and-bustle city in the late ’60s. When I was just a kid, I was lucky enough to be playing bass for a songwriter who went by the name of Kenny Nolan. His mother, bless her heart, asked me, ‘Well, what do you want to become when you grow up?’ I answered, ‘I want to work in a recording studio.’

“She gets on the phone and calls a guy named Rich Jacobs, a prominent music producer. Talk about contacts! So, there I was at seventeen, working at MGM Recording Studios on Fairfax Boulevard, then I went to a place called TTG, which was on North McCadden Place near Sunset and Highland. I have great memories of setting up microphones for one hundred musicians, violins, cellos, and the rhythm section, which pretty much gave me my career foundation.”

Forrest Forbes showing off the custom Cooper 106 with fourteen channels

Craig went back to school to finish college, but after graduation he found most of the recording studios had shut down, and a lot of musicians were out of work. People he used to work with were session players from The Wrecking Crew to The LA Express. Back in the day, they were triple booked but now, they were barely able to make a living.

With his bread and butter drying up, Craig luckily got a call from 20th Century Fox for a Y-6 position. He worked there for a while, then went to CFI and installed their Sony BVH systems, as they were getting rid of their giant Ampex machines.

In 1978, Craig worked as a Utility Sound Technician on The Blues Brothers for Bill Kaplan and again on Continental Divide in 1980. Craig moved up to Boom Operator on television series such as Vietnam War Story and Studio 5-B. In 1990, he worked with Mixer Richard Bryce Goodman on The Hunt for Red October.

Boom Operator Shawn Morse in action

“Submarines are tight places and there was just no thought about putting a Boom Operator anywhere in the process. I asked Richard Goodman to get me two snakes with sixteen inputs, and both snakes went on each of the submarine sets that were on gimbals, and I exploded the wires out to every possible place in these sets and then just placed mics everywhere I could. You can even see some of them in the movie but nobody would ever notice.

“You learn more of what not to do in many cases, what fights not to pick. I’m not here to roll around in the dirt because a director wants to do something that’s counterproductive to the sound, which we all go through. I express what the consequences of their decision will result in, and then I walk away.”

Craig had a long working relationship with Sound Mixer Geoffrey Patterson on The Usual Suspects, and on second unit (again with Geoffrey) on Apollo 13, both in 1995. He began doing nonunion mixing gigs and alternating booming for Geoff. When Geoffrey got Twister, Craig had to decide to either make the leap to sound mixing or continue as a Boom Operator. Craig decided to turn down Geoff’s offer.

“That was a very painful decision because it was a great match and with lots of fun memories of the things we went through. Oh my God, what a dreamboat he was to work with. I loved working with Geoff, we could finish each other’s sentences, we had good laughs, he was one of the few Sound Mixers back in the ’80s who never let lighting challenges with DP’s aggravate him, he was just unfazed by it.”

Craig Woods with Boom Operator Mark Jennings on his last day on set before retirement.

Armed with lots of experiences, Craig began his new venture into sound mixing and teamed up with Boom Operator Mark Jennings on a two-person non union show. It was a run-and-gun cop show, where Mark was chasing the actors with one hundred and fifty feet of duplex microphone cable. Craig requested a third person and the producers offered a young Laura Rush; her first job. Laura was determined to learn, especially how to wrap cable over and under.

“Laura sat there for hours practicing. Then she took a boom and started targeting certain things on a set just to get a feel of how to move a boom and a microphone around. I realized I can’t fire this person, she’s putting too much into this. It was the best decision I ever made. It was a match made in heaven between Mark, and Laura, and myself, and we stayed together for twenty years right up until Mark Jennings retired at the end of Season 5 of Cougar Town.”

Craig now has Shawn Morse as his Boom Operator. “He’s a good ambassador, and you really need someone who can take care of all the situations. I don’t question my boom operators at all.” Craig really believes in a versatile crew schooled in their craft but on a quick notice able to switch roles. “Laura can mix and boom, Shawn can mix. You’ve gotta have that interchangeability. Heck, if you need to take a moment, you don’t want to hold the crew up until the Sound Mixer gets back to his seat, or God forbid, an accident. You need to have that cohesion, and I’ve found that with Shawn and Laura.”

He owned two Cooper 106 panels but wanted more inputs, so he asked Forrest Forbes at the then Coffey Sound if he could combine the two. Forrest accomplished this into the only Cooper 106 board with fourteen inputs. Craig calls it his ‘Cooper 106 + 8,’ “I can’t really find a board better than the Cooper. There’s just something about the dynamic range and how it handles it.” The rest of his cart consists of two Sound Devices 788t and a 702t, Sennheiser 60’s and 50’s combined with Lectrosonics SM transmitters.

“I have the same cart that Geoff Patterson designed. Geoff built a cart for me, David McMillan, and another for Steve Bowerman. All of us got used to working with Geoff and this cart. It’s done me well over the years with all the modifications that I’ve put on it.”

Craig has kept all his mounts and extra custom rigs he used when he was booming, including his own Fisher boom offset that he designed for himself. Location Sound liked his design and had twenty of them manufactured for sale. Fisher booms were prevalent in the early part of his career. “The whole staging of television shows has evolved. They’ve gone from an open proscenium style to copying practical locations, or worse, with some sets built three feet off the ground.”

Craig has been mixing the popular Netflix series Grace & Frankie since it began and will be starting the eighth and final season in June. Earlier this year, Craig mixed the series Solos for Amazon which starred Morgan Freeman, Helen Mirren, and Anne Hathaway, under strict COVID-19 safety protocols.

“I had to send so many feeds out as we had actors that were off set, actors who were on set, all of them were in pods, needing their own feeds, headsets, and microphones. We had a lot of situations that were basically on the fly. I had to double up iso’s a lot, that doesn’t happen on Grace & Frankie. It’s basically one or two mics and that’s the end of it.”

The majority of Grace & Frankie is on stage at Paramount Studios. Occasionally, they shoot on the beach and Craig will wire the cast. “The biggest concern is not the waves but the wind, you don’t want to dampen it too much to kill your top end, but you find a way of getting through it.” The driving scenes are all shot on stage against green screen or LED panels.

Laura Rush wiring Emil Hersch on Alpha Dog

“We try to pare down a lot of stuff and keep it as simple and fast as possible to get our days done. Shawn will just put a rig in the sun visor, two mics each side, very simple. It’s pretty straightforward in terms of getting sound.”

Craig offered advice for those coming up or starting out. “Understanding your equipment, microphones are not perceptive entities, they are mechanical devices. I once explained to a young director why the actor needed to bring his voice up. You just have to work within the technical parameters of the microphone. One of the best things to do is to understand the psychology of leading a crew, especially for up-and-coming Sound Mixers because that was the one thing that I found as a Boom Operator, each mixer had their own way of interacting with their crew. It helps to understand so they can work to their best ability, having a door open where they can come to you. You don’t want to humiliate a Boom Operator or anyone else. The last thing I want to do is go on set and take a decision out of the Boom Operator’s hands. Psychologically, it’s a disaster, it creates a very bad situation if the person gets intimidated, second-guessing themselves. You’ve got two people that have to get everything done, and the best way to do it is to leave them on their own, or at least guide them in a way that’s not intimidating or bullying.”

Lily Tomlin, Martin Sheen, June Diane Raphael, Ethan Embry, Brooklyn Decker, Baron Vaughn, Sam Waterston, Jane Fonda, Peter Gallagher

Craig considers his career as a blessing and he has plans of going back to university to study music when he does retire. As Craig explains it, the last year of lockdowns has given him some practice. “A flight test of landing a 747 that I’ve never been able to fly on a runway called retirement without crashing and burning. It’s been an interesting forty-three years.”

The Challenges of FINDING ’OHANA

by Amanda Beggs CAS

L to R: Kea Peahu as Pili,
Owen Vaccaro as Casper
in Finding ‘Ohana.
Photo: Colleen E. Hayes/Netflix © 2021FINDING ‘OHANA (L to R) KEA PEAHU as PILI, OWEN VACCARO as CASPER in FINDING ‘OHANA. Cr. COLLEEN E. HAYES/NETFLIX © 2021

You never know what could lead to your next job. I was midway through the second season of the Facebook Watch series, Sorry For Your Loss, when the script supervisor asked me if I had anything lined up after we wrapped. I didn’t have anything set in stone, so she exclaimed, “I’m doing this movie in Hawai’i and Thailand! You want me to throw your name in?” I got a call about a day after I sent in my résumé, asking about my availability, willingness to work out of the country, and if they could set up a video interview with the film’s director, Jude Weng. Things continued to move quickly as I read the script, met with Jude over video chat, and got the formal offer within weeks. I would be going to Hawai’i, Thailand, and New York City as the Production Sound Mixer on a new Netflix movie called Finding ’Ohana.

Amanda Beggs CAS mixing in Thailand FINDING OHANA (2020)

Like many of us, I’ve read a lot of scripts, but without hesitation, I can say that I loved this one. It was honestly funny, heartfelt, and authentic. Many scenes with key dialog took place near waterfalls and in caves, there were scenes in cars and on ATV’s, there was live singing and music playback, swimming, and stunt work. All in various locations with anywhere from medium to difficult accessibility. This was going to be both a challenge and an adventure.

FINDING ‘OHANA (L to R) OWEN VACCARO as CASPER, KEA PEAHU as PILI in FINDING ‘OHANA. Cr. COLLEEN E. HAYES/NETFLIX © 2021

I made the decision early on to go with a more mobile configuration of my equipment to allow myself to fit into tighter spots and so I could self-carry what I needed into the more challenging locations. However, I needed a lot to fit in a small package; my rig needed to run on battery power all day and be something I could hike up the side of the mountain. Sound Devices had only recently released the Scorpio portable mixer-recorder, but I immediately ordered one. With sixteen mic/line preamps and twelve analog outputs, I knew this would be the right machine to use for this movie. Its size meant it could live in a bag, along with my wireless receivers, antenna distribution, IFB transmitters, private line comms, and battery distribution system. However, I didn’t just want to work out of a bag the entire time; I knew we would be able to set up shop on a cart for many locations, and we had stage work planned in Bangkok.

I decided to use Devendra Cleary’s DC-TRM cart as my starting point and then customize it as needed. In the end, I was very happy with the build I created and the cart worked in so many different locations and scenarios. The bag rig could easily be pulled off the cart, which in turn, also took most of the weight, making the cart easily carried up, say, a long flight of uneven stairs that led to the opening of a cave, with equally uneven floors. I think we made that particular climb in and out every day for a week. Then there was the hike into a park to shoot at various waterfalls, the boat ride to yet another cave, and the various beaches and jungles. Having the ability to hike in with my bag made so many locations easier to access. I had my regular follow cart with me, loaded into a cube truck in Hawai’i and a passenger van with the seats removed in Thailand. We also needed a mobile, rough-terrain-friendly solution for the gear in that cart. Orca makes an amazing bag called the OR-26, which we christened the “mobile follow cart.” Loaded up, it could fit all the basic items found in my cart—from wires to slates. For everything else, especially bulkier items like cable and our mobile VOG speaker, we had a foldable wagon.

  • Amanda’s sound cart
  • Processed with VSCO with f2 preset
  • Mixing in the practical cave
  • Processed with VSCO with f2 preset

Because hand-carrying everything you own isn’t enough fun on its own, let’s not forget we were doing this in insanely hot and humid weather. And did I mention the not-infrequent downpours of rain in both Hawai’i and Thailand? The mud we had to wade through was epic in proportion. Production actually had to schedule staggered pre-calls in Hawai’i during our last week so that each department could use a rented power washer to clean carts, cables, etc. My crew put up with many uncomfortable locations, but always performed with the utmost professionalism. For Hawai’i, I brought Boom Operator and fellow Local 695 member Mitchell Gebhard with me from LA, and we worked with local Sound Utility Nohealani NihipaliDay.

There were so many challenges involving scenes or shots where we would be beyond the range of wireless reception: recording dialog for two kids racing through Kualoa Valley on ATV’s, filming boat-to-boat out on the ocean, and my personal favorite, four kids biking full speed for about a mile along the East River in one of the most notoriously terrible RF environments in NYC. Those scenes jumped out at me when I was prepping and reading the script, so I brought with me several Lectrosonics PDR’s. Those have become a staple of my kit in recent years, as it gets harder and harder to find clear wireless frequencies, and for shots that simply defy the range of wireless even in perfectly clear environments. Easily jammed with timecode, and with the ability to record and stop with the LectroRM app, the peace of mind that comes from knowing I have good, clean, usable audio on each actor’s wire is just fantastic.

Hands-down the greatest challenge we would face on this film was the water. A main component of the story involved our lead cast entering caves that are surrounded by waterfalls, swimming through flooded tunnels, and a daring escape where they jump off a waterfall and land in a lake. While some of the waterfalls would be real and in practical locations, our main cave set, the one surrounded by waterfalls, would be built in a warehouse just outside of Bangkok. This was one of those moments where you can talk about a set in theory, and plan as much as you want, but until you are standing in front of the actual set, and can hear the roar of the six working artificial waterfalls, you really don’t know exactly what you are in for.

  • Processed with VSCO with f2 preset
  • Kea Peahu as Pili in Finding ‘Ohana.
    Photo: Jennifer Rose Clasen/Netflix © 2021
  • The makeshift hydrophone
  • L to R: Katika “Art” Tubtim, Thanravipa “Noon” Pararoch, Boom Operator Frank Barlow, and Amanda Beggs

In prep, the thinking at first was to try and keep the cast as dry as possible, for continuity as well as for ease of shooting. But this set was not going to allow for that. The kids were going to get soaked, and I would have to figure out how to get wires on them, as booming was not going to be a great option. We had three cameras rolling, two of which were on cranes, going from a wide to a tight shot in an instant. Plus, there was the noise. Imagine how loud a waterfall is when you’re outside standing next to it. Now imagine placing that waterfall, and five of its friends, inside a reverberant warehouse. When the falls were turned on, you had to shout to talk to the crew member next to you. Not only did we need wires on the cast to record the dialog, but they also needed to act as a comms system so the Director, Jude, could hear the cast in-between setups. I pretty much lived at my cart when we were shooting those scenes, always keeping the faders up so Jude could talk to the cast. For the reverse, so the cast could hear Jude, we used a pretty typical voice of god setup, a wireless handheld mic, and several speakers lining the set. But how do we handle wiring up cast that would inevitably get soaked? If the budget had been limitless and prep had been more informative, waterproof transmitters like Lectrosonics WM’s and waterproof lavaliers like VT500’s would have been a great choice. But I had Lectrosonics SMVs and Sanken COS-11’s. Waterproofing an SMV is easy enough —non-lubricated condoms and rescue tape. Plus I tossed the whole rig in a ziplock bag for extra measure. When the lavs got waterlogged, luckily, usually toward the tail end of the scenes, my Thai Sound Utilities Katika “Art” Tubtim and Thanravipa “Noon” Pararoch would expose the mic on the actor and hit the mic head with about five to ten seconds of air from a hairdryer. Then fresh tape would be applied and the actor would be good to go. To help protect the mic from getting waterlogged as quickly, we made sure to mount the mics upside-down. I am happy to report that during the filming of all the waterfall scenes, not a single transmitter or lavalier sustained water damage. Even after being waterlogged multiple times, the ability of the COS-11 to bounce right back into action astonished me. The plan of using a hairdryer on the actors saved us so much time. We initially considered continually swapping mics as they got wet, but the producers made it clear we had to move fast. Re-wiring would take too long. Two of our leads were kids under eighteen, and we only had them for limited hours. Time was precious and we had to respect that.

The mud we had to wade through in Hawaii was epic. Production had to schedule staggered pre-calls during our last week so that each department could use a rented power washer to clean carts, cables, etc.” –Amanda Beggs

We had several scenes that involved the cast getting fully submerged and swimming in sets that were built into large water tanks. Obviously, sound waves travel differently in water, and while hydrophones exist, it didn’t make sense for our show to rent one for the opportunity to simply record the sound of the underwater camera operator moving around. While the cast was in the tank, we would work on recording wild lines and voiceover for other scenes. At least, that was the original plan. A few days before the tank work was scheduled to begin, Jude expressed a desire to capture sound underwater, specifically a scream that was added. There was no way we could get a hydrophone to Bangkok in that time frame, so I had to come up with another solution. Luckily, I had played around with a homemade hydrophone a few years earlier on another project, so I already knew where to start. A Sennheiser MKH416, with foam, was my mic of choice, for a few reasons. It has less of a rich sound than some other shotguns, which is advantageous in the potentially noisy environment that exists in a tank. Movement and bubbles from the camera op and other crew all creates noise. I put the foam on the mic because it adds just enough bulk so you can fit a non-lubricated condom over it. I actually used three condoms in this build, and then wrapped the end at the connection point between mic and XLR, with a combo of butyl, rescue tape, and gaff tape. A great thing about the 416 is that it can sustain water damage and after being dried out, will still work perfectly, with saltwater being the exception. The mic was now fully waterproof, but it floated. Hand-holding the mic underwater wouldn’t work, as any movement created terrible handling noise, and we wouldn’t be able to get the mic close enough to the cast due to the size of the shot. My Boom Operator Frank Barlow, who had flown in from London to join our team, managed to find a one-meter-long piece of metal, pencil-sized in diameter. He taped the now-ridiculous-looking mic to one end, wrapping the cable along the length of metal, and bending the final few inches into a curved handle. We now had a very crude boom pole, and a way to point and move the mic underwater with minimal handling noise.


Photo: Jennifer Rose Clasen/Netflix © 2021FINDING ‘OHANA (L to R) OWEN VACCARO as CASPER, KEA PEAHU as PILI, ALEX AIONO as E, LINDSAY WATSON as HANA in FINDING ‘OHANA. Cr. JENNIFER ROSE CLASEN/NETFLIX © 2021

My happiest moment arrived a few takes after implementing the “hydrophone.” The cast was screaming underwater, even talking at times, and from across the stage, I heard Jude exclaim, “This is amazing! I can hear everything under the water!” Mission accomplished.

I pride myself on being prepared and having what supplies I need to get a job done. But unfortunately, while I brought a good number of non-lubricated condoms with me, I had underestimated how many I would go through. I realized I was going to need more with two weeks left in the shoot. No problem, as I figured that was something we could source in Bangkok. I approached our Thai Production Coordinator and explained to him that I was going to need him to find me some non-lubricated condoms. He gave me a look like I had just asked him to buy me, well, condoms. I explained that I use them to waterproof the mic transmitters and this was a completely legitimate work purchase! And they needed to be non-lubricated as I didn’t want to get lube on my expensive gear. He didn’t seem entirely convinced, and then went on to tell me that there are no non-lubricated condoms in Bangkok. I couldn’t believe him, said that can’t be true, and if he could please try looking, I would really appreciate it. The next day, our Thai UPM found me and confirmed what I had been told by our Coordinator.

They looked, and it was true: non-lubricated condoms are not sold in Bangkok. But not to worry, they had purchased some lubricated ones, and several members of the Thai production staff were busy hand-washing them to remove the lube. I laughed and said, “Good one, very funny.” Our Thai UPM wasn’t one for jokes, she stared me dead in the eyes and said, “No, this is really happening, they are doing this for you.” I think she knew I wasn’t going to believe her, so she had filmed and photographed the Thai crew hand-washing lubricated condoms, and then hanging them to dry.

I have seen many things over my years in this industry, but I have never seen anything like that. It was amazing. You don’t know dedication until you’ve seen someone gently hand-clean condoms. The following day, I was presented with a bag full of relatively lube-free condoms. I certainly wasn’t going to waste them, after all that hard work, so we absolutely ended up using several of those lovingly washed condoms. I don’t know if I can properly express my gratitude to the Thai crew: both my sound team and the entire Thailand local crew.

The final few days of the shoot took place in New York City, and the toughest part of that final company move wasn’t the jet lag—but the extreme temperature changes. We went from humid summer-like weather in Thailand to winter in NYC. From shorts and T-shirts to heavy coats and gloves in the span of a day. While in New York, I had the good fortune to work with local Boom Operator Frank Graziadei and Sound Utility Jerry Yuen. One of the best parts about distant location work isn’t necessarily the locations, but the opportunity to work with crew who know those places intimately. I not only got to film in iconic NYC spots, and experience the challenges that exist there, but I also got to work with one of the most legendary Boom Operators on the East Coast, and I’m so grateful for that.

The entire experience of making Finding ’Ohana was such a unique, fun, stressful, incredible time. I was very fortunate the timing worked out the way it did, as I got to travel to all those places right before the whole world shut down due to the pandemic. This movie was a great example of how prep and planning can sometimes only get you so far. Oftentimes, things change and new requests are made in an instant. I try to avoid thinking “that can’t be done,” but instead rely on creative problem-solving and the insight of my crew to achieve as close to the director’s vision as possible. Sometimes you spend a night in Bangkok hunting for non-lubricated condoms in every convenience store within walking distance and you come home empty-handed. But don’t give up! Take it from me, soap can remove most of the lube.

Sound Awards 2021

57th CAS Awards
We congratulate all the winners!

MOTION PICTURE – LIVE-ACTION

Sound of Metal winners: (Top row from left) Phillip Bladh CAS, Nicolas Becker, Michelle Couttolenc. (Bottom row) Carlos Cortés Navarrete, Jaime Baksht Segovia.

Sound of Metal
Production Mixer: Phillip Bladh CAS
Re-Recording Mixer: Jaime Baksht Segovia
Re-Recording Mixer: Michelle Couttolenc
Re-Recording Mixer: Carlos Cortés Navarrete
Supervising Sound Mixer: Nicolas Becker
Foley Mixer: Kari Vähäkuopus
Production Sound Team: Jeremy Eisener, Yanna
Soentjens, Hannes Leemans, Francois Goemaere

MOTION PICTURE – ANIMATED

Soul winners: (Top row from left) Vince Caro CAS, Ren Klyce, David Parker. (Middle row from left)

Soul
Original Dialogue Mixer: Vincent Caro CAS
Re-Recording Mixer: Ren Klyce
Re-Recording Mixer: David Parker
Scoring Mixer: Atticus Ross
Scoring Mixer: David Boucher CAS
ADR Mixer: Bobby Johanson CAS
Foley Mixer: Scott Curtis

MOTION PICTURE – DOCUMENTARY

The Bee Gees winners: Gary A. Rizzo CAS, Jeff King.

The Bee Gees: How Can You Mend a Broken Heart
Re-Recording Mixer: Gary A. Rizzo CAS
Re-Recording Mixer: Jeff King

NON-THEATRICAL MOTION PICTURE OR LIMITED SERIES

The Queen’s Gambit winners: (Top row) Eric Hoehn CAS, Leo Marcil. (Bottom) Lawrence Manchester.

The Queen’s Gambit Ep. 4 “Middle Game”
Production Mixer: Roland Winke
Re-Recording Mixer: Eric Hoehn CAS
Re-Recording Mixer: Eric Hirsch
Re-Recording Mixer: Leo Marcil
Scoring Mixer: Lawrence Manchester
Production Sound Team: Thomas Wallis, Andre Schick,
Bill McMillan

TELEVISION SERIES – ONE HOUR

The Marvelous Mrs. Maisel winners: (Top row) Mathew Price CAS, David Boulton. (Bottom) George A. Lara CAS

The Marvelous Mrs. Maisel S3, Ep. 8
“A Jewish Girl Walks Into the Apollo…”

Production Mixer: Mathew Price CAS
Re-Recording Mixer: Ron Bochar CAS
Scoring Mixer: Stewart Lerman
ADR Mixer: David Boulton
Foley Mixer: George A. Lara CAS
Production Sound Team: Carmine Picarello,
Spyros Poulos, Egor Panchenko

TELEVISION SERIES – HALF-HOUR

The Mandalorian winners: (Top row from left) Shawn Holden CAS, Bonnie Wild, Stephen Urata. (Bottom) Christopher Fogel CAS, Blake Collins CAS.

The Mandalorian
Ep. 102, Chapter 2 “The Child”

Production Mixer: Shawn Holden CAS
Re-Recording Mixer: Bonnie Wild
Re-Recording Mixer: Stephen Urata
Scoring Mixer: Christopher Fogel CAS
ADR Mixer: Matthew Wood
Foley Mixer: Blake Collins CAS
Production Sound Team: Ben Wienert, Veronica Kahn,
Jamie Gambell, John Evans, Ethan Biggers

TELEVISION NON-FICTION, VARIETY, MUSIC OR SPECIALS

Hamilton winners: Tony Volante, Rob Fernandez.
Career Achievement Award winner William B. Kaplan CAS.

Hamilton
Production Mixer: Justin Rathbun
Re-Recording Mixer: Tony Volante
Re-Recording Mixer: Rob Fernandez
Re-Recording Mixer: Tim Latham

Career Achievement Award

Career Achievement Award winner William B. Kaplan CAS.

William B. Kaplan CAS

Filmmaker Award

Filmmaker Award winner George Clooney.

George Clooney

Outstanding Product – Production

Outstanding Product – Production winner: Sound Devices’ Matt Anderson, CEO.

Matt Anderson, CEO
Sound Devices

Outstanding Product – Post production

Outstanding Product – Post Production winner: iZotope’s Lisa Ferrante-Walsh, Director of Engineering.

Lisa Ferrante-Walsh
Izotope, Inc.: RX8

AMPS AWARD WINNER

Sound of Metal
Phillip Bladh CAS, Nicolas Becker, Jaime Baksht Segovia,
Michelle Couttolenc
Production Sound Team: Jeremy Eisener, Yanna Soentjens, Hannes Leemans, Francois Goemaere

BAFTA AWARD NOMINEES

Greyhound
David Wyman CAS, Beau Borders, Christian P. Minkler,
Michael Minkler CAS, Warren Shaw
Production Sound Team: Betsy Lindell, Marc Uddo, Jason Vowel

Nomadland
Sergio Diaz, Zach Seivers, M. Wolf Snyder

News of the World
John Patrick Pritchett CAS, Michael Fentum, William Miller,
Mike Prestwood Smith, Oliver Tarney
Production Sound Team: David M. Roberts, Rob Hidalgo,
Adam Bart, David Brownlow, Zach Sneesby, Jason Pinney

Soul
Vincent Caro CAS, Ren Klyce, David Parker

Sound of Metal
Phillip Bladh CAS, Jaime Baksht Segovia,
Nicolas Becker, Carlos Cortés Navarrete, Michelle Couttolenc
Production Sound Team: Jeremy Eisener, Yanna
Soentjens, Hannes Leemans, Francois Goemaere

BAFTA AWARD Winner

Jaime Baksht, Nicolas Becker, Phillip Bladh, Carlos Cortés, Michelle Couttolenc – Sound – Sound Of Metal

Sound of Metal
Phillip Bladh CAS, Jaime Baksht Segovia,
Nicolas Becker, Carlos Cortés Navarrete, Michelle Couttolenc
Production Sound Team: Jeremy Eisener, Yanna Soentjens, Hannes Leemans, Francois Goemaere

Oscar Nominees

Greyhound
Production Mixer: David Wyman CAS
Re-Recording Mixers: Warren Shaw, Michael Minkler CAS,
Beau Borders CAS
Production Sound Team: Betsy Lindell, Marc Uddo

Mank
Production Mixers: Drew Kunin, Ren Klyce, Jeremy Molod,
David Parker, Nathan Nance
Production Sound Team: Michael Primmer,
David Fiske Raymond

News of the World
Production Mixer: John Patrick Pritchett CAS, Oliver Tarney,
Mike Prestwood Smith, William Miller
Production Sound Team: David M. Roberts,
Rob Hidalgo, Adam Bart, David Brownlow, Zach Sneesby,
Jason Pinney

Soul
Ren Klyce, Coya Elliot, David Parker

Sound of Metal
Production Mixer: Phillip Bladh CAS
Re-Recording Mixers: Jaime Baksht Segovia, Michelle Couttolenc,
Carlos Cortés Navarrete
Supervising Sound Mixer: Nicolas Becker
Production Sound Team: Jeremy Eisener,
Yanna Soentjens, Hannes Leemans, Francois Goemaere

Oscar Winner

Phillip Bladh, Carlos Cortés, Michelle Couttolenc and Jaime Baksht pose backstage with the Oscar® for Sound during the live ABC Telecast of The 93rd Oscars® at Union Station in Los Angeles, CA on Sunday, April 25, 2021.

Sound of Metal
Production Mixer: Phillip Bladh CAS, Jaime Baksht Segovia,
Nicolas Becker, Carlos Cortés Navarrete, Michelle Couttolenc
Production Sound Team: Jeremy Eisener, Yanna Soentjens,
Hannes Leemans, Francois Goemaere

Names in Bold are Local 695 members

The rNAS .m4 and rTB from Pronology

by James Delhauer

As laborers in an industry that constantly pushes the boundaries of what technology has to offer, members of the IATSE have unique technological needs. Productions demand custom-fit solutions to the challenges they present, often preventing workers from buying off the rack as it were. Sometimes, artists and craftspeople encounter obstacles for which the market has not presented an adequate solution and when they do, they take it upon themselves to make their own. Such is the case with the new rNAS.m4 and rTB storage units from Pronology, designed by Local 695 member and Pronology President Jon Aroesty to address the specific challenges faced by 695 engineers and technicians.

The story of the rNAS goes part and parcel with mRes, another Pronology product designed out of frustration with the lack of adequate workflow options. The mRes is a standalone server-based encoder capable of capturing multiple SDI inputs or IP streams and simultaneously writing a high-quality deliverable asset, a ready-to-edit proxy file, and a proxy optimized for web streaming for each input in real time. In practical terms, this means that camera or IP-based media can be ready for every stage of review and post production as soon as the director calls cut. However, this workflow presents the challenge of immense data loads, especially when networking multiple mRes servers together. Moving that much media around in real time requires storage hardware capable of sustained high bandwidth reading and writing. Furthermore, production environments are often harsh, requiring equipment that can stand up to the rigors of day-to-day use. After experimenting with various storage options on the market, Aroesty and his team concluded that there was nothing available at the time that presented an ideal solution to these problems.

“We couldn’t find anything that could sustain the kind of write speeds we needed while also being portable and rugged enough to be practical in a production environment,” Aroesty commented. “Eventually, we realized that we needed to build our own.”

“We couldn’t find anything that could sustain the kind of write speeds we needed while also being portable and rugged enough to be practical in a production environment… We realized that we needed to build our own.”
–Jon Aroesty

After studying the shortcomings of existing network-attached storage devices, the first rNAS prototype was constructed in 2017 using off-the-shelf components and featured a full ATX-sized chassis outfitted with eight spinning disk hard drives and a PCIe hardware-based RAID controller. Though several prospective competitors were already offering units with support for RAID (a process whereby multiple storage devices are pooled together to increase speed or create redundancy), all of the units that the Pronology team researched utilized software based or integrated RAID controllers, making them more vulnerable to failure or corruption as the components controlling the disk pool needed to expend resources on other tasks. By having a dedicated piece of hardware to control the RAID, the team was able to achieve a significantly more stable storage volume. In conjunction with the more robust case that offered improved durability, this prototype was a step in the right direction but it was not without shortcomings of its own.

Local 695 President Jillian Arnold (then Vice President), member Nick Amico, and I put the prototype rNAS through its paces over the course of the following year. After stress testing it in every way we could imagine in both controlled and production environments, it was deemed too heavy and cumbersome, making it difficult to transport. The ATX chassis took up a large amount of space and could not be rack mounted, which made it unsuitable for the cramped confines of a production truck environment. Moreover, with the number of 4K productions already on the rise, higher write speeds were still going to be necessary for success. As testing progressed, the team began looking for ways to address these challenges.

Fortunately, all of this was happening as the price of solid-state media was becoming more affordable, which presented an opportunity. Aroesty and his team began to experiment with using both consumer and enterprise grade solid-state drives in conjunction with their hardware RAID configuration and immediately decided that this approach would be essential to increasing read and write speeds to the point where the rNAS would be up for the task of recording 4K media. This also helped to address the issue of weight, as a standard two-and-a-half-inch solid-state drive weighs in at approximately a tenth of a pound, whereas traditional three-and-a-half-inch spinning disk units are closer to a pound and a half. This allowed the team to shed more than eleven pounds off the previous design with no discernable drawbacks. However, no existing two-and-a-half-inch form factor chassis available at the time met the necessary durability requirements, forcing the team to commission custom fabrications. After receiving input from a cross section of 695 engineers familiar with a wide array of production environments, a compact aluminum and steel design was settled upon. The result was the rNAS .m3, a lightweight solid-state network attached storage system ready to take advantage of the complete bandwidth of a 10g network environment. For more than a year, 695 engineers have put it through its paces it in a diverse variety of broadcast television environments, including the Academy Awards, Grammy Awards, and MTV Video Music Awards.

Now, with the data collected over the past four years, Aroesty is proud to release the rNAS .m4, a modest redesign of that capitalizes on the successes of the .m3 while adding subtle improvements where needed. Newer solid-state drives boast longer life expectancies than those released even a few years ago, giving the .m4 a longer product life than its predecessor without requiring maintenance. The new chassis has been designed to easily integrate into a rack-mounted environment, making the devices convenient for long-term storage while remaining quite portable. The body can conveniently fit into a custom-designed insert carry-on suitcase and has been ruggedized for vibration and impact resistance, allowing multimillion-dollar productions to transport their content without fear of checking luggage. The device can be networked utilizing either the two 1g Ethernet ports or two 10g Ethernet ports, allowing for communication with up to four devices without the need for a network switch. Under the hood, the storage caddies have been tweaked to store the solid-state drives at the front of the unit, allowing all eight to be accessed from the front. This facilitates the ability to scale storage size as larger solid-state media continues to be produced at lower costs in the coming years. Several additional security updates have been added to the networking protocols, ensuring the digital safety of production content.

Most importantly, the entire system has been optimized for concurrent throughput. With the COVID-19 pandemic forcing productions to decentralize post-production environments, the ability to securely send digital files across a network in bulk has never been more important. This optimization allows Local 695 recordists to write new media to the rNAS while simultaneously allowing media to be read for the purpose of being copied, transcoded, or uploaded. rNAS supports any cloud-based transfer client, allowing recordists to send content directly to editors before the production even wraps. The result is that editors located anywhere in the world can be cutting content within hours or even minutes of it being shot.

Though specific production conditions may impact performance, the rNAS.m4 set an impressive benchmark recording up to thirty-two streams of high-definition ProRes 422 footage at 27.97fps or ten streams of ultra high-definition content at 59.94fps.

The rNAS .m4 and rTB were designed by members for members and are ready to meet of the many challenges of our craft.

The rTB evolved from the production of the rNAS to meet the growing needs of productions that have not or are unable to migrate to server-based production, including remote and single-camera productions. Nearly identical in design, this direct-attached storage unit boasts the same ruggedized steel and aluminum body but sports two Thunderbolt 3 inputs in lieu of networking ports and an LCD screen. The eight-disk solid-state RAID pool has resulted in write speeds of up to 1469 megabytes per second, bringing rNAS performance to those in need of direct storage solutions such as Digital Media Managers and Video Assist Technicians. These speeds are ideal in production environments where 4K, 8K, and newly emerging 12K video content is being created and requires rapid ingestion. Moreover, the Thunderbolt architecture’s bidirectional protocol in conjunction with the customized RAID controller’s optimization of concurrent throughput means that rTB is ideally suited for use in conjunction with platforms that require high simultaneous read and write speeds, such as In2Core QTAKE. When paired together, a set of rTB units represents one of the fastest drive-to-drive transfer solutions in its form factor. This can facilitate the rapid creation of redundant media, shrinking the period of vulnerability in which media exists in only a single location.

Aroesty adds that “695 members were involved at every stage of production. rNAS and rTB were developed in direct response to members’ requests for resilient high-performance storage that can stand up to the rigors of remote production and transportation.”

In the digital era in which we currently find ourselves, we are inundated with data. For Local 695 data engineers, whose responsibilities can include media playback, projection, on-set chroma keying, off-camera recording, copying files from camera media to external storage devices, backup and redundancy creation, transcoding, and syncing, digital real estate is critical.

Video Engineering The Next Generation

by James Delhauer

Jillian Arnold

Our culture is one that places a high value in legacy. As we walk this earth in search of purpose, we often reflect on questions about our impact or how we will be remembered. We build little empires in our own names in the hopes that our legacy will be a positive one and that when it is time to move on, it will be handed down to the next generation. The divine right of kings saw empires passed from father to son with an expectation that that which came before would be preserved. But times have changed and so must we all. Today, as we strive for things like liberty, equality, and diversity within our communities, children are no longer expected to carry on the work carried out by their parents. They are encouraged to walk their own paths in life and to discover a purpose to call their own. So when a child does choose to walk in the footsteps of their families, there is a heightened significance to the decision. No longer is it a matter of duty or responsibility but one of agency; no longer passed down from father to son but also mother to daughter, mother to son, and father to daughter.

Haley Burnett
and stepfather, Gaylon Holloway

I had the privilege of sitting down with three remarkable women, all of whom chose to pursue careers in video and engineering, like their fathers before them. Today, Cheyenne Wood, Haley Burnett, and Jillian Arnold talk about the legacy of video engineering in their families, being among the first women in their fields, and some of the challenges that women have overcome and continue to face within our industry.

Cheyenne Wood and her father, Roger Wood.

Cheyenne is a Record and Playback Specialist who became a member of Local 695 in 2018 and has already landed on high-profile broadcast television shows like American Idol and Who Wants to Be a Millionaire? In the short time since joining the Local, she’s already become proficient in a wide variety of platforms and can often be found behind the racks on set, building or rewiring her own equipment. This, however, should come as no surprise given her history. Cheyenne’s father has spent the better part of the last thirty years working as a Broadcast Truck Driver and Fabricator.

“It’s touching, in a very sentimental way,” she told me. “Growing up from the very beginning, my earliest memories with my dad are of my brother and me running around workshops and going to work with him. He was a single parent, so on late nights when he didn’t have a babysitter, he’d throw us in the camper and go pick up shows and drive us home. Now, he picks up my shows.”

Cheyenne Wood

Cheyenne went on to describe the first time she and her dad had opportunity to work with one another on set. “I was working on Ultimate Tag as a Media Manager but he had parked the truck before I got to go in for prep, so we didn’t get to see each other. But on the last day, I came out of the truck and he was waiting at the bottom of the stairs just to see me at work. It was a cool moment. And there have been a few times since then.”

Haley Burnett

Similarly, Haley Burnett grew up in a household deeply rooted within the industry. Her father also drove production trucks for several years before becoming a Comms and RF Technician. Meanwhile, her mother and stepfather worked for Viacom (now ViacomCBS) as Director of Operations and Lead Engineer respectively.

“I remember that I didn’t want to work in the industry because so many people in my family had. I was going to do dance therapy for juveniles,” Haley told me. “Then I went to [Country Music Awards] with my mom and got to go backstage. Seeing everyone and everything going on made me think, “Huh, maybe I do want to do this after all.”

When Haley received her Local 695 card in 2017, she began to develop record assist and cloud-based screener protocols that have been essential for contactless delivery and safety during the pandemic. She’s worked on broadcast tentpole productions such as the Video Music Awards and MTV Movie Awards..

Jillian Arnold is a Recording and Workflow Engineer who also followed in someone’s footsteps. “My stepdad was a Tape Duplicator,” she explained. “His claim to fame was the colorized version of It’s a Wonderful Life on VHS. And when I was little, he had five or six tape decks in the basement where he’d duplicate old cartoons for international release. And he taught me how to use those tape decks. Now, I am what I like to refer to as ‘The Artist Formerly Known as the Tape Operator.”

Jillian Arnold

Since earning her 695 membership in 2012, Jillian has been at the forefront of new server-based network recording technology, as well as the cloud-based migration of large assets. She was recently elected to serve as President of Local 695 and holds dual-card status with Local 600. Her clients include Disney, ViacomCBS, Netflix, Apple Inc., TED Conferences, and the Jet Propulsion Lab.

All three of these women are first-generation card holders within their families. “My mother was from the employer’s side of things. So when I joined, she was happy about the benefits and protections that came with that,” Haley said.

“My dad did tell me that he had been approached about joining the Teamsters union many years ago. But due to having to try to find sitters to help take care of his four children and often having to leave work to take care of us on his own, he was unable to commit the time, ultimately missing out on the opportunity.”

“As a woman, I am very mindful that I have to
be on my game. I believe
I need to know all aspects of my craft well.” –Jillian Arnold

“Both of their dads thanked me with tears in their eyes when they got their union cards,” Jillian remarked. “There’s that day our fathers have when we surpass their knowledge. And it can be a very proud moment. My stepdad was also very proud. I know because my uncle—who was in Local 2—calls and tells me,” she laughed. “He was the one who really impressed the importance of unions on me. I’m really proud to be part of a collective that, internationally, has more than 120,000 members. And every level I hit, I can’t get over it.”

As engineers working to develop the bleeding edge of production workflows, these three women are pioneers within their fields. In spite of their impressive résumés, however, all three face unique challenges that present obstacles within their careers. “I’ve certainly had bouts of weird comments and things like that,” Cheyenne said during her interview. “I’ve had people staring and one guy who started following me. There was a day when I pinched a nerve in my back and the medic closed the door so he could massage my lower back. Very weird. So safety is a big concern.”

According to a 2018 USA Today survey of 843 women working in the entertainment industry, an alarming ninety-four percent of respondents reported experiencing some form of sexual harassment or assault. The same survey, which was conducted in partnership with The Creative Coalition and Women in Film and Television, went on to report that twenty-one percent of the women interviewed reported having been asked to or coerced into performing a sex act.

“I’ve left the truck crying before because I’ve been uncomfortable,” Cheyenne admitted. “I don’t think people always realize that it can be intimidating for women to walk in sometimes but it’s nerve wracking.”

“Luckily, I haven’t experienced that too often,” Haley commented. “But sometimes when you come on the truck, you can interact with people who will give you the up and down and you can just read on their faces that they aren’t expecting much out of you.”

“There are definitely people who are shocked or dumbfounded that this easy to laugh off twenty-four-year-old-looking girl comes in and knows her stuff,” Cheyenne agreed.

“People still aren’t used to seeing a woman in our spot. It’s fun when you do know it. My favorite part is blowing them away and doing really well. Then you just look at them and see them crack a little smile,” Haley said. “That’s always pretty great.”

In Rosa Costanza’s “The Best Person for the Job,” an article published in Production Sound & Video in the spring of 2015, Jillian describes her experience in a situation that many women within the industry face. “As a woman, I am very mindful that I have to be on my game. I believe I need to know all aspects of my craft well. Therefore, I spend quite a bit of time training and studying on my days off. I often feel I can’t afford to make a mistake without it reflecting poorly upon me, and my gender. Some may say I’m too hard on myself, but I think that I have to be as good as the best.”

“But we’re put into these positions by people who believe in us,” Cheyenne pointed out. “Tech Managers, the people who hire me, they all say, ‘I have no doubt that you can do it. I’m not worried about you at all.’ I would not be where I am today without the support of so many wonderful men in my career. There are just some people who make me feel like I don’t belong here. And of course, I belong here. I worked really hard to get where I am. And there are definitely people who can see that and who have been encouraging every step of the way.”

Unfortunately, the problems that women face within the industry are not just confined to the set or normal business hours. The unpredictable nature of Hollywood can make balancing work and family life a challenge.

“I think it scares the hell out of me to think about having babies in this industry,” Haley explained. “Growing up, we were fortunate enough to have help. But I can’t imagine getting off from a show and getting home, helping us with a project, putting kids to bed, working until midnight, then getting up, and working a completely different schedule. I think it scares me because we have such an unpredictable schedule. And then there’s the fear and legitimate concern of losing your job. If you need to take time off, there might not be a job waiting for you when you’re ready to come back or someone might think, ‘She’s too distracted to do her job now that she has a kid.’ And I do think that’s something women struggle with more than men.”

“Women are exhausted,” Jillian said frankly. “As someone who doesn’t have children but wants to, this idea of being an exhausted woman is not a workable survivable tactic for me. One of the reasons I became president was to create a world where women can work and have a family. And with the number of women coming into our technical local, we are going to be forced to rethink how certain things happen like flexibility of maternity leave and paternity leave, daycare, and sick pay. My focus is on how we can improve the mental health and wellness of our members beyond just pay structures and healthcare. Because this isn’t just a women’s issue. It’s not in anybody’s best interest for women to be this exhausted all of the time.”

“I can’t imagine trying to have kids right now with this job,” Cheyenne stated. However, she was quick to agree that this is not just an issue impacting women in our field. “I know that we talk about it a lot in terms of single mothers, which is an utterly amazing accomplishment. But I do want to shed light on the fact that there are single fathers out there having to do it on their own too, often raising young women who they want to see succeed as well. I am an example of that. My dad emphasized that it did get very difficult at times and more resources and support would have been wildly helpful as a single parent.”

I would like to thank Jillian, Haley, and Cheyenne for taking the time to sit down and speak with me about these proud and difficult subjects. All three are a credit to their respective fields. As we move forward, Local 695 is committed to nurturing equality within our industry. Members who are interested in being a part of this reform are encouraged to reach out to the Local about joining the Women’s Committee or the Committee for Equity, Opportunity, & Diversity.

“At the end of the day,” Haley concluded, “we need to support women because that’s how we support everybody.”

“As a new female Video Engineer, I am so excited and proud to be supported by strong women. And I want to give credit to the men who continually back and support women in the fields, as I have experienced greatly thus far during my career. It is a very competitive field, but that is also very encouraging and enticing. And as much as it is intimidating at times, I believe that being a woman in this industry is beyond rewarding in so many ways,” Cheyenne told me optimistically.

The Modern Sound Crew

by Simon Hayes AMPS CAS

Filmmaking has changed, and sound crews have had to adapt to new methods of working. Over the last fifteen years, one of the biggest changes we have seen is the introduction of multiple cameras on all projects.

Multi-cameras used to be the domain of high-budget feature films, sitcoms, and soap operas. Production sound crews are finding multiple cameras being used on all formats and budgets, due to the lower cost of shooting digitally. This has resulted in a change to how we capture production sound, and requiring a completely different approach.

Outlander

Two Booms
There was a time that once or twice a day, the Utility Sound Technician would swing the second boom in a wide shot to capture a line of dialog that boom one was finding it difficult to cover. Or on an over-the-shoulder of the actor whose back is to camera, mouth slightly revealed, and is likely to ad-lib or overlap the onscreen dialog. Running a second boom full time is now the only way of supplying the Dialog Editors with complete coverage on a show shooting two cameras or more.

When the Director is shooting two cameras, we are going to come up against the ‘wide and tight’ scenario that makes getting high-quality boom dialog so difficult. It doesn’t matter how many times the Director and DP promise they will use matching headroom on both cameras and not run wide and tight, it will happen regularly. The last thing a Director wants to hear is a Production Sound Mixer continually asking them to re-adjust the shot or shoot separately, even though the Sound Mixer is trying to save the original performances.

Running a pair of booms means that the two Boom Ops can commit their mics to fewer cast members, allowing each to play the scene significantly closer to the frame line of the wide shot. Let’s say the scene has four cast and the two Boom Operators split the coverage. They can take greater risks swinging closer to the edge of the wide frame, allowing the Sound Mixer to reduce the gain which not only reduces background noise, but also room reflections, and helps to create a closer perspective that is more likely to match the closer shot.

Two booms can help when working with Directors who use multiple cameras to shoot longer sequences. Ridley Scott is well known for using three cameras, and positioning them around a set so his cast can play a whole scene and capture the coverage from three angles in a single take. The best way to cope with this shooting style is to assign a specific boom to a camera, so that it always has a microphone covering what the lens is shooting.

The two Boom Operators will use a combination of these two workflows on a shot-to-shot basis, even changing from scenario one to scenario two within the same take. The two booms provide flexibility and the best chance for the Production Sound Mixer to deliver great tracks adequately covering what the cameras shoot.

When negotiating for two Boom Operators, I try to describe this to Producers, informing them I will be able to deliver twice as much usable production dialog, and ask them if they can afford not to have two Boom Operators? More and more shows have two Boom Operators in their credits which is really encouraging, especially on episodic television whose per-episode budgets are rising, and expecting feature-film levels of creative quality from every department.

Wireless mics

Wireless Microphones
We used to watch the way a scene was blocked and make a decision whether radio mics would be necessary. We simply cannot make an accurate judgment despite watching a scene being blocked of when the second camera is going to shoot coverage during a wide shot where we cannot get a boom close enough. This is why many of us now choose to wire the cast as a matter of course, so that when we are presented with an impossible scenario for the booms, we are ready. Even though we dislike having to radio all the cast all day, there are benefits. We don’t have to slow the shoot down and ask to mic the cast after the cameras set up angles the booms cannot cover. It also means less negotiation with on-set costumes when from the get-go, everyone knows the actors will be lav’d at all times. The question now becomes ‘how’ rather than ‘why’?

Delivering lav tracks gives the Picture and Dialog Editors choices that will really help in post production. However, radio mic’ing the cast for every scene creates a much higher workload for the sound team, along with running a second boom full time. This can easily turn into an impossible task for the Utility Sound Technician if they are being expected to boom all day, and also put lavs on the entire cast.

This is why the modern sound crew is more often a four-person team of the Production Sound Mixer, two Boom Operators, and a Utility Sound Technician (UST). This splits the workload and allows the UST to work closely with the cast and the Costume Department on the wiring, as well as carefully watching monitors during shooting to check if any lavs are being exposed.

Lectrosonics Wireless Designer

Frequency Coordination
Gone are the days when all departments could rock up onto a job and simply expect their radio equipment to work. The Sound Department is using many more radio frequencies, including wireless booms, as well as radio mic’ing everyone. Frequency use on films sets used to only be necessary for a couple of departments, however, we are coping with the Camera Department using remote focus, iris control, and remote heads. The Video Department is transmitting and receiving their images via Teradek, the Grips are using crane comms, the Lighting Department using Wi-Fi to remote control their lamps, and Special Effects Department walkie-talkies. Even before the Sound Department encounters bandwidth issues on the locations we are shooting in, the film crew has an enormous amount of wireless, Bluetooth, and Wi-Fi equipment trying to be shoehorned on the set.

The Sound Department is the only department that really understands the subtleties and technical challenges of wireless frequency co-ordination. Unmanaged frequency plots will result in each department attempting to solve their numerous interference issues by increasing output power on their devices, mistakenly thinking that will cure the problems without realising they are causing inter-mods (interleaving modulations) across other department’s equipment.

The way we approach this during prep is asking Production to contact each HOD, and have a person in their department to collaborate with the rest of the departments regarding radio frequencies. We send an Excel spreadsheet to each department and ask their allocated person to input all of the equipment frequencies they are intending to use to the spread sheet. This is quite an eye opener with some departments completely unaware of the frequencies their gear works in. The spreadsheet motivates departments who are inexperienced in radio equipment to, at the very least, get up to speed on the frequencies they require. We then work out which departments are potentially going to have conflicting frequencies with other departments. Then ascertain who is on fixed, and who is on variable frequencies, and ask those using equipment on variable frequencies to compromise by moving into some free space to help the departments on fixed frequencies.

A common issue caused by Teradeks is not setting a locked fixed frequency, so it will channel hop whenever they experience a weak signal, causing big issues for all the other equipment in the same bands (often the other equipment the Camera Department is using…). We are finding that the most congested bands are the Wi-Fi frequencies of 2.4ghz and 5ghz, and when the transmit power gets ramped up, they begin to conflict with our radio mics, not to mention control commands with Zaxnet.

I delegate the entire frequency issue to my Utility Technician. However, the job is certainly gaining an increasingly heavier workload, and the ability to swing a boom, lav the actors, and deal with frequency issues is now a much larger task.

VOG
An outgrowth of the COVID-19 protocols is the Sound Department’s responsibilities of a permanent ‘Voice of God’ (VOG). This used to be something we’d only encounter on large sets which required the 1st AD’s voice to be amplified louder than the output of a loud haler. We are increasingly working with Directors who like to use a VOG at all times. Once the Director is using a VOG, then the 1st AD is going to need one too, so now we are suddenly wrangling handheld mics, receivers, and a large 5kw PA which has to be moved from scene to scene and from set to set. The VOG requirement seems to have grown as a direct result of shooting digitally which has also led to a ‘tent culture’ where Directors and DP’s spend far more time in ‘Ezee Up’ tents, off the set so they can view large LED monitors in darker conditions that are more favourable for judging the DP’s lighting set up.

Comteks
There was a time when the amount of Comteks we were required to provide on an average-size film or TV show was ten to fifteen sets. It is not uncommon now for me and my team to be expected to provide forty Comteks on a show. This has increased the amount of battery changes we have to do on a daily basis, and the number of receivers we are trying to find at the end of each day. The way my team manages this new phenomenon is treating Comteks the same way as the AD’s handle walkie-talkies. We assign a crew member their own unit with their name printed on it using a label maker, and ask them to sign for it. We maintain a record of each crew member’s Comtek serial number, so if the unit is lost, we know who lost it, and add it to the L&D report. Each department is responsible for charging their own rechargeable batteries. Some departments are reluctant to take responsibility for a Comtek full time, exclaiming that they only need one once in a while. However, it’s guaranteed a Grip or an AD will approach the Mixer or Utility Sound at the last moment needing to hear the dialog for a cue, and we will hear “waiting for sound” from the 1st AD as the Utility scrambles.

An example of a boom pole using Greensleeves

Visual Effects
We are now in an era of advanced VFX technology which has benefitted Boom Operators in getting their microphones closer over the actors. There are different scenarios, from complete blue screen and green screen work which allows our boom mics to be in shot all the time to the more popular, real set pieces in foreground with the deep backgrounds being green screen or blue screen. The challenge for our Boom Operators is the booms cannot cross behind the foreground sets, or the actor, unless the boom poles are green or blue, otherwise they will be needed to be painted out, which is costly.

Popularised by Director David Fincher, known unofficially as the ‘House of Cards’ method, is the booms are allowed to cross into locked-off wide shots to capture dialog, matching the tighter lenses of the other cameras. As long as the wide shot delivers a ‘plate’ free of booms, the VFX Departments can remove them in post production. The Boom Operators wait a couple of seconds after the clapper board has left frame before swinging into position and ‘busting’ the frame, which gives each take its own unique couple of seconds of ‘plate’ (particularly important if there is changing light through a window, etc.).

House of Cards

The ability to remove booms from moving shots is also getting more inexpensive each year. Some Directors recognise that VFX boom removal and ADR both have a financial cost, but ADR has a potential performance penalty. VFX removal protects the cast’s original performances. Depending on the Director, DP, VFX Supervisor and budget, the Sound Mixer and Boom Operators must skilfully navigate the discussion. We can either ‘make or break’ boom removal depending on our technical knowledge of what is possible to be achieved, and our ability to articulate it eloquently.

Computing Skills
We are expected to be well versed in the world of computers not only to keep our equipment up to date, including recorders, radio mics, and timecode, but also to have the ability to use ancillary equipment such as Pro Tools, iZotope, Cedar DNS, Dante, and many other plugins. We have to interface with our sound equipment: from firmware updates, knowledge of hard drives, CF cards, Micro SD cards, formats, and workflows. It really pays to have at least one member of the sound team who is an expert in both PC and MAC as we encounter dozens of issues over the course of a show that requires an in-depth knowledge of both operating systems. It would literally be impossible to run a modern sound team without having instant access to that expertise at all times as we problem solve and interface with computer equipment to creatively perform our jobs.

Conclusion
Modern Sound Departments need to have old school skills that previous generations of sound teams had in abundance, but also the ability to keep adding to our knowledge and remain current. Equipment is literally changing show-to-show in our department and all the other departments collectively. Without collaboration, our ability to provide creative solutions for Directors and cast are limited. The more knowledge we have, not just in our own domain but of other departments, allows us a greater advantage to provide brilliant sound recordings, and the all-important performances we have been hired to support and protect.

A Few Notes on the Radio Spectrum and a Brand-New Licensing Guide!

by Jay Patterson CAS

For more than five decades, radio transmissions have played an increasingly large part in the infrastructure of motion picture and television production, worldwide. In the greater Los Angeles production environment, the operation, management, and maintenance of radio transmitters has always been the explicit responsibility of IATSE Local 695. As clearly stated in the “AGREEMENT OF AUGUST 1, 2018, BETWEEN PRODUCER AND I.A.T.S.E. & M.P.T.A.A.C. AND LOCAL #695 THEREOF,” Article 1 Scope of Agreement, Paragraph 5: “It is recognized that the IATSE Constitution grants the following jurisdiction to the IATSE Local #695: Work of any nature in or incidental to the transmission of sound and carrier frequencies…”

The vast majority of bands in the spectrum are only to be used for specific types of transmissions, and require a license, granted by the FCC in order to legally operate a transmitter. There are also bands that allow “Intentional Radiators” (i.e.,—low-power transmitters), devices that do not require a license to operate. Examples of Intentional Radiators include but are not limited to cordless telephones; remote-controlled cars, planes, and drones; Wi-Fi, video links, and remote focus systems used by camera departments; and the broad range of DMX control signals used by special effects, media servers, and set lighting. Many of these devices operate in the 2.4 GHz and 5 GHz frequency bands. The federal regulations regarding the use of Intentional Radiators are contained in Title 47, Chapter 1, Subchapter A, Part 15, Subpart C, which can be found within the Electronic Code of Federal Regulations website (https://www.ecfr.gov/cgi-bin/text-idx?SID=d8fcd9a4dd2c890b5e400718cac89ab1&mc=true&node=sp47.1.15.c&rgn=div6#se47.1.15_1209).

Frequency coordination occurs on a massive scale every single day in motion picture and television production, be it on a studio lot or on location. Every single walkie-talkie, radio microphone, wireless camera hop, etc., is coordinated, enabling the devices to work together without interfering with one another. On a studio lot, this is usually handled by a Local 695 Coordinator, usually a Y-3A (Supervising Sound Engineer). On a scripted show, more than two dozen transmitters may need to be coordinated every day. Talks shows and reality programs might use upward of fifty. Coordinating a sporting event or an awards show becomes an Olympian task as more than a hundred different transmitters might be used at any given time.

It is significant to note that devices that are designed to operate in the 2.4 GHz and 5 GHz bands do not require a license to operate. In fact, there is no license available for the 2.4 GHz and 5 GHz spectrum, which is a portion of the National Wi-Fi Infrastructure Backbone established by the FCC. Due to considerations of range, penetration, and workable antenna lengths, the 2.4 GHz and 5 GHz bands are extremely popular bands for Intentional Radiator manufacturers. In the last several years, there has been a dramatic rise in the use of remotely-controlled everything in motion picture and television production. Generally speaking, devices that approach ‘real time’ operation in these bands rely upon ‘frequency hopping,’ where a device’s carrier is constantly changing. Different devices will use various ‘groups’ of frequencies to hop around on, thus enabling multiple devices to use the same range of available frequencies depending on their moment to moment needs.

Anecdotally, this technology was co-invented by the actress Heddy Lamar.

Several years ago, there were significant conflicts in production in the use of 2.4 GHz and 5 GHz devices, primarily between the wireless network-controlled DMX dimming systems and the wireless transmitters used by the camera departments to stream images from the cameras. This was a very real problem and an ad-hoc committee of users and manufacturers came together to address the issues. These discussions were initiated by the manufacturers of DMX lighting control devices, and all affected crafts and manufacturers were invited to participate, including Local 728, Local 600, and the Technical Trends Committee of Local 695. Various solutions were discussed and models of “coordinated behavior” were identified, primarily by drawing on the practical experiences of our counterparts in the world of theater. With so many theaters nestled so close together on Broadway, the stage industry had overcome the challenge of running fifty channels of wireless microphones, several channels of production communication, DMX control, and Wi-Fi, all without stepping on one another’s toes. The concept of “coordinated behavior” contains the practice of frequency coordination, along with the practice of using all transmitters at their lowest acceptable power level. As the 2.4 GHZ and 5 GHz bands are open to any properly manufactured Intentional Radiator, the committee could only recommend ‘best practices.’ Shortly thereafter, a practical solution was achieved by the manufacturers—the companies making wireless video for the camera departments would only operate in the 5 GHz band, and the DMX devices would be only in the 2.4 GHz band.

In terms of coordination, a simple phone call in pre-production between those crafts using the unregulated portions of the radio spectrum can effectively reduce the risk of interference between them. Along with identification of frequency groups used, if participants agree to transmit at the lowest acceptable ERP (radio energy transmitted from the antenna), multiple departments can and do share the Wi-Fi bands.

It is also paramount to note that these unlicensed Intentional Radiators are not allowed to cause interference to any licensed operation such was wireless microphones in the UHF (Ultra-High Frequency) band.

The FCC recently released a new online process for obtaining the Part 74 license, called Form 601 in the FCC’s Universal Licensing System (ULS). It is cross-platform and should run on any modern HTML 5 browser. Thanks to Bill Ruck in San Francisco and our own Laurence Abrams and Tim Holly, Local 695 is again sponsoring completely rewritten Step-by-Step Application Guide with detailed instructions from start to finish. If you have to obtain a license, please let us know your experience using the guide so we may improve it in future editions and make it as easy as possible to use.

In order to contribute to our database of entertainment professionals holding their FCC Part 74 licenses, please let us know if you hold a license. Send contact info and license number to fcclicense@local695.com

The Little Things

by Richard Lightstone CAS AMPS

Rami Malek as Jim Baxter, Jared Leto as Albert Sparma, and Denzel Washington as Joe “Deke” Deacon. Photo: Nicola Goode

The Little Things, written and directed by John Lee Hancock, is another feature film that has had a much-delayed release into 2021. Sound Mixer Jose Antonio Garcia worked on it back in 2019, with Boom Operator Jonathan Fuh and Utility Sound Technician Sheraton Toyota. Starring Denzel Washington as Deke, a Deputy Sheriff from Kern County who mentors and partners with Detective Baxter, played by Rami Malek, in a cat-and-mouse hunt for a serial killer, Albert Sparma, chillingly portrayed by Jared Leto.

This was the first time Jose worked with Director John Lee Hancock, who he describes as a lovely man and amazing to work with. It was a concentrated forty-seven-day shoot with more than three hundred scenes, and lots of daily moves, so his equipment mostly lived on a stake bed. The locations were predominantly in the cities of Lancaster, Pomona, and Los Angeles, with some stage work in Santa Clarita.

Boom Operators Jonathan Fuh and Sheraton Toyota working the interrogation scene

Jose previously worked with Denzel on Roman J. Israel, Esq. “Denzel is a very intense actor, and always prepared, he was very adamant about not seeing the crew using cellphones on the set because he was in character, and the story takes place at the time when there were no cellphones.”

The routine was to wire everybody that had scripted dialog and always use two booms to cover overlaps. Jose routinely discusses this ahead of shooting with the director, as he believes it just makes the scene more alive. “It works so much better for the actor on the screen having that counterpoint.”

Washington and Leto

An interesting addition to Jose’s sound package was the requirement of one of the lead cast wanting an earwig to hear his own voice, with added reverb. Jose had to split the output of his lav microphone into a separate mixer and found a guitar pedal device that would accomplish the reverb, feeding that signal into a separate Comtek transmitter. The actor also wanted his assistant to be able to communicate with him, so Jose fed an extra handheld wireless microphone into that monitor system as well.

Photo: Nicola Goode; Jose Antonio Garcia and Jonathan Fuh off-loading the sound cart for insert car work.

Jose continues, “It was an intense show, with multiple locations. Moving and packing the equipment, and moving again and again, there were days that we had four location moves. Despite that, it was very fluid, I think that’s what most sticks out in my memory is it flowed really well, and I think it looked very good too.”

“Our DP John Schwartzman was careful with his lighting,” says Jose, “shooting with two cameras, there was matching head room that certainly helped us using two booms.

“There were some days with lots of cast at the police station with eight to ten wires required, but John Lee’s writing is so precise and well thought out. He’s a magnificent screenwriter.”

Washington and Malek. Photo: Nicola Goode

Jose expounded on the evermore crowded radio microphone spectrum, competing with wireless lighting controls, remote camera focus, and the shrinking bandwidth. In those situations, Jose would remote his powered wireless antenna.

There were many split calls, with full nights, sometime on Thursdays and always Fridays, as well as an entire week of nights later in the schedule. “It was very exhausting because you really never get the chance to turn yourself around,” says Jose.

John Lee would block scenes to set the camera moves and have rehearsals instead of rolling as soon as the cast appears on set, giving Jose and his crew time to plan wiring, boom positions, and planting microphones when needed.

There are extensive automobile interiors scenes, from stakeouts, tailing a suspect, and car-to-car dialog. Boom Operator Jonathan Fuh explained that they would wire the actors but also plant lavs on the header with heavy wind protection when necessary. “The distance from the header plant mic is the same from the body mic to the mouth.”

Jose Antonio Garcia at his sound cart

The title refers to a common thread throughout the narrative. Joe “Deke” Deacon (Denzel) is always looking for the tiny clues, “the little things” that can solve a crime. He’s constantly observing, revisiting the crime scenes looking for that one nugget that cracks a case wide open.

Jose had a busy 2019, with Da 5 Bloods and Richard Jewell before tackling The Little Things. He’s very grateful as we all know how 2020 worked out, “That’s the only reason I still have my house, man,” concluded Jose.

Production Sound Crew

Jose Antonio Garcia, Sound Mixer
Jonathan Fuh, Boom Operator
Sheraton Toyota,
Utility Sound and 2nd Boom Operator
Michael Herron, Video Assist
Jordan Kadovitz, Video Assist Utility
Matthew Morrissey & Steve Irwin,
Video Playback Supervisors

Greyhound: The Audio Story

by David B. Wyman CAS

Tom Hanks stars as U.S. Navy Cmdr. Ernest Krause. Photo courtesy of Apple TV+

Greyhound was to be shot both practically on a real WW2 destroyer named USS Kidd, in a floating dock on the Mississippi River at Baton Rouge, Louisiana, and on stage where the pilothouse, radar/command center, and the sonar room sets were to be built to scale.
After my first phone meeting with Aaron Schneider, our Director, it was apparent that he was not only going to be supportive to the Sound Department but really wanted to explore doing as much real-time audio as possible. Meaning, as much sonic interaction as possible between on-screen and off-screen actors, including set-to-set communication for twin units shooting simultaneously, simulation of radio broadcasts, real-time ship-to-shore and ship-to-ship conversations and loud sound F/X of the war action.

During the start of my prep, I watched as many WW2 and naval movies as I could to better understand the scope and process of the work.

USS Kidd during shooting.

Aaron was adamant that everything should be period-correct, including all props, costumes, and sets. Our pilothouse set and CIC set contained all of the same equipment found on the USS Kidd, which made for some really tight quarters for the actors and crew.
Luckily, Ed Borasch was our prop master, he and I have worked on several movies together. With careful coordination, I was kept aware of the key props our actors would be wearing/using during filming, and as each prop was locked in, I was given access to them to study and understand how they could be modified to suit modern filmmaking needs while maintaining period looks.

ound world during shooting (L-R) Sound Cart, Support Cart,
Playback Amps and Mixers for VOG and Sound FX, Comms Utility controller.

The same was true for the construction of our two main set pieces, as equipment was installed, I was given access to see how we could modify them to allow them to function practically for seamless audio use while shooting.
I was fortunate that production was onboard and I had enough prep available to make the Director’s dream an audio reality.

Firstly, I spent a couple of days onboard the USS Kidd scouting and understanding just how the internal communications, radio telephone, sonar, and ship-to-ship actually worked in 1940. Thanks to a very knowledgeable crew there, I was forming a picture of how to make our 1940’s replica ship sets behave as if they were at sea during wartime.

The first challenge was to figure out a way to make the “Bitch-Box” work. This is the internal communication device that allows all critical parts of the vessel to talk to each other. In our world, that was primarily between the pilothouse set (Tom Hanks’ domain) and the CIC set (command center for radar and course plotting during engagement). In real life, these areas are several decks apart, in the movie world, the pilothouse was on a twelve-foot-high gimbal with the ten-foot-high set built on top, which could articiulate more than thirty degrees in any direction (to simulate big seas), truly a marvelous thing to see in motion. The CIC set was built on the stage floor some fifty feet away from the gimbal.

The Director wanted to shoot both sets at once and record both sides of the action. The interaction between the actors would be via both the Bitch-Box and the “Sound Phone.”
The Bitch-Box was a two-way communicator with a speaker for broadcast and a microphone on a push-to-talk switch, which would cut out the speaker and activate the internal microphone. None of the units we had actually worked and most were just shells with a ratty 1940’s speakers rotting away in them. The best solution I came up with was to make this communicator open so that one set could hear the action in the other as we were shooting simultaneously. My option was to install a tiny self-powered monitor in all the boxes and place an Omni-directional conference table-style mic close by to serve as a signal to replace the PTT mic. All the mics and speakers were hardwired from the gimbal via a multichannel stage box (giving us only one major cable to wrangle and protect against the gimbal movement) back to a dedicated Communications Mixer (with its own operator) to mute and open the speaker/mic channels as required. The mics themselves were given to the set painters and painted the exact same color as all the other wires, conduit, and set walls so they literally disappeared in plain sight. In fact, all of our cables some five hundred feet in all were painted so that we could wire the set as needed.

Next was the “Sound Phone” as the Navy calls it. This was very similar to the Bitch-Box except it is a private one-to-one connection handset for the captain to talk to the various departments. Again, all 1940’s equipment.

I decided that the preferred solution for this issue would be to rewire the insides of the phones and send the production audio from the actors directly to the earpiece. I took apart the phones removing the voice module and reinstalling a working headphone driver from some old 7506’s, wired in the driver, ran cable through the handset down to a one-eighth-inch jack so I could plug it into an IFB which could be hidden on set. Now I could route the signals I wanted to whichever phone was needed. This required however, a discreet IFB channel dedicated to “Sound Phone.”

The third major equipment used by the Captain (Hanks) on the bridge (pilothouse) was a ship-to-ship radio telephone referred to as the TBS (Talk Between Ships). This allowed the Captain of the convoy to talk directly to the other ships in the convoy so as to help keep the convoy together on this dangerous Atlantic crossing. As our Director wanted these conversations to be live rather than have a script supervisor read the lines, the TBS also had to be fully functional.

Sound World during prep

The TBS is a unique piece of equipment with a unique look and was very hard to source. Any mods would have to be very carefully done so as to not upset the Production Designer and Set Decorators! Again, I must take time to thank all those that helped me get access and were patient as I took the equipment apart to figure out the best way to make it work for our film needs. It was not possible to replace any of the phone cords and as the unit was totally full of non-working parts, anything I did needed to be remote from the TBS itself. Testing the connections within the unit and the handset, I used the existing 1940’s wiring to connect a replacement headphone driver, then added a discreet cable coming through the set wall to another IFB (another channel). The signal sent to the TBS was going to be from voice actors, off screen and off gimbal, so I set up a VO station close to my Comms Mixer with up to three “push to talk” handheld PA-style mics. This would ensure no unwanted signals when not in use or any cross talk if more than one actor was playing the various convoy ship roles.

Testing comms

The most difficult modification I undertook was that of the “Talker” equipment. Anyone who has seen a period Navy film would recognize the device that looks like a switchboard operator’s mouthpiece worn around the neck and a pair of old school headphones. This device allows any “Talker” to move around the ship plugging in where required and transmitting the orders from the Captain or receiving information from all different parts of the ship. This unit had to function in a duplex style as the script called for multiple overlaps of info coming over the headphones and orders going out via the mouthpiece, as would be the case in a battle scenario.

modifying the breast plates of 1940 equipment to accept wireless feed to headphones and mic/transmitter lines

Again, however, these had to remain period and look unaltered. They would be front and center on camera as they were worn by some of our principal actors. Oh, yes, one more thing: the Talkers operate both inside and outside of the ship so they would be getting soaking wet from the special F/X water sprayers, Ritter fans, and misters.

After taking them apart and drilling access holes, I wired a Countryman B6 in each mouthpiece, added a ton of acoustic foam for wind protection, wired new headphone drivers, sourced some old-looking cable to replace the existing and created an exit for my signal cables at the chest harness so that each actor could wear a transmitter for the mic and an IFB for the headphones. These IFB’s received the same mix as the director/producer so that the actors were aware of their place in the scene and luckily, the 1940’s headphone pads still cut out a lot of background noise from our SFX equipment.

soldering new working headphones into 1940’s equipment

The sonar operator had another set of headphones that were sourced from an old aviation store and luckily they worked, so I only had to modify the plug for an IFB. The sonar room also had a Bitch-Box and a dedicated Omni mic.

I placed more painted Omni mics hardwired into the pilothouse at the entrance and exits as it was such a tight set a boom could never get into those spots. Movable plants were used in many locations depending on the scene. Actors were wired in their helmets during battle stations and on their clothing when not.

Greyhound comms

Betsy, my Boom Operator, spent most of the show on an ENG pole with a Neumann KM185 as the pilothouse was so tight (a Schoeps CMC couldn’t handle the moisture), and when not in the pilothouse, she was getting soaking wet using a Sanken CS3E with full Rycote zeppelin with sock, windjammer, and rain-man on the fly bridge.

Hero Helmets awaiting mics and transmitters

We played a lot of sound FX throughout the shoot (many different gunfire sounds, airplanes, sonar pings, etc.). Some were from editorial but most were sourced from free FX libraries and I modified them on the fly for pitch, speed, volume, and multiple sample layering for loudness. This was done with Steinberg’s Wave lab and they were cranked through my 2k watt six-speaker system mounted all around the ship.

We controlled all props that were wired for sound at all times); full test of Talker equipment in battle stations gear

I treated the workflow like a mashup of production audio and live sound applications. I gave multiple feeds to multiple IFB channels, sent production audio to the Comms Mixer, received ISO channels back from the comms for recording and to feed into the dailies, and played the sound FX live. I used two Sound Devices 788t recorders, (timecode and sample rate locked), the first as a dedicated production audio recorder, the second recording the hardwired Omni mics, the handheld voice actors mics and the sound FX scratch track for reference.

One unforeseen advantage to all of these channels of audio and discreet feeds was that the Director was also given a PTT mic that we could route into any set or any Bitch-Box or phone or even into the headphones of the Talker all of which was invaluable as the communication when all the Special FX, gimbal, and Sound FX were going was somewhat difficult.

It was a very ambitious project and required a lot of forethought, but once dialed in, it went very smoothly. Thanks to the producers’ and director’s desire and my crew’s great work.

Photo courtesy of Apple TV+

CAS Award Nominees

Local 695 OUTSTANDING ACHIEVEMENT IN SOUND MIXING FOR 2020

On March 2, 2021, the Cinema Audio Society announced the nominees for the 57th Annual CAS Awards for Outstanding Achievement in Sound Mixing for 2020 in seven categories. The winners will be revealed at a virtual ceremony on Saturday, April 17.

MOTION PICTURE – LIVE-ACTION

Greyhound
Production Mixer – David Wyman CAS
Re-Recording Mixer – Michael Minkler CAS
Re-Recording Mixer – Christian Minkler CAS
Re-Recording Mixer – Richard Kitting
Re-Recording Mixer – Beau Borders CAS
Scoring Mixer – Greg Hayes
Foley Mixer – George A. Lara CAS
Production Sound Team –
Betsy Lindell, Marc Uddo

Mank
Production Mixer – Drew Kunin
Re-Recording Mixer – Ren Klyce
Re-Recording Mixer – David Parker
Re-Recording Mixer – Nathan Nance
Scoring Mixer – Alan Meyerson CAS
ADR Mixer – Charleen Richards-Steeves
Foley Mixer – Scott Curtis
Production Sound Team –
Michael Primmer
David Fiske Raymond

News of the World
Production Mixer –
John Patrick Pritchett CAS
Re-Recording Mixer – Mike Prestwood Smith
Re-Recording Mixer – William Miller
Scoring Mixer – Shawn Murphy
ADR Mixer – Mark DeSimone CAS
Foley Mixer – Adam Fil Méndez CAS
Production Sound Team –
David M. Roberts, Rob Hidalgo,
Adam Bart, David Brownlow,
Zach Sneesby, Jason Pinney

Sound of Metal
Production Mixer – Phillip Bladh CAS
Re-Recording Mixer – Jaime Baksht
Re-Recording Mixer – Michelle Couttolenc
Re-Recording Mixer – Carlos Cortez Navarrette
Foley Mixer – Kari Vähäkuopus
Production Sound Team – Jeremy Eisener, Yanna Soentjens, Hannes Leemans, Francois Goemaere

The Trial of the Chicago 7. Yahya Abdul-Mateen II as Bobby Seale in The Trial of the Chicago 7. Cr. Niko Tavernise/NETFLIX © 2020

The Trial of the Chicago 7
Production Mixer – Thomas Varga CAS
Re-Recording Mixer – Julian Slater CAS
Re-Recording Mixer – Michael Babcock CAS
Scoring Mixer – Daniel Pemberton
ADR Mixer – Justin W. Walker
Foley Mixer – Kevin Schultz
Production Sound Team – Ken Strain, James Appleton, Adam Mohundro

MOTION PICTURE – ANIMATED

A Shaun the Sheep Movie: Farmageddon
Dialogue & ADR Mixer – Dom Boucher
Re-Recording Mixer – Chris Burdon
Re-Recording Mixer – Gilbert Lake
Re-Recording Mixer – Adrian Rhodes
Scoring Mixer – Alan Meyerson CAS
Foley Mixer – Ant Bayman

Onward
Original Dialogue Mixer – Vincent Caro CAS
Original Dialogue Mixer – Doc Kane CAS
Re-Recording Mixer – Michael Semanick CAS
Re-Recording Mixer – Juan Peralta
Scoring Mixer – Brad Haehnel
Foley Mixer – Scott Curtis

Soul
Original Dialogue Mixer – Vincent Caro CAS
Re-Recording Mixer – Ren Klyce
Re-Recording Mixer – David Parker
Scoring Mixer – Atticus Ross
Scoring Mixer – David Boucher CAS
ADR Mixer – Bobby Johanson CAS
Foley Mixer – Scott Curtis

(from left) Thunk Crood (Clark Duke), Sandy Crood (Kailey Crawford) and Gran (Cloris Leachman) in DreamWorks Animation’s The Croods: A New Age, directed by Joel Crawford.

The Croods: A New Age
Original Dialogue Mixer – Tighe Sheldon
Re-Recording Mixer –
Christopher Scarabosio CAS
Re-Recording Mixer – Leff Lefferts
Scoring Mixer – Alan Meyerson CAS
Foley Mixer – Richard Duarte
Foley Mixer – Scott Curtis

Trolls World Tour
Original Dialogue Mixer – Tighe Sheldon
Re-Recording Mixer – Scott Millan CAS
Re-Recording Mixer – Paul Hackner
Scoring Mixer – Christopher Fogel CAS
Foley Mixer – Randy K. Singer CAS

MOTION PICTURE: DOCUMENTARY

David Attenborough: A Life on Our Planet
Re-Recording Mixer – Graham Wild
Scoring Mixer – Gareth Cousins CAS

My Octopus Teacher
Re-Recording Mixer – Barry Donnelly
Foley Mixer – Charl Mostert

The Bee Gees: How Can You Mend a Broken Heart
Re-Recording Mixer – Gary A. Rizzo CAS
Re-Recording Mixer – Jeff King

The Social Dilemma
Production Mixer – Mark A. Crawford
Re-Recording Mixer – Scott R. Lewis
Scoring Mixer – Mark Venezia
Foley Mixer – Jason Butler

Zappa
Production Mixer – Monty Buckles
Re-Recording Mixer – Marty Zub CAS
Re-Recording Mixer – Lon Bender

NON-THEATRICAL MOTION PICTURE OR LIMITED SERIES

American Horror Story: 1984 Ep. 9 “Final Girl”
Production Mixer – Alex Altman
Re-Recording Mixer – Joe Earle CAS
Re-Recording Mixer – Doug Andham CAS
ADR Mixer – Judah Getz CAS
Foley Mixer – Jacob McNaughton
Production Sound Team –
Raam Brousard, Ethan Biggers

Fargo Ep. 7 “East/West”
Production Mixer – J.T. Mueller CAS
Re-Recording Mixer – Jeffrey Perkins
Re-Recording Mixer – Josh Eckberg
Scoring Mixer – Michael Perfitt
ADR Mixer – Matt Hovland
Foley Mixer – Randy Wilson
Production Sound Team – Sean Kirkpatrik, Nicholas Price, Doug Ryan, Eric Anthony,
Kelsey Zeigler, Nick Ray Harris

Lovecraft Country Ep. 1 “Sundown”
Production Mixer – Amanda Beggs CAS
Re-Recording Mixer – Marc Fishman CAS
Re-Recording Mixer – Mathew Waters CAS
Scoring Mixer – Brad Haehnel
ADR Mixer – Miguel Araujo
Foley Mixer – Brett Voss CAS
Production Sound Team – Adam Mohundo, Thomas Giordano, Mark Agostino

The Queen’s Gambit Ep. 4 “Middle Game”
Production Mixer – Roland Winke
Re-Recording Mixer – Eric Hoehn CAS
Re-Recording Mixer – Eric Hirsch
Re-Recording Mixer – Leo Marcil
Scoring Mixer – Lawrence Manchester
Production Sound Team –
Thomas Wallis, Andre Schick, Bill McMillan

Watchmen Ep. 6 “This Extraordinary Being”
Production Mixer – Doug Axtell
Re-Recording Mixer – Joseph DeAngelis CAS
Re-Recording Mixer – Chris Carpenter
Scoring Mixer – Atticus Ross
ADR Mixer – Judah Getz CAS
Foley Mixer – Antony Zeller CAS
Production Sound Team – Chris Isaac,
Jesse Parker, Steven Willer,
Patrick Anderson, Colt Logan, Josh Tamburo

TELEVISION SERIES: ONE HOUR

Better Call Saul Ep. 8 “Bagman”
Production Mixer – Phillip W. Palmer CAS
Re-Recording Mixer – Larry B. Benjamin CAS
Re-Recording Mixer – Kevin Valentine
ADR Mixer – Chris Navarro CAS
Foley Mixer – Stacey Michaels CAS
Production Sound Team – Aaron Grice, Andrew Chavez

Ozark Ep. 10 “All In”
Production Mixer – Filipe Borrero CAS
Re-Recording Mixer – Larry B. Benjamin CAS
Re-Recording Mixer – Kevin Valentine
Scoring Mixer – Phil McGowan CAS
ADR Mixer – Chris Navarro CAS
Foley Mixer – Amy Barber
Production Sound Team – Jared Watt,
Akira Fukasawa

The Crown S4, Ep. 1 “Gold Stick”
Production Mixer – Chris Ashworth
Re-Recording Mixer – Lee Walpole
Re-Recording Mixer – Stuart Hilliker CAS
Re-Recording Mixer – Martin Jensen
ADR Mixer – Gibran Farrah
Foley Mixer – Catherine Thomas
Production Sound Team – Steve Hancock,
Liam Cotter, India Clayon-Richards

The Marvelous Mrs. Maisel S3, Ep. 8
“A Jewish Girl Walks Into the Apollo…”

Production Mixer – Mathew Price CAS
Re-Recording Mixer – Ron Bochar CAS
Scoring Mixer – Stewart Lerman
ADR Mixer – David Boulton
Foley Mixer – George A. Lara CAS
Production Sound Team – Carmine Picarello, Spyros Poulos, Egor Panchenko

Westworld S3, Ep. 4 “The Mother of Exiles”
Production Mixer – Geoffrey Patterson CAS
Re-Recording Mixer – Keith A. Rogers CAS
Re-Recording Mixer – Benjamin L. Cook
Scoring Mixer – Ramin Djawadi
Production Sound Team –
Jeffrey A. Humphreys, Chris Cooper, Dean Thomas, Veronica Kahn

TELEVISION SERIES: HALF-HOUR

Dead to Me Ep. 201 “You Know What You Did”
Production Mixer – Steven Michael Morantz CAS
Re-Recording Mixer – Brad Sherman CAS
Re-Recording Mixer – Alexander Gruzdev
ADR Mixer – Jason Oliver
Production Sound Team –
Dirk Stout, Mitch Cohn

Modern Family Ep.1117 “Finale Part 1”
Production Mixer – Stephen A. Tibbo CAS
Production Mixer – Srdjan Popovic
Re-Recording Mixer – Dean Okrand CAS
Re-Recording Mixer – Brian Harman CAS
Re-Recording Mixer – Peter Bawiec
ADR Mixer – Matt Hovland
Foley Mixer – David Michael Torres CAS
Production Sound Team – William Munroe, Dan Lipe, Richard Geerts

Ted Lasso
Ep. 110 “The Hope That Kills You”
Production Mixer – David Lascelles AMPS
Re-Recording Mixer – Ryan Kennedy
Re-Recording Mixer – Sean Byrne
ADR Mixer – Brent Findley
ADR Mixer – Marilyn Morris
Scoring Mixer – George Murphy
Foley Mixer – Jordan McClain
Production Sound Team – Emma Chilton, Andrew Mawson, Michael Fearon

The Mandalorian Ep. 102, Chapter 2 “The Child”
Production Mixer – Shawn Holden CAS
Re-Recording Mixer – Bonnie Wild
Re-Recording Mixer – Stephen Urata
Scoring Mixer – Christopher Fogel CAS
ADR Mixer – Matthew Wood
Foley Mixer – Blake Collins CAS
Production Sound Team – Ben Wienert, Veronica Kahn, Jamie Gamble,
John Evens, Ethan Biggers

The Mandalorian Ep. 205, Chapter 13 “The Jedi”
Production Mixer – Shawn Holden CAS
Re-Recording Mixer – Stephen Urata
Re-Recording Mixer – Bonnie Wild
Scoring Mixer – Christopher Fogel CAS
ADR Mixer – Matthew Wood
Foley Mixer – Jason Butler
Production Sound Team – Patrick H. Martens, Randy Johnson, Veronica Kahn,
Patrick “Moe” Chamberlain, Kraig Kishi, Cole Chamberlain

TELEVISION NON-FICTION, VARIETY, MUSIC or SPECIALS

Beastie Boys Story
Production Mixer – Jacob Feinberg
Production Mixer – William Tzouris
Re-Recording Mixer – Martyn Zub CAS

Bruce Springsteen’s Letter to You
Production Mixer – Brad Bergbom
Re-Recording Mixer – Kevin O’Connell CAS
Re-Recording Mixer – Kyle Arzt
Music Mixer – Bob Clearmountain

Hamilton
Production Mixer – Justin Rathbun
Re-Recording Mixer – Tony Volante
Re-Recording Mixer – Rob Fernandez
Re-Recording Mixer – Tim Latham

Laurel Canyon: A Place in Time Ep. 1
Re-Recording Mixer – Gary A. Rizzo CAS
Re-Recording Mixer – Stephen Urata
Re-Recording Mixer – Danielle Dupre
Re-Recording Mixer – Tony Villaflor
Scoring Mixer – Dave Lynch

NASA & SpaceX:
Journey to the Future
Production Mixer – Erik Clabeaux
Re-Recording Mixer – Michael Keeley CAS

AMPS NOMINATIONS 2021

Greyhound
David Wyman CAS
Michael Minkler CAS
Dave McMoyler
Warren Shaw
Greg Hayes
Production Sound Team –
Betsy Lindell
Marc Uddo
Jason Vowel

Mank
Drew Kunin
David Parker
Kim Foscato
Jeremy Molod
Production Sound Team –
Michael Primmer
David Fiske Raymond

News of the World
John Patrick Pritchett CAS
Mike Prestwood Smith
Rachel Tate
Oliver Tarney
Production Sound Team –
David M. Roberts
Rob Hidalgo
Adam Bart
David Brownlow
Zach Sneesby
Jason Pinney

Soul
Vincent Caro CAS
Ren Klyce
David Parker
Cheryl Nardi

Sound of Metal
Phillip Bladh CAS
Nicolas Becker
Jaime Baksht
Michelle Crouttolenc
Production Sound Team –
Jeremy Eisener
Yanna Soentjens
Hannes Leemans
Francois Goemaere

Names in Bold are Local 695 members

The New M1 Processor From Apple

by James Delhauer

In today’s technological zeitgeist, the assembly line of advancement and progress is rarely deterred by anything. Faster processors, nicer screens, and larger storage devices are always just around the corner, ready to supersede last year’s latest and greatest gizmos and gadgets. Annual releases and product refreshments are so much the norm that not even a global sickness that caused the planet to lurch into lockdown could slow the wheels of change. Few have demonstrated this as dramatically as Apple with the release of their new line of M1 Silicon processor computers. For Local 695 technicians and artists, this could be a game changer.

To understand the significance of this launch, some historical context is necessary. Many of the earliest Apple computers, beginning with 1984’s Macintosh 128K, featured 16 and 32-bit processors designed by Motorola. Though revolutionary for the time, these units quickly began to show their age and Apple sales lagged compared to their primary competitor, Microsoft. In 1991, Apple and Motorola joined with IBM to form the AIM Alliance, a group dedicated to developing the next generation of computer processors to compete with hardware being developed by Intel and AMD for Windows-based personal computers. This alliance led to the unveiling of the PowerPC processor, which Apple adopted into their identically named PowerPC line of computers beginning in 1994. These chips would remain the company’s primary units in their Power Macintosh, PowerBook, iBook, iMac, and Xserve line of computers for more than a decade but they were not without their drawbacks. This hardware still struggled to meet the competition and software routinely used by Windows users was difficult to port to Apple units, limiting user options and product utility. Nonetheless, these chipsets have been credited with bringing the company out of the niche enthusiast market and into mainstream prominence, especially as Hollywood productions began to adopt them into the earliest digital post-production workflows.

However in 2006, Apple abandoned the AIM Alliance and elected to integrate more commonly used Intel-brand hardware into their computers going forward. The widely known Macbook, iMac, Mac Mini, and Mac Pro machines of the last fifteen years have all been powered by semi-customized Intel central processing units, as well as graphics processing units from Intel, Nvidia, and AMD. These computers have become so ubiquitous within the entertainment industry for their creative and design applications that filmmakers across the globe eagerly crave each new release from the world’s first trillion-dollar company.

““…it was so surprising when Apple announced that they would be abandoning Intel processors in favor of proprietary, in-house hardware beginning within the year.”

That is why it was so surprising when Apple announced that they would be abandoning Intel processors in favor of proprietary, in-house hardware beginning within the year. The new Apple Silicon line is derived from the same ARM architecture that has powered Apple’s extensive line of mobile devices since the release of the iPod in 2001, further narrowing the ever-blurring line between phones, computers, and tablets. This allows for direct cross platform support for apps initially developed and released for iOS devices such as the iPhone and iPad, meaning users can access mobile apps and games on their home computer systems.

The first of these new proprietary processors is the M1 chip, an all-in-one processing unit that streamlines under the hood performance in a great number of ways. Traditionally, the various processing devices inside of a computer each have been segregated from one another with each possessing a dedicated memory pool to cache data during processing. An inefficiency in this system has always been the need for redundant storage of the same data—with CPU’s and GPU’s requiring separate caches of the same information despite working together to complete a task. By integrating both central and graphics processing units into the same chipset, Apple has removed this limitation and allowed for a shared memory pool between devices. This allows the computer to do more work with fewer resources and reduces power consumption per watt. The end result is a chipset that boasts double the performance of both the CPU and GPU, which translates to 3.9 times faster video processing and 7.1x faster image processing across the company’s entire line of Mac products.

The introduction of an entirely new processing architecture presents numerous compatibility challenges from a design and engineering standpoint. In the past, it has largely been the responsibility of software developers to program their applications with support for the various architectures available on the market. In 2006, Apple circumvented this problem with the introduction of Rosetta, a binary translator application designed to read software developed for PowerPC processors by emulating that older architecture on the newly designed Macs. For the introduction of the M1, Apple has resurrected Rosetta (now branded Rosetta 2) in order to emulate Intel’s x86 architecture across their new line of ARM-based computers. The result is near universal software compatibility with applications designed prior to this migration. Though these applications will not be able to take full advantage of everything the new system has to offer until updated by their respective developers, Rosetta 2 emulation does provide users an immediate means of transitioning to the latest Apple products without the frustrations of generational incompatibility.

Additionally, the M1 chipset contains an emerging technology known as an AI accelerator, which Apple refers to as their Neural Engine. This technology has been present in the company’s line of iPhone products since 2017 but the M1 variant is the first to be integrated into a personal computer platform. Designed to accelerate machine learning applications such as facial recognition and autonomous tasking, this Neural Engine boasts an incredible eleven trillion operations per second, positioning Apple to become the gold standard for the development and use of artificial intelligence applications as those technologies become more mainstream.

The response ranged from profane outrage to skepticism to tears of joy. It was just over a year ago that Apple unveiled its new line of modular and customizable Mac Pro systems. An emphasis on first-party hardware raised concerns that third-party support for these expensive machines may dwindle, punishing early adopters and potentially robbing them of their investments. Consumers old enough to remember the problematic era of the PowerPC were hesitant to embrace another proprietary solution from Apple. DIY enthusiasts have decried the expected loss of personalization and customization options, a common criticism of Apple products in the last two decades. User advocacy groups such as the Hackintosh community (a group of users who seek to modify the macOS operating system in order to run on similar Intel-based Windows machines) mourned the announcement as the beginning of the end for their practice.

It should be noted that Hackintosh practices both violate the Apple-user license agreement and are not endorsed by Local 695.

But more enthusiastically, some users welcomed the announcement with open arms, citing the impressive abilities of existing ARM processor devices such as the iPad Pro and the ability to download any existing mobile device app onto a laptop or desktop.

After months of speculation, the company finally released three computers outfitted with brand-new ARM architecture chipsets: the Macbook Air, Macbook Pro 13”, and the Mac Mini. All three come outfitted with an 8-core M1 processor and are configurable with either eight or sixteen gigabytes of RAM and up to two terabytes of storage. While these three lines of products are generally considered to be entry-level computers in the Apple hierarchy, the company made impressive claims as to the performance capabilities of each of these machines. The Macbook Air, widely considered to be the least powerful machine in Apple’s product lineup, boasts the ability to decode and playback 8K resolution ProRes video files in real time. Real-time 4K video editing is possible in both ARM optimized applications such as Apple’s Final Cut Pro X and Intel-based programs like Adobe Premiere Pro. Similar results were achieved on the M1 Mac Mini, possibly making it one of the most affordable editing solutions out there.

But no debut is without its drawbacks. At launch, native M1 application support is largely limited to iOS applications and software developed and distributed directly by Apple, meaning third-party solutions will not perform at their best until their respective developers learn how to optimize them for both x86 and ARM architecture. At present, no third-party nonlinear editing platform or digital audio workstation has been optimized for use, meaning Avid, Adobe, and DaVinci users will have to be patient if they wish to take full advantage of their new computers. Most notably, Apple has remained silent on the future of their professional grade lines of products. The Macbook Pro 16”, iMac, and Mac Pro systems continue to be manufactured using Intel-based processors, meaning power users will also have to wait before machines optimized for their needs become available.

In practical terms, the first generation of ARM products represents an exciting glimpse into the future. These entry-level machines perform far and above the performance of their pre-2020 predecessors and dramatically shift Apple’s price to power ratio in favor of consumers. For low to moderate processor intensive tasks like word processing, web browsing, image processing, media management, streamlined offline editing, light transcoding, and live session recording, the Macbook Pro 13” and Mac Mini could represent a low-cost workstation solution. For more labor-intensive tasks such as high-resolution transcoding, online editing, color-correction, and audio mastering, we’re going to have to see what news emerges in the coming days.

Intel-powered Macs have been a staple of our industry for nearly fifteen years. The Local 695 Audio Technician has harnessed their power to record and mix some of the industry’s greatest hits using the power that they’ve offered. The 695 Video Engineer has recorded, played back, keyed, and transcoded everything from commercial spots to major blockbuster motion pictures with them. And while they will continue to live on in Windows-based machines, it appears that the sun is setting on the x86 architecture Mac. As it does, I believe a moment of appreciation for all that we have accomplished during this time seems appropriate… Great, now onto the new.

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