Features

Report from the Young Workers Committee

by Eva Rismanforoush

Occupational stress has long been acknowledged as a serious health hazard in the industrialized workforce. It is as an underlying factor of hypertension, cardiovascular diseases, diabetes, substance abuse, and it does not distinguish between ethnicity, gender or class. Workplace stress is also directly linked to chronic psychological disorders such as anxiety, panic attacks and major depression. We are often exposed to extreme weather conditions, environmental and health hazards that can range anywhere from rattlesnakes, structually compromised buildings, airborne pathogens and hazardous chemicals, etc.

As members of the entertainment industry, we face some of the most adverse jobsite conditions and hours in the developed world. We spend seventy-plus hours a week on set during a regular TV season or a feature film. We are often exposed to extreme weather conditions, long hours, environmental and health hazards that can range anywhere from rattlesnakes, structurally compromised buildings, airborne pathogens and hazardous chemicals, etc. But we work because it is a central part of our lives and we creatively thrive through it. However, as exhilarating and interesting the job may be, the sheer magnitude of daily logistical efforts and close personal interactions can cause stress.

Our bodies are equipped with a natural coping mechanism, which is activated when a potentially dangerous situation is detected. It is called the “fight or flight” response. It always proceeds in the same manner: the danger stimulus, the removal of the danger and a state of relaxation.

While this mechanism has been crucial to our survival as a species, it is designed to only activate in isolated instances. “Fight or flight” served our ancestors well as they fought off natural predators. Yet as the developed world becomes increasingly safe for humans, the American Psychological Association reports that stress levels in the twenty-first century are higher than ever.

Today, many of our stressors come in a much subtler form and stem from a broad variety of factors. Whether it is increased productivity demands, muscle strains from booming increasingly long digital takes, dealing with trying personalities or never being appreciated for the quality of work we produce. All of these causes can trigger a “fight or flight” response. But we got so used to working in demanding environments that we may be unaware of the body’s reaction. And whether we are aware of it or not, the constant “on-alert” state is cumulative and takes a toll on our physical and emotional well-being. Bruce McEwen, a neuroscientist at the Rockefeller University, recently revealed that exposure to three weeks of stress can change mammalian brain-architecture. Forcing his rats to swim, among other adverse activities, shrank the dendrites in their amygdalae, the parts of the brain that control emotional responses, decision-making and memory. Some of these effects are reversible, but such changes increase the risk of anxiety disorders and depression. McEwen also linked chronic stress to a reduction in the overall neuron number.

WHAT IS STRESS?

Stress is a household term used to describe a hormonal surge in our bodies resulting from physical and mental strain in adverse circumstances. Hans Selye, Director of University of Montreal’s Institute of Experimental Medicine and Surgery, first coined the term stress in his letter to the British journal Nature in 1936. Selye’s “general adaptation syndrome” (GAS) study, which was later renamed “stress response,” revealed morphological changes in mammals due to prolonged and excessive secretion of naturally occurring stress hormones.

COPING WITH STRESS

Our bodies are vastly resilient while malleable to the environment. Neuroplasticity, the ability of neurons to reorganize to compensate for injury and disease, allow us to recover to some extent. Kelly McGonigal, Psychologist at Stanford University, suggests that altering how we process stress determines its detriment or benefit. Living without it is improbable, but learning how to use it to your advantage can lead to an overall healthier & happier existence.

This means ending a stress cycle in rest and recovery, whether by not checking emails & social media on the weekends, taking more holidays or going for a walk in the middle of the day. In the right mindset, stress can even be performance enhancing.

Even Hans Selye distinguished stress reposes into “eustress” and “distress” later on in his career.

But how do you get there? We thought it best to harness the knowledge from some of our most esteemed colleagues, who have been in this line of work for decades. They have all found engaging ways to process stress and lead healthy and productive lives. Here are their thoughts, please enjoy!

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“The job itself comes with built-in stress because of the fluid nature of it. Home life is hard to keep balanced. Early on, I had to make the choice to accept these conditions completely or not. Once I chose, I committed. Having committed relieves much of the stress and making sure that your loved ones know that you are not the boss of your time can help relieve potential stress. On the job, I always prepared for scenario A, B, C or the unknown. I operated from a position of being ready for anything at any time and not letting it ruffle my feathers if things changed, because, they always do. Pull a rabbit out of a hat, change a pigeon into a bouquet of flowers. The stress of the job goes away when you accept:

1. You have no control and nothing is predictable

2. You have done your homework even though the call sheet and script can be torn up and thrown out at any time

3. Piss-poor planning makes for piss-poor performance = stress

4. You have all the tools and tricks handy to handle every situation

5. You are able to pull out these tricks at a moment’s notice

6. Never be lazy, always be busy and alert. The minute you slack is when the s**tstorm  hits

7. You have the confidence to jump in and do what needs to be done, especially under fire

8. You have accepted the fact that you will be working until they tell you that you can go home

9. Be happy that you have chosen this work every day. No one is holding a gun to your head to stay, so might as well spread a positive attitude so your work environment can be fun and rewarding

10. Realize that there are many people who would be more than happy to take your place

“With all of these things in mind, kick your shoes off and unwind with a glass of vino at the end of a long hard day and try to catch some zzz’s”

– Peggy Names, Boom Operator

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

 “I’ve always felt that the film business is what you make it. It is intense; there is big money at stake every day. Pressure builds, tempers flare and it becomes cumulative among departments as it spreads down from the top. The trick is, as I see it, is to recognize the tsunami coming your way and prepare accordingly. Certainly, preparation is key. But I’ve always told my assistants that as the production company gets crazier, you get calmer, to the point where you are almost comatose. My dad taught me to ‘work hard and go home.’ I’ve lived that for forty years in the business. It’s worked for me.”

– Randy Johnson, Boom Operator   

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“I’ve had many different relationships with stress in my forty years in 695. I’ve dealt with it most every way possible, from alcohol or reefer, to exercise and meditation. I feel the key to dealing with it is to know yourself and to know what stress is. For me, it’s been an evolving relationship through the decades. When I started out, it was like young love and I was high on stress, thinking it was like romantic love, all-consuming and that it would always be like this. It was exciting but exhausting and not sustainable. As the years piled up, I learned to give my all between call and wrap and then shut that door as I got into my van to drive home. This became my time. I dreamed up projects, personal or family, listened to music, anything was cool as long as it wasn’t work-related. For me, it is paramount to have your own life that you maintain and respect as much as your career life. I love family (which can have its own stresses), hiking, playing drums or ukes, painting, photography, fine food with friends, travel and sleep. After all these years, it is easy to keep stress in check when I have a balance of work and play. That and the joy I get from the world-class education I receive observing and marching in the ‘Grand Parade’ of life. It is hard to stress what was or might be if you are actively living in the here and now.”

– Crew Chamberlain, Sound Mixer

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“To get a handle on stress at work, I begin with arriving to set early. Being consistently punctual to your location is paramount and sets the tone for the day.

“Do your homework: Knowing where you’re at in the script and its shooting schedule is a good way to keep the stress monsters at bay. If you know there will be a scene at a waterfall or a big dance number, you will be able to prepare for it and be prepared when it happens. Smaller details like day/night number gives you an indication of costume and wiring changes.

“Taking care: Exercise is another key to fighting stress and yoga has done that for me. It keeps me centered and my attitude in check.

“Nutrition: I will be the first to say, I love pizza for a second meal, complementary food trucks and my morning espresso, but food does have an effect on your mood and your stress level. Moderation is the key and knowing when to curtail the caffeine definitely helps.

“Humor, Thought = Empowerment and Positive Thinking: I’m very fortunate to get to listen to actors act, the telling of jokes and experiencing sublime and scary words and descriptions. For me, humor and just sitting there thinking, leads to a positive outlook about my situation. That leads to empowering my mind and confidence level. How do I get there? I need to be honest with myself and what’s bugging me and deep always clears my head. I can then focus on sound for the scene or try to help others. Wanting to do the best job I can and rooting for the success of others is a direct result of empowering your mind.”

– George A. Flores, Sound Mixer

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“The secret to my sanity is taking my day one moment to the next and not over-thinking it.”

– Lawrence Commans, Boom Operator

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“In late July, I was balancing three major shows for my three biggest clients. I put in 240 hours in 19 days. This included travel, working double shifts, on top of the usual rigors of my job. To add to that, I experienced personal distress, any of which would be a large task to take on with a normal job situation. I remember walking onto the truck, and sitting at my record station, when my gut said, ‘If you don’t take time off soon, you will die. You can’t keep going at this speed.’ I booked a vacation for four days immediately. I went away to a wellness spa in the desert. I turned off my phone for a week, and didn’t tell anyone where I went (except for my mom). Four days was not enough, but it was enough to bring me down from the adrenaline high that I had been riding on for so long, in order to come back and sleep solidly. After that, I decided to take another 2½ weeks off.

“During this time, I realized I needed to create somewhat of a routine. The lack of structure this business lifestyle affords me is not conducive to a healthy lifestyle. Here are some of the things I started to do:

• I started with my diet—I cut down on drinking, carbs, sugars, dairy. I bring all my own food to set with me, even when I travel. The snacks I bring are organic, easy on digestion, yet filling and satisfying.
• I recognize I may not always get eight hours of sleep, but the few hours of sleep I do get, should be quality sleep.
• I routinely see a chiropractor and massage therapist while I’m in town.
• I don’t drink while traveling because it is dehydrating.
• I travel with a foam roller to stretch and work out.
• I always upgrade my seat when flying for more leg room. This is my time to rest when I’m traveling.
• I try to drink a gallon of water every day.
• I try to exercise, which usually means stretching in the morning and evening.
• I always leave the truck for fifteen minutes and walk— seeing sunlight is essential.
• I learned how to quiet my mind.

“Lately, there’s been a focus on small enjoyments of life. When we are constantly go-go-go, you need to take a minute to enjoy life. Find a small joy that takes you out of your day.

“I have had jobs that have caused health issues due to stress, and I’m lucky that I have been able to recover from them. Last year, I went through a breast cancer scare, which made me take a look at my life and examine what I find most important.”

– Jillian Arnold, Digital Asset Manager

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“Stress management and proper set etiquette is really what separates the A-listers from the rest of us. We work in an industry where the creative process often demands to make things happen against seemingly impossible odds. I have been screamed at in my face for issues that were not related to me, I have scrambled around troubleshooting in front of one hundred-plus people all waiting on video to fix the problem and asked to do the impossible over and over. I rarely get yelled at anymore (thankfully), but I tell all the guys on my team that when you do, it’s not personal. There is legitimate pressure rolling down from above. I worked on The Revenant and Chivo, the DP, was incredibly demanding at moments. I just worked with Chivo two days ago on a commercial and it was a totally different experience.

“There are a few tricks that can help avoid unnecessary trouble. I make a practice of introducing myself to the agency on a commercial so if there are any issues with image, they know they can come to me personally to fix it rather than complaining to the producer. It’s simple but it works. Also, communication with the 1st AD is paramount. Newcomers must realize they are responsible for communicating their needs. If you need ten minutes to solve a complex request, you must explain that to an AD. They are your lifeline to make sure the people who matter know what’s happening and to give you the appropriate time.

“No one enjoys the looks you get when the company is waiting for video. I learned that the hard way years ago working with a fantastic director, Rupert Sanders. I was on my first job with him, was brought on by the producer to impress him. She had seen me perform well in many difficult situations so I had credibility with her. Things had been going well until we set up for a difficult choreographed shot with horses, mud and explosions that required a big reset. Just as we were about to call action, the image from the wireless went out and monitors went dark. I intensely wondered what could be wrong as the scene went on. We cut and the director turned and just said, ‘Bye bye, Willow.’ It was in the days of film, so there was no way to play it back and he asked me why I didn’t stop the shot. I was mostly confused & embarrassed that I didn’t make the call and realized right then, it was my job to do so.

“A big part of handling stress is how you recover after a mistake. Often we get blamed for issues that may be camera- or power-related or may indeed be on us as video assist technicians. Sometimes criticism is valid. I despise that moment but handle it by telling myself I am good at my job and trust that by the end of the show, they will see how that moment was not indicative of my normal routine. Professionalism is key and it’s important to remind yourself that everyone is dealing with stress in their respective departments. But what we can do is focus on the job, keep your eye on the ball and maintain confidence. Even if you just threw an interception, you must believe that next throw is going to be a touchdown.”

– Willow Jenkins, Video Engineer

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“1. Exercise—It will lower the toll on your body & has psychological benefits.

2. Hydration—So important & often overlooked. A lack of hydration will cause fatigue and more symptoms that could lead to health problems. By the time you feel thirsty, you’re already dehydrated.

3. Keep learning & pace yourself.

4. Recognize your own signs of burning out: One thoughtless action could ruin weeks of relationship building.

5. Try not to be competitive, but rather, collaborative. The film industry is always expanding.

 6. Make personal plans—Even if they have to change a lot; life moves quickly and you don’t want to realize it’s too late for certain things.

7. Be someone others at work look forward to seeing.

8. DON’T overbook yourself. You need “Me” time.

9. Get enough sleep. 10. Choose how you see your job/department on the set; don’t let others make that judgment call.”

– Patrushkha Mierzwa, Boom Operator
  Patrick Martens, Boom Operator
  & Mark Ulano, Sound Mixer

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“Part of my routine in keeping myself sane and healthy is trying my best to not bring work home with me. Every day is filled with challenges and often annoyances and I think it’s important to check those at the stage door. Home life becomes just that—home life and nothing intrudes on it or its routines. I find the people I’ll be working with and for to be an extremely important factor on choosing jobs. It makes all the difference when the people you work for are good to you. You pay it right back at them. When you are genuinely happy and have a good attitude, it is way less likely that those who work around you who may have a bad attitude to be able to affect you.

“I feel like if we worked fewer hours per day (max twelve on twelve off—but ideally, ten hours call to wrap), we would all be much happier. If I could have dinner at home or out any night of the week I wanted yet still work a full day, I would be even happier. And mind you, it’s not necessarily about the dinner … It’s about the time. If we feel like we have to drive home and rush to bed in order to get adequate sleep before the next shooting day, we end up feeling cheated out of our free time.”

– Devendra Cleary, Sound Mixer

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“Having a family has really made me value every minute I have. We definitely max out our weekends, and while it doesn’t make for a ton of rest, at least I have great memories and a feeling of accomplishment come Monday. Earlier this year, I took four months off and managed my daughter’s fast-pitch softball team and participated in their school events for the first time ever. My husband and I agree, taking care of the kids is much harder than our day jobs (he’s a grip) … So after a stint with the kids, we are actually ready to go back to work. We also always take time off for those precious moments you can’t get back, like trick or treating. It’s important to work with people who also value family or personal time, because it really helps minimize burnout. Taking a day off once in a while isn’t going to stop the show, and it can benefit a fellow 695 member who really needs hours. Win-win!

“One thing I now take more seriously is my health. I no longer put work before annual physicals or illness. Our yearly physical is one of the best benefits of our health insurance, so use them! And if I’m sick, I stay home. Last thing I want to do is make my fellow crewmembers ill. No one is going to think you’re a hero when you’re coughing all over set.

“I love hour walk always. I get outside, walk or ride my bike and rack up some vitamin D. I’ll take care of small errands like washing the car or hitting the Rite Aid. Five lunch hours correlate to a big chunk of my weekend, so if I don’t have to spend it buying shampoo, I’m thrilled. Drinking enough water is always a challenge for all of us, but staying hydrated does wonders for your energy level. Joe Foglia and I remind each other to hit the bottle all day long.

“I absolutely take into account the people I’ll be working with, the type of project, the commute and the season length. Hour-long episodic can be a grind, so unless you’re working with people you enjoy, it won’t work. We spend more time with our work families than our real families. If we can’t have a good laugh once in a while, it’ll be a very long season.”

– Anna Wilborn, Sound Utility

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“I’m fortunate to have relatively little stress in work and life. However, I’m certainly not stress-free. When the stress arrives, the best thing for me, if possible, is to remove myself physically from the situation that is causing it. That can be relatively easy in everyday life but can sometimes be hard to do on set. Usually, I can find a nice quiet corner somewhere to unwind. The timing is the tricky part. Outside of the workplace, playing the drums or guitar has always been a wonderful activity to help me get away from it all and clear my head. However, my absolute favorite all-around tension-relieving, mentalcleansing activity is going for a strenuous run at the beach. It never fails to return me to a tranquil state of mind.”

– Mark Agostino, Music Playback & Live Recording Mixer

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =

“It is no secret what a difficult business we have chosen. It can be challenging enough just to find suitable and sustainable employment; then, when you get the gig, be careful what you wish for! Long and irregular hours, travel, weather conditions, challenging locations, nasty commute, job security and every kind of work-related stress can take its toll on your health, relationships, mental and spiritual health. Despite the heroic efforts of our dearly departed Haskel Wexler, just getting home from work can be quite hazardous. As a long-term survivor in production sound—thirty-six years since I bought my first Nagra (that’s a little scary when I see it in writing!)—I am very happy to be asked to contribute some ideas about stress management.

“Love what you do, but not to the exclusion of all else; given the crazy number of hours we work, it is hard but important to seek balance in your life. The job can be incredibly frustrating, learn to not go home bitter. That makes showing up the next day a lot easier. On the other hand, sometimes the best thing you can see is that job in your rear-view mirror. Know when to hold ’em and when to fold ’em. There are more jobs than one and sometimes the one you have is not really the one for you.

“Our work is in many ways, so very hard. Even if you’re not hauling cable or setting c-stands or building sets or swinging a boom with a wind-screened shotgun at full extension, the work is physically demanding. Even if you’re not directing the movie or doing a budget or a schedule or mixing a scene with nine mics and playback, our work is mentally demanding.

“Here’s what I do to keep myself prepared to meet the challenges of our workplace that are maybe a bit different than others: I ride my bicycle. I mean, I really ride my bike(s). On weekends I do long rides, often with a group, including gran fondos or century-type rides. Most days at work, when lunch is called, I get to my sound trailer, do a quick Superman change into my cycling togs, jump on my “at-work” bike, and pedal away from the set as fast as I can for 30-50 minutes, 8 to 15 miles. It’s not much, but when I’ve been stuck at my cart all morning on a dark stage, or I’ve had some frustrating moments, or whatever, it allows me to get my heart pumping, muscles working, my eyes can focus on infinity, my senses sharpen and I can play in the traffic where the phrase “thrown under the bus” is not a metaphor! It is amazing how this breaks up the day and revitalizes me for the second half. It’s amazing how many little lunch routes I know around LA. Almost wherever I find myself shooting, I’m rarely too far from somewhere I’ve already been and have ridden—the city is smaller and more connected than you think. Downtown? MacArthur Park to Griffith Park by way of Chinatown and Elysian Park is a great ride! Universal/Disney/Warners? Griffith Park is right there. Hollywood? Get to the hills. Santa Clarita? So many ways if it’s not too hot. The Culver Studios? The Ballona Creek Bike Path is just around the corner, also some good climbing at the Overlook Park on Jefferson. With smartphones and laptops, it is so much easier to figure out than when all I had was the Thomas Guide!

“I also know there are cyclists among us who appreciate beneficial effects of exercise-induced endorphins and the stressreducing power of doing something you love. I encourage you to make it a part of your work life!

How about a Local 695 cycling club, road and dirt?

Who’s in? “I would like to emphasize that when the pressures of work and life get to the point where no amount of bike riding can help, we are fortunate to have an excellent health plan that includes a strong mental health component. I urge you to take advantage.”

–Steve Nelson CAS, Sound Mixer, husband, father & cyclist
—Follow me on Strava

The Young Workers Committee thanks everyone who participated in this article and hopes this piece serves as a reminder to take good care of your team and yourself as we enter the homestretch of 2017 and many years to come.

Soundcraft ViSi Remote

by Richard Lightstone CAS AMPS

THE SOUNDCRAFT ViSi REMOTE IS AN iPAD APP, which provides wireless control of Soundcraft Si Expression, Si Compact, Si Performer and Vi Series consoles. ViSi Remote allows you to mix and contour your sound from anywhere in a venue without being constrained by cables. A single iPad can control one console’s levels and graphic EQ. Multiple iPads can control a single console’s settings. This means that you can control the performers’ monitor mix directly from the performance position on stage. A single iPad could control a number of consoles in a network, which may include any of the consoles noted in the above range, so Si and Vi consoles may be mixed on a network.

With version 3.4 comes the addition of channel and bus processing control and metering within the app for Vi console types Vi 1, 2, 4 & 6. Control input gain, pan, routing, delay, filters, EQ and dynamics and see channel and bus level meters and dynamics gain reduction metering within the processing control section, and use the Meters tab to see all console meters at a glance and jump quickly to any block of eight channels or busses.

All Vi console types now include metering and full channel & bus processing control.

Here are some of the features of the app. You can optimize the front of house mix from anywhere in the room. Set mic gains and 48V. Adjust monitor levels (IEM) while standing next to the performer. Adjust channel strip settings remotely from the console. Extend the fader count of an existing control surface. Use in standalone mode for familiarization with console functions. Control a network of consoles (e.g., FOH and Monitor). Have a global metering overview or “meter bridge” as an extension of the console.
You can also control the following from ViSi Remote, Channel naming, Input faders and mutes, Bus, master LR and VCA master faders and mutes, Mic Gain and 48V, HPF, Channel EQ with

grab able parametric EQ curve, Gate and Compression settings, Pan, Output Delay, LR and Mono routing, Phase Invert, Graphic EQs on all bus outs, Graphic EQs on all bus outs, Channel contributions to each FX bus, Mix contributions to each matrix bus, DMX Masters (Si Performer Only).

I have used ViSi Remote for my Expression 1 console on a period musical where we had stage wedges for each performer’s monitors. I was able to stand with that performer and remotely adjust their wedge monitor levels and EQ. The app is very impressive as you have the functionality to control so many parameters of the Soundcraft console.  

Creating Advanced Video Graphics Workflow

Chris Kieffer Talks About Video Magic on Warner Bros. Features

by Mark Ulano CAS AMPS

The members who embody Local 695 are more than just production sound engineers. We proudly represent video engineers, television broadcast engineers and projection engineers alike. As the union continues to grow, in part by the increase in on-set demand and advancements in technology; our picture brothers and sisters are adopting new workflows to meet those complex requests in feature films and television broadcasts.

Chris Kieffer, a Y-4 Video Engineer (Video Assist, Video/24- Frame Playback) in Local 695, is part of an intriguing group of video graphic operators at Warner Bros. Production Sound and Video Services. Pioneered by Rick Whitfield, the small team of creatives are able to deliver end-to-end video graphics for intricate projects. In our fall 2016 issue, Vince Parker, who is also part of the team, highlighted the process while working on Passengers, starring Jennifer Lawrence and Chris Pratt. We sat down with Kieffer to learn more about the unique workflow.

PS&V: On-screen graphics. Is that a generic term used in the industry?

Chris Kieffer: Well, usually we get Video Graphic Supervisor or Video Graphics. I’ve even gotten one 24-Frame Playback Operator. I’ve gotten Playback Graphic Supervisor. I mean, it’s all of them. There’s just so many different ones, but usually it comes down to Video Graphics.

PS&V: Who pioneered this group at Warner Bros.?

CK: Vince Parker and Rick Whitfield have been working for a long time together. Vince was the guy who did graphics and programming and playback with Rick on set. They were like this little group and then as productions got bigger, they needed more help. Rick would hire our department to come in, design everything, and then Vince and his team would program it and build it.

I was brought into it to do a project with Rick and while I was doing that, I needed some help. And he’s like, well, who do you want and I picked Coplin LeBleu. He came in. We worked great together and I’ve been going back to Coplin and other guys constantly over time.

PS&V: What differentiates you from traditional video graphic operations?

CK: A lot of the times when you work on a project, you might just hire a graphics company that only does graphics. And then, you’ll hire your playback guys to play it back on set.

We try to do all of it. We design, animate and program all of the onscreen content and use our playback guys and our gear on set. What we try to do is bring everything together—from pre-production to design and on-set operating.

PS&V: How big is the team?

CK: There are six of us as far as doing the graphics, programming and on set. But then we have the guys in the back also who supply, rig all the gear and get everything ready, too, in our rental department.

PS&V: How do new job opportunities come along?

CK: Different ways but generally word of mouth and guys who’ve worked with us previously. On Deepwater Horizon, we worked with Production Designer Chris Seagers.

PS&V: How did the process start?

CK: For Deepwater Horizon, Chris Seagers called me knowing I was at Warner Bros. He wanted us to bring all our guys and do our thing. I went out there to talk to him, went over the script—what he wanted—and we agreed to do the project.

Then I’ll come back and start doing all the lead design— coming up with what it’s going to look like—and bring in 695 members who do on-set playback or graphics. It’s hard, there’s not too many of them that can do both. Usually, you have a playback guy or a guy who does graphics but not both.

PS&V: It’s like Pro Tools in a way. There are those who know the on set and others who know the studio side but few do both.

CK: Yes. It’s a hard mix to find. And the ones who do have both skill sets are always busy.

PS&V: Is the part of the skill set to be able to respond improvisationally right then and make it work?

CK: Yes, definitely. In minutes, when we’re turning the camera around, you’ve got that much time to change your graphics. At the last minute, Set Decorator might just roll a medical cart onto a set and they know I’ll be able to power it up and figure out a way to get whatever graphic they need up on the monitor. Props will hand me a briefcase, pop it open, and there’s a monitor inside, and now I’ve got to figure out how to make this thing work so sometimes there’s a lot of engineering involved, too. Never a dull moment.

PS&V: Can you describe in a little more detail the creative workflow and the interaction with other departments that ends with the on-set graphics we see up on the screen?

CK: Every show’s different but it starts with the Art Department. They develop the concepts and the look for the project. On a show I’m working on now, for example, they send me the concept art and set drawings and a list of the various devices they expect to have on set … things like interactive iPads on door panels for keypads or airlocks, screens built into consoles, big wall displays or just displays on laptops and cellphones or TVs or whatever.

Based on the designs we’ve received, we build all of the video graphic elements and have the Set Decorator or the Director or both sign off on them. Based on what hardware we’re going to be working with, I’ll then have to engineer it all so we can work with it smoothly on the set. And sometimes, they’ll need us to program interactivity into the various devices so actors can trigger the sequence and make the scene look real. Or we have to figure out how to get our graphics into existing equipment, like some old piece of electronics or whatever it is that they need.

So throughout the whole process, we’re working pretty closely with the Production Designer, the Set Decorators, and the Prop Department, all of us ready to change things in case they change their mind at the last minute … which is pretty much a typical day for us.

PS&V: Is this something that’s evolved more recently? A kind of real-time interactive?

CK: Yes. We try to be as flexible on set as we possibly can. There’s just times when you can’t because of the scope of something.

PS&V: Are the tools changing so you can be more flexible?

CK: Definitely. Before it was a lot of Adobe Flash and other programs. You could do those changes on set, but that software itself is not really being supported or updated anymore.

We’re kind of moving things over to game engines like with unity because that gives us flexibility. Right now on The Last Ship, for example, everything on that show changes the day of, twenty times a day.

PS&V: Right there?

CK: Right then and there. Constantly.

PS&V: How do those changes get worked out on set?

CK: It depends on the director or whoever is making the change. But usually, we’ll look at it, and for example, they’ll say, “Can we have this guy more over here?” or “Can we just move or scale this or change something subtle?”

We’ll then relay it back to the playback guy or the graphics guy to make that change, hopefully, within enough time before they’ll begin shooting. Sometimes they don’t want to wait. So then it’s going to be as it is or you can make it green or blue or whatever you want.

PS&V: Going green or blue means that they’re going to come back and do it in post?

CK: Yes.

PS&V: Do they reach out to you at that point?

CK: They could but it depends on the show. It could go to a visual effects house or the editors or something like that. If it’s easy enough, we’ve done it sometimes where we’ll shoot, like, let’s say it’s a radar on The Last Ship. Vince would put up a graphic without all the blips of where the ships are because they just aren’t sure where they’re going to go. We’ll shoot that and then in post, the editors can add the ship’s blips where they need to be.

PS&V: Would that be one of those times where you provide graphics for pre-production, production and post?

CK: Exactly. Sometimes it’s not even just delivering the playback graphics we created to visual effects. We actually even do the visual effects—the actually finals out to film. So we try to cover the whole spectrum so when they come to us for onscreen graphics, we can provide everything.

PS&V: Do you see any trends in terms of onset visual graphics and playback versus green screen?

CK: People want to always implement new technologies like curved screens or transparent LCDs. Those are all cool, but we rarely have the time and the budget to actually explore those things.

Sometimes you get lucky on big features but it always kind of comes back to the same thing where we try to have as much in camera, as much flexibility as possible and just go from there.

PS&V: What projects are you working on now? Are any done remotely?

CK: Pacific Rim Uprising. Followed by Rampage and Godzilla: King of the Monsters. Pacific Rim Uprising is in China and we’re doing everything remotely and then sending it out to China for playback on set.

PS&V: People don’t realize all the work it takes to get those images on screen.

CK: Yup. That’s the magic.

PS&V would like to thank Chris Kieffer for providing some great insight into their work. If you’d like to learn more, check out Warner Bros. Production Sound and Video Services, go online at www.wbsoundandvideo.com.

by Daron James

If you’re a Sound Engineer operating in the United States, you’ve probably heard about the recent Broadcast Incentive Auction held by the Federal Communications Commission (FCC) which will repurpose a portion of the UHF TV band.To help those working on set, in broadcast, venues, stadiums, houses of worship, theatres and others, we wanted to share the details of what you need to know about the transition going forward.

What is the Broadcast Incentive Auction?

The FCC held a two-phase auction which ended in March 2017. The portion of the UHF TV band directly impacted was the 600 MHz band or more precisely, 614 MHz-698 MHz (84 MHz). The FCC dubbed this initiative the “600 MHz Band Plan.”

The first phase was a “reverse auction” which gave television stations the opportunity to voluntarily relinquish their spectrum usage rights. This was followed by a “forward auction” that allowed mobile wireless and cable companies to place bids on the available spectrum. Afterward, the TV stations that will remain on air will be “repackaged” and assigned to new channels in the UHF TV band below 608 MHz.

What is different from this auction and the 700 MHz band auction?

Since 2010, the FCC prohibits the operation, manufacturing, import, sale, lease or shipment of wireless microphones and similar devices in the 700 MHz band (698 MHz-806 MHz). With the 600 MHz Band Plan, the FCC is allowing the operation and sales of wireless microphones and similar devices but with restrictions.

What part of the 600 MHz Band Plan is usable?

The 600 MHz band is comprised of four parts: a Guard Band (614 MHz-617 MHz), a Downlink Band (617 MHz-652 MHz), a Duplex Gap (652 MHz-663 MHz) and an Uplink Band (663 MHz-698 MHz).

Currently taking place is a ten-phase transition period that ends in July 13, 2020. After July 13, 2020, wireless devices will be restricted to operating only in the Guard Band (614 MHz-617 MHz) and Duplex Gap (652 MHz-663 MHz).

Are there any additional restrictions operating in the Guard Band and Duplex Gap?

Yes. The FCC has placed buffer, power limitations and license-type restrictions.

Guard Band
614 MHz-616 MHz: 2 MHz (unlicensed operators) 616 MHz-617 MHz: 1 MHz buffer (unavailable for use)

Duplex Gap
652 MHz-653 MHz: 1 MHz buffer (unavailable for use) 653 MHz-657 MHz: 4 MHz (exclusive to licensed operators) 657 MHz-663 MHz: 6 MHz (unlicensed and White Space Devices [WSD])

The Guard Band and Duplex Gap provide 12 MHz of spectrum. If you are a licensed operator, you have exclusivity in the Duplex Gap (653 MHz-657 MHz) and licensed users operating in this band must coordinate locally.

Keep in mind, even if you are a licensed user, you will be considered unlicensed while operating in the Guard Band (614 MHz-616 MHz) or upper portion of the Duplex Gap (657 MHz-663 MHz).

Power will be limited to 20mW for wireless devices and 40mW for white space devices.

What is a licensed operator?

A licensed operator is classified as Part 74 licensee and includes broadcasters, motion picture producers, cable stations and content creators. Part 90 licenses are reserved for industrial entities.

The FCC has now expanded Part 74 licenses to include professional sound companies and owners and operators of large venues that routinely use fifty or more wireless microphones or similar devices. Those who “routinely,” meaning not every time, use fifty or more wireless microphones, can be eligible for Part 74 licenses.

One advantage of becoming a Part 74 license user is that you can register for interference protection in the white space database against unlicensed white space devices.

Do I need to be a licensed operator to work in the repurposed 600 MHz?

You do not need to be a licensed operator, however, you are limited to only 6 MHz of space in the Duplex Gap (657 MHz-663 MHz).

While it’s not mandatory, if more Production Sound Mixers become licensed operators, 695 members and others will have a larger voice in the community that can directly impact future auctions.

When do these new rules take effect?

The transition period officially ends July 13, 2020, but you may run into radio frequency (RF) interference prior to the deadline. The new owners of the 600 MHz band have already begun registering use of the spectrum in the white space database.

How to check the white space database in your area.

There are several FCC-approved administrators you can search for available channels. Two suggestions are: Key Bridge Global and Spectrum Bridge.

Can you still buy equipment in the 600 MHz band?

Starting October 13, 2018, the manufacturing, sale, lease or shipment of wireless microphones or similar devices that operate in the 600 MHz service band frequencies (617 MHz-652 MHz and 663 MHz-698 MHz) will be prohibited in the United States.

After October 13, 2018, manufacturers, rental houses and others with equipment tuned in the 600 MHz band will be limited to the Guard Band and Duplex Gap.

Wireless microphone systems operating in the 600 MHz Guard Band or Duplex Gap will also be limited to 20mW.

What will happen to my current equipment?

Depending on the manufacturer, you should visit their website for further information about updating the software, “returning” the device or if they’re offering trade-in/rebates services to be compliant before July 13, 2020. After the deadline, it will be illegal for you to operate the device in the United States and you could face a fine.

What equipment can you buy with confidence while working in the United States?

Currently, any UHF TV band system that doesn’t tune above UHF TV Channel 36 (608 MHz) is best. Also in 2015, the FCC provided options for licensed users outside the TV broadcast band, including VHF 169 MHz-172 MHz band, portions of the 900 MHz band (941 MHz-960 MHz), the 1435 MHz-1525 MHz and the 6875 MHz-7125 MHz bands.

While these frequencies are available, they do not offer much practical use in the field. According to licensed Production Sound Mixer and PS&V contributor Jay Patterson CAS, the VHF bands can be problematic for body pack use, requiring longer antennas, but are a decent option for IFB. Patterson also mentions the transmitting restrictions on the licensed 900 MHz bands are in the early stages of what manufacturers can make at this time, and the 1435 MHz-1525 MHz and 6875 MHz-7125 MHz bands are extremely problematic for multiple reasons.

Unlicensed operators may run into similar issues as they are permitted in several bands outside of the TV bands, including the 902 MHz-928 MHz band, the 1920 MHz-1930 MHz band and portions of the 2.4 GHz and 5 GHz bands. What are the key dates to remember? Starting October 13, 2018, purchasing, renting or leasing any wireless microphones or similar devices operating in the 600 MHz service band frequencies (617 MHz-652 MHz and 663 MHz-698 MHz) will be illegal.

Effective July 13, 2020, you will no longer be able to legally operate in the 600 MHz service band frequencies (617 MHz-652 MHz and 663 MHz-698 MHz), whether you are a licensed or unlicensed user. Again, while these dates are set by the FCC to complete the transition, you may run into radio frequency issues prior to the deadline.

by Ric Teller

Ed Greene worked in the audio profession for more than sixty years. His many career accomplishments have been universally celebrated. Ed had a far-reaching influence as an audio engineer and had an even greater impact as a colleague and friend. I have asked some of those friends from the television community to share stories about the man whose life touched and affected so many of us.

After serving his country in the Army, Ed opened a recording studio in Washington, D.C. One of his achievements of that time was the seminal recording Jazz Samba, by Stan Getz and Charlie Byrd. In the early 1970s, the great recording engineer, Val Valentin, brought Ed in on what would be his first television mixing experience.

Here is a story from Jeffrey Fecteau:

I was very fortunate to be Ed’s lead A2 on his first television show. I think it was 1972. He had just finished recording and mixing an album for Frank Sinatra announcing his coming out of retirement, called Ol’ Blue Eyes Is Back. He was asked by Frank to oversee the music mix on a TV special with the same name. Another audio engineer had been hired to mix the music for the TV show. Ed was in a production meeting with Producer/Director Marty Pasetta and staff. When Marty was explaining to the TV audio engineer how he wanted the PA, Frank’s monitors and the orchestra laid out, the other engineer told him it couldn’t be done, which led to a heated debate. At this point, Marty turned to Ed and asked if it could be done. Ed said yes. Marty asked him if he would be willing to take over the show. Ed said yes. The other person was relieved of his duties. That was how Ed started his career in TV. And that was the beginning of a very long and blessed relationship between us. I worked with him on most of the major events and Emmy Award-winning shows that he mixed. He was a truly kind-hearted man and a great friend. He will be sorely missed.

In 1981, Ed helped to form Greene, Crowe & Company, the premier television mobile facilities provider of that time.

Charles Fernandez shares these kind words:

Our business has lost a true icon, a legend and a kind, quiet gentleman. Ed Greene was one of the finest men I’ve ever known. I will always remember him pulling his van up to the mobile unit to drop off gear or walking up the backstairs to the audio booth with a piece of equipment under his arm. His work ethic was like no other, something he has passed down to his kids.

I was one of the very few fortunate ones to have the pleasure of working at Greene, Crowe & Company for fifteen years. Ed always had a smile. We often enjoyed talking about our families.

His life was filled with some of the most incredible accomplishments. I loved to hear his stories and he had many. He was the master of his trade and will truly be missed. God bless you Ed. Off to a better place. When the trumpets sound off in heaven, no doubt Ed will be at the mixer. Love you, my friend.

Thoughts from longtime friend Murray Siegel:

His embrace of new technology, new techniques and new ideas was an inspiration. He faced challenges with assurance and rarely failed to come out the other side with a smile.

But even more impressive was his willingness to share what he learned. Above and beyond equipment and tools, he didn’t hesitate to take a chance on someone new. I was an elementary school teacher. With his kindness and help, I became a “sound guy.”

Ed is defined by his curiosity and his generosity.

The way I think about production, the way I work, the man I am, all are informed by having worked with and watched Ed Greene.

This is his legacy.

He was a pioneer, a mentor, a colleague, a friend. Our lives are not diminished because he’s gone. Our lives are richer because he is in them.

Some thirty-five years ago, I was working on a show mixed by another audio icon, Ken Becker. It was among the first live-music shows mixed in stereo at KTLA. To make sure things went well, the production company brought in Ed as an advisor. That was the first time I worked with him. Ken later remarked that it was like working with a lifelong friend he had just met. I wish I could go back to that audio booth and listen to the two of them tell stories.

Fred Tator relates this one that Ed told while they worked together at Complete Post.

Ed was in a small village in Eastern Europe shooting something or other. The people of the village were very kind. They fed the crew dinner and breakfast each day. In the morning, they had fresh eggs and bread. In the evening, they had some kind of meat that had a strange taste. Ed said he couldn’t figure out what it might be. It wasn’t quite beef or veal. It wasn’t quite pork. So he called it “vork.” The last evening there, the host asked if there was anything special the crew would like for dinner. They said some chicken would be nice. The interpreter told the hosts and the hosts gave them a weird look and then got to work preparing the dinner. The chicken was delicious. The next morning at breakfast, there was only bread. When asked why there were no eggs, the host gave them a look like you can’t imagine. Apparently, those breakfast eggs came from the chickens they had eaten for dinner.

Fast-forward to our last visit with Ed in rehab. The TV was on and Ed said in a whisper that he was bored. I said I bet you’d like to get out and get something to eat. Again he whispered, “Mexican.” I said, “How about some vork.” With that, Ed gave us a nice big smile. We said our goodbyes. And that’s my last image of Ed.

“Kennedy.”

Everyone has great stories of working with Ed. Many are humorous. Some brief reminiscences are recorded on the rack room walls at the Shrine Auditorium in Los Angeles. My favorite, a quote from a PL conversation: “I can’t talk! I can’t talk! I can’t even listen!” Even in chaos, there was humor.

Andy Strauber recounts these memories:

I will always remember two things about our Mr. Greene.

When we first met, sometime last century, I was always amazed by the fact that he never seemed to label his console. No matter what show it was, there were no Ed Greene labels on however many desks he was using for that particular show. If there were any labels at all, it was because the truck engineer had started patching the show based on the paperwork (from some other version of the same show) that Ed would produce.

The other thing was how we would end music. We never just cut it off. When the producer or director wanted the music to end, we always took it out as if there was a band playing. “Wait for it,” Ed would say.

Most directors did not even notice what we were doing. They just wanted the music to end. But Ed wanted it right. And it made a difference.

Long hours, short turnarounds and red-eye flights were all part of Ed’s work life. Mark Weber remembers:

In the eighties, we were doing a shoot for a week with sixteen-hour days. I was amazed to find that, even though I arrived a half-hour before the call, he had beaten me to work. He did the next two days as well. I remarked to Joe Kendall that I got in early to beat traffic, and no matter how early I came in, Ed always beat me to work. He said, “That’s because he’s sleeping underneath the console.” I said, “Oh.” That thought hadn’t occurred to me.

Patrick Baltzell shares this story:

One of the many interesting projects that I did with Ed Greene was the Opening and Closing Ceremonies for the 1996 Summer Olympics in Atlanta. We were on site rehearsing and recording the musical elements for three weeks. These types of projects are primarily track playbacking, including the performances, underscores, announcements and voice-overs. The Opening Ceremony was four hours of continuous tracks. During the rehearsal process, dozens of edits are required to correct timings of cast movements, etc. Ed was using a brand-new Akai DR16 digital recorder for this project. The night before the Opening Ceremony, Ed was making some final edits and the Akai DR recorder failed. The memory limit had been reached and the music files overwrote the operating system files. No warning and no protection of the OS had been written into the software. Ed Greene and his assistant, Dave Farragher, stayed up all through the night to rebuild the four-hour show from the source reels and all of the edits and “pull ups” done from memory. The rest of us mortals would have written this off as a career ender. Not Ed Greene.

When I asked a few people to contribute these memories, it was clear that the personal relationships forged were deep and true.

From Debbie Fecteau:

Ed Greene: Mentor, Father figure, friend. Ed was a man who took a chance on me, and to him I owe my entire career. He taught me so very much and, at the same time, always had an ear to listen and give me not only professional advice, but personal life advice as well. Many long days at work, coupled by many laughs and many memories made. I will always be grateful for all he taught me in all aspects of life. Thank you, Eddie, for everything. And, a huge thank-you to his family for sharing him with us all these years. He will be missed very much by very many.

Sean McClintock reflects:

I’ve spent a lot of time thinking about Ed Greene since I heard of his illness, and really realized how important he was to me, both professionally and personally. I first worked with him almost thirty years ago and was told he was a legend in the TV audio business. I fully expected him to treat me like the wet-behind-ears, inexperienced, too-bigfor- my-own-britches kid I was. He didn’t. He treated me with respect, kindness and generosity, as he did everybody I ever witnessed him interacting with. He always had time to answer a question, to tell a funny story or relate experiences from his remarkable life.

He essentially invented how entertainment TV audio is done, and none have ever done it better. Everyone who’s ever worked with him has stories of him mixing incredibly complex shows with orchestras, pop bands and production elements by himself, with consoles stacked up around him and leaning up against the walls of the control room. And with frightening few notes and labeling!!! When he left the Capital Concerts, it literally took five people to replace him (no offense if you guys are reading this, he just really was that good!).

As great as he was professionally, he was an even better person. Always funny, always with a great story he told so well, and always genuine and sincere. Thanks, Ed, for all the great times, and all you taught me. It was a privilege to know you and work with you. All my love and thoughts…

Not long before Ed passed away, I was privileged to visit him. He was not in great shape; health issues were apparent, but he greeted me warmly, then asked, “Are you on hiatus, too?” Although his breathing was labored, we had a good conversation. The room was noisy with hospital machines and visitors; The Chew, a daytime talk show, was blaring from his television. After a few minutes, the segment was winding up, and one of the hosts threw to a break.

Now, I swear this next part is true. Without looking up, Ed’s right foot flexed to press down on the applause pedal taking the show to commercial. I could only smile.

After about twenty minutes, he was getting tired, we said our goodbyes and he closed his eyes. I sat quietly until he fell asleep, then I thanked him for everything. I didn’t think it would be our last visit, but I am very grateful for that brief time.

I can’t tell you how many shows I worked with Mr. Greene. It was a lot.

And not enough.

Thank you, Ed. I will always be grateful for the way you shared your knowledge, making me better at my job. But even more, I will be forever grateful for having such a kind, gentle, decent friend. We all will.