r how i met your mothe BULLETIN THE

THE
Onl
BULLETIN
Chartered
May 15, 1939
Local 728 studio electrical lighting technicians
the only iatse local dedicated to set lighting
Full color version available at www.iatse728.org
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Bon
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hollywood
CALIFORNIA
Vol. 23; No. 9
2013
how i met your mother
after nine amazing, fast-paced seasons - that included episodes with up to 80 different scenes the close-knit cast and crew gets ready to wrap the television staple
Local 728 members from left to right include: Kurt Sturgis, Keith Middleton, CLT Steve Blaich,
Dimmer Board Operator Elena Scott, ACLT Wil Krug and Mark Ballentine.
Feature Story Page 4
INSIDE:
r Election Results r Local 728 Holiday Party Invite r Info on Online Training
Elections,
Membership Meetings,
and Bringing Hollywood
Back to Hollywood
I
I.A.T.S.E.
Local 728
Hollywood, California
by Pascal Guillemard, President
’d like to congratulate everyone who participated in this year’s election. This was one
of the most talked about elections in years
and had one of the largest voter turnouts.
Over 800 members participated. The changes
desired by our membership regarding how
we conduct our business and how Local 728
impacts our industry were clearly heard. There
were many candidates with great ideas and a
very strong desire to win a position and take
part in implementing those ideas. Some did
and some did not realize their election goals.
This year’s candidate field was very large and
competitive. To those that didn’t win I say your
voices are wanted and needed. Our membership meetings, committees and social media
pages serve to keep all informed and more
involved in how our Local conducts its business. Everyone who took part in this election
showed leadership.
By the time you read this, our membership
will have decided on several critical issues at
the November membership meeting:
1) A vote to amend our current dues motion
and thus cause our dues to remain at $235 per
quarter for 2014;
2) A vote to amend a portion of our CB&L’s
that has prevented any changes whatsoever of
CB&L’s for over 30 years;
3) A vote to replace our old Membership
Program software and replace it with modern
software that will allow for integration of our
websites, adding tablet and smart phone apps;
4) A vote to credit $10 towards your quarterly
dues obligation if you attend membership
meetings from start to finish.
All of these Executive Board motions were
approved by the membership.
At this January’s Membership Meeting,
we will begin discussions on the availability
list, how it should evolve to better serve our
needs, how much of it our members wish to
see online, and how much access is desired,
or not, by everyone. We will discuss progress
on smart phone and tablet apps, web-site
integration. There will also be updates on the
progress of 728’s leadership efforts towards
organizing Hollywood IA Locals behind a
public relations and lobbying effort to bring
more production back to Hollywood. Already,
we have had action on the part of L.A. city
Mayor Eric Garcetti, who has appointed Tom
Sherak “ Los Angeles City Film Czar” to
coordinate the effort to bring attention to the
need for a more competitive state film and
television incentive program. He’s also been
asked to identify the obstacles and excessive
costs associated with filming in Los Angeles
that could be eliminated or made more attractive. Mayor Garcetti has signed legislation
that does away with city permit costs for pilot
programs shooting on location and wants the
same for first-year shows
We are moving in a direction towards
many changes within 728 and within our
industry. Now more than ever, your involvement is important as we seek to create more
membership involvement in all of our affairs.
- Pascal Guillemard
Local 728
Election Results
The Local 728 Election Results were certified
on October 29, 2013 by American Arbitration
Association. The results are as follows:
Ballots mailed to members:
Total # recieved for counting:
Ballots ruled ineligible:
Total # Ballots counted:
2417
830
30
800
VICE PRESIDENT
Greg Reeves381
James (Jimmy B) Bradfield
186
Roger L. Lattin
182
Blank/Voids
19
TREASURER/CALL STEWARD
Pascal Guillemard
568
Branch Brunson
213
Blank/Voids
19
EXECUTIVE BOARD (3)
Karen (KW) Weilacher
319
R. Bruce Prochal
256
Joe Gallo 196
Jim Krattiger (Krat)
160
Darryl “Sparky” Herzon
151
Jared Greenstein
149
Larry Freeman
143
Jeremy Schonwald
143
Augustus Gordon, Sr., (Gus)
139
Thomas Morash
136
Stephen Crawford
131
Michael Paul Orefice, Sr.
128
Nancy R. Boyer
72
Jonathan Epstein
52
Thomas Wostak (aka Flicker Jr.)
52
Blank/Voids 173
PAGE 2
President
Pascal M. Guillemard
Vice President
Greg Reeves
Business Rep-Secretary
Patric J. Abaravich
Treasurer-Call Steward
R. Bruce Prochal
Executive Board
James Bradfield
Branch Brunson
Larry K. Freeman
Darryl Herzon
Gina Isaacs
Greg Langham
Roger L. Lattin
Iain O’Higgins
Steve Mathis
David Watson
Karen Weilacher
Sergeant-At-Arms
Richard McConihay
Parliamentarians
Alan M. Rowe
Raymond J. Poblick
Safety & Training
Alan M. Rowe, Director
Shop Stewards
CBS - John L. Murray
Fox - Gina M. Isaacs
Paramount - Frank Valdez
Sony - John Jacobs
Universal - John Kennedy
Warner Bros. Gary M. Andersen
CLC Delegates
Patric J. Abaravich
Dennis k. Grow
Pascal M. Guillemard
Rick Kelley
Iain O’Higgins
S. Cricket Peters
Greg Reeves
Alan M. Rowe
Office Staff
Sean Harkess
Julianna Bessey
Claudia Smith
The Bulletin
Publisher
Margie Stites
Editor
Pascal Guillemard
Union
Spotlight
Volunteers Needed for Strategic Campaign to
Enhance California Film Tax Incentives
Destroying the Middle Class
Brick by Brick
Deceased
Brother Thomas Gonsalez,
61 years old, a member since
November 13, 1971, passed
away on October 19, 2013.
Brother Derek Touvell, 40
years old, a member since
June 6, 2003, passed away on
October 21, 2013.
Brother Stephen G. Apinis,
69 years old, a member since
Feb. 21, 1981, passed away on
November 6, 2013
Brother Robert DePerna,
62 years old, a member since
June 22, 1974, passed away
on November 7, 2013
First Notice
Ryan Babroff, Steven Jeffrey Bryant, Patrick Duffy,
Mark Farney, Eric Fleetwood, Carlos Leal, Julio
Cesar Lopez, Jason Meyers, Timothy ryan, Nathan
Schirmer, Sonoko Shimoyama and James Worman.
Second Notice
Christopher Andersen,
Craig Caserta, Casey
DeSmet, Zachariah W.
Ettlinger, Dana Hill, Axel
Lanzenberg, Greg LeFevre,
Lorne MacDougall,Robert
Roy Miller, Tyler Sanderson, Eric T. Tolzmann, and
Christopher M. Zorc.
New members
Congratulations to the
following new members who
were sworn in: on October
2, 2013 Paul Sartain and on
Nov. 12, Patrick Duffy.
ATTENTION MEMBERS
The next
General Membership
Meeting will be held
at 9:00 a.m. (sharp) on
Saturday, Jan. 11, 2014
IATSE Local 728
1001 W. Magnolia Blvd.
Burbank
PLEASE BRING YOUR
UNION CARD
IATSE LOCAL 728
1-800-551-2158
1-818-954-0728
by Patric J. Abaravich, Business Representative, Secretary
A
s we all know, jobs are leaving Hollywood
and going to other states and producers
are offering us more and more tiered work
with lower wages which are having an adverse effect on members. We all get it, things are bad here.
Negotiations get harder and harder, production
budgets are tighter and tighter and more shows go
to more states with better incentives so producers
can put more money back into their pockets.
I know it’s bad here, but it’s just not in Hollywood. There is a well-planned, well-funded, all-out
pursuit to destroy the middle class across this
country.
Just recently, the Wisconsin Supreme Court
heard arguments on whether or not a 2011 state
law that all but eliminates collective bargaining
for most public employees is constitutional. This
ought to be one to watch. A New York Times article explained it this way: “…Although the measure exempted police officers and firefighters, it
limited collective bargaining for teachers and most
local government workers so that only wages
could be negotiated, omitting other matters, such
as vacation days and sick leave, that had been part
of bargaining agreements. It also required annual
recertification elections for bargaining representatives and prohibited municipal employers from
deducting union dues from employee paychecks.”
The assault on labor in Wisconsin isn’t anything new. We’ve seen these kinds of attacks on
union members and the working class for decades.
What is new is that these kinds of assaults are
now coupled with massive efforts to suppress our
vote, keep working families under-paid and the
all-out pursuit to keep Americans from accessing
affordable health care (over 40 votes to repeal the
ACA in Congress and literally shutting down the
government to demand the defunding of ‘Obama
Care’).
There is no doubt there is a large, very
well-funded, anti-labor, anti-middle class group
willing to use their huge war chests to buy political
outcomes. It’s happening on the city, county,
state and federal levels from defunding public
education to enacting extreme voter suppression
laws, to viciously opposing any increase to the
minimum wage to repealing long-standing laws
protecting worker rights. And frankly, just when I
thought it couldn’t get any worse – it does. These
same groups, funded by billionaires and multi-millionaires, have even stooped so low to lie about
the Affordable Care Act and encourage people
not to go to the exchanges to try and get health
insurance.
PAGE 3
You have to ask yourself why … why would
the ultra-rich want to destroy what’s left of the
middle class? Why does big money want average
Americans uneducated, underpaid and unhealthy?
Exactly what is wrong with income equality,
collective bargaining, a strong voter turnout and
access to affordable healthcare?
There are certainly more than a few folks at
the top of the Forbes richest people list who are
funding some cleverly worded groups and organizations which are hell bent on completely sticking
it to the little guy making minimum wage.
Although things aren’t quite as bad in California or Hollywood compared to many other states
in the nation, we need to continue to fight. We’ve
literally battled over the years for every single benefit and fair wage increase we enjoy today. But, we
have to keep fighting. If we don’t pay attention,
we are going to get steamrolled. We have healthcare benefits and wages better than 99 percent of
the country, but we have to stay vigilant.
The biggest part of our effort is to enhance
our film tax incentives to get us on a level playing
field with other states. This campaign is going to
take a considered effort by many – not just a few.
We need members to go online and volunteer
for any one of a number of campaign tasks that
will make a huge difference in our success. Join a
co-worker or family member volunteering a few
hours to attend a public event supporting our
campaign; since many businesses and vendors are
also affected by productions leaving California,
we need volunteers to personally approach these
individuals to get their endorsement and support;
or simply take a few minutes to send a letter to
your state Assembly member and state senator.
Our local is working in unity with other California locals banding together, including reaching out to other industry unions and affected
vendors – actors, lumber mill workers, rental
houses – anybody our industry touches is affected
by this. We need everyone involved in a strategic
campaign with the goal to create an environment
so productions won’t want to leave California and
they’ll shoot their productions here.
Gaining strong legislation that will protect our
livelihood doesn’t happen all by itself. We need
better paying jobs. We need each other’s support.
We can’t do this alone. Go to www.iatse728.org
to download a volunteer form. The form is also
available on the website in the expanded edition
of The Bulletin on Page 10.
how i met
In 1966, Stage 22 was built at Fox Studios. Over the years, iconic film classics such as
‘Doctor Doolittle,’ ‘In Like Flint,’ ‘Planet of the Apes’ and ‘Nine to Five’ were filmed
at that storied location which shared the stage with some famed television standards like
‘The Fall Guy,’ ‘Anything But Love’ and ‘Dharma & Greg.’ In 2005, the vast space
became home for the CBS comedy ‘How I Met Your Mother.’ For the next nine years,
Local 728 professionals joined a host of craftsmen and women, a dedicated director, a
brilliant writing team, a supportive production company and an extremely talented cast
CLT Steve Blaich
Steve Blaich
How I Met Your Mother (HIMYM) is a
four-camera sitcom ‘hybrid’ which means
we light and rehearse for two days and block
and shoot for three – and we don’t have
an audience. Personally, I feel like this is
THE way to go. It’s also something that our
director Pam Fryman – who has done almost
every episode – has really perfected and it
just goes so smoothly and quickly.
A distinctive part of the show, and a great
selling point, it’s more of a story rather than
just an episode. I think the writers work
harder to get it right because we don’t have
an audience, and all the scripts are so heartfelt and funny. It’s a pleasure to read them.
This is for me for sure the best show I’ve ever
been on … the whole environment – cast
and crew.
I think what sets it apart is Pam creates
such an atmosphere of professionalism that
you can’t help but do your best work, and
everyone on this show is really good and
works very hard to do their best. Pam also
works hard to get everything right; you can’t
help but get onboard. Everyone who has ever
worked with Pam knows she’s just marvelous.
I’m also very blessed to work with Chris
La Fountaine. He is one of the best DP’s
in the business. But I just can’t say enough
about my crew. They are just fantastic.
This type of sitcom is hard work – every
time we are doing another flashback, but it’s
so rewarding and it’s also good to go to work
and to be challenged to bring out your best.
There have been so many memorable
sets and notable times set lighting really
outdid themselves. There was a scene early
in the show where the actors where taken
off a plane and put into a little room to be
interrogated. Chris and I decided to light the
interrogator with china lights from the nose
down while the actors were full lit. It worked
out very well. That was the first year … when
you get success in the first year you get a lot
of space in the coming seasons.
There’s just been so many different things
over the years you just start borrowing ideas
from what you’ve done in the past. We light
according to the demands of the set, but
having worked in commercials in the past
and having to come up with different things
has made some of this second nature. I once
had a DP that challenged me to try and light
a set with one light. Having to make one
light do multiple duty really challenged me.
Since the beginning, the show’s been
filmed in HD, 1080P. At first, the cameras
wouldn’t handle the contrast but the chips
got better over the years and we discovered
the tricks. It worked out well; we finally
got enough time and money in the budget
to silk our stuff. Regarding the budget, we
always tried not to spend foolishly but if we
needed something they trusted that and let
us have it. We kind of had a minimalism
approach on the lighting because really we
don’t have the time to go overboard. But,
the sets always looked good and the co-ex-
Keith Middleton
PAGE 4
ecutive producer Suzy Greenberg has always
made sure we had what we needed.
The success set lighting has had on this
show really comes down to my crew. They
are amazing. They can read my mind,
they’re self-motivated, and they get on it and
get it done. If I have a great idea and they
can’t pull it off, well then it wasn’t a great
idea. And Wil Krug has been one of the best
ACLT’s I’ve ever worked with. He takes care
of things that I don’t even know happens.
I’m blessed for sure.
We won’t be able to duplicate what we
have had here … sure, we’ll do good work in
the future and hopefully all be together, but
we’ll never be able to match this experience.
Wil Krug
HIMYM has been a great run. The nine
seasons have been just terrific. It’s a lot of
work and we put in our hours, but I’m really going to miss the show. The production
and Fox Set Lighting has been really good
to us. I’ve actually had tremendous support
from Fox. Many times I’ve called them
just as they were getting ready to close for
the day and they’ve gotten the equipment
ready for us. All the guys there – and the
rental agents – have been incredibly helpful
and supportive of the show.
We are not a typical four-camera show.
We have many more sets and equipment
needs so our budget is higher. But there’s
never been an issue when we needed something – from the bebee lights down on the
beach or the extra equipment we needed
for the museum shoot – production never
questioned it.
The scripts are 45-pages long and our
shooting is very fast paced. When I first
started, the sets at the beginning of the
week were the ones used for the entire
episode. Someone from the network loved
the flashback scenes and before we knew
your mother
to create a fast-paced, witty half-hour comedy that highlighted Monday night. In
February, the show will wrap and the stage will go dark marking an end to, by all
accounts, what was a fabulous run for everyone who had the privilege to work on the
show. There’s been much written about HIMYM, and much we could have written
about our members working on the show. Rather, we asked them to share with us – in
their own words – some of their thoughts and feelings about their time on what will
surely be remembered as a television classic.
ACLT Wil Krug
it the sets rigged on Monday and Tuesday
were shot and struck Wednesday, and Steve
and the crew had new sets to rig and shoot
Thursday and Friday. We actually had 17
sets in one episode. Fortunately, Steve is a
terrific and creative gaffer; he and the crew
knock those sets out every time.
Over the years, we’ve left the lot a few
times. I really enjoyed going to the Natural
History Museum a few years ago, and we’ve
been to the beach and just filmed at an ice
rink. We’ve done some pretty trick stuff
on the set. We rigged a subway train. Steve
came up with using fluorescent light tube
strung along the car to give it the idea that it
was moving. It was a battery operated light
that we attached to a PVC pipe. It was really
creative with all of the effects. That’s what’s
great about Steve. He figures out a simple
solution to a complex lighting challenge.
The crew has been with Steve long
enough that they know his basic lighting
ideas. Elena is, without parallel, an exceptional dimmer board operator. She really
knows it inside and out, and she’s very thorough. She keeps track of every scene we’ve
shot so we can reproduce it any time. Keith
and Kurt are great operators – they’re quick
and efficient. We’ve been lucky to have Mark
Ballentine as our location rigging gaffer, and
our regular day player, Michael Shanman,
who works really well with the team. The
guys have been doing this so long together
that the rig days go pretty quickly.
The only time the show is performed in
chronological order is when we do the studio
run-through on Tuesday afternoons for the
Fox and CBS executives. It’s also the first
and only time Steve has a look at it and he’ll
do all the blocking. Sometimes we don’t get
started until 2:30 or 3:00 in the afternoon …
Tuesdays are usually a late call for lighting
and grip. Steve and the crew fine tune the
sets and if any additional equipment is needed, the guys at the set lighting department
are always there for us.
I would be flattered to be asked back
with this crew again. They are all terrific.
And I would love to work on another show
with Pam Fryman. She’s wonderful. She’s
efficient and never wastes any time.
All of us have worked together so long,
it’s really been a very positive experience.
Like any family there have been little bumps
along the road but on very rare occasions.
Overall, it’s been really great.
Elena Scott
HIMYM films on two stages at 20th
Century Fox and we shoot on the Back Lot
of Fox and well as a few other locations. We
are on our last and final season, which by
definition it is not a true sitcom. HIMYM is
the first show that created this new format
which is labeled a hybrid. This means that we
shoot three days a week with no audience. A
true sitcom shoots two days in front of a live
audience.
What this does to our rigging schedule is
we only have two days a week to light all of
the swing sets. It’s normal for us to have up to
15 swing sets. This means that we light them
on Monday and Tuesday, shoot them out on
Elena Scott
PAGE 5
Wednesday. Wednesday night a whole new batch
of sets gets put in and we light them on Thursday
morning. After they are shot out, we get another
bunch of new sets for Friday morning, and the
cycle continues.
HIMYM’s main stage is Stage 22. It’s normally a 24-hour stage. Construction is being done
constantly. The feel of the show is more like an
episodic. In fact, most of the crew calls it a Sitisodic. That is our running joke onstage.
The Director of Photography is Chris
La Fountaine. He has won two Emmys for
HIMYM. We are very proud of that, since we
have all contributed to the look of the show. You
cannot find a better DP. He is a wonderful person
to work for.
I’m finding it sad that the show is coming to
an end. It has been a terrific run! I’ve never had
such an awesome experience in television. Every
department on HIMYM is truly incredible. “A”
team status all the way. We have such time limitations, and we all work so well together. Over the
years most of us have become great friends. We
hang out together on our time off and even camp
together. I actually enjoy coming to work; we all
have become family.
Within Set Lighting some of us go back almost
17 years. CLT Steve Blaich is such a gentle, funny,
kind, and super-talented man. He has been
lighting sets for around 40 years. He has one of
the best eyes I’ve ever worked with. What I love is
he shares his knowledge with the crew. He always
explains why he uses a certain lighting instrument, or why he places a lighting unit where he
does. We all have become a better crew for it.
What I truly admire about Steve is that he never
over rigs lights. He’s such a pro at lighting a set
that it’s never over hung. He knows exactly what
each unit is doing.
We only have two Set Lighting Technicians
on the show. They are lightning fast. It’s amazing
Continued on Page 7
Information About
Your Shows
Call Steward
Information
Any Local 728 member representing
the producer in filling calls or needing assistance, should contact the
Local office during normal business
hours. The Local’s normal operating hours are 8:00 a.m. to 6:00 p.m.
Monday through Friday.
If you need to hire prior to 8:00
a.m., after 6:00 p.m. or over the
weekend, please phone the Call
Steward at 818-438-0728.
Members seeking weekend work
should call the Steward at the Local
on Friday to put your name on the
Weekend Availability List.
Anyone who hires off roster or
hires any member who is not current with their dues without first
calling the Call Steward, shall have
charges filed against them and shall
be subject to the assessments levied
by the Trial Board if found guilty.
Our present contract work week
consists of any five (5) consecutive
days out of seven (7) consecutive
days.
by R. Bruce Prochal, Call Steward-Treasurer
“Technological progress has merely provided us with a more
efficient means for going backwards.”
- Aldous Huxley, author of “Doors of Perception”
G
reetings everybody! I hope this
Bulletin finds all of you in good
health and good spirits. The holiday
season soon approaches; may we all have a
good one.
Well, the town seems to be running
smoothly. Very few questions have come in
to me.
The payroll and studio reports I receive
indicate to me that the town is busy and the
lower number of members “on the books”
would indicate that as well.
With that said and the town busy, not
enough calls are being made to the Local
from ACLTs (Best Boys) and CRTs (Rigging
Gaffers) to justify the payroll and studio
reports that I receive.
As I have done nearly every month as the
Call Steward of this Local Union, I request
that every ACLT and/or CRT report their
shows, their crew and crew changes to the
Local.
This request is based on duties described
in the Local’s Constitution & By-laws as
follows:
“An Assistant Chief Lighting Technician …
must inform the Local daily of any changes in
personnel or location … .” (By-laws, Article 2,
Section 1, Paragraph b), pages 49 & 50).
These duties also apply to ACLTs and
CRTs on shows that are on distant location.
Fortunately, many ACLTs and CRTs do
report their shows, but there are not enough
reports coming in to justify the numbers on
the payroll reports.
Reporting your shows also includes
commercials, music videos and any other
work that may be in the jurisdiction of
IATSE Local 728.
In addition, reporting your show gives
the Local a record of your show and should
an incident or situation occur requiring the
Local to represent you or your crew, having
the information on the show in advance
will help the Local to better represent and
protect you and your crew.
As a reminder, the Local accepts faxes,
emails and over-the-phone reports of shows
starting and crew changes. There is really no
reason for you to not report your shows and
any changes.
That is all for now! RBP
You’re Invited!
Local 728
Holiday Party
Saturday, December 7, 2013
5:30 to 11:30 p.m.
Montrose Bowl, 2334 Honolulu St., Montrose
Kindly RSVP to Jarrod Hettler by 12/5: [email protected]
Join your Local 728 Brothers and Sisters as we ring in the holidays with a festive gathering. This year, the
City of Montrose Christmas Parade will take place the same night as our party. Please cut out the parking pass on Page 8 and tape it in the driver’s side front window. This parking pass should allow you to get
through any street closures you may encounter to park in the lot behind Montrose Bowl.
Full driving and parking details were emailed to all members.
The information is also posted on our website, www.iatse728.org. Members who plan on attending are
highly encouraged to review the driving and parking instructions supplied by the City of Montrose.
PAGE 6
728 to integrate online
training into course work
A
t our recent DMX Networking class,
we were going over all of the DMX
apps that are available for smartphones.
There are apps that can help you learn to tie
knots, calculate binary addresses, figure out
voltage drop, notify you of nearby lightning,
help you with your shop order, and if you just
want to play, there is an app that will allow you
to pixel map onto your (and your friends’) iPhones. There are a lot of online resources and
not only are they here to stay, they are getting
better.
There are a lot more resources than just
apps and Local 728’s Training Program aims to
take advantage of what the online world has to
offer. One such resource is lynda.com. If you
are unfamiliar with Lynda, it is an online library
of over 2,200 training courses on a wide range
of software, covering just about everything
from Basic Computer Skills through software
used for gaming. Some of the software that
benefits us includes Microsoft Photoshop,
Illustrator, Office, Apple iWork, Final Cut Pro,
by Alan M. Rowe, Safety & Training Director
Filemaker, 3D Studio Max, and Basic Mac and
PC Operating systems. There is something here
for every interest and every experience level.
I have made arrangements for a free twoweek trial in December for any Local 728
member who is interested in trying it out. The
first step in setting up the free trial is to get an
idea of how many members are interested in
participating. If you would like to participate in
the free trial, please send an email to [email protected]
iatse728.org with “Lynda Trial” in the header. Another change coming up is a proposal I
made to Contract Services to fund the integration of online training into our Skills Training
Program. I intend to make the “in-person”
classes more interactive by shifting much of the
“lecture” portions of our introductory classes
to an online format. Since most of the explanatory and background material (definitions,
theories, standards, etc.) will be covered in the
online class, this will enable us to spend more
time working with the equipment during the
“in-person” class. This material is important to
understanding the topic, so we will still review
it but only with a fraction of the time we
previously spent. More hands-on time equals
more familiarity and a greater understanding of
the subject. Members who do not have online
access can use the computer lab at the Local or
contact me directly.
We won’t know until February if the proposal is accepted but I am optimistic we will be
able to expand our training online and make
it more accessible. Also, online training is not
for everyone so we will still offer the lecture
classes, just not as often. It wasn’t that long ago that we didn’t need
all of these skills, but the only thing constant in
life is change. Our industry has changed a lot in
the past 10 years and I expect that it will keep
changing. For us to remain the leaders in our
craft, it is essential that we learn to exploit and
take advantage of these changes and make new
technology ours before someone else does and
tries to keep us away from it.
how i met your mother
continued from page 5
to watch them work. Even our day players are
phenomenal. Most of them have been with us
since the beginning. The bottom line is we all
have a good time together.
Wil Krug is so good at keeping the chaos at
bay. He’s a great supervisor and mind reader
most of the time. And he never complains …
great guy, through and through.
I’m not too worried about finding another
show, we always do. The hope is all of us can
stay together. I don’t want the chaotic fun to
end!
Kurt Sturgis
I’ve been on HIMYM for 8 years and this
is my fourth show that’s gone 200 episodes
or more. It’s been a really tough show – 80
scenes+ in 22 minutes which involves tons
of inter-changing sets throughout the week.
But I can’t stress how great this run has been.
It doesn’t happen often, but when it does it’s
wonderful. The crew, the attitudes, the camaraderie all added to the quality of the job. It’s
just not about the show but the people. And
everyone – not just set lighting – everyone on
the crew has been terrific. It’s been a good mix
of people.
I’ve worked on Coach, Frasier, and Facts of
Life with one or two swing sets a week – not up
to 10 or 15 a show! To date, and we’re not done
yet, we’ve had over 8,000 scenes on HIMYM.
Kurt Sturgis
PAGE 7
It will take us all day to set up a scene and it’s
on air for five seconds. By nature, when you
include that many scenes you know the writing
is superb. And Pam Fryman is one of the best.
It was a chaotic pace … certainly not a cakewalk but we had it down. My advice would be,
if you ever hear the word ‘hybrid’ run for the
hills! That usually means ‘ambitious!’
Mark Ballentine
Studio Electrical Lighting Technicians
I.A.T.S.E. Local 728
1001 W. Magnolia Blvd.
Burbank, California 91506
NONPROFIT
US POSTAGE
PAID
HUNT. BCH CA
PERMIT #438
Return Service Requested
Visit Your Local at
www.iatse728.org
MONTROSE
BOWL
PARTY
Local 728 Party * December 7, 2013
#
#
Need to know more?
You’ll find the answer inside.
The Local 728 Scholarship Program
Financing Our Future
BONUS
ARTICLE
by Executive Board Member Karen Weilacher
(All quotes are from parents of 728 Scholarship recipients)
T
he 728 Scholarship program was implemented in 1999
per the Membership’s approval. In the intervening 14
years, 109 students have received scholarships. The
maximum received for a single award is $5,000 with a minimum of $250. The Local’s annual budget is $35,000 to be
awarded.
“It’s no small relief for a working family to know that at least
books will be paid for with the help of one’s Union sisters and
brothers (especially in a country where the outstanding student
loans have now reached $1 trillion). The only shame is that costs
have put education practically out of reach for a majority of the
population, making private grants and loans the only option for
so many who are trying to advance their version of the “American
Dream”. - Iain O’Higgins
Those eligible for 728 Scholarships are high school seniors
who are the children of 728 members in good standing. This
includes stepchildren or children for whom you have legal
custody. Children of deceased members are also eligible as
long as the member was in good standing at the time of their
passing.
“When you are looking to send your kids to college every little bit
helps. The Scholarship takes a lot of stress off of the family when
you are trying to finance your children’s education. It is a great
process for the kids too, as they have to go in on their own and
present themselves to the interviewers. Knowing they received their
scholarships by their own efforts really builds their self-esteem and
confidence.” - Antar Abderrahman
The Local employs an independent firm to implement the
Scholarship interviews. The seniors must supply their SAT
scores and letters of recommendation are extremely important. Community service and extracurricular activities are also
considered. When the student appears for their interview
they are also judged on comportment and appearance. It is
as if they are on a job interview.
“The brothers and sisters of local 728 work long hours in this
industry, and sometimes they, as parents, may not be available to
consistently observe their children’s education. The scholarship reinforces the local’s strong family values and recognition of kids who
believe in working hard in school. I am very proud and grateful
that both of my sons received the 728 Scholarship. As a freelancer,
I never take my work for granted, and I believe they never took their
education for granted.” - Ken Booth
The 728 Scholarships are not limited to students heading to
a four-year University. All continuing education is applicable, including Jr. College, Trade and Technical Schools. That
means if your child is going to culinary, audio engineering or
make-up school, etc. they are eligible to apply for a Scholarship.
“First and foremost, I am incredibly proud of my son for his efforts
in the classroom, on the field and beyond, which have put him in this
position to receive a scholarship from Local 728. Secondly, and just
as important, I am proud to be a member of Local 728. The Scholarship Program of Local 728 is a prime example of a union giving back
to its members. The skyrocketing cost of higher education is making
it ridiculously difficult to afford to send your children to a four-year
university. It’s nice to know that Local 728 is there to lend a helping hand. It validates us as hard working union members. Through the years I’ve eagerly anticipated the release of the Local
728 Bulletin scholarship announcement issue. It was gratifying
to read about the successful children of my fellow colleagues. To
know that my son has joined this group makes my wife and me jump
for joy. Even if I did not have a child who could benefit from this
program, it’s reassuring to know that my Union is working for its
members.” - Brian McKinnon
Applications for the 728 Scholarship are available each October, either in our Union Hall Office or online at our website. All applications and relevant paperwork must be submitted
no later than December 31. The interviews usually occur in
mid-March.
Helping our members’ children further their education is an
opportunity to pay it forward. Not only are we able to lessen
the burden of our Union brothers and sisters, we are also
helping the next generation become more knowledgeable and
self-sufficient - and that helps everyone.
Editor’s’ Note: Local 728 members in good standing who have a
child graduating from high school in the 2013/2014 class are highly
encouraged to visit www.iatse728.org to investigate the Local’s
scholarship guidelines and download the application.
Yes, I Want To Help Bring Production
Back To California!!
I Volunteer to help by:
______
Sending a letter to my State Assembly Member and Senator
supporting Competitive Tax Incentives in California
______
Asking my family, friends and co-workers to send a letter of support
______
Approaching vendors/small business owners asking that they
endorse our campaign
______
Speaking to community/faith-based groups that I am involved with
and asking that they endorse our campaign
______
Participating in a delegation to visit my State Assembly Member or
Senator
______
Attending public events in support of our campaign
______
I have a compelling story about how my family and I have been
affected by the lack of work in Los Angeles and would be willing to
share my story with legislators
PLEASE CONTACT ME
Name:
______________________________________________
Address:
______________________________________________
Local:
______________________________________________
Email:
______________________________________________
City, State & Zip Code
Cell Phone: _________________________________________
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