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 ine Bon us V ers ion ! 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 local728@ 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: _________________________________________