MPSE Wavelength

M OT I O N P I CTU R E S O U N D E D I TO R S I 9 H EA LTH BY PAULETTE VICTOR LIFTON MPSE Computer Vision Syndrome O kay, we all know that us sound editors stare at computer screens way too long, too many hours in a day, weeks in a year. This can cause computer vision syndrome (CVS). This pesky syndrome causes a whole range of problems. Research shows that between 50 percent and 90 percent of people who work at a computer screen have at least some symptoms … which most likely mean you do too! How Do Computers Aect Vision? CVS is caused by repetitive eye motion, similar to carpal tunnel syndrome; the symptoms start because your eyes follow the same path over and over. In editing, we have to focus and refocus all the time. Your eyes react to images constantly changing, shifting focus, sending rapidly varying images to the brain and over time can stress your eye muscles. Then you add the monitor screen's contrast, flicker, and glare. Then we start blinking less frequently which causes the eyes to dry out and can blur your vision. Now let's add age to this! Somewhere around age 40, your eyes become less flexible and your ability to focus on near and far objects will start to go away (presbyopia). What Are the Symptoms? There's no proof that computer use causes any long- term damage to the eyes. But regular use can lead to eye strain and discomfort. You may notice: • Blurred vision • Double vision • Dry, red eyes • Eye irritation • Headaches • Neck or back pain If you don't do anything about them, it could affect more than your eyes. You could become a grumpy editor! A few simple changes can help! Cut the glare. Change the lighting around you to reduce the effect on your computer screen. If light from a nearby window casts a glare, move your monitor and close the shades. Indirect and even Rob Walker AMPS The Association of Motion Picture Sound Rob Walker is the Chair of AMPS, the Association of Motion Picture Sound based in the UK. He is a freelance re-recording mixer and sound designer working on film and TV in the UK, Germany and France. Nicolas Becker Sound of Metal Nicolas Becker is a leading French Foley artist and sound designer, with credits on hundreds of top-flight movies, such as Batman Begins, Arrival, Harry Potter and the Goblet of Fire, The Impossible, Hellboy II: The Golden Army. He is a two-time MPSE Golden Reel Award Winner for his work on Gravity (2013), and Micmacs à tire-larigot (2009). Becker is also a research and development consultant for many studios and firms who create audio software. He regularly teaches in film schools, including La Femis in Paris and the NFTS in the UK. He is also a member of the band, Manasonics. Steve Fanagan MPSE Radioactive Steve Fanagan is an Emmy-nominated sound designer, supervising sound editor, and re-recording mixer who has strengthened a broad spectrum of projects across film and television. After serving as sound effects and Foley editor on the first season of Game of Thrones, Steve was recognized for his craft with an Emmy nomination and an MPSE Golden Reel Award; Steve's work can be heard across all 10 episodes of the season. In 2016, he was nominated for an HPA Award (Hollywood Professional Association), an International Music+Sound Award and an MPSE Golden Reel Award for his work on Lenny Abrahamson's Oscar-nominated drama, Room. Steve is a member of BAFTA, the European Film Academy, Motion Picture Sound Editors, and the British Independent Film Awards. He currently resides in London and works between there and his native Dublin. Visit Steve's IMDb page for his full bio. https:// www.imdb.com/name/ nm3287837/bio?ref_=nm_ ov_bio_sm

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