Issue link: https://digital.copcomm.com/i/1538148
30 PRODUCTION SOUND & VIDEO – Fall 2025 out, that part of the take would be no good for image and sound simultaneously at village. If it was bad for us, it was also bad for camera. Fortunately, a few test runs ironed out most of the kinks, and the entire system performed as intended on the day. After three days of filming, the company achieved what we set out to achieve, and "The Oner" was a great success. I'd also like to mention Episode 108, "The Golden Globes," as it was a stunning tribute, not only to Hollywood's awards season, but to the technical abilities across the entire Local 695 community. The producers wanted to closely mimic the actual look and feel of the Golden Globes. Our regular cast and incredible cameo stars would be working with all the elements of a real broadcast, with glorious lighting, massive video walls, live PA, and audience participation. Much the same way that Sal Sapperstein became the star of the Golden Globes in our fictional universe, IATSE Local 695 crews were stars in the making of "The Golden Globes" episode. There was a great amount of 695 representation for a television series. In addition to our four-person sound crew and Alfie's video playback and monitor crew, we had a 24-frame video/ graphics playback team. Matt Brucell was Video Supervisor, Justin Edgerly and Justin White were the Video Engineers, with David Santos doing video playback for them. Seth Rogen driving his convertible This episode was filmed at the Beverly Hilton Hotel. We started with a limo arrival and grand entrance across the red carpet, into the hotel, and then through the lobby to the theater where our Golden Globes show would take place. Cole Bluma boomed the arrival lobby sequences, with me mixing, and Kelsey Nie filling the utility sound role. Nick Allen was inside the auditorium prepping the stage "Oscar Mic" and PA system for the following day's work. The next few days, we moved into the auditorium and shot the actual award sequences. Nick boomed, Kelsey wired, and Cole operated the onstage "Oscar Mic" and PA system. Although our stage design didn't allow for the telescoping stage mic that retracts into the floor, our esteemed Property Master Andrew Siegal was able to source the mic in a floor base model. All the many elements came together beautifully in the end, and it was truly spectacular, loaded with pageantry. As was the entirety of The Studio; stolen moments at the Golden Globes, the search for a missing reel, a clandestine wrap party, or a fateful meeting with a director, the series spins a journey through the cinematic landscape and has been called Seth and Evan's love letter to Hollywood. Getting to be part of a project that pays homage to our own work as filmmakers has been a fabulous opportunity. Being able to accomplish it with such fine professionals in every position was an absolute joy. We all look forward to more adventures in Season 2!