Issue link: https://digital.copcomm.com/i/1538148
20 PRODUCTION SOUND & VIDEO – Fall 2025 Sitting down with Frank and Bill, I discovered that there were two production sound crews on the film. The first was John Carter and Boom Operator John McDonald, and Sound Recordist Bill Griffith, but because the film went over its shooting schedule, Production Mixer Albert D. Cuesta and Frank Meadows came in to finish the film. Frank was able to tell me that he boomed the iconic line from Roy Scheider, "You're gonna need a bigger boat," as well as the Indianapolis speech from Robert Shaw. Bill told me that during that scene, you can see the boom reflection in the cabin window behind Robert Shaw, but that was digitally removed in the subsequent restorations. Frank was also an avid photographer, pre-NDA days. He used his skills to capture some wonderful photos on Ektachrome, beautiful behind-the-scenes images. Recently, he donated this slide collection to the Academy, where it can be viewed by students and academics. After Jaws, Frank went on to become the Production Sound Mixer on many television shows, including Little House on the Prairie, Hunter, and T.J. Hooker. He also served as Business Agent in Local 695. Frank's father was Roy Meadows, who worked as an Engineer in the Universal Studios Sound Department from 1929 till 1933. In 1933, Roy moved into production sound, first as a Boom Operator and then as a Mixer at RCA/RKO Studios from 1933 till 1948. From 1948 until his retirement in 1974, he went independent and worked as a Sound Mixer for Universal, Paramount, Disney, and Fox. Roy, Frank, and Bill represent three generations working in sound, and Bill's son, Samuel, has expressed a strong interest in the "family business" that could be four generations! Regarding the sound equipment; Frank said that they used a Nagra 4L, two Sennheiser 816's, two 415's, four Vega radio microphones with Sony ECM 50's and a four-channel Perfectone mixer that was modified by Universal Studios. They lost a Nagra in fifty feet of water, which was recovered but was no longer usable. Steven Spielberg tells a story of the boat, the Orca sinking, with Production Mixer John Carter holding his Nagra high in the air as production rushed to get everybody off the boat, with no attention being paid to John's predicament! Listening to the production track in 2025 on the restored and remixed 4K version, I can honestly say I am in awe of the abilities of the production team working with a mono Nagra and a Perfectone mixer. In my earlier days, I mixed to a mono track, but today we are spoiled for choices when embarking on a project. Mixers John, Albert, and Boom Operators John and Frank raised the bar in what was possible in those days, and they go down in history for recording sound on a film that has endured for fifty years and will continue to influence future filmmakers. In September of this year, the Academy Museum will commemorate the 50th anniversary of Jaws with a unique exhibition dedicated to the film. It is the first of its kind to focus entirely on the film in an exhibition. Needless to say, I am incredibly excited about what will be a popular destination for Jaws lovers from around the world. 2024 CAS Awards Hoyt family residence with Robert Hoyt's Best Sound Oscar Signed playbill from Ian Shaw's award-winning play, The Shark Is Broken