soundtrane Posted March 7, 2010 Report Share Posted March 7, 2010 it if was a 60 day shoot and i did 55 days of the project and someone else did 5 days, how would the credits be listed legitimately? -vin Quote Link to comment Share on other sites More sharing options...
berniebeaudry Posted March 7, 2010 Report Share Posted March 7, 2010 I would think you would be first in line called location sound recordist, or production sound, whatever they call it on the given project. Then the other person would have the word additional in front of the sound credit ie: additonal production sound. That's the way I've seen it done in documentary type situations. Best, Bernie it if was a 60 day shoot and i did 55 days of the project and someone else did 5 days, how would the credits be listed legitimately? -vin Quote Link to comment Share on other sites More sharing options...
studiomprd Posted March 7, 2010 Report Share Posted March 7, 2010 unless otherwise specified (contractually) the screen credits are typically at the sole discretion of the producers... they could very legitimately just list both names under Production Sound Mixer (or whatever title they choose) I suspect there is more to this question... Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted March 7, 2010 Report Share Posted March 7, 2010 Regarding screen credit for sound, this is definitely up to the discretion of the producer. Unless you have a personal contract (rare for sound people) that stipulates screen credit, there is no requirement for any credit to be given to sound people. We have had many discussions over the years with our Union (the I.A.T.S.E.) about this but nothing has ever been done about it. I seriously doubt that anything could be accomplished at the Local 695 level --- it would be something that the International would have to address (and doubtful that they would). All of this, of course, would not necessarily have any affect on non-union work. I am reminded of the conspicuous omission of Crew Chamberlain's credit on "Flashdance". "Grunt, the Dog" got screen credit but not the Boom Operator. (Grunt must have had it in his contract). Quote Link to comment Share on other sites More sharing options...
RPSharman Posted March 7, 2010 Report Share Posted March 7, 2010 If you are worried about you and the additional mixer being listed equally, I would simply ask the producers if they plan to issue credit to both you and the additional mixer. If so, "Would it be possible to please list the credits as Production Sound Mixer and Additional Production Sound?" My guess is that they were planning on just listing you, but as Jeff wrote, sometimes it's odd who is listed, and where. Robert Quote Link to comment Share on other sites More sharing options...
old school Posted March 7, 2010 Report Share Posted March 7, 2010 I hold no anger for that fucking dog, though he was a mangey cur.;-) CrewC Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted March 7, 2010 Report Share Posted March 7, 2010 On almost all films I've worked on w/ multiple soundies, they are listed in order of amount of work done on the film. I've never understood the "additional" thing--if I was the mixer on some days then I'm not additional--I was THE guy for that time period. If someone else did more days than me then list him or her first. If what I was doing was 2nd unit, or a short-time location of the first unit (as is often the case in films that shoot in multiple cities) then I should be listed as the mixer of that "unit", along w/ the other locals who only worked at that location. Philip Perkins Quote Link to comment Share on other sites More sharing options...
Laurence Posted March 7, 2010 Report Share Posted March 7, 2010 Jeff, regarding your suggestion that the IA might someday address the issue of screen credits... everything has a price. One could ask for it in negotiations, and possibly succeed, if something of greater value were offered in trade for it. What would we be willing to give for it? From that perspective, you can see why it hasn't happened yet. Laurence Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted March 7, 2010 Report Share Posted March 7, 2010 Jeff, regarding your suggestion that the IA might someday address the issue of screen credits... everything has a price. One could ask for it in negotiations, and possibly succeed, if something of greater value were offered in trade for it. What would we be willing to give for it? From that perspective, you can see why it hasn't happened yet. Laurence Fully aware that it hasn't happened, and for me personally I feel there are much, much more important things to negotiate (or "trade" for) with the producers. We have lost so much already (through negotiations or whatever they want to call it) if we had to give anything up to address the screen credit issue it would be too high a price. - JW Quote Link to comment Share on other sites More sharing options...
old school Posted March 8, 2010 Report Share Posted March 8, 2010 Thanks RVD, I forget not everyone knows the story of Grunt. Yesterdays papers I suppose. Who wants them. I went to the funeral. A sad affair indeed. None of Grunts co stars were there. No one from Paramount was present, not even Jerry Bruckhiemer who Grunt and Jennifer Beals and the other top actors worked so hard for to put he and Don Simson on the map with their 1st feature. Thats Hollywood for you. CrewC Quote Link to comment Share on other sites More sharing options...
Guest Ken Mantlo Posted March 8, 2010 Report Share Posted March 8, 2010 I have so many great comments I can write but I'm trying to turn over a new leaf. Too bad, cause they're good stuff. Signed, A new and improved (though less entertaining) Ken Quote Link to comment Share on other sites More sharing options...
studiomprd Posted March 8, 2010 Report Share Posted March 8, 2010 Ken, come on, please!! Quote Link to comment Share on other sites More sharing options...
André Boisvert Posted March 9, 2010 Report Share Posted March 9, 2010 I have so many great comments I can write but I'm trying to turn over a new leaf. Too bad, cause they're good stuff. Signed, A new and improved (though less entertaining) Ken People who find things objectionable are more likely to post a reply than guys like me who laugh at it and move on to the next post. You got a good smile out of me for the picture in "View from the Office". C'mon, Ken. Hand over your good stuff. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted March 9, 2010 Report Share Posted March 9, 2010 Jeff, regarding your suggestion that the IA might someday address the issue of screen credits... everything has a price. Screen credits are a real touchy subject in post, too. There are hundreds of features and TV series I worked on, sometimes for over a 100 hours, and got absolutely zero credit. Once in awhile, there would be a post credit -- "Post Production by Complete Post" or something like that -- but the four or five people who actually performed the work got zip, zilch, nada. (But then, as my boss would often remind me, "we spelled your name right on your paycheck, right?") In union situations, the two (now-defunct) local 695 video post houses I worked for in the 1980s had no leeway on credits, either. It was technically in the contract we had with each client, but somehow, our names often seemed to slip onto the cutting room floor... --Marc W. Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted March 9, 2010 Report Share Posted March 9, 2010 I was trying to find the year that the individuals who actually worked on the soundtrack for movies started to get screen credit. Prior to some year, and it may be as late as the 1950's, the screen credit for SOUND was the Sound Department of the producing studio. "Sound by Paramount Pictures" or "Sound by Glen Glenn Sound" (Glen Glenn actually being one of the first independent sound facilities), these sorts of credits were quite common. - Jeff Wexler Quote Link to comment Share on other sites More sharing options...
cmgoodin Posted March 9, 2010 Report Share Posted March 9, 2010 I was trying to find the year that the individuals who actually worked on the soundtrack for movies started to get screen credit. Prior to some year, and it may be as late as the 1950's, the screen credit for SOUND was the Sound Department of the producing studio. "Sound by Paramount Pictures" or "Sound by Glen Glenn Sound" (Glen Glenn actually being one of the first independent sound facilities), these sorts of credits were quite common. - Jeff Wexler That's still the case when it comes to Video Playback on TV Series. I've been sole Video/computer playback engineer on "Dexter" for 3 seasons and on such shows as "Big Love", "Cold Case", "Saving Grace" and a few others. I don't think I've ever received a screen credit on any of these TV series. Although on episodes I worked on, the Lamp operators, every driver, stand-by painter, Caterer's assistants, pa's and even unpaid interns got screen credit. But the credit for Video playback just said "Intervideo" or Warner Brothers Video or was absent completely. All the checks cleared and I'm able to accrue enough hours to stay qualified for Union Health insurance though. Screen Credits are so tiny and speed by on TV series so fast the only way to read them is to TIVO them and freeze frame. Then it is even a challenge as they are squeezed to 1/4 the screen and the font size drops below the compression noise level for tv transmission. ----Coutney Quote Link to comment Share on other sites More sharing options...
RPSharman Posted March 9, 2010 Report Share Posted March 9, 2010 In the "old" days, the screen credit was in front of the movie. Could you imagine having to sit through all the names that get credit now BEFORE watching the movie? Getting a screen credit used to be an honor, a contribution worthy of your name being physically PART of the film. I like that idea. Robert Quote Link to comment Share on other sites More sharing options...
Richard Lightstone, CAS Posted March 9, 2010 Report Share Posted March 9, 2010 Jeff, The first year the Motion Picture Academy acknowledged the Mixers and not the "Sound Director" for the Sound Nomination was 1969. The winner was "Hello Dolly", Jack Solomon was the Production Sound Mixer, Murray Spivack Rerecording Mixer FROM AMPAS: Notes: From the 1929/30 Awards through the 1968 Awards, the award was given to the studio sound department and not to any individual(s). Beginning with the 1969 Awards, the award was given to the person(s) who actually recorded the sound.] Studio Sound Departments [Applies only to the 1929/30 (3rd) — 1968 (41st) Academy Awards (see note above)] MOST NOMINATIONS (indicates number of awards) 17 Columbia Studio (John Livadary) [3] 16 Samuel Goldwyn Studio (Gordon Sawyer) [3] 15 Metro-Goldwyn-Mayer Studio (Douglas Shearer) [5] 15 Warner Bros. Studio (Nathan Levinson) [1] 12 Paramount Studio (Loren L. Ryder) 10 20th Century-Fox Studio (E. H. Hansen) [1] MOST AWARDS (indicates number of nominations) 5 Metro-Goldwyn-Mayer Studio (Douglas Shearer) [15] 5 Todd-AO (Fred Hynes) [7] 3 Columbia Studio (John Livadary) [17] 3 Samuel Goldwyn Studio (Gordon Sawyer) [16] 3 Metro-Goldwyn-Mayer Studio (Franklin E. Milton) [6] 3 20th Century-Fox Studio (Thomas T. Moulton) [5] Individuals [Applies only to the 1969 (42nd) — 2008 (81st) Academy Awards (see note above)] MOST NOMINATIONS (indicates number of awards) 20 Kevin O'Connell 14 Donald O. Mitchell [1] 13 Andy Nelson [1] 12 Les Fresholtz [2] 12 Greg P. Russell 11 Rick Kline 11 Richard Portman [1] 10 Robert Knudson [3] 10 Michael Minkler [3] 10 Randy Thom [1] MOST AWARDS (indicates number of nominations) 4 Bob Beemer [7] 4 Mark Berger [4] 4 Scott Millan [7] 4 Gary Rydstrom [6] 4 Gary Summers [7] 3 Robert Knudson [10] 3 Gregg Landaker [7] 3 David MacMillan [3] 3 Steve Maslow [7] 3 Michael Minkler [10] 3 Chris Newman [8] RL Quote Link to comment Share on other sites More sharing options...
studiomprd Posted March 10, 2010 Report Share Posted March 10, 2010 " screen credit for SOUND was the Sound Department of the producing studio. " and what bothers me today, as I watch old movies is particularly: " Metro-Goldwyn-Mayer Studio (Douglas Shearer) " and " Metro-Goldwyn-Mayer Studio (Franklin E. Milton " as it seems these two individuals took personal credit on each and every movie (and even shorts!) from the old MGM!! In recent years I have been offered "screen credit" if I'd work for "weekly rates" instead of "daily" ... don't bother to look them up!! " Screen Credits are so tiny and speed by on TV series so fast the only way to read them is to TIVO them and freeze frame. Then it is even a challenge as they are squeezed to 1/4 the screen and the font size drops below the compression noise level for tv transmission " I find this particularly insulting. they don't do that with all the "above the line" credits, managing to annoy all the viewers, most of whom do not care about this stuff, with the names of all 13 or more "producers". anyone who wants or needs to know can get the info... this is magnified by taking up space and time in the promotional material (especially ad's) where all these contractual credits must appear. and as to those hi-speed miniature credits, eother it should be there, or eliminate it, but doing that to them is, frankly, an insult! Quote Link to comment Share on other sites More sharing options...
RPSharman Posted March 10, 2010 Report Share Posted March 10, 2010 Yes, it is annoying that several minutes of the beginning of any network show has the producer credits popping up during the first scene, which is supposed to be introducing the plot. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted March 10, 2010 Report Share Posted March 10, 2010 and when the show ends, I know all the viewers around the country are asking themselves: "Who was the Executive Producer of that ??" yeah, in their dreams! Quote Link to comment Share on other sites More sharing options...
studiomprd Posted March 10, 2010 Report Share Posted March 10, 2010 " I don't think that you should be upset by the credits on the older films " you are right, of course, and my choice of words poor... I realise that Bill Tuttle did not do all the makeip on every picture, though I'd consider his role was probably much more more on each picture that Doug sending out Frank (or Jeff, or Fred...) on the show... It was the old system, but the DP's got credit on the movies they shot, even back then. Quote Link to comment Share on other sites More sharing options...
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