Issue link: http://digital.copcomm.com/i/1014407
5 Q3 2018 / CINEMONTAGE VOL 7 NO 3 / Q3 2018 Editor – Tomm Carroll Art Director – Wm. Stetz/Stetz Design Accountant – Meleney Humphrey Proofreaders – David Bruskin, Bill Elias, Edward Landler COLUMNISTS Post Script – Tomm Carroll Getting Organized – Rob Callahan Labor Matters – Jeff Burman CONTRIBUTING WRITERS Mark Cappelletty David R. Esparza Michael Goldman Joseph Herman Steve Hullfish Debra Kaufman Mel Lambert Edward Landler Betsy A. McLane Peter Tonguette CONTRIBUTING PHOTOGRAPHERS Martin Cohen Elizabeth Fisher Christopher Fragapane Wm. Stetz Deverill Weekes ADVERTISING SALES IngleDodd Media Dan Dodd 310-207-4410, ext. 236 dan@ingledodd.com EDITORIAL OFFICES 7715 Sunset Boulevard, Suite 200 Hollywood, CA 90046 Phone – 323.876.4770 or 800.705.8700 Fax – 323.876.0861 E-mail – CineMontage@editorsguild.com Website – www.CineMontage.org PUBLICATIONS COMMITTEE A.J. Catoline (co-chair) Jeff Burman (co-chair) Bobbi Banks, MPSE Dorian Harris, ACE Frank Morrone, CAS, MPSE Kevin D. Ross, ACE Molly Shock, ACE CINEMONTAGE (ISSN 2165-3526) is published quarterly by the Motion Picture Editors Guild, IATSE Local 700, 7715 Sunset Blvd., Hollywood, CA 90046. Periodicals Postage paid at Los Angeles, CA. SUBSCRIPTIONS: $10 of each Editors Guild member's annual dues is allocated for a subscription to CINEMONTAGE. POSTMASTER: Send address changes to CINEMONTAGE, 7715 Sunset Blvd., Suite 200, Hollywood, CA 90046. The opinions expressed in this publication do not necessarily represent the official policy of the Editors Guild. CINEMONTAGE will not accept advertising from nonsignatory companies that perform bargaining unit work. We welcome editorial submissions and press releases. Contact Tomm Carroll, Editor, at tcarroll@editorsguild.com or at 323-876-4770, ext. 222. Copyright © 2018 The Motion Picture Editors Guild Printed by California Offset Printing, Inc. CINEMONTAGE by Tomm Carroll O ur nation and our union are currently roiling in the pro-or-con debate of upcoming elections. For the country, it's the biennial mid-term elections of our congressional representatives and senators as well as state officials in early November, which looks to be more divisive than ever. But more imminently, and eminently, for the baker's dozen of IATSE's Hollywood guilds — including Local 700 — it's the impending vote on the ratification of the tentative contract agreement by the IA and the Alliance of Motion Picture and Television Producers (AMPTP). For the record, the Editors Guild is wholeheartedly advocating a NO vote on ratifying the deal, as affirmed by a unanimous decision from our Board of Directors, setting itself apart from the IA and the leadership of its sister locals, which support ratification. I'll let our National Organizer Rob Callahan fill you in more about the tentative deal, the Guild's position on it, and our shared commitment to solidarity in his "Getting Organized" column in this issue (at least what has developed as of press time in early August). In decidedly less discordant news, our cover story comes courtesy of writer Mel Lambert, who talks to a seemingly tireless troika of soundmen — supervising sound editor Gary Megregian, MPSE, and re-recording mixers Joe Earle, CAS, MPSE, and Doug Andham, CAS — who work regularly on several primetime TV series, including FX's American Crime Story and American Horror Story (between which, each of them received a 2018 Emmy nomination). "Because we often have more than one show dubbing and airing at the same time, we're constantly up against air dates," Megregian tells Lambert about their packed post-production schedule. Also keeping busy on shows like CBS' Big Brother and Fox's The Four (sometimes concurrently) are the loggers and transcribers, little-known craftspeople who capture blow-by-blow and word-for- word accounts of who's doing and saying what in scenes in the reality TV genre. Four of these post practitioners described their fast-paced jobs to writer Debra Kaufman: Lisa Mackie, Paul Sivertsen, Telon Weathington and Ashkan Tabrizi — the last who explains to her, "In post- production, we're the first set of eyes and ears." To work in TV post is to be perpetually persevering. Take the editorial crew of Fox's sci-fi dramedy series The Orville: two picture editors (down from three last season), Tom Costantino, ACE, and Scott Powell, ACE, visual effects editor Rob Kraut, and their respective assistants, Hillary Wills, Bart Rachmil and Ian Morabito. All are at work on 15 episodes for Season 2 (up three from last season). The Orville is "an ambitious show for any network," Costantino confides to writer Michael Goldman, while Powell stresses to him that the show can only succeed by "emphasizing collaboration and teamwork" in its workflow, pointing out, "Production and post are all here together at Fox." And finally, back to the Guild, which this summer/fall is celebrating the 30th anniversary of its longest-serving staff members: Special Events Manager Adriana Iglesias-Dietl and Executive Administrator Lisa Dosch. For the occasion, writer Edward Landler interviewed the ladies, who tell him, "We both started here very young; we grew up with the Guild and matured right along with it." f Last Fair Deal Gone Down? POST SCRIPT