Issue link: http://digital.copcomm.com/i/942009
36 CINEMONTAGE / Q1 2018 shoots, former negative cutter, assistant editor and Board member Christi Moore says, "I felt lucky just to listen." Currently, retired assistant editor and interviewee Irvin Paik keeps track of volunteer schedules and the status of interviews, as well as doing some sound and editing; "It's really a lot of interesting history," he adds. Working Guild members also learn from their volunteer work. On the interview set and cutting portions of interviews, assistant editor Emma DuPell finds that "hearing them talk about their struggles and accomplishments helps me understand what I'm going through. And learning about other post departments makes me think of what I can do to make it easier for them." DuPell first became involved with the archive in 2012 while working with the Guild as an intern. A pictorial display was planned for the Editors Guild's 75th Anniversary Gala and she helped to organize what had accumulated in the photo archive since 2007, when the call went out to members to submit pictures. "I scanned photos and logged them in a database," she recalls. "There were a lot of photos, about 10 to 15 from each member who contributed." With over 1,200 photos in the database, Holley said, "The [Guild] staff uses them from time to time to decorate at events, but we are really lacking in certain time periods. I wish I had every member shoot photos at work today, even if it means I don't get them for five years. Technology changes so fast it would be great to have a record." Holley also started organizing the physical archive, the third component of the Guild Archive. With the industry's dramatic shift in technologies, she feels it essential that Guild members have a means to understand the difference between handling film physically and manipulating it electronically. Over the last decade, Guild members and their families have donated equipment, mechanical art, film supplies and scrapbooks representing over a century of post-production technology. Moviolas, viewers, rewind benches, coding machines, click markers and spring clamps are all in the archive; hot splicers, tape splicers and synchronizers have their own display. Holley already has plans for a future exhibit called "The Splice of Life." Former negative cutter, assistant editor and Board member Christi Moore, right, serves as a production assistant of the Legacy Collection shoot of retired lab film technician Sally Aquila in 2015. Courtesy of Editors Guild Archive Retired sound editor Vicky Sampson, right, is interviewed by her daughter, Amy Rose Sampson for a visual oral history in 2014. Courtesy of Editors Guild Archive Opposite, top: A Click Marker machine, circa 1951, from 20th Century-Fox. It made click noises in the soundtrack when run through sound heads to keep beats and rhythms for the composer during the scoring session. Opposite, bottom: A vintage synchronizer from Twentieth Century Pictures, a studio that was only in existence from 1933 to 1935, when it merged with the Fox Film Corp. This piece is on loan from Joel Marshall of the Atomic Film Company editing supply house.