Issue link: https://digital.copcomm.com/i/1262492
45 S U M M E R Q 2 I S S U E F E A T U R E provided each editor with a 6-terabyte drive with footage, music, and graphics, and a 2-terabyte drive for rendering. We used a folder structure on Box.com that mirrors our projects, so when we share bins, we upload them to the same folders on Box as we would in our proj- ects. Using apps like Zoom, we have been able to share bins, upload cuts, get notes, communicate with our teammates, and even host a weekly cocktail party so that we can keep the camaraderie going. This new workflow has definitely added to the amount of work that assistant editors are responsible for, but we are up to the challenge! F. Hudson Miller S O U N D E D I T O R / M P E G V I C E P R E S I D E N T Q What was your professional situa- tion when you realized a shutdown was coming? On March 20, I was informed that Warner Bros. would be shutting down indefinitely, and I was asked to take over sound effects editorial work for [the CBS show] "All Rise" from my home. I had just upgraded my computer to a 64-bit Mac Mini, thus making my home ProTools completely obsolete. However, over the next five hours, I downloaded a new ver- sion of ProTools Ultimate, ordered a new 64-bit audio interface, and was cutting by 8 a.m. Saturday morning. It was a hectic evening, but after 30 years in Hollywood post, you learn how to line up the ducks in a big fat hurry. Q How do you think the Guild should reach out to members during this difficult time? Since it's unclear how long this situa- tion is going to last, the Guild and the IA need to be proactive in establishing safe work standards as we begin to return to work. A great many members have jobs that can be done from home. It is reasonable to expect that those who are able to work from home should continue to do so until the virus is no longer a serious threat. While some classifica- tions can be more difficult to adapt to the work-at-home model, a great many of us—with creativity, flexibility, and technology—never missed a beat in the transition to home studios and offices. Additionally, we must ensure that those who work at home are appropriately compensated for the large equipment and library investments they have made for the benefit of employers. We must also seriously consider that younger and less established members may be at a significant disadvantage in the work-at- home scheme; it can be a financial hurdle for those who don't have resources. Rick Owens F O L E Y A R T I S T Q What was your professional situa- tion when you realized a shutdown was coming? I was in the middle of two projects w h e n t h e s ta y- a t - h o m e o rd e r c a m e down. On "NCIS Los Angeles" (CBS), we still had three episodes in the pipeline. Our supervisor gave us the option to com- plete the episodes, or if we felt unsafe, we could opt out. As a crew, we discussed it and agreed that we would take the nec- essary precautions to ensure a clean and safe working environment. We kept our social distance as much as we could, wore masks, and sanitized everything. I was also in the middle of a feature animation project at Sony. The studio made the deci- sion on our behalf, and informed us they were going to shut the lot down. Though we only had five days left to complete the project, the studio made it an easy choice—it will be good to be back on the show when the time is right. Q I've kept my sanity by: Staying in touch with my friends and colleagues. I try to focus on gratitude for having a family that I get to be a part of and for having a career that satisfies my creative mind. Jesse Dodd A D R A N D F O L E Y R E - R E C O R D I N G M I X E R Q What was your professional situa- tion when you realized a shutdown was coming? I was in the middle of group ADR ses- sions for several shows that particular week—I have been working on "Chicago Fire," "Chicago Med," "Chicago PD," and "Good Girls" recently. It was very disruptive on several levels, especially considering that this specific part of our medium needs to be done in a group set-