Issue link: https://digital.copcomm.com/i/1335892
42 I M PS E . O R G way. Make sure you keep in touch with your colleagues not only when you're looking for work, but also when you're not. Keep the relationships true. If you only call when you need something, people will eventually figure it out (usually it doesn't take long) and they'll avoid you, but if you build and nurture true generous relationships, you'll do well and make some great friends on the way. Give of yourself when you can, and don't keep score. Like the Beatles said, "And in the end, the love you give is equal to the love you make." Those are words to live by. The more you give to those around you, the more will come back to you. 6. PLM: What are you currently working on and how has COVID aected your work? SR: I've been very fortunate to keep busy despite the pandemic. I was actually on hiatus from my Amazon show when the pandemic hit. I wanted to do something to help so I created this fundraiser video mashup of Bridge Over Troubled Water & What a Wonderful World (https:// youtu.be/IvVc8BEznqs) to benefit MPTF's COVID-19 Relief Fund. We brought together over 80 musicians who each recorded themselves remotely. It got a bit of attention, and then the phone started ringing and I've stayed busy since. I just finished music editing my fifth film for the Welcome to the Blumhouse anthology series. I also scored a gorgeous independent feature called Monologue. I'm working on Season 2 of Stargirl. I'm very excited to be back on that show —I love the team I get to work with. I'm also music editing Season 2 of Creepshow with composer Christopher Drake, who I met on one of the Blumhouse movies earlier in the year. COVID has certainly created some challenges, though it hasn't affected me as much as some. I was already doing most of my work from my home studio. I'd go in for spotting sessions, meetings, scoring sessions, and mixes, but otherwise, I was already working from home. Due to COVID, spotting sessions now take place on Zoom, and with one exception, I haven't been on a scoring or mixing stage since the March shutdown. Having to do remote recording instead of in-person sessions is different. There's a lot more editing of the tracks when they're recorded remotely. It's also challenging because before COVID I could present ideas to a director or filmmaker in person and we could discuss notes and even try stuff in real time but we can't do that as easily anymore. I've done a few live sessions over Zoom, where I share my screen, and then I stream the audio via a plug-in called Listento by Audio Movers which allows me to stream hi-quality audio to anyone directly from my DAW. Funny story, when working on In Wonder we did a big review session like this with the producers and Shawn. When it was done, I worked on doing the changes and a couple of hours later, I reconnected via Zoom with the producers and director to play them the changes. We were using the same Zoom link as before, and one of the producers and I were waiting for the others to join. The producer asked me to play him what I had done while we wait, so I did and suddenly Shawn joined the Zoom unexpectedly and exclaimed he loved it! We were confused, how could he possibly have heard it? Turns out he never shut his browser window that was streaming my audio, and so he heard the music. So, I learned I have to be careful and to make sure to turn off the transmission when doing this, though in this particular case it worked to our benefit. PLM: Thanks so much, Shie! Wishing you a happy, healthy, and successful 2021! L-R: RZA, Rozow and Johnell Young. Photo by Lumos PR