Issue link: https://digital.copcomm.com/i/1335892
M OT I O N P I CTU R E S O U N D E D I TO R S I 89 We've just celebrated our 23rd awards—until now, they've all been held in Sydney. Historically, that has been because that is where the majority of our members are, but there is no other reason for the location. The 2020 awards were an online event, but we did stream them from a venue in Sydney, provided by one of our sponsors (Trackdown). And although it was a successful event, we would much prefer to go back to a communal celebration—while keeping some of our learning around live-streaming for those that can't make it on the day. The awards recognise the work of all our members. So, there are categories for advertising, documentary, interactive media, television, and features. And for all the craft areas covering production and post-production. The final award for the ceremony is the soundtrack of the year, and that includes nominees from features, television, and documentary. How did the global pandemic impact the awards show this•year? In March, the big question was not how we might do the awards, but whether we should do them at all. We surveyed our members, and it became very clear that people wanted them to go ahead, and also that there would be more than enough entries in most categories to hold a meaningful event. By May, we had decided that we should hold them somewhere around our usual date in November, but we had serious doubts that we would be able to host a physical, in-person Top: Sound editors Nigel Christensen and Ariella Broyda help test sound and picture Center: COVID restrictions in South Australia meant that Tom Heuzenroeder hosted an online watch party—an Inception-style event within an event Bottom: South Australian members and guests Victor Ivchenko, Carlos Manrique Clavijo, Duncan Campbell, Tom Heuzenroeder, Yvonne Murray, Stephen Goldsmith, and Leah McKeown