Issue link: https://digital.copcomm.com/i/1469942
on a Director or Producer's face when they realized what they had available at the tips of their fingers. They were thrilled that there was one place they could go to see everything happening at once. Anecdotally, the team got so used to seeing things in real time that whenever cameras were turned off and the signal broke, I'd be inundated with texts asking what was wrong. On one occasion, a battery swap resulted in more than a hundred texts from staff and crew who thought they'd lost the stream. To solve this, I created a handy Star Trek-inspired graphic that read, "Please Standby for Assimilation" so that Producers would know they weren't missing any of the action. This was appreciated, especially by my fellow Trekkies on the team. On location shooting proved much more challenging, especially on the day I found out that we would be set up on an insert car. The Director, DP, DIT, camera crew, and I were to follow the action and I had to stream it back to the production team while going 45 mph. There had been some debate as to whether or not I'd be joining them but a word from the Executive Producers settled the matter. They'd grown so accustomed to being able to watch every frame in real time that they weren't going to let a little thing like high speed vehicle logistics deprive them of that luxury. I'll never forget the moment when the DP pulled out his phone, read a text from our Showrunner, and asked, "How can they even see what we're shooting?!" Then he looked at me. I was fortunate in being able to take advantage of Local 695's Y-16A Trainee Program. Early on in production, a member of the COVID compliance team approached me and said, "Hi, my name is Vadym. Can I ask what you're doing on set?" I soon learned that Vadym Medvediuk was a political asylum recipient from the Ukraine and that he was interested in finding his craft on the set. With a little work, he became a part of the Local's program and became my trainee on the set. He was fascinated by the video assist system and was eager to help me in whatever way he could, so I decided to train him. Like my previous trainee (Antonio Rodriguez), Vadym was a hard worker and did his best to learn all the ins and outs of the video assist role. In many ways, this was the perfect show as it threw him right into the deep end right out of the gate. By the end of the show's run, I could entrust him to set up one stage while I worked on another and even run the second unit video assist while I pulled his signal and fed it to the Producers alongside my own. This resulted in a seamless integration where the production team could simultaneously watch both units work on a single screen. Now, after completing his stint on Star Trek, Vadym is in the process of becoming a Y-7 Engineer and has already begun doing video assist work of his own. I must say that in my dealing with this show, the support that I received from the Producers, the crew, and everyone involved was like nothing I had ever encountered working in the business before. The Star Trek family really was just that: a family. It was wonderful and it is and was one of the best and most professional crews in Hollywood. From the Executive Producers, Producers, Directors, DP's, and the legendary cast, it was such an honor and privilege to give my all to these two seasons on this remarkable show. Creatively, it was a treasure trove to walk into the Star Trek universe and know that from my job, I was able to create an impact on one of the most beloved shows this world has seen. The cast was stellar and there were so many laughs. Forever friendships were created, tears were shed, and love could be found all around. Thank you everyone involved for trusting me and choosing me to do this job. We really did become family on this set during a very unique time in history. We created some amazing storytelling, filmmaking at its best, and I can't wait to carry that future on other projects too. 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