Issue link: https://digital.copcomm.com/i/1475048
C A S Q U A R T E R L Y I FA L L 2 0 2 2 27 empty. Now, little by little, the producers are starting to think about returning to the services of Ukrainian Foley studios, but the process is very slow. We want to do what we love, but in the absence of orders, some people will have to leave the industry forever. It's a difficult time for sound production in Ukraine and the entertainment business itself. When the war comes, entertainment is no longer a priority. The number of shootings and premieres of films has decreased dramatically, given that many projects were financed from public funds. I believe the only way to stay afloat, and at the same time help the country win the battle, is to work together with foreign customers. Xenia: Lots of projects have been put on hold or relocated to other countries, so a lot of sound people have lost their work. Big films here are often financed by the government, and most of the cultural institutions have given away their budgets to fulfill the war needs, so there's no money to go on with productions in progress or to start new ones. I had been working with a lot of documentaries before the invasion, so that kept me busy when it started. With the local and international crews, we go out regularly to shoot what's happening because we understand the value of this. The world needs to know the scale of atrocities that Russia has been implementing on our homeland. We keep an eye on the news and come to film the aftermath of shelling and rocket attacks on cities, evacuations, funerals, charity events, defense training for civilians, and so on. Staying in the war zone made me discover how sound perception is changed by new conditions. Hearing helps you detect the danger and keeps you alert when something sounds like an explosion or a siren. I remember filming a camp for refugee children from the Eastern Ukraine in