Issue link: https://digital.copcomm.com/i/1475048
26 FA L L 2 0 2 2 I C A S Q U A R T E R L Y What is your experience with international projects? Do you often collaborate with other countries? I can imagine those relationships must be so important, especially in these times. Xenia: I mostly work in film, but sometimes there are also commercials and educational projects. Along with local gigs, I have been working with film crews from other countries—the US, UK, France, and Slovakia. I find any opportunity for international collaboration an amazing experience. It allows you to think unconven- tionally, to learn the useful shortcuts that aren't traditional for professionals in your country. I work with crews from abroad now as well and we have people from all around the world coming to capture different aspects of our new harsh reality. Dmytro: Almost all of my experience is connected with foreign projects. This year, we're planning not only to record Foley for outsource, but also do SFX, sound design, music, and mix. Most often, we work with Europe and the US, but sometimes there are clients from Asia and Australia. A lot of inexpensive films are shot in Ukraine, so not everyone can afford to record Foley. Of course, there are a lot of well-made movies here—our documentary school is considered one of the best in the world—but the budgets are on the level of indie films in the United States. Despite this, there were several great projects, [including] Me. You. He. She. in which our president, Volodymyr Zelenskyy, had the leading role. What has happened to your career since the war started? What's become of the projects that were put on hold? Dmytro: It seems that all the projects have been sucked in by a big black hole. The first months were completely Xenia Vinogradova aurally documenting the destruction.