Issue link: https://digital.copcomm.com/i/1492834
24 C I N E M O N T A G E F E A T U R E Sunday, it was basically midnight when we stopped and we locked all of the packages. Each editor has between two or three pack- ages. It gets a little easier as the run goes on, I suspect, as teams are eliminated. Wednesday, Thursday, Friday, I'm at home just working with my producer. He or she is telling me when footage is coming in and still photographs, and we're asking the field team to get pickups. It's very "fly by the seat of your pants," getting these packages done, and essentially, at the end of each day, whatever time that may be, we're popping whatever we have into a screening folder and the executives are watching where we are with it every day. Then they'll have discussions about, "Okay, we're not hitting this beat, we're not feeling this moment," so that when they do have the talent again, they can ask for those moments. CineMontage: Is there any cleanup that happens after the live show before it goes on the streaming platform or does it ap- pear just as it was originally broadcast? Fogwell: As far as the actual live show, the dancing, there's no cleanup. That's just whatever went to air is what we are working with. In terms of the packages we're doing, we finish Sunday night, and then that goes to an online person who cleans up the imagery. If there's anything wrong with the graphics, they'll have a quick polish of that and then, of course, a very quick audio mix to make sure it's all legal and sounding correct, because when you have a whole bunch of editors all working in different projects and styles, audio levels can be all over the place. The last show I worked on was a Netflix show, which isn't going to be on air until 2023, I believe. I worked for two months on just one segment of the nine episodes, so it's a very different style and pace of editing, which I love. I love it for many reasons, but especially the energy and the camaraderie. But also, it makes you up your game when you try to give the network executives something each night worth viewing, so you're trying to polish on the run. CineMontage: How many of you are working on the team and how do you split up the work? Fogwell: We have eight editors. We each have a different story producer. I think story producer-wise, there's probably about 12, and they'll kind of juggle a couple of packages each, so they're all kind of Duane Fogwell in his bay. P H OT O : M A R T I N C O H E N