Issue link: https://digital.copcomm.com/i/1500026
37 S U M M E R Q 2 I S S U E C O V E R S T O R Y DeChambres said. "It gives them a chance to come to our events and find out more." R o u n d ta b l e d i s c u ss i o n to p i c s h ave i n c l u d e d p r o b l e m - s o l v i n g r e g a r d i n g international outsourcing, increasing con- nection with Guild unscripted workers in New York and Atlanta, and thinking about ways to elevate representation within the membership and leadership of the Guild— something editor Brian Chandler, based in Burbank, California, has found to be one of the most helpful parts of joining the group. "The way unscripted television is made is so different from scripted television," Chandler said. For starters, because there is no script per se, the post team — which can include editors, story producers and more — are typically assembling stories on the fly from the footage that comes in. The contract that's most often used for unscripted shows is the videotape agree- ment. That contract explicitly covers "the cutting, splicing, editing and/or re-editing" of media, "and all processes incidental thereto." Its jurisdiction includes some po- sitions that are unique to the unscripted workflow, such as loggers, who generate metadata for footage, and story editors (of- ten called story producers), whose duties include the creation of string-outs. "Story producers are often the ones who are guiding what the story is, so they're on Avid," DeChambres said. "They're watching footage. They're cutting in b-roll some- times, and now, we're even having story Some of the Guild members who work on unscripted programs include (from left) Tim Seely, David Cybulski, Emily Hsuan, Duane Fogwell, Brian Chandler, Jon Oliver, Tim Walbach, Robert Malachowski, Molly Shock, Austin Scott, Grant Masson, Mary DeChambres. P H O T O : D E V E R I L L W E E K E S 'The way unscripted television is made is so different.'