Issue link: https://digital.copcomm.com/i/1504875
18 C I N E M O N T A G E W H A T O U R M E M B E R S D O Q: Where are you currently employed? I just wrapped on season 3 of The CW's "Superman & Lois." Q Current projects? I'm enjoying my time off after wrapping on the show, but I'd say my biggest project right now is joining the WGA on their picket lines as often as I can. Q Describe your job. I'm an assistant editor in live-action scripted TV, although I have also worked in animation as an assistant editor and animatic editor. (Animatic editors are editors in animation who cut together the storyboards before they start to animate. It's the blueprint for the show/movie.) My tasks as an assistant editor vary quite a bit. If we are in dailies, I start the day by prepping footage for my editor. Every editor has different workflow preferences, PRISCILLA ZAMBRANO ASSISTANT EDITOR Priscilla Zambrano. so it's important to communicate with them about how they like their dailies prepped. Everything in this industry is about collab- oration, and part of my job is to make sure that my editor's day goes as smoothly as possible. As I go through the footage, I keep all the paperwork from our script supervi- sor close by, and I consult it to make sure we have all the material that was shot for a scene so we can put it together according to the script. When dailies are done, I hand every- thing off to my editor and take a coffee and/ or snack break. Once my editor has finished a scene, she will pass it off to me to do temp sound work. A scene can take anywhere from minutes to several hours to do sound work, depending on the type of scene it is. Dialogue scenes with just a few characters having a conversation are usually quick, but heavy action scenes with lots of punches, whooshes, and explosions can take all day. This repeats until everything for our epi- sode has been filmed. After that, my other AE duties are more in flux. Once an episode comes together, I output cuts of the episode and send them off to whomever needs to see them. The first cut (editor's cut) goes to the director, who gives notes. Once those notes are ap- plied, I would then send the episode to the showrunners and the process repeats. The episode will keep going up the ladder until it gets to the network. Once the network notes are applied, the episode is considered "locked." O n c e w e l o c k a n e p i s o d e , w e d o turnovers. That's when I package all the materials for an episode (footage, pro- duction sound, sound effects, temp ADR