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What Our Members Do

WHAT OUR MEMBERS DO: Ian Chase, Sound Editor/Re-Recording Mixer

by uncredited March 8, 2024

written by uncredited 12 minutes read

Where are you currently employed?

I work as a freelance sound editor and re-recording mixer in Burbank, Calif., but for the past few years, the majority of my work has been with Skywalker Sound and done remotely from my home studio. I will go up to the ranch in Northern California to work in person during the final mix, as it allows me to spend time with my teammates and collaborate more effectively.

Current projects?

I recently worked as one of the Foley editors on two Marvel Disney+ series called “Echo” and “Secret Invasion.” In “Echo,” there was a unique aspect with a deaf character, and a significant part of the show involved using American Sign Language (ASL) for dialogue. Typically, Foley is a background element that helps blend the soundtrack together, but in this case, it took a prominent role; the hand movements and the sound of clothing movement that was recorded to match the ASL became the dialogue of the scene.

On “Secret Invasion,” the show had a gritty spy drama vibe with plenty of intense action scenes. One memorable moment was a gunfight in a glass greenhouse. We had the opportunity to capture all the sounds of glass breaking, SWAT team gear, weapon movements, and impacts. Even after the chaos subsides and the main characters cautiously move around, the subtle sound of crunching glass underfoot can be heard. I think it adds to the tension and realism of the scene.

Describe your job.

One of the most interesting jobs I’ve had is working as an assistant sound supervisor. The job is very diverse in terms of tasks. Because of this, I have begun to learn some basic coding skills and have even started developing my own software. One particular program I created acts as a virtual assistant. It can sort files based on their names and types, move them to the right place on the show server, create new folders with the correct-version numbers and dates, and even set up Pro Tools sessions with video and audio tracks. I built this software while working on “She-Hulk,” where it proved incredibly helpful as we dealt with 286 conforms due to picture and/or visual effects updates. Occasionally, we were conforming three times a day due to the changes. Despite having two assistants on the show, myself and Melissa Lytle, the workload was immense, so my virtual assistant software was a lifesaver.

How did you first become interested in this line of work?

As a kid, I played electric guitar and collected effect pedals and amps. Instead of focusing on learning songs, I was more interested in creating strange and unique sounds with the pedals. This sonic passion carried into high school where the guidance counselor suggested that I pursue a career in sound, so I looked into the Savannah College of Art and Design (SCAD). I applied, got in, and started learning about different positions (classifications, in union-speak) within post sound for film and TV. I’m thankful that the professors had real world experience and were able to teach a lot of the skills I still use today.

Who gave you your first break?

After graduating from SCAD, I moved to Los Angeles and lived in my car for about seven months while working for free in different post sound roles. Then Brent Kiser, a sound supervisor who owns Unbridled Sound and is a fellow SCAD alum, gave me my first paying job as a re-recording mixer. Back then, we were working on indie projects headed to festivals, so if I made a mistake, it wasn’t career ending. I took great advantage of this time and mixed on as many projects as I could. I used my time at Unbridled Sound to learn and grow as an audio professional, and now I feel confident in my work because I can spot issues early and know how to fix them.

What was your first union job?

A friend told me he had passed my name along to a supervisor at Skywalker for a Marvel TV show headed for Disney+. I remember feeling really excited and knew that if the call came through, I would be ready. A few weeks later, I was playing video games with my siblings on a Saturday morning. An unnamed call came through with a San Francisco area code, and I had to decide whether to answer the potential Skywalker call or stay online with my brothers. Tough choice, but I took the call and it was Mac Smith asking me to work on an ambitious series called “Moon Knight.” I happily took the job and a few months later even won a Primetime Emmy for the work. But I almost missed my first Skywalker opportunity because I was playing video games with my brothers.

What credits or projects are you proudest of, and why?

For two years, I worked with Wylie Stateman and Eric Hoehn at Post 2.0 mixing the foreign dubbed version of movies. Since dubbing usually happens after the project is done, there wasn’t any pressure from directors or producers during the mixing sessions, so I was free to take my time and explore. This allowed me to experiment with different mixing techniques and plugins. We would also get copies of the original Pro Tools session, and I would go through them very thoroughly, dissecting and analyzing all the automation and trying to pick up little tips and tricks.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

I worked as one of the re-recording mixers on “Everything Everywhere All at Once.” Brent Kiser and the editors had already done a lot of work on the mix so they asked me to start around the middle of the movie. The reel he asked me to focus on had a scene in an alley where characters talk about finding happiness even in simple things, like owning a laundromat together. It made me reflect on my own life, and I got emotional because it felt related to events in my own life.

When I met with the directors, I shared how moved I was by that scene. We had a long conversation about its importance to the film and how crucial it would be to ensure the audience experiences a similar emotional journey. With this clear goal, we went scene by scene and discussed the emotional beats and then worked the audio until that goal was achieved. It was a new approach for me and them to build a mixing guide based on personal emotional check points, but it worked well, and I believe it’s a key reason so many audience members related to the movie in the end.

At the end of the year, our sound team was one of the ten selected for the Academy Sound Branch shortlist. It was a great opportunity to meet with other mixers and sound editors to discuss our work. A memorable highlight of the night was the chance to speak with Paul Massey, one of my favorite mixers who has inspired me with his previous mixing work. We talked about the importance of finding yourself in a project and translating that connection into artistic decisions.

What was the most fun you’ve had at work?

I used to work with two talented and funny sound editors, Danielle Price and Jacob Flack. They worked together in a small room without air conditioning. To beat the heat, they got a fan that could be filled with water to make the air cooler. Instead of using fancy water, they used tap water stored in plastic bottles in the fridge. To tell them apart from actual drinking water bottles, they drew skulls on the tap water bottles. These skull bottles still crack me up whenever I think about them, and now that Death Water is the name of a legit company, I wish they had run with the idea more.

Jobwise, what do you hope to be doing five years from now?

I have two distinct goals for the future, both very different. First, I’d love to supervise or mix on an action or war movie. My brothers are in the army, and I want to work on something they can proudly share with their army buddies. I’m on the lookout for my own version of movies like “The Hurt Locker” or “Fury.” Secondly, I heard Taylor Swift is working on her first feature film, and if the chance comes up, I’d love to be involved in any way possible.

What are your outside activities, hobbies, passions?
I learned to scuba-dive in 2021 and have been going on trips to the California coastal islands via chartered boats.

Favorite movie(s)? Why?

I keep a highlight reel of sound design moments from movies I wish I had done. I go back to the list when I’m lost and looking for inspiration. A glimpse at a few of the titles on my wish-I-had-done-that list are: “Blade Runner 2049,” “Dune,” “The Creator,” “Spider-Man: Into the Spider-Verse,” “Inglourious Basterds,” “Iron Man,” “Tron: Legacy,” “Road to Perdition,” “Transformers,” and any of the Pirates of the Caribbean movies. Each of those films has a unique sonic thumbprint and tackled a difficult genre in a fresh way.

Favorite TV program(s)? Why?

My wife and I love watching the TV show “Below Deck.” It features the interior and exterior crew working on a super yacht. Naturally, there’s a lot of workplace drama, and we always pause to talk about who we think is right and wrong.

Do you have an industry mentor?

Currently, I have been learning a lot from Justin Doyle, an amazing sound effects editor and designer. He has such great taste in sounds and is pretty much unique in his ability to select the perfect sound for a scene. He has taught me not to be tricked by visually complex, overly stacked sound editing and instead find confidence in simple, clear, well-chosen design. Since working with him, I have been trying to select one well-chosen sound rather than ten average sounds mangled together.

What advice would you offer to someone interested in pursuing your line of work?

Conan O’Brien once compared working in show biz to playing slots at the casino. He said you have to keep trying every day because you never know when you’ll hit the jackpot. I agree and have found it helpful to maintain consistent effort. I would also add that having a good life partner is key. My partner, April Lamb, is a true genius. and I really am grateful for her support, love, and business savvy.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Recently, my first child was born, and the union health insurance was amazing. Anytime I had a question or issue, I would call. They always answered the phone quickly and had the right answers.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

When I first started freelancing, I wanted to join the union and work at a studio. I reached out to various studios in LA, asking to work as a mix tech or assistant re-recording mixer. I shared my goal with my friend Eric Hoehn, who offered to help. He wrote a great email to Formosa Group, asking them to consider hiring me as a re-recording mixer. They responded quickly, wanting to schedule a Zoom interview. I was nervous, but Eric boosted my confidence by reminding me of my skills. His support helped me ask for what I wanted, and in the end, I was hired by Formosa Group to mix. If I could offer encouragement to anyone in this industry, it would be to recognize your skills as valuable and seek out supporters who believe in you and your success.

March 8, 2024 0 comments

Features Web Exclusives What Our Members Do

WHAT OUR MEMBERS DO: Alexis Lain, Assistant VFX Editor

by uncredited February 1, 2024

written by uncredited 10 minutes read

WHERE ARE YOU CURRENTLY EMPLOYED?

Universal Studios.

CURRENT PROJECTS?

I recently finished Paramount’s “Transformers: Rise of the Beasts,” and am currently working on Universal’s “Twisters.”

DESCRIBE YOUR JOB.

Visual effects editing is an interesting job in that we are part of the editorial team — we work closely with the editor, assistant editors, director, etc. — but at the same time, we also work very closely with the visual effects team on the show. We function as sort of a conduit between editorial and visual effects and spend a lot of time communicating changes and updates between the two sides of post.

A big part of our job is to keep track of every visual effects shot in the movie — how it changes throughout the edit — and relay that information to the visual effects vendors so they can work to the correct frame range and creative directives. We are responsible for turning over shots from the film to the visual effects vendors, meaning we give them the plate(s) for the shot, as well as any additional material they may need to create the shot such as balls and charts, clean plates, background plates, etc. Balls and charts and clean plates are special versions of the plate. Balls and charts refers to the version of the plate that has a ball with a reflective side and a matte side so that people making the effects can see how light plays on objects in the scene and a color chart to see how colors are affected by lighting. A clean plate is a version that has the same camera move and action as the main plate, just without actors in it so the visual effects artists have a clean plate to work with.

Once the vendors start turning around versions of shots, we ingest them into the Avid and update the current edit with the submissions so the editor and director can see them in the intended context. Then each shot goes through a series of stages through the visual effects process, with notes going back and forth between editorial and visual effects until it is officially approved and final.

Another part of our job is to create temp visual effects to help tell the story until we have actual effects to cover the shot. So a lot of the early stages of post are spent making temp visual effects. Then we transition into working with PostVis, a much cruder and cheaper version of visual effects that helps to flesh out ideas the filmmakers want in the film before it goes into the much more time-consuming and expensive visual effects process.

HOW DID YOU FIRST BECOME INTERESTED IN THIS LINE OF WORK?

I did a crude version of visual effects editing in a project called “Wireless” for Quibi in 2019-2020. At the time, I didn’t know that “visual effects editor” existed as a job, and I spent more than a year essentially reinventing the wheel and figuring out how to do that job without knowing anything about it. It was great experience but probably very inefficient.

When I decided to try to make the jump into film and started to apply for assistant editor jobs, I figured I should keep my options open and applied for visual effects assistant editor jobs as well. I lucked out and got onto “Transformers: Rise of the Beasts” as the visual effects assistant editor — and I fell in love with the work. It’s a great balance between creativity and very technical, data-based work. I get to do temp visual effects, which can be creative and fun, and work closely with filmmakers and witness the creative process firsthand. At the same time, I get to scratch the very technical side of my brain that, for whatever reason, loves spreadsheets, databases, and organization.

WHO GAVE YOU YOUR FIRST BREAK?

If we are talking first break in the industry, that would have to be a small commercial visual effects company, Eight VFX. They gave me an internship that turned into a production coordinator job. But if we’re talking about breaking into my current path, film, I would credit my current boss Warren Hickman and the “Transformers: Rise of the Beasts” team. They took a chance on me even though most of my work experience was in unscripted television and I only had one dubious visual effects editing credit. But Warren took me under his wing and taught me all about the job, and now I love it.

WHAT WAS YOUR FIRST UNION JOB?

The Quibi project I mentioned, “Wireless,” that came out in 2020.

WHAT CREDITS OR PROJECTS ARE YOU PROUDEST OF, AND WHY?

“Wireless” was such a fascinating show to be a part of. Essentially, we had to edit two films — one vertically oriented, one horizontally oriented, and both synchronized to the same audio track — that not only each told a full story separately, but also complemented each other to tell a larger story together. The show was made as though it was a film but was then broken up into short 10-ish-minute “quibis,” of course. There were many visual effects in that series, which was my first foray into visual effects editing. “Transformers: Rise of the Beasts” was the first feature film I worked on, so that also belongs in this category as it was the first time my name was on the big screen.

WHAT WAS YOUR BIGGEST CHALLENGE IN YOUR JOB (OR ON A PARTICULAR PROJECT) AND HOW DID YOU OVERCOME/SOLVE IT?

I think the most difficult part of the visual effects editing job is navigating the often opposing demands of the editorial and visual effects departments. There’s a lot of figuring out priorities and working to bridge the gap between the two departments. Sometimes you have to tread carefully so as to not step on anyone’s toes. You want to try to give everyone what they want and need, but that isn’t always possible, so trying to walk that line and keep everyone as happy as possible is the biggest challenge.

WHAT WAS THE MOST FUN YOU’VE HAD AT WORK?

I’m not sure about one specific event that would be considered the most fun I’ve had at work, but it’s the people that really make working in this industry great. When you’re spending 50+ hours a week with your co-workers, you’ve got to make it fun; otherwise, it’s not going to be a good time. I love bringing in little treats I’ve experimented with baking at home, going out to grab a drink after work on occasion, and just having a good time with my co-workers. My boss likes to introduce a movie review board to our crews where we each put up our reviews of movies we’ve seen, which is always a fun way to start conversations about the one thing we all have in common: movies rock!

JOBWISE, WHAT DO YOU HOPE TO BE DOING FIVE YEARS FROM NOW?

In five years, I’d love to be a visual effects editor (not just assistant) working on some cool big- budget movies.

WHAT ARE YOUR OUTSIDE ACTIVITIES, HOBBIES, PASSIONS?

Crafting and baking. I love working with my hands and making something out of nothing. I dabble in woodworking, love crocheting, sewing, and making delicious desserts for my friends and co-workers to enjoy.

FAVORITE MOVIE(S)? WHY?

“A Night At The Roxbury.” I know. I get looks whenever I say this, but I can quote pretty much the entire movie. I’ve loved it since I was in middle school. Additionally, pretty much every John Hughes movie. And “Singing In the Rain.” When I was growing up, I danced competitively, and my favorite solo tap performance that I did was to “Singing In the Rain,” so that musical has a special place in my heart.

FAVORITE TV PROGRAM(S)? WHY?

I tell everyone I meet that they need to watch “Dark” on Netflix — it’s so, so good. Some older shows that I love are “Buffy the Vampire Slayer,” “Frasier” (the original; it’s a perfect sitcom), “The OA” (let them finish it, Netflix!), “Chernobyl” (absolutely perfect in every way; I wouldn’t change a thing), “BoJack Horseman,” “black-ish,” “The Good Place,” “New Girl,” and “The Handmaid’s Tale.” I also have a soft spot for most house reno(vation) shows on HGTV, and competition shows like “America’s Got Talent” and “So You Think You Can Dance,” and “The Great British Bake Off.”

DO YOU HAVE AN INDUSTRY MENTOR?

Not officially, but my boss, Warren Hickman, fills that role pretty well. He has taught me so much about visual effects editing and helps me in and out of the business with his experience.

WHAT ADVICE WOULD YOU OFFER TO SOMEONE INTERESTED IN PURSUING YOUR LINE OF WORK?

Attention to detail is big in this job. There are a lot of numbers to keep straight, and you have to be able to catch slight differences in the edit. The community is pretty small because it’s such a niche position, and people are always looking for visual effects editors, so talk to people you know and see if they know of anyone looking for a visual effects assistant editor. I got my first visual effects assistant editor job from the union job board, so I’m proof that it does happen. It doesn’t hurt to go for it!

WAS THERE EVER A CIRCUMSTANCE WHEN YOU HAD TO RELY ON THE GUILD FOR HELP OR ASSISTANCE?

Not yet, but I know where to find you if I need you.

IS THERE ANYTHING YOU’D LIKE TO SAY TO YOUR FELLOW GUILD MEMBERS, SOME WORDS OF ENCOURAGEMENT?

I’m proud to be part of this Guild. I will always remember the day when I finally got my first membership card; it felt like I had finally made it in the industry. We have negotiations coming up later this year, and we are going to have to be strong coming off this year of strikes. It hasn’t been easy on any of us. We need to support each other as we have been supporting our writer and actor friends. Together we are strong.

Compiled by David Bruskin

February 1, 2024 1 comment

Web Exclusives What Our Members Do

What Our Members Do: David Bernstein, Technical Director

by uncredited June 5, 2020

written by uncredited 10 minutes read

Where are you currently employed?

I am, and have always been, a work-for-hire freelancer.

Current projects?

For “America’s Got Talent” and “Dancing With The Stars,” I work as a screens TD; I operate the switcher that controls the LED screens on set. I’ve also been the screens TD on “American Idol,” which was supposed to happen again this season until the coronavirus pandemic changed everything. We almost didn’t finish season 3, but tech manager John Fekas came up with an engineering solution for all the talent to perform and judge and host from home.

Therefore, I was the line cut TD — live cutting the cameras and graphics for the director — for this season’s “American Idol” finale. I also work as line cut TD on “So You Think You Can Dance” and “The Titan Games,” among other shows.

I round out my schedule with stints at NFL Network and filling in for fellow TDs when they need to “book out” of a show in a hurry. I still accept the occasional sports broadcast booking in order to keep those skills up to date. (They’re different from entertainment TD skills).

Describe your job.

I’m the technical director, so I’m technical and I sit next to the director. I’m the interface between her and the technical crew in a live or live-to-tape multicamera television production. This job requires you to be on top of every technical detail of the production. I’m responsible to the director for ensuring that all the technical facilities required for the production have been installed and are working correctly. Of special importance is the set-up of the control room. I work with the facility engineer to lay out the monitor wall so that cameras, playbacks, graphics devices, and all the other sources needed for the show have been placed in monitors where the director, associate director, script supervisor, producers, and other control room staff can easily find them in the chaos of live production.

Once all of that is taken care of, it’s time for me to start my actual job, which is the set-up and operation of the heart of a live production – the video switcher! All the sources needed for the show must be mapped to buttons where I can quickly(!) access them in the heat of production. All of these sources must be “facs’ed out” [pronounced like “fax,” it’s a contraction for “facilities check”] with the Local 600 Utilities to confirm that we are getting the correct video from each source, that cameras get tally lights and return video channels from the switcher, and that the PL comm circuit between cameras and the control room is fully operational.

All of this must be accomplished without leaving my seat! I remain behind the switcher at all times because that’s where everyone (especially the director) expects to find me. I rely on all the communications tools at my disposal so that I can support the tech crew from that chair.

Another important part of the TD’s skill set — the artistic side — is the creation of video effects: split-screens, multi-box effects, picture-in-picture, and various video treatments. These need to be built in advance (or sometimes on the fly, as in “Oh, by the way, I need….”)

The key part of the job that determines whether or not I get called back to the next production is to push the right button at the right time! To paraphrase Rudyard Kipling, if you can keep your head while all those around you are losing theirs – you just might be a good TD!

How did you first become interested in this line of work?

I grew up in Cape Town, South Africa, where rugby is practically a religion. When I was nine, I discovered the TV cameras at our local rugby stadium. Those big TV-81 cables led to a corner of the stadium where I convinced the gate guard to let me see inside the truck. Soon I was standing right behind the guy who, with the push of a button, was changing the picture on millions of TV sets all over South Africa! I could watch the game from eight different angles in one place! This was where the action was.

Who gave you your first break?

In the 1990s, I was working as a freelance audio engineer in Connecticut. My wife’s co-worker was (and still is) married to sportscaster Dan Patrick, who offered me a tour of ESPN after he heard about my TV truck adventures in South Africa. Somehow the tour turned into a job interview, and I was hired at ESPN in Bristol, CT in February 1995.

What was your first union job?

My first IA 700 work was for Fox Sports West after I moved to LA — and my first “real” (entertainment) IA gig was the Prince Super Bowl halftime show in 2007.

What credits or projects are you proudest of, and why?

I worked on so many great shows, but since joining the IA, I have a hard time picking a favorite. There are so few days when work feels like work – it’s just that much fun doing what I do for a living! One standout has been working as screens TD on “American Idol,” which leads to…

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

I was line cut TD on “American Idol” for most of its final season on Fox. When ABC picked up the show, Fremantle, the company that produces the show, ordered a major redesign of the set that involved wrapping the entire stage in LED walls. Director Phil Heyes got the budget increased to include a screens TD, and I was called. Even at the end of season 2 on ABC, I still couldn’t figure an accurate pixel count on the “Idol” set, other than to say that it takes four 4K (UHD) feeds to fill that beast. The idea is to be able to put live-camera image magnification (IMAG) any place on the walls or floor. The show is produced in 720p, but the graphics are delivered 1080p, so to use the existing switcher at Television City’s Stage 36 where the show is shot became problematic. Just two weeks before the first live shows were scheduled to air, I managed to “procure” a switcher that functions in a revolutionary new way. I was sweating bullets, but we made it work, and it’s been on the show ever since.

What was the most fun you’ve had at work?

Probably that Prince halftime show at the 2007 Super Bowl. The weather looked like it was going to wash the whole thing out, but Prince insisted on performing and he nailed it. But honestly, pretty much every day in a control room is fun!

Jobwise, what do you hope to be doing five years from now?

I want to be on the cutting edge of technology in our business, finding and implementing amazing new tech to enable our more creative collaborators to tell engaging stories in front of a live audience.

What are your outside activities, hobbies, passions?

Besides watching rugby matches, the other thing I did as a nine-year-old on Saturday morning was to go flying with an Air Force reserve squadron that had a reconnaissance mission profile. The Commanding Officer of this unit was a client of my father, who was an ad exec, and he invited us to check out their new planes. The flying bug bit me hard and has never let go. That said, I have been so busy with my career over the years that I haven’t logged a lot of hours, but I love every second I spend in the air. I also enjoy sailing and photography.

Favorite movie(s)? Why?

My first summer in the US was hot and soupy in Amherst where I was studying Electrical and Computer Engineering at UMass. I spent most of the summer indoors in air conditioning watching two movies on HBO over and over until I could recite almost every line. My favorite was “Real Genius” (1985) — thank you, Martha Coolidge — which fed a personal fantasy that I could have been smart enough in 10th grade to make it into Cal Tech. The script totally plays to my (lame) sense of humor.

The other movie was John Hughes’ “Sixteen Candles” (1984). I attended an all-boys boarding school in a different culture, so I enjoyed this film for “what might have been” had I gone to an American public high school.

More recently, my wife has led us into the Marvel Cinematic Universe (MCU). What an amazing collection of stories — so well created both in front of and behind the lens! There is a curated timeline of the suggested viewing order of the films and TV shows, and it all fits together like clockwork. Amazing!

Favorite TV program(s)? Why?

Besides all the shows I am fortunate to work on, and the great MCU shows, I enjoy classics like “Law and Order” (the original series) and “Seinfeld.” Among more contemporary shows, I like “Stranger Things” and “The Americans.” I’m sure I’ll think of a bunch more after this article is published.

Do you have an industry mentor?

Many top-notch TDs have shared their experience with me, but my primary mentor is Eric Becker. We met when my sports TV world collided with his entertainment TV world on the Super Bowl halftime shows produced by Don Mischer (another mentor). Eric opened many doors that helped me transition into entertainment productions, and I have worked behind him many times as screens TD. He has a well-deserved international reputation — smart, professional, largely unflappable — and I have matured into an employable TD in Hollywood, thanks to his example. Honorable mention must go to Bob Ennis who continually challenges me to strive for technical excellence.

What advice would you offer to someone interested in pursuing your line of work?

Learn everything technical about production. Pay attention to everything around you as you work your way up the ranks in the business. Learn how to shoot and edit so you can anticipate the director’s needs. Learn as much about television engineering as you can so that you can communicate clearly and troubleshoot effectively with your engineers.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

The Guild is always there when something needs ironing out. Someone ALWAYS gets back to me within 24 hours (48 max!). I have all these silly little questions about benefits or safety training and it’s never any bother for anyone. Thanks, Cathy Repola and Ann Hadsell!

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Do what you love. When you do what you love for a living, it’s not work — it’s a work of love.

Compiled by David Bruskin.

Want to be profiled in this feature? Reach out to SCollins@editorsguild.com.

June 5, 2020 0 comments