Issue link: http://digital.copcomm.com/i/1057466
the raw sound FX we could give him as elements to enable his team to create the final audio to be mixed by Mike Prestwood Smith. Both have been collaborators of mine on several previous films. In conclusion, this film involved huge leaps of faith from all parties involved. I greatly appreciate the support from Tom Cruise, Chris McQuarrie, the production team, and my team throughout. My previous experiences, intuition, along with an incredibly well-respected new team proved immensely valuable. Much of the sound was unmonitored being recorded on PDR and hidden recorders. Chris McQuarrie and the producers trusted us to deliver on Mission: Impossible - Fallout using never- before-used technology. Most importantly, Tom Cruise trusted we would develop technology that would allow him to perform stunts efficiently, safely, and wherever possible, avoid ADR in order to enhance the reality. TOM CRUISE'S BONE CONDUCTIVE EARPIECES & MICROPHONE I had custom-moulded bone conduction units in each of TC's ears. It was necessary to have one in each ear to give hearing protection but also allows use of the aircraft PTT as one ear is for talking and one for listening. There is a switch on the interface that allows for either, and this was connected via the pilot's headset connectors in the helicopter on a US NATO plug or on some aircraft a Lemo connector. Trim pots on the interface require a miniature screwdriver to adjust talk and listen levels. It is powered by an internal battery and has transformer isolation on the connection to the helicopter to ensure isolation from the helicopter avionics. The PDR records directly from the "talk" ear for a clean track of TC and is therefore pre PTT. That is to say that even if TC is not transmitting through the aircraft radio, his voice is still recorded. An output from the co-pilot comms socket goes to track eight of a Zoom F8 which is primarily to record 5.1 ambi- ence within the helicopter. Track eight records all comms: the director, any communication with other aircraft, ATC, and so on. The DPA 5100 was fixed to the inside roof of the helicopter cabin toward the rear. If ever it were inadvertently caught on camera, it looks like part of the structure. The recorder was hidden and operated by the F8 control app on an iPhone. The PDR was stopped and started using dweedle tones within the Letrosonics PDR remote app, also from an iPhone. Jim McBride testing the comms Lloyd and Hosea Lloyd and Chris Munro on the way to the set