Issue link: http://digital.copcomm.com/i/1259912
26 S P R I N G 2 0 2 0 C A S Q U A R T E R L Y Morrow knew he'd be able to figure out solutions as he knew what had worked for him in the past. However, even with some prior experience, every film is unique and Morrow knows this well. "It all changes when you see how they 're gonna film it, what they 're gonna film. Sometimes you're on a process trailer, sometimes you're on a biscuit rig where it's just the stunt driver and the actor and some cameras, so you try to figure out how that's gonna go. And so you just have multiple plans in place, and then whatever works in that moment, works." And Morrow certainly made it work. Due to many of the cars being freely driven, there often wasn't an opportunity for Morrow to be in close proximity to the action, as the tracks the cars would race along could be several miles long. Therefore, he had to place a bag rig, record, and walk away—the "set it and forget it" approach. But he still needed to monitor the sound, as did Mangold and other crew members. The solution was to embed the audio into the movie cameras, and then embed the audio from the cameras to the wireless microwave video system and it would broadcast back to video village. Morrow would pull the signal out and feed it to the Comteks. "Everyone could hear what was happening. As long as there was image, there was sound. And if the image cut out, the sound cut out, and everyone understood." After the car came back, Morrow would confirm the tracks had been recorded, play them back, and make any necessary adjustments. Morrow's longtime boom op, Craig Dollinger, joined him on the film, and Bryan Mendoza rounded out the team as utility. Dollinger handled wiring the actors, while Mendoza helped place the bag rigs for the driving work and confirm that sound was being sent to the cameras. Morrow knew he'd be dealing with incredibly loud car engines—as he puts it, "car guys don't make race cars quiet." He researched options for lavaliere microphones to use on Christian Bale, as he needed good signal in loud environments, and the DPA 4062 ended up being the winner. Able to handle massive dynamic range, the mic turned out to be the perfect fit for both Bale's dialogue inside the race cars, as well as for scenes like Henry Ford II's booming speech to his employees at the Ford Motor Company production line. After all of the hard work, and dealing with technical challenges, loud cars, dusty and CAS Award Winner – Live Action MEET THE WINNERS Ford v Ferrari by Amanda Beggs CAS An epic, heart-pounding, pulse-racing story of American ingenuity and determination, friendship, and risk taking—oh, and it's all true. With James Mangold at the helm of Ford v Ferrari, there was no doubt this film would turn out exceptional. And he brought together a team of incredibly skilled sound professionals to help him tell the amazing story of how the Ford Motor Company went head-to-head with Ferrari to assert dominance at the historic 1966 Le Mans endurance race. Mangold's frequent collaborators, re-recording mixer David Giammarco CAS and Academy Award-winning re-recording mixer Paul Massey CAS, were on board from the very beginning, along with Foley mixer Richard Duarte, ADR mixer David Betancourt, and scoring mixer Tyson Lozensky. New to the Mangold fold was Academy Award-nominated production sound mixer Steven Morrow CAS. While any biopic or film based on real-world events can be a daunting task, as everything has to look, sound, and feel authentic, the entire sound team on this film jumped in enthusiastically and relished the opportunity to take on the challenge. According to the sound team, Mangold is one of those directors anyone would be happy to work with. He created a fully collaborative and enjoyable working environment that allowed new ideas to flow and come to fruition. It's no wonder the CAS chose to honor him with their Filmmaker Award this year. Like any film, this one was full of moving parts and many, many people working behind the scenes to create a soundtrack that would honor the true story of Carroll Shelby and Ken Miles. Production sound mixer Steven Morrow is no stranger to films dealing with dialogue inside cars or other fast-moving, freely-driven vehicles. He brought with him a wealth of experience from his previous work on films like CHiPs and Little Miss Sunshine. the film, and Bryan Mendoza rounded out the team Mendoza helped place the bag rigs for the driving work and confirm that sound was being sent to the the winner. Able to handle massive dynamic range, the mic turned out to be the perfect fit for both Steven Morrow CAS