Production Sound & Video

Winter 2021 – LOCAL695.ORG 17 Director Patty Jenkins and Peter Devlin From left: Adam Ridge, Peter Devlin, Pete Blaxill, and Milos Momcilovic This was a welcome relief from an e-fan and a rheostat just off camera. I can't thank Dave and Mark enough as they were always mindful of how practical on set Special FX can impact the Sound Department. They were always accommodating in adjusting for many scenes in the fi lm. On one occasion they did ask, "Isn't there a system on your cart that takes out that background noise?" Well, that is a discussion for another time, and another place!!! With Carnet's done, lithium batteries specially packed, we were on the road again mid-September, leaving 1984 behind. We were off to Fuerteventura, aka "Themyscira" for fl ashback sequences of Diana as a child with the amazingly talented Lilly Aspell. It was here that we encountered some serious dust storms, the residue of which is still making an appearance on my equipment. Fuerteventura is aptly named "strong wind," yet for many of the dialog sequences we got lucky with a calmness that was uncharacteristic for that time of year. Milos, who dealt with much of the wiring, was relieved that his rigs designed for 30 mph gusts were not needed, Adam was kept busy with Stereo FX recording when we got into crowd sequences, as well as dialog scenes with our Amazonian warriors. Trainee Pete Blaxill did a great job of cleaning and maintaining the equipment. For much of our time there, I was able to set up camp alongside Video Assist Dylan Jones in a Sprinter van that offered some relief on windy days and was also used for our driving sequences. Dylan was great company and kept a cool head at all times and had a great team of assistants with him. Once we had fi nished our work in the Gran Canaries, it was back to Leavesden to concentrate on stage work that would take us through December. Although I didn't get to see Simon Hayes at the same studio, I know he was very busy in prep for Cats. Fortunately, I was able to sit down with Simon and Chris Munro for the CAS podcasts In Conversation. My thanks to them for making the time on a Saturday to go into De Lane Lea in Soho. If you haven't heard the podcast, check it out with others on the CAS website. As I sat in these massive sets so beautifully designed at WB's Leavesden, it brought me back to being a kid in Belfast, at the the Avenue Cinema, watching Christopher Reeve as "Superman" fl y for the fi rst time. With each fi lm that I saw; Jaws, Earthquake, The Omen, and so many others, I became more determined to fi nd a way to work in the fi lm industry. I could never have imagined what would lie ahead. We fi nally wrapped production of Wonder Woman 1984 on December 19, 2018. It was an epic journey and a wonderful opportunity to work with Patty Jenkins again. Our fi rst outing together was on the fi lm Monster in 2005. Patty is still as receptive to comments and suggestions regarding the soundtrack as she was then. She understands the practicalities of a set, having been a camera assistant. With a camera team that had Matt Jensen as DP, A Camera Operator, Steadicam, Simon Jayes, and B Camera Operator Simon Finney, we couldn't have asked for a greater synergy. Post-production was handled by Warner Bros. De Lane Lea. Richard King was the Supervising Sound Editor alongside Jimmy Boyle. Re-recording Mixers Gary Rizzo and Gilbert Lake were on an AMS Neve DFC in Theater A. Iain Eyre would be the Dialog Editor, along with many others in the talented editorial crew. On completion of photography. I spoke with them giving an outline of areas that could be problematic with noise, and a rundown of my methodology and equipment used. "Silent Wind"

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