Production Sound & Video

18 PRODUCTION SOUND & VIDEO – Winter 2021 In November of 2019, I set off to London again to sit in with the post team on the fi nal mix, and to watch and listen as those raw tracks become part of something that connects performance to all the other elements. One of the greatest thrills for me was Patty Jenkins inviting me to watch Hans Zimmer at work as they recorded the score for the fi lm. The orchestra and choir were absolutely amazing. It is that circle of talent that makes the connection, becoming one with picture to make a fi nished soundtrack. Equipment List I decided I wanted two mixers on the cart. I love the pre- amps of the Sonosax but I wanted the ability to integrate the Zaxcom Mix 16 if I went to a bigger track count. With the Deva 24 having the settings memories to switch between different setups, it was fairly easy to go back-and- forth or have both mixers working in tandem. The one thing that I find indispensable, in using the Zaxcom TRX743 transmitters, is the ability to remote gain them. When paired with the technology of Never Clip, it is difficult to be caught by surprise when an actor goes from a whisper to a scream in an unrehearsed scene. Zaxnet offers so much control from the recorder. The ZMT's onboard record capabilities were essential to cover the expansive areas on Pennsylvania Avenue with Wonder Woman. Driving sequences in Fuerteventura were handled with the knowledge that if the picture car went beyond the range of our follow vehicle, all the performances would be captured by the onboard sd cards in the Zaxcom transmitters for later transfer or remix. Equipment Package • Exterior Mics - Sanken CS-3 in a Cinela Blimp • Sanken CS-1 in a Cosi Blimp • Stereo FX on a Sanken CS-5 or spaced Sanken CS-3's • Interior Mics - Sennheiser MKH50's in Cinela mounts, Sennheiser MKH 8050's in Cinela mounts • Interior Stereo FX recording, crossed pair of Sennheiser MKH50's • Lavaliers - Sanken Cos 11's • Button or exposed mic - Countryman B6 • Wireless Transmitters • Zaxcom TRX743's ZMT's • Lectrosonics SMQV SMVL SSMWB SSM Cart Front • Mixer 8 Channel Sonosax SX-ST (Digital Busses) • Zaxcom Mix 16 • Lectrosonics Venue 1 Blocks 19, 20, and 25 • Lectrosonics Venue 2 Blocks A, B, and C • Zaxcom RX 12 Receivers, Wisycom Powered Antenna Distribution • Wisycom HTP40 Transmitter • Meon Life + Meon Plus • Marshall Link Monitors Cart Back • Jack Field • Lectrosonics Dual Receiver (Boom Ops Talk Back) • Wisycom MTP40S IFB Transmitter to Boom Ops • Sound Devices 3 Channels Receiver for Boom Op Talk Backs • Comtek BST-25 Transmitter • IFBT4 Transmitter • Zaxnet IFB system for remote control of Zax Wireless • Denecke GR-2 I would like to thank Lorenzo Milan and his crew who joined us for Second Unit in Washington, and Shaun Mills in London, who handled Second Unit there. Paul Munro was on hand to handle additional photography whilst I was on Star Trek Picard, and the many others who joined us on dailies through the course of the shoot in London. You can check out who they all are on IMDb as it's a long list and would take up this entire magazine. In particular, I would like to conclude in thanking my crew in the US, Ben and Nate for starting the show on a particularly exciting morning at the Air and Space Museum in D.C. In London, Adam, Milos, and Pete, who throughout the course of our many days and nights brought a level of positivity and professionalism that made our time together memorable. Especially our night at the Air Museum at Duxford, where clothing noise became an additional character in the scene that wouldn't take the hint and leave, and when I considered a career break!!! The back of Peter's sound cart Photo by Clay Enos/DC Comics/2020 Warner Bros. Entertainment

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