Issue link: http://digital.copcomm.com/i/1333072
16 PRODUCTION SOUND & VIDEO – Winter 2021 16 PRODUCTION SOUND & VIDEO – Winter 2021 – Winter 2021 – W We got to know each other at the fi rst order of business, a tech scout of a set that would be at the Royal College of Physicians in central London. I had been warned that it would be a sound problem. It was a critical scene in the fi lm, where characters Diana Prince and Steve Trevor are reunited after a period of almost seventy years. It was a location with lots of background, high heels, and dialog underneath the center point of a semi-spherical ceiling; totally non-conducive to recording quiet dialog. My suggestion was to have acoustical engineers come in and put in some temporary baffl ing that could be later removed. I was told that nothing could be erected in the space, so our quick-fi x solution was to have balloons fi lled with helium and fl oated to the ceiling to diminish and break up the refl ections. It certainly helped and we managed to get out of that location unscathed. During those three nights, there were some questionable music choices from 1984 that were used as playback to motivate our crew and cast!!! As we moved into September the nights grew cooler, and we took advantage of many London locations that would double for Washington, D.C. One particular location called "Black Gold" in the fi lm, was the home of one of our protagonists, Max Lord, played by Pedro Pascal. It was here that I was introduced to "Silent Wind." Special FX Dave and Mark Holt, brothers, designed a system that would bring a quick blast of air to create movement in our actors' hair and clothes. They built a system that keeps the main body of the wind machine far enough away and carries the air through tubes to the set, thereby minimizing the intrusion of noise on the soundtrack. Ray Milazzo, A Camera 1st AC, and Boom Operator Ben Greaves Sound Trainee Peter Blaxill Photo by Clay Enos/DC Comics/2020 Warner Bros. Entertainment