Production Sound & Video

Spring 2021 – LOCAL695.ORG 21 he was very adamant about not seeing the crew using cellphones on the set because he was in character, and the story takes place at the time when there were no cellphones." The routine was to wire everybody that had scripted dialog and always use two booms to cover overlaps. Jose routinely discusses this ahead of shooting with the director, as he believes it just makes the scene more alive. "It works so much better for the actor on the screen having that counterpoint." An interesting addition to Jose's sound package was the requirement of one of the lead cast wanting an earwig to hear his own voice, with added reverb. Jose had to split the output of his lav microphone into a separate mixer and found a guitar pedal device that would accomplish the reverb, feeding that signal into a separate Comtek transmitter. The actor also wanted his assistant to be able to communicate with him, so Jose fed an extra handheld wireless microphone into that monitor system as well. Jose continues, "It was an intense show, with multiple locations. Moving and packing the equipment, and moving again and again, there were days that we had four location moves. Despite that, it was very fluid, I think that's what most sticks out in my memory is it flowed really well, and I think it looked very good too." "Our DP John Schwartzman was careful with his lighting," says Jose, "shooting with two cameras, there was matching head room that certainly helped us using two booms. "There were some days with lots of cast at the police station with eight to ten wires required, but John Lee's writing is so precise and well thought out. He's a magnificent screenwriter." From left: (L-R) Rami Malek as Jim Baxter, Jared Leto as Albert Sparma, and Denzel Washington as Joe "Deke" Deacon. Photo: Nicola Goode; Boom Operators Jonathan Fuh and Sheraton Toyota working the inter- rogation scene.

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