22 PRODUCTION SOUND & VIDEO – Spring 2021
From top: Washington and Leto. Photo: Nicola Goode; Jose Antonio Garcia and Jonathan Fuh off-loading the sound cart for insert car work.
Jose expounded on the evermore crowded radio microphone
spectrum, competing with wireless lighting controls,
remote camera focus, and the shrinking bandwidth. In
those situations, Jose would remote his powered wireless
antenna.
There were many split calls, with full nights, sometime on
Thursdays and always Fridays, as well as an entire week
of nights later in the schedule. "It was very exhausting
because you really never get the chance to turn yourself
around," says Jose.
John Lee would block scenes to set the camera moves and
have rehearsals instead of rolling as soon as the cast appears
on set, giving Jose and his crew time to plan wiring, boom
positions, and planting microphones when needed.
There are extensive automobile interiors scenes, from
stakeouts, tailing a suspect, and car-to-car dialog. Boom
Operator Jonathan Fuh explained that they would wire the
actors but also plant lavs on the header with heavy wind
protection when necessary. "The distance from the header
plant mic is the same from the body mic to the mouth."
