Issue link: http://digital.copcomm.com/i/1351516
36 S P R I N G 2 0 2 1 I C A S Q U A R T E R L Y differences, voice cadences, sound reinforcement applications, room acoustics, background sounds, multiple camera frames, shadows, reflections, last-minute adjustments due to camera or lighting changes, and of course, the E Fans. Another tool we used that was approved by VFX was dropping in on static simultaneous ultra-wide and tight shots in order to protect the closer sound perspective. We utilized this technique about three times a week. Because we had a lot of background talent, breaking the frame was tricky as we had to keep our microphones clear of their moving bodies. My 1st boom operator, John Sheridan, was an expert in dancing through the background in order to capture the dialogue of the actors, orchestrating the boom as a conductor capturing the impossible. Alexandra Gallo joined that effort as the 2nd boom, working shots contorted in difficult positions and consistently applying sound reinforcement to each and every camera setup. Our boom microphone and plant mic array consisted of Neumann KMR 81's and KM 150's; Sanken CS 3's, CS 1's, and COS 11's; Schoeps CMIT's; and Sennheiser MKH 50's and MKH 70's. We had the opportunity to experience a shooting gallery of microphones during our first two weeks, getting clearer and clearer results relative to what would work and what wouldn't. The exterior locations in the beginning were our greatest concern, as we generally wire actors for exteriors because of the need for better signal-to-noise ratio, shadows, car reflections, etc. The Sanken CS 3's became our "go to" outdoor boom microphone and impressed each and every time. The microphone roll-off at 100 Hz was instrumental in reducing generator noise, air traffic, and vehicle traffic. The brightness and reach of the mic pulled the voices in like no other mic for our purposes. In fact, the CS 3 is a mic that wants loose proximity to the sound origin as it doesn't perform as well close in—which always made us laugh! After lots of microphone analysis across sets and by trial and error in our marking rehearsals, our main indoor boom microphone eventually became the KMR 81 halfway through the show. It had the ability to warm be shut down and hummed loudly throughout our takes. We had boxes with insulation built around the transformers and doubled our efforts with extra set walls surrounding the boxes. The transformers hummed on but to a lesser objectionable degree. We also had to build large baffle walls on rollers to move in front of the warehouse roll-up doors while shooting in order to dampen the trucks since we were in an industrial area (see photos). We had to contend with lighting setups creating shadows and buzzing, floors creaking, heels striking, reflections in cars, and lots of windows built into the sets that reflected, to name a few obstacles. The exterior locations were the usual planes, cars, motorcycles, trucks, and generators. Our sound approach to each setup only really became known in the marking rehearsals. It was in double booming the marking rehearsals (this was essential to our success) where we were able to get the first glance of what we were dealing with in terms of the choreography of the booms and microphone selection, as well as selection and placement of plant mics. We also had to consider height Baffle walls on wheels to help dampen the outside industrial zone noises