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22 porch. This was no help to us, as we now heard all the exterior noise. My technique for mixing is always to use the boom with a blend of wireless mikes even on the wide-angle shots to capture the room and have the actors on the isolation tracks for the tighter camera. The actors moved from room to room in many scenes in the house and we accomplished this with both a second boom and a blend of the wireless mikes. In the bar sequence, there were a lot of mirrors, which meant the boom mike was very high over the actors' heads. In this set, the boom was my primary mike and the wireless mikes were used to give the sound some presence. In one shot on Denzel, in the mirror behind him, we see Bono walking toward the door. Here, we planted a MKH-50 and I also blended Bono's wireless mic to make it sound more natural. For the many backyard scenes, two booms were always used with a blend of wireless to give it a rich full sound. Some of the scenes were eight to ten pages in length. I assumed we would break the more lengthy scenes up. However, there were times we would film the entire master of eight or nine pages in one setup. I ran out of space on my sound cart trying to place all the script pages. Lucky for us, only one or two cameras were used throughout, and we shot on 35mm film, therefore, we could only roll ten-minute- long takes. Shooting on film offers another benefit; Fences has a great look. We had great cooperation from Charlotte Christensen, our DP, Camera Operators, Set Lighting, Grips, Art Department, Props and our location team. Thanks to Denzel for caring about the sound quality and allow- ing us to do the best job possible. The cast was very cooperative, allowing us to put radio mikes on and make adjustments as necessary. A film is always a collaborative effort. A special thank you to my sound team, Douglas Shamburger on Boom, and Kelly Roofner, Sound Utility. Our film editor, Hughes Winborne, and his staff, along with a great talented Post Sound crew for their work. The Post team was superb in enhancing the production soundtrack, along with creating a brilliant sound design and final mix. Producer Molly Allen, along with the production staff, threw a block party for the neighbors to thank them for their thought- fulness and cooperation while making this film. One caveat; I gained a couple of pounds from the treats the neighbors pro- vided. Well, that's it and that's a wrap.