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15 George (Barry Keoghan) and Mr. Dawson (Mark Rylance) aboard the Moonstone as three Spitfires fly overhead. Photos compliments of Warner Bros./Melinda Sue Gordon Production started in May of last year and landed on the beaches of Dunkirk. Nolan and Cinematographer Hoyte Van Hoytema (Interstellar, Her) deployed IMAX and 65mm fi lm cameras for the visuals—shooting primarily handheld and three hundred sixty degrees—making placement for a sound cart diffi cult with strong winds and surf becoming the bigger enemies. On Weingarten's cart, a Zaxcom Deva 5.8 and Mix-12 com- plemented Lectrosonics wireless for the beach work. For boom, run by Tom Caton on the French unit, a Cinela Piano was paired with a Sanken CS-3e or Sennheiser MKH 416, depending on the situation. "The winds were a consistent thirty mph, so my older Zeppelins were not up to par. I fi rst bought the Rycote Cyclone but then switched to the Cinela because the thing is amazing," he continues. "It's totally acoustically transparent in the most extreme wind. It comes with three levels of sound protection—we mostly used the middle weight—and it sounds like there was nothing on the mic." Moving from the thousands of extras on the beach to the east mole, a stone breakwater with a wooden structure on its top to offl oad ships, sound found themselves in tight quarters on the over thousand foot pier. Because of the limited space, Wein- garten went to a simple over-the-shoulder rig, using a Zaxcom Fusion 12 and Lectro wires. "Often, the waves of the North Sea would come right over our heads, completely drenching us," says Weingarten. Several boom mics and poles were completely destroyed. "Luckily, our cable guy, Gautier Isern, had a relation- ship with Paris-based VDB, the boom poles we were using. Over the weekend, he would take them in to get fi xed and bought replacements. One of the poles we gave them was the worst thing they had ever seen. We were very proud of that."