Issue link: https://digital.copcomm.com/i/1277927
C A S Q U A R T E R L Y I S U M M E R 2 0 2 0 59 Meaning half the show was shot on a soundstage as described above, and the other half in a recording booth across the globe! He also described recording both acrobats and puppets on the performance-capture stage, and using their grunts and efforts to build out the recordings. Most interesting to me, Ron depicted parts of the performance- capture/live-action shoot where interactions between the main character and speaker system off camera were done. The records from around the globe would come in, be edited into the current scene of the film, and played back at eye level to Neel Sethi (the boy playing Mowgli). Ron moved on to tell me that the technology is changing so quickly that every shoot is different. He explained that in the run-up time to a shoot, he needs to get on the stage and gauge the new technology being rolled out. There are invariably new systems with banks of computers and hardware built with no consideration for sound. He has to get in the room and figure out a way to mitigate those systems' sound levels. More and more, he is distributing audio dailies to editorial and also directly into the capture team's stream live. In short, things can get complicated and being able to roll with the punches and still deliver is an important skill set. Ron expressed that he particularly enjoys this kind of shoot because it poses so many challenges; it keeps him on his toes and allows him to get creative. ANOTHER CONSIDERATION FOR THIS SECOND KIND OF DIALOGUE RECORDING ENVIRONMENT IS FLUIDITY OF THE WORK. RON TELLS ME EVERYTHING HAS TO BE WORKED OUT ENTIRELY BEFORE ACTORS ARRIVE ON SET—EVEN IF THE SYSTEMS ARE NEW, AND THEY OFTEN ARE. Rango The Adventures of Tintin