Issue link: https://digital.copcomm.com/i/1277960
and breaks it apart to make the reflecting sound disappear. It's actually quite remarkable. The screens could help us provided we could get them placed within four to eight feet of the actors to work correctly, but therein was the challenge. The images that the LED screens were projecting were at times spilling light into the scene. When this was the case we could only use the sceens sparingly between the space where the light was emanating. We also had to be keenly aware of the infrared cameras being used for the camera positioning data. Add to this that we had to be extremely mindful of the potential of the screens reflecting in The Mandalorian's armor. These challenges were met, gratefully, with a spirit of collaboration, thanks to our DP's Greig Fraser and Baz Idoine, Jeff Webster, our Gaffer, and the gaming engine crew. When we were able to position the screens where they could best be utilized, knocking down unwanted sound reflections, it allowed us to capture usable dialog in this challenging environment. It also helped a great deal when practical set pieces were placed within The Volume to break up the reverberant space. Of course, anytime we were shooting inside a spaceship, cabin, or any interior space within The Volume stage, we were able to get great sound. Shooting in The Volume was not the only challenge. In addition to The Volume, and an additional conventional stage, we used an exterior backlot location. It was an old asphalt lot covered in layers of sand and dirt. Like many exteriors in Los Angeles, this backlot area was enveloped with ambient noise—air traffic, road noise, and train tracks well within earshot. Freight trains would slowly come through, loud, and inevitably stop and idle. Along with the freight trains, a nearby Metrorail train would pass through. The good news was that the Metrorail passing by sounded much like a spaceship coming in for a landing! The backlot location was mostly utilized for action sequences, stunts, pyro, and shootouts, and less for big dialog scenes. Production was very aware of the challenges of this location and those times when we did have heavier dialog scenes we knew that with luck, cooperation, and coordination from our entire team, we could all get what we needed. But sometimes when things didn't go our way, you just have to understand that it is what it is and not stress about it. I think anyone ever shooting an exterior dialog scene in Los Angeles knows what I'm talking about. Photo by Francois Duhamel/Lucasfilm Ltd. Photo by Melinda Sue Gordon/Lucasfilm Ltd. Shawn Holden CAS. Photo by Melinda Sue Gordon/Lucasfilm Ltd.