Issue link: https://digital.copcomm.com/i/1433345
34 PRODUCTION SOUND & VIDEO – Winter 2022 scout. I always find this process extremely helpful, as you get the opportunity to meet most department heads and their keys, start conversations on potential challenges, and together find solutions to any potential issues. The magnificent costumes were designed by Costume Designer Antoinette Messam. I began a conversation with Antoinette and she and her team immediately made themselves available offering her ideas on what the costumes designs were going to be. Even with last- minute changes, we were able to work together to accommodate our lavalier and radio mic transmitter placements. In a scene were Cuffy (Danielle Deadwyler) and Nat Love (Jonathan Majors) rob a bank, Cuffy is wearing a form-fitting red dress and as she gets off the horse, her movement made it impossible for the lav to be in her dress, but her bonnet hat saved the day! Working with one of our onset costumers, Nick was able to install both the mic and transmitter in the hat, and the costumer looked after it during the few days of filming. A battery change, a quick check to make sure all was in place, and we were ready to go! Generator placement was also an essential part of our technical scouts, as we were filming in the expansive ranches of Santa Fe; empty land as far as the eye can see. Generator noise really travels, especially when the wind picks up. The art and construction departments built structures that could hide generators and keep the low rumble to a minimum. If that wasn't possible, then the rigging grips and the Construction Department had portable baffles made that could be deployed when needed. Once we left our Western town sets, some of our locations were accessible only by ATV. Our Transportation Department provided an ATV for our "all-wheel drive sound cart." Our Teamster Driver and honorary sound team member, Rob Elliott-Barry. took such good care of us, with smooth driving and even some tire repairs. The daily cooperation and teamwork on set was supreme, with tremendous help from Grip, Electric, Camera, AD's, Locations, Art, and other departments achieving our goal of providing Jeymes with the best production tracks possible. Once the first day of filming is behind us, we often do not get the opportunity to have direct contact with the Post Production Sound Editing team that will be working with our production tracks. As on all my projects, I establish communication with the Picture Editorial team, and I had the opportunity to visit the cutting room that was set up in our production office. Having conversations with Picture Editor Tom Eagle, and First Assistant Editor John Sosnovsky, gave me the chance to better understand and address their needs. The Post Sound team usually comes on board after the film has wrapped. In most cases, we are already working on another project, perhaps not in the same city. Keeping in touch with our Post Production Supervisor, Jason Miller, gave me the opportunity to catch up with the Sound Post team a few months after wrap. I had the chance to spend a few hours at the post facility in Los Angeles of David Bach, Dialog Editor and ADR Supervisor. David was working on some scenes, and multiple Academy Award and BAFTA recipient Richard King served as the Supervising Sound Editor and Re-recording Mixer with his team. Having the opportunity to hear and view how our production tracks and efforts during filming were falling into place was the most rewarding learning experience I've had as a Production Sound Mixer. What really caught my attention was the use of lavs and boom mics and how they were mixed to maximize the overall sonic quality of the voice. Having the choices between boom, plants, and lavs gave them the ability to enhance our work in the most positive ways, which was the ultimate goal. Working with Writer-Director Jeymes Samuel on Netflix's The Harder They Fall has been the highlight of my production mixing career. Our fearless leader Jeymes brought the most positive energy to set every single day without fail. His tremendous cinematic vision was an honor to watch, but most importantly, his understanding, consideration, and support of the craft of sound was unprecedented. He allowed and inspired us to come to set every day, bringing our best game forward. Thank you to my crew of Doug Shamburger and Nick Ronzio for their hard work under some difficult conditions, masks, goggles, shields, and all! Anthony Ortiz at his cart on location outside Santa Fe, NM. Ortiz with David Bach, Dialog Editor