Issue link: https://digital.copcomm.com/i/1469942
32 PRODUCTION SOUND & VIDEO – Summer 2022 archiving). However, the archive's voice quality isn't very good. Certainly not good enough to use for a final movie soundtrack. Plus all of the Navy's archived communications are classified, so it would be challenging to get clearances to use the recordings. Even if we were to receive clearance, trying to sync up all those un-slated recordings from all those flights would have been a nightmare. Obviously, this was not an option, the dialog had to be recorded in the plane while it was inflight at the highest quality possible, and it had to be available for us to be able to sync up and use immediately after each flight. In addition to having the sound recording equipment properly secured to the aircraft, it was also imperative that its operation could not have any effect on the ability of the pilots' mask to deliver oxygen to them at higher altitudes. Nor could it interfere with any communications between pilot and co-pilot. Given these restrictions, how could the inflight sound be safely captured, in sync, at the quality that the movie deserved? During prep, I learned that there are specific connectors for fixed wing aircraft, and for helicopters, and that the wiring configurations for those connectors differ for the various branches of the service. All of the connectors involved in aeronautics are unique. They are connectors the likes of which I have never encountered before. With guidance from the Navy and the help of the Parachute Room Team, I found the right place to tap into the plane's Comms to be able to get the best possible inflight recording, while still allowing for uninterrupted communications, not interfering with the mask's oxygen flow or compromising an emergency ejection. I have made plenty of adaptor cables in my time, but considering the unfamiliar aircraft connectors and the absolute cannot fail operation of this mission-critical piece of equipment, I needed to seek out someone one hundred percent familiar with all of the elements involved to fabricate the Y cables I required. A Navy pilot introduced me to Par, at Pilot USA Communications. Pilot USA makes all sorts of cables and adaptors for all the branches of the military. I spoke with Par to explain all the specs for the Y cable I wanted him to fabricate. I explained that it was imperative that the cable would not interfere with any aircraft functions while being able to feed pure undistorted audio to two Lectrosonics transmitters via TA5F connectors; I would have a dual feed to two SM's, in case failed. He asked me to draw up a wiring diagram. I sent him a very crude drawing of the cable, along with a copy of Lectrosonics TA5F wiring diagram. Par was able to read my drawing and understand it. He said he felt confident that he would be able to fabricate a Y cable that would meet all my requirements. My initial concept for the flying sequences was to put two Lectrosonics SM transmitters on each actor, with two Lectro 411 receivers attached to a single recorder in the plane, and two additional mics attached somewhere inside the canopy for stereo sounds of the jet's engines, rattles, and groans inflight. Four tracks would be enough to do the job so I chose a Sound Devices 744. I chose the 744 because it was the smallest four-channel recorder that I had, and because I thought it was one of the sturdiest, best built devices I knew of. I figured it was most likely to survive the potential forces of up to 7G's. Given the intense G Forces involved, I thought it best to eliminate any moving parts. As such, I replaced the 744's original spinning hard drive with a solid-state hard drive. Lewis Pullman plays "Bob" Danny Ramirez plays "Fanboy" in Top Gun: Maverick from Paramount Pictures, Skydance, and Jerry Bruckheimer Films.