Issue link: https://digital.copcomm.com/i/1491451
Spring 2023 – LOCAL695.COM 31 "I'd generate the timecode, and then I'd bring all his stuff in on Dante on one data cable. I used tracks one through sixteen for my dialog, and then seventeen through thirty-two for the playback tracks for all the vocals and instruments and his playback timecode." David continues, "My boom mic is the Schoeps CMIT. I used to have the longer 5U and then when the Mini CMIT came out, I got two of those. But right now, I've taken to the Schoeps MK 41 Super cardioid capsule and the CMC-U, the mini preamp, and with the Lectrosonic HMA's, yes, yes, yes!" Changing topics, David explains, "The attention to detail was extraordinary and every single department was so good at their work. I describe filmmaking as a pyramid. You've got all the people making up all the crafts right down to the bottom; from the person that drives the cast, the Unit Department, extras casting, they're all there, and they all come together right up to the top of that pyramid, where the director calls action. All the musicians were ready to go, they knew their part. They've been rehearsing, everybody is rehearsed and it's extraordinary how all these details just come alive on, 'Action!' Wonderful stuff. Extraordinary." Describing his working relationship with Director Baz Luhrmann, "You actually don't get too close to him. He's somewhat of an island, Baz comes in and then he is gone, busy, busy, busy. He challenges you. There's no question about that. Just a few words, an idea and then bang. Baz would work closely with Elliott Wheeler (Musical Director) and Jamison Shaw (Co-producer). They would bring that info to Wade, and me, and we would bring it together on set. We were allowed time to do what you needed to do. L-R: On set team: Wade Keighran, music playback/live music recording, Ben Wyatt, Boom Op, David Lee, Production Sound Mixer, Sophie Norfolk, Radio Mic Tech