Issue link: https://digital.copcomm.com/i/1515068
32 PRODUCTION SOUND & VIDEO – Spring 2024 We always wire several key background cowboys who are tending to the cattle or horses. Although they may not have scripted lines, they are truly doing their work as cowboys during each take. It's fun to capture the real dialog between them, and quite often, they talk to the cattle as they maneuver them around. It's pretty charming and offers editorial an interesting way to get into or out of a scene. I'm always pleased when I hear it used. There are always lots of great opportunities to record horses and wagons, vintage cars, or swinging porch doors. The show has a very natural sound and shooting on location on remote ranches really allows us to get some great effects recordings alongside the dialog. I record onto a Sound Devices Scorpio, using a CL16 control surface. We keep the Wisycom LFA antennas on one hundred- foot cables and run them out as close to set as possible while getting them up as high as we can on some eighteen-foot light stands. Even though we are in pretty remote areas without a lot of radio or television frequencies to contend with, there is a surprising amount of set-inflicted interference from the five cameras and all the Teradek wireless that goes along with it, including a twenty-beltpack Bolero comms system each with its own Bluetooth headset. Set lighting is also largely wireless, contributing to the crowded RF environment. I definitely see a Helen Mirren as Cara and Harrison Ford as Jacob in 1923. Photo by Emerson Miller/Paramount+ © 2022 Top: Harrison Ford in 1923. Photo by Christopher Saunders/Paramount+ © 2022. Bottom: Brian Geraghty as Zane in 1923. Photo by Emerson Miller/ Paramount+ © 2022 Viacom International Inc. All Rights Reserved.