Issue link: https://digital.copcomm.com/i/1521715
26 PRODUCTION SOUND & VIDEO – Summer 2024 The first consideration we encountered was how to get our cables into the house, given that I would be set up, along with the director and video village inside an in-vision container which played as a guard hut on the other side of the camp wall. And once we had done that, we also had to figure out how we would route cables to all the mic positions we had designated in the house and how my team would be able to quickly choose and move mics between them, according to the requirements of each scene. We decided the easiest way would be for my team to base themselves in the attic and run our network of cables down through the house from there. My team would reposition the mics around the set and connect them into a stage box in the attic which would then feed me down on the ground in the container. In order to get those cables from the attic down to me, Production Designer Chris Oddy provided a period telegraph pole which could remain in vision and a small trench was dug to run cables from the container into and around the garden. Given that camera and video were also routing their cables through the house, a convenient series of holes had already been pre-drilled which we could use to feed our cables through ceilings and walls. However, certain rooms did not have the requirement for those larger holes but we still needed to feed those spaces with our cables. In those cases, we drilled holes just large enough to feed our cables and then my 1AS Mateusz Stasiak climbed a ladder and soldered on the XLR connectors in situ. My team ran our network of cables around the whole house before Chris and his art department, then painted and wallpapered over as many of them as they could and what was left had been OK'd by VFX Supervisor Bodie Clare for paint outs. And another little trick we devised with our suspended mics was the mounting of metal rings which we found in kits to make dreamcatchers to the ceilings. Using these rings and fishing wire or cable ties, we were then able to position the mics on a 360-degree axis allowing us to more accurately cover the spaces the actors moved in. In addition to our mainstay MKH50 and 8060's, we found DPA 4097 micro shotgun mics used with Lectrosonics transmitters