Issue link: https://digital.copcomm.com/i/1531981
and overlap each other. After the first day of shooting, I said I'm going to send this over to post as I wanted to make sure we're not messing up the whole movie. Our Post Supervisor looked at it and said, yeah, this is perfect, it's going to work great. So, we did the entire movie that way. Later, when Bradley Cooper watched The Front Runner, he asked, "How did you guys do that? How did it sound so real? I want to do that for Maestro." I said we just mic everybody, you have everybody talk all at once and you go for it. Bradley said, "All right, we're going to do that for all the party scenes and all the big scenes." When Jason saw Maestro he asked, "How'd you guys record the orchestra live? I want to do that for Saturday Night, I want to do all the music live. I said okay, sure. In the script, it says they complain about the sound quality of the band. "Hey, this sounds like crap," and the sound engineer on camera says, "one band, one mic, that's all you get." So, to match the story, we ended up having to hide a ton of microphones. PS&V: Talk about Jon Batiste as Billy Preston and the film's score. Steve: Jon Batiste came in with his band four weeks into shooting, so we had time to run a digital stage box and Bryan Mendoza could set up mics for the Billy Preston sequence. We had a kick drum mic in plain view but stuffed inside of a blanket. We hid DPA 4099's, and placed mics on the café lights hanging over the set to get a wider sound. We took direct feeds