Issue link: https://digital.copcomm.com/i/1531981
Spring 2025 – LOCAL695.COM 23 at all, we took control of the monitor speaker outputs so Tod would be able to give Timmy the levels he needed to sing and perform fully while not overpowering what we were trying to record. The SQ-5 was an ideal board for us on this project. We were moving channel strips around between takes as new cast gained or lost lines in scenes, all while being able to control the outputs to the monitors on the same layer. In addition to the vintage stage mics, the wires, and our booms, we always had several FX mics out. We'd set up multiple ambient mics to capture the crowds, especially as there were many sing- along moments throughout the movie. We also made sure to capture what the speakers were putting out so they could add that in at will in post as the camera either got further from the cast or included the speakers. We always have four Shure AD4Q racks totaling sixteen wireless channels installed on the cart, with more available on the truck to single out interesting sounds, car mufflers, inside motorcycles, EFX mics, mics for the speaker effect. Columbia Studios I was really looking forward to the scenes at Columbia (CBS) Studios. They were the last thing we shot and were in many ways, a culmination of everything we'd learned and established from the beginning of the job. Since we were recording a number of different songs over a number of years for Dylan, we had to prepare many mic setups. In all the studio scenes, we used more than twenty different vintage mics. We had thirteen hardline ins, seven outs, in addition to the wireless booms and lavaliers that went out each day. For larger installs like this, I often create signal flow and cabling diagrams. Making these diagrams is for me to think through the routing before we get there and to help the rest of the team know where we're running cables. Half the time, the actual install is very different but at least I can build the SQ-5 board setup on my laptop before we get there. One thing we had to figure out was how to make the meters move in the control booth. I have to admit that this is a bit of a pet peeve for me as there is little that pulls me out of a movie faster than when I see the meters stationary or not match the action on screen. We hardlined new mixes out of the SQ-5 into the various meter setups. This way, we could send separate feeds for voice, guitar, and whatever else as the scene demanded. We ended up daisy chaining and splitting those three mixes to high heaven as there were dozens of components like compressors, the custom-built prop board with its VU meters and reel-to-reel recorders that all required signals. I even mentioned to DOP, Phedon Papamichael, and our Gaffer, John Alcantara, that the VU meters were all functional so they could dim them to their liking. What stands out about our time at the Columbia set was the cast/band would stick around during setups, and if they have an instrument in their hands, they're gonna play it. And play they did! We ended up rolling sound through a lot of the "downtime" on set while they jammed away. It was really fun to watch them, Timmy included, play and sing out for the joy of making music. Soundplant and playing back more than music Another highlight of working on this movie and working with Tod, Jerry, Playback Operator, Derek and our Music Team, Nick and Steven, was that our first priority is always getting good and clean recordings. This movie features "live" performances, but also "lively" performances, and not just during the music scenes. When we are on set when possible, we create a realistic soundscape for the cast. Actors can give a better performance in a real set experience rather than in front of a green screen. Therefore, we think giving actors immersive sound on set helps their performances. In order to do this, we used many tools, but the newest one for us is Soundplant, a deceptively capable app that turns one's computer keyboard into triggers for sounds. For example, there was a scene where Bob is in a diner, as the crescendo of the Cuban Missile Crisis is unfolding around him. There is panicked dialog happening among the staff of the diner and the TV is on with newscasters describing the situation. I was given recordings of Cronkite and brought some other sound effects to Terence's Columbia Studio signal-flow and cabling diagram