Issue link: https://digital.copcomm.com/i/1531981
to the hallways upstairs so we could do long complex and continuous shots. When we coordinated the frequencies, that was it, they were locked in and we never had to think about it again. I had two Midas M32R consoles tied together, because even though each has thirty-two inputs, they are on two layers, and I didn't want to have to switch between fader layers. So, I put them side- by-side, with channels 1 through sixteen in front of me, and seventeen through thirty-two on my left. The way I see it is, you look at the sides and okay, Lorne is gonna talk first, then Rosie, then Chevy Chase, then you'd lay it out one, two, three, four. It would change every day, depending on what the scene was, but the reality is you would do that so that the first spoken lines of dialog you would know exactly where they were coming from and you could see what the camera was doing and then decide where everybody else was gonna be. With the M32R, the actors were on the first layer of both mixers. The second layer of the second mixer was for music, ambisonics mics, surround mics, different feeds from all the live televisions. We pulled all those audio feeds so that the editor would have them. I recorded on two Sound Devices 970's, and I think we hit fifty-eight tracks. That was when we had the musical guests playing, which Jason wanted to do live. Jason and I have worked together for years and when we did The Front Runner, Jason wanted to shoot it with overlapping dialog. He wanted it to sound like All the President's Men. I said let me just have everybody talk and we'll track everybody. We got up to twenty-two microphones in a scene and we had them all talk 30 PRODUCTION SOUND & VIDEO – Spring 2025