Issue link: https://digital.copcomm.com/i/1535806
30 S U M M E R 2 0 2 5 I C A S Q U A R T E R L Y Christopher then worked as part of the sound department in the West End on shows like The Starlight Express and Blood Brothers, before moving to New York, where he worked on records, first as an assistant and then as a mixer. About a decade later, seeking a better work-life balance, he moved to Los Angeles to work in the film business. He briefly worked for Solid State Logic teaching people how to mix on their platform, which allowed him to connect with professionals at studios like the Fox Scoring Stage, where he stayed for a few months. Christopher then took an opportunity at Skywalker Sound and has been there for more than 20 years, though he does work on projects in various locations. Roy and Christopher have worked together on various projects for several years with Imagine Documentaries, including shows for Nat Geo. They both praise the engineering department at Skywalker and note that the studio's commitment to cutting-edge technology significantly enhances the sound and visuals of its productions. "They are always at the bleeding edge of technology, and a lot of that comes through. The engineering department and Skywalker Sound's continued investment in technology does make a difference. Things are constantly moving, so keeping up with what's going on is no small task." The original piano that John Williams used at Fox, where he composed much of his film music, plays a significant role in the film. Noah recorded it using a variety of microphones, including some AKG large diaphragm mics positioned underneath and inside the piano. This provided a great amount of flexibility on the mix stage for a good sounding piano to play while hearing controlled dialogue signals. "We weren't sure that John would play the piano, but we had to be prepared for everything. We had to set up in a short amount of time, with limited access to the piano for sound check." Noah's experience playing drums live and in recording studios, as well as assisting other engineers, provided him with a solid foundation for recording various instruments, including the piano. Both Roy and Christopher were glad that Noah put different microphones on the piano, which provided the necessary separation and flexibility for a full sound for when John was playing, while also ensuring clear dialogue. "It was crucial to be able to get in and out to score, which would've been difficult if they didn't have separate tracks. When I saw the production tracks, I was quite relieved," expressed Roy. The documentary interviews took place in various locations, including John Williams' and Steven Spielberg's offices, which presented the typical background noise of a studio lot. "They're giving you these minutes of emotional stories and, of course, the planes are flying over in the middle of that, so you just kind of have to deal with it," Noah shared. Given the length of most interviews, the shotgun was typically mounted on a stand to avoid distractions during what felt like "spiritual moments in which nobody wanted any distraction." However, a mic was kept on hand for unexpected events, such as Steven Spielberg's surprise interruption of John Williams' piano interview. It was captured using a handheld shotgun and other microphones, which reinforced the storytelling by highlighting the surprise element. "It's OK that Spielberg was slightly off-mic because it feels more real. Everyone can hear the dialogue; it doesn't have to be perfect. If he was miked-up, it would have been too clean and a little suspicious," adds Christopher. By preparing for such contingencies, Noah provided the sound editors and re-recording mixers with different options and alternatives to work with. "The uncertainty of some moments raises the excitement of the process, so you better be prepared for contingencies while keeping it small and simple."