Issue link: https://digital.copcomm.com/i/1538091
38 FA L L 2 0 2 5 I C A S Q U A R T E R L Y recording the endless wild lines, isolated sound effects, and other useful breaths and efforts just as was established by Nolan's workflow. But now, we have confidence in an option where we could rely on the viability of on-camera takes even under the toughest of conditions. Best of all, it allowed us to exceed the expectations of our department. COLLABORATION ACROSS DEPARTMENTS It took a village to accomplish what we had done on Sinners. From music editor Felipe Pacheco's coordination with the picture editors, the work the post team did, to Ryan Coogler's insistence on capturing truth in performance, every department played an integral role. The AD's, the actors, and the entire crew all helped make it happen. Recording these wild takes added time to our already intense schedule. Holding quiet on large exterior sets with the bugs, heat, and impending weather, required discipline. But in the end, it gave the post team several real choices. Our dialogue editor, David Butler, and our re-recording team of Brandon Proctor and Steve Boeddeker were able to blend production sound, wild lines, music, score, and effects into something seamless that retains truth. Something honest. WHAT THE VETERANS HAD TO SAY After Sinners was completed, I finally connected with Willie Burton and José Antonio Garcia. José told me that Nope followed a similar structure of using IMAX primarily for exteriors and scope. And they used System 65 for moments of intimacy. They, too, would record wild sound takes and leaned heavily on ADR for the situations where that was necessary. Willie confirmed that Christopher Nolan's preference on Tenet and Oppenheimer was to use the 15-perf IMAX for wider or grander shots and lean on the System 65 for closer dialogue scenes, though, as we saw, artistic decisions often override initial plans. With the Sinners editorial team going on to work on Nolan's upcoming film, Odyssey, I believe they will benefit from the evolving approach that we found on Sinners. The thing that I am most interested in learning about is how the promise of a new IMAX camera that claims a reduction in the amount of camera noise will even further move things forward. Also, there have been photos circulating the internet of what appears to be a "sound blimp" for the IMAX camera body. Hopefully, a combination of new physical tools will drastically improve the capabilities of the rapidly advancing post-production options. But, due to the top secrecy surrounding this project, we will have to wait to learn more about their approach when they are ready to divulge. These strategies gave me confidence that our hybrid approach was in line with the best in the business. WHY SHOOT ON IMAX FILM? You might wonder, why go through all of this when there are quiet, digital IMAX-approved cameras? I asked Bruce Markoe from IMAX the same thing. According to him, studios recognize the growing value of true 65mm IMAX capture. There's something ineffable about the analog image. There is a feeling of texture and scale that's hard to replicate with digital large- format cameras. It's a premium experience that audiences are increasingly willing to seek out. From a studio perspective, the added cost of using IMAX film is small compared to the marketing prestige and box-office potential. Films shot this way, especially projected in 70mm, carry a kind of built-in significance, and that resonates. Sinners is a perfect example of this. Through box-office indexing, one could draw their own conclusions about how the cost of shooting in this format translates to ticket sales for the higher priced IMAX experience. To date, Sinners has already seen a re-release for IMAX 70mm projected showings. It is undeniably proving to be a success in box-office ticket sales, which is not only great for the studio, but is also a huge win for the industry. Markoe noted that IMAX is actively working on improving the sound-related limitations of their film cameras. This has been one of the biggest requests from filmmakers who are considering the format for their projects, and the team at IMAX is definitely listening. They're exploring lighter and more effective sound blimps. He believes AI-assisted post cleanup tools are the real future, and based on my experience with Sinners, I tend to agree. A NEW ERA IN LOCATION SOUND In my opinion, it won't be just one solution. We'll get there through a combination of smarter blimping, more disciplined mic placement, and even more powerful AI tools. And when we do, we'll open up this beautiful and demanding format to a wider range of stories besides just blockbusters. Sinners taught me that it is possible to preserve authentic performances under extreme sound conditions. It taught me that with creativity, collaboration, and a willingness to experiment, we can overcome one of the most daunting audio challenges in modern filmmaking. And if we can capture usable dialogue next to this mechanical marvel, what can't we do? Photo of what appears to be a new "Sound Blimp" for the IMAX film camera.