Issue link: https://digital.copcomm.com/i/1545215
Tech scouting was extremely useful, as I was able to see all the different theaters that were future venues for The Jackson 5 and Michael to perform. It had to be determined who would bring the PA system—either the house system (speakers not seen), SIR (Studio Instrument Rentals) for working period speakers that were "camera ready," or production sound (speakers not seen on camera and not part of the house). Again, lots of coordination between departments was required. Mark Agostino was hired as our Pro Tools Playback Operator. Both John Warhurst and I had worked with Mark before—he was an easy choice. Stage 27 at Sony was up first as our first location for the stadium concert work for the Victory Tour (1984). Mark was invited to the rehearsal period at Sony that preceded the shoot in order for lighting to program their cues based on the music and accompanying timecode. SIR provided the period-appropriate speakers and the related firepower for concert-level PA. The Orpheum Theatre in DTLA where Gladys Knight and the Pips played before, then introduced, The Jackson 5. The line array speakers on either side of the stage had to be taken down to accommodate our filming for the 1968 sequence. Jaafar Jackson in Michael © Lionsgate