Issue link: https://digital.copcomm.com/i/1546075
36 PRODUCTION SOUND & VIDEO – Fall 2026 big entrance hall and a giant glassed in lobby area that looks out on the street. Steven said, "I want to have it be a real TV station, have it really function. I want to be able to have the control room actually control the cameras. If they say, zoom in on camera three, the guy on the camera will hear him and zoom in. That video will be live in the control room and that video monitor will show what is camera three. Can we do that?" We figured it out. I got Patrick Farrell as our Comms Tech to have that available to us in the mix of what the director is telling camera three and all the orders, the switching, all that they say in a control room. That jargon, that banter. Jeff Livesey recorded all the studio banter by tapping into the comms system and getting the comms feed recorded. With some additional microphones, I was getting that background stuff as a separate mix and archiving it so we would have it for later. We matched timecode because we were sometimes shooting two places simultaneously. We were shooting in the control room and on the floor, as Steven wanted to have it live in both places. There was all this other talk going on in the control room which would normally be happening, but it wasn't scripted. This is where my crew got bigger and bigger. There were several days where I had the largest crew I've ever had on a film, I think, ten people in our sound world. We also shot at Steiner Studio in Brooklyn, New York, which is great. It's my favorite stage, plus I can get there on a bicycle from my house, so it's excellent. There were a lot of locations. It was a relatively long shoot. We went from late winter into summer, finishing in late June. We went upstate for some scenes, such as the car chases, the rock quarry, and a lot of driving stuff. But most of it was in and around New York. When I'm mixing, I generally stand. I'm sort of unusual in that way. I think now it's more prevalent but I never had a chair, I always stood. I just always felt when I'm sitting down, I got more sleepy. It's easier to concentrate when I was standing. I could see the set better. In the old days, there was no video assist. I just built my cart high and then I stand up. I use the Cantar X3, Shure Axient for wireless. The Sennheiser MKH 50 is the first mic out of the box. That's the default and if necessary, we change from there. Outdoors, I'll go to a Schoeps CMIT. Drew mixing from the bag with his Cantar X3