Issue link: https://digital.copcomm.com/i/855802
16 When the sound team couldn't run a cable—the preferred recording method for Nolan—wireless frequencies, were hindered by neighboring interference. "In every direction on that beach, you'd see windowless military-styled build- ings with huge communication towers on top of them," notes Weingarten. "I couldn't use my Lectrosonics Venue in my bag confi guration or my larger antenna system, so my only means of fi nding usable frequencies was scanning with the UCR411. The problem with that is it doesn't pick the best frequency for you, and instead, you have to select something that looks good." Mixing the mole scenes, the team couldn't work off a nearby boat because the tidal change and the camera were sometimes twenty-fi ve feet away. Wires interchanged with booms during close-ups, with Weingarten using the knobs on the Fusion 12 for the dailies mix. "There were these long, six-person scenes, and while I'm not very good mix- ing with the knobs, we were still able to record the dialog under those conditions without needing to loop it." If any unforeseen challenges or circumstances arose, We- ingarten communicated them to Sound Designer/Super- vising Sound Editor Richard King. "We were able to cap- ture some M/S stereo recordings on the beach and get the soldiers' reactions. We also recorded the vintage Royal Air Force Spitfi re planes on set, but the planes' engines were not original and needed to be later replaced in post. We also recorded many of the ships, some of which were actu- ally there during the evacuation of Dunkirk." From Dunkirk, production shifted to the Netherlands on the artifi cial lake of Ijsselmeer to shoot on calmer waters for scenes with Mr. Dawson (Mark Rylance) on his Moon- stone vessel. The belly of the forty foot boat served as the mixer's offi ce while the camera crew sometimes worked on another ship using a twenty six foot-long, gyro stabi- lized, telescopic crane called the Edge to mount the IMAX. Van Hoytema would sometimes board the Moonstone with the 65mm camera for handheld work on the pitching seas. Frequency issues cleared up for the recordist and Domi- nic Happe joined as his boom operator. Weingarten paired