![]() At the end of each day, we would open up all the boxes to dry them out and make sure there was no slippage in the orientation of the microphones inside. We found that even a millimeter of variation higher or lower in the mount made a huge difference to the coloration of the sound, so it was critical to have them precisely vertical and positioned as high in the box as possible. The box was drilled out to make space for a lavalier with a furry windscreen that we concealed behind a mesh screen, and painted to match the Exo-suit. Working cooperatively with Pierre Bohanna, James Barr and their crew, we built a box to be fitted on the front of the Exo-suit. That way when Tom Cruise was in costume, he would already be mic’d. I looked at the designs for the armor suits and consulted with the Prop-Modellers to find a way to build microphones into them. ![]() I decided I had to get at least one wireless microphone, if not two, working on everyone at all times-and they had to work well! It’s my first time to work with Tom Cruise and I have the impression he’s not going to want to spend much time getting his microphone fitted and finessed every day. It’s enough to set any Sound Mixer’s alarm bells ringing on multiple fronts although the bells were largely inaudible over the din of the action.
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