Tag Archives: First Man

First Man: Oscar-winning director Damien Chazelle

He talks about his most recent film, First Man

By Iain Blair

It’s been two years since I spoke to writer/director Damien Chazelle for postPerspective about his film La La Land. While he only had three feature films on his short resume at the time, he was already viewed by Hollywood as a promising major talent.

That promise was fulfilled in a big way when La La Land — a follow-up to his 2014 release Whiplash (which received five Oscar noms, including Best Picture and Best Adapted Screenplay for Chazelle) — earned 14 Academy Award nominations, winning six awards, including Best Director for Chazelle. He was the youngest to receive the award. The film also won a record-breaking seven Golden Globe Awards and was honored with five BAFTA wins and 11 nominations.

Damian Chazelle working with DP Linus Sandgren on the set of “First Man.”

Recently, Chazelle reteamed with that film’s star, Ryan Gosling, who plays astronaut Neil Armstrong in Universal Pictures’ First Man, the story behind the first manned mission to the moon. Focusing on Armstrong and the decade leading to the Apollo 11 flight, it’s an intimate account that puts the audience squarely inside the planes and rockets, fully immersing the viewer in the exciting and terrifying test flights and space missions.

Based on the book by James R. Hansen, the film also explores the triumphs and the cost — on Armstrong, his family, his colleagues and the nation itself — of one of the most dangerous missions in history.

The film co-stars Claire Foy, as the unsung hero Janet Armstrong, and a supporting cast that includes Jason Clarke, Kyle Chandler, Patrick Fugit, Ethan Embry, Pablo Schreiber, Christopher Abbott and Corey Stoll.

Written by Academy Award-winner Josh Singer (Spotlight, The Post) — with Steven Spielberg as an executive producer — the film also reunites Chazelle with his Oscar-winning cinematographer Linus Sandgren (American Hustle), Oscar-winning editor Tom Cross (Whiplash) and Oscar-winning composer Justin Hurwitz (Whiplash). The director also teamed for the first time with Oscar-winning visual effects supervisor Paul Lambert (Blade Runner 2049, The Huntsman: Winter’s War).

I recently talked to Chazelle about making the film, which has already generated a lot of Oscar buzz, and his love of editing and post.

What sort of film did you set out to make?
I wanted to strip away the mythology a bit, as it’s very easy to forget these are real human beings who risked their lives in glorified sardine cans. It was a time before personal computers, and they were using technology that seems so antiquated now. It was about figuring out the edges of their potential. To me it felt like a story of resilience and sacrifice that was really worth telling, and my hope was to make it totally immersive. I wanted it to feel like you’re right there — in the capsules, in the test flights, wherever the characters are. I wanted to give it a feel of being almost like virtual reality.

What were the main technical challenges in pulling it all together?
The big thing was, we all wanted to get it technically right, down to the very smallest details, so all the help we got from NASA was invaluable. And first, we had to deal with the sheer density of material. There was so much knowledge we had to quickly gain in order to reflect it accurately. There was so much research and trips to landing sites and space museums, and meeting and talking to former colleagues and former astronauts. We also got the input and support of Neil’s sons and family. Then there was a lot of prep time where our production designer Nathan Crowley started designing and building all the spacecraft pretty much to scale.

How early on did you start integrating post and all the VFX?
Right away, but Nathan and I agreed that we should do as many of the VFX as in-camera as possible rather than using greenscreen, so we used a lot of full-scale models and also some miniatures. We used gimbals, motion-control and LED technology and some other in-camera effects, so the result felt like a very physicalized approach. I thought really suited the subject matter. I didn’t want to glamorize it, but show just how raw and tough it all was.

We looked at a lot of archival footage, and I storyboarded every scene in space and then made animatics set to Dustin’s music, so it gave us a very precise sense of, “OK, this is the shot. How are we going to do this other shot? How are we going to combine this effect with that one?” It was figuring out the methodology, shot by shot, and we had lots of multi-departmental meetings around tables with models and art work laid out. This allowed us to walk each other through the process. It was a bit like a relay race.

Can you talk about how you collaborated again with Linus Sandgren?
He did such a beautiful job on La La Land, and I knew what he was capable of, so it was great to collaborate with him and watch him work on this bigger canvas. He was able to tackle all the technical challenges, yet he was also always able to ensure that his photography had humanity to it. The human beings are at the center of it all, and he captured all the emotions in their faces, all the poetic moments in between all the big set pieces. He’s always searching for those things, which is what I love about his work. He built special light rigs for scenes with the sun, and then we shot the moon sequences at this gray-colored quarry near Atlanta, which we then sculpted.

To get that harsh lunar light, he developed the biggest film light ever built — around 200,000 watts. That gave us that black sky look and stark shadows. We also did a lot of testing of formats to figure out what the balance should be because we planned to shoot a lot in 16mm, some in 35mm, and then all the moon stuff in IMAX. All the transitions were important in telling the story.

(See your interview with Sandgren about his work on La La Land here.)

Where did you post?
All on the Universal lot in LA, including the sound mix.

Do you like the post process?
I love it, especially the editing. It’s my favorite part of the whole process, and where it all comes together.

Talk about editing with your go-to guy Tom Cross. What were the big editing challenges?
The big one was the huge amount of film I shot — two million feet — and a short editing schedule, shorter than La La Land. So figuring out how to take all that, and a lot of it was documentary style, and wrangle it into a narrative space and make the movie feel visceral, kinetic and propulsive was very challenging. Then finding the balance between the big set pieces in space and the quiet moments at home was demanding, but Tom’s so good at that and finding gems. Our first cut was over three hours long, so we had to cut a lot and find the most economical ways to work through the footage. This wasn’t like our last film, which was full of cuts and close ups. This was more a first-person point of view, and we had to edit in a way that gave clarity, structure and a kineticism to make it feel like this one big breathless ride.

All the VFX play a big role. Can you talk about working on them with visual effects supervisor Paul Lambert.
He was there right from the start, and he also designed all of the in-camera effects, and he’d refer to it as “doing the VFX in prep rather than leaving them all to post.” We used archival footage projected onto LED screens through the windows of the spacecraft, and that gave us our backgrounds. We didn’t have a lot of CG stuff created from scratch, but there was a lot of fine-tuning and finessing, so it was a big endeavor both in prep and post. But it never felt like that kind of effects movie where you shoot a ton of greenscreen and then fix it all in post.

(See our interview with Tom Cross about his work on First Man here.)

Talk about the importance of sound and music.
It’s huge for me, and that’s why music drives a lot of my films. I used to be a jazz drummer and I’m always thinking in terms of rhythm and sound. The sound team collected a huge range of sounds we could play with. Our sound designer Ai-Ling Lee would go down to the Cape and record stuff, and we also recorded sounds in old hangars and sounds from the old space suits and their cooling tubes and so on. It was really specific. Our set sound mixer Mary Ellis also recorded a ton of stuff, and it all went into a pile. The mixing took a long time, and we’d also augment the authentic sounds with animal noises, gunfire and other things, so it was quite experimental. Then there’s the absolute silence of the moon.

(Stay tuned for our interview with the audio post team on First Man.)

Where did you do the DI, and how important is it to you?
We did it at Universal with colorist Natasha Leonnet from EFilm. She did La La Land and Whiplash for me and is very experienced and an artist. The DI is such a key part of post, and I love the look we got.

What’s next?
I’m doing pre-prep on this TV musical drama, The Eddy, for Netflix. It’s set in Paris and we’ll start shooting there in March. Then I’m also writing this drama series for Apple TV, which I’ll direct and also executive produce. I have some movie ideas in development, but nothing set yet. I’m excited about the TV stuff.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Tom Cross talks about editing First Man

By Barry Goch

As a child, First Man editor Tom Cross was fascinated with special effects and visual effects in films. So much so that he would take out library books that went behind the scenes on movies and focused on special effects. He had a particular interest in the artists who made miniature spacecraft, which made working on Damien Chazelle’s First Man feel like it was meant to be.

“When I learned that Damien wanted to use miniatures and do in-camera effects on this film, my childhood and adulthood kind of joined hands,” shares Cross, who is now a frequent collaborator of Chazelle’s, having cut Whiplash, La La Land and now First Man.

We recently spoke with Cross about his work on this Universal Pictures film, which stars another Chazelle favorite, Ryan Gosling, and follows the story of Neil Armstrong and the decade leading up to our country’s first mission to the moon.

Which sci-fi films influenced the style of First Man?
I remember seeing the original Star Wars movies as a kid, and they were life changing… seeing those in the theater really transported me. They opened my eyes to other movies and other movie experiences, like 2001: A Space Odyssey. Along the way, I saw and loved The Right Stuff and Apollo 13.

Tom Cross

Damien is a big fan of all those movies as well, but he really wanted to try a different stylistic approach. He knew that 2001 owns that particular look and style, where you’re super high resolution, antiseptic and sleek in a futuristic way.

For First Man, Damien decided to go with something more personal and intimate. He watched hours of 16mm NASA archival footage, which was often shot by astronauts. He loved the idea of First Man feeling like we put a documentary cameraman in the space capsules. He also saw that these spacecrafts appeared more machine-age than space-age. All the gauges and rivets looked like they belonged in a tank from World War II. So I think all of that lo-fi, analog feel informed the cinema vérité-style that he chose.

As a creative editor, you have animatics, previz or temp comps in the Avid, how do you determine the pacing? Could you talk about the creative process working on a big visual effects film?
Damien preplans everything down to the letter. He did that on Whiplash and La La Land, and he did that on First Man, especially all of the big action set pieces — the X-15, the Gemini 8 and Apollo 11 scenes. He had storyboards done, and animatics that he cut with some rough sound effects. So I always used those as a starting point.

I rely heavily on sound. I really try to use it to help illustrate what we’re looking at, especially if we’re using placeholder shots. In general, I’m most reliant on the performances to help me time things out. What the actors bring is really the heartbeat of any action scene. If you don’t identify with the character or get into a point of view, then the action scene becomes something else. It might work on some formal level, but it’s less subjective, which is the opposite of what Damien was going for.

Can you talk about him capturing things in-camera?
Damien made the choice with production designer Nathan Crowley, VFX supervisor Paul Lambert and cinematographer Linus Sandgren to try to shoot as many things in-camera as possible. The backgrounds that you see out all the spacecraft windows were projected on LED screens and then captured in-camera. Later, our VFX artists would improve, or sometimes replace, those windows. But the beautiful thing that in-camera gave us were these amazing reflections on the visors, faces and eyes. That sort of organic play of light is very difficult to replicate later. Having the in-camera VFX was invaluable to me when I was editing and great for rough cut screenings.

A big part of the film played with only the point of view of the astronaut and feeling like it’s a VR experience. Could you talk about that?
It came down to what Damien and Ryan Gosling would refer to as “the moon and the kitchen sink.” That meant that the movie would hinge on the balance between the NASA space missions and the personal domestic storylines. For the earthbound scenes with Neil and his family, Damien wanted the audience to feel like a fly on the wall in their home. He wanted it to feel intimate, and that called for a cinema verité documentary approach to the camera and the cutting.

He wanted to continue that documentary style inside the space capsules but then take it even further. He wanted to make those scenes as subjective as possible. He shot these beautiful POV shots of everything that Neil sees — the Gemini 8 seat before he climbs in, the gauges inside, the view out the window — and we intercut those with Ryan’s face and eyes. Damien really encouraged me to lean into a simple but effective cutting pattern that went back and forth between those elements. It all had to feel immersive.

What about the sound in those POV shots?
It was brilliantly created by our sound designer Ai-Ling Lee and then mixed by Ai-Ling, Frank Montano and Jon Taylor. Damien and I sketched out where all those sounds would be in our Avid rough cuts. Then Ai-Ling would use our template and take it to the next level. We played around with sound in a way that we hadn’t done on Whiplash or La La Land. We made room for sound. We would linger on POV shots of the walls of the space capsule so that we’d have room to put creaks and metal groans from Ai-Ling. We really played those moments up and then tried to answer those sounds with a look from Neil or one of the other astronauts. The goal was to make the audience feel like they were experiencing what the astronauts were experiencing. I never knew how close they were to not even making it to the lunar surface.

There was that pressure of the world watching as alarms are going off in this capsule, and was fuel running out. It was very dramatic. Damien always wanted to honor how heroic these astronauts were by showing how difficult their missions were. They risked everything. We tried to illustrate this by creating sequences that were experiential. We tried to do that through subjective cutting patterns, through sound and by using the big screen in certain ways.

Can you talk about working in IMAX?
Damien is a big canvas director. He always thinks about the big screen. On La La Land, he and Linus shoot in Fox’s original Cinemascope aspect ratio, which is 2:55.

On First Man, he again wanted to tell the story on a wide canvas but then, somehow, take it up a notch at the appropriate moment. He wanted to find a cinematic device that would adequately transport the audience to another world. He came up with this kind of Wizard of Oz transition where the camera passes through the hatch door and out onto the moon. The image opens up from 2.40 to full 1.43 IMAX.

The style and the pace changes after that point. It slows down so that the audience can take in the breathtaking detail that IMAX renders. The scene becomes all about the shadows and the texture of the lunar surface. All the while, we linger even longer on the POV shots so that the viewer feels like they are climbing down that ladder.

What editing system did you use?
We edited on the Avid Media Composer using DNxHD 115. I found that resolution really helpful to assess the focus and detail of the image, especially because we shot a lot of 16mm and 35mm 2-perf.

Tom Cross

I would love to give a shout out to your team, for your assistants and apprentices and anybody else that helped.
I was pretty blessed with a very strong editorial crew. If it weren’t for those guys we’d still be editing the movie since Damien shot 1.75 million feet of film. I need to give credit to my editing team’s great organizational prowess. I also had two great additional editors who worked closely with me and Damien — Harry Yoon and John To. They’re great storytellers and they inspired me everyday with their work.

Ryan Chavez, our VFX editor, also did a lot of great cutting. At the same time, he kept me on target with everything VFX-related. Because of our tight schedule, he was joined by a second VFX editor Jody Rogers, who I had previously worked with on David O. Russell’s movie Joy. She was fantastic.

Then I had two amazing first assistants: Jennifer Stellema and Derek Drouin. Both of them were often sent on missions to find needles in haystacks. They had to wade through hundreds of hours of NASA radio comms, stock footage, and also a plethora of insert shots of gauges and switches. Somehow they always knew where to find everything. The Avid script was also an indispensable resource and that was set up and maintained by Assistant Editors Eric Kench and Phillip Trujillo.

On the VFX end, we were very lucky to have our VFX producer Kevin Elam down the hall. We also had two incredible postviz artists — John Weckworth and Joe DiValerio — who fed us shots constantly. It was a very challenging schedule, which got more difficult once we got into film festivals.

Fortunately, our great post supervisors from La La Land —Jeff Harlacker and Jason Miller — were onboard. They’re the ones who really kept us all on track and had the big picture in mind. Together, with our trusted post PA Ryan Cunningham, we were covered.

The truly unsung heroes of this project had to be the families and loved ones of our crew. As we worked the long hours to make this movie, they supported us in every way imaginable. Without them, none of this would be possible.


Barry Goch is a finishing artist at The Foundation, a boutique post facility in the heart of Burbank’s Media District. He is also an instructor for post production at UCLA Extension. You can follow him on Twitter @gochya

Report: Sound for Film & TV conference focuses on collaboration

By Mel Lambert

The 5th annual Sound for Film & TV conference was once again held at Sony Pictures Studios in Culver City, in cooperation with Motion Picture Sound Editors and Cinema Audio Society and Mix Magazine. The one-day event featured a keynote address from veteran sound designer Scott Gershin, together with a broad cross section of panel discussions on virtually all aspects of contemporary sound and post production. Co-sponsors included Audionamix, Sound Particles, Tonsturm, Avid, Yamaha-Steinberg, iZotope, Meyer Sound, Dolby Labs, RSPE, Formosa Group and Westlake Audio, and attracted some 650 attendees.

With film credits that include Pacific Rim and The Book of Life, keynote speaker Gershin focused on advances in immersive sound and virtual reality experiences. Having recently joined Sound Lab at Keywords Studios, the sound designer and supervisor emphasized that “a single sound can set a scene,” ranging from a subtle footstep to an echo-laden yell of terror. “I like to use audio to create a foreign landscape, and produce immersive experiences,” he says, stressing that “dialog forms the center of attention, with music that shapes a scene emotionally and sound effects that glue the viewer into the scene.” In summary he concluded, “It is our role to develop a credible world with sound.”

The Sound of Streaming Content — The Cloverfield Paradox
Avid-sponsored panels within the Cary Grant Theater included an overview of OTT techniques titled “The Sound of Streaming Content,” which was moderated by Ozzie Sutherland, a production sound technology specialist with Netflix. Focusing on sound design and re-recording of the recent Netflix/Paramount Pictures sci-fi film mystery The Cloverfield Paradox from director Julius Onah, the panel included supervising sound editor/re-recording mixer Will Files, co-supervising sound editor/sound designer Robert Stambler and supervising dialog editor/re-recording mixer Lindsey Alvarez. Files and Stambler have collaborated on several projects with director J. J. Abrams through Abram’s Bad Robot production company, including Star Trek: Into Darkness (2013), Star Wars: The Force Awakens (2015) and 10 Cloverfield Lane (2016), as well as Venom (2018).

The Sound of Streaming Content panel: (L-R) Ozzie Sutherland, Will Files, Robert Stambler and Lindsey Alvarez

“Our biggest challenge,” Files readily acknowledges, “was the small crew we had on the project; initially, it was just Robby [Stambler] and me for six months. Then Star Wars: The Force Awakens came along, and we got busy!” “Yes,” confirmed Stambler, “we spent between 16 and 18 months on post production for The Cloverfield Paradox, which gave us plenty of time to think about sound; it was an enlightening experience, since everything happens off-screen.” While orbiting a planet on the brink of war, the film, starring Gugu Mbatha-Raw, David Oyelowo and Daniel Brühl, follows a team of scientists trying to solve an energy crisis that culminates in a dark alternate reality.

Having screened a pivotal scene from the film in which the spaceship’s crew discovers the effects of interdimensional travel while hearing strange sounds in a corridor, Alvarez explained how the complex dialog elements came into play, “That ‘Woman in The Wall’ scene involved a lot of Mandarin-language lines, 50% of which were re-written to modify the story lines and then added in ADR.” “We also used deep, layered sounds,” Stambler said, “to emphasize the screams,” produced by an astronaut from another dimension that had become fused with the ship’s hull. Continued Stambler, “We wanted to emphasize the mystery as the crew removes a cover panel: What is behind the wall? Is there really a woman behind the wall?” “We also designed happy parts of the ship and angry parts,” Files added. “Dependent on where we were on the ship, we emphasized that dominant flavor.”

Files explained that the theatrical mix for The Cloverfield Paradox in Dolby Atmos immersive surround took place at producer Abrams’ Bad Robot screening theater, with a temporary Avid S6 M40 console. Files also mixed the first Atmos film, Brave, back in 2013. “J. J. [Abrams] was busy at the time,” Files said, “but wanted to be around and involved,” as the soundtrack took shape. “We also had a sound-editorial suite close by,” Stambler noted. “We used several Futz elements from the Mission Control scenes as Atmos Objects,” added Alvarez.

“But then we received a request from Netflix for a near-field Atmos mix,” that could be used for over-the-top streaming, recalled Files. “So we lowered the overall speaker levels, and monitored on smaller speakers to ensure that we could hear the dialog elements clearly. Our Atmos balance also translated seamlessly to 5.1- and 7.1-channel delivery formats.”

“I like mixing in Native Atmos because you can make final decisions with creative talent in the room,” Files concluded. “You then know that everything will work in 5.1 and 7.1. If you upmix to Atmos from 7.1, for example, the creatives have often left by the time you get to the Atmos mix.”

The Sound and Music of Director Damien Chazelle’s First Man
The series of “Composers Lounge” presentations held in the Anthony Quinn Theater, sponsored by SoundWorks Collection and moderated by Glenn Kiser from The Dolby Institute, included “The Sound and Music of First Man” with sound designer/supervising sound editor/SFX re-recording mixer Ai-Ling Lee, supervising sound editor Mildred latrou Morgan, SFX re-recording mixer Frank Montaño, dialog/music re-recording mixer Jon Taylor, composer Justin Hurwitz and picture editor Tom Cross. First Man takes a close look at the life of the astronaut Neil Armstrong, and the space mission that led him to become the first man to walk on the Moon in July 1969. It stars Ryan Gosling, Claire Foy and Jason Clarke.

Having worked with the film’s director, Damien Chazelle, on two previous outings — La La Land (2016) and Whiplash (2014) — Cross advised that he likes to have sound available on his Avid workstation as soon as possible. “I had some rough music for the big action scenes,” he said, “together with effects recordings from Ai-Ling [Lee].” The latter included some of the SpaceX rockets, plus recordings of space suits and other NASA artifacts. “This gave me a sound bed for my first cut,” the picture editor continued. “I sent that temp track to Ai-Ling for her sound design and SFX, and to Milly [latrou Morgan] for dialog editorial.”

A key theme for the film was its documentary style, Taylor recalled, “That guided the shape of the soundtrack and the dialog pre-dubs. They had a cutting room next to the Hitchcock Theater [at Universal Studios, used for pre-dub mixes and finals] so that we could monitor progress.” There were no Temp Mixes on this project.

“We had a lot of close-up scenes to support Damien’s emotional feel, and used sound to build out the film,” Cross noted. “Damien watched a lot of NASA footage shot on 16 mm film, and wanted to make our film [immersive] and personal, using Neil Armstrong as a popular icon. In essence, we were telling the story as if we had taken a 16 mm camera into a capsule and shot the astronauts into space. And with an Atmos soundtrack!”

“We pre-scored the soundtrack against animatics in March 2017,” commented Hurwitz. “Damien [Chazelle] wanted to storyboard to music and use that as a basis for the first cut. I developed some themes on a piano and then full orchestral mock-ups for picture editorial. We then re-scored the film after we had a locked picture.” “We developed a grounded, gritty feel to support the documentary style that was not too polished,” Lee continued. “For the scenes on Earth we went for real-sounding backgrounds, Foley and effects. We also narrowed the mix field to complement the narrow image but, in contrast, opened it up for the set pieces to surround the audience.”

“The dialog had to sound how the film looked,” Morgan stressed. “To create that real-world environment I often used the mix channel for dialog in busy scenes like mission control, instead of the [individual] lavalier mics with their cleaner output. We also miked everybody in Mission Control – maybe 24 tracks in all.” “And we secured as many authentic sound recordings as we could,” Lee added. “In order to emphasize the emotional feel of being inside Neil Armstrong’s head space, we added surreal and surprising sounds like an elephant roar, lion growl or animal stampede to these cockpit sequences. We also used distortion and over-modulation to add ‘grit’ and realism.”

“It was a Native Atmos mix,” advised Montaño. “We used Atmos to reflect what the picture showed us, but not in a gimmicky way.” “During the rocket launch scenes,” Lee offered, “we also used the Atmos full-range surround channels to place many of the full-bodied, bombastic rocket roars and explosions around the audience.” “But we wanted to honor the documentary style,” Taylor added, “by keeping the music within the front LCR loudspeakers, and not coming too far out into the surrounds.”

“A Star Is Born” panel: (L-R) Steve Morrow, Dean Zupancic and Nick Baxter

The Sound of Director Bradley Cooper’s A Star Is Born
A subsequent panel discussion in the “Composers Lounge” series, again moderated by Kiser, focused on “The Sound of A Star Is Born,” with production sound mixer Steve Morrow, music production mixer Nick Baxter and re-recording mixer Dean Zupancic. The film is a retelling of the classic tale of a musician – Jackson Maine, played by Cooper – who helps a struggling singer find fame, even as age and alcoholism send his own career into a downward spiral. Morrow re-counted that the director’s costar, Lady Gaga, insisted that all vocals be recorded live.

“We arranged to record scenes during concerts at the Stagecoach 2017 Festival,” the production mixer explained. “But because these were new songs that would not be heard in the film until 18 months later, [to prevent unauthorized bootlegs] we had to keep the sound out of the PA system, and feed a pre-recorded band mix to on-stage wedges or in-ear monitors.” “We had just a handful of minutes before Willie Nelson was scheduled to take the stage,” Baxter added, “and so we had to work quickly” in front of an audience of 45,000 fans. “We rolled on the equipment, hooked up the microphones, connected the monitors and went for it!”

To recreate the sound of real-world concerts, Baxter made impulse-response recordings of each venue – in stereo as well as 5.1- and 7.1- channel formats. “To make the soundtrack sound totally live,” Morrow continued, “at Coachella Festival we also captured the IR sound echoing off nearby mountains.” Other scenes were shot during Lady Gaga’s “Joanne” Tour in August 2017 while on a stop in Los Angeles, and others in the Palm Springs Convention Center, where Cooper’s character is seen performing at a pharmaceutical convention.

“For scenes filmed at the Glastonbury Festival in the UK in front of 110,000 people,” Morrow recalled, “we had been allocated just 10 minutes to record parts for two original songs — ‘Maybe It’s Time’ and ‘Black Eyes’ — ahead of Kris Kristofferson’s set. But then we were told that, because the concert was running late, we only had three minutes. So we focused on securing 30 seconds of guitar and vocals for each song.”

During a scene shot in a parking lot outside a food market where Lady Gaga’s character sings acapella, Morrow advised that he had four microphones on the actors: “Two booms, top and bottom, for Bradley Cooper’s voice, and lavalier mikes; we used the boom track when Lady Gaga (as Ally) belted out. I always had my hand on the gain knob! That was a key scene because it established for the audience that Ally can sing.”

Zupancic noted that first-time director Cooper was intimately involved in all aspects of post production, just as he was in production. “Bradley Cooper is a student of film,” he said. “He worked closely with supervising sound editor Alan Robert Murray on the music and SFX collaboration.” The high-energy Atmos soundtrack was realized at Warner Bros Studio Facilities’ post production facility in Burbank; additional re-recording mixers included Michael Minkler, Matthew Iadarola and Jason King, who also handled SFX editing.

An Avid session called “Monitoring and Control Solutions for Post Production with Immersive Audio” featured the company’s senior product specialist, Jeff Komar, explaining how Pro Tools with an S6 Controller and an MTRX interface can manage complex immersive audio projects, while a MIX Panel entitled “Mixing Dialog: The Audio Pipeline,” moderated by Karol Urban from Cinema Audio Society, brought together re-recording mixers Gary Bourgeois and Mathew Waters with production mixer Phil Palmer and sound supervisor Andrew DeCristofaro. “The Business of Immersive,” moderated by Gadget Hopkins, EVP with Westlake Pro, addressed immersive audio technologies, including Dolby Atmos, DTS and Auro 3D; other key topics included outfitting a post facility, new distribution paradigms and ROI while future-proofing a stage.

A companion “Parade of Carts & Bags,” presented by Cinema Audio Society in the Barbra Streisand Scoring Stage, enabled production sound mixers to show off their highly customized methods of managing the tools of their trade, from large soundstage productions to reality TV and documentaries.

Finally, within the Atmos-equipped William Holden Theater, the regular “Sound Reel Showcase,” sponsored by Formosa Group, presented eight-minute reels from films likely to be in consideration for a Best Sound Oscar, MPSE Golden Reel and CAS Awards, including A Quiet Place (Paramount) introduced by Erik Aadahl, Black Panther introduced by Steve Boeddecker, Deadpool 2 introduced by Martyn Zub, Mile 22 introduced by Dror Mohar, Venom introduced by Will Files, Goosebumps 2 introduced by Sean McCormack, Operation Finale introduced by Scott Hecker, and Jane introduced by Josh Johnson.

Main image: The Sound of First Man panel — Ai-Ling Lee (left), Mildred latrou Morgan & Tom Cross.

All photos copyright of Mel Lambert


Mel Lambert has been involved with production industries on both sides of the Atlantic for more years than he cares to remember. He can be reached at mel.lambert@content-creators.com. He is also a long-time member of the UK’s National Union of Journalists.