Chris Giles' Cantar X3 setup for the beach scenes on 'Moonlight'
An emotional moment between Juan (Mahershala Ali) and Little (Alex R. Hibbert) in 'Moonlight'
A closer look at Chris Giles' Cantar X3 setup for 'Moonlight'
redundant, with a full analog split
to a rack recorder machine, so that
it did blow up and fail, at least I can
As soon as I plugged it in, I did
those really ad hoc quick tests in the
time that I had, like comparing hardwired mics: one into the X3, one into
my mixing console, and comparing
the two. It was immediately apparent that it was just silly for me to
have my mixing console in front of
the X3 preamp that was better by a
Ways of Working
There are some notable mixers, Drew Kunin is one of them,
who have come up with these very
outside-the-box ideas of how to interface with the machine and production by getting things out of the
Or Ed Tise, who did Full Metal
compact, and he’s very close to his
director. I don’t know Ed personally,
but he’s a very respected guy. Some
of the pictures that I’ve seen, the
things that he’s put up on public forums;—;I;started;latching;on;to;that
Drew Kunin’s methodology is
also to work intimately with the director and the creative team. In dis-cussing;some;of;the;films;that;he’d
done, I asked what he used for a cart.
did Crouching Tiger, Hidden Dragon.
If I remember correctly, he used
a little tiny stand with his Cantar X2
and some wireless in a bag on top of
it. That’s how he did a lot of those
projects due to the nature of the job.
As I am meeting these mixers
I’m noticing, in the U.S. market,
there tend to be two general types of
production sound mixers. First, the
type that is far away from the action
and in a more controlled situation,
so that they can record and mix in a
more controlled environment.
Then there are the others that
tend to be very close and very inti-