Jeremy stands back and adjusts levels while armourer Dan empties his clip. We needed special recordings of bullets ... lots of bullets ... cutting through various walls. Setting up shots on steel plates that we used for bullet impacts and ricochets. We constructed several portable walls of plywood, drywall, sheetrock and other materials and set them up in a weapons testing area near Bakersfield. Recording from fourteen microphones placed in different positions between the walls, we fired silenced 9mm slugs through the line of walls until they stopped and dropped at the end. Dan fires an Uzi into the night to silence the frogs that kept croaking in the middle of really good takes. Dane and John Fasal prepare their portable DAT recorders. We recorded the various mics to four DATs and an analog Nagra tape machine. Dane takes ride in the Nebuchadnezzar.
Dane unleashes a 16,000-volt current into an iron I-beam section while Nancy Barker sneakily rotates the power to 11. Armed with his Rycote-encapsulated Schoeps microphone, Dane faces off against a 20,000-volt Tesla coil fulmination.
Eric (top), with the tireless help Jeremy and Andy (l to r) record the plethora of motors used in creating the sinister whirrings of the Docbot, Sentinels, and various machines in the Nebuchadnezzar. Eric recording a small servo. Powerhouse sound effects editing and design team: Eric Lindemann, Julia Evershade, and, naturally, our fearless leader whose eyes are never open in photographs. ReRecording Mixers on Warner Bros Dubbing Stage Six (L-R): David Campbell (Music), John Reitz (Dialog), and Greg Rudloff (FX) are, as always, standing behind Dane.