to 1⁄6th of the IMAX surface; as he ascends, all of the screen is used, overwhelming the senses and as a reference to aviation, which the film calls "like the opening of a new eye". The goal of giving audiences a good impression of IMAX was taken from the similarly styled opening scene of This is Cinerama (1952). Multi-screen images—the placing of duplicate images on the same screen— were occasionally used; these were inspired by the multi-projector film Labyrinth (1967) and the first IMAX film Tiger Child (1970). In one scene of the Blue Angels, the screen divides into 36 segments, all of which show the same shot. After learning an inconsiderately-placed multi-screen scene would create a confusing experience for audiences, Jim Liles of the Optical Department at Metro-Goldwyn-Mayer and filmmaker Dennis Earl Moore designed new mattes in which the bottom row is 15% larger than the top, allowing for clearer focus of attention. Smith supervised research for the stock footage to be incorporated into the multi-screen scenes, and chose footage filmed by MacGillivray. After editing, a Cinemeccanica Norelco AAII 35 mm-70 mm projector was installed at their studio; they sat close to the screen to get a feeling of the way To Fly! would look on IMAX. The film took four months to edit. According to MacGillivray, audio is a crucial component in To Fly!, and he wanted the most suitable person to compose the score. It was composed and conducted by Bernardo Segall and performed by a 49-piece orchestra at The Burbank Studios, which MacGillivray considered to be "the most professional and experienced symphonic" in California that he could find. Segall was chosen because he was considered a great classical composer whose works have "an air of sophistication and elegance, which would maintain the steady rhythm and pulse of the film". The score was the first in history to use a keyed bugle, which is also depicted in the film's opening sequence: during the gathering for Ezekiel's ascent, a small fanfare band plays a fife, drum, clarinet, and B♭ keyed bugle. The score was edited by Richard R. McCurdy and mixed by Dan Wallin, with a quadrophonic surround sound experience in mind.. It was recorded on a 16-track recorder and was mixed down to three of the six channels of the 35 mm film, which is where the audio would be embedded for an IMAX screening. Some post-production