AudioMedia - June 2008 - (Page 49)

good > Paul found the Foley a particularly interesting challenge: “We recorded quite a wide foley track that matched into the production, then in specific scenes – internal or heightened-awareness scenes – we shot much tighter Foley as well. There’s a scene between Bouhler [Phillip Bouhler, a Nazi who headed up Hitler’s early euthanasia programme, [played by Mark Strong] and Halder in which they’re sliding a document across a desk to one another and there’s creaking of chairs – it’s the Foley that’s working. Very little else. But there’s this sense of tension. It’s a very nice sound and I’m very pleased with that side of it.” Another unique soundtrack component was Simon Lacey’s approach to the works of Gustav Mahler, recorded at Hear No Evil, Fulham. “At the most inopportune moments, one person in the room will turn round and start singing to [Halder],” says Paul. “And it’s always Mahler. You can’t help but draw comparisons with Dennis Potter [famed for The Singing Detective]. “ There’s a third layer of music as well. Viggo’s wife in the film is a pianist and in nearly all of the domestic scenes, she’s practising the piano, so that provides a backdrop to his home life and he’s often talking above the piano or around it. It’s always present in the room and when he comes to leave her, there’s a tense scene and a piano tuner has been brought into the home. So, continually through the scene, there’s a guy tuning the piano in the background, which raises the tension in the film.” Further to the success of Good’s soundtrack is detailed additional-dialogue recording. Some actors blanche, hide in cupboards, or claim to be ‘tired and emotional’ when the dreaded ADR is mentioned. No so Viggo. For the man who stormed the Black Gates of Mordor (Lord of the Rings) and faced down mobster Carl Fogarty (A History Of Violence), post-dialogue must have been a walk in the park. At least, he impressed Paul Cotterell immensely. “Viggo watched the movie through at a screening and then he came in and started to do his ADR, but he offered a lot more. We noted technical lines, and the Editor and Director put requests in for additional lines for performance reasons, but he brought a lot more to the table. He worked his way through the film from top to finish. Where he wanted to work on a line or thought he could improve something, or critically for us, he gave us lots of breaths and slight reactions – very subtle nuances and additions. Once he’d seen the edit, he was able to enhance parts of his performance. “Some actors enjoy ADR and some actors really don’t, but he’s probably the most giving in that sense. I’ve never seen anyone offer so much. What was extraordinary was that while he was recording in one studio, they were combining the takes, and I did a temp mix with the other ADR for different scenes. We spent a morning with Viggo playing back the ADR and just talked about the way he performed and the spaces that he left between the lines – the gaps and nuances in his delivery. “He just made me very aware of his performance and his timing. When we came to the mix ‘proper’, we would leave a lot of spaces, so he would deliver a line and you were left to look at him and digest the line. Rather than just filling up everything, there’s quite a lot of space in the mix for that dialogue. Other actors respond slowly sometimes – sometimes it’s quick-fire dialogue – but Viggo’s such a busy actor. Facially he’s very busy and there’s > NX Series Precision monitoring for recording studios and edit suites Full of the latest in speaker technology and designed from the ground up for critical listening in recording facilities where a precise, transparent, professional sound is essential, the NX Series set new standards in sonic accuracy and packaging. Precision monitoring and audio performance of this calibre has never been so affordable. Main Features Dedicated 60W (LF) + 40W (HF) bi-amplifiers Hard dome tweeters with magnesium diaphragms to ensure a sound free from harsh metallic characteristics LF drivers with HR (Hyper Radial) diaphragm ensuring a smooth, natural sound with excellent mid/low frequency reproduction Time-aligned front baffle design and internal HP Sound reflectors NX-6A NX-5A 20mm tweeter, 160mm woofer, 100 watt bi-amp 20mm tweeter, 130mm woofer, 100 watt bi-amp Fostex Company, 3-2-35 Musashino, Akishima, Tokyo, Japan 196-0021 Tel: +81 (0)42-546-4974 Fax: +81 (0)42-546-9222 Email: info_sales@fostex.jp AuDIO MEDIA juNE 2008 49 http://www.fostex.jp http://www.fostex.jp

Table of Contents Feed for the Digital Edition of AudioMedia - June 2008

AudioMedia - June 2008 Contents Recording Post Broadcast AES Review What's Up UK? Geofocus: Australia For the Record Special Report: Videosonics Newstalk: DPA New Microphones Novation SL Compact Allen & Heath IDR-8 Eastwest Quantum Leap SD2 & Goliath Final Cut: Indiana Jones Merging ADR Module Koolworld SSL Duende Good Product Sampler: Microphones Video Guide AMSR Meyer Sound The Blue Planet Live! Royer Labs Mics R-121 & R-122

AudioMedia - June 2008

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