AudioMedia - June 2008 - (Page 50)

good > a lot of great close-ups where he’s delivered a line. Occasionally, we’d use a bit of Foley in those gaps just to help it, but sometimes it’s the space that’s important, and that’s what I learnt from him.” Paul stresses the need for a top-notch team dynamic when working on a project as radical as Good. “At the mixing stage, we didn’t have that long to work, and everyone had to be doing their jobs properly and efficiently. We didn’t have time to waste. We essentially spent a lot of time looking at ADR and choosing it before we got to the mixing stage, so there wasn’t too much to ponder at the mix. “We all attended the spotting sessions. Often, an Effects or Dialogue Editor, or Supervising Sound Editor, will sit with the Picture Editor and Director and work through the film, talking specifically about which sounds are needed and the intention of each scene. Fortunately, I was able to go along to those sessions as well, so I was party to all of those conversations, so we were very cohesive in that sense. I spent time with Antonia [Bates], looking at what she’d done, and she talked about what she intended. We cut down time in the theatre because we had a cohesive plan of action.” An important strategy indeed, because at the outset: “We talked about the soundtrack before we’d seen any of the film, so it was really puzzling when we first heard that in one of the early incarnations, there wasn’t going to be a score – just the songs, sound effects, and atmospheres, which would have been a very bold move. Obviously, that changed over time. What we tried to do was to capture the period through things like accurate sounds of clothing – the uniforms and suits of the time, the shoes in the hallways, and so forth. It was a difficult brief.” Producer Miriam Segal is cock-a-hoop with the result, however. “I had a great experience producing Good with LipSync; having all departments under one roof made for a slick but flexible post-production process. The company also has a ‘face’. You feel like you are being brought into the family and they will look after you and your film, just as they do their employees. I didn’t even hesitate when deciding where to take my next film. I hope that LipSync will remain a great post-production partner for many projects to come.” Good is scheduled for theatrical release in , so if you just cannot live without Mahler, keep your eyes on the Internet Movie Database (www.imdb.com). ∫ I N F O R MAT I O N Project: Good Studio: Hear No Evil, Fulham LipSync Theatre 1, Wardour St, London Director – Vicente Amorim Supervising Sound Editor – Paul Davies Sound FX Editor – Antonia Bates Dialogue Editor – Sean Hannah (LipSync) Re-recording Mixer – Paul Cotterell (LipSync) Assistant Mixer – Steve Shaw (LipSync) Original Music – Simon Lacey Foley Recording – Robert Brazier Report – Karl Foster 50 AUDIO MEDIA JUNE 2008 http://www.imdb.com http://www.sonictronics.com http://www.sonic-distribution.com http://www.sonic-distribution.com

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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