Audio Media - September 2008 - (Page 33) > have a bit of clothes rustle!”, laughs Hayes. The live and/or the pre-recorded tracks were then used wherever they were considered the best choice to achieve the Director’s goal of preventing the audience from jolting out of the fantasy world the film attempts to create. Lewis says that Hayes was essential to them achieving their results in post. “Simon recorded everything,” says Lewis. “He had radio mics on each performer and captured practically everything that was done.” Having these recordings enabled Lewis to compare the actual performances of the actors to those recorded on the soundtrack so they could get an actor back in to re-record if they felt that the projection was wrong. “Simon was brilliant and his team were such an asset in post,” says Lewis, “We sat him down and said ‘this is what we want to achieve – so how do we do that?’ Simon and his team basically moved heaven and earth to make things possible for us. For example, they organised the shifting of some huge generators by 200 metres, which involved lots of people and a massive crane all working over the bank holiday weekend.” To achieve this mammoth task of recording the singers live as much as was possible, Hayes decided not to use a ‘thumper track’, a low frequency beat to give the performers a cue and which can be EQ’ed out, but rather to equip Pinewood’s huge 007 soundstage and location shoots with induction loops. “We went directly to the companies that produce these for theatres and cinemas, and had the performers wear ‘earwigs’, which are tiny hearing aids for monitoring,” he says. with Digidesign hardware and software – as Lewis explains. “Benny was writing and pre-producing the score on one of those little USB MBOX micros, and we played back on the set using the MBOX 2 and 003 backup rig. We had a pair of HD2s in the cutting room during post each with a with a Control 24, and in New York we had a another pair of HD3s, one of which was hooked up to a D Command – so it was pretty much all Digidesign all the way.” Michael Barry used a lot of real time use of > The final touches of the 5:1 mix were done in Stockholm and a large number of stems were taken to New York for completion. “We had pretty much the multi-tracks running alongside the film – it was essentially musical Foley,” says Lewis. The mixes were done at Studio L in New York’s Sound 1 alongside Michael Barry and Dominick Tavella. “Benny was still there and still involved, tweaking the mixes into the dub live,” says Lewis. “It took us three weeks working with respected Sound Designer Nick Adams, and his team again helped maintain the live feel of the production as they generated a lot of Foley. We wanted to avoid that situation where you come to a song in a musical and all of the sound dies bar the music itself – which usually just gives the impression that the only thing the Sound Designer has done is press ‘play’!” The audio team worked extensively I n The Studio DPA 4017/4080 JP AudioMedia.indd 1 27/08/08 15:04:42 AUDIO MEDIA SEPTEMBER 2008 33
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