AudioMedia - October 2008 - (Page 29)

PRESENTED BY: The Sound of Entertainment™ www.dolby.com/professional > realistic looks and sounds. “We were thinking about pushing the envelope with environments, especially in building the house – we wanted it creepier and scarier,” recalls Ouzts. “We wanted the audience to know that there’s something living in the walls. I also like to work with the music, and I push the music without interfering with the dialogue. To avoid dialogue-based interference, that may require using the scalpel-esque precision. “You do have to carve it out and make the dialogue sing,” tells Ouzts of the art of aural craftsmanship. “Dialogue is the story… and the moneymaker, so to speak. Sometimes composers will use appropriate instruments so you don’t have to carve. But in this instance, because the soundtrack had a lot of texture, we did have to carve a bit.” While admittedly a cliché, the two most important components of success for House Of Fallen’s revisited final mix were communication and appropriate timing. “Communication is key,” Ouzts reinforces. “The Director came to me last minute, with ‘here’s the show.’ So, communicating with both the Music Composer and the Director on what he wanted was a big part of it. A lot of times a Producer or Director may not know what they want until you have something for them to hear. At that point, flexibility comes into the equation. The Director then says, ‘Hey, I don’t really like that,’ and you must be able to do something else. So, for these projects, communication and flexibility are essential.” Finally, as to be expected with independent films, the mix sessions seemed to quickly come to an end. Thankfully, though, Stephens allowed for enough time for the film to be transformed from a project with lackluster audio to udio Media Sportsthat sold the story. one with audio Jul 08 28/7/08 13:37 Page 1 Communication And Timing Back in 2006, TreeFall Productions became the first US studio to install Fairlight’s Crystal Core technology engine – the CC-1 – when it installed a new two-bay ConstellationXT alongside its venerable Digidesign Pro Tools|HD rig. Ouzts even used the marketplace-competing systems in tandem for his work on House Of Fallen, best utilising the systems’ unique audio production attributes. “On this particular movie, I actually used Pro Tools as a ‘reverb machine,’” Ouzts explains. “I have numerous reverb plug-ins that I used on Pro Tools and went through the box, automating the plug-ins as I went. Then I returned back into the Fairlight. It was really nice to have both systems going.” While Ouzts leans towards using his Fairlight system most often, both systems made good sense for him to purchase and use. “When I originally bought Pro Tools, I was able to get into it for a little bit less money,” he explains. “And honestly, the intention of getting both Pro Tools and Fairlight was to open up another room and to have both systems going. That hasn’t happened because of the current economy, so I have both systems running next to each other. If something comes in on Pro Tools, I can work on it right there. I decided to go with the Fairlight because of its machine control and mixing capabilities with the Constellation. It’s really flexible; I can nearly do a complete 5.1 mix at the same time I do the stereo mix. It’s really easy to work with. Add to that, it has incredible abilities in spotting sound effects and it’s easy using the AudioBase3 (a high-speed sound effects library) with the Fairlight. The DREAM 2 is opening up all kinds of possibilities; the potential is so great with the picture right there in front of you.” ∫ Running With Fairlight A nd Pro Tools WHEREVER THERE’S SPORT CALREC AUDIO IS THE BIG PLAYER calrec.com There’s no more demanding environment than outside broadcast, so it’s not surprising that demanding production companies consistently choose Calrec consoles, time after time. Whatever the competition, Calrec is the runaway leader in the field of sport. In EMEA countries and in the US, there are more Calrec consoles in HD trucks than any other make. And our reputation for reliability is second to none. From Premier League football to lawn tennis, athletics to motor racing, cricket, rugby and horse racing…we’ve got it covered. And thanks to our award-winning Bluefin HDSP, it’s all in glorious, fully controllable 5.1 surround sound. If you share our passion for sport, find out more at calrec.com Putting Sound in the Picture http://www.dolby.com/professional http://www.dolby.com/professional http://www.calrec.com http://www.calrec.com http://www.calrec.com

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

Audio Media - October 2008 Content Recording Post Broadcast Geofocus:�Portugal &�Spain What's Up UK IBC Report Microtech Geffel UM 930 Steinberg Cubase 4.5 ADK�Hamburg &�Vienna Final Cut: House of Fallen Lexicon PCM96 Review The Conch Awards Feature Sound Devices 788T Review Lexicon PCM96 Allen &�Heath Zed R16 Power: Fact & Fiction, PT.2 Product Sampler Plug-ins Video Guide AMSR Plasa Report Audio Technica IEM�M3 Rushes Live Mixing Techniques:�Bruce Johnston Drawmer 4x4 Kickbox

AudioMedia - October 2008

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