AudioMedia - November 2008 - (Page 39)

> was used as playback during recording. Then in post, they took the new version and improved the quality and mixed it. On set, the performers and actors heard the overdub and sang along, which we recorded as a sync track.” It’s not just dialogue that Chris was directly responsible for; he also recorded a lot of the sound Production Sound Mixer, Chris Munro. e ects used in the lm. “All sound mixers try to get as much as they can while shooting. On a lm like Bond we don’t want to resort to library e ects. After shooting nished in June we spent a couple of weeks recording some fx. There’s a boat chase scene, and we took some boats to Horning (in Norfolk) with Eddie Joseph, the Supervising Sound Editor for post production, and Martin Cantwell, one of the sound e ects editors. We recorded a lot of boat stu there. We also did some e ects up in a DC3 plane. One of the big advantages of the PD606 is that we were able to put multiple mics on the plane and on the boats, and get di erent perspectives in one hit.” As with dialogue, for sound e ects recording Chris uses a wide range of microphones. “The key is to have not just lots of di erent mics but loads of di erent xings. We have lots of di erent ways of xing mix, including clever little devices we’ve built up over the years for planting them on cars and in di erent places.” They paid incredibly attention to detail. One vehicle in the lm is supposed to be a hydrogen cell car, but the one used for shooting had a conventional petrol engine, which sounds very di erent. “We went to Ford in Germany, to their special research centre, and drove a fuel cell car around while recording. We even took it into a lab to get more material in there.” So what of the burden of working on such an iconic lm? This is Chris’s fth Bond, and he still relishes the challenges it throws up. “It’s very much a family thing; we’re pretty much the same team that did Casino Royale. We won a Bafta for that, and it makes us try all the harder for this Bond. You try to do each one better and in a di erent way, but still drawing on what you’ve learned from the past. There was a certain amount of trust in the way we work together. You want to be able to perform and give the best you can, because it is an iconic lm, and when you’ve done more than one, you have to try all the harder to make it better.” ∫ m8 e 01 ight chan n el m With vast headroom and ultra-wide bandwidth, the m801 is detailed, musical, open and pure. It will e ortlessly resolve even the lowest level ambient information, resulting in recordings of astonishing clarity and realism, which reveal the essence of the music being recorded. Regardless of genre, source or application, the m801 faithfully captures what the microphone hears, allowing you to focus on the sound. ic r o p hone prea mplif ie r fully balanced, transformerless design / ribbon mic mode / precision gold contact gain controls / no electrolytic capacitors in the signal path / sealed gold contact relays for all signal switching / regulated linear power supply with custom wound toroidal transformer / highest quality components used throughout / ve year warranty on parts and labor www.gracedesign.com • 1.303.443.7454 AUDIO MEDIA NOVEMBER 2008 39 http://www.gracedesign.com http://www.gracedesign.com

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

AudioMedia - November 2008 Contents Recording News Post News Broadcast News Geofocus: Italy What's Up UK AES Review For the Record Studio Snapshot: Aquarium Abbey Road Plug-ins Brilliance Pack Neumann TLM67 Mercenary Audio KM-69 IZ Technology ADA Final Cut Special: Bond TC Powercore 6000 EP Productions Nagra VI Product Sampler: Location Tools Video Guide AMSR News Shure KSM9 Big Beach Boutique 4

AudioMedia - November 2008

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