AudioMedia - November 2008 - (Page 40)

B O N D: Q UA N T UM O F S O L AC E AU D I O P O S T P R O D U C T I O N PAUL MAC meets with the post production team of Bond’s latest outing, and finds the secret behind mixing a grittier and more Independent-sounding track. E ach time the next Bond film comes around, it’s the closest thing to we have to a Big Event in the UK audio post calendar. Eon Production’s Bond series has got a reputation as a benchmark in UK film production, and the audio is looked on in the same light. There’s no pressure then on the audio team responding to those high expectations with the latest installment: Quantum Of Solace. I met most of the audio post production team at De Lane Lea studios, Theatre 1, during the final mix sessions. The studio has been a favourite with that core team for a while and provides a great mix of environment and locality to Soundelux London, where a lot of the work on the Bond elements, track-lay, and so on was undertaken – and was still being undertaken even through the final days. Sound Supervisor, Eddy Joseph, is the Creative Director at Soundelux London. “We have a ‘compressed completion’ on this one,” Joseph told me. “I think it’s literally 14 weeks from end of shooting to print, something very fast… On a film of this scale, that’s tight. “If we had to go out to another studio and then come back, we wouldn’t have access to the editors or the Director, and that really is important.” The film should be something of a departure for its Director, Marc Forster, whose recent credits include Kite Runner, Stranger Than Fiction, Stay, and Finding Neverland. While those subjects are I ndie Feelings diverse, he’s definitely been more on the plot, psychology, and realism path than on the road where all the car chases happen. Eddy Joseph noted that Forster’s main theme throughout has been to bring something of the ‘independent film’ to the mix, which may be more suited to the grittiness that Daniel Craig has contributed to the big role. With this in mind, Joseph explained that as Sound Supervisor, part of his responsibility was not only delivering on the Director’s needs, but also acknowledging the public expectations of a Bond movie. Considering the time constraints involved, the strategy was to cover everything: be 100 percent prepared to mix a Bond movie, > Analogue racks, DFC, and Pro Tools lined up for the pre-mix at Real World Post. Theatre , De Lane Lea: Scene for Quantum Of Solace final mix. 40 AUDIO MEDIA OCTOBER 2008

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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