AudioMedia - November 2008 - (Page 42)

> then look for 20 percent extra – the innovation required of the sound team by the Director. “This is still a Bond film,” asserts Joseph, “People expect certain things from it; they expect the chase, the big themes, the big music. If you didn’t have those then people would feel cheated. I had to think along those lines.” This may well be one thing that separates the great Sound Supervisors from the rest – enough expertise, credibility, and authority to make the creative process a collaboration with the Director, and not simply settle for being a service provider. Of course, the proof of concept was in the premix, and by the end of that everyone was happy that the brief was being fulfilled. Joseph: “When he [Forster] talked about making an independent film rather than a Bond film, I didn’t know what he meant at all. But by the time we had done the pre-mix, we felt that we knew much better. He and the editors seemed very happy with it, so we’re using that as our guideline now.” So, how do the directions of ‘independent’ and ‘gritty’ translate onto audio post production on this scale? Several aspects came to light. One significant factor was the high ratio of production dialogue to ADR. According to Joseph, about 80 percent of the dialogue used was production sound. This did take a lot of effort, mostly from Dialogue Editors Simon Chase and Colin Ritchie, who were preparing dialogue for “six months, on and off”. Knowing when to stop is a big part of this art, as there is always room for re nement. Joseph noted that this on-going improvement is well suited to Mike Prestwood Smith’s and Mark Taylor’s (Re-Recording Mixers) approach to the mix – characterised by the practice of leaving as much material as possible ‘in the box’. “For dialogues that’s a bit unusual,” said Prestwood Smith. “Because it’s plug-in intensive.” C ATC H A WAV E Primar y S ource > New PD Series Location Recorders Audio acquisition that’s as versatile as you are. www.fostex.jp Fostex Company, 3-2-35 Musashino, Akishima, Tokyo, Japan 196-0021 Email: info_sales@fostex.jp Designed from the ground up to excel in ‘real-world’ applications, wherever you happen to be in the world. The new PD606 (8-track) and PD204 (2-track) location recorders both offer spectacular audio quality, flexible recording to 12cm DVD-RAM, hard disc or a combination of both, rock solid timecode implementation, extended battery life, loads of ‘instant access’ knobs, buttons and switches plus a whole battery of interface options. But impressive features are only part of the script. Fostex’s unrivalled pedigree in designing and manufacturing world class location recorders for over 16 years and our unique understanding of the broadcast, film, tv and audio acquisition environments means that these new recorders aren’t just the best PD recorders ever, they’re simply the best professional location recorders available today. No Bond movie is complete without a boat chase, and Quantum Of Solace has a particularly spectacular one. Martin Cantwell (Sound Designer): “We did some recording at Horley Lake, which is on MOD [Ministry Of Defense] land. It’s good because there aren’t any speed restrictions. We took a jet boat – the one used in the film – which has got a four litre V8 Chevvy engine and an impellor instead of a propellor. We also had a 140 RHIB (Rigid-Hulled Inflatable Boat), and a couple of others. “I had a Scherps MS pair on the bank, and the Production Sound Recordist (Chris Munro) was out on the jetty – the idea was that he’d get the water slap with a boom. Then we strapped a Sound Devices 442 on each boat with a DPA 4062 in a condom on the rear of the boat, another two inside, one on the helm, and another right in the bow. Chris gave us an SM58 and we stuck it on a magic arm and put that over the engine. We had pretty much the same set-up on the RHIB as-well. “Towards the end of the day, we had Dave [David Mackie, Assistant Sound Editor] in a safety boat, and we got the driver to do circles around him. Because he was creating a lot of waves he was able to bounce off his own waves, so we got the slaps and lands.” 42 AUDIO MEDIA NOVEMBER 2008 http://www.fostex.jp

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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