AudioMedia - November 2008 - (Page 44)

> “Mike and Simon they have this empathy. However, just to prove there’s room for It’s really good, but it took a couple of lms to get opposites, another case in point was a ght scene, that going.” o ered by Prestwood Smith as the ip-side of the “And it’s the same with Mark [Taylor] and I,” same coin. “There’s a st ght in this that nine out continued Prestwood Smith.“…There’s just a rapport of ten times would have been scored. What we’ve that you can’t get without that gone for is the production F LY W I T H M E experience together.” sound and a lot of Foley… Aeroplanes throw up some very specific a real st ght – nasty stu . The Unexpec ted challenges when it comes to recording, and the No music, nothing. It’s a Back to Bond though, and DC3 that the Foley team commandeered was true totally visceral moment.” Joseph: “Mark [Forster] Mike Prestwood Smith had to form – it’s mostly to do with speed, wind, and has a fear of being bored; more thoughts on ‘in the a surprisingly boring engine and if he’s bored, he box’ finals – a more creative Martin Cantwell (Sound Designer): imagines the audience will plane that was probably “Unfortunately, there’s only so much you can be too. So he’ll say ‘that another big contr ibutor get from these things going past. They tend to will work really well up to to the new feel of Bond: “It’s playing around here on sound very much the same every time. Even if that point, but then we the final mix when you have it’s doing something very different, the overall need to come back from it; we need to be looking at it everything available, and start sound is very similar most of the time. “Russell [Edwards] came up with some ideas di erently.” finding moments to s t y l i s e w h a t yo u m i g h t for miking the exterior of the plane in flight. An Analogue have done in a more orthodox Some of it was successful, but some of it was Advantage way before – particularly in too windy A lot of the stuff we’ve used in the action sequences. Talking to Mark Taylor actual track-lay we got on the ground You get “There’s a temptation to ( R e - R e c o rd i n g M i xe r ) much more variation in tone.” just deliver what the audience and James Boyle (Sound Alex Joseph provided ‘rattle tracks’ to augment expects, and I think Marc Designer), who have been (Forster) wants to sometimes the interior sounds of the DC3, recorded at work ing together for change that, and give them Universal. Dave Mackie was the intrepid recordist around thirteen years and something that shifts their who was inside the plane for some reasonably now operate jointly under aerobatic manouvres, and says he was “almost the MJM Sound banner, I interpretation.” In particular, the team sick, but not quite.” was keen to follow up on has interpreted Forster’s the Real World sessions. approach with the idea that As well as being the sound can convey things more from Bond’s a convenient and residential location point of view than simply illustrating a scene. for the sound team to make nal preparations For this to work, all aspects and do the temp mix, it also came with that rare of the audio have their part to play, though the commodity (in post, at least) – analogue gear. music in particular is, according to Prestwood In particular, the dynamics of the FX and Foley Smith, “more atmospheric, more personal.” had to be translated into‘oomph’(technical term) in (L-R) Alex Joseph, Eddy Joseph, Mike Prestwood Smith. UP ON THE ROOF Sprinting across Siena roof-tops is just one of the heroics Bond gets up to during Quantum Of Solace. For the Foley team this meant a trip to eBay, 50 not-quite-Tuscan tiles, and some lateral thinking Alex Joseph (Foley Supervisor): “The right thing would have been Tuscan tiles, but you can’t justify smashing them – they have to be imported and you’re not going to get that many of them.” Getting the sound of the tiles through the music track was going to be a problem as they are quite weak in the lower end… The solution was to multi-mic the tiles session, and of four tracks, two were pitched down. Joseph: “Mark [Taylor] went with all of them, at different levels You still get that transient sound, and then you actually get the meat of it from the pitched down stuff. “We were throwing tiles down this roof we’d made up, but there was a point when we were doing footsteps that we decided, rather than running across tiles, it was better to strap tiles to my feet and do tile-on-tile running.” Cable ties were located, and the rest is a matter of imagination order to punch through the intense music content of the lm, where required. The studio made up two racks of classic outboard that the team put to good use. There was even tape involved – used to re-record explosions and more… to impart some of that special sparkle. Mark Taylor: “We used Pultech EQs, Crane Song, and a couple of TubeTechs… It meant we could drive into the dynamics and really work them hard, bring up the low stu , which James then used to gain perspective without losing level. When we cut between interior and exterior we didn’t have an energy loss… evening out the perspectives but at the same time not coming down on the exteriors and losing the car’s presence.” James Boyle explained further, by making an example of a rolling road recording session with > 44 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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