AudioMedia - November 2008 - (Page 46)

the Aston Martin. Multiple microphones were used front and rear, but individually didn’t quite cut it. However, in combination they proved tricky to match through straight-forward and constant balancing of the two. The introduction of the analogue gear and attention to dynamics meant “you could get that power out of the individual mics, and so it was easier to make perspective changes.” It wasn’t just the gear though that made the Real World experience, in Taylor’s opinion, so fruitful. “Because we were on site, we didn’t have to worry about going home or anything. And it’s a nice wide space, which you don’t get in most dubbing theaters… And you get the daylight as well.” The set-up at Real World Post is a combination of AMS Neve DFC and Digidesign Pro Tools with a D-Control surface. Taylor: “I don’t think that when you’re mixing in Pro Tools you get the dynamic result that you necessarily want the rst time round. A one-stop-shop doesn’t work for me – I tend to mix a little bit quieter in Pro Tools, and then let the DFC do the gain; let the dynamics work a little harder.” M u s i c M at te r s A common theme through the interviews was an undoubted emphasis on music in Quantum Of Solace, and the challenges that threw up – not least when you desperately need the audience to hear through the emotional rollercoaster of the score to some important illustrative material. Even at the final mix, the music was still being served as eleven stems from a 48-track wide recording. “It’s all split completely,” explained Prestwood Smith. “And thank god, because there’s so much of getting clarity on screen and preserving the feeling of the music, that is actually losing some of the music. “And there are times when losing a music element allows you to push the whole thing up louder because you’re not competing with an e ects element So you can get the best of both.” “It’s fair to say,” continued Joseph. “That both the composer and his mixer are looking at it in a totally di erent way to us. Ultimately Mike, and to a lesser extent myself, are looking at an entity – what’s best for the whole. That to me is the biggest art-form – looking at it and saying ‘that’s the lm’, as opposed to ‘these are the component parts’.” The whole project has been a master class in teamwork, which is an attribute you do not discover overnight. Many of the working relationships go back a long way and it’s clear that there is a lot of mutual respect, friendship, and empathy going on. It’s also indicative of this that the lines between job descriptions are getting harder to draw. When is a Foley Supervisor a Sound Designer? When is a Sound Designer a Mixer? And on and on. This isn’t disorganisation, it’s co-operation. ∫ Te a m G a m e I N F O R MAT I O N De Lane Lea: www.delanelea.com Soundelux London: www.soundelux.co.uk Real world Post: www.realworldpost.co.uk 46 AUDIO MEDIA NOVEMBER 2008 http://www.seelectronics.com http://www.sonic-distribution.com http://www.delanelea.com http://www.soundelux.co.uk http://www.realworldpost.co.uk

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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