AudioMedia - January 2009 - (Page 26)

FINAL CUT Mirror ’s Edge 2 3 4 > MIRROR'S EDGE FOLEY 1 1 Now hands that do dishes can… well almost. This is a photo taken on day 2, which was just hands. This is the magic pipe. The magic beautiful tonal pipe. Perfect. But it just wasn’t giving enough – we need more! Wet hands? Didn’t work. Soapy hands? Didn’t work. Hands that have been wrapped in sticky tape and then peeled off to leave a residue? Didn’t work. Solution? Sugar water – a secret blend of, erm, sugar and water, that gave just the right amount of tackiness to Ulf’s hands to make the magic pipe sing to us. Ulf’s poor hands were red raw at the end of the day, but the results were worth it. 2 For a couple of the specific surfaces (metal duct etc) the car body acted as an additional resonator adding more low end to the movement. Above the car you can see the gantry, which was one of the main reasons for using this studio. Mirrors Edge has a lot of scaffolding, gantry, and metal walkways, so this is one area we had to cover in great detail. 3 Sprinting on glass? Tricky. Wall-run on glass – even harder. The shoes Ulf is using here are from his personal 5 collection and were selected after a shoe audition. I didn’t think this glass setup would work, it just didn’t look or feel right, but that’s where working with a professional Foley artist really helps. They change their performance to make it work, and the resonance of the glass housing added a lot to the final sound. I’m sure the cleaners at SVT were a bit miffed that day after finding footprints on some many different sheets of glass around the studios. 4 Ulf in action – a heavy landing on metal walkway. The material used for ‘heavy’ was sometimes different than that used for ‘light’. Why? With the ‘lighter’ moves we wanted to hear the details and complexity of the material, whilst the ‘heavier’ moves required a singular more distinct sound with a dominant tone and satisfying thud. Just EQ’ing in post wouldn’t have delivered. 5 Chain link fence – new source material for climbovers – not having to just rely on the same source material that you find in the general SFX libraries and hear in almost every game and film. It is a tricky to work with, and you can see here three of us man-handling the beast. ∫ A1 Discrete Class A and Tube Dual Preamp / DI A2 Discrete Class A and Tube Stereo Processor Ice Cool Looks Discrete Class A Electronics Plus Tube Warmth All Ebony Series feature tube stages with variable drive in addition to the discrete Class A circuitry putting you in total control of how ‘warm’ or how ‘cool’ you want the sound. From £499 ex vat. PASSIONATE ABOUT TUBES A3 Discrete Class A and Tube Mono Channel Strip tlaudio.co.uk N EW A4 Discrete Class A and Tube 16:2 Summing Amp http://tlaudio.co.uk http://tlaudio.co.uk

Table of Contents Feed for the Digital Edition of AudioMedia - January 2009

AudioMedia - January 2009 Contents Recording News Post News Broadcast News Geo Focus: India What's Up UK? Special Report: Pimp My Ride AKG C214 Sony Acid Pro 7.0 Final Cut: Mirror's Edge Opportunities in the Reality World She's Got the Look The X-Factor Sadie LRX2 Source Elements Source-Connect 3.1 Buying a Recorder In Control Product Sampler: Trade Shows Video Guide AMSR News Digico SD8 The Last Picture Show File Server

AudioMedia - January 2009

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