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www.postmagazine.com 38 POST NOVEMBER 2014 they did in production. Early days of ADR involved sound editors cutting loops out of 35mm single-stripe audio fi lm, but today, technology allows the process to happen quicker and be more adaptive. "Those were slow moving sessions that were tedious, mechanical and awkward to a performer," recalls London. "What we have now is a system that can keep up with an individual's pace and rhythm. The ADR mixer can customize the nature of the recording session to the individual actor; we can intuit their needs unlike before. Every human is unique in their gate and delivery, and like any profession- al performer, customizing to their needs enhances performance." With unimaginable support from Sony Pictures, says London, he was able to fulfi ll an ultimate wish list when creat- ing what he considers to be the perfect recording environment. "It is my pleasure to work with exceptional engineers here at Sony and vendors who have provided the Yamaha DM2000 console, Sound- master Ion motion controller, ProTools 10, Aphex 1788a digital mic pre, Fostex DV824 production recorder and the Akai MPC 1000 sampler," he says. London has also collected a spectrum of microphones to handle any situation, such as the popular Neumann KMR 81 i and TLM 170; Sennheiser's MKH 60, 70 and 800; and a Sanken COS 11 wireless lavalier. London recently recorded Jack Black's dialogue lines for director Rob Letterman's upcoming fi lm, Goosebumps. He notes, "We shot Jack Black's dialogue at 192k, rather than the normal 48k, using the high defi nition Sennheiser MKH800 mic." Audio post tools are increasingly more powerful and off er greater fl exibility. And, there are numerous options on the mar- ket in nearly every price range. So what's next? London says it should be to amal- gamate some of these disparate tools into one. "Yamaha's Nuage system is very promising," he says. "By coalescing these devices into a single work surface, ergonomics and functionality are vastly improved." In the past, London admits, ADR was the stepchild of advancing technology, mainly because the num- ber of ADR stages was far fewer than editorial stages. "But what has changed now," says London, "is the proliferation of smaller ADR studios worldwide, posi- tioned to serve fi lm makers closer to their practical locations. There are more such studios now than ever before [and] therefore, a greater demand for new, exciting products and technical/ creative advancement." LOVE LOFT STUDIOS — ERIC MILANO GIGANTIC POST — TOM PAUL Foley artist/sound designer/re-recording mixer Eric Milano of Love Loft Studios (www.loveloftstudio.com/) in New York City and re-recording mixer/supervising sound editor/sound designer Tom Paul of Gigantic Post (http://giganticpost. com), also in Manhattan, have been re- cording guerilla-style Foley together for the past decade. What is guerilla Foley? Paul defi nes it as, "Foley done outside of a Foley studio. Otherwise known as real-world Foley." Necessity being the mother of in- vention, Paul and Milano experimented with guerilla Foley 10 years ago while working on the Brazilian fi lm O Homem do Ano (The Man of The Year) directed by José Henrique Fonseca. Working within a limited budget, Paul decided to do the Foley at his studio, The Cottage, a quiet cottage with creaky wood fl oors, set deep in the woods of upstate New York. Paul says, "It's really quiet. Not all apartments or houses are good for gue- rilla Foley because they're not necessar- ily quiet." During a dinner-party scene in O Homem do Ano, the husband suspects his wife may have cooked a pig he loved as a pet and served it as his birthday dinner. The camera stays in the dining room as the husband frantically runs around the house, slamming doors, rustling through closets and kitchen cabinets in search of his pig. "It's a dis- tant-yet-busy sound," Paul explains. "To re-create that one-sound-at-a-time, by putting a door creak here and something falling over there, the mixer would have to treat every one of those [sounds] as if they're down the hall, and behind doors in other rooms." Instead, he and Milano performed those actions in realtime to Eric Milano at his console and in heels performing Foley. He'll also use an Oktava MK-12 mic, which has switchable capsules. Sony Pictures' Howard London The ADR mixer can customize the nature of the recording session to the individual actor; we can intuit their needs unlike before" " ADR & FOLEY