Post Magazine

November 2012

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MIC'D UP [ Cont.from 39] mances, a third boom operator used a Neumann RSM 191 stereo shotgun mic to record the cho- ruses from a wider angle, adding width and balance to the sound. In addition to the boom mics, Hayes also used DPA 4017 lavalier mics with Lectrosonics SMV Digital Hybrid radio transmitters. When Hayes did a test of the DPAs at Abbey Road for the engi- driven within the strict confines of a musical backing track. The result was inspiring on a daily basis as we watched their performances on the set." Les Miserables is being mixed at Goldcrest Post London ( by re- recording mixers Mark Paterson and Andy Nelson. They were still in the pre-mix phase at press time. Paterson [ Cont.from 29] HAVE TALENT WILL TRAVEL takes care of. "Banga- lore is not a city I feel comfortable having our employees driving in. It's very chaotic," she explains. While employee packages are typi- cally a set offering, DreamWorks Anima- tion will shrink, contract or expand as needed. "We try to tailor these packag- es to the person and what their needs are," she describes. "If there are children, they typically go to international schools, which are private, so we will assist with tuition as well." Berens admits that while many employees decide to go to India for the adventure of it — and are given flexible hours and vacation time to take full advantage — homesickness is a reality. And they combat this in a variety of ways, including plane tickets so they can come home when needed, frequent business trips back to the US and regu- lar meetings via video conferencing, allowing them to stay close to the US- based studios on a regular basis. "Cultural settling-in Flashpoint's actors wear a lot of gear. Technicolor replaces muffled dialogue with ADR. neers on Les Miserables, they were impressed. While the lav mics aren't as full range as a studio mic, they definitely could produce high-quality vocals. "One of the outstanding features of these mics is their ability handle very high SPL levels from vocals without sounding harsh," he reports. "As they approach their max SPL, they continue to sound sweet. I have never heard a vocal make them square off. Yet, they are also sensi- tive enough to faithfully reproduce the smallest 'breathed' vocal." Recording the vocals as cleanly as possible was the biggest challenge for Hayes and his team. To capture pristine, high-quality vocals, they created what they termed 'silent wind' and even fitted the horses on set with rubber shoes. To give the actors the freedom to perform the songs naturally, without a set tempo or pre-recorded track to act to, a live pianist on the set accompanied the sing- ing via an induction loop. The actors sang along to the piano, which they could hear through a tiny earpiece. This allowed the sound team to record only the vocals. Later, a full orchestral score would be added to the clean vocal tracks. "It is the first movie musical to my knowledge that has not only been recorded live from beginning to end, but has given the actors creative freedom to set the musical tempo rather than being 46 Post฀•฀November฀2012฀ and Nelson have worked on several projects in the past, including Pirates! Band of Misfits. "Nelson has been such a huge influence in my career," says Paterson. "Some of the films he has worked on are part of the reason I fell for film mixing. It's great that we hit it off straight away and are continuing to work together." Paterson is handling the effects, Foley and crowd elements in the mix. "Since the actors were free to perform at their own pace, without a metronome, this presented many challenges in post pro- duction, especially for music editorial. Though, in my opinion, this resulted in some amazing performances. Having said that, it means that the whole post production team is treading new ground with the way all the material is pre- sented and prepared for mixing." For Paterson, getting the effects and Foley to balance with the music is a vital task. He feels that, with a musical, there is more creative flexibility when it comes to adding in the effects. "It's about get- ting the fine balance and not distracting from the song performances, while at the same time keeping you right there with the characters." Les Miserables, produced by Work- ing Title Films and distributed by Uni- versal Pictures, will be in theaters on Christmas Day. services" is another way. DreamWorks Animation has people in India who accompany the newly landed expats around the city, show them where to shop, visit local sites, and just generally get them acclimated to their new environment. Those with children are given a "set- tling-in coach," who works with the family and takes them through a series of conversations about what they can expect to encounter in India. Berens says this particularly important for those with adolescents. "We have an expat with two high-school-age daughters in India now, and we've had others going through the high school years, and the socialization aspect is important. We try to coach them through the challenges." For those who make the move alone, the key is making sure they keep in touch with their personal support sys- tem. "We have a much higher chance of success with the folks who do." In terms of Oriental DreamWorks, at the moment employees there are work- ing within a small studio in Shangai, mostly producing animation for the gaming industry. Berens expects Orien- tal DreamWorks will get its own studio in about three to four years. "Our expe- rience with Shanghai right now is brand new… six weeks new." In reverse, DreamWorks Animation places many international artists in the US-based offices, and they currently have about 35 countries represented, between Glendale and Redwood City. "Everything that we do for folks that go abroad, we do in reverse for those we bring into the US. All of our artists who are foreign need visas and need to be relocated. So the same team that is handling our expats, handle those com- ing to the US." STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION (Required by 39 USC 3685) Publication Title: Post Magazine Publication Number: 000-297 Filing Date: 9/30/2010 Issue Frequency: monthly Number of Issues Published Annually: 12 Annual Subscription Price: $78.00 Complete Mailing Address of Known Office of Publication: 620 W. Elk Ave., Glendale, CA 91204 Contact Person: Randi Altman Telephone: (516) 797-0884 Complete Mailing Address of Headquarters or General Business Office of Publisher: 620 W. 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