Issue link: https://digital.copcomm.com/i/1469840
56 S U M M E R 2 0 2 2 I C A S Q U A R T E R L Y based. I do think you cannot ever replace the talent of a top sound recordist to capture the correct material at the outset. If that doesn't happen, you'll always be facing compromises. What Foley was performed and how was it decided as to which scenes needed Foley? Brent: Foley is always necessary in stations like this show— where we are relying on a single recording of the production sound. This is not to present an embellished track or final mix that was how we felt the track should sound, it was purely to give the track a consistency, to fill in the gaps where it was appropriate. For some time, I was promoting none at all—in that we experienced purely what Peter Sutton captured on the day, but I think he would have been happy with the result. Michael D.: As Brent mentioned, our job was to try to recreate the sounds you would have heard on the day—not augment them or change them. Simon Riley (Foley artist) and I were lucky enough to have access to a very similar set of instruments and amps to the ones you see in Get Back. So, when the sound of equipment being handled was needed to fill in the soundtrack of the documentary, we were able to create sounds that could have been made by those instruments, right down to the flat wound strings on Paul's Hofner bass. Apart from that, we delved deep into the everyday sounds of the Get Back sessions: microphones, cameras, crew members, as well as cigarettes, cups of tea, and countless trays of half-stale toast! Park Road Post Team: Ambiences and Foley were added as required to maintain the premise that the audience was a "fly on the wall." So, authentic '60s recordings of London, plus as little Foley as we could get away with, mixing it to remain invisible. What form of mixes have been delivered thus far, and are there plans to deliver any additional mixes? Park Road Post Team: Effectively all the mixes have been delivered in the formats and specs determined by Disney Studios. Nearfield Dolby Atmos and the associated fold downs. An IMAX and Dolby Atmos theatrical version was also mastered for the rooftop concert that was presented with a Q&A with Peter. What did you learn about The Beatles and the original Let It Be documentary that you didn't already know? Brent: I learned more about The Beatles working on this show than I ever knew before. Ringo, the left-handed drummer, playing the right-handed kit; Paul McCartney as the astonishing totally naturally talented bass player—who plays it like a guitar. The relationship with George and how amazingly frank and caring he was— always helping others; and John the genius—who never lost his cool, his patience, determination, and collaboration. Amazing. Michael H.: I really felt like I truly saw the real Beatles, their struggles to regain what drew them together in the first place. Their love of music and each other. They were amazingly talented musicians who could play a vast array of instruments, and truly enjoy working together. I feel like I got to know them as men. Before the project, I Music mixer Sam Okell