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Shatz always reminds directors who embark on independent movies to make sure the person recording on-set does a really good job. He says, "You don't want to be just another one of those independent films with crappy sound. The tools are becoming more powerful, and the ability to work with great complexity in a small amount of time keeps growing.There is a real renaissance in sound. It used to be that movies needed a big budget in order to have really great soundtracks. Now, some of the smaller movies that I've worked on are the ones capturing the attention of the young directors. Those are soundtracks that were made with very small means but are still very complex. I'm really happy to see films going in that direction." sound hyper-real; he wanted all the sounds of the crowds, and the atmospheres, and everything, so the audience watching it would feel as if they were experiencing it live." As far as documentaries go, this was a big sound design job. Bayman compares the process to designing sound for animation. He says, "There were no pre-existing sound effects to work with and we were creating this world from scratch.There was dialog and commentary with the archival footage, but all the close-up bike and crowd sounds were created afterwards." Roden notes that, when the footage was shot, it was all recorded in mono. Even if they had access to anything shot during the actual race, it wasn't going to have a big, cinematic sound. "We were always going to have to re-create it and take what was recorded on the day and enhance it to put it in a cinematic 5.1 world," says Roden. Many of the bicycle sounds were recorded from the same models of bikes that Pantani rode. Bayman and his audio team took several bikes to the English countryside outside of London and recorded them using DPA 4061 lavaliere mics. They attached the lav mics all over the bikes to capture closeups sounds. They also used two boom mics, a Neumann KMR81 and a Schoeps CMIT5, to capture pass-bys. "We got some great sounds of the tire on the road by building this strange contraption that was a long wooden stick attached to the handlebars," Bayman says. "A lav mic was attached to that so the mic was about three inches from the actual road. We got this amazing sound of the wheel on the roads." The bike sounds in the film are a combination of modern bikes, and the bikes of Pantani's time, that were recorded on location as well as in a Foley pit. In addition to individual bike sounds, Bayman and his crew also recorded bike passbys during the Tour of Britain. They were able to get the sound of a large group of cyclists riding by, which is something they could never re-create in the Foley pit. "We ended up sitting by this country lane outside London for a couple of hours waiting for the cyclists to pass, and the recording was over in a matter of 50 seconds," Bayman says. "This mass of cyclists went past and we recorded it. It is a really amazing sound." Bayman recorded everything at 96kHz, knowing that they'd need to manipulate the sounds later to fit the slow motion sections. "There is a lot of slow-mo in the film, so Goldcrest's Bayman (top) and Roden (bottom) collaborated on the doc, Pantani: The Accidental Death of a Cyclist. Pantani: The Accidental Death of a Cyclist Antony Bayman, sound designer and rerecording mixer, and Jamie Roden, dialog editor and re-recording mixer at Goldcrest Post London, recently completed work on the documentary Pantani: The Accidental Death of a Cyclist. Goldcrest Post London (www.goldcrestfilms.com/post_london) is a full service post facility that provides picture and audio POST Jan 2014.pdf 1 1/3/2014 5:03:04 PM post services for the TV, film, and gaming industries. This past year, their audio team has won several awards, including an Oscar for their work on Les Miserables, and a BAFTA Craft Award for Sound on the TV series The Hollow Crown: Richard II. LEM-250A - 24.5" Reference Master OLED Monitor from Pantani: The Accidental Death of a Cyclist is an independent docuThe NEW TVLogic LEM-250A reproduces so mentary by New Black Films. It much more than great blacks. It displays the tells the tragic story of Italian most accurate high definition (1920x1080) cyclist Marco Pantani, who won image we have ever seen. both the Tour de France and Giro d'Italia in the same year. The docuFor the most color-critical applications, the true mentary blends archival race and 10-bit LEM-250A offers pre-set 3D LUTs for news footage with dramatic REC 709, DCI-P3, SMPTE-C, EBU and reconstructions, in addition to imports custom LUTs. Additional features interviews with friends and family. include Adjustable Gamma, Full Range and Bayman notes the film uses an Normal RGB modes, USB Firmware Updates, extensive amount of archival and on-set tools like Waveform and Vector footage, but director James ErsScope, Focus Assist, Markers & Mattes, and kine didn't want it to sound like a more. typical documentary in terms of sync sound and dialog. "He wantLet your eyes witness the Evolution of OLED ed it to sound really full and rich," and schedule a demo today! Bayman says. "We were dealing with archive footage from differAvailable NOW at your Dealer ent races, and different times, but James wanted every sound to be TVLogic USA | 910 W. Alameda Ave., Burbank, CA 91506 | 1-855-TVLOGIC (1-855-885-6442) | sales@tvlogicusa.com there. He wanted the bikes to The Redefinition of High Definition C M Y CM MY CY CMY K www.postmagazine.com | www.tvlogicusa.com Post • January 2014 29