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RIGHT ON CUE www.postmagazine.com 39 POST NOVEMBER 2015 do something really special for a shot," notes Haasch. Peck controls the close mic, the Neumann KMR 81, and adjusts its position with input from the recordist. "Sometimes we [recordists] will ask for more distance, or a little more on-axis or off-axis based on the shot." Haasch finds the KMR 81 works well for footsteps, cloth, gore and nearly every prop. For example on Pride and Prejudice and Zombies, he used it to capture the character details of Mr. Darcy (played by Sam Riley) as he gallops on his horse, from the leather movement of the saddle, harness, bridle and reins to Mr. Darcy's leather coat (which is a big part of his character) and sword. But if they're recording a large impact, for instance, the castle wall cave-in in Pride and Prejudice and Zombies, Haasch will use an AKG C414. "It has a bigger dia- phragm that's better to use so we're not overloading the Neumann," he says. While it's becoming less of the norm, Haasch notes that Pride and Prejudice and Zombies Foley supervisor William Sweeney was often on-hand during the recording sessions to help guide the team's aesthetic choices for the film, like when to make a character's boots sound imposing, or to help gauge the clanki- ness of a sword as it moves around in its scabbard. Although having the Foley supervisor attend the recording sessions is helpful, what's more so is the way that he or she spots the Pro Tools session for the Foley record. That has a big impact on the number, and quality, of cues the Foley team can get done in a day. Sessions that use consistent language, like referring to the same wood table consistently as 'wood table' and not just 'table,' allow more time for the Foley artist to be creative. "The more continuity there is in the session, the more time the artist has to be creative instead of watch- ing the clock and trying to get all the recordings done," says Haasch. "I can't stress enough the importance of clear communication and good organization, especially as budgets get smaller and smaller over time, which is a trend that is happening throughout the industry." ASH VS EVIL DEAD FOLEY MIXER JOHN SANACORE Award-winning Foley mixer John Sanacore has worked on hundreds of projects, from Oscar-winning films that include Zero Dark Thirty, The Hurt Locker and Birdman, to Emmy-winning series like Fox's Bob's Burgers and Black Sails on Starz. He recorded Foley for the pilot episode of the Starz series Ash vs Evil Dead that pre- miered October 31st. He recently com- pleted Foley supervision on the upcoming Stepping Stone Foley relied on a Manley Dual Mono mic pre-amp paired with a Lynx Hilo AD/DA converter for its two-mic recording setup on Pride and Prejudice and Zombies.