Lectrosonics for The Guardians of the Galaxy

Date: 02/12/2014

Oscar and BAFTA winning production sound mixer Simon Hayes (Les Miserables, Prometheus, Kick Ass) recently recorded sound for the action-packed, epic space adventure, Guardians of the Galaxy from Marvel Studios in which adventurer Peter Quill finds himself the object of an unrelenting bounty hunt after stealing a mysterious orb coveted by Ronan, a powerful villain with ambitions that threaten the entire universe. To evade the ever-persistent Ronan, Quill is forced into an uneasy truce with an uneasy truce with a quarter of disparate misfits Rocket, a gun-toting racoon, Groot, a tree-like humanoid, the deadly and enigmatic Gamora and the revenge-driven Drax the Destroyer.

With a production budget of an estimated $170 million, it was always going to be impressive. Yet beyond the massive otherworldly and outer space sets, impressive CGI, realistic special effects make-ups, fight scenes, and huge explosions, its the sound and music that takes centre stage throughout.

Writer and director James Gunn was very descriptive. I could tell from the moment I met him that he had really, really big plans for the movie with regard to the sound and the sound design, explained Oscar and BAFTA winning production sound mixer Simon Hayes (Les Miserables, Prometheus, Kick Ass).

Lots of the time when you meet a director theyre very visually descriptive, but James knew exactly what tracks he was going to have playing in the score. The movie is a celebration of 70s music so one of the challenges was to record clean and intelligible dialogue while at the same time blasting 70s club music on set. According to Hayes, Gunn felt that the soul and feel of the 70s was so important to the films ethos that he wanted to bring it directly to the set.

We had 10kW of sound on set. We had a subwoofer. And that was to create the correct mood and timing of set pieces, not just for the cast but for the camera moves and special fx cues too. So when we wanted to crank it up, which James did a lot, it would be as loud as a nightclub on our stages.

Hayes said: Having spoken to James about the noise levels and how full of action this movie was going to be, I decided my workflow was going to be slightly different. On other movies I like to celebrate the changes in perspective of the cameras and to actually celebrate the different acoustics of different sized shots. Having spoken to James and understanding how much he wanted the ability to pump the music and how intricate and detailed his sound design was going to be I decided that this movie for me was about one thing: getting the actors voices as close up as possible.

What I wanted to do was to record the actors as cleanly and as close as possible because that in turn would give the re-recording mixers (Christopher Boyes and Lora Hirschberg) and James Gunn the ability to really use music cues expansively without compromising the other elements of the sound design in post and add layer upon layer of sound.

I wanted them to be able to push the music as loud as they wanted and still have dialogue that would cut through and be intelligible.

He added: There used to be three issues with radio mics: the first issue was range, the second was sound quality, and the third was rigging them on quiet costumes. Now that Ive got the DPA lavaliers I dont have to worry about sound quality, and now that Ive got the Lectrosonics transmitters I dont have to worry about range. With the Lectrosonics, the frequency response on them is stunning. I use SM Series transmitters and Venue receivers they give an extremely wide band and it sounds great to my ears.

A trick that Hayes used to help deal with on-set noise levels was picked up from his work on Les Mis©rables. By running induction loops on every single set (even if it wasnt requested) Hayes allowed the music to be run out of the 10kW rig until the moment one of the characters began to speak, during which the music would dip out of the speakers. When they were finished, the music would seamlessly come back into the speakers.

For Gunn, the producers, and any actors who required hearing the music in the scene, say for walking in rhythm or dancing in outer space (yes, it happens in the movie) the music could be sent directly to their ears using the induction loop and earwigs.

Its all about collaboration, I try to never present the director with any kind of problem that restricts his ability to tell the story visually the way he needs to tell it, concludes Hayes. If I get through a day without having to ask the director to adjust something visually so I can record clean dialogue I know Ive had a great day at work. 

www.simon-hayes.com

www.lectrosonics.com



Tags: film recording | simon hayes | lectrosonics | RF | wireless | sound recording | audio
Submitted by Chris Hook (CHA PR and Media Services )
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Autodesk Acquires Moxion Cloud Solution for Digital Dailies Posted: 20/01/2022
Autodesk Acquires Moxion Cloud Solution for Digital Dailies

Today Autodesk announced the acquisition of Moxion, the New Zealand-based developer of a powerful, cloud-based platform for digital dailies used by leading filmmakers on some of the world's most complex and challenging productions, including “The Midnight Sky,” “The Marvelous Mrs. Maisel,” and “The Matrix Resurrections.” The acquisition of Moxion’s talent and technology will expand Autodesk's own cloud platform for Media and Entertainment upstream, moving beyond post-production into production, bringing new users to Autodesk while helping better integrate processes across the entire content production chain. 

Tags: Autodesk | Moxion | Dailies | Digital Dailies | Production
Submitted by Autodesk
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Remote Recording Network Optimizes Quality, Efficiency With Remotely Produced Live Stream of Beethovens 10th, Newly Completed by AI Posted: 19/01/2022
Remote Recording Network Optimizes Quality, Efficiency With Remotely Produced Live Stream of Beethovens 10th, Newly Completed by AI

In yet another demonstration of the company's unique remote production capabilities, Remote Recording Network (RRN) delivered exceptional audio fidelity for a hybrid live and streaming performance of Beethoven's Symphony No. 10 — newly completed 194 years after the composer's death — on Oct. 27, 2021, at Hamburg's renowned Elbphilharmonie.

Tags: Remote Recording Network | Remote Production | IP | Music Mixing
Submitted by Wall Street Communications
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LynTec Power Control Anchors the Lighting and Video of Alaskas News Source Posted: 19/01/2022
LynTec Power Control Anchors the Lighting and Video of Alaskas News Source

LynTec, a leading manufacturer of innovative electrical power control solutions for professional audio, video, and lighting (AVL) systems, is delivering proper lighting and video wall power control for Alaska's News Source broadcast studios. Installed by Alaska Universal Productions (AUP), two LynTec RPCR Automated Relay Panels provide 32 circuits of automated power control, enabling fast and efficient lighting presets to support the broadcaster's busy network schedule, reducing cable runs and ensuring the lighting and video walls operate as efficiently as possible.

Tags: LynTec | Alaska Universal Productions | Power Control | RPC Series | Alaska News Source | Lighting Control
Submitted by InGear
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Pond5 Surpasses a Record 30 Million Licensable Videos Posted: 19/01/2022
Pond5 Surpasses a Record 30 Million Licensable Videos

Pond5, the world’s largest online marketplace for royalty-free video, has become the first stock media company to exceed 30 million licensable royalty-free video clips. With 100,000 artists around the globe uploading 15,000 new videos every day, Pond5 boasts millions more clips than any other stock media provider.

Tags: Pond5 | Royalty Free Video | Stock Media
Submitted by Zazil Media Group
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Medialease turns 20 Posted: 19/01/2022
Medialease turns 20

Medialease, specialist asset finance broker for the broadcast, post-production and live events industries recently celebrated 20 years in business, what a milestone! 

Tags: medialease | finance | technology | funding
Submitted by Medialease
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Visual Data Media Services Expands Leadership Team Posted: 19/01/2022
Visual Data Media Services Expands Leadership Team

Visual Data Media Services has expanded its team with the addition of three executives to key leadership roles:  Randy Tunila as CTO, Alina Tarkhanian as VP Client Services, and Derren Young as VP Human Resources. Tunila, Tarkhanian and Young join Visual Data to support the company’s vision of excellence in service and end-to-end solutions, each bringing a strategic and customer-centric vision to their new roles. Their collective expertise will drive further advancements around the company’s technology, workflow efficiencies, client relations and workplace culture initiatives.



Tags: Visual Data Media Services | Visual Data
Submitted by Bubble Agency
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MRMC continues broadcast expansion with key new hires Posted: 19/01/2022
MRMC continues broadcast expansion with key new hires

Mark Roberts Motion Control (MRMC), a Nikon company, is pleased to announce that two key new executives are joining the company to help continue its track record of growth and expansion in the broadcast market into 2022 & beyond. Amanda Dixon joins as Broadcast Marketing Manager and Karl Hillcoat-Williams joins as Broadcast Customer Support Manager.

Tags: Mark Roberts Motion Control
Submitted by Bubble Agency
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