Just nu: Peter Albrechtsen berättar om ljudvärlden… se merse mindre

17 hours ago

Besök oss på  Facebook

I vår följetong "Intressanta personer pressas på information med hjälp av 4 seriösa frågor och 1 semi-seriös fråga" har turen nu kommit till Kimberly Harris – dialogläggare och adr supervisor med bla "Snuten i Hollywwod 2" (!!!!!), "Magnolia", "The Hurt locker" och flera av "Pirates…"-filmerna på sitt CV:

1. What is “Great Sound” for you?

– “Movie making is story telling. “Great sound” works in support of telling a story. Most of the stories are told with dialogue. First
comes the dialogue track then the rest is worked around it. Of course, most action/sci-fi films depend on music and fx in a big way to convey the story. Even the writing of the dialogue is secondary. I suppose the tendency, then, is to fill the screen with as much sound as possible. However, sometimes
silence has more impact. We often get too attached to our work and can’t admit it gets in the way of the movie. Likewise, I have worked with many directors who get nervous if there is a “dead space” in the sound. Their tendency is to stick something in there or to crank up the volume. Once in awhile, we need a rest from it all – to let our minds process the story and feel the intended emotions.
Great movie sound doesn’t draw attention to itself and supports story telling.”

2. Could you name 3 movies that you think have that?

-“Any movie that has been mixed by Mike Minkler, Greg Landaker, or Doug Hemphill. Supervisor wise, I would recommend looking at Richard King, Paul Ottoson, and Mark Mangini.”

3. To you, what is the most interesting & fun part of working with sound for film?

-“I have done all aspects of film sound. When I first started out, I did library work, built computers, built a foley stage, walked foley, created special sound fx, etc. I soon
started cutting foley, then sound effects. At some point, about 10 years in, a sound supervisor thought I was an ADR Supervisor, so hired me to work on. a film in that capacity. That started my path toward the “word department.”

I found early on that I could hear in my mind how things should sound, so the fun part was devising ways to make it happen. Back then we worked on film and had to build
sound for a scene one sound effect at a time. We never got to hear it play all together. And yet, we knew exactly how it would sound once it hit the mixing stage. It lived in
our imagination and it was exciting to hear it for the first time on the big screen. My forte was car chases.

I have spent most of my career in the ADR Department. In the past, it was a very respected position. But, somehow it became a secondary duty of the dialogue editor on
a lot of movies. So, it doesn’t get the attention it needs. It is not possible to do justice to either job with schedules these days. ADR is a huge logistical, organizational nightmare most of the time. A dozen balls are always being juggled. It is most satisfying to keep all those balls in the air. As ADR Supervisors, we interact closely with the director, actors, and the picture department, we become very close to the project. That is what makes this job in film sound the most fun for me. But, I also love editing. ADR editing can be very creative. I have constructed entire performances syllable by syllable. It is a giant jigsaw puzzle. In ADR, you have a lot more leeway in choices you make, making the job very creative.

Many ADR editors have never cut effects. To me, Group ADR is a sound effect. Too many people just “roll it in” as it comes from the stage. It needs strategic placement and anything that doesn’t help in telling the story has to go. Many years ago I worked on a film where the ADR mixer recorded some Denzel Washington dialogue off mic for a night exterior. That is against everything we were taught about mic technique. We were told you could hear the roomin the recording. And yet in this case, any boxiness was eaten up by the backgrounds and the ADR sounded just like production. That gave me the idea to apply that techniqueto Group ADR. I started having the actors moving, using all parts of the stage during recording. If we needed people walking by on the street, I had them literally walk across the room – by the mic creating a doppler effect. This also gives the actors more energy in the their performances. Especially in a fight, or panic scene. At first, I had a hard time getting ADR mixers to work with me like this. They were taught the same thing as me. I recently heard a Group ADR leader interviewed on the radio. He claimed his group was better because he always had the actors moving. Well, I showed him that technique on Hurt Locker. This has become common place and everyone has forgotten where it came from. In fact, they are all claiming it!

Dialogue editing is more rigid. You cannot stray too far from what you were given by the picture department. It becomes a game of problem solving without drawing attention to itself. A good dialogue editing job is rarely noticed. That makes it one of the most thankless jobs in film sound. But it is one of the most important. This is where the story it told. Dialogue editing is becoming a lost art. The lines are getting blurred between mixing and editing, leaving great dialogue editing by the wayside.

Having a well rounded understanding of all departments has made my career interesting and fun.”

4. From a technical aspect – sound has pretty much reached the sky when it comes to resolution etc, technically we can manufacture sound that sounds better than the human ear can register when played back in modern speakers and we can pan it around in more speakers than any crowd would ever care about. What do you think will be the next big step in sound for film evolution?

-“I think it should become simpler. I am not a fan of these “tent-pole” movies. I wish the industry would get back to basic story telling. The rest of it is a gimmick.”

5. Once and for all -what´s up with the "ADR-mixer" cred? really? What do they do? they don´t really "mix" anything,
they might send it to a whatever-reverb just for fun that´s later redone in the actual mix.
Is ADR mixer the most overrated credential in a movie end credit?

-“Ha Ha. From mic choices to mic placement, the ADR mixer’s job is VERY important. Of course, 75% of success comes from the actor’s performance. That is where the ADR Supervisor and the ADR mixer come in. Through our experience, we know what will blend into the dialogue track. Certain ADR mixers, such as Tommy O’Connell, can
craftily suggest improvements that will help, If you do it right, you can make performance suggestions without stepping on any toes. Often the director doesn’t understand how pitch, level, energy, etc. can make or break an ADR line. It is our job to manipulate the session to get what we need to make the ADR work and satisfy the actor and director in the process. The ADR mixer’s personality is very important as well as their agility in recordings and playbacks. You need someone with confidence. Earned confidence.
If it doesn’t sound right on the ADR stage, it isn’t going to sound right in the mix. The ADR mixer and the ADR supervisor have a close working partnership.

I’d also like to add that how we get things back from the stage is important too. Proper labeling of cues and takes is paramount. Otherwise, it is impossible to find at the great work you did.”

Tack Kimberly!!
se merse mindre

4 months ago

Besök oss på  Facebook

Martin Taesler, Svante Biörnstad and 9 others like this

Ulrika AkanderKimberly Harris 🙂

3 months ago

Comment on Facebook

Film Sound Sweden är på Europa Sound.

Carl Edström och Erik Guldager demar Nuendo🎹🎼
se merse mindre

6 months ago

Besök oss på  Facebook

Marco Lopez, Lasse Lundberg and 9 others like this

Svante BiörnstadPRO tools kan dra nåt gammalt över sig.

6 months ago

3 Replies


Comment on Facebook

Film Sound Swedens årsmöte 2107

Som tidigare meddelats blir det årsmöte nu på torsdag 6:e april
Plats: Filmhuset Europa Sound
Tid: kl 18
osa: Ja tack, till så vi kan planera inköpen.

Vi hade tänkt att ha ett seminarium med Christian Shaanig,
men han var tyvärr tvungen att lämna återbud.
Vi återkommer med ett nytt försök att få hit honom.

Istället kommer Erik Guldager och Calle Edström visa och berätta om
Nuendo 7 och dess funktioner för postproduktion.
Många har kanske aldrig testad Nuendo eller kanske bara i de tidiga versionerna,
det kan vara intressant även för dem som aldrig tänker sig att lämna Pro Tools tror vi.


De som tycker att det skulle vara roligt att sitta i FSS styrelse, skriv gärna det när ni svarar att ni kommer.

Hoppas vi ses!
se merse mindre

6 months ago