When we started to work on the movie L’Appat, it was obvious we’d need to re-record several high speed motorcycle movements. Besides the usual vehicle choreography, I was mainly looking to get my hand on a real intense onboard recording.
I’ve heard a lot about the dynamometer method, mostly used in games but was never convinced by the results. It always felt to me that the motor is somewhat floating, never touching the ground and that no wind/air pressure is involve in the equation.
So I fall back on something I’ve done, a few years ago, on another Fench Canadian movie: Le Dernier Souffle. At the time, after trying many wireless setup, even chasing the motorcycle in a car mounted with the wireless bases, our final solution was to rig the bike with a portable recording kit.
Back in 1999, the only portable gear available was the ‘magnificent’ Sony TCD portable DAT line….I was then a proud owner of a beat up TCD-D7. We finally ended up stuffing the stunt driver’s jacket with the TCD dat and ran a pair of binaural microphones in the motorcycle’s windshield. The result was stunning !
It is a lot easier today to find portable solutions…there’re now all over the place and give good result when used properly. My main concern was the battery life/autonomy and the Olympus LS10 was at that time our best available solution.
We established a stationary start/arrival kit and another stationary kit for the passbys further down the road. We fired up the two onboard LS10, made a few level check…and were then ready to roll !
Many thanks to our stunt driver Felix Famelart from Stunt.ca
Always wished to record some pro hockey crowds ! In 5.1 ?!? Why not !?
After screening the first cut of the movie ‘Canadians forever’, It was clear that we needed some fresh and original hockey crowd recordings. Any available commercial libraries were outdated and didn’t offer ‘modern’ resolution neither 5.1 possibilities.
We were lucky enough to be welcomed in the Bell Center for an official game of the Montreal’s Canadians. After a quick setup, we first recorded the siren (end of period) and the horn (goal). We then recorded the entire game with a multitrack system. We even pushed our luck and recorded the entire 14 tracks on a double system for security.
A stationnary position was establish on the press gallery. This is where the multitrack was parked. We had a Soundfield B format mic (SPS200) and two stereo pairs plus the original ‘broadcast’ feed that comes from 6 microphones hanging from the ceiling of the Bell Center. We also had two floating kits with Schoeps MS mic flirting at crowd level. We retrieve all this material and went for a major synchronizing edit session (the two floating kits were running wild – so the sync would have to be ‘conformed’ to the multitrack session).
A part of the team for the second night of recording (yes we had the luxury of being there for two different games – two recording positions), from left: sound designer Martin Pinsonnault, foley recordist Jo Caron and sound designer Christian Rivest.
We finally summed the decoded B format mic with our stereo pairs to create a basic 5.1 crowd mix. We then added the MS tracks in parallel for proximity coverage and to get a closer feel when needed. The result was edited to picture and brought to the mix, giving us a head-start at creating a full range hockey crowd immersion/experience.