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Riedel Communications CCW Expo 2014 Product Preview

Visit Riedel Communications at the CCW Expo 2014, Stand 1241 more

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PIE MAN SOUND ENSURES LONGEVITY WITH 32-CHANNEL API 1608 CONSOLE

Pie_Man_SoundCARY, NORTH CAROLINA – OCTOBER 2014: Pie Man Sound opened last month in Cary, NC, – co-owners Max and Mitch Dancik were so eager to start using their 32-channel 1608 that it’s already been used to record several local projects. Mitch said the studio is already booked solid through the year with musicians from a variety of genres anxious to record. Among others, the studio is looking forward to sessions with a young jazz/rock band working on their debut album, a quartet of Mexican classical guitarists, and a quartet of classical sax players. Mitch believes the 1608 has been a huge part of Pie Man’s early success: “My standard setup allows me to switch from record to mix mode instantly. In a ‘mix as you go’ world, this capability is critical, and a very good reason for 1608 users to consider that extra sixteen tracks.”

Pie Man was designed and built from the ground up by Wes Lachot, who told the Danciks that the 1608 would take the studio from ‘great to WOW!’ “I visited various studios,” Mitch Dancik added, “including Manifold, and my ears said it was worth it. Another important consideration was reliability and maintenance. My friend Neil Steingart was an engineer at the Record Plant in NYC and he always spoke about the indestructible API console on their mobile studio truck.” While practical elements like these helped Dancik make his decision, he said, “The most important feature is the magic that the API imparts to the sound. API is one of only a few companies keeping the best of the analog technology alive and I hope consoles like the 1608 will always be available.”

The console has not only been used on a variety of projects, but also for a wide variety of technical processes. Dancik was excited to explain how multi-faceted he has found his new gear: “The 1608 is integrated with my DAW solutions, with everything going through the API on the way in and the way out. I do hybrid mixing, with fine adjustments in the box, and broad moves on the API.” His experience with API gear is not limited to his own console, though. He attended a session with producer Joe Chiccarelli at Studio La Fabrique, “and every time he got frustrated with a piece of malfunctioning outboard gear, he’d switch to an equivalent piece of 500 series gear in an API lunchbox he had brought along. The API gear always worked as expected. I told Joe I was considering a 1608 for a new studio, and he said ‘go for it!’”

ABOUT API (AUTOMATED PROCESSES, INC.) Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

METRIC HALO LAUNCHES DIRTY DELAY

MH_Dirty_Delay_webSAFETY HARBOR, FLORIDA – OCTOBER 2014: Metric Halo is pleased to announce the immediate availability of its brand new MH Dirty Delay plug-in.

Dirty Delay is a visceral, gritty, fantastic-sounding musical feedback delay processor with integrated Character and filters in the delay path. It can create awesome vintage echo and tape-delay style sounds as well as lush and subtle spaces in a mix. New users are already finding that it is more “real” sounding than alternative in-the-box delay processors.

Not just a musical feedback delay, MH Dirty Delay is something special. With the integrated filters and Character in the feedback path you can make it clean or dirty, vintage or futuristic, subtle or nasty.

With dual delay lines, cross-feed, feedback and distortion control, Dirty Delay is capable of creating extraordinarily rich and complex textures and patterns from your audio. Dirty Delay adds texture and movement without the veiling and darkening of the sound that is often associated with other feedback delays.

Dirty Delay is equally at home in production and performance.

One License, All Formats
The license for Dirty Delay covers the Native version for VST, AU, and Pro Tools AAX on both Mac and Windows. Dirty Delay is available individually or as part of the Production Bundle. MH Dirty Delay supports both computer-based licensing and optional iLok dongle-based licensing.

A Lot of Performance, Not A Lot of Price
Dirty Delay is available from dealers or directly from http://mhlabs.com. New software licenses for Dirty Delay are available for a MSRP of $179 each, with an introductory price of only $75 each (until 10/31/2014). New Production Bundle licenses (which includes Dirty Delay) are available with a MSRP of $699, and are currently on sale for only $299 (until 10/31/2014).

A free 30-day trial of Dirty Delay is included in the Production Bundle trial and is available from https://mhsecure.com/DemoCentral/

ABOUT METRIC HALO Based on the Gulf Coast of Florida, Metric Halo provides the world with award-winning software and hardware recording, processing, metering and analysis solutions.

https://www.mhsecure.com

PANORAMIC HOUSE CELEBRATES ITS FIRST YEAR WITH GREAT OCEAN VIEWS AND AN API 1608

Baccigaluppi_PanoramicHouseWEST MARIN, CALIFORNIA – OCTOBER 2014: Panoramic House is a personal recording studio and vacation home owned by John Baccigaluppi and Bobby Lurie, located on the western Marin coast north of San Francisco. The duo, who own and operate studios on both the east and west coasts (The Dock in Sacramento, CA and Mavericks in NYC), renovated the historic 1960s structure, which was built entirely from recycled architectural materials salvaged from the Bay Area. Now, Panoramic House is celebrating its first year of operation with equipment relocated from Baccigaluppi’s former recording studio, The Hangar, which includes his recently-expanded API 1608.

When the five-year-old 1608 moved to Panoramic House, it was expanded to 32 channels to accommodate the studio’s 16- and 24-track analog tape decks. “With more analog tracks, we needed more console real estate,” said Baccigaluppi. “The 1608 has served me very well. I love that it has the same API circuitry that runs its large-format consoles. Eight aux sends and eight groups paired with the modular 500-series slots make it a very versatile board. We have a lot of EQ flavors, including a handful of API 550A’s, 550b’s, and 560′s.”

Baccigaluppi’s familiarity with API equipment is a contributing factor to what has made the 1608 the heart of the new studio. “Panoramic House is definitely analog-centric,” he said. “The first console I ever worked on was an API 2488 at The Evergreen State College in Olympia, Washington, and I love that the 1608 continues in that tradition. Moreover, clients are always impressed. API is a trusted name in the industry.”

Panoramic House has already been host to several big-name indie bands, including My Morning Jacket, Band of Horses, and Thee Oh Sees. With the first year behind them, Baccigaluppi and Lurie are looking forward to the fall and winter in Stinson Beach and Bolinas. “It’s funny,” Baccigaluppi said, “that most of the vacation renters come to town during the summer when it’s foggy to the point that you feel like you’re in a cloud. But that’s when people take vacations, I guess. Conveniently, most musicians are touring during the summer. The other three seasons are lovely, and that’s when most musicians want to settle in and create. Plus, that’s when the surfing is the best!”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

Websites to include:
https://www.vrbo.com/505782
http://www.singlefinstudiogroup.com/

Rogue Element Embraces an Open Source Philosophy

Dan Mulligan

Rogue Element has become one of the first digital cinematography companies in the UK to adopt an Open Source policy for its rental division by providing Open Source Digital Camera Solutions.

In a move designed to unleash and encourage creativity, the Soho-based company is ensuring that 4K cinema is fully open to everyone by making AXIOM Beta Open Digital Cinema Cameras available to its rental customers.

AXIOM Beta cameras are the first products to be developed by apertus°, an Open Source cinema organisation founded by film makers and financed through crowd funding. The people behind apertus° were galvanised into action when they became concerned with the expensive and limited tools they were forced to work with every day. Instead, they wanted access to affordable devices and technology that delivered the highest possible image quality and could be customised to exactly suit their needs.

Since its formation in 2007, the apertus° project has applied an Open Source philosophy to everything it has developed. As no patents have been filed, anyone can access the technology behind its cameras and people are actively encouraged to adapt, modify, repair and even replicate them. To date, reaction has been very positive. Not only has the company achieved – and exceeded – its initial crowd funding target but it also has the backing of some very important film makers and cinematographers.

ASC and AIC Cinematographer Roberto Schaefer, who was responsible for films such as Quantum of Solace, Finding Neverland and Stranger Than Fiction, says: “I believe than an Open Source camera will allow us to customize the digital camera to our personal liking. That should include ergonomics and hopefully give the ability to get rid of the shoebox, front heavy trend of current designs. I look forward to using custom elements to create the new Digital Aaton, even though they are no longer in business. The design possibilities that I’ve seen from the apertus° project are exciting, as are the image creation possibilities. Not being locked in to any one company’s idea of what the images should look like is a breath of fresh (film) air. Currently in order to switch film stocks we have to change camera systems. The AXIOM will hopefully change all of that and allow us to change stocks with a physical switch.”

His views are shared by Emmy and Academy Award-winning DOP and Visual Effects Supervisor David Stump, who says: “The spirit of Open Source frees up the creative spirit to do something that no one else thought of,” while IMAX cinematographer Lee Ford Parker adds: “Open Source cameras are a step back toward the dark room, in which making the tools is part of the joy of making the art.”

The AXIOM Beta camera has just been released and is currently only available at cost to the community that backed the initial crowd funding campaign. Rogue Element was one of those backers and Managing Director Dan Mulligan says: “Open Source is a fantastic concept and we are delighted to be supporting apertus° by making this format available to the UK rental market. In taking on the Open Source philosophy, we hope to facilitate unfettered access to the technology and free up the creative spirit so that the cinema industry can engage in practices that encourage freedom of expression and is no longer limited by who can contribute.”

Established by Mulligan in 2001 firstly with camera rentals, Rogue Element then pioneered tapeless and file-based digital workflows and onset correction with 3D LUTs, S.two & Codex data recorders and Filmlight colour timing suites until 2011.
Now starting an Open Source operation for 2014 onwards Rogue will offer new camera solutions and options for the Broadcast & Features markets.

Rogue Element can also provide dailies and workflows for Arriraw (Alexa 16:9/4:3 sensors) RED RAW (RED Epic & Dragon 6K),Sony S-Log3 (Sony F65), Canon RAW (Canon C100/300/500), Cinema DNG (Blackmagic), GoPro and many other of today’s professional and niche camera systems. With this new operation for 2014 we want to pursue new avenues for the market.

Dan Mulligan, who has recently returned to Rogue Element after a three year stint at Technicolor, says: “The Arriraw format is now well established and there are a raft of high-end products catering for this market. We are still providing our customers with access to these workflows as they continue to develop, but thanks to our investment in the apertus° project we can now bring a very high quality Open Source 4K camera to the market at a much lower entry cost.”

Mulligan adds that for many film makers, cost can be an ongoing issue and the price of using high end equipment does bar many talented people from entering the market.

“This is why it is good to see the appearance of an Open Source camera system that has a much lower entry point,” he says. “The ability to create your own 4K camera and your own workflow is hugely beneficial for the film and broadcast industry because it will encourage content creation and allow people to get involved at much less cost.”

Rogue Element is not initially consider charging for the rental of its AXIOM Beta cameras. Instead, it will make its income through consultancy and through supplying additional new sensors, lenses, tripods etc., and add on services such as storage and workflow.

“We want people to try them so we are making them as easily available as possible,” Mulligan says. “With the Axiom Open Source we now have a camera solution coming from an opposing end of the release spectrum with a differing approach to its target audience. There should be more than enough room for both this and the higher end systems.”

-ends-

About Rogue Element:
Rogue Element provides digital cinematography filming services plus data and dailies, to the Film and Broadcast industries. A pioneer in tapeless and file-based digital workflows and on-set colour correction, the company’s growing rental division also supplies and supports a wide range of professional Digital Cameras including RAW camera systems and workflows, apertus° AXIOM Beta Open Source cameras and new solutions for RAW workflows.
www.rogueelementdigital.com

Society of Motion Picture and Television Engineers (SMPTE) IBC2014 Wrap-Up

SMPTE News from IBC2014 more

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Matrox to Feature Multi-channel SDI Card for 4K and Live Streaming and Recording Products at Inter BEE 2014

X.mio3 OEM card, VS4Recorder Pro multi-camera recording app and Monarch HD streaming/recording appliance to be showcased

At Inter BEE 2014 (Chiba City, Japan, Nov. 19-21, Hall 6, Booth 6302), Matrox® Video and local distributor Japan Material will feature the X.mio3 family of high-performance, multi-channel SDI cards for developers, the new VS4Recorder Pro™ multi-camera recording and multiviewer app and the popular Matrox Monarch™ HD video streaming and recording appliance.

Also on display will be the Matrox Mojito™ 4K video monitoring card, the Matrox MicroQuad™ multiviewer, the Matrox Convert™ DVI Plus scan converter, the Matrox MXO2™ family of editing devices and the Matrox MC-100™ SDI to HDMI mini converter.

Matrox X.mio3 PCIe cards offer developers up to 12 reconfigurable I/Os, from SD to 4K, along with support for AES/EBU, LTC and GPIO. Multi-channel hardware processing accelerates compute-intensive operations including motion-adaptive de-interlacing, up/down/cross scaling and mixing/compositing for all resolutions including 4K. The cards provide the ideal hardware platform for OEMs who need to create advanced yet compact channel-in-a-box systems, video servers, broadcast graphics systems, encoders, transcoders, multiviewers, switchers and other digital media equipment. Comprehensive development tools in the Matrox DSX SDKs for Windows® or Linux® include versatile file reading/writing, memory management, streaming synchronization, and a large selection of effects and software codecs including ProRes encode/decode and XAVC decode in UHD. A prototyping tool provides a graphical representation of all hardware components so developers can simulate and test their use cases within minutes, before writing a single line of code. From a single development effort, broadcast equipment manufacturers can create a variety of products at a full range of price/performance levels.
Matrox_X.mio3_FH_card_180pix

Designed for use with Matrox VS4™ quad HD capture cards, each VS4Recorder Pro system frame-accurately captures up to four video and audio inputs to create files for use with popular editing apps from Adobe, Apple and Avid and for archiving. H.264 is provided in either MOV or MP4 wrappers. AVI files can be created using the high-quality Matrox MPEG 2 I-Frame codec. MOV QuickTime files can be created using DV, DVCPRO, DVCPRO50 and DVCPRO HD. VS4Recorder Pro also functions as a multiviewer, offering pristine video quality even when monitoring interlaced sources on progressive computer monitors. VS4-based systems are also ideal for multi-camera live production streaming with Telestream® Wirecast® for Windows® or StudioCoast vMix software.
Matrox_VS4Recorder_Pro_180pix

Matrox Monarch HD is a small, easy-to-use H.264 encoder designed for professional video producers who need to simultaneously stream a live event and record a mastering-quality version for post-event editing. From any HDMI input source such as a camera or switcher, Matrox Monarch HD generates an H.264-encoded stream compliant with RTSP or RTMP protocol. While encoding the video at bitrates suitable for live streaming, Matrox Monarch HD simultaneously records a high-quality MP4 or MOV file to an SD card, a USB drive, or a network-mapped drive. The Monarch SDK, an HTTP-based API, includes documentation and sample code that let AV and broadcast equipment developers write applications to configure and control Monarch HD streaming capabilities, giving them a very straightforward way to include a high-quality webcasting service as part of their overall product offerings. Monarch HD can also be integrated with a Crestron® controller, which allows operators to easily start and stop streaming and recording from within the familiar Crestron interface.
Matrox_Monarch_HD_angled_180x92

About Matrox Video
Matrox Video is a technology and market leader in the field of 4K, HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, streaming, A/V signal conversion, capture/playout servers, channel-in-a-box systems and CGs. Matrox’s Emmy award-winning technology powers a full range of multi-screen content creation and delivery platforms used by broadcasters, telcos, cable operators, post-production facilities, live event producers, videographers and A/V professionals worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/video.

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Matrox at Content & Communications World, Streaming Media West and Government Video Expo — Product Preview

VS4Recorder Pro multi-camera recording app and Matrox Monarch HD video streaming and recording appliance to be featured

At three upcoming tradeshows, Matrox® Video will feature the new VS4Recorder Pro™ multi-camera recording and multiviewer app and the popular Matrox Monarch™ HD video streaming and recording appliance.

Designed for use with Matrox VS4™ quad HD capture cards, each VS4Recorder Pro system frame-accurately captures up to four video and audio inputs to create files for use with popular editing apps from Adobe, Apple and Avid and for archiving. H.264 is provided in either MOV or MP4 wrappers. AVI files can be created using the high-quality Matrox MPEG 2 I-Frame codec. MOV QuickTime files can be created using DV, DVCPRO, DVCPRO50 and DVCPRO HD. VS4Recorder Pro also functions as a multiviewer, offering pristine video quality even when monitoring interlaced sources on progressive computer monitors. VS4-based systems are also ideal for multi-camera live production streaming with Telestream® Wirecast® for Windows® or StudioCoast vMix software.

Matrox_VS4Recorder_Pro_180pix

Matrox Monarch HD is a small, easy-to-use H.264 encoder designed for professional video producers who need to simultaneously stream a live event and record a mastering-quality version for post-event editing. From any HDMI input source such as a camera or switcher, Matrox Monarch HD generates an H.264-encoded stream compliant with RTSP or RTMP protocol. While encoding the video at bitrates suitable for live streaming, Matrox Monarch HD simultaneously records a high-quality MP4 or MOV file to an SD card, a USB drive, or a network-mapped drive. The Monarch SDK, an HTTP-based API, includes documentation and sample code that let AV and broadcast equipment developers write applications to configure and control Monarch HD streaming capabilities, giving them a very straightforward way to include a high-quality webcasting service as part of their overall product offerings. Monarch HD can also be integrated with a Crestron® controller, which allows operators to easily start and stop streaming and recording from within the familiar Crestron interface.

Matrox_Monarch_HD_angled_180x92

See the products in action at Content & Communications World (New York City, Nov. 12–13, booth 1163), Streaming Media West (Huntington Beach, Nov. 18–19, booth 216) and Government Video Expo (Washington DC, Dec. 3–4, booth 434).

At Government Video Expo, Matrox will also present a deep-dive technology session with interactive Q&A on the topic “Anything Worth Streaming is Worth Recording”, Wednesday, Dec. 3 at 2 pm in the presentation theater at the back of the exhibit hall. All GVE attendees are welcome.

About Matrox Video
Matrox Video is a technology and market leader in the field of 4K, HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, streaming, A/V signal conversion, capture/playout servers, channel-in-a-box systems and CGs. Matrox’s Emmy award-winning technology powers a full range of multi-screen content creation and delivery platforms used by broadcasters, telcos, cable operators, post-production facilities, live event producers, videographers and A/V professionals worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/video.

HPA Announces Power-Packed Line Up for SMPTE 2014 Symposium, “Making Do With More”

SMPTE 2014 Pre-Conference Event Explores the Impact of Image and Sound Advancements for Content Creators
HPA_Logo2
(Los Angeles, CA/White Plains, NY) – The Hollywood Post Alliance(r) will for the first time, host the SMPTE(r) Symposium, “Making Do With More,” in advance of the SMPTE 2014 Annual Technical Conference and Exhibition. The day-long event is set for Monday, October 20, 2014, at Hollywood’s historic El Capitan Theatre. The event brings together top technology experts and leading filmmakers to explore the impact of enriched image and sound technologies for today’s content creators.

As the changing techniques and workflows in production and post meet an equally evolving environment in distribution and audience options, the HPA plays an invaluable role in helping to make sense of an increasingly complex and evolving content ecosystem. The SMPTE 2014 Symposium will include creative sessions with renowned filmmakers, cinematographers, visual effects artists, sound specialists, and colorists providing an in-depth discussion on the challenges they face and the expansive opportunities now open to them with new tools to support their vision.

Leon Silverman, President of the HPA, noted, “The Symposium is HPA’s ‘coming out party’ for our partnership with SMPTE and in typical HPA fashion, we hope to provide a forum for these important industry discussions. Technology, filmmaker options and consumer choices are driving us to learn how the Hollywood professional community can better understand how to evolve our current workflows to meet the demands and characteristics of next generation content and delivery platforms. These sessions demonstrate the value of HPA working together with SMPTE to create a powerful forum to drive greater awareness, industry knowledge and understanding.

The SMPTE 2014 Symposium lineup includes:

“How Come You Always Want More” – Leon Silverman, HPA President
An inquisitive look at the burning questions facing the entertainment community: What is happening? What is driving it? What role does consumer electronics play? What part do content creators play, and where do filmmakers fit in?
“So Tell Me More About More” – Mark Schubin, The Schubin Café

An insightful overview of the technical considerations required to get a clear understanding of topics including resolution, contrast, color, frame rate, screen brightness and immersive sound.

“What We Want to Do With More” – Creative Session
Participants to include: Carolyn Giardina, The Hollywood Reporter; Chris deFaria, Executive Vice President, Warner Bros.; Laura Jans-Fazio, Senior Colorist; Joe Kosinski, Director (Oblivion and Tron: Legacy); Steven Poster, ASC, President ICG; Steven J. Scott, Senior Colorist.

A real world discussion about what is missing from today’s workflow and what content creators need from the HPA/SMPTE community. Filmmakers, along with leading industry executives and artists, share their views on new tools, techniques, and what still might be missing.

“Filmmakers Preview: Emma” – Creative Session
Participants to include: Howard Lukk, Director; Daryn Okada, ASC
An exclusive preview of one of the first films made with enhanced dynamic range, color, and resolution in mind. The film’s director, Howard Lukk, and cinematographer, Daryn Okada, bring a unique perspective to discussion of this groundbreaking project.

“Listen Up – Immersive Sound” – Creative Session
Participants to include: Moderator, Sara Duran-Singer, Post Executive/ Supervisor Dennis Baxter, Sound Designer; David E. Fluhr, Re-Recording Mixer, Disney Digital Studio Services; Hanne Stenzel, Sound Engineer and Tonmeister, Fraunhofer IIS; Ben Wilkins, Supervising Sound Editor, Technicolor.

Active sound professionals discuss the creative options available to them today and the challenges associated with the proliferation of audio deliverables. With the need for elements in 2.0, 5.1, 7.1, Atmos, Auro and IMAX for both the theater and the home, sound design and mixing need to take a creative approach to accommodate modern realities.

“Bringing It HOME – the Future of MORE Delivery” – Creative Session
Participants to include: Jerry Pierce Technologist, Mitch Singer President, DECE Ultraviolet and Pete Putman, President, ROAM Consulting

What does the future of home entertainment look like? The panel will discuss Blu-ray, Cable, OTT, OTA, and more in an insightful look at how the next generation consumer experience will be delivered.

The SMPTE 2014 Symposium is among the first joint efforts by SMPTE and HPA as they move forward with plans for full organizational consolidation by May 2015. In addition to an illuminating day of panels and presentations, the SMPTE 2014 Symposium will provide an opportunity for networking with representatives from leading companies while exploring the latest technologies. Technology demos and experts will be hand during the Symposium. Session breaks will also facilitate networking and further engagement with speakers and other industry experts.

For tickets or further information on the SMPTE 2014 Symposium, please visit www.smpte.org/smpte2014/symposium.

- – -

About The SMPTE 2014 Annual Technical Conference and Exhibition
Taking place October 20-23, 2014, at the Lowe’s Hollywood at Hollywood & Highland, SMPTE 2014 is the premier annual event for motion-imaging and media technology, production, operations, and the allied arts and sciences. Beyond the SMPTE 2014 Symposium, other highlight events of the week include the SMPTE 2014 Honors and Awards Ceremony on the evening of Oct. 23. A detailed event schedule for SMPTE 2014 is available online at www.smpte2014.org.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content. Through their partnership with the Society of Motion Picture and Television Engineers(r) (SMPTE(r)), the leader in the advancement of the art, science and craft of the image, sound, and metadata ecosystem, the HPA continues to extend its support of the community it represents. Information about the HPA is available at ww.hpaonline.com.

About the Society of Motion Picture and Television Engineers(r) (SMPTE(r)
The Oscar(r) and Emmy(r) Award-winning Society of Motion Picture and Television Engineers(r) (SMPTE(r)), a professional membership association, is the preeminent leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem, worldwide. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines.

The Society is sustained by more than 6,000 members – motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students – who meet in Sections throughout the world. Through the Society’s partnership with the Hollywood Post Alliance (HPA), this membership is complemented by the professional community of businesses and individuals who provide expertise, support, tools, and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at www.smpte.org/join.

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Marvel’s Guardians of the Galaxy Recorded with DPA Microphones

Simon Hayes 2

Oscar-winning production sound mixer Simon Hayes relied on DPA lavalier mics to record Marvel’s film adaptation of Guardians of the Galaxy, directed by James Gunn.

Hayes, who first used DPA microphones as Production Sound Mixer for the film adaptation of Mamma Mia in 2008, has turned to DPA d:screet™ 4061 and 4071 miniature mics on every film he’s worked on since then. Recently these have included Les Miserables (for which Hayes picked up the Oscar and BAFTA for Best Sound Mixing) and upcoming releases Tarzan, directed by David Yates and Kingsman: The Secret Service, directed by Matthew Vaughan.

Hayes chose DPA miniatures for Guardians of the Galaxy so that he could capture original dialogue, right at the point of shooting. Given that Director James Gunn’s vision for the film was to preserve the authenticity and emotion of the actors’ performances, he felt this was the best way to serve the film and its creative team.

“It was clear from the first meeting with James Gunn that he wanted to capture original performances, which of course isn’t always easy when you’re talking about large budget special effects and action-driven visual effects type movies,” Hayes says.

“We knew that we were going to be shooting three or four cameras at all times so the DPAs took precedence over the booms on a lot of scenes. This meant that, in the final mix, at least 75% of the dialogue that made its way into the movie was recorded on DPA [d:screet] 4071s and DPA [d:screet] 4061s.”

Leading man Chris Pratt was fitted with the DPA d:screet 4061 omnidirectional mic. “We felt that the 4061 added a little something extra in the bass region for his voice, which was quite exciting,” Hayes continues. “All of the other characters used 4071s on their chest rigs and if we were rigging microphones in their hair or in their helmets, we used 4061s to increase the bass.”

As the title suggests, the sets for Guardians of the Galaxy were not going to be small. Finding regular-sized Sound Stages a little small, set designer Charlie Woods had sets housed in old Ministry of Defence buildings to allow enough space. This provided Hayes with a few hurdles to overcome sound-wise.

“That kind of environment isn’t as easy to record sound in as a sound stage, so I had a lot of background noise and a lot of reverb to contend with,” he says. “Again, the DPA mics excelled at rejecting that reverb and just capturing dry, up-front vocals for me.”

One of the things that really sets Guardians of the Galaxy apart from its kin in the superhero film genre is its esoteric 70′s soundtrack, which was integral to the way the sound was mixed. Hayes explains why this was a huge consideration when recording:

“Mixed in with the huge space sound-effects that the sound design team built for us, we really wanted close-up dry dialogue so that we could push the music and the effects harder, and that’s what the DPA mics helped us to do,” says Hayes, who collaborated closely with Alexandra Byrne (costume designer) and Dan Grace (costume supervisor) to design the mic placements used within the actors’ costumes.

“We had some really interesting rigs. For instance, Lee Pace, who plays Ronan, was wearing a helmet for his whole performance and we actually placed two 4061 mics into the helmet because the microphones were creating a tiny bulge. We wanted to have the bulge uniform, so we put one above each eyebrow, which not only gave a uniform look to the helmet, but it also gave us the opportunity to have two tracks running on Lee Pace’s dialogue.”

Ronan has a particularly dynamic part in the film, as Hayes continues: “This placement allowed Lee Pace more creativity in the way that he was playing Ronan and I was able to assure him that because we had the two 4061 mics on him, he could literally go from a whisper to a shout without us having any trouble whatsoever.”

Dave Bautiste, whose character Drax the Destroyer goes through the whole film topless, presented another challenge altogether, which meant finding an ingenious solution.

“We collaborated with the Special Makeup FX department and were able to have a [d:screet] 4071 basically rigged into the special makeup effects, which was applied to his upper body so it became part of a scar in the middle of his solar plexus,” Hayes says. “This meant that even though we had a topless man through the whole movie, in every single scene we were able to have a perfectly placed 4071. DPA’s are so reliable that you can have it buried under makeup and you know that it’s going to work all day, you’re not going to have any problems from them.”

With a run of over 18 films on which he’s used DPA microphones, Hayes concludes, “In the marketplace today there aren’t any lavalier mics that sound as natural and as transparent as DPAs. I feel that when I’m using a DPA microphone, I’m hearing actors through their performance rather than the microphone factoring it.”

After the box-office success of Guardians of the Galaxy, a sequel has already been announced, due for release in 2017.

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

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