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#11
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Re: Cloud Atlas - congratulations Frank Kruse!
No BAFTA screener this year due to the release in February in the UK.
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PTHDn 2024.3 (OSX13.6.5), 8x8x8, MacPro 14,8, AJA LHi, SYNC HD, all genlocked via AJA GEN10, 64GB RAM, Xilica Neutrino, Meyersound Acheron |
#12
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Dang - so it's not eligible for this year 's BAFTAs?
Will have to slum it in a flea pit in the new year - how undignified. Cheers
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cheers Mike Aiton BSc (hons) Audio Consultant, Dubbing Mixer/Sound Designer & Journalist BAFTA member IPS member ---------------------------------------------------------------------- www.mikerophonics.com |
#13
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Re: Cloud Atlas - congratulations Frank Kruse!
Congrats Frank, great work. The amount of detail is awesome!
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#14
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Re: Cloud Atlas - congratulations Frank Kruse!
Hi,
so here's some info about the work on CA. I started on CA in November 2011 about 6 weeks before the ending of the principal shoot. Tom Tykwer hates to work with temp sound effects and it really made sense to start early on this film because we had a pretty early first temp mix to cater about 10 weeks after the last day of shooting which was quite tough for such a long film. So I could spend some very valuable time creating some base sound fx and B/Gs for the different stories. Tom usually has most of the music done before the shoot starts so on his films we almost never encounter temp-music. So we can closely work with the composer team. I physically moved my studio into the same space as the cutting rooms and the VFX production dpt. which also enabled very close work with VFX updates and the editor Alex Berner. I provided effects stems to Alex who would then cut with those in the AVID so the directors could make notes while cutting the picture and also adjust edits to make room for some sound ideas. I spread the info the rest of the sound crew from there. Quite a few things wouldn't have been in the film hadn't we had this close connection during the editing both in terms of the picture cut and sounds. This gives the sound team the chance to go into wrong directions and try things out early on instead of piling up a lot of redundant tracks for the mix and build the sound track in the theater. We talked about transitions and that we wanted the film to feel like one story and not 6 episodes. tied together so quite some time was spent to create seamless transitions that should never be on the nose. For example there are some cool yet subtile transitions from the bridge where Zachry and Meronym hide from the Koona warriors ("bridge are broken hide below") the horse that gallops away turns into the rhythm of the rails of the train with Cavendish and then when he sees himself sitting in the opposite seat in the past the trans "morphs" from a modern train to a steam train and back. So horse to train to steam-train and back. I think most people won't recognize it at first "glance" but we thought these kind of transitions were the ones that would help glue the story together. Markus Stemler the second sound designer came up with some great things like that. Many transitions are at the edge between music and effects. We tried to blur the differences a bit from the "waking up" of Papa Song's restaurant to the flare gun when Zachry and Meronym discover the huge Sonmi-statue. All those things we tried to treat as half way between musical and sound effects. The scene where Chang shows Sonmi the safe-house with the animated cherry blossoms on the walls for example: The ambience there is made with quite musical drones and some percussive sound effects played in asian scales. I found S-Layer for Reaktor really useful on CA for these things. The close proximity to the cutting room (literally next door) enabled us to keep a very close connection to the changes in the picture cut. One other thing we discussed with the directors was the thing with the gender changing actors in film. In the beginning they were concerned that the men playing female characters would show their true identity through their voice so I went on set to capture some test recordings with Weaving and Whishaw and then experiment with some voice treatments to disguise their voice or make them more female. So I had a channel-strip prepped to treat these voices. We tracklayed all the FX in a session prepped with EQs and Reverbs so it was pretty easy to output a stem with reverbs etc. for the AVID and the temp mixes were more or less based on these sessions which Matthias Lempert and Lars Ginzel mainly mixed in the box. What else....there just too much to write it all down.... Some things for the tech-interested: We recorded a prototype electric car that a big German car mfg kindly let us use that served as the base sound for the skiff (the floating "motorcycles"). We also recorded lots of magnetic field effects with guitar pickups that foley supervisor Hanse Warns built. A device we called the iHum was used to capture fields of power tools, TFT screens etc. etc. The main sound for the busted delivery truck that Chang uses to free Sonmi from the prison is actually the electric field of our studio's vacuum cleaner with further treatment. Some of the gunship elements were created with iPad based synths that I liked to use for the great touch interface that I could then modulate to picture. If you have further questions, feel free to ask. And again thanks for the compliments. Frank.
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PTHDn 2024.3 (OSX13.6.5), 8x8x8, MacPro 14,8, AJA LHi, SYNC HD, all genlocked via AJA GEN10, 64GB RAM, Xilica Neutrino, Meyersound Acheron |
#15
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Re: Cloud Atlas - congratulations Frank Kruse!
Thanks Frank for taking the time, inspiring info!
(Dankeschön! :) ) Andrew |
#16
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Re: Cloud Atlas - congratulations Frank Kruse!
Thank you, Frank! That's some fantastic behind-the-scenes info. Now I want to go see it again to listen for all those transitions....
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Joe Mendelson Gramercy Post, NYC |
#17
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Re: Cloud Atlas - congratulations Frank Kruse!
I watched the screener a few nights ago (on a dub stage) and was very impressed with the sound and all aspects of this film. Brilliant film making and craftsmanship.
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#18
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Re: Cloud Atlas - congratulations Frank Kruse!
Quote:
And thanks for the "peek behind the scenes". It's so cool to get a little insight on how things were done.
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Studio rig - Pro Tools|HDX 2018.7 | Logic Pro X.4.2 | Avid HD I/O (8x8x8) | 6-core 3.33 Westmere w/24GB RAM | OS 10.12.3 | D-Command ES | Eleven Rack | Vienna Ensemble Pro 5 Mobile rig - Macbook Pro i7 w/16GB RAM | UA Apollo 8p | Pro Tools|HD 2018.3 | Logic Pro X.4.2 | OS 10.12.6 |
#19
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Cloud Atlas - congratulations Frank Kruse!
Ditto - I loved this movie and sound
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Daniel HDX - PT12.5.1 - HD I/O 16x8x8 Win10-Pro (v1709)- 6 Core i7-6850k - ASUS X99 Deluxe ii D-Command Main Unit - 'Ole Blue http://www.sknoteaudio.com/ plugins rock and are affordable. |
#20
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Re: Cloud Atlas - congratulations Frank Kruse!
Frank
Thanks for the info and congrats on a wonderful sound design. Loved it.
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http://www.imdb.com/name/nm0639795/ |
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