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Harrison Series 12 Desk |
The Big Double Bill Meeting at dB Post on April 15th last, was a great success.
Entering from Berwick Street into the tastefully decorated and functional reception lobby, visitors were met by Janie Dahn and Rachel Kitten, who ushered them into Theatre 4, where a super spread of delicious snacks and tasty beverages, all provided generously by dB management, were laid out. While partaking of the refreshments, visitors were able to mingle with the staff and to get convivially acquainted before moving off to inspect the renovated premises and all the new equipment goodies that the refurbished sound post production facility has been equipped with.
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Harrison Series 12 Desk |
The centre piece of Studio 4, so to speak, is the Harrison 12 console with full dynamic automation of all functions and eight track surround monitoring. On hand were Dave Humphries, rerecording mixer for Studio 4 and Jamie Gray of Harrison, so any questions on operational and technical details were very ably and fully answered.
Theatre 4 is equipped with a Munro Associates custom built, 3-way active full surround speaker system using a direct (non-horn) mid range, similar to that used at Shepperton.
The large screen can be filled with projection from 35mm, Super 16mm and Beta SP. An NTSC system is available for ADR work.
There is also a 16-track AudioFile Spectra hard disk edit facility. Mixed time code working 23.97 - 24 - 25 - 29.97 and 30 frames. Film, video and digital audio can be locked and run in sync simultaneously. Recording facilities allow for mastering in all present film release formats, Dolby SVA, Dolby SR-D, Sony SDDS and DTS.
Theatre 5, ably operated by Steve Haynes, although smaller than 4, provides pretty well all the same facilities and services. It is equipped with an AMS Neve Digital Film Console incorporating full dynamic automation of functions with 6-track JBL surround monitoring. John Hughes and Jason Powers of AMS Neve were on hand to answer questions.
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Steve Haynes at the AMS Neve Logic DFC |
The Berwick Street premises also provide, on the first floor, six cutting rooms for rent as Avid suites or production offices. Fax machine, photocopying, telephones with direct numbers, voice mail and call logging are also available.
Studios 1 and 2 in Bateman's Building off Soho Square were not on view but according to the 'hand-out' they are designed with TV dubbing, ADR and Foley in mind. There are also 6-track laying suites equipped with AudioFile hard disk equipment, a comprehensive sound library and a video and film transfer facility.
The second part of the Double Bill was a presentation by AMPS' guest, Walter Murch, sound designer, film editor and director. Walter is the epitome of multi-skilling whose great talent makes nonsense of the old saying 'Jack of all trades, master of none', for Walter is surely a master of all his crafts.
As Walter was in London to lecture at the Larry Sider School of Sound seminar, the AMPS Council thought it would be a good idea to invite him to meet up with members and be presented with a certificate of Honorary Membership.
He had just completed work on the reconstruction of the sound track of Orson Welles' 1957 production Touch Of Evil and had tapes of sections of the film with him to demonstrate the work he'd been doing.
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Walter Murch |
Universal Films employed Welles to act in and direct the picture, which he did with his usual flare. However, as the production was supposed to be a low budget B movie, the producers became worried by Welles' cutting and recutting, and so barred him from all post production including rerecording. The resulting film released was far from Welles' intentions.
Although barred from the studios, he wrote copious memos and pages of detailed instructions about the use of sound - effects and music. Eighty five pages of these memos and instructions were recently rediscovered when Charlton Heston, who acted in the picture and was a co-producer, cleaned out his loft.
This discovery set in motion a scheme to reconstruct the film using the original instructions to produce the sound track as Welles had planned it. Walter got the job.
His demonstration was fascinating and extremely well presented. Those present, most of whom were too young, or perhaps not even born when the movie was first shown in cinemas, were riveted by Walters explanations and anecdotes regarding the technicalities and politics of the production and by the detail of Welles' instructions, sections of which Walter read-out.
One of the sequences shown was the opening of the movie which is a 3 minute tracking crane, night shot, along a street in a US.Mexican border town, with traffic and lots of people milling about. It starts with a car and moves off with it and catches up with Charlton Heston and Janet Leigh walking along towards a border control post. The original release track was entirely Henry Mancini's music with a few sound effects sneaking through. Now reconstructed, following Welles' detailed instructions and using all the available original unused material, it is a very full sound track of voices, footsteps, cars up and past, goats bleating and tinny music from shops, bars and restaurants. A real street melange, setting well the sleazy atmosphere of the town where the story will take place.
The proceedings of Walter's talk and demo were recorded and any members unable to attend and would like to hear it can have a copy by ringing 01284 850332.
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A scene from Touch Of Evil |
Touch of Evil, with the sound as Welles wanted it, will be rereleased in the Autumn, although the track is in mono (made well before Dolby SVA) it will be in Dolby SR.D and DTS.
At the end of the evening, AMPS Chairman Peter Hodges presented Walter Murch with an Honorary Membership certificate, which he accepted with grateful thanks, promising to display it in a prominent place along with his many other trophies.
Everyone present considered it a most enjoyable evening. It's success was greatly due to the efforts of Janie Dahn's excellent organisation of the event and the warm welcome of the the sociable dB Post staff.
Grateful thanks to Richard Daniel, Kevin Brazier and all the staff of dB Post.