But after the first day of recording, Tom said that he wanted more carpet, and we ended up putting carpet everywhere. Because Simon had recorded the voices on the set so clean and so well, without EQ or compression, and this natural approach had been carried through during vocal editing, it now moved into the orchestral recordings. The orchestra was tracked with numerous different miking setups simultaneously, to provide plenty of options at mixdown.
These edits were then further tightened for sync by James and Rael. Suddenly it became far easier to hear the dialogue, and there still was the feeling of being immersed within the orchestra. We should regularly question what we are doing and why, and whether we are getting the best emotional impact possible. To minimise the length of cable runs, AIR Lyndhurst employ remote mic preamps which sit in the live area and send line-level signals to the Neve console. Photo: Mike Knobloch. The orchestral recordings took place at the end of October , after which it was time to combine all the ingredients and see whether the whole thing would actually work.
Eminent movie mixer Andy Nelson flew over from Los Angeles to mix the vocals and music for the soundtrack, with help from Mark Paterson who handled the special effects. So we had to keep the acoustics we recorded on the vocals exactly the same throughout each song, and this was another reason why we prioritised the lavalier microphones, because they obviously were always in the same position in relation to the singer. These were decisions that we discussed with Andy at the time, and that he agreed with. But the quality that Simon got using these microphones was phenomenal.
The film is split down in reels of roughly 15 minutes each, so I'd go through all the reels and just listen to all the vocal tracks, on their own.
The Les Misérables Sound Team, Part 2
The thing with the music in this movie is that it never stops, so the question for me was how to balance that with the vocals. Then we introduced the sound effects, and this would, again, lead me to go back and adjust the sound of the vocals or the orchestra. We were constantly adjusting the mix. Gerard McCann top and Simon Hayes oversaw the capture of the live vocals on set. The Lexicon is my favourite box for that. But the minute we tried this, we lost the rawness and realism that Tom was going for.
So we took it off again. Every time we tried things that we normally do, we had to back down. Every bit of gloss that we tried to apply didn't work. I'd then address any issues, and we'd move on to the next reel, and eventually we went through the entire movie, and this then revealed more things that needed adjusting. You can always go back in to do the more detailed work.
Finally, the director, the producer, and the mixers sign off on the final playback and that's it, that's the soundtrack. From here on, sung-through movies will have to be sung live from start to finish. Lee McCutcheon. Fandango Media. Retrieved 17 May Daily Telegraph. Rolling Stone. Slant Magazine. Chicago Tribune. Movie Fanatic. The Atlantic. The Washington Post.
The Les Misérables Sound Team, Part 2
The Dallas Morning News. USA Today. New York Post. Bloomberg News. Archived from the original on 14 March Retrieved 25 March Retrieved 15 July Academy of Motion Picture Arts and Sciences. Archived from the original on 10 January Retrieved 13 December The Sydney Morning Herald. Retrieved 11 January Retrieved 9 January Broadcast Film Critics Association.
Archived from the original on 15 December Chicago Film Critics Association. Archived from the original on 31 January Retrieved 17 December Retrieved 30 January The Recording Academy. Broadway World. Retrieved 11 December Awards Daily. Retrieved 2 April Retrieved 15 April Producers Guild of America. International Press Academy. Retrieved 5 December Archived from the original PDF on 20 February Retrieved 20 February Retrieved 12 December DC Film Critics.
Retrieved 9 December Archived from the original on 3 April Retrieved 31 March Works directed by Tom Hooper. Works by William Nicholson. Shadowlands The Retreat from Moscow. Firelight Hope Gap. Hidden categories: All pages needing factual verification Wikipedia articles needing factual verification from November Wikipedia articles needing factual verification from September Use dmy dates from October Use British English from January Articles with short description.
If they cry, they can cry through a song.
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When you're doing it to playback, to the millisecond you have to copy what you do. You have no freedom in the moment — and acting is the illusion of being free in the moment. Best Picture. Best Actor. Best Supporting Actress. Best Original Song.
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Best Costume Design. Best Makeup and Hairstyling. Lisa Westcott and Julie Dartnell. Best Sound Mixing. Best Production Design. American Film Institute. Best International Film. Best International Actor. British Academy Film Award. Best Film. Best British Film. Best Actor in a Leading Role. Best Actress in a Supporting Role. Best Cinematography. Best Makeup and Hair. Broadcast Film Critics Association Awards. Best Acting Ensemble.
Best Director. Best Song. Best Art Direction. Best Editing. Chris Dickens and Melanie Oliver. Best Makeup.
Directors Guild of America Award. Outstanding Directorial Achievement in Motion Pictures. Golden Globe Award. Best Motion Picture — Musical or Comedy. Best Supporting Actress — Motion Picture. Best Compilation Soundtrack for Visual Media. Hollywood Film Festival. Houston Film Critics Society. London Film Critics Circle. Los Angeles Film Critics Association.
MTV Movie Awards. Best Female Performance. Best Breakthrough Performance. New York Film Critics Online. Producers Guild of America Award. Best Theatrical Motion Picture. Satellite Award. Best Cast — Motion Picture. Good girl Sandy and greaser Danny fell in love over the summer. When they unexpectedly discover they're now in the same high school, will they be able to rekindle their romance?
A seventeen-year-old aristocrat falls in love with a kind but poor artist aboard the luxurious, ill-fated R. Five years after the events of Mamma Mia! Beca, a freshman at Barden University, is cajoled into joining The Bellas, her school's all-girls singing group. Injecting some much needed energy into their repertoire, The Bellas take on their male rivals in a campus competition. A poor yet passionate young man falls in love with a rich young woman, giving her a sense of freedom, but they are soon separated because of their social differences.
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Set in post-revolutionary France, the story reaches resolution against the background of the June Rebellion. Written by Anonymous. As a massive film fan, my tastes are very wide-ranging, but I do have a problem with musicals. The showing was introduced by producer Eric Fellner of Working Title who underlined the commercial challenge of making a film in which all the dialogue is sung and the themes are so political and praised director Tom Hooper "The King's Speech" for his insistence that every take was sung live. The two main characters are presented in the opening seconds of a sweeping introductory sequence: the police inspector Javert Crowe and the prisoner Jean Valjean Jackman in post-revolutionary France.
There follows over two and half hours with barely a spoken word which will not appeal to all cinema-goers, but the production is a triumph with Cameron Mackintosh's musical opened up by dramatic shooting on Pinewood's brand new Richard Attenborough stage and some historic English locations. Explore popular and recently added TV series available to stream now with Prime Video. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!
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