![]() And that was an early beta.”įor most scenes, Argentieri recorded eight channels of Wisycom wireless microphones with digital AES3 outputs that could input via the ULN-8, various wireless microphones from Lectrosonics, and a custom double-M/S microphone suspension (made by Cinela especially for this project) consisting of two DPA cardioid microphones and a Sennheiser MKH30 figure 8 all in a suspension and windscreen. Although the display on my computer died (easy to swap out), the Metric Halo 3d system was very stable and reliable. We would be out on an air force base for six weeks and that’s a very dusty, rugged situation for audio hardware! As it turns out, I didn’t need to be worried. I installed them, crossed myself, and hoped for the best. They were kind enough to send me very early beta versions of 3d for my ULN. “I knew 3d was coming and that it would fix any latency problems that might occur on a 2D system pushed to 32 tracks. Buchalter and Jon Stern at Metric Halo and described my situation,” he said. Metric Halo’s recently-introduced 3d hardware upgrade allows users to combine up to 128 input tracks and 64 buses with near-zero latency, but the 3d public release came after Argentieri needed it. As you can imagine, on set at an air force base meant there was always something going on around the actors, from airplanes to trucks to cars – even to other actors screaming! The large number of tracks let me isolate individuals and sounds, and Metric Halo’s vast DSP resources let me mix and compress for dailies and for examples of how I envisioned the mix for the post-production team.” I appreciate Metric Halo’s sound quality and dynamic range. “I’ve been an avid user of Metric Halo interfaces since I got my 2882 in 2004. ![]() With over 25 years in the business, he has recorded and mixed for directors such as Spike Lee, Ridley Scott, Mel Gibson, Woody Allen and – now having completed Catch 22 – George Clooney. “I needed a powerful recording system that would allow me to record a large number of actors and a large number of ambient tracks and that would give me lots of mix-down capabilities on the fly,” Argentieri explains. Moreover, his Metric Halo interfaces and their MIO Console control software have the kind of stability that guaranteed long days of reliable performance. Filmed on the old Olbia Airport (Venafiorita) in Sardinia Italy, Argentieri not only had to capture all of the gritty ambient sounds together with intelligible dialog, but also had to deliver pre-fader tracks and several different immediate mixes for different purposes.Īfter updating his Metric Halo interfaces (a five-year-old ULN-8 and a fifteen-year-old 2882) to work with the latest in digital connectivity via Metric Halo’s 3d hardware upgrade, Argentieri had sixteen analog inputs, eight digital inputs, and as many low-latency output tracks and sub-mixes as he needed. Catch 22 is the story of a World War II bombardier who is trapped by a twisted bureaucracy, and much of the action takes place on an air force base. When veteran sound designer Maurizio Argentieri was asked to record all the production sound for the modern Hulu miniseries adaptation of the Joseph Heller novel Catch 22, he surmised that it would be a difficult but rewarding assignment.
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