DPA-Mics-Capture-Nuances-of-127-Hours

Alleroed, Denmark (March 15, 2011)--A large selection of DPA mics provided by UK distributor Sound Network was used to record the sound for the film 127 Hours.
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Alleroed, Denmark (March 15, 2011)--A large selection of DPA mics provided by UK distributor Sound Network was used to record the sound for the film 127 Hours.

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127 Hours, director Danny Boyle's latest film, recreates the ordeal of young mountaineer Aron Ralston, who gets trapped in a Utah canyon when a boulder slips, trapping his arm. The soundtrack, which was nominated for a BAFTA and a Satellite in the Best Sound categories, was almost entirely recreated in post production.

The sound crew from Sound 24 included sound designer and supervising sound editor Glenn Freemantle, sound effects recordist Hugo Adams, Foley artists Nicolas Becker and Adam Mendez and Foley editor Jon Olive. Adams was the only member of the crew to travel to Utah, spending 24 hours at the canyon recording the full audio picture of where the film had been shot. Recording during shooting was almost impossible due to the noisy gyro-stabilized camera mounts being used.

Post production was handled back in the UK by Sound 24 and the Foley recorded at Anvil Studios, where a canyon had been constructed out of sandstone slabs and filled with 1.45 tons of sandstone and limestone boulders, to mirror the environment in Utah. Adam Mendez and Nicolas Becker worked on the Foley using a pair of 4041 large diaphragm mics, a pair of 4060 miniature omnis, a 4006 omni and the DPA 8011 hydrophone, part of Becker's much-used DPA arsenal.

"We used the 4041s to capture any subtle details that Glenn requested, such as the texture of the rock as Aron runs his hand over it, or the sound of ant footsteps in the sand," says Mendez. "Its low level noise floor and extremely high sensitivity made it ideal for this kind of recording, as it can capture the tiny nuances in a performance so that you don't simply end up with a 'noise' but with a truly detailed sound."

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