DPA Records Blue Line in the Snow

Production sound mixer Peter Ølsted recently captured audio for the feature Blue Line, which recently wrapped, using DPA’s d:screet 4061 miniature and d:dicate 4017A shotgun and 4018A microphones.
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Cromwell, CT (April 27, 2015)—Production sound mixer Peter Ølsted recently captured audio for the feature Blue Line, which recently wrapped, using DPA’s d:screet 4061 miniature and d:dicate 4017A shotgun and 4018A microphones.

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Ølsted, who had to cope with interior sets and snowy exterior locations in Cromwell, CT, says it was vital to have microphones that were quick and simple to use, and could also withstand the rigors of the intense production. “We didn’t have a set scout for this film, so I knew going into the shoot that I’d have to be ready for whatever the director threw at me,” explains Ølsted, a Danish native who joined ToneMesa, the film’s executive producer, in 2013.

“A lot of the locations were empty and wide-open warehouses that can often cause a lot of audio problems, but the rear rejection of the DPA mics was a perfect solution for these settings. We were filming in the brutal, cold and windy winter weather of New England and the mics definitely held up. I was amazed that I didn’t have a single issue with wind noise.”

Since Blue Line is a train heist movie, Ølsted needed to mic the interiors of vehicles, often turning to the d:screet 4061s and d:dicate 4018s. “There was one scene where we had to film three cars at one time,” he says. “I placed the mics in various places around the cars and the sound we got from that was really great. For exterior scenes requiring wider shots, we used the d:dicate 4017. We could be four or five feet away from the actors and would still get crystal clear dialogue.”

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