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Emmy winners mix 'band of brothers' on Harrison MPCWhen film re-recording mixers Mike Dowson and Mark Taylor and production mixer Colin Charles went to work on HBO¹s Band of Brothers at Shepperton Studios, they probably didn¹t even think about winning an award. But when you couple some of the most talented sound professionals in the industry with the most powerful film mixing console available, you have the ingredients for a truly outstanding creation which, doubtless, will be honored by other professionals in the field.The two re-recording mixers, along with production mixer Colin Charles, walked away with the Emmy for their work on Carentan, the third episode of the HBO miniseries, Band of Brothers, in the category of "Outstanding Single-camera sound mixing for a mini-series or a movie". Final mixing for the award winning episode took place on the Harrison MPC in Theater 1, "the blue room" at Shepperton Studios in the U.K. In a brief interview after arriving home from the awards in Los Angeles, Mike Dowson commented on the production: "We won our Emmy for episode three although episodes two and seven were also nominated. We are unsure why they picked episode three above the others as each show had it's own unique set of challenges for sound. Perhaps they preferred episode three as a story overall. Who knows!" "The series presented us with a daunting set of challenges. First of all, the scale of the project was enormous. The main exterior set was the size of six football fields, as well as many interior sets including an awesome snow covered forest set, the cast and crew extended into thousands over the course of the series and so the costume department was suitably large with an amazing attention to detail on every level. In spite of this there was still an enormous amount of post produced visual effects (which caused us many logistic and creative challenges!!). So with all this in mind we felt obliged to pay as much attention to the detail of the soundtrack as they were with the visuals." "Due to the sheer scale of the show and the fact that HBO were planning to broadcast in hi-definition format with a 5.1 soundtrack, we decided that the best way to approach the project was to treat each show with the same care and attention as a high budget feature film. When we got a good look at the first show we realized that this was the only approach we could take!! "HBO were also very keen to be able to demonstrate to their subscribers that whilst watching in a 4:3 aspect ratio and listening in Dolby Surround in the home was good, watching the same show with a high definition 16:9 image and 5.1 sound was a whole level better. We feel that we certainly achieved this for them. "Many sequences in the shows were shot from a very personal point of view and one of the many challenges we were faced with was to achieve a feeling of 'being there' instead of just being a spectator as is the more common feeling when watching a movie. I can¹t say that we achieved this goal every time but when we did it was well worth the effort. One of the many techniques we used was the careful and constant dynamic panning of nearly all of the sounds in a scene, a process we could not have contemplated without the automated motorized pan pots on our MPC. This painstaking work was all made worthwhile when episode 2 was shown to a group of the veteran soldiers that the show is based on. They commented afterwards that it had taken them right back to the very night before D-Day when they were dropped behind enemy lines and how the sound was just what it was like to be there on those planes. "Because the visual effects took so long to complete and the schedule dictated that we could not wait for them to be ready, we had to start the mixes with incomplete pictures. In some instances this meant a frustrating wait of several months. It also meant that we could not complete any show until very late in the schedule and so we had to keep every mix of every show right until the last minute. The audio was kept on some 62 18gig hard drives and all the mix information for these was stored within the MPC console system. All in all, we worked on the project for over 7 months and throughout this time the MPC performed very well despite being stretched to its capacity on an almost daily basis. The ability to recall any setup and its automation at will played a major part in smoothing the progress of this enormous and complicated project." Along with Colin Charles, David Stevenson recorded the location sound for the series. Ed Colyer of Shepperton Studios was the Foley and ADR mixer. An all around winner at the Emmy¹s, Band of Brothers received awards in four categories. + Post comment/question/reply
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