While the guns provide the flash and sizzle of the battle scenes, the
editors and mixers placed equal attention on the “textures” of the field,
perhaps most evident in the group ADR recording and mixing. The battles
were by and large marked by civility, at least until the initial firing
ceased and the hand-to-hand combat began. Military commands, therefore,
were prominent. To add a level of realism, Hallberg decided to shoot
the group ADR outdoors.
“We went up to the old Nike missile base in the Santa Monica Mountains,”
explains ADR supervisor Chris Jargo. “Down a fire road and
behind a mountain so we would be shielded from traffic. We placed 15
men [from the L.A. Mad Dogs loop group] about 10 feet apart down the
road and had them run through a series of commands—everything from arms
commands for Americans and Brits, to cavalry commands, marching commands,
cannon commands. The way it works is that a commander barks out a command,
and there are six companies in a battalion, so the leaders of those
companies would parrot the commands. For example, if the command was,
‘Take aim!’ we would stagger the repeat with the 15 guys, so that the
guys farther in back would be a little out of tempo, not perfectly chorused.
supervisor Chris Jargo feeds the stage from his WaveFrame workstation.
“Then after the group commands, we would do individuals,” he
continues, “which Kevin would then mix LCR, again staggered and offset.
The individuals played with the 15 men to give it a real natural, rough
sound. We did that for every command, in every battle, and we also did
group grunting and fighting for the hand-to-hand combat.” Later,
“free-and-clears,” or wild, individual lines, were recorded to add punch
and poke through the group walla in the encampment scenes.
O’Connell broke out separate predubs—6-channel production, 8-channel
principal ADR, and 8-channel group ADR (LCR-LS-RS, LCR)—for the Americans
and the British, so that at the final he could have flexibility and
not bottle up the center. “I like to make the commands and the group
dialog as left and right as possible,” he says, “because by the
time you put in the guns and music, you need that separation. Sometimes
I’ll even put group in the left-surround and right-surround so that
it feels like one whole side of the theater against the other side.”
The exterior group ADR sessions were recorded straight to two DAT machines,
one set up double-mono (two tracks) and the other stereo (M-S miked,
for LCR playback). The five tracks were then lined up in the WaveFrame
so they could be played back at the same time. Close-up grunts and breathing,
along with principal ADR, were recorded on ADR stages at Fox, Warner
Hollywood and Sony.
Page 6: Foley
© 2000, Intertec Publishing, A Primedia Company All Rights
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