This film’s obvious challenge with sound was the modified car race and and the 3-wheeler T-Rex.
For the car race, we spent two nights during shooting, with Jean-François Sauvé and Frédéric Laurier, with multiple recorders and microphones. MS Microphone, binaurals, cardiod and omnis were among the microphones we used. We recorded all the cars separately during the lunch breaks. Pass by, starts, arrivals, braking, screeches, squeals, grinds, corners, accelerations and revs were collected.
In contrast with the dynamic of the car sequences, we had a very smooth and gentle ambience track for the intimate scenes, barely hearing anything between dialogs in many places.
Mixing a car chase with a full-scale music is hard because you want to drive the audience with the music, but surprise them with sound FX. Sometimes there is just no more room in the speaker. You then have to tone other things down in order to hear what you want, to make room for the essentials. Tough call!
|Production Company:||Cirrus Communications|
|Music:||FM Le Sieur|
|Supervising Sound editor:||Martin Pinsonnault
|Sound designer:||Martin Pinsonnault|
|Sound effects editor:||Louis Molinas
|Production sound mixer:||Claude Hazanavicius|
|Dialog editor:||Michelle Cloutier|
|Foley artist:||Simon Meilleur|
|Foley recordist:||Daniel Bisson|
|Adr Recordist:||Daniel Bisson|
|Adr Supervisor:||Jacques Plante|
|Re-recording mixer:||Bernard Gariépy Strobl