ambient sounds and closed spaces

Kim Welch

Senior Member
Staff member
I am interested in the process for getting the sounds for different scenes like in a concert scene, and recently I was watching "Mars" and noticed the differences in when he was talking in his helmet and when he took it off in the rover. The sound was different in the rover and in the HAV. What kinds of things are considered and how is this done?
 
During sound editing, his dialogue track will be split onto different tracks with the helmet on and helmet off. Most likely, the on-set dialogue that would have been recorded with his helmet on would have been from a small lavalier inside the helmet, and usually would be replaced by ADR. The audio in the rover would have been boomed (I would guess) to give it more of an open feel; although it is possible that they used a lav on set for that as well. But in post, we would separate out the helmet stuff from the rover stuff onto two different tracks. Then, using ProTools and various "plug-ins" to create different EQ and different amounts of reverb -- the sound mixer would create the different "feel" for the two sounds. In the mixing theatre, it would just be a matter of finding settings that implied a different sound texture -- yet would still be clear and audible for the audience. Opposed to using just the actual lav mic hidden inside the helmet, which would probably have way too much breath noises and actual helmet acoustics.
 

Kim Welch

Senior Member
Staff member
Thanks Fred! You rock! I want to work something out for workshops with you soon! Did you see your link in the resource section?
 
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