bowtie mic. If a breath or pop ruined
a take on the bowtie mic, then the
other mic could provide an alternative choice for that same exact take.
“
I;like;to;give;[dialogue;editor];Gil-lian Dodders a choice of lav tracks.
Not only did we have that extremely
close-up perspective of the tie knot
mic, but we also had a wider lav
sound from the waistcoat, should
they decide that the tie knot was too
close [a] perspective. Having two
lavs on each actor really helped diminish the amount of ADR that was
needed;on;the;film,”;says;Hayes.
Having mics sewn into the costumes wasn’t just helpful for capturing the dialogue clean and close, it
also provided consistency to the
tracks. It was always the same mic
in the same position for each actor, so takes recorded one day at a
specific;location;would;match;takes
recorded;on;a;different;day;in;a;dif-ferent location. “That’s a really good
example of how the sound team and
the costume department can work
together,” shares Hayes.
For lavaliers, Hayes always
chooses DPA microphones. “I feel
they are head and shoulders above
everything else on the market. They
sound more natural and cut with
the boom better,” says Hayes, who
works with both the DPA 4061 and
DPA 4071 models, depending on the
actor.;The;4061;provides;a;flat;re-
sponse from 20 Hz to 20 kHz, and the
4071 has a slight boost in the mid-
Shooting a dolly shot on the New York city streets set
Credence Barebone (Ezra Miller) meets with Graves (Colin Farrell) in secret
Director David Yates discusses a scene with Eddie Redmayne on set
