range;and;a;gradual;roll-off;around
70 Hz. “If someone has a very chesty
voice, and you have to rig the mic
on the chest cavity, then the 4071
stops the bass in the vocal from be-
coming over-pronounced. I don’t like
to use any EQ on the desk while I’m
working, so I choose either the 4061
or the 4071 based on what I know
about an actor’s performance and an
actor’s vocal timbre.”
Another important design of
Hayes’ recording plan was to have
two boom operators capture all the
dialogue. “Fantastic Beasts would
have been impossible to record with
just one boom. I’m a great fan of us-
ing;two;boom;operators,;and;[pro-
ducer];David;Heyman;was;very;gen-
erous in allowing me to bring that
workflow;onto;this;film,”;says;Hayes.
Director Yates also supports the use
of two boom mics. “This method
enables him to build the shot with
whatever camera moves he wants,
with as many cameras as he wants.
If he has two boom operators, then
he knows that we can cover it.”
Hayes’ boom mic choices depended on location. For exterior
shots, he chose the Schoeps Super
CMIT shotgun mic, which allows
him to record tracks with on-the-spot noise reduction — helpful for
situations with wind or noisy backgrounds. He explains that the Super
CMIT has a built-in noise processor
that reduces the amount of background noise in the dialogue track.
P
h
ot
os
c
o
u
rt
esy
of
Wa
r
ne
r
B
ros
.
P
ic
t
u
res
The production sound crew double booms on set
Newt (Eddie Redmayne) cares for one of his beloved fantastic beasts, a mighty Thunderbird
The lovely Queenie (Alison Sudol)
