Simon Hayes: "We were shooting so many vocal tracks on Les Mis that we knew that dialogue editing would be a huge job, so we brought in a very experienced dialogue editor, Tim Hands, who was on the set to familiarise himself with the tracks while we were recording. Hayes, McCann and Supervising Sound and Music Editor John Warhurst explain how they untangled this one. The team were dealing with 20 or more takes for each scene, nothing locked in time, and picture edits that never seemed to end, each of which required them to re-edit the vocals and guide piano. These performances needed to be edited before having orchestration overdubbed to them. However, getting the vocal performances in the can was only the beginning. Rather than constrain the singers to any pre-recorded backing track, accompaniment was provided live from a MIDI keyboard and relayed to the actors through earpieces.
With a lot of imaginative thinking, clever technology and a ruthless approach to silencing the film set, the team managed to capture clean recordings of all the vocal performances, mostly on DPA lavalier microphones concealed in the actors' costumes. This, as we saw in last month's Inside Track, set a colossal challenge for the sound team led by Simon Hayes and Gerard McCann.
Here, Les Miserables director Tom Hooper (standing) consults conductor Stephen Brooker.When Tom Hooper signed up to direct the film version of the musical Les Misérables, he insisted that all the singing would be recorded live. President of Film Music for Universal Pictures Mike Knobloch was on hand at AIR Studios to take session photos of the orchestral overdubs. Not only did the Les Misérables crew have to capture live singing on a film set: they then had to figure out how to overdub orchestral arrangements to it!
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