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Simon Hayes, and "Les Miserables," wins BAFTA


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41 replies to this topic

#1
Rich Van Dyke

Rich Van Dyke
  • LocationLos Angeles, CA

Simon Hayes has just been awarded his BAFTA Orange award for his excellent work on the film, "Les Miserables."

 

Good on you, Simon, when the award season is over I predict Simon will have a house full of awards for his accomplishments associated with this film.


The more knowledge you gain...The more you realize how little you know.

Richard Van Dyke, CAS

#2
Jeff Wexler

Jeff Wexler
  • LocationSanta Monica, CA USA

Beautiful! It's the first award, one of many for sure, well deserved, not only for Simon and his team on Les Miserables, but for his contribution to advancing the respect and understanding of the needs of the production sound crew. Good show! 


Jeff Wexler, CAS
Santa Monica, California
 
"I don't care if you've got ninety tracks... what does it sound like, baby"
- Ray Charles

#3
Henchman

Henchman
  • LocationEncino, CA
Awesome and very well deserved
IMDB Credits

Living the Dream

#4
Richard Lightstone, CAS

Richard Lightstone, CAS
  • LocationLos Angeles

Ditto on the Simon Hayes Kudo.

 

Just for the record it is no longer the BAFTA "Orange" Awards - there is a new sponsor this year: EE Company, so it's now 

EE British Academy Film Awards



#5
Rich Van Dyke

Rich Van Dyke
  • LocationLos Angeles, CA

Thank you for the correction, Richard, my apologies to all.


The more knowledge you gain...The more you realize how little you know.

Richard Van Dyke, CAS

#6
old school

old school
  • LocationSo Cal

Congrats to Simon and his crew. Well done.

CrewC


So beautiful or so what.

#7
Jeff Wexler

Jeff Wexler
  • LocationSanta Monica, CA USA

Ditto on the Simon Hayes Kudo.

 

Just for the record it is no longer the BAFTA "Orange" Awards - there is a new sponsor this year: EE Company, so it's now 

EE British Academy Film Awards

 

Thank you for the info on "EE" --- I've been wondering all day what that was all about.


Jeff Wexler, CAS
Santa Monica, California
 
"I don't care if you've got ninety tracks... what does it sound like, baby"
- Ray Charles

#8
Marc Wielage

Marc Wielage
  • LocationNorthridge, CA

Congrats! Well-done.


www.cinesound.tv | location sound • post-production consultant

#9
Jon Gilbert

Jon Gilbert
  • LocationNorthern England

EE is the new name for Orange, they've rebranded.

 

And well done Simon, whatever the award is called!



#10
macruth

macruth
  • LocationBudapest, Hungary
Congratulations Simon and Team, Bravo!

#11
Vasileios Alexandris

Vasileios Alexandris
  • LocationThessaloniki, GR

Μπράβο Simon and Team! :)


Vasileios Alexandris

1st Assistant Sound / Boom Operator

Greece, Thessaloniki


#12
Jan McL

Jan McL
  • LocationNY Metro

Gonna be a busy year for Mr. Hayes ;)

 

Remain in awe of the whole production...


Jan McLaughlin, CAS
http://janmclaughlin.tv
FCC LP Call Sign WQOF571
914-509-4661

#13
Rasmus Wedin

Rasmus Wedin

Congrats Simon!


Bad sound kills good music.

#14
Richard Topham Jr

Richard Topham Jr
  • LocationNew York, NY

Wonderful news! Congratulations Simon!


Richard Topham Jr.
Professional Sound Services
311 West 43rd Street, Suite #200 New York, NY 10036
Tel: 212.586.1033 ● Toll Free: 800.883.1033

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www.pro-sound.com
rich@pro-sound.com
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#15
maaikesnoep

maaikesnoep
  • LocationAtlanta

Trying to find some lyrics from Miserable to fit the moment, but can't find any good ones...

Felicitations!



#16
Simon Hayes

Simon Hayes
  • LocationLondon
Thank you all for your lovely messages.I would like to pay tribute to the whole Les Mis Production Team,Arthur Fenn,Robin Johnson,James Gibb,Paul Schwartz,Andrew Rowe and Duncan Craig.
Arthur and Robin have stuck with me through thick and thin.Arthur started boom operating for me in 1995- Over 42 movies averaging 3 per year since 1997.He has prioritised working with me, above living a 'normal' life as is the requirement of working in the Film Industry.Like all of us who work within the 'film game' he is passionate,creative and proud of what we do and considers working in the business a privilege that allows us to see magic created every day.Let us also consider that it does not matter how good a Production Sound Mixer is,if the microphone is in the wrong place in the first place there is nothing we can do on the faders to make it sound 'better'.Good sound begins with the miking and the reputation a Production Sound Mixer has for getting great dialogue is without doubt a collaborative effort with our Boom Op's.
I would also like to pay tribute to Robin Johnson who joined us in 1998.We went to do a low budget movie in the north of England and the Production Manager told us we would have to use a 'local' trainee to save on hotel bills.We were furious but when we met Robin it was immediately obvious that we had fallen on our feet.Here was a 'trainee' that had earned himself a degree is Chemical Engineering before even beginning in Film School.At the end of the job we had come to rely on him so heavily that we literally coerced him into coming back to London with us,renting an apartment and he has been with us ever since.Not only as a superb 2nd Boom Operator which gives our Directors twice as much usable production dialogue as using 1 Boom Op but he has melded us into the computer age with his skill in electronics and software.I would not be wrong in saying he is a genius on either PC or Mac and gives us the ability to interface and problem solve so quickly on a film set that we can interface with any piece of equipment required in seconds not minutes.

When i accepted the BAFTA for Sound last night it was with huge pride,but i wish they had been standing next to me,because without them i would simply not be able to produce the results we can as a TEAM.
 


#17
studiomprd

studiomprd
  • LocationHollywood CA

great... and just the beginning of a crowded mantle...

so is it called and "EE", or still called an "Orange", or perhaps it is "an EE Irange" ??? :blink:


SENATOR Mike Michaels, c.a.s.
Studio M Productions

#18
old school

old school
  • LocationSo Cal

Well said Simon. Sadly I have met some who don't think that way. Cheers to you all.

CrewC


So beautiful or so what.

#19
maaikesnoep

maaikesnoep
  • LocationAtlanta

Beautiful words, Sir Hayes! How's the hangover, or is the after-party still going on?!.. ^_^



#20
studiomprd

studiomprd
  • LocationHollywood CA

" Let us also consider that it does not matter how good a Production
Sound Mixer is,if the microphone is in the wrong place in the first
place there is nothing we can do on the faders
to make it sound
'better'.  Good sound begins with the miking and the reputation a
Production Sound Mixer has for getting great dialogue is without doubt a
collaborative effort with our Boom Op's
.
"

This is what I tell my students, and I add that I believe the Boomer has the more critical job!  As a mixer who did not come up from booming, I am completely dependent on good boom operating!


SENATOR Mike Michaels, c.a.s.
Studio M Productions

#21
bigmaho

bigmaho
  • LocationNY and NM

Thank you all for your lovely messages.I would like to pay tribute to the whole Les Mis Production Team,Arthur Fenn,Robin Johnson,James Gibb,Paul Schwartz,Andrew Rowe and Duncan Craig.
Arthur and Robin have stuck with me through thick and thin.Arthur started boom operating for me in 1995- Over 42 movies averaging 3 per year since 1997.He has prioritised working with me, above living a 'normal' life as is the requirement or working in the Film Industry.Like all of us who work within the 'film game' he is passionate,creative and proud of what we do and considers working in the business a privilege that allows us to see magic created every day.Let us also consider that it does not matter how good a Production Sound Mixer is,if the microphone is in the wrong place in the first place there is nothing we can do on the faders to make it sound 'better'.Good sound begins with the miking and the reputation a Production Sound Mixer has for getting great dialogue is without doubt a collaborative effort with our Boom Op's.
I would also like to pay tribute to Robin Johnson who joined us in 1998.We went to do a low budget movie in the north of England and the Production Manager told us we would have to use a 'local' trainee to save on hotel bills.We were furious but when we met Robin it was immediately obvious that we had fallen on our feet.Here was a 'trainee' that had earned himself a degree is Chemical Engineering before even beginning in Film School.At the end of the job we had come to rely on him so heavily that we literally coerced him into coming back to London with us,renting an apartment and he has been with us ever since.Not only as a superb 2nd Boom Operator which gives our Directors twice as much usable production dialogue as using 1 Boom Op but he has melded us into the computer age with his skill in electronics and software.I would not be wrong in saying he is a genius on either PC or Mac and gives us the ability to interface and problem solve so quickly on a film set that we can interface with any piece of equipment required in seconds not minutes.

When i accepted the BAFTA for Sound last night it was with huge pride,but i wish they had been standing next to me,because without them i would simply not be able to produce the results we can as a TEAM.
 

Wonderful appreciation of your crew!  Congratulations to all for a very well deserved award!!



#22
Rich Van Dyke

Rich Van Dyke
  • LocationLos Angeles, CA

Great words here Simon, and last night as well.  I'm just wondering what awards are better.....BMX racing, or BAFTA?

 


The more knowledge you gain...The more you realize how little you know.

Richard Van Dyke, CAS

#23
John Blankenship

John Blankenship
  • LocationIndianapolis
Congratulations to Simon and the entire team. What a great example to hold up to all those other departments we work alongside of, as to what a true team effort can achieve.

(Thanks, Rich, for posting the video.)
John B., CAS

#24
sergiofucchi

sergiofucchi
  • LocationCivitanova Marche (Italy)

I've seen all of Youtube videos behind the scenes of Les Miserables.

 

I'd like to know what radio mics were used and what the boom microphones, as well as the Super CMIT 2U.



#25
Vasileios Alexandris

Vasileios Alexandris
  • LocationThessaloniki, GR

I've seen all of Youtube videos behind the scenes of Les Miserables.

 

I'd like to know what radio mics were used and what the boom microphones, as well as the Super CMIT 2U.

 

Audio Developments, Lectrosonics, Zaxcom Deva, DPA 4071 Lavaliers, Schoeps SuperCMIT 2U.. And I think one Nagra for back-up.


Vasileios Alexandris

1st Assistant Sound / Boom Operator

Greece, Thessaloniki


#26
sergiofucchi

sergiofucchi
  • LocationCivitanova Marche (Italy)

I have seen also two very short mics.in the scenes with the Bishop.



#27
studiomprd

studiomprd
  • LocationHollywood CA

" I'd like to know what radio mics were used and what the boom microphones, "

 you are not paying attention....

and you seem to be focusing on the arrows, instead of the archer...


SENATOR Mike Michaels, c.a.s.
Studio M Productions

#28
Richard Lightstone, CAS

Richard Lightstone, CAS
  • LocationLos Angeles

Sergio,

Read all about it here http://695quarterly....les-miserables/

 

Attached File  Cover Winter.jpg   30.14KB   24 downloads



#29
Whit Norris

Whit Norris
  • LocationAtlanta, GA

Congrats Simon to you and your crew! This has been such a wonder film to show everyone how great sound is done.

 

Hope your at the CAS awards.

 

Best,

 

Whit


Whit Norris C.A.S.
FCC LP License WQOE682

#30
Simon Hayter

Simon Hayter
  • LocationOxford, UK

He's in the air right now!


Simon Hayter
He who dies with the most toys wins

#31
Richard Lightstone, CAS

Richard Lightstone, CAS
  • LocationLos Angeles

Yes, Simon Hayes will be at the CAS Awards held on Saturday night at the Biltmore Hotel's Crystal Ballroom. 



#32
sergiofucchi

sergiofucchi
  • LocationCivitanova Marche (Italy)

" I'd like to know what radio mics were used and what the boom microphones, "

 you are not paying attention....

and you seem to be focusing on the arrows, instead of the archer...

No one is perfect ..  



#33
pinkywinkieOZ

pinkywinkieOZ
  • LocationSydney, Australia

A fantastic job by Simon and his crew.  Having never listened to DPA lavs as I use COS11's, I was rather impressed.  Time to do some research methinks! 



#34
Jim Gilchrist

Jim Gilchrist
  • LocationMid-Atlantic

A fantastic job by Simon and his crew. Having never listened to DPA lavs as I use COS11's, I was rather impressed. Time to do some research methinks!

I tend to think the DPA lavs had little to do with it and Mr. Hayes and his crew would have won the awards they have garnered thus far with nearly any lavs they might have used.

Just one soundman's opinion.
Best regards,
Jim

#35
Jeff Wexler

Jeff Wexler
  • LocationSanta Monica, CA USA

I have to disagree with some of what you have said, Jim, unless you are literally talking just about the award. I do agree that Les Mis was so undeniably successful in achieving its goal (that of live singing throughout) that it was worthy in the minds of Academy voters to win the award. I think Simon will confirm that they would not have achieved the astonishingly excellent quality of recording had they not used the DPA lavs. I would further hope that all the discussions here, not only about the Award but about the work, will cause people (as pinkywinkieOZ has mentioned) to consider what can be achieved with the DPA mics.


Jeff Wexler, CAS
Santa Monica, California
 
"I don't care if you've got ninety tracks... what does it sound like, baby"
- Ray Charles

#36
Simon Hayes

Simon Hayes
  • LocationLondon

Tom Hooper asked me for a guarantee that if he went live he would not have to ADR for sound quality.

 

I do not think i could have given him that guarantee without knowing i could use DPA's.

 

This is because of the seriously high SPL's those Lav's can handle.

 

Sure i could have got some low sensitivity lavs from another manufacturer but i have not found any 

that would then be able to be sensitive enough for a whispered line.

 

There may be some on the market but i haven't heard any (yet).I am yet to listen to Sennheiser's newer lavs.

 

During "I dreamed a dream" by Annie and "What have i done" by Hugh i recorded the most extreme SPL changes 

in my career which changed from take to take as the actor saw fit.

They went from almost a 'breathed' whisper to the loudest prolonged level a human voice can deliver from line to line.

I also couldn't use limiters to cheat and bring the whispers up by hitting the limiters on the loud pieces,but to be frank all the lavs i have experience of would have cracked off in the capsule.What i learned about the differences between someone shouting loudly in an action scene and someone holding a prolonged note at a high SPL during a song is that where a lav may get away with a very loud quick peak on a syllable during a shout,a prolonged note will expose a square wave far more readily.

 

Of course there was far more to mixing the film than choosing the right lavaliers but the choice was critical because a square wave at the capsule would have sunk us no matter how organised and transparent the rest of the chain was.

 

A chain is only as strong as it's weakest link.

 

But,by the same token we could have been sunk by multiple other issues,such as background noise etc etc.



#37
Jim Gilchrist

Jim Gilchrist
  • LocationMid-Atlantic

Your point is legitimate, Jeff and I misspoke in an effort to be brief. Serves me right for trying to squeeze in a response before a late call today. What I was trying to convey is that especially on something as big as Les Miserables the lavs chosen were far from the only critical choice made. Simon got the job, developed an approach with Tom Hooper and the rest of the production team, figured out who he wanted to do the job with him and came up with the specifics of how to make it all work, a mind boggling task in itself. Then they made it happen. Simon's response, after explaining the hows and whys of the choice of DPA lavs, gets to what I was really thinking about in his last two sentences:

 

A chain is only as strong as it's weakest link.

But,by the same token we could have been sunk by multiple other issues,such as background noise etc etc.

 

So many elements had to work together to make the conceit of the film work. The available dynamic range of the rest of the recording chain would have been wasted without the mics chosen, it's true. But if the inductive earpieces hadn't worked well enough to allow the cast to do their work what mics had been chosen wouldn't have mattered and so on. The idea was to capture the performances on set and that beats the alternatives - lip-synched performance to playback or ADR - by a huge margin.

 

Recently somebody posted (Robert Sharman maybe?) a link to a video clip of the extremely complementary things Anne Hathaway had to say about Simon and his crew. I don't think she said "DPA" or "microphone" once but her pleasure at the final product was evident. Maybe that's because the tools are trivial without the artisans to use them properly towards the desired end. That's really what I meant to say. 

 

And congratulations to Simon and his crew on all the awards their superb work rightly deserves.

Best regards,

Jim

 



#38
Jeff Wexler

Jeff Wexler
  • LocationSanta Monica, CA USA

...and I apologize to you, Jim, for my calling you out on this point. It is obvious, and by your own admission, that you did not have the time to formulate a response. Your above post truly represents the careful, thoughtful and insightful posts that I have always found from you. We are all talking about the same things, sometimes reduced to the overly simplistic "it's the archer not the arrows" (you know who you are), and it is the nature of a forum like this that things are rarely perfect. Had you not been so brief and the casual dismissal of the DPA lav, we might not have gotten the response from Simon, in itself a valuable commentary on this amazing achievement.

 

It's all good and also so gratifying that we can have these discussions, as imperfect as this or any other online site is, I am still so pleased that we can have this dialog.


Jeff Wexler, CAS
Santa Monica, California
 
"I don't care if you've got ninety tracks... what does it sound like, baby"
- Ray Charles

#39
Simon Hayes

Simon Hayes
  • LocationLondon

Jim i agree 100%.



#40
studiomprd

studiomprd
  • LocationHollywood CA

" reduced to the overly simplistic "it's the archer not the arrows" "

yes, I know who I am....

If We give a hacker golfer Tiger Wodds' clubs, they would be lucky if it didn't worsen their scores...

but an experienced and skilled professional golfer like Mr. Woods can, and does work the nuances of his expensive and no doubt customized golf sticks to great advantage.

OTOH, so do other major pro golfers with their clubs.

I guess I'm only with Jim and Simon and Jeff 96.27%

It is like JW saying: I couldn't have done Strange Days without my Schoeps and Audio Ltd wireless.

or Danica Patrick saying she couldn't have done it without her ...Chevy

or Kobe Bryant saying he couldn't have done it without his Nike's


SENATOR Mike Michaels, c.a.s.
Studio M Productions

#41
Jim Gilchrist

Jim Gilchrist
  • LocationMid-Atlantic

Pretty sure Ms. Patrick and Mr. Bryant have contractual obligations that require them to say that they "couldn't have done it without my (fill in the blank with endorsed product/team sponsor)." I know Mr Woods could spot me 4 strokes a hole, play solely with a miniature golf course putter AND let me use the women's tees and he'd still play 18 in fewer strokes than I'd take to play 9.  There is, however, nothing more entertaining than spending the day with a big money athlete shortly after he's swapped an endorsement deal out for a new product.

 

Jeff's sponsorship agreements and endorsement deals or something he'll have to talk about but his career is pretty well documented in photos and I've yet to see one of him wearing Nomex coveralls with Schoeps or other sound equipment manufacturers patches.

 

But could Tiger Woods manage to stay awake for an exceedingly dull 9 hour long interview wedged into a corner of an overheated room while perched on an apple box? I doubt it.

That's my story and I'm gonna stick with it.

Jim



#42
studiomprd

studiomprd
  • LocationHollywood CA

I have no quarrels with Jim's story....

I'm just saying that the simple "archer/arrows" Senatorium is only a distillation; the devil still remains in the details.

Pretty much we all evaluate our challenges and try to put the best possible tools we can get into play, and technology has certainly allowed us to keep upping our game, but many of the solutions we devise and implement are both enabled and constrained by the technology available, and other factors influence our choices and our workflows, including subjective ones. 

I have no argument with Simon saying he could not have done it without the DPA's he selected to use,  but does he mean that completely literally? if those model PA's had not existed, the entire project would have been abandoned?? or would the next best solution have been found, and applied..??  and in that case would the results have been a disaster, the movie a failure, and the accolades gone elsewhere ??  Should Drew Kunin be cursing DPA for making those Lav's ??  Should Mark Ulano blame Schoeps for inventing the SuperCMIT ??  Was Scott Farr right, a couple years back ??

 

or is the final result much more than just the sum of the physical components involved..??


Edited by studiomprd, 01 March 2013 - 08:49 AM.

SENATOR Mike Michaels, c.a.s.
Studio M Productions