Surround Library wants to share Marc Bech experience

 

HI Marc, can you present yourself?March Bech

My name is Marc Bech. I studied at ESCAC in Barcelona. In my first job I recorded dialogues and foleys at Sonoblok Studio in Barcelona. Now I am working as assistant sound editor and assistant re-recording mixer with the sound designer Oriol Tarragó and the re-recordig mixer Marc Orts. And I continue recording foleys, ADR and dubbing.

What kind of film do you work on?

Now I am working on "The Impossible" directed by J.A Bayona, the director of "The Orphanage" as assistant sound editor and assistant re-recording mixer. Before that one I worked on Rec3 as assistant re-recording mixer.

Surrounding sounds seem very important for you, how did you discover surround library.

I discovered Surround Library looking for good independent sound libraries on the net.  I think that your sound are real and match very good with the picture.

Do you record some by yourself?

Yes I do. I think that having your own sounds or that of the independent sound people, give your work great personality.

How does surround sounds change your workflow?

Surround sounds make you need to add more tracks in your recorder and somoe in your Pro Tools, but its great the immersion that you get.

Did you have a look to ambisonic, B-format, decoding plug ins?

No, I haven't, but it's in my "to do list" for this year. I think they are a good help when working with ambiences because gives you more freedom in open or close the surround image.

You are working on the new "Juan Antonio Bayona" the great director of "The Orphanage" and also an other chapter Of [REC] , can you tell us some words?

I can’t say too much about “The Impossible” until the premiere, but we have used sounds from the Surround Library in some scenes. We also have ambient 5.1 which have been recorded in Thailand specifically for the film.

Now we are using a DFC Logic with a D-Command of 24 faders and 3 Pro Tools. On Rec3 the important thing about the process was to generate big dynamics between strong and weak sounds. With all that we can generate powerful frights, moreover we needed some sound intervals because the film doesn’t give a respite. It’s a fantastic fim! We controlled a great number of tracks and we used 3 Pro Tools and a DFC Logic.

Thank you for sharing, Marc!