Miljeu adds that normally a long form film would employ two boom operators, but because of budget limitations there was only scope for one. However, this didn’t detract from the sound achieved with the d:dicate™ mics
“The results were very accurate and smooth, even at high frequencies, while the off axis sound (timbre/phase) was not modified in any way,” he says. “This was very impressive and everyone was delighted with the quality of the sound. We also loved the d:mension™ 5100 mic
, which we used for ambience recording. It was such an easy mic to set up and the sound we got from it was incredibly natural.”
Alex Guéry was thrilled to have the support of Audio2 and delighted with his first introduction to DPA microphones.
“I had never used DPA mics before,” he says, “but right from the start they really impressed me because they stayed invisible during shooting, were exceptionally easy to work with and brought great joy to our ears when we were editing.”
Nicolas Miljeu adds that some takes were re-recorded in post but only to remove the sound of trucks and lawnmowers that had been picked up due to the proximity of roads and fields. For this task he used his own studio, recording onto Sound Devices via DPA d:screet™ SC4060
and d:dicate™ 4017B
While Près de Moi is being completed in post, Guéry is working on some new short films including La Petit Fille du Marais. Although shot with a different team, the sound was once again recorded by Nicolas Miljeu using DPA microphones.