Transcription - The Sound of Miracle

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And there's my transcription:

Sound design was a very important element to help realize the movie and … and I knew that well before pre-production.

All the skates, sticks, pucks, goalie moves … it is all sound effects, it’s all sound design.

“?Fifty goals? ! Take one and ?mark? !”

The sound team is basically built up into three parts : there is a production sound that was recorded on location and that person(s’) job is to get the best production dialogue they can wathever the circumstances.

After that it’s sound editor’s job to takes the sounds, clean them up, record sound effects, design sound effects.

After that it’s to re-recording mixer’s job to put all this together making movie ???. We wanna ??? the pictures ??? we can ??? and then we wanna give it something higher than reality. We wanna taking it to a … a cinematic ground/role/room.

In previous hockey movies, a … a lot of the skating sounds would be done by ??? artists, who have a skate in their hand and just gonna be watch(ing) the movie and ?shuching? around like that and all this stuff. But in this movie we haven’t ??? everything : it was going for authenticity and … it was great.

I remember when a saw ??? private line ??? storm ??? beats, I remember the sounds of that battle. It was important to capture that feeling ??? noise ??? it’s like to be in the middle of a hockey game.

I’m a big fan of sound and I couldn’t ?rather? myself … while I’m working it is to understand the picture. I put a lot of sound against the picture and we have all that ???able to us as we’re recording a picture, discuting a picture, so I could … I could ??? a lot of stuff. ??? We got in really good shape and the noise guy?s has took? it to another … another level.

And Rob Nokes did a great job of that, he was really so scientific in his aproach and ... Another mad scientist.

When you’re in an arena, there’s so much volume of air … the doppler, people passing by, the river, it’s all the few sounds so if you would experience that in a cinema it would be ??? nothing, so it’s not a real true obvious hockey experience and it certainly doesn’t sounds like ??? so for that reason we shot tones of material : onboard skates, ?doppler? skate ??? … I adapted these microphons ??? than normal mics. So you can place them here, ‘can place them here, you can place them here, where you would like to get the best sound. So this gives a sound … an onboard recording that we can then put on ??? so the player is not floating with no sound.

Rob ?we know? did a lot of recording up in Canada.

I went to Manitoba, I went to the dome rink ??? that can hold aircraft shell and we got great material there ??? close the entire rink off to get really pure clean sounds. I had seven microphons arranged around the rink to capture ??? sounds that we could then apply ??? sounds ??? the movie.

It was a very complex mix and your hear of this track is built element by element and ?they were? put together into the final mix that you hear in theater. So this is what we started with.

As you can see we started with a limited ?production? sound ??? picture ???sound mixer ??? sixty microphons on the players ??? with theyre voices ??? received, crowd ???

??? a lot of detail went into the creation of the voices of the players on the ice ???we wanted to make people feel there was a war going on as if there were in bunkers or in tranchers. In the finaly ?reharse stage? ??? hockey players ??? speak fight ??? ?he left? the group and creating the authentic forevoices.

??? and ??? voice over he’s the glue that helps … helps the story ??? hockey ???.

Mix stems are basicly a collection of all the sounds of ??? element ???down and mix into one soundtrack. This is the final dialogue mix stem that we ?ended? up??? voice ??? dialogue and the ?DDR? on the ice.

We covered the main player’s skates on camera. Every skate’s ride is cut exactly in same to the exactly move that player makes.

This is a traditional Puck Blade wich is what the Americans wore and this is a T-Blade wich the Russians didn’t wear but it gives you the sense of much crisper ?and heavier? skating. The Russians ??? phenomenal ?kean? large, great skaters and much better than Americans. So if you have a two hundred and ten pounds skater on this skate, this will sound like a four hundred and sixty pounds on this skate.

Here are the sticks, pucks and goaly saves. They ?are/were? isolated and they ??? river ??? lot of sounds that you’re gonna hear during the games. A lot of details we wanted to making sure that ???

The boards and glass sounds were my favorite sounds because they put ??? to the arena. We recorded the audience shaking and hitting the glass. ?We’ve got some? really excellent stuff that way.

At the ??? dome of Vancouver ??? wrote a script for ??? and recreate since the movie???

Music superviser Brian Ross and composer Mark Isham create(d) the music sound.

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??? highway ???

I think the ??? can probably ??? twenty eight.

Gavin and I ??? talk to each other ??? work together ??? that was the begining ???emotionaly over the top and we both really agreed on that style ??? is gonna be a big score, a very emotional score. We knew ?how aesthetic ??? use that size ??? use that emotional frost ???’s gonna be ??? sympathetic.

The re-recording mixers created the remarkable ?plans for all of these computing interests? ??? In the end we could have anywhere from three hundred to four hundred tracks of raw elements. Then my job is to ?sit through?, bring down to a workable form for final ?when we go for a final stage of mixing? ???

???what I all ??? moments where we leave reality ??? For the start of the third period there was so much noise ?overall? the movie that we wanted ?almost? ??? moment and we did a lot of sound design there, ?we? created a slow down with the entire crowd slows down ?to nothing? and then you come in with a puck drop. Puck drop lands at normal speed and ?then the rink? is right back into reality.

Then this is a real puck, okay ? And … (it) doesn’t really make much sound, even if you drop it, ?slap? it, (it) doesn’t really make a lot of sound. So for the puck drops, for puck spannings we did actualy use the weight. You could ?spin? this, you could flip this, you could drop it, and that’s how we got the sound of the pucks.

When you watch this film, when you listen to the crowd, when you watch the hockey, it’s very transparent. When somebody ??? feel ??? nice ???does his job well you don’t really know ?this?

??? my favorite ??? in this movie ??? skates and the sticks reproduction. And … ???

It’s funny because we would watch this thing and even knowing more ?pretty deseason? ??? of entrance ??? we don’t get misty. It’s such a pleasure to work on such a great project and helping recreate it this way. This was a great experience.