American Cinematographer - January 1990 - 70

Hans Walter Kramski and Bernd
Schmidl of Germany, who had

also walked the foley for Das Boot,
had to be booked a year in ad¬
vance. The
picture was not nearly

ready; however, the foley work
had to begin anyway, so they
walked the

picture to

an un¬

locked version,

keeping as many
notes as possible for resyncing
later. Foley is still new to Finland;
this was only the fourth film for

which the Finnish Film Founda¬
tion used it. Again, Pappa com¬
manded the recording console, a
24-channel Soundcraft 2400

board, encoded Telecom onto

a

16-channel Studer.

Resyncing the foley had
set sound effects editor Matti

Kuortti off schedule by several
weeks. Pappa and his first boom

Ossi Viskari, shared the

man,

chores of

cutting the dialogue.
Through selective reprinting and
use of
existing cut production
track, the two men wove the dia¬

logue together with the ADR and
"group walla" that Pappa had
just recorded with the same 16-

Capturing multiple
explosions from Rus¬
sian guns across the
river. Right: The
sound crew during
post production. Left
to right: David

channel Studer.

My function in Finland
was

to be

a

consultant for

a

Yewdall, Kuorti,

couple of weeks, but when I

mixer and recordist

rived and reviewed the situation,
it became apparent that we were

Tuomo Kattilakoski,

Jyrala and Viskari.

ar¬

going to be cutting like crazy! By
this time Matti had been cutting
gunfire for three solid weeks,
Pappa was working on the effects
for the first three reels and
were

next

lend

we

starting pre-dubbing that
Monday! I volunteered to
a

hand, which made Matti

very happy.

Because of the lack of
equipment and space, I had to
work on his Steenbeck at nights
l/2mm full coat film. The first
channel was a "flat" transfer,
with no Telecom encode, making
it convenient for the picture edi¬
tor. The second channel was the
Telecom encoded version which

Pappa would work with later in

post-production.
photography Kari

Sohlberg was important to Jyrala,
and in the rugged locations it
became beneficial to both.

68

American

Cinematographer

after he went home.
Matti was now starting
his second pass through the pic¬

the sound

ture, cutting aircraft, artillery
flights and explosions. I started
cutting ricochets, tree falls, dirt

man wasn't needed on
the set for sync dialogue, he and
his crew were busy recording
wild track of diverse noises, such

as

Collaboration with di¬
rector of

working camera and sound si¬
multaneously, they were able to
achieve dynamic results. When

By

that of the steam trains which

were
use

rolled out of

museums

in the film.
Film editing

for

bogged

down, running more than six
weeks behind. The foley walkers,

January 1990

and rocks to each close

bullets

blast,

through bodies, body

falls, tanks, and

on

and

on.

October 2,

Pappa started

dubbing. I

was

cover

a

that

On

pre¬

stunned to dis¬
going to mix

we were

three hour and fifteen minute
American Cinematographer - January 1990

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