Goya for best sound for the witches... postproducida with Dolby Atmos Charly Schmukler y Nicol s de Pulpiquet han estado al frente del sonido en Las brujas de Zugarramurdi', una cinta rodada casi en su totalidad con sonido directo, cuyo montaje se llev a cabo en Best Digital con Dolby Atmos.
Con tres Goya bajo el brazo, correspondientes a sonido directo, montaje y mezclas, Charly Schmukler y Nicol s de Pulpiquet han recogido los frutos del trabajo minucioso que llevaron a cabo en The witches of Zugarramurdi.
En cada una de los elementos de las secuencias de Las brujas hay un minucioso trabajo. En total, el equipo de sonido de la pel cula ha trabajado con 128 canales con un importante n mero de metadatos que definen en qu punto de la sala sonar en cada momento.
Mientras que Schmukler ha supervisado el sonido directo y el montaje, De Pulpiquet se ha encargado de las mezclas reconociendo que ha sido como ir a Vietnam todos tardamos m s de un mes en recuperarnos de ese rodaje que fue infernal, pero a la vez fue una experiencia maravillosa . Estuvimos estar encerrados en la cueva de Zugarramurdi con mil brujas, en trance no s si era trance de verdad o bajo los efectos del vino. Fueron jornadas superintensas y superdivertidas en las que lo pasamos muy bien , reconoce en tono jocoso.
Schmukler destaca que pr cticamente fue todo sonido directo. A lex le gusta acudir a menudo a nuevas tecnolog as, dan mucha espectacularidad a la imagen pero a la hora de registrar el sonido suelen presentar complicaciones. Por ejemplo, la escena inicial de la pel cula es absolutamente trepidante y se rod , nada menos, que en la Puerta del Sol de Madrid durante dos jornadas. Se rod con muchas c maras, incluso desde balcones era dif cil acceder, esconder los micr fonos, luchar contra los inhibidores de frecuencia de la zona
Al m s puro estilo lex de la Iglesia, el desmadre es continuo con un importante n mero de personajes a lo largo de toda la trama. Gracias a Dolby Atmos han podido posicionar el sonido de una forma muy minuciosa y adem s, sin menoscabar la potencia sonora.
Grabar el sonido directo de The witches of Zugarramurdi no fue tarea f cil. Charly reconoce que esta pel cula hab a que cubrir el sonido de grandes reas, con la participaci n de muchos actores en continuo movimiento, con varias c maras .
El director de sonido reconoce que De la Iglesia es un maestro contando historias y para ello se apoya en el sonido. No interviene en cosas puntuales t cnicas, sino que acude a una cuesti n narrativa y deja en nuestras manos que usemos las herramientas creativas .
La postproducci n y mezcla de sonido se ha llevado a cabo en Best Digital, en Boadilla del Monte (Madrid) con tecnolog a Dolby Atmos. Esta tecnolog a permite mucha m s definici n con sonido envolventes. Ha sido todo un reto, poder trabajar con todos los planos, obteniendo secuencias tan efectivas como cuando Carmen Maura camina por el techo , destaca Schmukler.
Ambos t cnicos coinciden en que sin Dolby Atmos, estar amos ahora ante otra pel cula. Ahora el reto es que cada d a m s salas puedan reproducir este sonido .
Access to special Goyas 2014 in Panorama Audiovisual
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Goya for best sound for the witches... postproducida with Dolby Atmos Charly Schmukler y Nicol s de Pulpiquet han estado al frente del sonido en Las brujas de Zugarramurdi', una cinta rodada casi en su totalidad con sonido directo, cuyo montaje se llev a cabo en Best Digital con Dolby Atmos. 
