'Baby Driver': Hear how the engines and sirens hit the beat
In the UK, we work time curtain.
In America, we work in complete frames.
But for Baby Driver, we worked in bars and beats.
So everything actually broken down into a musical notation.
Every piece has to be tempo mapped, which is something I've never done before.
So that's Car chase sequence, which is the Jon Spencer Blues Explosion.
Because the tempo is not constant.
It's going one, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four.
He's driving a red Subaru [UNKNOWN].
You take that, you map out the tempo across the whole of the music cue, cuz it's used in the entirety in that sequence.
And then, you take the police siren, and then you tell the Pro Tools the tempo of the police siren.
And then, you map the tempo to the tempo of the Jump Spencer Blues explosion.
So what you get is a siren Rather just goes [SOUND] it's going [SOUND] and it's floating around all over the place.
All those cars that you see in the movie we got on to a race track in Atlanta where they shot it.
Rerecorded from every angle all of those cars.
We had a microphone on the exhaust.
We had another microphone under the hood.
We had a microphone inside the driver's side.
So we had these multitrack recordings of every single car.
And then you get them back into the editing room.
And you kind of think awe man, that's great.
But it doesn't Still doesn't sound right.
Like example that red Subaru WRX is what is called a dump fowl.
Every time you rev it goes [SOUND] which if you try and think about stuff to music, doesn't work.
So even though we recorded the Subaru WRX very little of that was used.
We then used nearly about five different cars for that Subaru WRX.
Most of the audience don't notice but each car is an amalgam of say five or six different cars used in different ways.
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