Swimming With Men, a new TV comedy from Dad’s Army director Oliver Parker centres on the story of a man (played by Rob Brydon) who finds new meaning in his life as part of an all-male, middle-aged, amateur synchronised swimming team.

‘A lot of the action takes place in a swimming pool so we needed boom microphones that could cope with high humidity and still give great sound – and DPA Microphones’ d:dicate 4017Bs were ideal for this purpose,’ says film and television sound recordist Chris Durfy. ‘Our boom operators Andy Thomas and Michael Sinden were in the pool with the cast, holding the microphones above the water. We used blimps over the mics to protect them from water splashes.’

Durfy also used d:screet 4098 Goosenecks as plant mics around the swimming pool and d:dicate 4018C microphones for super-low-profile rigs that were positioned in doorways and in areas where the ceilings were too low for a boom. In both cases the quality of the recorded sound lived up to his expectations.

From the US but now based in the UK, Durfy began life as an architect before deciding to work in television and film. He started a small production company and was soon learning to mix sound on his own projects. ‘From there I never looked back,’ he recalls. ‘I began by working on large reality shows shooting all around America and then all over the world. After ten years, I decided to make a transition from reality to scripted television. Under the mentorship of Whit Norris, CAS, I began to work second unit shoots until I got my first big break – MTV’s Teen Wolf. I did two successful seasons until production moved to Los Angeles. I stayed in Atlanta and worked on various other TV and film projects.’

One project filmed during that time was Stranger Things, which was shot in and around Atlanta and at Screen Gems Studios over the winter and spring in late 2015 and early 2016.

‘I was lucky enough to be asked to work on the project by a long-time associate and UPM, Tim Lonsdale,’ Durfy says. ‘We had one scene to shoot where the boys discover Eleven in an absolute downpour in the woods at night. I’ve never seen such an ambitious rain gag set-up. The boys have a long walk through the rain from a very wide shot towards camera. There was no chance to boom the shot so we used d:screet Slim 4061s, knowing they sound great and are waterproof. The result sounded great. The mics absolutely got wet, but we knew they would and they were fine – I still use them up to this day.

‘My first DPA purchase was a d:dicate Shotgun Microphone, which I bought some years ago,’ he continues. ‘The sound is fantastic and I soon discovered that the RF resistance and humidity imperviousness was far more reliable with this microphone than with some others that I own.’

As a result, Durfy’s DPA collection has grown to include two d:dicate 4017B Shotgun Microphones, two d:dicate 4018B Supercardioid Microphones, two d:screet 4098 Supercardiod Podium Microphones and four d:screet Slim 4061 Omnidirectional Microphones. ‘I have at least two of each because I like to use pairs of boom mics so that two boom operators can both work a scene with matching sound,’ he explains. ‘My wireless systems are all Lectrosonics – I have two Venues on the cart and three SRCs in the bag, all of which work well with my DPAs.’

Since moving to the UK, Durfy has also worked on The White Princess, a new historical fiction television series for Starz. Based on Philippa Gregory’s novel of the same name and a prequel to the BBC’s successful miniseries The White Queen, The White Princess tells the story of the marriage of Elizabeth of York and Henry VII and the political intrigues surrounding it. ‘Think kings and queens, castles and large battle scenes,’ Durfy says. ‘It was a great project to work on after shortly moving to the UK as it took me to so many wonderful locations all over England and then on to Spain.

During filming, Durfy’s DPAs were mainly used to record dialogue and for on-set reference for sound effects.

‘Different microphones are used depending on the scene’s demands: interior/exterior, camera framing, reverb/reflections, hidden in frame, etc.,’ he explains. ‘Whatever I’m recording, I like to use DPA microphones because they sound fantastic. Also, you know that each DPA will sound just like the others with its flat response pattern. Finally, they are dependable in all sorts of conditions. DPA’s high RF immunity really proves to be a boon on set when you have limited time and need the tools to work properly the first time.’

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