On the Cover: Technicolor at Paramount

Apr 1, 2012 9:00 AM, By Mel Lambert

Polls


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photo of Technicolor at Paramount

Stage 5, a mid-sized mix room with System 5 and JBL monitoring.

As Miyar recalls: “We developed mathematical models to evaluate vertical and horizontal sound isolation. A noise and vibration analysis of the ventilation system design was also completed for each room. Acoustical finish assemblies were developed next by calculating reverberation times at each octave-band center frequency. To achieve the project criteria for reverb time and maximize transferability of the room response amongst the stages, Studio 440 layered a system of acoustically transparent fabric over varied acoustical treatments on the walls and ceilings.”

But the importance of a creative ambience throughout the new complex was not overlooked, Studio 440’s McNaney stresses. “We worked hard to configure the new Technicolor complex as a welcoming piece of architecture,” she states, “with a basic brown color scheme for the interior fabrics and wall coverings, accented by red, yellow, blue and green complementary colors. We keyed off the fact that the new Technicolor logo contains a rainbow of colors.”

Infrastructure and Interconnects
The new facility makes full use of Technicolor’s file-based digital workflow, which is centered on dual 10Gbit/sec fiber connections between the various re-recording stages, Foley, ADR and sound editorial suites; other facilities around the world can be interlinked via the existing Technicolor Production Network (TPN). “Our centralized data store holds a total of 750 TBytes of spinning SAN-based media,” says chief engineer Novitch. “We have also fully updated to Pro Tools 10, which lets each stage directly mount disc volumes from the central data store,” where a Quantum StorNext file-based system can be accessed directly via the dedicated high-speed network. “In terms of speed and asset management,” Novitch continues, “Pro Tools 10 dramatically enhances our workflow throughout the facility. Avid Satellite Link streamlines the synchronization of audio and video playback systems via Ethernet connections.” Novitch is assisted by Tom Virostek, Rodrigo Ortiz, Evan Rautiainen, Dean Alling and David Green.

“Previous versions of Pro Tools 9 required that we transfer files from the SAN to local storage for access on each re-recording and ADR stage,” Novitch states. In addition to requiring extra time to set up a room before each mix session, “we also had to transfer back to the central store the revised or updated versions,” the chief engineer explains. “Pro Tools 10 eliminates those extra steps—the re-recording/ADR mixers and sound editors simply mount the appropriate drive and hit Play.”

In terms of enhanced workflow and creative options, the new facility’s commitment to System 5, ICON and C24 consoles with fully implemented EuCon connectivity to Pro Tools|HD workstations, Novitch considers, “means that our mix and editorial staff can access Pro Tools parameters from the mix position and easily refine plug-in settings during the session. The user compatibility and file transferability of Pro Tools sessions and data files represents a fully integrated solution.”






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