On the Cover: Technicolor at Paramount

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

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photo of Technicolor at Paramount

Stage 1 with Avid System 5 console and JBL 7.1 monitoring.

Sometimes, when the rest of the world zigs, the smart money zags. Technicolor, the international media company that has quietly raised its stake in Hollywood over the past decade, just doubled down on its commitment to post-production with the opening of a state-of-the-art facility on the Paramount lot. Looking at the trends in facility design and the consolidation that has defined the audio post industry, it’s not a stretch to say that these just might be the last of the big, theatrical-style re-recording stages to be built in town. And they’re stunning—architecturally, acoustically and aesthetically. Stage 1, home to the re-recording team of Scott Millan and Greg P. Russell, is pictured on this month’s cover.

Representing a truly unique collaboration between Technicolor and Paramount, the new sound post-production facility was designed from the ground up to provide state-of the-art editorial and re-recording services for today’s filmmakers and TV production companies. “During the critical planning stages for this new post facility on Melrose Avenue, in the center of Hollywood, we knew that we had to pull out all of the creative and technical stops,” states Tony Mazzei, head of Technicolor’s West Coast sound services. “We had to set ourselves apart from the competition.

photo of Technicolor at Paramount staff

On opening night, March 6: Re-recording mixers Scott Millan and Greg P. Russell, Paramount’s Randy Baumberger, Technicolor CEO Fred Rose, and re-recording mixers Terry Porter and Anna Behlmer.

“First, our Talent is second to none,” he continues. “We are very proud to have assembled some of the top re-recording mixers and sound editorial crews in our community. Technicolor has a high standard of Excellence and has spared no effort or resources in putting together the best design and engineering teams, lead by Mike Novitch, our chief engineer. Thirdly, our Creativity results from a unique combination of front-line talent and time-efficient workflows to fully optimize our filmmakers’ creative processes. Lastly, Hospitality is the focus of taking care of our clients’ needs. To be competitive in the marketplace, you must provide a full complement of resources and a relaxed, friendly environment. By design, that spells out TECH, which we consider to be at the heart of our post-production sound facility.”

Housed within the original footprint of Paramount’s Crosby Building and Stage 10, the new Technicolor at Paramount complex was scheduled to be completed in two critical phases. George Newburn and Jackie McNaney from Studio 440 Architecture and Acoustics coordinated architectural design of the building, interiors and furniture, working closely with David Schwind and Cristina Miyar from Charles M. Salter Associates (cmsalter.com), which served as acoustical consultants.

Phase 1, which came online in late 2011, comprised a pair of large re-recording theaters, four midsized stages that double as TV mix and theatrical premix rooms, two ADR rooms and an upgrade to the Foley stage in a building across the alley. Scheduled for completion by mid-2012, Phase 2 includes a pair of midsized theaters—Stages 3 and 4—and a large ADR3 Stage designed to accommodate larger animation projects, plus eight sound design suites, 16 sound editorial suites, six DVD/digital new media editing/encoding rooms, and three 7.1-channel HD video layback/transfer/quality control rooms. A compatible Avid System 5/D-Command/Pro Tools/JBL/Genelec equipment package is scheduled for installation (see sidebar).






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