One of Technicolor at Paramount’s editorial
suitesHollywood, CA—Although the complex has been operational since late last year, March 6 saw the formal unveiling of Technicolor at Paramount, an event that attracted close to 350 guests from the local film/TV post community.
As CEO Fred Rose pointed out, “Talent is the key to the success of our new post facility.” During March, no less than 13 TV broadcast series were being mixed within the complex, Rose stated, in addition to two major motion pictures.
“This new facility fills a gap in our offerings,” considered Paramount Studio Group president Randy Baumberger. “The new sound post-production complex will not only keep [Paramount] productions on the lot, but will also bring in projects from independent producers and outside film companies.”
When fully completed in midsummer, the post facility will comprise a pair of large re-recording theaters; a pair of mid-sized re-recording theaters; a quartet of medium-sized, multifunction re-recording stages; three ADR stages; eight sound-design suites; 16 sound-editorial rooms; and a Foley stage. According to Tony Mazzei, head of Technicolor’s West Coast sound services, the complex was designed to provide “state-of theart” editorial and re-recording services for today’s filmmakers and TV companies. “During the critical planning stages,” he considers, “we knew that we had to pull out all of the creative and technical stops.”
Of the two larger double-height theaters, Stage 1 is helmed by Scott Millan and Greg Russell, while the identical Stage 2 is the home of Anna Behlmer and Terry Porter. “Our new complex has been constructed to be a 21st Century, state-of-the-art, filmmaker- friendly, sound post-production facility,” considers Millan, who joined the operation last September and serves as the facility’s sound director of feature films.
Studio 440 Architecture and Acoustics’ Jackie McNaney and George Newburn coordinated architectural design, while David Schwind and Cristina Miyar from Charles M. Salter Associates served as acoustical consultants. Each re-recording stage is outfitted with Avid Euphonix System 5 large-format digital consoles; ADR stages and editorial suites feature Avid, C24, ICON or Artist Series controllers. Avid Pro Tools|HD workstations are standard in all areas. Avid Nitris DX systems provide digital video playback to NEC 2k DLP projectors. The facility’s file-based digital workflow is based on dual 10 Gbit/sec fiber connections between the stages and editorial suites; a centralized Quantum StorNext server holds 750 TBytes of spinning SANbased media.
“Technicolor at Paramount comprises a high-density, one-stop sound facility,” concludes Curt Behlmer, who oversaw design and outfitting of the new three-story complex. “Compatibility between all eight stages is crucially important to us, since film/TV directors often require access to a number of stages during pre-dubs and print mastering, with mixes freely moving from stage to stage.”
The new multi-stage facility will be profiled in an April cover story for sister publication, Mix magazine.
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