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Mexico City’s Cinematic Media Adds Sound

New post audio facility aims to ride ongoing expansion in motion picture and television production in Mexico.

Mexico City (May 17, 2019)—Two-time Academy Award-nominated supervising sound editor Martín Hernández is overseeing construction of a new sound division at Mexico City’s Cinematic Media, which will feature six sound editorial and mixing stages, each with Avid Pro Tools systems and each certified for Dolby Atmos sound production.

The new sound resources are targeted toward the ongoing expansion in motion picture and television production in Mexico. Several U.S.-based studios and streaming services are now producing content in Mexico for Latin American and international markets or have announced plans to do so. Hernández, sound supervisor for such films as The Revenant, Birdman and Pan’s Labyrinth, will serve as Cinematic Media’s creative sound director and is already at work in the new space editing sound for multiple television series slated for release later this year.

“Productions happening now in Mexico are pushing boundaries in terms of storytelling, writing, acting and directing, bringing the market into the mainstream,” Hernández says. “Our aim is to bring world-class post-production work here. We are drawing on our experience and pulling together the resources needed to accomplish that goal.”

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Cinematic Media’s new mix stages will be identical in size and identically equipped, allowing projects to move between them for scheduling purposes. Each will be set up for sound design, sound editorial, pre-dubbing and mixing. The stages will feature Focusrite RedNet interfaces to facilitate the quantity of channels and objects needed for Dolby Atmos. Avid S6 and Avid S3 control surfaces and JBL monitoring systems will also be used and construction will be finished in July.

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Hernández says that native support for Dolby Atmos was essential as motion picture and television productions are increasingly requiring immersive soundtracks. “The choice to embrace Atmos was obvious,” he observes. “And it is natural to incorporate Atmos into the process from the beginning, so when you are cutting, you are already thinking about that translation. We start from scratch, cutting for Atmos, pre-dubbing in Atmos and finishing in the Atmos format.”

Cinematic Media •