A New Hue in Sound: Talent and Technology Coverage at Technicolor at Paramount

March 1, 2012

Representing one of the most exciting new sound post-production facilities to be built in Tinsel Town in several decades, the Technicolor at Paramount complex on Melrose Avenue in Hollywood comprises eight re-recording theatres, three ADR stages, a large Foley stage, eight sound design suites, 16 editorial suites, six DVD/ Digital New Media editing/encoding rooms and a pair of 7.1-channel HD video layback/ Transfer/QC rooms. […]

What’s Under the Hood

March 1, 2012

For both mixing and workstation technologies at Technicolor’s new post complex, Avid served as the primary hardware supplier. […]

Seven Samurai: Oscar’s Choice Cuts

May 1, 2010

“Let me just start out by saying that I have everything before Avatar, and then Avatar––because there was nothing normal about how we did this film”- Stephen Rivkin […]

This is London: “The Pacific” producer Discusses Workflow

March 1, 2010

When London was readying The Pacific’s post-production workflow in 2007, he participated in two key decisions—to shoot the miniseries on film rather than acquiring it on emerging file-based systems, and to edit simultaneously with production in Australia, bringing along three editors. […]

Editing on Another Planet: John Refoua and Stephen Rivkin

February 2, 2010

“By the time we were going to camera, we were already dealing with all the best performances… We had to come up with a whole new language of terms—combos, stitches, FPR, loads, etc.––all invented on this production.” -Stephen Rivkin […]

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