Sony Pictures Entertainment has completed a state-of-the-art upgrade to its mix stage.
Significantly improved soundstages include Cary Grant, William Holden, Kim Novak, Burt Lancaster, Anthony Quinn, and Jimmy Stewart Theater and Dub Stage 17.
All 14 mix stages have been upgraded to support Dolby Atmos, Imax, and other immersive formats.
The expansion also includes the studio's five dub stages, which are used by the industry's top sound editors, designers and mixers to prepare film and television soundtracks.
Kimberly Jimenez, Sony Pictures Entertainment's senior vice president of post-production services, said, “Our goal is not only to provide state-of-the-art mix stages and equipment, but also to create a warm and inviting environment in every space. It was to be done.” “When directors, sound supervisors, sound editors, and video editors step onto our stage, they feel they are in a creative space and have confidence in the technology throughout the facility.”
Director Will Files, sound editor, sound designer, and re-recording mixer for Ghostbusters: The Frozen Empire, who mixed the film at the Kim Novak Theater, says the renovation is an inspiration for him and his colleagues. He said the environment was created. “It makes you want to make better movies, more epic movies, because you feel like you're walking into a movie theater, and you feel proud of the movies you're working on, so that's the process. ”.
Chris Terhune, supervising sound editor and sound designer, agrees that a creative environment improves the work experience. “Special memories created special memories,” Terhune said.
One such moment occurred during the mix of Ghostbusters: Frozen Empire.
Files brought in synthesizers from the 1970s and 1980s for director Gil Keenan, who happened to be a big synthesizer buff. Files connected them to speakers on stage and brainstormed ideas. Keenan heard a particular sound and wanted to find a way to incorporate it into the film, which he did. “We were just hanging out, playing these crazy sounds, and we set a record. So when Galaka opens his eyes at the beginning of the movie, that sound is Gil and he's Novak's “It's a sound I made on stage with a Moog synthesizer,” Files revealed.
Commenting on how the upgrade affected the creative process, supervising sound editor Mandel Winter said: This space is amazing. He further added, “Every stage gradually got better and better and better. Having support like this creates confidence in us as individuals.”
Sony Pictures also upgraded Mix Stage 17 as part of the renovation. The floor was lowered to create a better working environment, and the stage was fitted with a Mayer Atmos sound system.
Once the work is fully completed, the post team will be able to move from stage to stage with uniform quality across the board. Sound engineer Tony Lamberti said the upgrades will allow for smoother stage transitions when production changes are needed. “Sony's solution is the same for any program.” [or film] You can move anywhere anytime. That hasn't been possible before. There's always the issue of not having the right playback system or not being able to accommodate plugins, which is very common. ”
The renovation was undertaken for beauty, comfort, and the best acoustics under the direction of Jimenez and Lane Birch, Executive Director of Post Production Sound Engineering.
Jimenez said: “One of the unique characteristics of Sony Pictures is its history. We've been here for a long time. Our mixstages are unique, whether it's Cary Grant or William Holden's Art Deco style or Anthony's Whether it's the beautiful artistic flourishes of Quinn or Burt Lancaster, it's built with a certain style and elegance. Through all the renovations over the past few years, we've taken the facility into the future while embracing its rich history. We have evolved toward this goal.”