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Manchester-based dock10 recently completed the end-to-end post production on the six part crime thriller Happy Valley from Bafta award-winning writer Sally Wainwright. Dock10’s head of audio Mark Briscoe reported: “We decided to keep the ambience of the Valley (Hebden Bridge, West Yorkshire) as authentic as possible. So with this in mind Mark Ryder (sound editor for the series) went to the various locations for fi eld recordings. T e intention and goal was always to give the mix a ‘real’ edge. Yet we had free rein to go to town with the design of the fl ashback and retrospective scenes. T is was done by drafting in the temp score music and working with the sound design so the two married.” At Grand Central Recording Studios (GCRS), sound designer Ben Leeves worked with WCRS, DCM, and Vizeum, on the BMW ‘Wolf’ cinema ad – the fi rst to use Dolby’s Atmos technology. Kill the Messenger, the exclusive audio producer for the Ultimate Fighting Championship (UFC), has added an Avid S5 Fusion digital audio mixing console to its fl agship Santa Monica facility. Kill T e Messenger will use the S5 Fusion for long-form episodic mixes for UFC events, as well as for independent producers and mixers. At Prime Focus’ London facilities, the

audio team has added new audio restoration technologies by combining iZotope RX3 with its Cedar Dialogue Noise Suppression and extensive collection of Waves Restoration plug-ins. T e fi rst test for the set-up came during the audio post on Leopard Films’ new documentary series BritCam, which features footage and audio from body-worn cameras and CCTV.

Despite recent news about fi ling for Chapter 11 bankruptcy, TODD-Soundeluxe has kept busy this past month with supervising sound editors Andrew DeCristofaro and Becky Sullivan wrapping up the comedy Tammy, produced by Will Ferrell and Melissa McCarthy, who also stars. Champs, the boxing documentary by Mario Lopez, comes out on 1 July, and features David McMoyler as supervising sound editor with Mike Minkler mixing. In TV land, AMC’s Halt and Catch Fire premiered on 1 June. Sue Cahill is the supervising sound editor, Keith Rogers and Scott Weber are the re-recording mixers. Curtis ‘50 Cent’ Jackson’s new Starz show Power premieres on 7 June. Mark Relyea is the supervising sound editor and David Raines and Marshall Garlington are re-recording mixers. London’s Bafta Craft-award winning Lipsync

Post has added re-recording mixer Sven Taits (Fantastic Mr Fox, United 93, Layer Cake) to its

sound team. Taits will work on feature fi lm and television projects, starting with T e Dead Lands, directed by Toa Fraser, a period action epic about murder and vengeance in a Maori tribe. At Jungle Culum Simpson completed sound design on the new TV and online ad campaign for Peta while Jim Griffi n mixed a Transport for London Young Drivers campaign. Jungle’s music supervision arm Native also picked up a new project for Pets at Home. T e London branch of Technicolor recently completed the sound mix and full picture post for Channel 4’s Cardinal Burns. T e project brief was to create a cinematic feel for the sketch show, which features comedy circuit favourites Seb Cardinal and Dustin Demri-Burns. Jules Woods completed the sound mix on a Pro Tools HDX2 system with an Avid Icon control surface.

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A special session on loudness compliance and the issues surrounding it is set to take place at the upcoming IT Broadcast Workfl ow conference at London’s Bafta on 8 July, which is hosted by Audio Media sister title TVBEurope. Taking part in a moderated discussion will be MC Patel, the CEO of Emotion Systems; Craig Russil-Roy from Adstream who will talk about the challenges advertisers face in distributing

loudness-compliant content on a global scale; and Simon Leppington of Ericsson who will discuss fi le-based preparation and playout for broadcasters.

DPP, the Digital Production Partnership, represented by Channel 4’s Kevin Burrows, will also be presenting a special forward- looking session at IT Broadcast Workfl ow, as well as contributing to the Loudness discussion. T e DPP is an initiative formed by

12 June 2014

Point1Post Adds Atmos POST PRODUCTION

the UK’s public service broadcasters to help producers maximise the potential of digital production.

IT Broadcast Workfl ow is a full day of case studies focusing on the ever-changing landscape of fi le-based workfl ows. T e event also features a networking lunch as well as an expo zone in Bafta’s David Lean Room. Tickets can be ordered at the ITBW website: www.broadcastworkfl

Elstree-based post-production facility Point1Post has just revealed its new Dolby Atmos stage. T e upgraded stage now features 45 JBL speakers including fi ve channels (four-way) behind the screen, 14 speakers in the ceiling, 20 surround speakers on the walls, two bass management subs for the surrounds, and four subs at the front with Crown amplifi ers and DBX 4800 DriveRack crossovers being used for the screen channels and subs. T e stage has also been equipped with a Dolby RMU (rendering and mastering unit) for Atmos mixing and a CP850 for playing back Atmos mixes from the facilities DCP server. Point1Post was founded by re-recording mixers Graham Daniel and Adam Daniel in 2005 and since then has provided services to more than 60 productions.

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