THE FINISHING TOUCHES: THE SKY’S THE LIMIT


Head of Audio, Saxon Greenep expands on how Bleat is fully networked for an integrated workflow, “we’ve put a full Dante infrastructure within this building that allows us to throw audio anywhere we want. If we wanted to record a VO in one of the small edit rooms, that would be easy to move audio backwards and forwards over Dante. At the same time, if we wanted to set up a video satellite system using Avid Media Composer in one of the edit rooms, we could play back UHD picture in the theatres, playing theatrical Atmos through Pro Tools at the same time.


“Bleat is both an environment for stand-alone picture and audio work and we’re project based. Bleat is set-up to take on full end-to-end sound and picture for features and high-end television; as a hub for the full movie. We can have music mixers mixing the music in one of the edit rooms, while the final mix is being mastered in the theatrical suite; everything in fact, apart from foley.


From a performance aspect, the acoustic and technical integration was led by Chris Walls and Matt Ward from Level Acoustic Design, both of whom have worked on so many high-end audio post projects with architectural interior design from Eleni Papadopoulou & Joao Espinha. Chris Walls comments, “we loved that Tristin & Sarah wanted to create something different to a typical post facility. It meant we had free rein on the interior design which led us to devise a new approach to the acoustic design of the studio spaces. The mix theatres sound incredible.”


Saxon comments, “Tristin didn’t spare expense in all the right places. The Alcons Audio speakers, for example, are integral to making Bleat a premium aural experience. Everything we said we needed, he said, ‘let’s get it’. It functions seamlessly.”


Tristin picks up the Alcons Audio speakers theme, as recommended by Level Acoustic Design, “the knowledge that we didn’t have a roster of inhouse talent meant that we wanted to ensure that work translated from other sources. Talking to other re-recording mixers, they shared my belief that getting the very best speakers would do that. When I took advice on what those were, Matt Ward [at Level Acoustic Design] demonstrated the values of low harmonic distortion and the Alcons speakers gave us almost zero latency between the tweeter and the driver. They are incredibly impressive. You can work on them comfortably all day.


“There are 37 speakers in the main theatrical rooms. All of the surrounds and sides and tops are the same. The LCR is slightly larger but built to the same spec. And they’re all driven by the same amp, so they are all Sentinels. I’ve found that if you stick to the same speakers all the way around, you get a much stronger phase coherency than you would otherwise if you were mixing and matching speakers.”


And the final result of bringing all of these elements together? Tristin, Sarah and the team invite you to come over to Sheep Lane to see and hear the difference for yourselves.


bleat.tv


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