In our Burbank facility, it was our goal when we built our Atmos facilities to have a centralized control room where we could effortlessly cross connect anything to anything, and quickly adopt any configuration required at the touch of a button.
DOUG HIGGINS, VP OF WORLDWIDE DUBBING AND AUDIO SERVICES, PIXELOGIC
The sound quality has been great. I’ve received an enormous number of comments from clients who have felt that the sound quality has improved with these new systems.
IAN KAGEY, DIRECTOR OF OPERATIONS
Film students will be working and editing their projects in Avid Media Composer and Symphony. We’ll have audio students working in Pro Tools, editing and mixing the sounds: dialog, sound effects and music. And, we’ll bring it all together in the dub stage.
SCOTT DANSBY, DIRECTOR OF INDUSTRY RELATIONS
As soon as I saw the full specs on the Pro Tools | MTRX with Dante, I realized there was finally a Pro Tools interface that could provide the routing & features I required to be able to quickly reconfigure and move projects from one room to another.
PHILLIP FULLER, CHIEF OF AUDIO, POSTWORKS NEW YORK
All URF studios are now completely cross compatible from session to session, which increases efficiency, productivity and quality for us as a business, which were some of most important factors we considered.
THEUNS DU TOIT, HEAD OF URBAN RHYTHM FACTORY
We always try to be the technology leaders in Israel. We were the first post house to purchase an early Avid storage solution for offline back in the day when all other post houses were using SCSI external drives. And we are the first post house to deploy NEXIS for shared high-bandwidth colour grading and film restoration.
DORI BASHAN, VICE PRESIDENT, TECHNOLOGY DEVELOPMENT