CAS Quarterly

Summer 2018

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C A S Q U A R T E R L Y S U M M E R 2 0 1 8 15 2011, this technology has served on such productions as Deadpool 1 & 2, the X-Men series, The Wolverine, Big Hero 6, The Jungle Book, Logan, La La Land, Star Wars: The Force Awakens, Star Trek: Beyond, Hidden Figures, The Greatest Showman, Red Sparrow, Incredibles 2, and many, many others. The project began in 2010 when Fox engineering realized an aging console on the ADR stage was nearing its end of life. Multiple attempts to utilize a combination of off-the- shelf solutions were made, starting with a Soundmaster synchronizer automating the process of turning on and off monitor signal paths inside a Yamaha DM2000 digital console. Marc Gebauer, who would later became the Chief Engineer on the Fox ADR Console, recalls, "The use of a stock digital console with an architecture requiring the creation of separate monitor mixes in control surface layers for the actor, editor, mixer, ISDN feed et al. made for a very cumbersome system." Ultimately, it was concluded that conforming the DM2000 to this purpose created logistical and efficiency issues on stage when quick solutions were of paramount performance. Fox moved on from the Yamaha-based solution and approached Euphonix to build a custom ADR console that would be a complete standalone solution, but it was found to be cost-prohibitive. Finally, the then-VP of Fox Engineering, Jeff Minnich, turned to Fox's in-house engineering team to create a custom solution. This innovative desk, simply dubbed the Fox ADR Console, is the brainchild of Marc Gebauer and Derek Casari. Marc and Derek tackled the task from two ends; Marc would build and design the hardware and software while Derek ensured practical applicability in session by steering the project design and architecture. Derek The Marge Simpson ADR record booth. The AIP block diagram is an example configuration. The actual block diagram is software configurable. The example appears to be hardwired but can be reprogrammed per user requirements.

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