Issue link: http://digital.copcomm.com/i/1010948
16 S U M M E R 2 0 1 8 C A S Q U A R T E R L Y explains, "The goal of the Fox ADR system was to achieve a creative audio platform for the mixer with maximum flexibility. In doing so, it advances the art and craft of filmmaking because it does not encumber the ADR mixer by having layers, fader banking, or menu paging controls." Marc knew from his early days on the scoring stage that technology should never hinder the creative process and should ultimately be transparent to the mixer. Marc expands, "They should not have to lose sight of their creative process in order to focus on the technical operation." At first glance, the console appears to be a factory extension of the SSL Duality which indeed is the main fascia. In fact, when the external 5.1 send/return path of the SSL is bypassed, the board can operate as a stock SSL Duality post-mixing console. However, on closer inspection, there is a custom center panel artfully crafted by Fox's in-house machinist Henry Tran. Tran even painted the console with the same Pantone color used by SSL. It is subtly branded in a far lower corner with a 20th Century Fox logo. This visually harmonious center panel is the Fox ADR Console. Among its many features is the ability to assign six custom mixes to six different destinations, as well as monitor and mix in 5.1. The six most common destination types are elegantly indicated on the far right: Foldback The Fox ADR Console central panel Fox Film Corp., William Fox, and the studios have a long legacy of creating solutions that benefit and enrich our in- dustry. Here is a small list of the technologies for which they are noted: • Fox-Case optical sound (which became Fox Movietone) • Nature Color (a two-color additive process built by Wall Camera but supported by Fox) • Grandeur widescreen process • Stereo experiments in the late 1940s • Eidophor projection television • CinemaScope • Magnetic-striped stereo sound on film • "Miracle Mirror Screen" • CinemaScope 55