Spring 2015

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67 SPRING 2015 / CINEMONTAGE in Burbank. We've made it a seamless process, like being on the same lot." Disney's Avid control surfaces and Pro Tools systems plug together via Satellite Link, which allows multiple Pro Tools/HD systems to be synchronized and controlled as a single transport, according to Boze, who admits that software problems are always an issue. "Hopefully, it's not a show-stopper; we need to quickly identify the malfunction and cure it." "Digital audio networking is becoming more and more important on the stages," Collier adds. "We use BBS Soundweb components to interconnect audio systems, in addition to [Audinate] Dante-based networks to enable more real-time audio transports via CAT5. We are also using [networks] to carry HD video and audio over a closed Internet, to enable real-time links between Warner Burbank with our De Lane Lea facility in London." "Our magic tool is data management," Novitch confides, "including the choice of SAN [storage-area network] versus Cloud storage. We generate petabytes of data for a film soundtrack and need to be aware of the lag time required to load multiple Pro Tools sessions during a mix, and then offload all of the required deliverables in multiple formats. But is Cloud storage secure enough? Can we get MPAA approval?" The technical prowess of a post facility's engineering department is just one component of an efficient infrastructure. On the creative side, a well-curated sound effects library and a competent recordist can be essential to success. One such individual is Campagna, who currently oversees Formosa Group's extensive library; he previously worked at Weddington Productions, Warner Bros. and Soundelux. "Charlie is responsible for everything to do with our sound library here, as well as being an amazing field recordist and expert on microphones and recording technology," offers sound designer/supervising sound editor Mark Mangini, MPSE, who has worked with Campagna for more than 20 years. "Sound editorial grinds to a halt when the sound library is not useable. Charlie understands the exigencies of how to 'describe' a sound so that it can be found in a database query, which is no small task." "Our 16 TB central server holds over 300,000 sound files, most of which are recorded at 96 kHz/24-bit or higher files that can be carried to the cutting room and stages via a 10 Gbit/sec network," Campagna explains. "I instigated a consistent naming and cross referencing scheme for the library. Multiple descriptors can be used by our editors and sound designers to find the material they need for initial rough cuts for picture editors." The facility's sound library houses a variety of media formats, "including a vintage Nagra with quarter-inch analog tape," according to the librarian. "These days, we deal with files imported from Sound Devices and Zaxcom recorders that transfer directly into our Pro Tools sessions. We use Soundminer software to catalogue and database the files." What happens behind the scenes can dramatically impact the smooth running of editorial suites and re- recording stages. No facility can overlook the obvious fact that gear breaks. It is the unsung heroes of the engineering department who ensure everything is back in operation with a minimum of fuss. f Brian Bair. Right, Charlie Campagna.

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