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BITS & PIECES www.postmagazine.com 7 POST SEPT/OCT 2020 FOCUSRITE AT HEART OF IMN'S REMOTE ADR RIG LOS ANGELES — Mark Binder, owner and CEO of boutique post production company IMN Creative (www.imncreative.com), has developed a solution that allows engineers to record dialogue and voiceovers while socially distanced from the actors working from the safety of their own homes. Binder has put together a remote ADR rig that's centered on a Focusrite (https://pro.focusrite. com) RedNet X2P Dante-networked audio interface. "I don't like to lean on technology, but a lot of people are out of work right now, and I'm trying to do my best to keep as many as I can employed," Binder ex- plains. "This isn't about time anymore, it's about existence. It saved the existence of my company because it allowed us to not stop working. It was a lifesaver." IMN has grown to three California locations — two in Glendale and one in Shadow Hills — totaling 38,000 square feet. Together, the locations offer four Dolby Atmos stages plus three ADR stages, Foley and color timing rooms and 34 editorial suites. The company's credits include contributions to Netflix's Extraction, Survive on Quibi and The Act on Hulu, all high-end work, but as the coronavirus lockdown first took effect, Binder recalls hearing producers say, "We can do it on a smart phone." "Did you ever try to mix a piece of smart phone audio into a movie? The smart phone is not an option when someone's spending millions and millions of dollars on their movie." IMN's ADR package ships in one Pelican case that is sealed and sterilized before each session, in compliance with local and entertainment industry coro- navirus protocols. The remote recording rig includes a RedNet X2P interface, which offers two high-quality Focusrite Red Evolution microphone preamps, plus headphone and line outputs, together with a complement of microphones. Schoeps, Sanken, Neumann, Sennheiser, DPA, Mojave and other microphone brands are all available according to the requirements of the project. The system is capable of recording at sample rates up to 96kHz, and is easy to set up and operate. The talent simply plugs in four cables, including to a display screen, and IMN's engineers take over from there. "Once it locks onto Wi-Fi, we control the system," says Binder, noting that it's been very successful. "If you really think about the conversion and the mic pre's that are in there, that is the heart," says Binder of the X2P interface. "My decision to go with the X2P was based on the size, the flexibility and the ease of controlling it." For more on problem-solving Audio Tools, turn to our feature on page 24. N E X T I S S U E OUTLOOK 2021: Pros look ahead following a year of setbacks & uncertainty AMC'S THE WALKING DEAD: WORLD BEYOND EDITING SYFY'S THE EXPANSE NEWSLETTERS: Industry News (Bi-Weekly); Post Careers MARI KOHN 818.291.1153 | mkohn@postmagazine.com CO N TACT U S A B O U T P R I N T & O N L I N E A DV E RT I S I N G O P P O RT U N I T I ES : ISSUE DATE: N OV E M B E R / D EC E M B E R 2 0 2 0 SPACE CLOSE: N OV E M B E R 1 0 T H MATERIALS CLOSE: N OV E M B E R 1 3 T H W H E R E T E C H N O L O G Y A N D TA L E N T M E E T S M www.postmagazine.com POST JULY/AUG 2020 MAKING MUSIC VIDEOS MUSHROOMHEAD, MACHINE GUN KELLY, DIPLO & MORE! PLUS: DAVID FINCHER'S MINDHUNTER UPLOAD DIRECTOR GREG DANIELS PIXAR'S SPARKSHORTS J.J. SEDELMAIER TURNS 30 OZONE 9 SIMPLIFIES SOUNDTRACK MASTERING NEW YORK CITY — Nick Crane, a partner and creative director at Racket Club (http://racketclub.tv), is using Ozone 9 from iZotope to master almost everything he works on. His work spans commercial projects, like the elec- tro/hip-hop piece for Dropbox called Creativity; short films, such as the new- ly-released Somewhere; and introspective documentaries, like the upcoming Rhythm of Water. "It makes what can be a really tricky, detailed process almost automatic, which can be crucial when you're working against a deadline," says Crane. "I'm currently utilizing it for an immersive diegetic score for a piece of con- tent for Mark Levinson speakers, which comes out soon." The master assistant function, he points to as being very powerful. "It's sample based, so you can play a chunk of your mix, and the program listens and creates a custom-tailored master chain in just a few seconds. From there, you can add as much nuance as you want within the program, or with external plug-ins to quickly get things to sound just the way you want them to. It's like strapping a jetpack to your mastering game." For more on problem-solving Audio Tools, turn to our feature on page 24.