Issue link: https://digital.copcomm.com/i/1512183
64 M PS E . O R G people worked there simultaneously. Besides hourly payment, very few allowed for piece-rate payment for a period or a task. Due to these limitations, it was impossible to link a budget and display it in real- time for different types of work. As a result of these various concerns, we decided to develop our own software and after a couple of months, our management platform Mitra was introduced. Today, Mitra has become the foundation of organizing the studio's work and we have continued to refine it through two major code overhauls and are now updating its graphical interface. Functionally, it has a plethora of handy tools—from a time tracker to automatic uploading of employees' calculations to the accounting software. It supports importing episode markers and comments from a Pro Tools session, estimates the planned work time for standard tasks, displays budget expenditures, allows planning for studio and staff workload using a revised Gantt chart and much, much more. We are confident that after completing the UX/UI update, we will offer a public version for our colleagues outside the studio. CM: Pavel, can you tell us about your connections with the international sound community? PD: We continue to collaborate with our friends from France and America. My dear friend, an outstanding re-recording mixer, Vincent Arnardi, has always supported me and our studio and our goal has always been to create a strong international team and we have worked on several films together. I am also immensely grateful to all participants in our film work and my friends, including Victoria Yakubov, Herve Schneid, Jean Umanski, Charles Maynes, Rob Nokes, and many other colleagues. One of our employees, Vladimir Poterukha MPSE, relocated to Los Angeles and has already obtained a work permit thanks to their support. So our plans are unchanged, we will continue to cooperate with the rest of the world! CM: Unique techniques and solutions! PD: A portion of the studio's profit is also spent on developing sound-processing tools and field recordings. For example, I was introduced to the Kyma sound design environment quite some time ago, specifically with the Capybara 320 version. However, there was neither the time nor the budget of individual projects to study and develop effects in this environment. I mostly used ready- made presets and spent a lot of time struggling with things that wouldn't work for me. Within the studio framework, we had the opportunity to engage several guys skilled in programming for experimentation and they quickly mastered the Kyma environment. We focused on Kyma's unique, highly recognizable sound algorithms such as vocoder, real-time spectral processing, cross filters, cloud granular synthesis, and a few others. So we began by developing fairly universal effect chains that could be used as a ready- made plugin presets, staying at the Sergio Diaz, Pavel Doreuli, Vincent Arnardi meeting in Paris 2015.