Issue link: https://digital.copcomm.com/i/237968
have an open discussion about the direction this facility should be taking based on new technologies, filmmaker requests or needs, and budgets. I think there will be a good unification at our facility between our talent pool and management team, in looking at our facility, and asking where are we today and where do we expect to be seven years from now, and how to start moving in that direction as a unified team. "In regards to new sound formats, such as Dolby Atmos and Barco's Auro-3D, we are currently installing both systems in one of our biggest mix stages here, the William Holden Theatre, and we believe that these immersive formats are going to be important to us, not just from our studio's standpoint, but for our third-party clients who come here to do films. They expect and wish to mix in those environments, to send films out to the global marketplace for people to enjoy." Scott Jones Senior Re-recording Mixer Molinare London, UK molinare.co.uk A mix theater at Sony. The studio sees Dolby Atmos and Auro-3D as important formats to support going forward. part of our task. A lot of that is difficult because there has been a reduction in filmmaking, and in film production. A big threat for us is the reduction in budgets, and I can understand why that's taking place. Making smaller budget films, $40 million and under, seems to be the target that a lot of production companies are going after. I feel very fortunate about the team I have in place here because they're forward thinking, and not stuck in a rut of what we have done in the past. If there's a threat to a certain part of the business, or to a service that we provide, our team is constantly looking at ways to revitalize the area, or looking at new business models to replace other business models that are not as well utilized as they were in the past. We're looking at our business not as it is today but how it might be five years from now; I think that's really important." OUTLOOK FOR 2014: "I think we'll see a lot more collaboration between the filmmakers and the creative post artists. We're going to see more flexibility within the post process, and this is going to be driven by the new filmmakers who are taking advantage of the technologies in a different way than we have in the past. It's also going to be driven by the filmmakers' budgets. The separation we've had in the past, where we might have a sound supervisor and a sound designer working on the film, and they're handing off to a re-recording mixer, well now you might find that sound designer sitting in the second seat on the re-recording mix stage, and vice a versa.You might find someone who was just a re-recording mixer becoming a sound supervisor. I think we're going to see more of a blurring of that line. I'm looking to tap into the studio personnel, at all levels, for increased innovation and new concepts that support our in-house and external filmmakers. Management can't make decisions without going to the people who are actually doing the creative work, and asking their opinions, and getting their views about the clients needs, and what the expectations are. We'll Molinare is a full service film and broadcast post production facility in London. They provide a variety of post production services, from editing, digital intermediate, and visual effects, to audio post. Over the past year, Jones mixed several TV series including The Wrong Mans and Dracula, and was nominated for an Emmy for The Bible. STRENGTHS: "A strength this year has been big budget drama productions, many of which have been co-productions, like The Bible, Dracula, and The Tunnel. We've delivered many different versions, with various deliverables, for up to ten episodes at a time. We have been pretty busy this year working on major TV dramas alongside the films. Another drama series this year was The Wrong Mans for BBC/Hulu. That was a great job to work on with a great director, Jim Field Smith. He was brilliant to work with; he let us approach the sound as we felt appropriate, as it's quite a fast-paced show. I'm currently mixing a feature film, so this year, three-quarters of my time has been mixing TV dramas. I think next year is looking the same way." WEAKNESSES: "The deadlines have been a weakness for us. With the complexity of the varying deliverables for the co-production partners, a late change request made by one partner causes us to re-mix several episodes for both, having a dramatic impact on the schedule to ensure we remained on track to deliver on time. With the major series this year all being original mini-series, there have been refinements made during post production. I have worked closely with the producers to ensure everything is re-mixed to the reduced time available. The technology is helping us make changes in the mix, without losing everything in the track." OPPORTUNITIES: "Over here, we have a UK high-end drama tax credit. If anyone from the States does work over here, they get a 20 percent tax break on UK spending. That is a great incentive for anyone who wants to do work over here. That's one of the big things. Also, Molinare has been working on high-end TV dramas, particularly with the US, and that seems to be the way it's going to be moving forward. Hopefully there will be more to come. For us, when we do get involved, it's great to be involved earlier on in the project, from the www.postmagazine.com Post • December 2013 25