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Fig. 4 Sony Pictures Control Room.
varied, and tight synchronization, especially with digital machines, was not assured due to synchronizer program- ming and the typical “lock and drop” mode of operation. This necessitated running the film master sync system on a mas- ter clock, which matched the digital machines, so speed con- trol could be assured.
Finally, in the mid-1990s, the workstation provided a fully synchronized platform between picture and sound/music. Variables in lock-up time prevented perfect sync for a few iterations, but finally, the sync can be held to within one or two milliseconds. Film picture was still the norm, but within the next ten years, it would all but disap- pear from the post-production scene. High definition video has replaced film in all areas of scoring and sound post-pro- duction. Typically we now run high definition video at 24fps. Sometimes, scoring copies are made to run 30fps (29.97) for ease of stage operation.
Control room/mix room specifications and monitoring
While all recording studios require a control room and monitoring environment, the Scoring Stage differs in several significant respects:
• The number of participants in the recording process can exceed twenty, and many must be in a position to judge the recording and performance within the mon- itoring direct field.
• Film playback formats must be mimicked in the scor- ing monitor environment. Therefore, both versatility
and easy changeability must be designed into the mon-
itor systems.
• There are several standard playback response curves
that must be built into the speaker tuning.
• Several different formatted recording sessions may be scheduled within one day. Therefore, size of support areas and ease of changeover are mandatory. Most scoring stages have extensive wiring and routing capa-
bilities to handle any required format.
• Extensive communication systems are required to
enable easy and fast contact between the composer,
conductor, musicians, editors and technical crew.
• Picture cueing systems differ between editors and composers. The control room technical capabilities must encompass all current and future cueing and pic-
ture playback systems.
The current standard monitoring format for Scoring
Stages is the 5.1 surround system. Speaker systems appropri- ate to the room size and dimensions are included in each stage design. Typical monitor system manufacturers include ATC, PMC, Genelec, JBL, Dynaudio, and B&W. While only theatrical playback systems may differ in size, the response of the scoring monitor system is typically tailored to follow closely the theatrical playback curve. Near field and midfield monitoring is typical as an alternate to the main monitor sys- tems provided by the stage.
Quite often, the Scoring Mixer will bring his own pre- ferred system for use as a midfield or near field monitor.
28 Acoustics Today, April 2013