Sony Pictures Entertainment completes updates for all mixing levels

Sony Pictures Entertainment has completed state-of-the-art upgrades to its mixing consoles.

Soundstages that underwent significant improvements included the Cary Grant, William Holden, Kim Novak, Burt Lancaster, Anthony Quinn and Jimmy Stewart theaters and Dub Stage 17.

All 14 mix levels are optimized to support Dolby Atmos, IMAX and other high-speed formats.

The expansion includes the studio’s five dub stages, which the industry’s best sound editors, designers and mixers use to produce motion picture and television soundtracks.

„Not only do we ensure our mixing stages and facilities are state-of-the-art, but our mission is to make every venue a warm and welcoming environment,” said Kimberly Jimenez, SVP of Post-Production Services, Sony Pictures Entertainment. „When a director, sound supervisor, sound editor or picture editor walks onto one of our stages , they need to feel like they’ve arrived at a creative place and feel confident in the technology throughout the facility.”

Kim Novak, „Ghostbuster: Frozen Empire” supervising sound editor, sound designer and re-recording mixer Will Files, who mixed the film in theaters, said the renovations created an inspiring environment for him and his colleagues. „It’s about wanting to make a great movie, a great movie, because you feel like you’re walking into a theater and you’re proud of the movie you’re working on, and that has an impact on the process.”

Sound editor and sound designer Chris Terhune oversees the creative environment to enhance the work experience. „Special memories made special memories,” Terhune said.

One such moment came during the mixing of „Ghostbusters: Frozen Empire.”

The files brought in synthesizers from the 1970s and 1980s for director Gil Cannon, who was a huge synthesizer nut. The files plugged them into the speakers on stage and bounced around with ideas. After hearing some of the sounds, Kenan wanted to find a way to put them on film — and did. „We were noodling around and playing these crazy sounds on the record. So, when Karraka’s eyes open at the very beginning of the film, that sound was something Gill and Novak made on stage with a mook synthesizer,” Files revealed.

Speaking about how the upgrades affected their creative process, sound editor Montel Winter said, „The great thing about this slow process of building rooms is that our engineers were able to get their footing and figure out what was the best way. This space, it could be better.” He added, “Each phase gradually got better and better and better. Having such support builds confidence in us as individuals.

As part of the Sony Pictures update, it has upgraded its Composite Level 17. Its floor was lowered to create a better working environment, and the stage was equipped with a Meyer Atmos sound system.

With tasks fully completed, post teams can now move from stage to stage with uniform quality across the board. Audio engineer Tony Lamberti says if products need to change, upgrades will make for smooth level transitions. „The way Sony built it is any show [or film] Can go anywhere anytime. This was not possible before. There’s always an issue where they don’t have a proper playback system or they can’t accommodate plugins, which is pretty common.

Jimenez and Lane Burch – Executive Director of Post-Production Sound Engineering – made the renovation with an eye towards aesthetic beauty, comfort and extreme acoustics.

Jimenez said, “One of the unique things about Sony Pictures is our history. We’ve been here a long time. Whether it’s the Art Deco of Cary Grant and William Holden or the beautiful artistic opulence of Anthony Quinn and Burt Lancaster, our mixing stages are built with a certain style and elegance. Throughout all the upgrades over the past few years, we’ve embraced that rich history while taking our facility into the future.