Focusrite RedNet interfaces used in the Cinematic Media post-production facility in Mexico City

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Los Angeles, CA – Cinematic Media, Mexico’s only full-service post-production complex focused exclusively on episodic television and cinema, has unveiled its new Dolby Atmos®-certified sound mixing stages and editing rooms. Located on the grounds of Estudios Gabriel Garcia Márquez (GGM) in Mexico City’s Tlalnepantla industrial area, the new post-production sound facilities are identically equipped with components from Focusrite’s RedNet range of audio converters and interfaces. in a Dante® network.

Horacio Malvicino, director of the Malvicino Design Group, took charge of the acoustic and technical design of the six new rooms (four in a complete Dolby Atmos configuration), also consulting with equipment integrator 3BH (3BlueHouse), a professional company specialized in audiovisual based in Mexico. Town. Martin Hernández, two-time Oscar nominee, editor and supervising mixer, leads sound services at Cinematic Media, which is led by general manager Arturo Sedano. Hernández, who works regularly with director Alejandro G. Iñarritu, was nominated for an Oscar for his work on The ghost (for which he also won a BAFTA) and birdman.

Cinematic Media’s six new stages, which are configured for sound design, sound editing, pre-dubbing and mixing, each feature a pair of Focusrite RedNet HD32R 32-channel HD Dante and Red 4Pre 58-channel network bridges. In / 64-Out Thunderbolt™ 2 and Pro Tools | HD™ compatible audio interfaces (one per room). RedNet AM2 stereo audio monitoring units and RedNet X2P 2×2 Dante audio interfaces are also available on the stages.

“We tried to reproduce the same rooms on all three floors of the building,” explains Malvicino. “The only difference is the height under the ceiling, but as far as the material is concerned, it’s the same thing. Each floor has its own machine room, which is shared between the two control rooms.

Since the entire Estudios GGM facility uses the same post-production workflows, infrastructure and equipment as its Hollywood counterparts, the lot is also referred to as “Tlalnewood”. In addition to Dante-networked RedNet equipment, each room includes four Avid Pro Tools systems, for dialogue, music and effects, and recording. Two rooms feature Avid S6 control surfaces, while the other four feature S3s. Each room also includes a JBL speaker system (consisting of C211 for LC-Rs, 708i for surround speakers and height speakers, JBL 4645C subs [two units per room]) – four rooms in a full Dolby Atmos 7.4.2 setup and the other two in a 7.2 surround sound setup.

Focusrite was Malvicino’s number one choice, he says. “All the rooms are connected via Dante, which is the key to this project,” he continues. “The clarity of the sound is incredible. The ease of installation and cost savings are mind blowing. I’ve worked with Focusrite for so long and done many studios over the years with them, so for me it’s a no-brainer.

RedNet interfaces offer a number of advantages when it comes to their integration, he says, a factor that not everyone considers. “The units take up very little space. This is something that people tend to overlook, especially when you’re doing a setup where you have four computers for each room, which are already taking up a lot of space, and you have to leave some space between them. But Focusrite units are 1U and produce no heat, so you stack them on top of each other and that’s it, done.

The new sound installations are designed to meet the technical requirements of major streaming services, which are driving the current production growth in Mexico. “If you mix for Netflix, Amazon, Hulu or Apple, you can monitor the sound on the platform,” Malvicino explains.

Malvicino ran the numbers through Dolby’s DARDT (Dolby Audio Room Design Tool) software to ensure the rooms met Atmos certification specifications. He worked with his usual contractor, TADI (Taller de Arquitectura + Diseño Interior), based in Mexico City, on the construction of rooms. “The two architects running the company are great. They know how I design and how I want things to be built. We imported a bunch of installation materials from a company called AMC in Spain. We raised the ceiling on the third floor. Having a general contractor who has built studios for me before – they have built over 15 studios worldwide with me over the years – makes the process much easier.

The project also benefited from the involvement of a number of people who were previously employed by Focusrite and Avid, Malvicino explains. This included Aquiles Vera and Omar Martinez, who both work at Cinematic Media and previously worked for Avid, and Pepe Reveles, who is vice president of sales and marketing for Focusrite Latin America.

To learn more about the Malvicino Design Group, please visit https://www.malvicinodg.com/.

Photo caption: Martin Hernández, sound editor and supervising mixer, photographed at Cinematic Media

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