Beta Sight: Solid State Logic C300

Left to right: Andrew Mayer, assistant; Nick Breslin, ADR supervisor; Fred Paragano, owner/mixer; and Brian Calhoon, recordist using Paragon Studios' Solid State Logic C300 console.

Every so often, we are presented with a project with very difficult logistical challenges. When Wayne Pashley of Big Bang Sound Design entrusted Paragon Studios with the responsibility of handling automated dialogue replacement (ADR) sessions with Nicole Kidman for the feature film Australia, we were put to the test.

The four-month process involved linking long-distance among Bazmark Films in Australia; our postproduction studio here in Nashvile, Tenn.; and Kidman. The project was streamlined with our Solid State Logic C300 digital film/post console in Studio B. Because of our experienced technical staff and cutting-edge equipment such as the C300, we were able to control the simultaneous monitor mixing for Kidman as well as for Director Baz Luhrmann.

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The ADR work for Kidman''s role in Australia was extensive. The flexibility of the C300 benefitted the entire process, through the onboard control of Digidesign Pro Tools and the capability to manage multiple input sources quickly and efficiently. We came to rely on the C300 to bring us through this entire process. I had to independently manage what we were hearing in the control room and provide Kidman with a completely separate mix, while delivering a third discrete mix to the facility in Australia. The C300 allowed us to manage all the stem mixes, dialogue tracks, and busing structure to the center of the console, where we additionally had complete control of Pro Tools. This functionality allowed us to maintain creative focus and not get bogged down in the potential technical complexity.

Another aspect of this session was simultaneously connecting to studios in Australia. We used the plug-in Source-Connect, a program from Source Elements that allows recording with realtime broadcast-quality audio over T1, cable, or DSL Internet. Typically, we use ISDN lines for communication, but Source-Connect worked flawlessly every time and was a major benefit for us. Our Digidesign DigiDelivery system was set up to deliver Kidman's ADR takes to the dialogue editors at Sydney's Big Bang Sound. We used Skype and iChat to keep the video and voice communications flowing freely to and from the remote studio. A monitor was set up in the booth with Kidman so she was able to see and hear everyone in Australia, which made her feel more comfortable. Another element that helped the process run smoothly was having our recordist, Brian Calhoon, run SeboTek Voice-Q software, which allowed for realtime placement of a line to picture for a marked follow on her projection screen. As changes arose, we were able to drop in cues quickly.

Nick Breslin, the ADR supervisor for the film, flew in from Australia to start off the initial session that lasted a week. In the months that followed, we needed to connect with the Australian team directly. We started each session at about 11 a.m. CST, 2 a.m. for Australia. It was extremely helpful to have them on the line to hear Kidman's work and be able to comment in realtime. Additionally, we had the ability to drive their picture and sound from our location, thousands of miles away in Nashville.

We could not be happier with the experience on this project. In addition to the support we received from Big Bang Sound, we also had access to all the appropriate equipment. There is always some give and take when collaborating on a project, but when the other members on your team are across the globe, that changes all the rules. Using equipment that helps to keep the lines of communication open was essential to keeping everything on cue.

We were very fortunate to have had such a great experience working with all of our new friends from Down Under, and I can assure you, my next vacation will certainly be to Australia.

Fred Paragano is the owner/head mixer of Nashville, Tenn.'s Paragon Studios, a 22,000-square-foot multiroom world-class studio specializing in postproduction sound, picture, and music.