We work to DigiBeta, Beta SP or MOV/MPEG video files. More & more we are using MOV files, but if you plan to use a tape-based format, to save studio costs (& tape wear), you could use a Beta SP work-copy for the session, saving the Digi Beta for the final layback. We work to/from any language and are expert in reversioning and localisations.

We can undertake the voice-over/narration recording and the full post-production/sweetening process in our ProTools studios. Or, you may just need us to import an OMFi with completed audio that just needs sweetening/mixing. Alternatively the programme may need tracklaying to add SFX, music, atmospheres, room environments - plus cleaning-up and matching of location audio & so on & so forth.



Commonly, we import AVID OMFi's, Pro-Tools sessions, or EDL's for autoconforming. But more imortant than all the above - please talk to us at an early stage so that we can chat with you & your offline/online editor about the best or most economical way to handle your programme or series. We'll also need to discuss the stems you require, DA88 transfers & so on.

We undertake many ongoing reversioning projects for broadcasters both in the UK and overseas. Once the new dialogue has been recorded it then needs to be mixed with the M&E or International Track to give a final mix. Often at this stage we'll find that only a partial M&E has been supplied, or that there are holes, or even some bad foley work that needs correcting. If you have doubts about the various components make sure you budget for some restoration work.

During the course of a series, often the presenter is on location shooting a future programme when he/she is needed for the recording of the links for this weeks transmission! With studio-to-studio ISDN link-ups this is no problem. Presenter narration links for many TV programmes are often recorded this way. Source Connect with Transport Control comes in useful here - no ISDN call costs, and locked pictures (MOVs or VT) both ends.

ADR is a specialised field - whether adding/replacing dialogue in the original language, or replacing one language with another. Matching lip-synch calls on specialised talents from the actors, voice director & studio engineers. We do not have a full scale dedicated film ADR studio, but we do often undertake ADR for suitable projects, quite often for overseas productions when some of the actors may have finished shooting & returned to the UK - or are theatre productions in London's West End. See our testimonial page for some specific ADR comments.

ADR actors need to be helped with their cues. The actors are cued by means of pre-programmed on-screen wipes or countdowns. Although these can be entered on the fly, it saves a lot of expensive studio time if the scripts are supplied with time-code cues marked-up in a word-processing format. Ordinary studio microphones - no matter how good - just don't give the right "feel". We use highly directional semi-shotgun mics to capture the correct perspectives, or hire the mics as used for the origial recording.