Columbia (June 15, 2023)—Colombian post-production facility La Tina has added a second site built to meet increasing demand for cinematic Atmos mixes.
The new studio complex provides the kind of content security that is demanded by the global film industry, as well as the technical tools to deliver the quality mixes that are expected. “We have a 42-square-meter, 9.1.6 mixing stage, and plans for two smaller control rooms with 7.1.4 monitoring setups,” says studio co-founder Andrés Silva. “We also built a 40-square-meter live room where we record Foley, water and occasional ADRs and voiceovers.”
The decision to embrace immersive audio was based on art as much as commercial demand. “We believe that sound for film is naturally suited to immersive audio. Even if you listen to a film in mono, there is always the concept of sounds that are ‘off image,’” explains studio co-founder Alejandro Uribe-Holguín. “With immersive sound, this is a beautiful opportunity to create the new standards of film and cultural production. The sound in film is the part that literally touches the audience. We think of our work as the work of a ninja, so if it is done correctly, no one should notice it.”
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“We have been working in 5.1 for over 10 years now,” adds studio co-founder Manuel José Gordillo. “The Atmos system was like a myth for us. At the time, none of us really understood how it worked, so this became a thrilling challenge. Once we saw that streaming platforms were interested in the format, then it became a natural step for our studio.”
Having made the decision to expand the business, the team at La Tina turned to Lucas Serrano of acoustic architecture firm Aqstica to design the new spaces, infrastructure and connectivity, with Alberto de la Cruz of local Genelec partner VCR Ltda supplying the equipment.
The 9.1.6 Dolby Atmos monitoring system on the mixing stage is comprised exclusively of Genelec Smart Active Monitoring models: three 8350 two-ways provide the LCR, while 12 of the more compact 8340s handle the surround and height channels, plus a 7380 subwoofer delivering the low frequencies.
“We wanted the Genelec monitoring system from the beginning,” states Silva. “It was a matter of having sufficient funds for it, and making sure that the importing schedule matched our building and production schedules. Happily, it all worked out.”
