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Lipsync Post Expands Award-Winning Sound Department

LipSync Post, the full service post-production facility, has invested a significant sum to expand its audio services for film and television.
The facility, whose audio department won the Best Film Mix Facility at the 2012 Conch Awards, has purchased an Avid C|24 control surface with Pro Tools|HDX software and a range of plug-ins and peripherals for an additional versatile 5.1 suite, as well as an Avid Artist Mix control surface and ancillary equipment in order to offer Foley services.
The new 5.1 suite, housed at LipSync’s Wardour Street audio department, is a client-facing room linked to a voice-over booth, and will be used primarily for film trailers and promos, documentaries, TV mixing and deliverables.
Paul Cotterell, Senior Re-Recording Mixer, LipSync Post, said: "We took our time with the spec for this room to make it as versatile as possible. It's a great pre-mixing area where we can start to prepare projects in detail - even those that are still being cut - then mix them directly in the Pro Tools and transfer the files straight into our DFC consoles.
"We are also installing Edicue software for ADR work, as well as dialogue editing and cleaning and sound design plugins, and it’s a perfect room for the constant feed of theatrical trailer work from LipSync Creative, our creative agency."
LipSync has also launched a new Foley service at its Dean Street facility, installing a Foley floor and a range of microphones and mic pre-amps, and an Avid Artist Mix control surface with plug-ins and peripherals in a separate control room.
Lisa Jordan, Facility Director, LipSync Post, said: "Many Foley houses in and around London have closed and we thought it was a great shame that productions were having to go abroad, when they could spend their budget in the UK where we have such outstanding audio talent. We took the opportunity to fill a widening gap in the market and decided to invest in a Foley room that we can offer as an additional audio service."
The new room has already been used on several episodes of the sci-fi TV series ‘The Sparticle Mystery’ and Uberto Pasolini’s forthcoming feature film Still Life.
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