Genelec Monitoring Powers Titrafilm's Paris Post-Production Expansion

Founded in 1933, Titrafilm built its reputation on pioneering subtitling that helped global audiences enjoy original‑language films.

Now, with almost 50% of its projects involving Dolby Atmos, the company has overhauled its facilities around networked audio workflows and a unified Genelec monitoring standard.

Under Audio CTO Miguel Adélise, Titrafilm has championed audio‑over‑IP, cutting energy and cooling needs, reducing cabling, and making rooms easier to replicate. When the Covid pandemic struck, that infrastructure proved its worth by enabling high‑quality remote recording and operations while maintaining safety.

The firm has since moved into full post‑production with two new Paris sites: one with two mix studios, an ADR studio, ten sound edit suites, ten picture edit suites and a grading room; the second adding 27 further picture edit suites. Every room standardises on Genelec monitoring. Meanwhile, the main hub in Saint‑Ouen‑sur‑Seine spans nine interlinked buildings connected by fibre and RJ45 to three central machine rooms — an ambitious vision shaped by the late Pierre Frilley, a major force in French film and integral to Titrafilm until his passing last year at 87.

Across formats — stereo, LCR, 5.1, 7.1.4 and theatrical Atmos on 38 loudspeakers — Genelec provides a consistent reference. In the newest Atmos rooms, 1032C models serve LCR duties with 8340As for surrounds, while 4430A Smart IP PoE loudspeakers handle the ceiling channels via single‑cable connectivity. Smart IP is widely deployed elsewhere too, though its use in the Atmos rooms is limited to the heights since the 4430A is the largest model in the range.

Edit suites also incorporate RAW aluminium models alongside 7060B subwoofers, marrying classic performance with Dante networking. Adélise designed the new audio systems in collaboration with integrator CTM Solutions and Genelec distributor Audio Technica France. For newly built 5.0 rooms, the same core setup is retained — minus additional surrounds and tops — and finished in discreet black. "Everyone knows Genelec and knows exactly what to expect," said Adélise. "We needed a system that was simple, reliable, scalable, well-documented, and made sense financially. Genelec ticked every box."

Alongside the latest models, Titrafilm continues to value older analogue favourites. "We've still got original 1030s and 1032s that our engineers love working with," Adélise added. "The 1030s still sound fantastic, and the new generation of 1032C smart active monitors with onboard DSP are just the right size for our new studios. The feedback from those rooms has been excellent."

GLM calibration software is used wherever it offers the best results. "It's effective and quick to set up, but we still like to make a few manual tweaks afterwards," Adélise explained. "There are no more endless debates about how things sound – we know the Genelec sound, and we can just get on with the work." This uniformity ensures mixes translate reliably between spaces.

All new rooms are pre‑wired for Atmos to simplify future upgrades. "Our network means we never have to rip the building apart to make changes," said Adélise. Next on the roadmap are foley and music production, secure remote recording, and live contributions for broadcast, podcasts and events. "With Genelec, we know we’ve got a partner who understands our world," he reflected. "The whole system just works; it keeps us creative, efficient and ready for whatever comes next – which is exactly where we want to be."

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