Technicolor adds sound vets

Scott Millan, Greg Russell to join new facility on the Paramount lot

Technicolor’s new post facility on the Paramount lot has begun to lure top sound talent.

Four-time Oscar winner Scott Millan (“Captain America”) and 14-time nominee Greg P. Russell (“Transformers 3”), both sound re-recording mixers, will join Technicolor as of Sept. 1. Russell is ankling Sony for the new job.

Once in place at the new facility, pair will work as partners. Millan will also have the title of sound director for Technicolor Creative Sound Services.

“The opportunity to work with Scott was very appealing,” said Russell. “We’ve been friends and colleagues forever.”

The Paramount facility marks the first entry into first-class sound for feature films for both Paramount and Technicolor’s home base. The new building is the first of its kind on the Par lot. According to Millan, Par is the last of the majors to get a proper theatrical post sound facility.

Technicolor has had broadcast sound in Hollywood and theatrical sound out of its branches in Canada, London and Rome, but it has not offered theatrical post sound in Hollywood before now.

The Technicolor post facility and its staff will be available for projects from any studio.

Claude Gagnon, president of Technicolor’s Creative Services division, said “For us being in the theatrical business was a clear opportunity, and when we started discussion with Paramount our strategy was to really consolidate our sound business onto the lot.” So Technicolor will move to the Par lot its existing broadcast, ADR and mixing groups, which comprise around 40 people. There also will be around 20-25 new hires, as well as freelancers.

Millan said he was first approached by Paramount years ago, when the studio began planning a new sound plant, and at the time he told them “There are a lot of facilities in town, and you don’t want to be just another one. Make it at least as good or better than the best.”

New facility has two large dubbing theaters, two medium dubbing stages, and four TV dubbing stages, with Euphonix consoles. Said Russell: “They have executed what I think is an absolute spectacular dubbing environment, including the acoustics of the room and the comfort for clients in the areas around the dubbing spaces.” By comparison, he said, other studios’ sound facilities seem antiquated.

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