In terms of UK post production facilities, Clear Cut Pictures is unusual, choosing to be based five miles west of London's Soho district, the traditional home for post production. Additionally they span both audio and video post, treating both seriously.Being based in the Olympia area, room for expansion is more readily available which is necessary when growing at the rate Clear Cut are, now having 25 off- and on-line Avid video edit suites, a graphics suite, and with the latest round of building, a third audio suite.
This new rerecording theatre marks a serious change in direction. Designed and built by White Mark, it's large at over 55m² with a height of 4m, tiered floor levels and sumptuously finished with ample client sofas. It is also versatile - one side of the front area has five Foley pits and there is provision for a water tank. A DLP-based Panasonic PT-D75 projector provides images up to hi-def while mixing duties fall to a large Digidesign Pro Tools system with Pro Control mixing surface, which is standard for audio throughout the complex. Monitoring is handled by three Genelec 1039s with 7073 sub bass, and four units at the rear, all under the control of a Magtrax system allowing configurations up to Dolby EX. They did try other monitor systems but according to chief engineer Jason Tompkins, concluded that "Genelecs just came out way above anything else and the sound in the theatre is just terrific". To aid the flow of projects throughout the facility, Genelec monitors are used throughout.
Clear Cut Pictures' founders were film editors, Horacio Queiro and John Dinwoodie but Queiro always had a passion for sound. The new theatre marks an expansion of their traditional factual and documentary work into drama and more demanding projects.
Queiro also has some very definite ideas as to how sound should run at Clear Cut. "We can now offer a big theatre, at a lower rate and with better quality than many of those central London theatres - more for a lot less. Having standardised equipment throughout the facility, particularly Pro Tools and Genelec, we're able to have several suites making preps and bring them all together in a single theatre. We plan to grow the sound department rapidly, and working this way, I think we will be able to achieve feature film quality soundtracks on normal television budget".