Our offline editing suites bring together the very best equipment with bespoke furnishings to provide a creative and comfortable environment for your team to work in.
We have a wealth of experience in setting up remote facilities for productions, from single rooms to multiple edit suites, dailies colour bays, and assistant lab areas. Every production’s requirements are different, so get in touch to discuss yours.
Our home in Glasgow: a beautiful old Edwardian school building, just minutes away from the creative hub of Pacific Quay, offering plenty of free parking whilst also being easily accessible from Kinning Park subway station.
Our Post Production Managers are on hand to chat about our bespoke post production services and how we can help with your project. Get in touch!
Every suite is air-conditioned and features a gorgeous bespoke wooden desk from GalGael, a social enterprise in Govan that provides learning experiences in woodwork for those whose lives have been affected by problems such as worklessness, depression or addiction. All our editor’s chairs are Herman Miller Aeron series, providing the right support for long periods of sitting. And last but not least- comfy sofas and armchairs, plus a lot of McCoo-shions from Scottish artist Steven Brown.
Avid Media Composer is our standard throughout, and we can provide Adobe Premiere and Final Cut Pro if desired. All the suites are connected to Avid NEXIS shared storage and Avid Interplay/MediaCentral, so your whole team, whether inside the building or working remotely, can collaborate without bottlenecks. This is further complimented by our 1Gb fibre internet connection, with both power and second-line redundancy, and UPS batteries in every suite, protecting your project from any power disruptions.
The facility is equipped with professional Genelec audio monitoring throughout, and each individual room has been treated acoustically by our friends at Savalas Sound, ensuring audio clarity throughout editorial.
We’ve invested in Sony TRIMASTER EL™ OLED displays in every offline and finishing suite, and ensure they’re calibrated regularly by a Sony Engineer. This means Editors are reviewing their pictures on a quality broadcast monitor, noticing the issues that require action early. It means Directors start day one in the Grade looking at the same pictures they’ve looked at for weeks in the edit suite, avoiding unexpected fixes that drain creative time. And it means cinematographers can trust that, as the dailies leave set, everyone down the line is seeing them as they were meant to be seen.