Titrafilm expands Paris post-production facilities with Genelec monitoring

Titrafilm, a company founded in 1933 and recognised for its early work in film subtitling, has completed an expansion of its Paris post-production facilities. The project was driven by a shift in the company’s workload, with almost 50% of current projects now requiring Dolby Atmos. To accommodate this, the company has standardised its monitoring around Genelec systems and transitioned to networked audio workflows.

The move to audio-over-IP was led by Audio CTO Miguel Adélise. This infrastructure was designed to reduce energy consumption, cooling requirements, and cabling while allowing for easier duplication of room setups. These networked capabilities also enabled the team to maintain operations via remote recording during the pandemic.

Titrafilm has recently added two new sites in Paris to its infrastructure. One site houses two mix studios, an ADR studio, ten sound edit suites, ten picture edit suites, and a grading room. A second site provides an additional 27 picture editing suites. In Saint-Ouen-sur-Seine, the company’s main hub comprises nine interconnected buildings linked by fibre and RJ45, supported by three central machine rooms. This infrastructure was largely developed under the guidance of the late Pierre Frilley, a significant figure in French film production who passed away last year at the age of 87.

The facility utilises Genelec monitoring across all formats, including stereo, LCR, 5.1, 7.1.4, and theatrical Atmos. In the newest Atmos suites, Titrafilm employs 1032C models for LCR and 8340As for surrounds. For ceiling channels, Adélise chose 4430A Smart IP PoE networked models, which utilise single-cable connectivity for both power and audio.

While modern Dante-connected models are prominent, the facility also includes original analogue models like the 1030 and 1032 in its edit suites. The audio systems were designed by Adélise in collaboration with integrator CTM Solutions and distributor Audio Technica France.

“Everyone knows Genelec and knows exactly what to expect,” says Adélise. “We needed a system that was simple, reliable, scalable, well-documented, and made sense financially. Genelec ticked every box.”

Regarding the legacy equipment, Adélise adds: “We’ve still got original 1030s and 1032s that our engineers love working with. 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.”

The team uses GLM calibration software to ensure monitoring consistency across different spaces. “It’s effective and quick to set up, but we still like to make a few manual tweaks afterwards,” Adélise explains. “There are no more endless debates about how things sound – we know the Genelec sound, and we can just get on with the work.”

The infrastructure has been designed with future expansion in mind, as every new room is pre-wired for Atmos. “Our network means we never have to rip the building apart to make changes,” says Adélise. This flexibility supports the company's plans to include foley, music production, and live broadcast contributions.

“With Genelec, we know we’ve got a partner who understands our world,” he reflects. “The whole system just works; it keeps us creative, efficient and ready for whatever comes next – which is exactly where we want to be.”

This expansion marks a milestone for Adélise, who has recently transitioned to the role of Audio Pro and Post-Production CTO at 44.1, the audio division of CTM Solutions. CTM will continue its long-term collaboration with Titrafilm on future technical projects.