French filmmaker Luc Besson purchases a second Euphonix console

The “Hitman” producer has picked Euphonix again for his Digital Factory Studios.

French filmmaker Luc Besson has purchased a second Euphonix System 5 console for his Digital Factory post-production complex in Normandy, France. This second console, a 48-fader film dubbing system, was installed in studio Audi 1. At the same time, Besson also upgraded his first System 5, a massive 620-channel, 144-fader console, to a EuCon Hybrid system to allow seamless control of Pro Tools DAWs from the System 5 channel strips.

Digital Factory technical manager Frederic Warnotte was especially impressed with the ease of upgrading. “The System 5 console is the perfect system for our facility; because of its modularity, the system is able to evolve with our business. For example, it has been really easy to retrofit the EuCon Hybrid option on our existing console. We are now able to control our audio workstations directly from the desk and it took only about an hour to set everything up.” he said.

Digital Factory Studios, which includes three dubbing theaters, an ADR Foley stage and a scoring stage that can accommodate up to 40 musicians, recently completed the new 20th Century Fox movie “Hitman.” The movie, based on a popular videogame, was a collaborative effort between Digital Factory and another Euphonix facility Remote Control Studios in Los Angeles.

For freelance rerecording mixer Didier Lozahic, “Hitman” was his first experience using EuCon Hybrid software. During the mix, the movie had to be re-cut 10 times with a complete new sequence shot during the last week of mixing. “I did the mix in four weeks, and I can't imagine doing it using premixes,” he said. “The way to manage an open mix of about 500 tracks with this desk is very smart and fun; I can easily access the premixes in Pro Tools using the EuCon Hybrid and also the main mixes from the System 5 automation. I can even bring up Pro Tools tracks and DSP tracks together on the surface next to each other. Anytime the director would ask for any change in the sound, I could accommodate him without a problem.”

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