<MEDIA Production ,Post-Production and Authoring

Production,Sound Location Mixer and boom operators equipment

not seen .... feels ...... Fundamental to the success of films, theater, TV programs...


All you needed for MEDIA!!!.


Sound Designing



About Us

A_LAB is a production company in the audiovisual sector specialized in particular in the post-production audio, sound design, realization of soundtracks for video, documentaries, films, multimedia installations, communication Business.

In addition to an experienced and competent staff, A_LAB offers to the customer all the services for the realization in the world of audiovisual in particular by providing a complete equipment for the direct taking in the television, documentary and Cinematographic field, and a Room equipped for recording voice over with the possibility to choose among several professional speakers,.

For post-production A_LAB is equipped with the best technologies and best software for audio editing, sound design, audio cleaning, restoring, remastering, audio binaural, surround with Dolby Sr encodings and authoring in Dolby Digital 2.0, 2.1, 3.1 , 5.0, 5.1, 6.1, 7.1, DTS, DTS 24-96, DTS MasterHd, Dolby Atmos, audio binaural for VR.

Francesco Morosini, Owner and technical supervisor of the company, is technical audio certificate AITS.

Our Clients
Our Services

Our services cover at 360 ° the needs of our customers from the realization video and direct television, Documetaristica, cinematographic with material of our own, to the post production audio and sound design exporting in the formats required by Cinema is broadcast respecting all agcom regulations. Do you have to make an interview, a documentary, a short film or a feature film? A_lab offers its customers a complete professional equipment for direct gripping, a studio equipped for every stage of the audio post-production, and all the software necessary to guarantee you excellent results.

  • Sound Location mixer
    The sound location is a technique of capturing the sound at the same time as the acquisition of the video, both based on electronic equipment and on film. The direct socket is carried out during the filming, both television and cinematographic, allowing to have the original sound of environments, dialogues of the actors and anything else happening on the set. Special microphones, mounted on long rods, are used to record the audio in direct socket. Often to integrate the audio received from the microphone rod are also used small microphones concealed on the body of the actors, which transmit with the help of small radio transmitters, the audio signal to the recorder, as well as ambient microphones Placed on various parts of the set, in order to be able to have various sources of recovery that can be used in the subsequent stages of processing, such post production. The audio tracks from the individual microphones on the set, separated from each other, are usually engraved on multitrack recorders. Alternatively, the various sound sources are premissed by the direct-to-audio or phonic technician, directly transferred to the cameras, which generally have two or more sound channels. This last step concerns all those situations where postproduction is minimized, such as news footage and news. The reduced time between shooting and airing means that you tend to have already the video footage accompanied by the definitive audio.
    Boom Operator
    The boom operator is the engineer of the phonic. Its main responsibility is the positioning of the microphone in the shooting phase, using a boom, long rod with the microphone mounted at the end, which allows precise control of the instrument at great distance from the actors. This instrument is the evolution of the giraffe. When necessary, also place wireless microphones, radio microphones, on the actors or additional microphones hiding in scene (Npallandoli). The microphone must decide where to place the microphones based on a combinazinone of factors, such as the position of the camera, its movement and the cut of the framing, the source of light (and therefore the Shadows) the movement of the subjects In the framing and their sound intensity, the direction of the wind, and try to exclude any unwanted source of noise. The work of the microphone begins with studying and memorizing all the dialogues of the actors, this will give him the precise follow of the various pauses and the alternating beats of these, always anticipating the movement of the microphone pointing so Unnoticeable to always get to the next beat, a good mic is able to do this even if the dialogues are in a language that he does not understand, because in this case will have memorized only the last word of the phrase of each actor allowing him to Move the microphone from one subject to another without losing any jokes. In case this happens the direct socket would not be good, and will be called the Stop by the phonic and the scene will have to be repeated. From here you can understand how this work requires great concentration and fussiness. The director's guidelines will have to be followed while explaining the framing to all the foremen, and taking note of his requests, the microphones will begin to spread the cables that serve him for the various microphones and follow the director of photography while Lights up the scene. This will give him a way to figure out where he can find shadow cones to enter the boom in the scene and the maximum distance that will be allowed to bring the microphone closer to the actors. When all the be departments are ready, the tests will begin. The microphone, in concert with the other departments, will follow the subjects on stage to capture their dialogues. When everything has been tried and all departments will be coordinated with each other they will start to turn. The microphone will be all the more ' skillful, the more his tests correspond then to the actual movements of the whole scene and will have brought to the phonic all the voices and sounds corresponding to the cut of the framing.

  • Exports in various formats

    The television broadcast: the main problem in the television airing of audio material of various provenance is related to variations of "loudness". The volume's intensity changes make it necessary for the viewer to use the remote control to attenuate the continuous fluctuations in audio intensity. There is a precise technical limit, expressly regulated by the resolution of the AGCOM (authority for guarantees in communications) No. 219/09/CSP that fixes a roof for the peaks of the audio material prepared for airing. However, this requirement is not sufficient to prevent advertisers packaging particularly aggressive audio material while remaining in the peak limits imposed but "inflating" the sound thanks to the compression of the audio. The objective of having audio transmissions perceived at constant volume and eliminating the use of compressors is at the centre of the specific AGCOM document. SKY Italia and FOX channels Italy have already entered into their protocol of airing the Loudness parameters provided by AGCOM. Other broadcasters aired on the platform (Universal, Jimmy, Alice, Nuvola) along with RAI and MEDIASET and the main television networks. A-lab, sensitive to the indications of AGCOM and in the name of the highest audio quality is among the first recording studios in Italy to equip themselves with hardware and software tools for the correct airing of any audio material according to the norm ITU-R BS. 1770-2..

    Exports in various formats from MONO to 7.1 for: Audio stereo or multi-channel audio is the audio presenting multiple electronic information streams each of which represents a different sound information flow destined to be reproduced by a different Sound diffuser placed in the listening environment differently than all others and according to predetermined rules. The use of the adjective "stereo" in the term "audio stereo" derives from the fact that the audio is intended to implement the stereo, a technique of reproduction/recording of the most advanced sound of the monophonic [1] and aimed to confer Spatial sound. The use of the adjective "multichannel" in the synonym "multi-channel audio" derives from the fact that the single electronic information flow is called the Audio channel (or, if clear the audio context, simply channel). Our structure has the room equipped to listen to the compliant and the means for exporting in the various formats DTS and DOLBY from mono to surround in 7.1 for CD/DVD/BLUERAY and cinematographic and Broadcast. Then from DTS MasterHd to Dolby TrueHD until you get to Dolby Multichannel Digital broadcast format. .


  • Presa Diretta
  • Audio editing
  • Sound Design
  • Audio Conforming/Encoding

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Contact Us

A_LAB s.r.l. - P.I. & C.F. 01290730322
via del Roncheto 17 - 34145- Trieste - Italy

c/o A_LAB via del Roncheto 17 - 34145- Trieste - Italy

Tel: +39 040 826927

mobile +39 3402611326

Email: info@a-lab.eu