Post-production and animation workspace housing 3 high-performance workstations for video editing, motion graphics, 3D rendering, and color grading. The least acoustically critical room in the complex, designed for maximum creative throughput.
The Editing Suite is the creative engine room of MediaVerse, where raw footage becomes finished content. Unlike the acoustically isolated VO Live and Control rooms, the Editing Suite tolerates a higher noise floor (NC-35), allowing simplified construction while maintaining comfortable working conditions for extended sessions.
Multi-cam timeline editing, rough cuts, assembly edits, and final exports using Adobe Premiere Pro and DaVinci Resolve.
Title sequences, lower thirds, infographics, and animated intros via After Effects and Cinema 4D.
Character animation, product visualization, and environment design in Blender and Cinema 4D.
Professional color correction on the BenQ PD3220U wide-gamut monitor using DaVinci Resolve's color workspace.
Basic audio sweetening, SFX layering, and music sync using headphone-based monitoring at each workstation.
Final encoding, format transcoding, platform-specific exports, and upload preparation for client delivery.
Rather than modifying the tuned recording rooms, the design reduces conversational speech energy at the source by introducing localized absorption within the Editing area. Desk-level acoustic panels and the higher NC-35 tolerance work together to contain casual conversation within the editing zone, keeping it from propagating into adjacent critical-listening spaces.
The Editing Suite occupies the southeast corner of the MediaVerse zone. Dimensions: 5.00m (L) x 1.60m (W) x 2.75m (H). Bounded by the south rebuilt wall (STC 50), east server wall (STC 62), Video Studio/Editing partition (STC 40), and buffer spine (STC 55).
| Parameter | Value |
|---|
| Boundary | Construction | STC |
|---|---|---|
| South | Rebuilt partition | STC 50 |
| East | Server wall (B313) | STC 62 |
| North | Video Studio/Editing partition | STC 40 |
| West | Buffer spine | STC 55 |
Three identical workstations are arranged linearly along the north wall, each featuring dual 4K monitors and a custom-built PC optimized for GPU-accelerated rendering and real-time timeline playback.
16-core / 32-thread CPU with best-in-class GPU for CUDA/OptiX rendering. Each unit budgeted at $3,500.
Ergonomic sit-stand capability for long editing sessions. $599 per unit.
Industry-standard ergonomic seating for professionals spending 8+ hours daily. $1,395 per unit.
Frees desk space for tablets and peripherals. Supports up to 40 lbs total. $349 per unit.
| Monitor | Qty | Size | Resolution | Role | Price |
|---|---|---|---|---|---|
| LG 27UK850-W | 6 | 27" | 3840 x 2160 (4K) | Primary editing displays (2 per station) | $399 each |
| BenQ PD3220U | 1 | 32" | 3840 x 2160 (4K) | Color grading reference (P3 wide gamut) | $999 |
Each workstation has two LG 27" 4K monitors on a dual Ergotron arm. The BenQ PD3220U color grading monitor is shared across stations on a mobile VESA cart, wheeled to whichever desk needs it for color-critical work. Cable management runs through under-desk J-channel trays with velcro ties, feeding into a central floor trunk that routes to the network switch and power distribution.
The Editing Suite connects to the MediaVerse NAS and render farm through a dedicated 10GbE network. Every workstation has dual Cat6A drops -- one for data, one for management -- all terminating at the Ubiquiti UniFi switch.
| Component | Model | Qty | Specification | Price |
|---|---|---|---|---|
| Managed Switch | Ubiquiti UniFi USW-24-PoE | 1 | 24-port PoE, 10GbE uplink to NAS | $399 |
| Cabling | Cat6A Shielded | 20 | 3m shielded cables for all runs | $12 each |
| NAS | Synology DS1621+ | 1 | 6-bay, RAID-5, 10GbE capable | $899 |
| NAS Drives | Seagate IronWolf 16TB | 6 | NAS-grade HDD, RAID-5 = ~80TB usable | $299 each |
| Working SSDs | Samsung 990 Pro 4TB | 4 | NVMe working drive per station | $299 each |
The Editing Suite has the most relaxed acoustic targets in the complex. NC-35 permits higher HVAC noise and simpler wall constructions. Editors use headphones for critical monitoring, so room acoustics are secondary to workstation ergonomics and network throughput.
| Frequency (Hz) | 125 | 250 | 500 | 1000 | 2000 | 4000 |
|---|
Room modes are computed using f = n * c / (2L) where c = 343 m/s.
The Editing Suite's narrow width (1.60m) pushes the first width mode above 107 Hz,
reducing low-frequency modal density compared to more square rooms.
| Axis | Dimension | Mode 1 | Mode 2 | Mode 3 | Mode 4 |
|---|
-- Hz -- above this frequency, statistical room acoustics applies and individual modes blend into a continuous reverberant field.
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Each wall surrounding the Editing Suite uses a different construction based on what is on the other side. The east server wall is the heaviest (STC 62) to block server rack noise, while the Video Studio/Editing partition is the lightest (STC 40).
| Layer | Material | Thickness |
|---|
| Layer | Material | Thickness |
|---|
| Layer | Material | Thickness |
|---|
| Layer | Material | Thickness |
|---|
| Parameter | Value |
|---|
D1 Entry is rated STC 50 -- this is the main exterior door at the SE corner of the south wall. As an exterior door it uses a heavier assembly with weather sealing. The Editing room also connects west to Control (D2) and north to Video Studio (D4).
As the least acoustically critical room, the Editing Suite receives the simplest treatment package. No bass traps are needed given the NC-35 tolerance. Treatment focuses on basic comfort and preventing flutter echoes rather than achieving studio-grade acoustics.
Commercial-grade carpet tiles over floated plywood subfloor provides impact isolation and absorbs mid-high frequencies at the reflection plane. Absorption coefficients range from 0.02 (125 Hz) to 0.65 (4 kHz).
Standard suspended acoustic ceiling tiles provide broadband absorption from 0.25 (125 Hz) to 0.85 (2 kHz). Ceiling plenum: 50 cm, housing HVAC distribution.
Minimal wall treatment -- only 30% coverage with basic absorption panels. Sufficient to control flutter echo between parallel surfaces without over-damping the room.
NC-35 tolerance means bass accumulation is not a critical concern. The room's narrow width (1.60m) naturally reduces low-frequency modal energy density.
| Surface | 125 Hz | 250 Hz | 500 Hz | 1k Hz | 2k Hz | 4k Hz |
|---|
The Editing Suite is served by Silencer Run D -- the shortest and simplest silencer in the complex. At only 500mm length with 15 dB attenuation, it is sufficient for the relaxed NC-35 target.
| Parameter | Run D (Editing) | vs. Run A (VO Live) | Ratio |
|---|
HVAC design locked as of --. System: Daikin VRF, total zone capacity: -- TR. Duct band runs east-west through the ceiling plenum at Y = 110-230 cm.
Each workstation runs the complete MediaVerse creative software suite, covering the full post-production pipeline from ingest to delivery.
Two headless render nodes in the IT room provide dedicated GPU compute for 3D rendering, simulation baking, and video encoding. Connected via 10GbE to the Editing Suite switch, they enable network rendering from all workstations.
Each node at $2,200. Placed in the IT room to avoid acoustic impact on the studio complex. Fan noise is irrelevant in the server environment.
Current: 2x RTX 4080 nodes. Medium-term upgrade path: RTX A6000 (48GB VRAM) for larger scene rendering. Long-term: A100/H100 for heavy compute workloads. The IT room has power and cooling capacity for 4 additional nodes.
The standard post-production workflow routes content from capture through final delivery, with each stage handled at the appropriate workstation and software combination.
Import camera media from SD/CFexpress via USB 3.2 readers. Transcode to proxy format (H.264 or ProRes Proxy). Back up originals to NAS RAID-5. Create project structure.
Assembly cut in Premiere Pro or DaVinci Resolve. Multi-cam sync, rough cut, fine cut, client review rounds. Timeline lives on local NVMe SSD for speed.
Move to BenQ PD3220U reference monitor. DaVinci Resolve color workspace for primary/secondary correction, LUT application, and scene matching.
Basic audio sweetening with Beyerdynamic DT 770 Pro headphones. Levels, EQ, compression, SFX/music sync. Critical mixing done in Control Room.
Queue final exports via Adobe Media Encoder or DaVinci Deliver page. Heavy encodes offloaded to render farm nodes. Multiple format outputs for various platforms.
Upload to client portals, YouTube, social platforms. Archive final project and masters to NAS cold storage. Generate project completion report.