DFC3D Digital Film Console

Stock Status: Reserve Yours Now
The DFC3D is by far the most accomplished digital mixing console designed specifically for multi-format film dubbing and post production.
Stock Status: Reserve Yours Now
The DFC3D is by far the most accomplished digital mixing console designed specifically for multi-format film dubbing and post production.
Product Information
  • TFT Channel display
  • TFT Master display
  • Encore:3 automation system (compatible with 1800 AMS Neve consoles)
  • Off-line edit options offering enormous cost savings
  • Most powerful DSP engine – Ultra Scale Processing cards – 1000 paths at 96kHz
  • Neve EQ, Dynamics and Bass Enhancement plug ins with linked dynamics
  • Faster Control Surface
  • Expanded 12 Stem Mixing
  • MIOS96 new I/O system with full remote control
  • Complete integrated machine control
  • Optional Monitor Facilities Rack
  • WavTrak display providing the user with level and dynamics metering, graphical EQ curve and audio waveform information on a path by path basis.

"The DFC allows us to spend our valuable mix time making good, creative decisions and less time on the technicalities of the mixing interface" - Gary Rizzo, Skywalker Sound.  

The DFC3D is by far the most accomplished digital mixing console designed specifically for multi-format film dubbing and post production. With an unrivalled installation base, DFC is the standard among the world’s premier motion picture facilities including Warner Brothers, Goldcrest Films, Fox, Skywalker Sound, and Yash Raj Film. In fact, over 70% of international blockbusters are mixed on the DFC.


The AMS Neve DFC (Digital Film Console) is the standard among the world’s premier motion picture facilities at the cutting edge of content creation in emerging 3D surround formats, including Dolby Atmos®, Auro3D® and IMAX® 12. DFC3D is designed specifically for multi-format film dubbing and post production. At the heart of the console is USP, the world’s most powerful mix engine, capable of delivering the legendary Neve sound across 1000 audio signal paths at 96kHz, 24 bit in a single, high-resolution DFC signal-processing tower. No other digital post production console can offer the sheer power required to handle the demands of tomorrow’s content.

Native Dolby Atmos® Mixing

Dolby Atmos® is the latest generation of immersive 3D surround sound, initially geared towards commercial cinema but now adapted for the home. By targeting loudspeakers placed in locations around the listener (including ceiling speakers) a sound can be made to feel as though it is coming from anywhere in the room. It is an adaptable, scalable, object based format that represents sound as independent audio elements which during playback are accurately positioned in three dimensional space using the loudspeakers that are available.

AMS Neve worked in consultation with Dolby for several years before the release of Dolby Atmos® giving both teams the opportunity to look collaboratively at how content in this object based format could be efficiently created making it viable for the studios to adopt.

The first film natively mixed in the Dolby Atmos® format was ‘Oblivion’ this feat was achieved using an AMS Neve DFC console with both Dolby and AMS Neve engineers present at the studios of Skywalker Sound to offer advice and support to the mixing crew. Until this point a film would be mixed in a traditional format and later a modified version done for Dolby Atmos® where a limited number of sounds would be targeted to objects.

Native Auro-3D® Mixing

The DFC3D mix engine can mix natively in three-dimensional sound-space with its 16-wide stems and predubs. This allows for effortless creation of content of all Auro-3D®formats including popular Auro-3D® 11.1 and Auro-3D® 15.1 formats.

Control Surface

DFC3D features new high-resolution, 3D-enabled metering developed to provide the best possible feedback at a glance, with a unique spatial panner optimised for three-dimensional workflow, providing an efficient mixing experience and a quick transition from conventional mixing techniques. The “camera” angle can be infinitely controlled, and the 3d visualisation re-skinned. The metering options can be changed on the fly, and each operator can have a different meter setup so they can be tailored for the department they are working on. This also minimises distracting and/or unnecessary information from non-relevant meters and objects.

Pop-up plugin displays can appear when their associated controls are touched, waveform displays are now cached so no prior play pass is needed when reloading a setup, and stem and object routing, status, MADI status and project settings can all be displayed on the master meters allowing for quick diagnostics.

To accommodate a large number of inputs within a realistic working footprint, the console surface is assignable with signal paths and functions such as EQ and Dynamics mapped to provide fast and intuitive operation. Any channel strip can control all the resources on a mono, stereo or up to sixteen channel inputs.

The control surfaces give instant access to every aspect of routing and monitoring on matter how complex the mix. The channel strip provides total control with the patented touch sensitive Logicator pots, giving instant visual reference to each knob setting.

DFC3D now has new integrated DSP plugin processes including a Sub-harmonic Synthesizer, Multi-Band Compressor, and the return of the well-known AMS RMX-16 Reverb. Increased DSP capacity allows for using the new processes in existing mix setups without compromising DSP availability. The plugins were designed to provide as much control as possible using a minimum of physical controls. They are quick to setup and fully automatable, keeping the feel and pace of mixing on a console.


Encore:3 is the latest generation of the acclaimed Encore automation, delivering revolutionary new Reconform and Mix Import features as well as Automation in Stop and Mix Audition.

Star Command provides effortless control of DAWs using the HUI protocol.

Encore:3 Automation Reconform delivers efficient workflow as picture re-cuts go up to the last possible moment. Change lists are taken into Encore:3 and the mix automation re-conformed to match the new cut, significantly reducing the workload on the Mixer and allowing the Director freedom to make creative changes right up to the dub.

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