Upload
fgonz
View
460
Download
3
Embed Size (px)
Citation preview
Pro Tools 8
This page intentionally left blank
Pro Tools 8 Pro Tools for Film and
Video
Dale Angell
AMSTERDAM OSTON EIDELBERG ONDON EW YORK XFORD PARIS SAN DIEGO AN FRANCISCO INGAPORE YDNEY OKYO
Focal Press is an imprint of Elsevier
Focal Press is an imprint of Elsevier30 Corporate Drive,
m m
Library of Congress Cataloging-in-Publication Data
British Library Cataloguing-in-Publication Data
For information on all Focal Press publications m
Typeset by
4 3
v
Dedication
Figure 1
This page intentionally left blank
Contents
Introduction xiv
The Kodak 35 mm Project – “Loves Devotion Forever” xvii
About Pro Tools 8 xxii
About the Web site xxv
Chapter 1 Pro Tools systems 3
3
0
0
4
0
Speaker placement 3
vii
viii
Contents
0
r 4
Chapter 2 Audio workflow 51
3
0
3
3
0
Chapter 3 Editing Tools and the Pro Tools Interface 75
Contents
ix
0
0
3
Chapter 4 Plug-ins 93
3
4
4
0
x
Contents
4
°
0
3
r
0
3
Chapter 5 Dialogue editing and replacement 125
Contents
xi
0
3
4
3
Chapter 6 Sound design 149
0
0
0
0
3
Chapter 7 Music 171
xii
Contents
0
Chapter 8 The Dub 189
3
3
4
4
4
0
3
Chapter 9 Output and delivery 217
0
3
Contents
xiii
4
4
Appendix 1 Analog audio 229
Appendix 2 Digital audio 245
Index 255
xiv
-
Introduction
Figure 1Stockham at the
Introduction
xv
-
-
Figure 2 The original
Figure 3
xvi
Introduction
-
-
000
-
xvii
The Kodak 35 mm Project – “Loves Devotion Forever”
-
-
-
Figure 1
professionals making this
xviii
The Kodak 35 mm Project – “Loves Devotion Forever”
-
-Legally Blonde
Out of TimePretty Woman, Almost Famous The
Figure 2 Cinematog-
seen here at the Santa
to achieve the look of
Figure 3
Everwood, NYPD Blue, Medium
Windtalkers, Legally Blond 2, Out of Time
You, Me and Dupree, The Producers, Pretty Woman
The Kodak 35 mm Project – “Loves Devotion Forever”
xix
Producers; Jaws, The Conversation, Biloxi Blues; Alias, Dawson’s Creek,
NYPD BlueCSI, Jeopardy, Nixon -
Figure 4
xx
The Kodak 35 mm Project – “Loves Devotion Forever”
-
-
Figure 5
Figure 6 The set for
Erin Brockovich
The Kodak 35 mm Project – “Loves Devotion Forever”
xxi
-
arranging
-
Figure 7
Figure 8 many of the
successfully on scores Seabiscuit
xxii
About Pro Tools 8
Pro Tools 8
Figure 1
, -
-on is high-
,
About Pro Tools 8
xxiii
--
Figure 2
in the original overlay
xxiv
About Pro Tools 8
, -
hat is to say, if you are a -
each region can be
to
,
,
Pro
xxv
About the Web site
mm project r
in it
-,
T
, that , e
-
sc, simply make all the final score tracks
In this chapter
3
30
Forever
3
1.1 The audio interface: M-Powered, LE, and HD
1Pro Tools systems
Figure 1.1 Pro Tools
4
Pro Tools 8: Pro Tools for Film and Video
-
Figure 1.2
Pro Tools systems
5
-
-
Figure 1.3 Pro Tools
6
Pro Tools 8: Pro Tools for Film and Video
-
Figure 1.4
Figure 1.5
Pro Tools systems
7
1.2 The video interface
-
Video playback from QuickTime
Figure 1.6
8
Pro Tools 8: Pro Tools for Film and Video
-
-
1.3 Machine control and the SYNC HD
-
-
Pro Tools systems
9
-
-
Figure 1.7or the latest innovation
10
Pro Tools 8: Pro Tools for Film and Video
-
-
Using the SYNC HD (or older USD)
Pro Tools systems
11
Video playback via machine control
-
-
-
-
Figure 1.8 The Pro
to lock Pro Tools to
12
Pro Tools 8: Pro Tools for Film and Video
Locking picture to Pro Tools-
Figure 1.9 Pro Tools
be set to Pro Tools or
transport is controlling
case, the transport control seems to control both
-
-
Pro Tools systems
13
-
14
Pro Tools 8: Pro Tools for Film and Video
-
The Shining
-
Figure 1.10 The Virtual
Pro Tools systems
15
Using alternate sync references
-
1.4 SYNC HD connections on synchronized HD systems
Figure 1.11 The Doremi
16
Pro Tools 8: Pro Tools for Film and Video
-
-
-
1.5 Configuring the Peripherals window
Pro Tools systems
17
--
-
1.6 Configuring the Session Setup window
-
Figure 1.12
from the Peripherals
systems, in Setup go to
18
Pro Tools 8: Pro Tools for Film and Video
Session start
--
-
Figure 1.13 Session
you can setup many of the parameters of the
Pro Tools systems
19
-
Figure 1.14 Session
change the session start
Figure 1.15possible to offset the
20
Pro Tools 8: Pro Tools for Film and Video
The clock source and Sync Setup
Figure 1.16 Sync Setup in the Session Setup
-
Pro Tools systems
21
Timecode settings
Pull-up and Pull-down
1.7 MIDI interface
Figure 1.17 The
22
Pro Tools 8: Pro Tools for Film and Video
Figure 1.18
Figure 1.19
-
Pro Tools systems
23
Figure 1.20
from the Transport
Figure 1.21
control surfaces can
-
-
24
Pro Tools 8: Pro Tools for Film and Video
Ethernet control
-
Figure 1.22 The
control surface uses Ethernet to
Figure 1.23 The
Pro Tools systems
25
1.8 Data storage
Figure 1.24
backup can serve several
-
-
26
Pro Tools 8: Pro Tools for Film and Video
1.9 I/O Setup
Figure 1.25
-
-
Pro Tools systems
27
-
four, five,
in this case the front right
-sion,
-
Figure 1.26 Even
28
Pro Tools 8: Pro Tools for Film and Video
Figure 1.27 The output of any channel can be
output from the output
Figure 1.28
outputs not available for
Pro Tools systems
29
Figure 1.29
assigns for the center
monitor these from the
channels at a time on the
interfaces can monitor
Figure 1.30
the inputs have been
30
Pro Tools 8: Pro Tools for Film and Video
Figure 1.31 The names
1.10 Studio design
-
Pro Tools systems
31
-
Basic acoustics
-
Figure 1.32
32
Pro Tools 8: Pro Tools for Film and Video
-
Figure 1.33 Corner
a corner, they reflect symmetrically off the
-
Figure 1.34
Pro Tools systems
33
-
-
Figure 1.35
34
Pro Tools 8: Pro Tools for Film and Video
Figure 1.36
Figure 1.37
Figure 1.38 Angling the
Pro Tools systems
35
-
-
--
Speaker placement
-
Figure 1.39
monitor speakers must be
36
Pro Tools 8: Pro Tools for Film and Video
1.11 Dolby Pro Logic 5.1 playback
-
-
-
-
Pro Tools systems
37
Lord of the Rings -
1.12 Isolation
-
-
-
-
38
Pro Tools 8: Pro Tools for Film and Video
-
Ergonomics and equipment
Audio monitors
Pro Tools systems
39
-
-
Figure 1.40
speakers are not at their
-
40
Pro Tools 8: Pro Tools for Film and Video
Tuning the audio monitors
-
Figure 1.41
Pro Tools systems
41
-
Video monitors
-
-
-
42
Pro Tools 8: Pro Tools for Film and Video
-
-
The garage studio
-
Figure 1.42
Pro Tools systems
43
-
-
-
-
44
Pro Tools 8: Pro Tools for Film and Video
-
-
-
Figure 1.43
Pro Tools systems
45
Figure 1.44
4
46
Pro Tools 8: Pro Tools for Film and Video
-
Figure 1.45
Figure 1.46
Pro Tools systems
47
Figure 1.47
-
Figure 1.48
48
Pro Tools 8: Pro Tools for Film and Video
Figure 1.49
The cabinet on the bottom of the stack is the
single speaker mono systems, but as stereo became available the speakers -
-
-
1.13 Systems used on “Loves Devotion Forever”
Pro Tools systems
49
PD 4 DAT
Figure 1.50
-
In this chapter
Tools
51
2.1 Pull-up and pull-down workflows when shooting on film
2Audio workflow
52
Pro Tools 8: Pro Tools for Film and Video
goes through the 3:2 pull-down
-
Audio workflow
53
Film to NTSC pull-down
54
Pro Tools 8: Pro Tools for Film and Video
-
Audio workflow
55
Film to PAL pull-down
56
Pro Tools 8: Pro Tools for Film and Video
2.2 Production recording
Audio workflow
57
This table
Time of day or free run
Pulls down to Free run
Pulls down to
Sample rate (Hz)
30 DF
2.3 Transferring dailies with or without pull-down
58
Pro Tools 8: Pro Tools for Film and Video
Managing an audio edit decision list
-
Audio workflow
59
Analog recordings with pilot
Figure 2.1
60
Pro Tools 8: Pro Tools for Film and Video
Figure 2.2
sync or
DAT production audio
Audio workflow
61
-
Figure 2.3
Digital tapeless systems
62
Pro Tools 8: Pro Tools for Film and Video
Figure 2.4 The
Figure 2.5
Audio workflow
63
Pulling down in Pro Tools
Figure 2.6
2.4 Exporting the locked cut to Pro Tools
64
Pro Tools 8: Pro Tools for Film and Video
Audio workflow
65
2.5 Importing the audio from the picture edit, OMF versus EDL
-
66
Pro Tools 8: Pro Tools for Film and Video
Figure 2.8
Figure 2.7 DigiTranslator
part of the DV Toolkit
separately available
Audio workflow
67
Changes to the locked cut
-
2.6 Timestamping
68
Pro Tools 8: Pro Tools for Film and Video
stems, are an asset
Figure 2.9
Audio workflow
69
dub
2.7 Portability
Figure 2.10 DigiDelivery
--
Lord of the Rings
70
Pro Tools 8: Pro Tools for Film and Video
-
A simpler solution is Source Elements Source-Connect, a Pro Tools plug-in
-
Portable systems
Audio workflow
71
Figure 2.11
possible to convert to
2.8 Workflow on “Loves Devotion Forever”
72
Pro Tools 8: Pro Tools for Film and Video
This page intentionally left blank
In this chapter
75
3.1 The edit windowTimecode display
-
Slip mode
3Editing Tools and the
Pro Tools Interface
Figure 3.1
76
Pro Tools 8: Pro Tools for Film and Video
Spot mode
Figure 3.2
Figure 3.3
Shuffle mode
Grid mode
Editing Tools and the Pro Tools Interface
77
-
3.2 Memory locations
-
-
-
--
Figure 3.4
78
Pro Tools 8: Pro Tools for Film and Video
3.3 The tools
Figure 3.5
Figure 3.6
The three edit tools
Editing Tools and the Pro Tools Interface
79
The Smart Tool
-
-
Keyboard Tools
Figure 3.7
buttons are bigger
80
Pro Tools 8: Pro Tools for Film and Video
The Nudge command
-
keys
3.4 Editing to video
-
Function Macintosh/Windows
Cut
Copy
Paste
Clear
Select All
Editing Tools and the Pro Tools Interface
81
Figure 3.8
-
The Pencil tool
82
Pro Tools 8: Pro Tools for Film and Video
-
Figure 3.9 The Pencil
Figure 3.10 The
playback stops the insertion point moves to the stop point, at times
Scrolling
-
--
Editing Tools and the Pro Tools Interface
83
3.5 The mix window
Figure 3.11be large imposing pieces
function is actually rather
Figure 3.12 A basic three channel to stereo
84
Pro Tools 8: Pro Tools for Film and Video
-
-
-
-
-
-
Figure 3.13 Even though this hypothetical
Editing Tools and the Pro Tools Interface
85
Figure 3.14 The outputs
channels can be sent to
Even the smallest Pro
Figure 3.15 The output of any channel can be
rather than the main
channel can then be set to this bus as its input
86
Pro Tools 8: Pro Tools for Film and Video
-
Figure 3.16 Effects
Editing Tools and the Pro Tools Interface
87
Figure 3.17 The virtual
88
Pro Tools 8: Pro Tools for Film and Video
-
A better system is to route groups of tracks through a single plug-in by routing
Figure 3.18
Editing Tools and the Pro Tools Interface
89
Figure 3.19
Figure 3.20
90
Pro Tools 8: Pro Tools for Film and Video
-
-
--
omputer screens
-
Editing Tools and the Pro Tools Interface
91
The Wizard of Oz Gone With the Wind
-
-
In this chapter3
4
93
4.1 Types of plug-ins
-
-
4Plug-ins
94
Pro Tools 8: Pro Tools for Film and Video
Figure 4.1
4.2 Video tools
Figure 4.2 The DV
DV Toolkit 2
Plug-ins
95
Feet
Current Feet
Frames functions
that can support these sample rates
-
function very -
96
Pro Tools 8: Pro Tools for Film and Video
-
Music Production Toolkit
-
-
4.3 Reverbs and convolution reverbs
Plug-ins
97
-
Digital Reverbs
Figure 4.3
98
Pro Tools 8: Pro Tools for Film and Video
TrueVerb
Figure 4.4TrueVerb is a classic
also features preverb or early reflections that are common in actual room
Reverb One
Figure 4.5
Plug-ins
99
reflection room presets
reverb effects
Convolution Reverbs
Figure 4.6convolution reverb
-
100
Pro Tools 8: Pro Tools for Film and Video
-
applications
Altiverb
Figure 4.7
Altiverb is the original
Plug-ins
101
40 snapshot memories for automatable total recall
Waves IR-1 Parametric Convolution Reverb
Figure 4.8Parametric Convolution
Waves IR-360 Parametric Convolution Reverb
102
Pro Tools 8: Pro Tools for Film and Video
4.4 Futzing plug-ins
SpeakerPhone
-
-
-
D-Fi
-
Figure 4.9Parametric Convolution
Plug-ins
103
Figure 4.10 SpeakerPhone
are remaking Battlestar Galactica
104
Pro Tools 8: Pro Tools for Film and Video
Figure 4.12 Cosmonaut
Figure 4.11
Cosmonaut Voice
Plug-ins
105
-
Trash by isotope
Figure 4.13 Trash by
106
Pro Tools 8: Pro Tools for Film and Video
4.5 Surround sound tools
-
Dolby Surround Tools
Figure 4.14
g tools,
instruments, these can
effect on vocal tracks to
Plug-ins
107
Figure 4.15 Dolby
SurCode for Dolby Pro Logic II and Neyrinck SoundCode for Dolby Digital and DTS
--
108
Pro Tools 8: Pro Tools for Film and Video
Figure 4.16
Waves 360 Surround Bundle
Compressor
Plug-ins
109
Figure 4.17
ALR (Audio Research Labs) Sound Stage
Figure 4.18
110
Pro Tools 8: Pro Tools for Film and Video
-
SurroundScope
Figure 4.19
Plug-ins
111
4.6 Sound design
Pitch shifters and time expansion and compression
-
Since Pitch ‘n Time my life is fine!
David Lynch, Film Director
-ously pitch-shift by three octaves
112
Pro Tools 8: Pro Tools for Film and Video
SoundToys TDM
pitch-shifting
Figure 4.20
Plug-ins
113
Figure 4.21
Eventide Anthology II Bundle
114
Pro Tools 8: Pro Tools for Film and Video
-
Figure 4.22
Plug-ins
115
ELS Vocoder – Orange Vocoder
Figure 4.23
The Usra Major Space Station SST-282 by Princeton Digital
-
116
Pro Tools 8: Pro Tools for Film and Video
Figure 4.24
4.7 Noise reduction and restoration
CEDAR Tools
Figure 4.25
Plug-ins
117
-
Auto Dehiss
Declip
Auto Declick
Dethump
Decrackle
DINR
118
Pro Tools 8: Pro Tools for Film and Video
-
Waves Z Noise
Figure 4.26
Figure 4.27
Plug-ins
119
reNOVAtor by Algorithmix
Figure 4.28
120
Pro Tools 8: Pro Tools for Film and Video
-
Waves Restoration Bundle
Figure 4.29
Plug-ins
121
4.8 UtilitiesSource Connect
Figure 4.30 Source
more Pro Tools systems
122
Pro Tools 8: Pro Tools for Film and Video
--
Virtual Katy
Figure 4.31
monitors the progress of
Lord of the Rings -
Plug-ins
123
ADR Studio
-
In this chapter0
125
5.1 Splitting off tracks and dialogue editing by character
5Dialogue editing and
replacement
126
Pro Tools 8: Pro Tools for Film and Video
Figure 5.1
Dialogue editing and replacement
127
5.2 Noise reduction and ambience matching
Dialogue editing technique one
cuts from one clip to another slightly, filling any holes left from cutting things
128
Pro Tools 8: Pro Tools for Film and Video
-
-
Dialogue editing technique two
Figure 5.2
Dialogue editing and replacement
129
Figure 5.3 Dialogue
creates a seamless
movement track from
this is the same scene as
lines are still in tracks
they are cut tight to the
type of splitting is
line, creating sort of a
-
130
Pro Tools 8: Pro Tools for Film and Video
-
-
-
On the Website
-
-
5.3 ADR
Dialogue editing and replacement
131
Figure 5.4
Figure 5.5
for cueing, printing
132
Pro Tools 8: Pro Tools for Film and Video
-
Figure 5.6
Dialogue editing and replacement
133
-
Recording ADR with ProTools
Figure 5.7
134
Pro Tools 8: Pro Tools for Film and Video
cue
subregions
ADR editing
Dialogue editing and replacement
135
-
Figure 5.8
136
Pro Tools 8: Pro Tools for Film and Video
5.4 Wallawalla
5.5 Dialogue editing on “Loves Devotion Forever”The dialogue edit
Figure 5.9
better performance over
Dialogue editing and replacement
137
Figure 5.10 The
Blackheart
the basis of the Pro Tools
files are the Final Cut Pro project, the Cinema Tools
On the Website – The Dialogue Edit
138
Pro Tools 8: Pro Tools for Film and Video
Figure 5.11
Figure 5.12 The initial
Dialogue editing and replacement
139
Figure 5.13
Figure 5.14 All temp
The temp music tracks
140
Pro Tools 8: Pro Tools for Film and Video
Figure 5.16memory location menu
markers at certain locations,
Figure 5.15 All scenes
markers at the first
the memory locations
by clicking on the
memory loc pop-up menu in the memory
Dialogue editing and replacement
141
Figure 5.17
Figure 5.18 The original
The
image left
for this
right number for this frame
Film stocks are numbers
142
Pro Tools 8: Pro Tools for Film and Video
Figure 5.20
strip silence function in
to clip off the tail of the
Figure 5.19
lines has been split off
beginning of the scene
or even impossible if
Dialogue editing and replacement
143
ADR and walla on “Loves Devotion Forever”
Figure 5.21 The final
This tight cutting
is
144
Pro Tools 8: Pro Tools for Film and Video
Figure 5.23 Several of
Factory clip remover
Figure 5.22
small, it is more than
Then a short section of
Dialogue editing and replacement
145
Figure 5.25
to remove noise that is
Figure 5.24 The apply
gain brought them up to
146
Pro Tools 8: Pro Tools for Film and Video
Figure 5.26 The seven-
This page intentionally left blank
In this chapter
0
149
6.1 Cuing sound effects (FX)
dub
-
-
-
6Sound design
150
Pro Tools 8: Pro Tools for Film and Video
See an animal, hear an animal – the art of sound design
-
-
Sound design
151
-
-
6.2 Library effects
152
Pro Tools 8: Pro Tools for Film and Video
-
Figure 6.1
effects in several formats
Sound design
153
-
-
Figure 6.2 Search results
154
Pro Tools 8: Pro Tools for Film and Video
-
--
-
Sound design
155
-
-
Figure 6.3 The Pro
156
Pro Tools 8: Pro Tools for Film and Video
Creating a catalog for “Loves Devotion Forever”
-
-
6.3 Recording sound effects
-
-
Sound design
157
-
-
Figure 6.4
158
Pro Tools 8: Pro Tools for Film and Video
6.4 Creating sound effects
Rereversing
Figure 6.5
Sound design
159
Key gating
Figure 6.6
--
160
Pro Tools 8: Pro Tools for Film and Video
Speeding up, slowing down, and pitch shifting
Special plug-ins
6.5 Track layout
Sound design
161
Backgrounds and ambiences
-
-
Foley
162
Pro Tools 8: Pro Tools for Film and Video
Figure 6.7
Figure 6.8
for The Catbird Seat at
Sound design
163
Cuing Foley
Figure 6.9
164
Pro Tools 8: Pro Tools for Film and Video
-
Figure 6.10
cloth movement track is
-
Sound design
165
Figure 6.11 The footsteps tracks are the
166
Pro Tools 8: Pro Tools for Film and Video
--
6.6 MIDI Foley
-
Figure 6.12
Sound design
167
-
6.7 Backgrounds
--
-
-
-
168
Pro Tools 8: Pro Tools for Film and Video
6.8 5.1 Surround effects
-
169
This page intentionally left blank
In this chapter3
4
KnowledgebasesIn this chapter
music stems
171
--
7Music
Figure 7.1 Birth of a Nation
172
Pro Tools 8: Pro Tools for Film and Video
7.1 The music editor
Music
173
the playback DAT or other playback format to ensure that the playback track
Figure 7.2
174
Pro Tools 8: Pro Tools for Film and Video
Music
175
-
7.2 MIDI and instrument tracks
Figure 7.3
channel strip reveals that
outputs, or inserts on a
176
Pro Tools 8: Pro Tools for Film and Video
-
Figure 7.4 Strike is a
still a basic instrument
into the track from a
sampling microphones
stereo bus, the stereo Pro
Music
177
Figure 7.5 Several packages are
able to connect to Pro
Figure 7.6
There are several popular applications for use as plug-ins on instrument
178
Pro Tools 8: Pro Tools for Film and Video
Figure 7.7
note music tracks into
intact but is split out into something resembling
tempo vocalist can be
7.3 Library music and rights
Music
179
general groups, buyout rights available
7.4 Multitrack, instrument groups, and music stems
-
180
Pro Tools 8: Pro Tools for Film and Video
-
score, there is so much control over the final feel of the music that their intent
7.5 Scoring and recording
Figure 7.8
Music
181
Figure 7.9 The
Figure 7.10 Film
Although magnetic film
182
Pro Tools 8: Pro Tools for Film and Video
7.6 Music on “Loves Devotion Forever”
Music
183
Figure 7.12 The
track item imports the
Figure 7.11function in Sonicfire
separate tracks as files
184
Pro Tools 8: Pro Tools for Film and Video
Figure 7.13
only as spacer to keep the cue in the proper
Figure 7.14 The time-
the proper tracks in Spot
Music
185
Figure 7.15 The final five track cue is
186
Pro Tools 8: Pro Tools for Film and Video
satisfying than bringing the score to life on a film, being on both the scoring
This page intentionally left blank
In this chapter
automation
automation
0
0
189
8.1 Dubbing theory and techniques
dubbing, consists primarily of placing all
8The Dub
190
Pro Tools 8: Pro Tools for Film and Video
Lord of the Rings
-
-
Figure 8.1
Charles volunteer their
one is one of the largest
The Dub
191
Figure 8.2 Charles
192
Pro Tools 8: Pro Tools for Film and Video
-
system so that the transport controls on the control surface control the entire
The Dub
193
-
-
8.2 Premixing and premixing with automation
194
Pro Tools 8: Pro Tools for Film and Video
-
The Dub
195
-
8.3 The temp dub
196
Pro Tools 8: Pro Tools for Film and Video
on the Lord of the Rings
8.4 The final dub
The Dub
197
beginning of the Pro Tools session, normally the first frame of the picture after
Figure 8.3
198
Pro Tools 8: Pro Tools for Film and Video
-
8.5 Control surfaces and automation
Figure 8.4 The
The Dub
199
be possible on some control surfaces or plug-ins, but it certainly can still be
--
Figure 8.5 The
200
Pro Tools 8: Pro Tools for Film and Video
Figure 8.6
Figure 8.7
The Dub
201
8.6 Outboard devices
-
Figure 8.8
202
Pro Tools 8: Pro Tools for Film and Video
8.7 Levels and equalization
Figure 8.9
menu as an
The Dub
203
-
Production audio-
-
204
Pro Tools 8: Pro Tools for Film and Video
ADR
-
Walla
Sound effects
The Dub
205
Foley
Kung Fu Movie
Music
206
Pro Tools 8: Pro Tools for Film and Video
Figure 8.10
-
8.8 Mixing effects and futzing
The Dub
207
8.9 MIDI music
8.10 Surround mixing
208
Pro Tools 8: Pro Tools for Film and Video
-
The Dub
209
-
-
Creating session templates
210
Pro Tools 8: Pro Tools for Film and Video
--
8.11 Surround mixing theory
The Dub
211
212
Pro Tools 8: Pro Tools for Film and Video
Low frequency effects
in playback, on either a full range theater system or a home satellite system,
The Dub
213
Figure 8.11
8.12 Mixing “Loves Devotion Forever”
-
214
Pro Tools 8: Pro Tools for Film and Video
Figure 8.12 The Pro
Figure 8.13
This page intentionally left blank
In this chapter
3
3
217
9.1 Levels and head tones
at
-
9Output and delivery
218
Pro Tools 8: Pro Tools for Film and Video
Figure 9.1 The Signal
9.2 Output and delivery
Output and del ivery
219
Figure 9.2
220
Pro Tools 8: Pro Tools for Film and Video
Bouncing to disc versus layback
Figure 9.3 The bounce
Output and del ivery
221
9.3 Stems
9.4 Delivery for film printing, optical sound, and pull-up
222
Pro Tools 8: Pro Tools for Film and Video
-
--
--
-
Output and del ivery
223
Figure 9.4 The film strip
print through creating the
The center strip is the
9.5 The projection print
224
Pro Tools 8: Pro Tools for Film and Video
9.6 Exporting the surround composite mix and finishing on DVD
9.7 Encoding, delivery, and optical sound on “Loves Devotion Forever”
Output and del ivery
225
Figure 9.5 The Dolby
through the Dolby
Figure 9.6 Dolby
Dolby controls are on
There is also a Dolby
226
Pro Tools 8: Pro Tools for Film and Video
Figure 9.7 The Dolby
the number three system
in one real time pass for
one for Dolby Digital
Figure 9.8 Toasting
Trotter, Dolby technician
This page intentionally left blank
229
Before we can understand analog audio recording, it is necessary to understand the nature of sound itself. Sound is simply vibrations in the air; sound as we perceive it is created in our ears as these waves cause small hair-like structures in the ear to vibrate at the same speed as the incoming airwaves. If these waves are vibrat-ing too fast or too slow, human hearing cannot perceive them as there are no corresponding hair structures in the ear.
These vibrations are measured in cycles per second, also known as Hertz (Hz). Like a wave in water, sound waves have a peak where the level is higher and a trough where the level is lower. One cycle is a complete wave, for example,
Appendix 1 Analog audio
Figure A1.1 The geniuses of the Edison Labs. The portrait shows Edison seated in center looking suspiciously like Napoleon. Fred Ott is seated on his right and Col. George Gouraud at his left. Standing (left to right) are the dapper W.K.L. Dickson, Charles Batchelor, A. Thedore Wangemann, John Ott, and Charles Brown. There is a phonograph and several recording cylinders on the table. Library of Congress photo.
230
Appendix 1 Analog audio
-
-
--
-bel
decibel
Appendix 1 Analog audio
231
-
232
Appendix 1 Analog audio
-
Analog or analogue analogos, meaning something
-
-
Appendix 1 Analog audio
233
A brief history
-
-
--
-
Figure A1.2
234
Appendix 1 Analog audio
-
Figure A1.4
pianos, a pipe organ,
Figure A1.3
Department of the
Appendix 1 Analog audio
235
--
Figure A1.5 The
236
Appendix 1 Analog audio
Figure A1.7 This frame
Figure A1.6 The
the tube earphones on
Appendix 1 Analog audio
237
Figure A1.8 This sync
electrical motors, but
Figure A1.9
this photograph, he is
phonographs, the one on the right is cast from
238
Appendix 1 Analog audio
--
--
-
Figure A1.10 The filmstrip on the right
The strips in the center
Appendix 1 Analog audio
239
-
-
240
Appendix 1 Analog audio
-
-
Noise reduction and expanding dynamics in analog recordings
Appendix 1 Analog audio
241
--
-
Figure A1.11
242
Appendix 1 Analog audio
-
-
-
-
-
-
This page intentionally left blank
245
Note: If you haven’t read Appendix 1 on analog audio, you should. This appendix refers to several topics covered in that appendix; anyway, there’s some good information in Appendix 1 and it’s fun to read and shows some wonderful uses for cement.
Digital audio differs from analog audio in that the sound is converted to a stream of data and then the data is recorded. The idea is a very old one; dig-ital audio recording was written about and attempted in the early 20th cen-tury, but the digital systems of the day were mechanical and in no way could produce the data speeds to record audio. Digital audio became an idea wait-ing for technology to catch up to it. This finally happened in 1976 when Dr. Tom Stockham of the University of Utah made the first commercially success-ful 16-bit digital recording.
The concept works like this: analog electrical audio is sent to an analog to dig-ital converter (A to D converter). The analog waveform is sampled at a high rate of speed; audio CDs use a 44 100 sample per second rate. Each sample is a snapshot of the wave at that moment. This value is converted to a binary value; here again, audio CDs use a 16-bit binary word to represent this value.
As any good geek can tell you, 16 bits represents 65 536 values. These values represent the total dynamic range of the recording. Because the analog wave has infinite variability, this requires “rounding off” the value to the next clos-est value. It can be seen in Fig. A2.1 that this creates a stair-step effect. If these steps are too far apart, they create a new waveform not found in the original. The best way to suppress these new waveforms is to keep the steps so small that the new waveform is above the high-frequency response of the record-ing and is therefore not recorded. This means that the total dynamic range of a 16-bit recording is 90 db. Not bad, but less than human hearing, which is about 135 db in dynamic range.
Appendix 2 Digital audio
246
Appendix 2 Digital audio
Figure. A2.1illustration, the analog
represent the sample clock, sampling the
close-up in the upper left, it can be seen that each
Figure A2.2
seen in
Appendix 2 Digital audio
247
aliasing or quantization error
--
--
-
-
Figure A2.3
original playback is over
takes the playback
Any analog filters
248
Appendix 2 Digital audio
-
Advantages
Appendix 2 Digital audio
249
-
-
-
Error correction and compression
-
-
-
-
250
Appendix 2 Digital audio
-sum interval have been lost, there is no hope of the checksum error correction
-
-
-
-
Appendix 2 Digital audio
251
1812 Overture, for an instant no one can hear anything but the
-
--
-
Digital processing
-
--
252
Appendix 2 Digital audio
-
This page intentionally left blank
Index
255
Index
5.1 mixing, 2085.1 session, 209
AAbsolute grid mode, 77ADR. See Automatic dialogue replacementAdvanced audio coding (AAC), 70AIFF. See Audio interchange file formatAIR D-Fi, 105Aliasing error, 247ALR Sound Stage, 109–110Altiverb, 100–101Analog recording, 217, 232–233
Anti-aliasing, 247Apple’s compressor, 36Audio interchange file format (AIFF), 65,
152–153, 156, 182Audio interface, 3–6Audio monitors, 38
level of, 40
Audio regions, 126
Audio workflow, 51
AudioSuite Duplicate plug-in, 82AudioSuite processing, 144Audiotape, 59Auto Declick, 117Auto Dehiss, 117Automatic dialogue replacement (ADR),
70, 126, 130, 149, 161, 163
Automation
Auxiliary channel, 85, 88Auxiliary mixers, 85–86
BBackground noise, 128Background sound (BG), 130, 161, 167
Black burst generator, 9, 16Bone rattling bass effects, 212Broadband noise reduction (BNR), 145Broadcast wave format (BWF), 58, 68,
126, 152–153, 156, 182Burk’s lines, 128BWF. See Broadcast wave format
CCanopus ADVC-110, 7Catalogs
CEDAR Tools, 116–117Channel equalization, 87Cinema Tools audio EDL, 67Click tracks, 172–174Clock pulses, 250Complete production toolkit, 96Configuration
256
Index
Continuous scrolling with Playhead mode, 82
Control surface
Convolution reverb, 95–97, 99–100Cosmonaut Voice, 104–105Create waveforms command, 154
DD-Fi, 102–104DA88, 13, 222DA98, 13–14DAT
Data storage, 25Declip, 117Decrackle, 117Delay-echo-reverb, 115Dethump, 117Dialogue editing
Dialogue mixer, 90Diegetic sound, 150DigiBase, 153
DigiDelivery, 69–70, 179, 219Digidesign D-Verb, 97Digidesign Hybrid synthesizer, 96Digidesign Intelligent Noise Reduction
(DINR), 95–96, 117–118, 130Digidesign MIDI I/O, 21–22Digital audio, 61, 217, 245–252
Digital filter, 247, 251Digital plug-ins, 201Digital processing, 251–252Digital recorders, 13, 240Digital recordings, 217Digital reverbs, 97Digital tape recording system
(DTRS), 218Digital tape recording system 8-track
recorder, 13Digital tapeless systems, 61–63DigiTranslator, 65, 95, 125
DINR. See Digidesign Intelligent Noise Reduction
Disc vs. layback, bouncing to, 220–221Dolby AC3 files, 36Dolby Digital, Neyrinck SoundCode for,
107Dolby encoding, 222Dolby LCRS, 106–107, 207, 209Dolby Pro Logic 5.1 playback, 36–37Dolby Pro Logic II, SurCode for, 107Dolby Surround tools, 106–107Doppler effect, 168Drop frame (DF), 56Drum machine, 176DTS plug-in, Neyrinck SoundCode
for, 107Dub, 69, 149
Dubbing, 189
DV Toolkit 2, 94–96Dynamic voice recording, 202
EE-Channel, 113Edit decision list (EDL)
Edit selection selectors, 79–80Edit tools, 78Edit window, 75–77EDL. See Edit decision listELS Vocoder, 115EQ45 Parametric Equalizer, 114EQ65 Filter Set, 114Equalizer (EQ), 130Ethernet control, 24Eventide Anthology II Bundle, 113–115Eventide Reverb, 114
FFilm printing, delivery for, 221–223Film projector, 13Film recorder, 239Film speed, 51–52Final Cut Pro EDL, 67Final dub, 196–198, 207FireWire DV recorder, 7FireWire video device, 8
Index
257
Foley, 38, 161–163, 205
Foley walker, 162–164, 166Foreign language dubs, 136Four-channel LCRS Dolby, 251Frame rates, 51–52Free-run timecode generator, 57Frequency response, 246Futzing, 206–207
FX editor, 149
GGarage Audio Studios (GAS), 42Garage studio, 42, 44Grabber tool, 78–79Grid mode, 76–77
Guide tracks, 173–174
HH3000 Band Delay, 114H3000 Factory, 114Haas effect, 211–212HD systems, 5
Head tones, 217
High pass filter (HPF), 146House sync, 9, 11, 15
II/O settings, 26–30, 208–210ICON D Control, 200Indexing, 154
Insert
Instrument tracks, 172, 175–178
vs.
KKeyboard focus, 79Keyboard tools, 79–80Kinetoscopic parlors, 235Klipschorn, 45–46
LLayback, 220
vs.,LCD flat panels, 41LCRS. See Left center right surroundLE systems, 4–6, 10, 15, 26, 192, 208–209Left center right surround (LCRS), Dolby,
106–107, 207, 209Libraries, sound effects, 151–156
Library music, 178
Link timeline selectors, 79–80Lo-Fi, 102Locking picture to Pro Tools, 12–15Longitudinal timecode (LTC), 11, 16“Loves Devotion Forever”
Low frequency effects, 212–213
Low pass filter (LPF), 146Low-frequency effects (LFE), 27, 39, 106LTC. See Longitudinal timecode
MM-Audio interface devices, 3–4M-Audio UNO MIDI I/O, 22M-powered system, 3, 192, 208–209Machine control, 8–14, 16, 22
Madeline’s lines, 128Magnetic film recorder, 13Magnetic recording, 90, 238, 241Magneto optical drive, 219, 222
258
Index
Manual Declick, 117Marker system, 77Mbox 2, 5, 21Memory location window, 77–78Mid-low frequency, 37MIDI
MIDI machine control (MMC), 19, 22
MIDI timecode (MTC), 21, 23, 178MIDI tracks, 175–178
vs.Mix channels, inserts on, 202Mix window, 83–91Mixing, 191, 193, 196, 206–207
Monitors
Motion picture camera, 234Movie Sync Offset, 8MTC. See MIDI timecodeMusic, 205–206
See also Sonicfire Pro
Music editor, 172–175
Music production toolkit, 96
NNagra audio, 54, 60National Television System Committee
(NTSC)
NetMix Pro, 153Neyrinck SoundCode
Noise compression, 204Noise reduction, 203–204
Nondiegetic sound, 150Nondrop frame (NDF), 56Nudge command, 80
OObject grabber tool, 78OMF. See Open media frameworkOpen media framework (OMF), 64,
125–126Open media framework interchange
(OMFI) files, 64Optical sound, 221–223
Orange Vocoder, 115Outboard devices, 201–202
PPace iLok, 93–94PAL pull-down, 55–56PAL video speed, 51PEC/direct monitoring system, 91,
191–192
Peripherals window, configuration, 16–17
Picture edit, 65, 67, 140, 174Pilot, analog recordings with, 59Pink noise, 40Pitch ‘n Time, 111–112Pitch shifting, 111, 160Plasma monitors, 41Playback tracks, 172Plug-ins, types of, 93–94
Index
259
Portability, 69–71Portable systems, 70–71Postfader aux mixer, 85Predubbing, 194Prefader mixers, 85Premixing with automation, 193–195Princeton Digital, 115Pro Tools 8
Pro Tools AudioSuite signal generator, 41
Production audio, 203–204
Production recording, 56–57Prosound effects, 153Pull-up and pull-down, 21, 51–56, 63Pulse-code modulation (PCM), 250
QQuantization error, 247QuickTime, video playback from,
7–8, 197, 220QuickTime movie, 7–8, 15, 66, 196, 220
RReason Adapted, 177Recording
See
Recti-Fi, 103Relative grid mode, 77ReNOVAtor
Rereversing sound, 158Resolver, 59, 239Retouch, 117Retro Klipsch mix room, 45Reverb One, 98–99Reverbs, 96–101. See also Convolution
reverbReWire, 177–178
SS/PDIF. See Sony/Philips Digital InterfaceSatellite Link, xiiiSci-Fi, 102Score, music, 150–151, 180–182Selector tool, 78Separation grabber tool, 78Sequencing software, 177Session Setup window, configuration,
17–21
Session template, creating, 209–210Shuffle mode, 76Signal Generator AudioSuite plug-in, 218Silent films, 235Simuldat, 59Slip mode, 75Smart tool, 79Society of Motion Pictures and Television
Engineers (SMPTE), 18, 40Sonicfire Pro, 182
Sony/Philips Digital Interface (S/PDIF), 4–5, 10, 61
Sound
Sound design, 68, 111–115, 150
Sound editors, 67Sound effects, 204–205. See also Foley
260
Index
Sound films, 235, 238Sound Ideas search engine, 152Sound pressure level (SPL) meter, 40Sound waves, 31–32SoundReplacer plug-in, 159SoundToys TDM, 112–113Source connect, 121–122Space Station SST-282, 115Speaker placement, 35–36SpeakerPhone, 102–103Spot mode, 76Standing waves, 31, 34–35Stems, 68, 179, 221
Stereo Aux channel, 85Stereo backgrounds, 157, 167–168Studio design, 30–36
SurCode for Dolby Pro Logic II, 107Surround effects, 168Surround mixes
Surround mixing, 207–210
Surround sound tools, 106–111SurroundScope, 110–111SYNC HD
TTape delivery, 218Telecine machine, 52, 72Temp dub, 175, 185, 195–196, 213Time base corrector (TBC), 11Time Compression Expansion (TCE)
trimmer tool, 78Time compression tools, 111Timecode, 10, 14
Timecode rate, 75Timestamping, audio regions,
67–69TL Space, 95, 99–100Track comping feature, xivTrack layout, 160
Transport controls, 192, 199Trash by isotope, 105Trimmer tool, 78TrueVerb, 98
UUltra-Channel, 115Undulating waves, 234USD. See SYNC HDUsra Major Space Station SST-282,
115–116
VVariable speed override (VSO), 20Vertical interval timecode (VITC), 11, 16Video
Video interface, 7–8Video playback
Video projectors, 41Video workflow, 51Videotape, 219Virtual instruments, xivVirtual Katy, 67, 69, 122–123Virtual mixer, 91Virtual video tape recorder (VTR) control
panel, 14VITC. See Vertical interval timecodeVocALign project, 96Vocoders, 115Voice borrowing, 129–130Voice recording, dynamic, 202
Index
261
WWalla, 204
Waves 360 Surround Bundle, 108–109Waves IR-1 Parametric Convolution
Reverb, 101
Waves IR-360 Parametric Convolution Reverb, 101–102
Waves M360 Surround Manager, 212Waves Maxx Bass, 160Waves Restoration Bundle, 120–121Waves S360 Surround Imager, 206Waves Z Noise, 118–119
This page intentionally left blank