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Pro Tools 7 Session Secrets - Download as PowerPoint by n6csJ6


									Pro Tools 7 Session Secrets
Chapter 7:
Post Production and the World of surround
Pro Tools Recording techniques in this chapter

   How to Prep and Audio Session from a
    Video Project
   Syncing to External Video Decks
   How to Calibrate Monitoring
   Working with Stems
   Postproduction Editing Tricks
   Surround I/O Setups and Formats
   How to Prep an Audio
Session from a Video Project
   Prepare a dummy-proof list to give to the video
    editor or producer outlining exactly what you need to
    do you job. This is called a list of deliverables.
   Ask for an OMFI file generated from the Avid or
    Final Cut Pro systems.
   OMFI format was created by Avid and Digidesign to
    make useful and efficient transfers between video
    and audio editing systems.
   Digital audio files should be 16-bit/48kHz AIFF
    because this is currently the standard video format.
   Make sure that all video editing is complete and
    there are no changes to be made.
     Syncing to External Video
   Pro Tools HD systems employ SMPTE time code in
    order to sync to video and film. SMPTE is much
    more accurate than MIDI time code.
   Time code can be written to a blank track on an
    audio tape deck or into an hidden area of a video
   Digidesign makes a hardware unit called the Sync
    I/O, which allows communication between your Pro
    Tools system and external video decks.
   When Pro Tools is slaving, session playback is
    controlled and consequently moves in sync with an
    external machine.
    How to Calibrate Monitoring
   When you are mixing a video or film session,
    your mix will need to translate properly at
    playback venues other than your studio.
   Pro Tools output level can be relative to
    whatever system it is calibrated to.
   You can use Pro Tools’s internal Signal
    Generator to make sure that you are listening at
    the proper volume so your mixes arrive at the
    appropriate levels.
   Buy an SPL loudness meter and use it to
    determine levels where you are listening.
          Working with Stems
   In postproduction, the three different elements of
    a sound track are broken down in to smaller
    groups called stems.
   The three typical stems are dialog, effects and
   Make a custom I/O setup for stem mixes
   Use Pro Tools internal busses to set up aux
    submixes for each stem.
   When your mix is complete print all of the stems
    separately as a stereo mix.
   Separate stems allow for international versions,
    music adjustments or remixing with individual
Postproduction Editing Tricks
   Control+Click / Start+Click any region with the
    Grabber tool and its start point will jump directly
    to where your edit cursor is.
   Control+Shift / Start+Shift any region with the
    Grabber tool and it will move the regions start
    point to the edit cursor.
   Command+Control / Ctrl+Start any region with
    the Grabber tool and its end point will align with
    your edit cursor.
   Use blank regions to spot Foley.
     Surround I/O Setups and
   Surround mixing starts in your I/O setup.
   There are three types of surround output formats
    you can use to determine which output of Pro
    Tools is going to which channel of the surround
   After you setup your I/O any audio track can be
    output in surround.
   For film and video postproduction, the
    multichannel setup is most often used to
    establish a spatial effect.
   Surround is HD only but you can trick an 002
    into doing it.

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