pro tools for film and video

Pro Tools 8

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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

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

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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


-

-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


xix

Producers; Jaws, The Conversation, Biloxi Blues; Alias, Dawson’s Creek,

NYPD BlueCSI, Jeopardy, Nixon -

Figure 4

xx


-

-

Figure 5

Figure 6 The set for

Erin Brockovich


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

-

-


6


-

Figure 1.4

Figure 1.5

Pro Tools systems

7

1.2 The video interface

-

Video playback from QuickTime

Figure 1.6

8


-

-

1.3 Machine control and the SYNC HD

-

-

Pro Tools systems

9

-

-

Figure 1.7or the latest innovation

10


-

-

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


Locking picture to Pro Tools-


be set to Pro Tools or

transport is controlling

case, the transport control seems to control both

-

-

Pro Tools systems

13

-

14


-

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


-

-

-

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


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


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


Figure 1.18

Figure 1.19

-

Pro Tools systems

23

Figure 1.20

from the Transport

Figure 1.21

control surfaces can

-

-

24


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


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


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


Figure 1.31 The names

1.10 Studio design

-

Pro Tools systems

31

-

Basic acoustics

-

Figure 1.32

32


-

Figure 1.33 Corner

a corner, they reflect symmetrically off the

-

Figure 1.34

Pro Tools systems

33

-

-

Figure 1.35

34


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


1.11 Dolby Pro Logic 5.1 playback

-

-

-

-

Pro Tools systems

37

Lord of the Rings -

1.12 Isolation

-

-

-

-

38


-

Ergonomics and equipment

Audio monitors

Pro Tools systems

39

-

-

Figure 1.40

speakers are not at their

-

40


Tuning the audio monitors

-

Figure 1.41

Pro Tools systems

41

-

Video monitors

-

-

-

42


-

-

The garage studio

-

Figure 1.42

Pro Tools systems

43

-

-

-

-

44


-

-

-

Figure 1.43

Pro Tools systems

45

Figure 1.44

4

46


-

Figure 1.45

Figure 1.46

Pro Tools systems

47

Figure 1.47

-

Figure 1.48

48


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


goes through the 3:2 pull-down

-

Audio workflow

53

Film to NTSC pull-down

54


-

Audio workflow

55

Film to PAL pull-down

56


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


Managing an audio edit decision list

-

Audio workflow

59

Analog recordings with pilot

Figure 2.1

60


Figure 2.2

sync or

DAT production audio

Audio workflow

61

-

Figure 2.3

Digital tapeless systems

62


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


Audio workflow

65

2.5 Importing the audio from the picture edit, OMF versus EDL

-

66


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


stems, are an asset

Figure 2.9

Audio workflow

69

dub

2.7 Portability

Figure 2.10 DigiDelivery

--

Lord of the Rings

70


-

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


In this chapter

75

3.1 The edit windowTimecode display

-

Slip mode

3Editing Tools and the

Pro Tools Interface

Figure 3.1

76


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


3.3 The tools

Figure 3.5

Figure 3.6

The three edit tools


79

The Smart Tool

-

-

Keyboard Tools

Figure 3.7

buttons are bigger

80


The Nudge command

-

keys

3.4 Editing to video

-

Function Macintosh/Windows

Cut

Copy

Paste

Clear

Select All


81

Figure 3.8

-

The Pencil tool

82


-

Figure 3.9 The Pencil

Figure 3.10 The

playback stops the insertion point moves to the stop point, at times

Scrolling

-

--


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


-

-

-

-

-

-

Figure 3.13 Even though this hypothetical


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


-

Figure 3.16 Effects


87

Figure 3.17 The virtual

88


-

A better system is to route groups of tracks through a single plug-in by routing

Figure 3.18


89

Figure 3.19

Figure 3.20

90


-

-

--

omputer screens

-


91

The Wizard of Oz Gone With the Wind

-

-

In this chapter3

4

93

4.1 Types of plug-ins

-

-

4Plug-ins

94


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


-

Music Production Toolkit

-

-

4.3 Reverbs and convolution reverbs

Plug-ins

97

-

Digital Reverbs

Figure 4.3

98


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


-

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


4.4 Futzing plug-ins

SpeakerPhone

-

-

-

D-Fi

-

Figure 4.9Parametric Convolution

Plug-ins

103

Figure 4.10 SpeakerPhone

are remaking Battlestar Galactica

104


Figure 4.12 Cosmonaut

Figure 4.11

Cosmonaut Voice

Plug-ins

105

-

Trash by isotope

Figure 4.13 Trash by

106


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


Figure 4.16

Waves 360 Surround Bundle

Compressor

Plug-ins

109

Figure 4.17

ALR (Audio Research Labs) Sound Stage

Figure 4.18

110


-

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


SoundToys TDM

pitch-shifting

Figure 4.20

Plug-ins

113

Figure 4.21

Eventide Anthology II Bundle

114


-

Figure 4.22

Plug-ins

115

ELS Vocoder – Orange Vocoder

Figure 4.23

The Usra Major Space Station SST-282 by Princeton Digital

-

116


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


-

Waves Z Noise

Figure 4.26

Figure 4.27

Plug-ins

119

reNOVAtor by Algorithmix

Figure 4.28

120


-

Waves Restoration Bundle

Figure 4.29

Plug-ins

121

4.8 UtilitiesSource Connect

Figure 4.30 Source

more Pro Tools systems

122


--

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


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


-

-

Dialogue editing technique two

Figure 5.2


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


-

-

-

On the Website

-

-

5.3 ADR


131

Figure 5.4

Figure 5.5

for cueing, printing

132


-

Figure 5.6


133

-

Recording ADR with ProTools

Figure 5.7

134


cue

subregions

ADR editing


135

-

Figure 5.8

136


5.4 Wallawalla

5.5 Dialogue editing on “Loves Devotion Forever”The dialogue edit

Figure 5.9

better performance over


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


Figure 5.11

Figure 5.12 The initial


139

Figure 5.13

Figure 5.14 All temp

The temp music tracks

140


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


141

Figure 5.17

Figure 5.18 The original

The

image left

for this

right number for this frame

Film stocks are numbers

142


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


143

ADR and walla on “Loves Devotion Forever”

Figure 5.21 The final

This tight cutting

is

144


Figure 5.23 Several of

Factory clip remover

Figure 5.22

small, it is more than

Then a short section of


145

Figure 5.25

to remove noise that is

Figure 5.24 The apply

gain brought them up to

146


Figure 5.26 The seven-

In this chapter

0

149

6.1 Cuing sound effects (FX)

dub

-

-

-

6Sound design

150


See an animal, hear an animal – the art of sound design

-

-

Sound design

151

-

-

6.2 Library effects

152


-

Figure 6.1

effects in several formats

Sound design

153

-

-

Figure 6.2 Search results

154


-

--

-

Sound design

155

-

-

Figure 6.3 The Pro

156


Creating a catalog for “Loves Devotion Forever”

-

-

6.3 Recording sound effects

-

-

Sound design

157

-

-

Figure 6.4

158


6.4 Creating sound effects

Rereversing

Figure 6.5

Sound design

159

Key gating

Figure 6.6

--

160


Speeding up, slowing down, and pitch shifting

Special plug-ins

6.5 Track layout

Sound design

161

Backgrounds and ambiences

-

-

Foley

162


Figure 6.7

Figure 6.8

for The Catbird Seat at

Sound design

163

Cuing Foley

Figure 6.9

164


-

Figure 6.10

cloth movement track is

-

Sound design

165

Figure 6.11 The footsteps tracks are the

166


--

6.6 MIDI Foley

-

Figure 6.12

Sound design

167

-

6.7 Backgrounds

--

-

-

-

168


6.8 5.1 Surround effects

-

169


In this chapter3

4

KnowledgebasesIn this chapter

music stems

171

--

7Music

Figure 7.1 Birth of a Nation

172


7.1 The music editor

Music

173

the playback DAT or other playback format to ensure that the playback track

Figure 7.2

174


Music

175

-

7.2 MIDI and instrument tracks

Figure 7.3

channel strip reveals that

outputs, or inserts on a

176


-

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


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


-

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


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


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


satisfying than bringing the score to life on a film, being on both the scoring

In this chapter

automation

automation

0

0

189

8.1 Dubbing theory and techniques

dubbing, consists primarily of placing all

8The Dub

190


Lord of the Rings

-

-

Figure 8.1

Charles volunteer their

one is one of the largest

The Dub

191

Figure 8.2 Charles

192


-

system so that the transport controls on the control surface control the entire

The Dub

193

-

-

8.2 Premixing and premixing with automation

194


-

The Dub

195

-

8.3 The temp dub

196


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


-

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


Figure 8.6

Figure 8.7

The Dub

201

8.6 Outboard devices

-

Figure 8.8

202


8.7 Levels and equalization

Figure 8.9

menu as an

The Dub

203

-

Production audio-

-

204


ADR

-

Walla

Sound effects

The Dub

205

Foley

Kung Fu Movie

Music

206


Figure 8.10

-

8.8 Mixing effects and futzing

The Dub

207

8.9 MIDI music

8.10 Surround mixing

208


-

The Dub

209

-

-

Creating session templates

210


--

8.11 Surround mixing theory

The Dub

211

212


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


Figure 8.12 The Pro

Figure 8.13

In this chapter

3

3

217

9.1 Levels and head tones

at

-

9Output and delivery

218


Figure 9.1 The Signal

9.2 Output and delivery

Output and del ivery

219

Figure 9.2

220


Bouncing to disc versus layback

Figure 9.3 The bounce


221

9.3 Stems

9.4 Delivery for film printing, optical sound, and pull-up

222


-

--

--

-


223

Figure 9.4 The film strip

print through creating the

The center strip is the

9.5 The projection print

224


9.6 Exporting the surround composite mix and finishing on DVD

9.7 Encoding, delivery, and optical sound on “Loves Devotion Forever”


225

Figure 9.5 The Dolby

through the Dolby

Figure 9.6 Dolby

Dolby controls are on

There is also a Dolby

226


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

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


-

-

--

-bel

decibel


231

-

232


-

Analog or analogue analogos, meaning something

-

-


233

A brief history

-

-

--

-

Figure A1.2

234


-

Figure A1.4

pianos, a pipe organ,

Figure A1.3

Department of the


235

--

Figure A1.5 The

236


Figure A1.7 This frame

Figure A1.6 The

the tube earphones on


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


--

--

-

Figure A1.10 The filmstrip on the right

The strips in the center


239

-

-

240


-

-

Noise reduction and expanding dynamics in analog recordings


241

--

-

Figure A1.11

242


-

-

-

-

-

-

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


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


247

aliasing or quantization error

--

--

-

-

Figure A2.3

original playback is over

takes the playback

Any analog filters

248


-

Advantages


249

-

-

-

Error correction and compression

-

-

-

-

250


-sum interval have been lost, there is no hope of the checksum error correction

-

-

-

-


251

1812 Overture, for an instant no one can hear anything but the

-

--

-

Digital processing

-

--

252


-

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

pro tools for film and video

Documents