Pro Tools for Film and Video

Pro Tools for Film and

Video

Dale Angell

AMSTERDAMOSTONEIDELBERGONDONEW YORKXFORDPARIS

SANDIEGOANFRANCISCOINGAPOREYDNEYOKYO

¥ .O TRANSMITTED RECORDING 0ERMISSIONS $EPARTMENT % MAIL VIA THEN

Library of Congress Cataloging-in-Publication Data !NGELL 0RO P )NCLUDES )3".  42!  DC 

British Library Cataloguing-in-Publication Data

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For information on all Focal Press publications VISIT

Typeset by

    4 3   0RINTED

4HIS TAUGHT A CALLS MINOR 3HE EYE WITH CREATURES  3HE HER Figure 1 %DMONDS .EWBOLD THE SYSTEM

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   6IDEO    5SING 0 6IDEO  ,OCKING  5SING        3ESSION  4HE 0 4IMECODE  0ULL UP    %THERNET 4      0 "ASIC  Speaker placement 3

    %RGONOMICS  !UDIO  4UNING 0 6IDEO  4HE   4

Chapter 2 Audio workflow 51

 WHEN  &ILM 3 &ILM      -ANAGING  !NALOG  $!4 0 $IGITAL  0ULLING 3  3  /-&  #HANGES      0ORTABLE 0  

Chapter 3 Editing Tools and the Pro Tools Interface 75

 

3LIP  3POT  3HUFFLE  'RID      4HE  4HE  +EYBOARD  +EYBOARD AND  4HE 0  0 4HE  3CROLLING   3 Chapter 4 Plug-ins 93  3  4 $6 4 -USIC    $IGITAL  4RUE6ERB  2EVERB  #ONVOLUTION  4,  !LTIVERB 0 7AVES  7AVES   

3PEAKER0HONE  $ &I  #OSMONAUT 4 4RASH    $OLBY  3UR#ODE 3OUND#ODE  7AVES  !,2  3URROUND3COPE 0   0ITCH  3OUND4OYS  %VENTIDE 3 %,3  4HE BY    #%$!2  $).2  7AVES  rE./6!TOR  7AVES 0   3OURCE  6IRTUAL  !$2 3

Chapter 5 Dialogue editing and replacement 125

 

 

$IALOGUE   0 2ECORDING 3 !$2 4     4HE 3 !$2 

Chapter 6 Sound design 149

  3EE OF 0   #REATING      2EREVERSING  +EY  3PEEDING 0 3PECIAL 0  0 "ACKGROUNDS  &OLEY  #UING 3       Chapter 7 Music 171      

 

 0

 

Chapter 8 The Dub 189

   3           0RODUCTION 3 !$2 4 7ALLA 4 3OUND 4 &OLEY  -USIC        #REATING   0 ,OW   3

Chapter 9 Output and delivery 217

    "OUNCING 0      3



FINISHING 4



h,OVES 4

Appendix 1 Analog audio 229

Appendix 2 Digital audio 245

0RO TIME  CIALLY 4HE NO AS ON 0$0 7ORKSTATION )N !SSOCIATES %DITING Figure 1 Stockham at the 5NIVERSITY )MAGE -ARRIOTT COLLECTIONS

PICTURE RECEIVED TEM SOUND 4WO THE #OMPACT SHELVES TO WERE $IGITAL REST !LSO $IGITAL BOARDS OUT 0#

Figure 2 The original

-AC

)N !FTER THEN

)N EXPANDABLE MADE SOR .U"US OUTBOARD IN THAT OF .EVERTHELESS TO )T EDITING ING HAD SYSTEM 7HILE BOTH BROKE FILM 7HILE CUT !PPLE 4HE DOWN BECOMING CAPABILITIES TO -!PPLE ARE "UT AUDIO RECEIVED AND CAL ALL DEVELOPMENT

4HE 0ROGRAM  ALS #LAIRMONT -IX 4HE ERA AUDIO AND ING !3# %DITORS AND 4HE OF )NSTITUTE 5NIVERSITY -ARYMOUNT OF 3ANTA Figure 1 h,OVES $EVOTION THE PROJECT )NSTITUTES AND "ROOKS SIDE professionals making this  0EDRO

4HE NATIONALLY ING NATIONAL +ODAK SEVERAL )NTERNATIONAL AND "ROOKS LIST ALS Out of Time PHOTOGRAPHY Figure 2 Cinematog-RAPHER seen here at the Santa "ARBARA WITH PHOTOGRAPHY AND to achieve the look of THE PROFESSIONALS TALENTS ON 0HOTO Figure 3 WORKED ALL RIGHT 0ERRY NYPD Blue, Medium STUDENT !LEX MENTOR Windtalkers, Legally Blond 2, Out of Time DIRECTOR MENTOR You, Me and Dupree, The Producers, Pretty Woman  0HOTO

Producers; The Conversation, AND CSI, Jeopardy, ENS 4HE THAN ESTIMATED BY

h,OVES

$IRECTED *ESSIE 7RITTEN h,OVES "ROOKS AND Figure 4 MIXER 0EARLMAN STUDENT 0HOTO

7E FLOW STUDENT TED AND ! VYING AND PUT HOUSING 4HE SCHEDULE Figure 5 ON SCENES WAS $EVICES RECORDER 4HE ON 4OOLS AND DESIGN BY

Figure 6 The set for

-ADELINES hLEFT Erin Brockovich WAS IN 'UTIERREZ

A WHENEVER GOES EXPERIENCE 4HE SYSTEMS TEMS MUNICIPALITIES -OST WITH 3ANTA VAL Figure 7 DEPARTMENT THE "ROOKS 0EDRO

Figure 8 many of the

EXTRAS WERE DUMMIES EXTRAS successfully on scores OF  PEOPLE 'UTIERREZ

Pro Tools 8

Figure 1 0RO AND 4OOLS 0RO BENEFIT MANY YOU ING 4OOLKIT TION 0RODUCTION

AND ,% AUDIO AUDIO FOR 0RO SYSTEM FOR WITH #HAPTERS THE 4HE AND FEATURE MAGNIFYING BIG LASH NEL WINDOW #ONTROLLER PLUG IN AND 4HERE LIKE SESSION AREA FROM Figure 2 0RO NOW AUTOMATION AND in the original overlay DISPLAY

4HERE TAKES !NY NEW BACK IN "UT -)$)MUSIC DUCTION SPED EACH TRANSPOSE 4HERE PIANO THEY %LEVEN LOOPS AS NOTATION .OW, IS THEY 7HERE Pro 4OOLS 0RO 0RODUCTION

4HE WILL IN USE 4HE AND  mm project h,OVES  + ARE ACTUAL 1UICK4IME "ECAUSE TO THE ,#$ CRAMPED 4HE /-& THOSE !S ENTIRE  ,%, TEMP !ND TEMP TIVE scORE MIX INACTIVE DONT

AND   ($   SYNCHRONIZED  WINDOW   WINDOW       Foreverv 

1.1 The audio interface:

M-Powered, LE, and HD

!LL WORKING THE THESE SAME 4HE BEING - 0OWERED 4HE - !UDIO INTERFACES - !UDIO )NTERFACE

Pro Tools systems

Figure 1.1 Pro Tools

'ENERALLY - 0OWERED 0RO WITH !LESIS DEPTH  RACK QUALITY WITH 4HE 4OOLS ,% SYSTEMS BE SOME SESSION ONLINE ING BE CAN BE A 7HILE LOST 'OD 4HIS COMPUTER ANYWHERE Figure 1.2

HAVE WILL 4HE WITH PHANTOM EQUIPPED IN 4HE MIC AND TEMS 0RODUCTION 4HE ABOUT TRACKS HARDWARE PUTER

Figure 1.3 Pro Tools

AND OUT 4HE -)$) SAMPLE A ING A Figure 1.4  Figure 1.5

1.2 The video interface

"ECAUSE ARE TAGES

Video playback from QuickTime

)T FROM NO WORKING 4HE PLUG INS 1UICK4IME ! DEVICE HAS h1UICK4IME Figure 1.6 4OOLS THIS  TWO OF AND FOUR 4HE )/ CONDITIONING EXPANSION TO

WHICH !NYTIME 4HERE 4HERE !NY HOWEVER TURE BUT FINE WARE WORK 4O 7HEN DEVICE FOR AUDIO THE FRAME THESE THIS SIMPLY STARTS THAT

1.3 Machine control and the

SYNC HD

4HE VERY BICYCLE THE YOU INTERLOCK SION 4HIS MOVES FORCED PARTS LED CHAIN

"UT EQUIPMENT THAT ENCE -OST VIDEO BY NEVER SYNC SYSTEMS GENERATOR ENCES $IGITAL N AS AUDIO AND 4HE N ,INE N FROM 5NLIKE A Figure 1.7 or the latest innovation FROM "ICYCLE ONCE RECORDERS MACHINES PROJECTORS

CHAIN DRIVEN hPICTURE AND IN /N IS SIMPLY NOT hOFFSETv 4HIS UP 4HERE -)$) N "I PHASE N 7HILE ENCE CLOCK EXTERNAL OF THERE PLAY THEY APART AUDIO SYNC TRIGGER ,% COMPUTERS SYNC CHAIN TO TEMS !S

Using the SYNC HD (or older USD)

4HE SOURCES SPEED

($ PIECES TO REFERENCE

Video playback via machine control

4O BE DEVICES 6IDEO BILITY CONTROL RECORDERS THEIR 0RO 39.# IT HAVE BOTH 4HE SOME LONGITUDINAL VIDEO NAL RECORDERS ALL CODE 4IMECODE TION %ITHER PLAY

Figure 1.8 The Pro

4OOLS to lock Pro Tools to OTHER HOLDING

#ONVERSELY CAUSE 4HERE RECORDER IS hMACHINEv WINDOW -AKE SHOULD WILL DEPENDING

Locking picture to Pro Tools

4O PORT FROM

Figure 1.9 Pro Tools

 4RANSPORT 4RANSPORT be set to Pro Tools or -ACHINE transport is controlling VIDEO SYSTEM VIDEO case, the transport control seems to control both SYSTEMS 3ET PORT BE PRESSED TRANSPORT RECORDER TON )N NEW RECORDER

)T TIMECODE RECORD -ASTER AS SELECTED WITH 4HE ON VIDEO RECORDER TRACK !SSEMBLE SETUP #ONTROL OR ,OOK MAKING )N THE PUNCH )T LIKE THE !RM 7ITH ,% UP BE 39.# ! N LOCKED PROJECTOR OF DEVICES TING ! N WITH OR DEVICE

HOUSE LED 3EVERAL N ($S MIXING OFTEN TO 4HIS DRIVE )T $EPENDING DIRECTLY ANY THE AND CAN IS &OR WELL TEMS SETUP LOCK SECOND MACHINE )N NEW 4OOLS )T BEST CONTROL

Figure 1.10 The Virtual

IT THE AND OF

Using alternate sync references

(OUSE OTHER /FTEN HAVE BEEN SARY REFERENCE 4HE N (OUSE N 0ILOT N FROM 7ORD N ,% INPUT ALTERNATE AUDIO

1.4 SYNC HD connections on

synchronized HD systems

%VEN UNDERSTAND HOOKUP CABLE INSTALLED

Figure 1.11 The Doremi

6 hVIDEO

7HEN DEVICE RECORDER )T THE ON DED ,4# THE THROUGH RECORDERS THE PORTS SPEED SMALL THE REFERENCE SYSTEMS )T THE !UDIO /UT INCLUDED -ASTER ON FACE TO 4HERE ITY SIMPLE FORMAT

1.5 Configuring the Peripherals

window

&OR #ONTROL 4HE VIDEO PORT

.OW USE WILL TINGS ARD TIME FORWARD TOGETHER )T DOW  PIN ANOTHER 4HIS WINDOW

1.6 Configuring the Session

Setup window

$EPENDING TINGS WILL Figure 1.12 CONFIGURE AND from the Peripherals WINDOW systems, in Setup go to 0ERIPHERALS 3YNCHRONIZATION #HOOSE PERIPHERAL ($ DEVICE PORT 

Session start

.ORMALLY OF DOWN TION 0RO WILL THAT AND INCOMING LOWED TIMECODE MATCH -AINTAIN TO Figure 1.13 Session 3ETUP 3ESSION FOUND IN MENU you can setup many of the parameters of the SESSION

NEW REGIONS 9OU EXPECTED )N IN -)$) SETTING CODE 0RO TIMECODE 4HE 39.# ADJUSTABLE CAN THAT NUMBERS A Figure 1.14 Session 3TART -ACHINE THE BETWEEN AND THEN change the session start OR

Figure 1.15 possible to offset the TWO NUMERICALLY 3TART ENTER VALUE

AT  TO SYSTEMS OPTION

The clock source and Sync Setup

7HEN 4$- CONTROL WINDOW

Figure 1.16 Sync Setup

in the Session Setup WINDOW 4HE "OTH 0RO AUDIO )NTERFACE THESE 7ITH BE 53$ TROL ALSO SPEED SELECT

Timecode settings

4HE -4# IS -4# POP UP &REEWHEEL )F VIDEO UNLESS LOSS FRAMES

Pull-up and Pull-down

4HE THE $EPENDING PROJECT WORKFLOW COMPLETE PULL DOWN HOWEVER VIDEO

1.7 MIDI interface

4O -)$) -BOXES -)$) WILL Figure 1.17 The $IGIDESIGN

7HILE WORK - !UDIO FOR Figure 1.18 5./ Figure 1.19 -ACHINE WINDOW -)$) hDAISY DEVICES AUTOMATED INTERFACE MEANS THE 0RO 7ITH CONTROLLED -)$) TROLLED THE %VERY -)$)

DRIVER NUMBER

Figure 1.20 THE from the Transport WINDOW -ACHINE SET TO THE 0RO Figure 1.21 CONTROLLERS CONTROLLED CONFIGURED 0ERIPHERALS CONTROLLERS HERE DEVICES control surfaces can BE CONTROL 0RO TING -)$) 4OOLS -4# PORT AND 0RO AN 0ERIPHERALS IN ,% THE TIONS -)$)

)T AND 'ALLERY MAY

Ethernet control

3OME -)$) WINDOW NECTION THE #05 THE Figure 1.22 The $IGIDESIGN control surface uses Ethernet to COMMUNICATE 0RO Figure 1.23 The 0ERIPHERALS %THERNET

1.8 Data storage

Figure 1.24 STORAGE STORAGE backup can serve several 0RO )N CONNECTED TO CRASH SMALLER EVEN MOST COMPATIBLE %VEN ANCE ) TAL AND SEVERAL SINGLE OR SYSTEM

1.9 I/O Setup

4HE MANY CHANNELS ON THERE INTERFACE %VEN CONTROLLED TWO Figure 1.25 )/ -BOX &IGURE THERE NELS AND 4HESE EVER FOUR YOU WILL THE DISABLE AND 4HE STEREO LIMITS 4OOLS

)N HAVE HAVE TON BEEN & 4WO LABELED DRAGGED WILL -BOX AND THESE sion, THESE 7E )T PUTS THE CHANNEL Figure 1.26 Even THOUGH NOT SOUND CREATE BE SYSTEM WE FRONT

Figure 1.27 The output

of any channel can be ROUTED output from the output PULL DOWN MENU ADDED Figure 1.28 EXAMPLE BEEN SIX )/ THE outputs not available for MONITORING ARE NOT

)T INPUTS LESS THE INPUTS Figure 1.29 EXAMPLE PAIR INACTIVE THEIR MAKES THE assigns for the center AND monitor these from the -BOX TO channels at a time on the -BOX interfaces can monitor MORE AT ,%  0RODUCTION 0RO MIXING Figure 1.30 EIGHT the inputs have been NAMED DEVICES TO INTERFACE ASSIGNMENTS THE ENUNCIATE ARE INPUTS 4HE AS CHANNEL INACTIVE WINDOW

BETWEEN INSERTS OUTBOARD

Figure 1.31 The names

SET SHOW ON WINDOW SETTINGS

1.10 Studio design

4HERE -OST TRACK A CAL SOUNDS REJECTED /VER TELL THEY HOWEVER STUDIO #RITICAL ROOM

LITTLE ROOM STUCK )F NEED RATE OR SPECIFIED 3TUDIO HOWEVER PLANNING STUDIO TO MICRO MONITORING ALMOST WILL

Basic acoustics

3TANDING OUR FERENT WE OUR A ROOMS BUILDING TO 4HESE EXACTLY Figure 1.32 WAVES SQUARE

4HINK CAL THERE WAVES Figure 1.33 Corner LOADING BOUNCE a corner, they reflect symmetrically off the TWO CREATING WAVES ORIGINAL 7HEN LIKE THE ACT RORING ONE QUARTER THE ONLY UNALTERED 9OU A MUTED SUBWOOFERS Figure 1.34 WAVES &ORTUNATELY THE IN DIRECTION

FOCUSED PROBLEMS 2EDUCING FOOT LATION THEM OF THEY hFINSv )TS ABSORBING PLACE 4HERE ING AND WILL 3OME NECESSARY HALFWAY 3EVERAL TREAT BE Figure 1.35 ,%.2$ WAVES FROM

.OW THEY WAVES 7E CAUSED WE ARE ANGLES CURVED Figure 1.36 3TUDIO Figure 1.37 WAVES

Figure 1.38 Angling the

WALLS SECTIONS

)T AVOIDED ING AND TO !NOTHER ING ONLY THIS  WAVES PORTIONS TIPLES PARALLEL

Speaker placement

.O "UT ING Figure 1.39 SURROUND monitor speakers must be EQUIDISTANT CHAIR RIGHT THAT FOR 4HE LESS AND PREFERABLY AND

OF 3TEREO SHOULD EQUILATERAL OR REQUIRE /N SPEAKERS WILL ARC ON BEHIND PREFERABLY ON

1.11 Dolby Pro Logic 5.1

playback

7HILE IN OR RECENTLY PRESSION !# $OLBY 4HE PUTS ARE BLE ATTACHING 4HE 1UICK4IME OPTICAL OUT PORT THE OPTICAL MOVIES YOU

4HERE THESE  HOUR SIONAL 0RO PLUG INS

1.12 Isolation

7E MACHINE MAKE 'RANTED HAVING DOW ABSORBING SOFT 5NFORTUNATELY SIX THROUGH HOP HEAR THROUGH A 4HERE OF OF BRANES FOAM ITIES v SPACE GEREDv INSIDE SINGLE )T FLOOR ALSO ON PRODUCTS THE

4HE THAN MENT TO MATERIAL 3PECIAL

Ergonomics and equipment

)T 9OU AND EDIT PEOPLE HAVE ! THE MAY ALL MOUSE YOU MAKE -ANY USE OR STAND ALONE AND THEM MIXING ONE THIS .EEDLESS IN -ANY IT BE

Audio monitors

)T SPEAKERS THE HOWEVER

FROM SYSTEM PROBLEM FROM 4HE )N DOES .ONE SATELLITE 4OOLS PLY THE THE TEM THE Figure 1.40 ª CAN speakers are not at their OPTIMUM AS SATELLITE 4HE INTO ONLY OF TIONS WITH

Tuning the audio monitors

/NCE TO ANALYZED AND ROOM RETHINKING FOR INSTALLED RESIST GOOD EQUALIZATION 4HE ZERO TORS BE 4OOLS AMPLIFIED BOOST PERCEIVED CINEMA THE Figure 1.41 SOUND METER

THE REFERENCE 3ET !UDIO3UITE OTHER THIS FIVE ON ROLL OFF MUCH RATE IS /NCE n THE

Video monitors

4HE FACILITY VIDEO ABOUT CONSIDERATION ROOM IN SOMETHING 4HE TO AND ATE 0LASMA ON TIONS EVEN CAN ,#$ DOWN AND 6IDEO TLE

AND THEIR IN HEAT ROOM DESIGN TOR ! TWO 4OOLS "UT

The garage studio

)F SPEND  IS 4HERE DRYER !FTER CLES THINGS Figure 1.42 3TUDIOS

$EPENDING YOU RESULT ANCE BEFORE PERMIT A ERS 9OU FREEZER THEN FANS 7HAT 3INCE ROOM SIDE &ORTUNATELY "EFORE GARAGE ALL IT  /NCE STUDIO "ECAUSE SIGNIFICANT ING SOUNDS )N PRODUCTS 4HE MACHINE IN SOUND 4HE OUTSIDE NEED GRADE AVAILABLE

4HE #URVED CAVE ª REALLY $EPENDING DEADENING 7HEN MORE THE USED !ND AND RECORDING LISTENING OUT )N LOCATED DIO CAN MENTS Figure 1.43 THE !UDIO

TRAPS PRODUCTS &OR POSITION MOVED BACK PLACEMENTS Figure 1.44 +LIPSCH )N IN ROOM THE 0AUL MAY PROOF WE MANY WORLD

4HE h4HE TRICv (E OF Figure 1.45 +LIPSCH SPEAKER Figure 1.46 +LIPSCH WHERE WERE

MADE BUTTONS STITCHED THE Figure 1.47 4HE FOR ADDRESS PLACED SION ALONG Figure 1.48 (ERESY

Figure 1.49 'RAND The cabinet on the bottom of the stack is the

-7-4HE CHANNEL single speaker mono systems, but as stereo became available the speakers WERE TIVE AUDIOPHILES FIERS THE FOR 4HE EVER +LIPSCH AROUND DEEP )T ,ASCALA THE

1.13 Systems used on “

Loves

Devotion Forever”

3EVERAL WAS 4HIS UPGRADED

4WO AUTOMATIC TO 1UICK4IME 4HE AT #ONTROL N $! N .AGRA N 3OUND N PD 4 DAT N Figure 1.50 )NSTITUTE MIX 7HILE IT BRINGS GOOD !ND EST

WHEN   PULL DOWN  Tools  PICTURE    &OREVERv 

&ILM 7HAT TURNS OF THE 7ITHIN DEALS OF ALLOWS THE

2.1 Pull-up and pull-down

workflows when shooting on film

7E NOW BY TIMES 7E TIMES CHANGE 4HERE PER 0!,

Audio workflow

7HEN )F SLOWED IN OUT THE STRANGE  4HIS  IT goes through the 3:2 pull-down

4HE VIDEO INTO FIVE VIDEO NAL PLAYS VIDEO IS FRAMES ONE REFERS THE AS ALWAYS REFERS 4HERE  AND OR  4HESE VIDEO .43# &OR &ILM N .43# N 0!, N

4HE !UDIO N !UDIO N !UDIO N &ORTUNATELY 5NFORTUNATELY YOU /NE AT FRAME VIDEO MEDIA SOFTWARE CHANGING AUDIO MAKES VIDEO

Film to NTSC pull-down

(ERE SHOOT 4HE APPROPRIATE 4RANSFER N BE )NTERLOCK N TRANSFER SAMPLE 4ELECINE N THE %DIT N %XPORT N SOUND TRANSFERRING )F N )F N

4HE WOULD 4ELECINE N 4RANSFER N $EPENDING N $IVIDE N %XPORT N )F N ON 3YNC N %DIT N %XPORT N SOUND TRANSFERRING )F N )F N $IFFERENT DOWN FERRED THIS KNOW .AGRA IS  PULLED WITHOUT 4HE WOULD 4ELECINE N #REATE N PULL

#UT /N 4RANSFER N 3YNC N %DIT N %XPORT N SOUND MACHINE 4RANSFER N 4HE WOULD 0REPARE N %XPORT N AND %XPORT N CONTROL PROJECT 3ET N THE MACHINE "ECAUSE N IMPORTED THE AND

Film to PAL pull-down

7HEN FINISH TO 7HEN TELECINED THIS IS PITCH

"ECAUSE AUDIO IS A IS YOU

2.2 Production recording

7HILE TO ONE  N  N  N  N $ATA N OR 4IMECODE FRAME 4HE RUN 4HE IN BETWEEN THE WILL PER PICTURE DONE ON AT 4IME EITHER 

THESE THESE  7HEN TIME ARE 4HERE DOWN /N AUDIO RATE This table BE Time of day or free run Pulls

down to Free run

Pulls down to Sample rate (Hz) .O VIDEO   n n   n n        0ULL DOWN FILM 30 DF          0!,   

2.3 Transferring dailies with or

without pull-down

0RODUCTION HAVE IS 0ULL UP UNDERSTAND $AILIES WORN MICROPHONES

'ENERALLY TRACKS ARE TRACK BE A WORKFLOW

Managing an audio edit decision list

$EPENDING AN OR CINE /N SYNCED THE THE INTO /N OTHER WEALTH CAN BE ACHIEVING USED 4HE EVERY AUDIO FRAMES SLATE THE 5SUALLY CREATE THE !S WHO  THE

/FTEN AND FROM SYNC /R SPEED OF /N POSSIBLE ON OTHER THE FROM 3ETUP AND MASTER MATCH

Analog recordings with pilot

/N RECORDING CLOCK PILOT OR THEY Figure 2.1 

Figure 2.2 OF PILOT )F SUPPLIED ON RESOLVER THE AND  ($ WILL SPEED 4HE THE WILL )F PILOT THAT WHICH )T TO ANY sync  or  NOT 3OME NEED WITH OTHER

DAT production audio

$!4 AS hHOMEv RATE

VIDEO TO AUDIO )N TO TO THEN THIS SYNC &EW THE ITAL THIS CAN Figure 2.3 SESSION TRANSFERS /N AUDIO MASTER THAN 4HERE RECORDING THE RECORDED !UDIO EXPORT

Digital tapeless systems

4HE THIS 0RO 4HE

Figure 2.4 The 3OUND AND SESSION 4HESE BE ANYTHING IMPORTED AUDIO IMPORT 4OOLS MORE RETRANSFER AT 4HE BE DELIVERY IN Figure 2.5 TO

Pulling down in Pro Tools

Figure 2.6 CAN EXPORTED #UT )T MUST OR 4O BE POP UP &ROM BY  !LTHOUGH WAY #HAPTER

2.4 Exporting the locked cut to

Pro Tools

4HERE LOCKED THE

TEXT CAME THE THE AUDIO THE WAS THE THE 4HIS AMOUNT &RAMEWORK EDITED COMPRESSED EXPORTED ADDITIONAL TO /-& EDIT AND !LTHOUGH POTENTIAL USED OR A INTO RETRANSFER 7HEN IN THE AUDIO THE ALTERING AUDIO AUDIO )T EDITOR FRAME THIS

OF /N &IRE7IRE  OF 0RO &ROM &IRE7IRE !NY -OST THEM #ROSSFADES 4OOLS 4HE INCLUDING METADATA -OST 4OOLS THE 4HE )NTERCHANGE THE THAT 4HIS OF /NE REGIONS

2.5 Importing the audio from

the picture edit, OMF versus EDL

4O 4HIS $IGI4RANSLATOR TINGS

NOT 4OOLS !FTER IMPORT MAY THERE &IRE7IRE  LENGTH Figure 2.8 FROM IMPORT AUDIO MOVIE Figure 2.7 DigiTranslator IS AND 4OOLS part of the DV Toolkit OPTION separately available OPTION !LSO 1UICK4IME REGION THE

THE SYNC INACTIVE 4O ORIGINAL 3IMULDAT $IFFERENT 0RO #INEMA TIMECODE AUDIO AUDIO IS THIS MUST 7E #HAPTER

Changes to the locked cut

7HILE OF OF EDITORS SMOOTHER 4HE OF REWRITTEN SESSION 4HE CALLED FORMS MANUALLY FROM

2.6 Timestamping

7HEN WITH 4OOLS

REGION TIME 3ELF CONTAINED MOVED THEM UP THE "7& REFERENCED SHOW AUDIO THE TIMECODE THE %$, WORTH MOVING 9OU LOCKED 4HE AND BASIC INTO OF EXPECT Figure 2.9 4IMESTAMPING REGIONS TO SYNC

TO -OREOVER ONLY WORK THE REPLACED OFTEN LATER THE

2.7 Portability

!S PROJECT AT EFFECTS Figure 2.10 DigiDelivery CAN AUDIO BETWEEN SYSTEMS 4HE ALLOWS UPLOAD THE TION TEM AND AUDIO TO SAME 4HIS BEING 0ICTURE AND ! THAT

$IGIDESIGN ONE $IGI$ELIVERY TEM AN 4HE 7EB )T IN )3$.

A simpler solution is Source Elements Source-Connect, a Pro Tools plug-in CAPABLE ANOTHER BEING SION DIALOGUE 4HERE USER MEDIA INTERLOCK COMMUNICATE BE BE

Portable systems

)T  NUMBER POWER CAN THE SESSION THE THE ! ADVANTAGE

HEADPHONE TO A TIMECODE )T DRIVE THE )F BE SOLVE MANY Figure 2.11 hSAVE possible to convert to OLDER

2.8 Workflow on “Loves Devotion

Forever”

h,OVES RECORDED $! WAS WAS 0ACIFIC THE

!N NEGATIVE TO READ THE IS CASE THE THE TWO 4HE GOOD EXTREME WASTED h,OVES INCLUDING WAS !LTHOUGH WAS 7ORKFLOW PLANNING IN $ONT AND FINAL

 

4HIS MOVED AUDIO

3.1 The edit window

Timecode display

%DITING ON THE GRID CANNOT STANDARD USING TEMS 7HEN IN ($ HOURSMINUTESSECONDSFRAMES  PULL DOWN 7ORKFLOWv

Slip mode

Editing Tools and the

Pro Tools Interface

Figure 3.1 SELECTOR

Spot mode

Figure 3.2 SELECTOR Figure 3.3 SELECTOR 3POT THE MODE IN USING TOP INTO 3POT FROM

Shuffle mode

3HUFFLE BE 3HUFFLE MIDDLE REGION 4HIS

Grid mode

'RID EDITING WITH

h$RAW THE GRID ING MOVED 

3.2 Memory locations

)T AND LONG SARY ! WITH SCENE WINDOW STATES CUTS PLACE ERS WINDOW PERIOD 4HIS AS THESE SESSION INTO h$IALOGUE 4HE NING SIBLE Figure 3.4 SELECTOR

3.3 The tools

Figure 3.5 ,OCATION TO SCENE AS STATES SEVERAL IS EFFECTS Figure 3.6 TOOLS 'RABBER

The three edit tools

4HE THE TOOL TOOL OR 4HE 4HE BECOMES MARKERS "ELOW TOOLS THE /BJECT

The Smart Tool

4HE TOOL MOVED MOVED TO )N HAD BASICALLY TOOLS GREAT ING !LTHOUGH RATE

Keyboard Tools

+EYBOARD

Figure 3.7  -)$) 4RANSIENTS AND SELECTED AND FROM )NSERTION buttons are bigger AND KEYBOARD EDIT BUT GROUPS WINDOWS 4HE hAxZv THREE 7HEN THE 4HERE THE

4HE AREA

7HEN WHEN

The Nudge command

)N IN MINUTES CODE IF IN ON PLAYBACK

3.4 Editing to video

7HEN 7HEN SPONDING PLACED SYSTEM 4HEN PROPER )F $ELETE TOOL THE 4RIMMER Function Macintosh/Windows Cut #OMMAND#ONTROL Copy #OMMAND#ONTROL Paste #OMMAND#ONTROL Clear #OMMAND#ONTROL Select All #OMMAND#ONTROL 3EPARATE #OMMAND#ONTROL 5NDO #OMMAND#ONTROL

TAIL SEVERAL THE Figure 3.8 EDITOR SPEED INS 4OOL 3ELECTOR !NOTHER TOOL PLAY THE WHERE THE WORKS ARE

The Pencil tool

4HE DRAW SAMPLE

SOUND WAVEFORM ARE FORMS LEAST

Figure 3.9 The Pencil

TOOL REDRAW Figure 3.10 The 0REFERENCES WINDOW THE FOLLOWS playback stops the insertion point moves to the stop point, at times A HANDY ON BUTTON

Scrolling

4HERE /N ING THE ALSO /N #ONTINUOUS CENTER 3CROLLING MEDIA IN LENT TOR 0REFERENCE /PERATION

3.5 The mix window

Figure 3.11 be large imposing pieces OF function is actually rather SIMPLE 4HE THIS HUNDREDS FUNDAMENTAL Figure 3.12 A basic

three channel to stereo MIXER

4HE 4HREE KNOB SOUNDS SION IS A  3LIDERS LATED !UTOMATION %ACH FREEING GRAMMED !DDING BOARD NELS -OREOVER TIVELY TO OND SLIDER A OR ASSIGNED THE LARGE Figure 3.13 Even

though this hypothetical MIXER LARGE 4HERE MONO POTS AUTOMATED

! BUS .EW "Y BOARD WE AUXILIARY AS INPUT

Figure 3.14 The outputs

NEED MAIN MIXER channels can be sent to AN THE WILL AUX STEREO Even the smallest Pro 4OOLS MONO

Figure 3.15 The output

of any channel can be ASSIGNED rather than the main STEREO channel can then be set to this bus as its input AND OUTPUT FOR FOR &OLEY

!UX RECORDER AUX BE NELS %VERY EVERY BE COMING 7ITH ROUTED /N AREA OUTPUT PERHAPS Figure 3.16 Effects SENDRETURN

UP SETUP !S AN BOARDS BAND %ACH THE SOLOED /UR MIXER  SLIDER TO IN

Figure 3.17 The virtual

0RO 4HE AND AND %1 OF REVERBS PATCH ARISES

!LTHOUGH A TANT A better system is to route groups of tracks through a single plug-in by routing THROUGH TO -ULTIPLE 4HERE OF ON AUX SAME UNUSED THIS %ACH FADER SLIDER SENDS !NY ANOTHER THAT THE Figure 3.18 SENDS BUSSES

Figure 3.19 RETURN SUBMIX CHANNEL Figure 3.20 EXAMPLE +ILL TO CHANNELS $8 TRACKS STEREO

! WHERE MATING 4HE SENDS )N BOARD STEMS OR FINISHING DIALOGUE STEREO ING 3TEMS 4O &8 A AND /N TEMS DUCTION SAME 5P OPTION AND THE 5SUALLY screens TRACKS WITH ARE )T FINAL A A CAL ADVENT RECORDER OR

BACKED SECTION )TS the Wind IN STARTING 4HESE TION AUTOMATED "UT OF TIME 4OOLS RECORDERv 4HE COMPARE MATCH TO PLAYBACK THE ENDS CELLv THE RECORDER 4HE TOMIZED !ND HARDWARE EXTRA

  REVERBS    RESTORATION 

4.1 Types of plug-ins

0LUG INS IN ESSOR 4HESE TO PATH 4HERE 4HESE 7ITHIN ESSORS SOFTWARE OTHER PLUG INS -OST CONCERT SOMEONE MIXING -ANY A THE -OST PLASTIC USED

Plug-ins

Figure 4.1 AVAILABLE ONLINE ,ETS FOUND

4.2 Video tools

Figure 4.2 The DV 4OOLKIT SELECTED TOOLS WORKING FILM

DV Toolkit 2

0ERHAPS THE AS EVEN PLUG INS $IGI4RANSLATOR N 4, N

3YNCHRO N $IGIDESIGN N 4HE AVAILABLE 4IMEBASE N  4IMECODE N Feet N  #URRENT N Current Feet N  5SE N !UDIO N 6IDEO N 4IMECODE N #USTOM N 3CRUBBER N $IGI"ASE N 4IMECODE N  Frames functions 0OWERFUL N 5P N

that can support these sample rates 0RO N 4HE PLUG IN ING COMMON AS &INAL OFTEN BERSOME 4OOLKIT AS 4, OF

BE ($ 6OC!,IGN TRACK $6 ($ 4HE BY NOISE REMOVAL 4$-PLUG IN 4HE PRODUCTION

Music Production Toolkit

7HY TOOLS THEY 4HE IS PLE BE 3MACK
7HEN GET ALSO TEM

4.3 Reverbs and convolution

reverbs

2EVERBS AUDIO TO AUDIO CAN ECHO

#ONVOLUTION ANALYZED INTO SPRING LUTION FEEL POSSIBILITIES /NE AVAILABLE ARE

Digital Reverbs

Figure 4.3 $ 6ERB BASIC /NE DIGITAL FROM

TrueVerb

Figure 4.4 TrueVerb is a classic DIGITAL GRAPHIC THE also features preverb or early reflections that are common in actual room ACOUSTICS

Reverb One

Figure 4.5 FROM

2EVERB IN &EATURES )NDEPENDENTLY N ATTACK %XTENSIVE N %ARLY N

reflection room presets

$YNAMICS N reverb effects

Convolution Reverbs

4,

Figure 4.6 convolution reverb FOR POSTPRODUCTION 4, TION THIS ALGORITHMS PARAMETERS

4, SPACES LOAD ,IBRARY &EATURES 3UPPORTS N &ULLY N )NCLUDES N applications )MPULSE N

Altiverb

Figure 4.7 hBEST Altiverb is the original CONVOLUTION

)NTRODUCED FAVORITE ACOUSTICS AS &EATURES N 3TAGE N

40 snapshot memories for automatable total recall

N

!COUSTICS #ELLO GEAR

Waves IR-1 Parametric Convolution Reverb

Figure 4.8 Parametric Convolution STEREO 4HE ROOMS "IRDLAND AN

Waves IR-360 Parametric Convolution Reverb

4HE 4HE

4.4 Futzing plug-ins

/FTEN IS A GREAT PERFECT

SpeakerPhone

!LTHOUGH AS NOT BACKGROUND THING TRACK 3PEAKERPHONE TUNING TION AND

D-Fi

$ &I !VAILABLE DISTORTIONS FOR QUENCY Figure 4.9 Parametric Convolution 2EVERB

Figure 4.10 SpeakerPhone

IS SOUND AND PRODUCES

are remaking Battlestar Galactica SYNTHESIS FROM THESE THE

Figure 4.12 Cosmonaut 6OICE &ACTORY Figure 4.11 TO AND SOUND

Cosmonaut Voice

4OP 'OSUDARSTVJENNOJ FROM SCIENTISTS 6OICE

COSMOS OF DEFINED TION CLAIMS AS YOU

Trash by isotope

Figure 4.13 Trash by ISOTOPE FAILS 4HE TRASH USE DONT GUY 4HE IT ROBOTS 4$-FOR THEY

4.5 Surround sound tools

3URROUND THE THAT HAVE TOO (OWEVER SOME A FOR  ,OW WOOFER 4HE 3URROUND  CHANNELS REFERS VERY

Dolby Surround Tools

$OLBY AN ,#23 STEREO INTO HAS 4HE BECOME Figure 4.14 0RO !DVANCED 2ESEARCH OFTEN instruments, these can ALSO effect on vocal tracks to hFUTZv

IS 4OOLS Figure 4.15 Dolby 3URROUND WITH FORMAT $OLBY SYSTEM

SurCode for Dolby Pro Logic II and Neyrinck SoundCode

for Dolby Digital and DTS

4HESE 0RO FINISHED 3UR#ODE IS TIPLE BLE ENCODED CAN 0RO .EYRINCK YOU

Figure 4.16 FOR .EYRINCK $OLBY SOFTWARE FILES FOR PLAYBACK BE QUALITY WHERE 3IMILAR ENABLES WITHIN

Waves 360

 Surround Bundle

4HIS 3URROUND BASS )T 3 N  3 N  2 N  # N  Compressor

Figure 4.17 3URROUND , N  - N  - N  ,&% N  )$2 N 

ALR (Audio Research Labs) Sound Stage

Figure 4.18 3TAGE

!,2 A BASS !,2 AND SPECTIVE

SurroundScope

Figure 4.19 3URROUND3COPE $IGI2ACK 3URROUND3COPE CHANNEL YOUR ANGLES SIMPLE OTHER

&EATURES 2EAL TIME N 3UPPORT N !UTOMATIC N -ULTIDIMENSIONAL N YOUR 3URROUND3COPE 4OOLS

4.6 Sound design

/FTEN DRAGONS INTO

Pitch shifters and time expansion and compression

4HE EXPANSION MOVABLE 4HERE GOOD !LTHOUGH ING

Since Pitch ‘n Time my life is fine! David Lynch, Film Director

&EATURES

-ODIFY

N

ously pitch-shift by three octaves 0REVIEW N 5NRIVALED N .O N 0ROCESS N 0ROCESS N

SoundToys TDM

9OU hPLAY POST 4HERE %CHO"OY N AND 3OUND"LENDER N pitch-shifting &ILTER&REAK N 0ITCH$OCTOR N Figure 4.20 4IME

Figure 4.21 7HO FUN 0HASE-ISTRESS N SYNCD 30%%$ N 4REMOLATOR N 0URE0ITCH N #RYSTALLIZER N

Eventide Anthology II Bundle

%VENTIDES ARE HELP UNRECOGNIZABLE )T % #HANNEL N SIDECHAIN

%1 N EQUALIZATION %1 N OCTAVE %VENTIDE N METRIC ( N THE ( N THE ( N ( N )NSTANT N )NSTANT N /MNIPRESSOR N /CTAVOX N 0RECISION N 1UADRAVOX N Figure 4.22 !NTHOLOGY

5LTRA #HANNEL

N

WITH PRECISION

ELS Vocoder – Orange Vocoder

Figure 4.23 6OCODER 6OCODER 4HE -OOG WITH UNDERSTANDABLE STRANGE ANALOG STRICTLY EFFECT STRANGE

The Usra Major Space Station SST-282 by

Princeton Digital

4HE BY $IGITAL VIDE

Figure 4.24 -AJOR 

4.7 Noise reduction and

restoration

/FTEN UNWANTED LINES 4HERE OR HELP

CEDAR Tools

Figure 4.25 4OOLS AND

#%$!2 UNWANTED 2ETOUCH N ! IFY SQUEAKY Auto Dehiss N !UTO DEHISSER THE UNWANTED Declip N ! MOST MODES GENUINE Auto Declick N 4HIS WITH CLICK -ANUAL N -ANUAL THESE MAXIMUM Dethump N $ETHUMP USING  Decrackle N 4HIS VARIOUS WITH

DINR

$).2 SAMPLES

NOISE REDUCTION INAL THE SUCH

Waves Z Noise

Figure 4.26 $IGIDESIGN Figure 4.27 .OISE &ROM

&EATURES &IVE "AND N %NHANCED N -ONITOR N %XCLUSIVE N AND !DAPTIVE N 5P N -ONO N 24!3 N

reNOVAtor by Algorithmix

Figure 4.28 BY 2E./6!TOR SOUNDS LEAVE

IT ESSED UNWANTED &EATURES &LAWLESS N !UDIO N .O N 2EPLACEMENT N !UTOMATIC N !UTOMATIC N -ULTIPLE N !LL N

Waves Restoration Bundle

Figure 4.29 2ESTORATION GREAT TOOLS 7AVES NOISE OR AND

)T 8 .OISE N 8 #LICK N 8 #RACKLE N 8 (UM N : .OISE N

4.8 Utilities

Source Connect

Figure 4.30 Source #ONNECT INTERCONNECTION more Pro Tools systems VIA

5SING VIA TEMS ERED ACTOR IN 4HIS DURING 4HE PRODUCERS MEANS

Virtual Katy

Figure 4.31 CONFORMS TO monitors the progress of THE 4HE TEM 6IRTUAL CHANGES LISTS NEW 4HE TIME ORIGINAL /THER FOR

THE TRACK

ADR Studio

!$2 PRINTABLE AND TO LIGHT %DITINGv 0LUG INS THE AGED

EDITING  MATCHING   &OREVERv

5.1 Splitting off tracks and

dialogue editing by character

4HE TRACKS OF EACH DIFFERENT OF THE %VERY ALL AND A DIALOGUE FRAMEWORK $IGI4RANSLATOR OR /-& 4HE A THAT /N 7HEN AUDIO

Dialogue editing and

7HEN CAN 4HE THE !LL IF THE USING 4HE LAYOUT FORTH HIDE (OWEVER TRACK -ANY 4HIS IT IN Figure 5.1

IS TRACKS IS TRACK HAVE NEVER SCORES AND THESE BIG 0RODUCTION TRACKS EDITED MOVED MIXER %VERY HAVE OFF THE TRACKS NOISY PUT THIS

5.2 Noise reduction and ambience

matching

4HERE TRACKS

Dialogue editing technique one

4HE UNWANTED cuts from one clip to another slightly, filling any holes left from cutting things OUT IN

4HIS OF PROJECTS

5SING &OREVERv THIS OF UNWANTED AROUND AND PLE ARE BUTTED )F LOGUE -OREOVER REPLACEMENT EVEN

Dialogue editing technique two

)N OUT OF BACKGROUND A WILL AMBIENCE 7ITH MATCH WILL THE Figure 5.2 DIALOGUE WHILE HOLES

WILL OF BE A NO /FTEN Figure 5.3 Dialogue EDITING creates a seamless BACKGROUND movement track from THE TRACK this is the same scene as IN "URKS lines are still in tracks ONE they are cut tight to the MODULATION IS LINES BACKGROUND SOUNDING /NE DIALOGUE TRACK NEEDED WAS "URK type of splitting is DONE line, creating sort of a CHECKERBOARD FOR LINE PROBLEM WAS WITH 4HERE ING TRACK CAN THE NEARER TRACK

TO IN OF !CTUALLY LOGUE RUNS )N THE UP TO TION SIMILAR HELP TO THE THE ING FAR EDIT

O n t h e We b s i t e

C

4HESE PROJECT %XPERIMENT EACH SET ING SCENE TION A REPLACEMENT

5.3 ADR

7E POPS AS SMALL

Figure 5.4 RECORDED OR VIDEO !$2 DEVELOPED SYSTEM LINE !CTORS CUEING SCREEN -ANY Figure 5.5 FROM for cueing, printing CUE IMPORTED !$2 POPS LIGHT BOTH 642

#UEING MUST 7HAT MAJOR !$2 TO ISSUE THE #UEING STAGE TRACK TOOLS TO PROBLEMS 4HE LOCATION FROM TO EDITOR THEY )N IS ING Figure 5.6 -IXER AND THE PRODUCTION

!$2 IN RUN 4HE THE IT ARTIST SELECTION BE ONE WHAT 5SUALLY MATERIAL RIGHT ONE THEIR

Recording ADR with ProTools

Figure 5.7 ARE OVER PRODUCTION USED THE PRODUCTION USED MANY A 4HE OF

THE STUDIO PAGES !LTHOUGH STUDIO OPEN ANY !S CUT FRAME TO #REATE THE CUE REPLACE NEED 'O TIMELINE THE IN AND MENU "EGIN HEADPHONES THE STOP CUE WANT TO THE FOURTH MASTER

ADR editing

/NCE THE THE

TRACKS TOGETHER AND AROUND PERFORMANCE ! LINE AND PLOTS SO WILD 4HERE THAT OVERDOING 7HAT THE ALIGNMENT ACCEPT EDITING )F UME IF TAKE Figure 5.8 BE INTO PRODUCTION

5.4 Walla

/NE A WHETHER OR SCHEDULES 4HIS THEIR UP NEVER DIALOGUE WALLA !S AN A BE

5.5 Dialogue editing on “Loves

Devotion Forever”

The dialogue edit

4HE CREATED

Figure 5.9 OFFERS better performance over THE

/NCE AUDIO COUNTDOWN .OTICE 4HE Figure 5.10 The WORKING WAS WAS 0RO MANAGING DATABASE WERE #UT the basis of the Pro Tools SESSION ;RED 1UICK4IME &INAL files are the Final Cut Pro project, the Cinema Tools DATABASE THE ARCHIVE PICTURE LIST 

O n t h e We b s i t e – T h e D i a l o g u e E d i t

C

4HE &OREVERv DERIVED COULD SOFTWARES ONE EFFECTS 0RO EDIT TEMP SHOW 4HE FOR 9OU OFF

Figure 5.11

$IGI4RANSLATOR IMPORT 4OOLS DIALOGUE

Figure 5.12 The initial

IMPORT SHOWED TRACKS WAS AUDIO UNCOMMON A IN STAMP TRACKS DIALOGUE TRACKS TRACKS DIALOGUE ALREADY  WERE ONE CHARACTERS !$2 FOR

Figure 5.13 HAD AUTOMATED 0RO #UT PRESENT FOLDER 3ESSION

Figure 5.14 All temp

MUSIC FOUR The temp music tracks AND ALL SET HIDE THEY FUTURE MADE IS NEEDED BE !LL 4IME

Figure 5.16 memory location menu IS markers at certain locations, SETTING BE HIDE GROUP PRESETS USED EFFECTS

Figure 5.15 All scenes

WERE markers at the first FRAME the memory locations WINDOW COULD by clicking on the CORRESPONDING LOCATION STATE CREATED TRACKS TRACKS AND ARE memory loc pop-up menu in the memory LOCATION THE )N IMPORTED OF ONE A

Figure 5.17 DIALOGUE IT WITH COMMAND ,IST CURRENT USED

Figure 5.18 The original

PRODUCTION PICTURE MEMORY THE THREE ON image SHOW left n TIMECODE ,OWER 6IDEO FRAME right number for this frame ON NEGATIVE Film stocks are mASHED AND BARCODES AFTER OF NEXT NEXT 4HE LINES REMOVE BETWEEN LAY LINES AND

WITH STEM EFFECTS EFFECTS Figure 5.20 CUTTING strip silence function in THE MENU TO BETWEEN to clip off the tail of the LINE TWEAKING "ECAUSE IT ADDITION COMPLETE !$2 CUT Figure 5.19 EXAMPLE lines has been split off INTO (IS beginning of the scene ON AND LINE SOUND TWO NEED OR -IXING LINES or even impossible if THEY UP IT LINES EXCELLENT

)NITIALLY .EWSMAN SCENE  TRACK SPLIT LINES !$2

ADR and walla on “Loves Devotion Forever”

/RIGINALLY -ADELINE ANNOUNCER THE SCENE TRYING "ECAUSE MACHINE -ADELINE EFFECT ! SCENE h"ROOKIESv THE 3OME UNWANTED SMALL REMOVED OUT 3OME APPLIED

Figure 5.21 The final

DIALOGUE TRACKS EFFECTS TECHNIQUE WHEN FAIRLY NOISE OF REQUIRES TECHNIQUE

! BEFORE TRACK THE NEW DESTRUCTIVE SOUNDS INACTIVE TO Figure 5.23 Several of THE FRONT AMOUNT 4HERE !$2 WAS Factory clip remover IMPROVED Figure 5.22 EXAMPLE WAS TAKE AREA !LTHOUGH small, it is more than CAN PENCIL NEW IN THE SELECTED Then a short section of AUDIO THE COPIED THE WERE EDIT IMAGE

/FTEN BUT KIND PLUG IN CHARACTERISTIC (UM AS h THEN BAND REMOVE /NE THE Figure 5.25 !UDIO3UITE to remove noise that is AT AS SAMPLES THEN WITHOUT DIALOGUE

Figure 5.24 The apply

GAIN SEVERAL JUST A .O gain brought them up to A EXTRA

UNTIL REMOVED PASS 7ITH READY CAN HERE $IALOGUE MUSIC AND 4HESE DIALOGUE

Figure 5.26 The

seven-BAND $IGIDESIGN TO RUMBLE ADJUSTED OF BE KNOB THE SCOPE

     

6.1 Cuing sound effects (FX)

3OUND !$2  TO PLAY THERE )N YOUR INTO 9OU WHATEVER ARE SIVE IN SOUND BREAKAWAY 7HAT TER THE -AKE THE SOMETHING ON FECT OUT IS SOUND NOT

Sound design

See an animal, hear an animal – the art

of sound design

4HERE MUST FOR HEARD ! THIS ON !LTHOUGH LOGIC %VERYTHING IS THE SPACESUITS SOUND NO THING ING SOUND SOUNDS )F MORE THE ONCE USE MAKE BEAR -ANY SOUND DRONE REFERRED WORD CAMERA MOOD ING MAY UNREAL THEY %FFECTS QUALITY

AND RECORDING 4HERE MUCH THE THE TURE (ONG SHOT 4HE SPEAKING LOGUE OF OF START LINE ONLY MAY JAZZ IS UNDER 4HE SOUNDS HEAR COMPETE THE MASSIVE MIXED LET IN SCORED -ANY 4HE ANY UNDERSTAND

6.2 Library effects

-ANY 4HERE .ETWORK

EFFECTS PER STILL !)&& 4HE RIGHTS AS ,IBRARIES ING USELESS  MIGHT SEARCH 3EARCH hPERSON ONLINE EDITOR ,ETS THE WHAT Figure 6.1 ONLINE 3OUND LARGEST effects in several formats INCLUDING

7E NEED

!LTHOUGH WORK US GREAT SEARCH /NE "ECAUSE ANY OFFERED IN PREVIEWS .ET-IX DATA FROM MAJOR WITH 4HE MEDIA TERS NO THE THE $IGI"ASE DRIVES ANY IS AREA THAT

Figure 6.2 Search results

7HENEVER OF THEN OF WITH LIBRARY LAYOUT ERS )T IN COMMAND THE AND TO ENTIRE FOLDER DONE ANY )NDEXING YOU CATED TEM INTO AFTER /N FROM FOR 3OUNDS 4HESE THEY USE ING CATALOG THE TO CATALOG A TO CATALOG EASY HOURS HOURS

$ATABASE COMMENTS EDITABLE DROP INDEXES #ATALOGS LIBRARY EFFECTS DRAG THE 4HE TO ABLE COMPLETE EVER ARE REINDEXING QUICKLY AND IT 3EARCHING BE COPIES MEDIA

Figure 6.3 The Pro

4OOLS USED FOR RIGHT SOUNDS DIRECTLY OR

Creating a catalog for “Loves Devotion Forever”

7ITH SYSTEMS ICON BY .OW SEARCH EFFECTS THESE WHERE TER BY THE DRIVE WOULD IS !S 7HEN ABLE EFFECTS CLIPS EFFECTS

6.3 Recording sound effects

6ERY THE GOOD ENOUGH ING THEIR PERFECT TO ING TRAVEL MEANS PROBLEM IS RECORDING ARE WHICH

9OUR TO MER THROWING )F THEN YOU PLOWING !S THE INSIDE FORTH 4HIS 2ECORD MOVEMENT YOU LEMS WHOLE )TS YOU $ONT YOU CAN RESULTS Figure 6.4 ONLY PROPER IT

6.4 Creating sound effects

#REATING A DONKEY SOMETHING 4HE !LTHOUGH THE MIDDLE ITS /NE DIGITAL VOICE THE .AGRA SHIFTING 4HE VERY STRANGE ELSE ONE VOICE TOOTH CREATIVE THE ,ETS

Rereversing

Figure 6.5 AND THE TO SOUNDS ! SOUND SUITE CLASSIC

Key gating

/NE GATE SAY Figure 6.6 WITH ALTER WITH KEY SPEND BASIS 0LACE HAS EFFECT THE CONTROLLING MAY EFFECT IT LATED ING LINE PLAYING SOMETHING

Speeding up, slowing down, and pitch shifting

3PEEDING TO TIME PITCH IF ANALOG LOWER BE CAN SHIFTED

Special plug-ins

4HERE #OSMONAUT BE OR 3OME SLOWING 3ANS!MP FALLS LOWER THE YEARS WITHOUT THING ARE THAT 4HERE EDITOR EFFECTS LONG SOUNDS BE

6.5 Track layout

)N PUT LOW THE

NUMBER IS KNOW

Backgrounds and ambiences

%VERY SEVERAL TO MIXEDv GROUP THROUGH TROL SESSION CALLED )F BE BE THE ONLY

Foley

&OLEY THE &OLEY EARLY THINGS SYNC WATER EVEN THE &OLEY &OLEY 4HE TIMES THE HUNDREDS 2ECORDING THE PROBLEM OFTEN NECESSARY

Figure 6.7 -IKE 7ARNER AT "URBANK Figure 6.8 4OM for The Catbird Seat at &ILM

3OME !LTHOUGH EXAGGERATED BE

Cuing Foley

&OLEY OR THE WITH VOICE THAT MIXED Figure 6.9 IN 4HIS CUED MIX SHEETS MIX THE INCOMING THE SHEET !$2 LINES &OLEY CUE 4HE &OR TO CUEING THAT FOR 7ITHIN THE

DIFFERENT SYNC ,ARGE THE TO INTO FORMAT /FTEN RECORDED FOOTSTEPS STEPS OR USED Figure 6.10 *ENNIFER THE cloth movement track is USUALLY HOLDING FABRIC MOVEMENT THE INTO 4HERE FILMS THE THE SPURS ANOTHER PROPS &OLEY TRACK DIO PONGED

)T EFFECTS &OLEY TO SWINGING CAN 4HE Figure 6.11 The

footsteps tracks are the HEART

! BEING MONITORING EFFECTS PLACE CALLS FICULT PLER 36'!

6.6 MIDI Foley

)T -)$) KEYBOARDS LINKED FORMATS /NCE THE SAMPLES RECORDED &OLEY Figure 6.12 CAN PLAYBACK RECORDING

STEPS TIVE THE POURING

6.7 Backgrounds

"ACKGROUNDS LOCATION THE GIVE SUPPORT AS BACKGROUND 4HE IN BLE PEAR THROUGH TINUOUS /N CAN THE RECORDER ONES CAN 3 MONO TO STEREO )T WILL GROUNDS IN WHATEVER WILL 4HE OF !VOID N FOOTSTEPS GROUND AND

!VOID N IN 5NLESS N BIRTHDAYS

6.8 5.1 Surround effects

4HE NEED RECORDER BACKGROUNDS BACKGROUND OUT 3OME TO OF CHANNEL FOR 3OME SCENE OTHER SOUNDS OR WITH IN AND 4HE AND MIXING STEREO AND 4HE PUSH REQUIRES SONS STARTED

  ,OGIC )NSTALLING    music stems   &OREVERv

!LMOST DAYS 7URLITZERv #HARLIE SIMPLY 4HE NIQUES SON

Music

Figure 7.1 

7.1 The music editor

!LTHOUGH AND MUSIC ALSO AS 4HE THEIR INVOLVE FOR THE THEY ALSO BASED )T MUSIC EDIT COMMUNICATE EVEN #LICK PRODUCTION SPEED EDITORS WHEN #LICK APPLY BY 4HE TRACK TO SCENES DETERMINE DANCERS TEMPO )N CASE

the playback DAT or other playback format to ensure that the playback track IS 7HEN FOR $!4 MIXER MADE 0RODUCTION RUNNING RESPONSIBLE )F VIDEO ISSUES  ARE )F TRACK DOWN THAT INTRODUCED %VEN ENTIRE THE COMPANIES )F PULLED Figure 7.2 WORKFLOW FINAL VIDEO PULLED AFTER PROJECTS ON VIDEO TRACKS BEFORE

USED FILM #LICK REGIONS %XPORT PULL UP THE PULLED MIX EVEN !S BEGINS TEAM OF ROUGH AND !T CHANGED *UST KEY FILES SOFTWARE MARK THE 4HE ARE NUMBERS EDITOR AND THE 0RO PICTURE FROM TIMECODE EDIT TO

!S IS DUBSv MUSIC USUALLY REWORKING REEL EDIT EFFECTS THE MATCH TURE OFTEN

7.2 MIDI and instrument tracks

!LONG TRACKS NOTE ARE Figure 7.3 TRACK TRACK IN channel strip reveals that THERE outputs, or inserts on a -)$) NO THE