Pro Tools for Film and Video
Transcript of Pro Tools for Film and Video
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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
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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
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Dedication
Figure 1
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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
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Speaker placement 3
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Chapter 2 Audio workflow 51
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Chapter 3 Editing Tools and the Pro Tools Interface 75
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Chapter 4 Plug-ins 93
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Chapter 5 Dialogue editing and replacement 125
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Chapter 6 Sound design 149
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Chapter 7 Music 171
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Chapter 8 The Dub 189
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Chapter 9 Output and delivery 217
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Contents
xiii
4
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Appendix 1 Analog audio 229
Appendix 2 Digital audio 245
Index 255
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xiv
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Introduction
Figure 1Stockham at the
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Introduction
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Figure 2 The original
Figure 3
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Introduction
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The Kodak 35 mm Project – “Loves Devotion Forever”
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Figure 1
professionals making this
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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
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The Kodak 35 mm Project – “Loves Devotion Forever”
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Producers; Jaws, The Conversation, Biloxi Blues; Alias, Dawson’s Creek,
NYPD BlueCSI, Jeopardy, Nixon -
Figure 4
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The Kodak 35 mm Project – “Loves Devotion Forever”
-
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Figure 5
Figure 6 The set for
Erin Brockovich
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The Kodak 35 mm Project – “Loves Devotion Forever”
xxi
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arranging
-
Figure 7
Figure 8 many of the
successfully on scores Seabiscuit
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About Pro Tools 8
Pro Tools 8
Figure 1
, -
-on is high-
,
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About Pro Tools 8
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Figure 2
in the original overlay
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About Pro Tools 8
, -
hat is to say, if you are a -
each region can be
to
,
,
Pro
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About the Web site
mm project r
in it
-,
T
, that , e
-
sc, simply make all the final score tracks
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In this chapter
3
30
Forever
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1.1 The audio interface: M-Powered, LE, and HD
1Pro Tools systems
Figure 1.1 Pro Tools
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Figure 1.2
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Pro Tools systems
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Figure 1.3 Pro Tools
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Figure 1.4
Figure 1.5
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1.2 The video interface
-
Video playback from QuickTime
Figure 1.6
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1.3 Machine control and the SYNC HD
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Pro Tools systems
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Figure 1.7or the latest innovation
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Pro Tools 8: Pro Tools for Film and Video
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Using the SYNC HD (or older USD)
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Video playback via machine control
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Figure 1.8 The Pro
to lock Pro Tools to
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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
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The Shining
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Figure 1.10 The Virtual
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Using alternate sync references
-
1.4 SYNC HD connections on synchronized HD systems
Figure 1.11 The Doremi
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1.5 Configuring the Peripherals window
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--
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1.6 Configuring the Session Setup window
-
Figure 1.12
from the Peripherals
systems, in Setup go to
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Session start
--
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Figure 1.13 Session
you can setup many of the parameters of the
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Figure 1.14 Session
change the session start
Figure 1.15possible to offset the
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The clock source and Sync Setup
Figure 1.16 Sync Setup in the Session Setup
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Timecode settings
Pull-up and Pull-down
1.7 MIDI interface
Figure 1.17 The
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Figure 1.18
Figure 1.19
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Figure 1.20
from the Transport
Figure 1.21
control surfaces can
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Ethernet control
-
Figure 1.22 The
control surface uses Ethernet to
Figure 1.23 The
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1.8 Data storage
Figure 1.24
backup can serve several
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1.9 I/O Setup
Figure 1.25
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four, five,
in this case the front right
-sion,
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Figure 1.26 Even
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Figure 1.27 The output of any channel can be
output from the output
Figure 1.28
outputs not available for
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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
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Figure 1.31 The names
1.10 Studio design
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Basic acoustics
-
Figure 1.32
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Figure 1.33 Corner
a corner, they reflect symmetrically off the
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Figure 1.34
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Figure 1.35
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Figure 1.36
Figure 1.37
Figure 1.38 Angling the
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Speaker placement
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Figure 1.39
monitor speakers must be
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1.11 Dolby Pro Logic 5.1 playback
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Lord of the Rings -
1.12 Isolation
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Ergonomics and equipment
Audio monitors
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Figure 1.40
speakers are not at their
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Tuning the audio monitors
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Figure 1.41
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Video monitors
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The garage studio
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Figure 1.42
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Figure 1.43
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Figure 1.44
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Figure 1.45
Figure 1.46
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Figure 1.47
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Figure 1.48
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Figure 1.49
The cabinet on the bottom of the stack is the
single speaker mono systems, but as stereo became available the speakers -
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1.13 Systems used on “Loves Devotion Forever”
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PD 4 DAT
Figure 1.50
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Tools
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2.1 Pull-up and pull-down workflows when shooting on film
2Audio workflow
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goes through the 3:2 pull-down
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Film to NTSC pull-down
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Film to PAL pull-down
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2.2 Production recording
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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
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Managing an audio edit decision list
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Analog recordings with pilot
Figure 2.1
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Figure 2.2
sync or
DAT production audio
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Audio workflow
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Figure 2.3
Digital tapeless systems
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Figure 2.4 The
Figure 2.5
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Pulling down in Pro Tools
Figure 2.6
2.4 Exporting the locked cut to Pro Tools
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2.5 Importing the audio from the picture edit, OMF versus EDL
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Figure 2.8
Figure 2.7 DigiTranslator
part of the DV Toolkit
separately available
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Changes to the locked cut
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2.6 Timestamping
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stems, are an asset
Figure 2.9
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dub
2.7 Portability
Figure 2.10 DigiDelivery
--
Lord of the Rings
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A simpler solution is Source Elements Source-Connect, a Pro Tools plug-in
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Portable systems
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Figure 2.11
possible to convert to
2.8 Workflow on “Loves Devotion Forever”
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3.1 The edit windowTimecode display
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Slip mode
3Editing Tools and the
Pro Tools Interface
Figure 3.1
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Spot mode
Figure 3.2
Figure 3.3
Shuffle mode
Grid mode
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-
3.2 Memory locations
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Figure 3.4
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3.3 The tools
Figure 3.5
Figure 3.6
The three edit tools
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The Smart Tool
-
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Keyboard Tools
Figure 3.7
buttons are bigger
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The Nudge command
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keys
3.4 Editing to video
-
Function Macintosh/Windows
Cut
Copy
Paste
Clear
Select All
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Figure 3.8
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The Pencil tool
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Figure 3.9 The Pencil
Figure 3.10 The
playback stops the insertion point moves to the stop point, at times
Scrolling
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3.5 The mix window
Figure 3.11be large imposing pieces
function is actually rather
Figure 3.12 A basic three channel to stereo
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Figure 3.13 Even though this hypothetical
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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
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Figure 3.16 Effects
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Figure 3.17 The virtual
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A better system is to route groups of tracks through a single plug-in by routing
Figure 3.18
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Figure 3.19
Figure 3.20
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omputer screens
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The Wizard of Oz Gone With the Wind
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4
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4.1 Types of plug-ins
-
-
4Plug-ins
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Figure 4.1
4.2 Video tools
Figure 4.2 The DV
DV Toolkit 2
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Feet
Current Feet
Frames functions
that can support these sample rates
-
function very -
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Music Production Toolkit
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-
Digital Reverbs
Figure 4.3
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TrueVerb
Figure 4.4TrueVerb is a classic
also features preverb or early reflections that are common in actual room
Reverb One
Figure 4.5
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reflection room presets
reverb effects
Convolution Reverbs
Figure 4.6convolution reverb
-
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applications
Altiverb
Figure 4.7
Altiverb is the original
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40 snapshot memories for automatable total recall
Waves IR-1 Parametric Convolution Reverb
Figure 4.8Parametric Convolution
Waves IR-360 Parametric Convolution Reverb
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4.4 Futzing plug-ins
SpeakerPhone
-
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D-Fi
-
Figure 4.9Parametric Convolution
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Figure 4.10 SpeakerPhone
are remaking Battlestar Galactica
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Figure 4.12 Cosmonaut
Figure 4.11
Cosmonaut Voice
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Trash by isotope
Figure 4.13 Trash by
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4.5 Surround sound tools
-
Dolby Surround Tools
Figure 4.14
g tools,
instruments, these can
effect on vocal tracks to
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Figure 4.15 Dolby
SurCode for Dolby Pro Logic II and Neyrinck SoundCode for Dolby Digital and DTS
--
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Figure 4.16
Waves 360 Surround Bundle
Compressor
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Figure 4.17
ALR (Audio Research Labs) Sound Stage
Figure 4.18
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SurroundScope
Figure 4.19
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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
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SoundToys TDM
pitch-shifting
Figure 4.20
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Figure 4.21
Eventide Anthology II Bundle
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Figure 4.22
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ELS Vocoder – Orange Vocoder
Figure 4.23
The Usra Major Space Station SST-282 by Princeton Digital
-
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Figure 4.24
4.7 Noise reduction and restoration
CEDAR Tools
Figure 4.25
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Declip
Auto Declick
Dethump
Decrackle
DINR
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Waves Z Noise
Figure 4.26
Figure 4.27
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reNOVAtor by Algorithmix
Figure 4.28
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Waves Restoration Bundle
Figure 4.29
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4.8 UtilitiesSource Connect
Figure 4.30 Source
more Pro Tools systems
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--
Virtual Katy
Figure 4.31
monitors the progress of
Lord of the Rings -
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ADR Studio
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5.1 Splitting off tracks and dialogue editing by character
5Dialogue editing and
replacement
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Figure 5.1
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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
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Dialogue editing technique two
Figure 5.2
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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
-
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On the Website
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Figure 5.4
Figure 5.5
for cueing, printing
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Figure 5.6
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Recording ADR with ProTools
Figure 5.7
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cue
subregions
ADR editing
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Figure 5.8
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5.4 Wallawalla
5.5 Dialogue editing on “Loves Devotion Forever”The dialogue edit
Figure 5.9
better performance over
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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
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Figure 5.11
Figure 5.12 The initial
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Figure 5.13
Figure 5.14 All temp
The temp music tracks
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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
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Figure 5.17
Figure 5.18 The original
The
image left
for this
right number for this frame
Film stocks are numbers
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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
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ADR and walla on “Loves Devotion Forever”
Figure 5.21 The final
This tight cutting
is
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Figure 5.23 Several of
Factory clip remover
Figure 5.22
small, it is more than
Then a short section of
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Figure 5.25
to remove noise that is
Figure 5.24 The apply
gain brought them up to
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Figure 5.26 The seven-
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6.1 Cuing sound effects (FX)
dub
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Figure 6.1
effects in several formats
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Figure 6.2 Search results
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Creating a catalog for “Loves Devotion Forever”
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6.4 Creating sound effects
Rereversing
Figure 6.5
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Key gating
Figure 6.6
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Speeding up, slowing down, and pitch shifting
Special plug-ins
6.5 Track layout
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Backgrounds and ambiences
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Figure 6.7
Figure 6.8
for The Catbird Seat at
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Cuing Foley
Figure 6.9
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cloth movement track is
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Figure 6.11 The footsteps tracks are the
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Figure 7.1 Birth of a Nation
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7.1 The music editor
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the playback DAT or other playback format to ensure that the playback track
Figure 7.2
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Figure 7.3
channel strip reveals that
outputs, or inserts on a
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still a basic instrument
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sampling microphones
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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
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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
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general groups, buyout rights available
7.4 Multitrack, instrument groups, and music stems
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score, there is so much control over the final feel of the music that their intent
7.5 Scoring and recording
Figure 7.8
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Figure 7.9 The
Figure 7.10 Film
Although magnetic film
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7.6 Music on “Loves Devotion Forever”
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Figure 7.12 The
track item imports the
Figure 7.11function in Sonicfire
separate tracks as files
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Figure 7.13
only as spacer to keep the cue in the proper
Figure 7.14 The time-
the proper tracks in Spot
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Figure 7.15 The final five track cue is
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satisfying than bringing the score to life on a film, being on both the scoring
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automation
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8.1 Dubbing theory and techniques
dubbing, consists primarily of placing all
8The Dub
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Lord of the Rings
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Charles volunteer their
one is one of the largest
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Figure 8.2 Charles
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on the Lord of the Rings
8.4 The final dub
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beginning of the Pro Tools session, normally the first frame of the picture after
Figure 8.3
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8.5 Control surfaces and automation
Figure 8.4 The
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be possible on some control surfaces or plug-ins, but it certainly can still be
--
Figure 8.5 The
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Figure 8.6
Figure 8.7
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8.6 Outboard devices
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8.7 Levels and equalization
Figure 8.9
menu as an
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ADR
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Sound effects
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Foley
Kung Fu Movie
Music
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Figure 8.10
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8.8 Mixing effects and futzing
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8.9 MIDI music
8.10 Surround mixing
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Creating session templates
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Low frequency effects
in playback, on either a full range theater system or a home satellite system,
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Figure 8.11
8.12 Mixing “Loves Devotion Forever”
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Figure 8.12 The Pro
Figure 8.13
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9.1 Levels and head tones
at
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Figure 9.1 The Signal
9.2 Output and delivery
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Figure 9.2
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Bouncing to disc versus layback
Figure 9.3 The bounce
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9.3 Stems
9.4 Delivery for film printing, optical sound, and pull-up
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Figure 9.4 The film strip
print through creating the
The center strip is the
9.5 The projection print
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9.6 Exporting the surround composite mix and finishing on DVD
9.7 Encoding, delivery, and optical sound on “Loves Devotion Forever”
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Figure 9.5 The Dolby
through the Dolby
Figure 9.6 Dolby
Dolby controls are on
There is also a Dolby
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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
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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.
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Appendix 1 Analog audio
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Appendix 1 Analog audio
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Analog or analogue analogos, meaning something
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A brief history
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Figure A1.2
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Figure A1.4
pianos, a pipe organ,
Figure A1.3
Department of the
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Figure A1.5 The
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Appendix 1 Analog audio
Figure A1.7 This frame
Figure A1.6 The
the tube earphones on
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Figure A1.8 This sync
electrical motors, but
Figure A1.9
this photograph, he is
phonographs, the one on the right is cast from
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Appendix 1 Analog audio
--
--
-
Figure A1.10 The filmstrip on the right
The strips in the center
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Noise reduction and expanding dynamics in analog recordings
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Figure A1.11
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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
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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
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aliasing or quantization error
--
--
-
-
Figure A2.3
original playback is over
takes the playback
Any analog filters
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Appendix 2 Digital audio
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Advantages
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Error correction and compression
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Appendix 2 Digital audio
-sum interval have been lost, there is no hope of the checksum error correction
-
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1812 Overture, for an instant no one can hear anything but the
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Digital processing
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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
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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
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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
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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
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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
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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
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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
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