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Pro Tools for Film and Video

Book Description

This is a step by step guide for editing sound to picture using Pro Tools, starting by explaining the Pro Tools systems the author does a great job covering all key audio topics including the equipment, sound, music, effects, output and mixing tools.
The book is for professional sound engineers and film students needing to use sound effects and edit sound to picture in Pro Tools, Pro Tools is used by 80% of the motion picture industry and taught in most film schools. While there are many Pro Tools books on the market most are aimed at the music user and there is a lack of material for the film and video specific application of this software.
Clearly set out and thorough in coverage the book takes a practical approach, a live project runs through the chapters illustrating how different functions have been added to a film providing you with the real detail as to how you would apply it to your edit. Extensively illustrated in colour and packed with time saving hints and tips a DVD with tutorials completes the package.

Table of Contents

  1. Cover
  2. Half Title
  3. Full Title
  4. Copyright
  5. Dedication
  6. Contents
  7. Introduction
  8. The Kodak 35 mm Project – “Loves Devotion Forever”
  9. About Pro Tools 8
  10. About the Web site
  11. Chapter 1 Pro Tools systems
    1. 1.1 The audio interface: M-Powered, LE, and HD
    2. 1.2 The video interface
      1. Video playback from QuickTime
    3. 1.3 Machine control and the SYNC HD
      1. Using the SYNC HD (or older USD)
      2. Video playback via machine control
      3. Locking picture to Pro Tools
      4. Using alternate sync references
    4. 1.4 SYNC HD connections on synchronized HD systems
    5. 1.5 Configuring the Peripherals window
    6. 1.6 Configuring the Session Setup window
      1. Session start
      2. The clock source and Sync Setup
      3. Timecode settings
      4. Pull-up and Pull-down
    7. 1.7 MIDI interface
      1. Ethernet control
    8. 1.8 Data storage
    9. 1.9 I/O Setup
    10. 1.10 Studio design
      1. Basic acoustics
      2. Speaker placement
    11. 1.11 Dolby Pro Logic 5.1 playback
    12. 1.12 Isolation
      1. Ergonomics and equipment
      2. Audio monitors
      3. Tuning the audio monitors
      4. Video monitors
      5. The garage studio
    13. 1.13 Systems used on “Loves Devotion Forever ”
  12. Chapter 2 Audio workflow
    1. 2.1 Pull-up and pull-down workflows when shooting on film
      1. Film to NTSC pull-down
      2. Film to PAL pull-down
    2. 2.2 Production recording
    3. 2.3 Transferring dailies with or without pull-down
      1. Managing an audio edit decision list
      2. Analog recordings with pilot
      3. DAT production audio
      4. Digital tapeless systems
      5. Pulling down in Pro Tools
    4. 2.4 Exporting the locked cut to Pro Tools
    5. 2.5 Importing the audio from the picture edit, OMF versus EDL
      1. Changes to the locked cut
    6. 2.6 Timestamping
    7. 2.7 Portability
      1. Portable systems
    8. 2.8 Workflow on “Loves Devotion Forever”
  13. Chapter 3 Editing Tools and the Pro Tools Interface
    1. 3.1 The edit window
      1. Timecode display
      2. Slip mode
      3. Spot mode
      4. Shuffle mode
      5. Grid mode
    2. 3.2 Memory locations
    3. 3.3 The Tools
      1. The three edit tools
      2. The Smart Tool
      3. Keyboard Tools
        1. Keyboard Focus – Link Timeline and Edit Selection selectors
      4. The Nudge command
    4. 3.4 Editing to video
      1. The Pencil tool
      2. Scrolling
    5. 3.5 The mix window
  14. Chapter 4 Plug-ins
    1. 4.1 Types of plug-ins
    2. 4.2 Video tools
      1. DV Toolkit 2
      2. Music Production Toolkit
    3. 4.3 Reverbs and convolution reverbs
      1. Digital Reverbs
      2. TrueVerb
      3. Reverb One
      4. Convolution Reverbs
        1. TL Space
      5. Altiverb
      6. Waves IR-1 Parametric Convolution Reverb
      7. Waves IR-360 Parametric Convolution Reverb
    4. 4.4 Futzing plug-ins
      1. SpeakerPhone
      2. D-Fi
      3. Cosmonaut Voice
      4. Trash by isotope
    5. 4.5 Surround sound tools
      1. Dolby Surround Tools
      2. SurCode for Dolby Pro Logic II and Neyrinck SoundCode for Dolby Digital and DTS
      3. Waves 360° Surround Bundle
      4. ALR (Audio Research Labs) Sound Stage
      5. SurroundScope
    6. 4.6 Sound design
      1. Pitch shifters and time expansion and compression
      2. SoundToys TDM
      3. Eventide Anthology II Bundle
      4. ELS Vocoder – Orange Vocoder
      5. The Usra Major Space Station SST-282 by Princeton Digital
    7. 4.7 Noise reduction and restoration
      1. CEDAR Tools
      2. DINR
      3. Waves Z Noise
      4. reNOVAtor by Algorithmix
      5. Waves Restoration Bundle
    8. 4.8 Utilities
      1. Source Connect
      2. Virtual Katy
      3. ADR Studio
  15. Chapter 5 Dialogue editing and replacement
    1. 5.1 Splitting off tracks and dialogue editing by character
    2. 5.2 Noise reduction and ambience matching
      1. Dialogue editing technique one
      2. Dialogue editing technique two
    3. 5.3 ADR
      1. Recording ADR with ProTools
      2. ADR editing
    4. 5.4 Walla
    5. 5.5 Dialogue editing on “Loves Devotion Forever”
      1. The dialogue edit
      2. ADR and walla on “Loves Devotion Forever”
  16. Chapter 6 Sound design
    1. 6.1 Cuing sound effects (FX)
      1. See an animal, hear an animal – the art of sound design
    2. 6.2 Library effects
      1. Creating a catalog for “Loves Devotion Forever”
    3. 6.3 Recording sound effects
    4. 6.4 Creating sound effects
      1. Rereversing
      2. Key gating
      3. Speeding up, slowing down, and pitch shifting
      4. Special plug-ins
    5. 6.5 Track layout
      1. Backgrounds and ambiences
      2. Foley
      3. Cuing Foley
    6. 6.6 MIDI Foley
    7. 6.7 Backgrounds
    8. 6.8 5.1 Surround effects
  17. Chapter 7 Music
    1. 7.1 The music editor
    2. 7.2 MIDI and instrument tracks
    3. 7.3 Library music and rights
    4. 7.4 Multitrack, instrument groups, and music stems
    5. 7.5 Scoring and recording
    6. 7.6 Music on “Loves Devotion Forever”
  18. Chapter 8 The Dub
    1. 8.1 Dubbing theory and techniques
    2. 8.2 Premixing and premixing with automation
    3. 8.3 The temp dub
    4. 8.4 The final dub
    5. 8.5 Control surfaces and automation
    6. 8.6 Outboard devices
    7. 8.7 Levels and equalization
      1. Production audio
      2. ADR
      3. Walla
      4. Sound effects
      5. Foley
      6. Music
    8. 8.8 Mixing effects and futzing
    9. 8.9 MIDI music
    10. 8.10 Surround mixing
      1. Creating session templates
    11. 8.11 Surround mixing theory
      1. Low frequency effects
    12. 8.12 Mixing “Loves Devotion Forever”
  19. Chapter 9 Output and delivery
    1. 9.1 Levels and head tones
    2. 9.2 Output and delivery
      1. Bouncing to disc versus layback
    3. 9.3 Stems
    4. 9.4 Delivery for film printing, optical sound, and pull-up
    5. 9.5 The projection print
    6. 9.6 Exporting the surround composite mix and finishing on DVD
    7. 9.7 Encoding, delivery, and optical sound on “Loves Devotion Forever”
  20. Appendix 1 Analog audio
  21. Appendix 2 Digital audio
  22. Index