Pro Tools for Film and Video (Pro Tools 8)

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Author: Dale Angell

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Pro Tools 8

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Pro Tools 8 Pro Tools for Film and Video

Dale Angell

AMSTERDAMs"OSTONs(EIDELBERGs,ONDONs.EW YORKs/XFORDsPARIS SAN DIEGOs3AN FRANCISCOs3INGAPOREs3YDNEYs4OKYO Focal Press is an imprint of Elsevier

Focal Press is an imprint of Elsevier 30 Corporate Drive, 3UITE "URLINGTON -! 53! ,INACRE(OUSE *ORDAN(ILL /XFORD/8$0 5+ ¥%LSEVIER)NC!LLRIGHTSRESERVED .OPARTOFTHISPUBLICATIONMAYBEREPRODUCED STOREDINARETRIEVALSYSTEM OR TRANSMITTEDINANYFORMORBYANYMEANS ELECTRONIC MECHANICAL PHOTOCOPYING RECORDING OROTHERWISE WITHOUTTHEPRIORWRITTENPERMISSIONOFTHEPUBLISHER 0ERMISSIONSMAYBESOUGHTDIRECTLYFROM%LSEVIERS3CIENCE4ECHNOLOGY2IGHTS $EPARTMENTIN/XFORD 5+PHONE FAX % MAILPERMISSIONS ELSEVIERCOm9OUMAYALSOCOMPLETEYOURREQUESTONLINE VIATHE%LSEVIERHOMEPAGEHTTPELSEVIERCOm BYSELECTINGh3UPPORT#ONTACTv THENh#OPYRIGHTAND0ERMISSIONvANDTHENh/BTAINING0ERMISSIONSv Library of Congress Cataloging-in-Publication Data !NGELL $ALE 0ROTOOLSFORFILMANDVIDEO$ALE!NGELL PCM )NCLUDESBIBLIOGRAPHICALREFERENCESANDINDEX )3". PBKALKPAPER $IGITALCINEMATOGRAPHY-OTIONPICTURES

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DC British Library Cataloguing-in-Publication Data !CATALOGUERECORDFORTHISBOOKISAVAILABLEFROMTHE"RITISH,IBRARY )3". For information on all Focal Press publications VISITOURWEBSITEATWWWBOOKSELSEVIERCOm Typeset byDIACRI4ECH #HENNAI )NDIA

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Dedication

Figure 1 2UTH,OUISE %DMONDS!NGELL'ROSE .EWBOLD !+!-OMAT THEKEYSOFHER- AUDIO SYSTEMANDI-AC

4HIS BOOK IS DEDICATED TO MY MOTHER WHO NOT ONLY BROUGHT ME LIFE BUT TAUGHTMETOENJOYIT3HEPUTUPWITH ANDFUNDED MYWEIRDDESIRETOBUILD ARECORDINGSTUDIOINTHEGARAGECOMPLETEWITHPIPEORGAN ANDPUTUPWITH CALLSFROMTHENEIGHBORSCOMPLAININGABOUTSTRAINSOF4OCCATAAND&UGUEIN$ MINORINTHEMIDDLEOFTHENIGHT 3HEHELPEDMEINFESTMYHISTORYTEACHERSYARDWITHGOPHERS TURNEDABLIND EYETOMYCREATIVEUSEOFTOILETPAPERONTHENEIGHBORS HOUSES ANDPUTUP WITHBOTHMYBROTHERANDMEDRAGGINGHOMESOMEOFTHEWEIRDESTSTUFFAND CREATURES 3HEHASGIVENMEHERLOVEOFMUSICAND)HAVERETURNEDTHEFAVORBYTURNING HERINTOA-ACNERD4HANKS -OM

v


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

4HEAUDIOINTERFACE- 0OWERED ,% AND($

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4HEVIDEOINTERFACE

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3 vii

Contents

$OLBY0RO,OGICPLAYBACK

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%RGONOMICSANDEQUIPMENT

!UDIOMONITORS

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51

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viii

4

0 75

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Contents

3LIPMODE

3POTMODE

3HUFFLEMODE

'RIDMODE

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4HE4OOLS

4HETHREEEDITTOOLS

4HE3MART4OOL

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ix

Contents

3PEAKER0HONE

$ &I

#OSMONAUT6OICE

4

4RASHBYISOTOPE

3URROUNDSOUNDTOOLS

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3UR#ODEFOR$OLBY0RO,OGIC))AND.EYRINCK 3OUND#ODEFOR$OLBY$IGITALAND$43

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Chapter 5 Dialogue editing and replacement

125

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x

Contents

$IALOGUEEDITINGTECHNIQUETWO !$2

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Chapter 6 Sound design #UINGSOUNDEFFECTS&8 3EEANANIMAL HEARANANIMALnTHEART OFSOUNDDESIGN ,IBRARYEFFECTS #REATINGACATALOGFORh,OVES$EVOTION&OREVERv

149 0

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Chapter 7 Music

171

4HEMUSICEDITOR

-)$)ANDINSTRUMENTTRACKS

,IBRARYMUSICANDRIGHTS

xi

Contents

-ULTITRACK INSTRUMENTGROUPS ANDMUSICSTEMS

3CORINGANDRECORDING

0

-USICONh,OVES$EVOTION&OREVERv

Chapter 8 The Dub $UBBINGTHEORYANDTECHNIQUES

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0 3 217

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xii

189

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3

Contents

%XPORTINGTHESURROUNDCOMPOSITEMIXAND FINISHINGON$6$

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%NCODING DELIVERY ANDOPTICALSOUNDON h,OVES$EVOTION&OREVERv

4

Appendix 1

Analog audio

229

Appendix 2

Digital audio

245

Index

255

xiii

Introduction

Figure 1 $R4OM Stockham at the 5NIVERSITYOF5TAH )MAGECOURTESYOFTHE -ARRIOTT,IBRARYSPECIAL COLLECTIONS

0RO 4OOLS WAS RELEASED IN AS THE -AC BASED h3OUND 4OOLSv 5NTIL THAT TIME DIGITAL hTAPELESSv SYSTEMS WERE VERY EXPERIMENTAL AND PROPRIETARY )N $R 4OM 3TOCKHAM OF THE 5NIVERSITY OF 5TAH MADE THE FIRST COMMERCIALLYSUCCESSFUL BITDIGITALRECORDINGONHISh3OUNDSTREAMvDIGITALRECORDER 4HERECORDERWASAREEL TO REELTAPESYSTEMUSINGONE INCHDATATAPE"ECAUSE NO CONSUMER DIGITAL FORMAT EXISTED AT THE TIME THESE RECORDINGS WERE SOLD AS VINYL RECORDS ON THE 4ELARC LABEL $R 3TOCKHAM ALSO EDITED HIS RECORDINGS ON A FULLY DIGITAL NONLINEAR HARD DRIVE BASED $IGITAL %QUIPMENT #ORPORATION 0$0 4ODAY WE REFER TO THIS TYPE OF EDITING SYSTEM AS A $IGITAL !UDIO 7ORKSTATIONOR$!7 )N THE $!7 FOUND ITS WAY INTO THE CINEMA WHEN .EIMAN 4ILLAR !SSOCIATES DEVELOPED WHAT THEY CALLED THE !UTOMATED #OMPUTER #ONTROLLED %DITING3OUND3YSTEM!##%33 4HISSYSTEMWASABLETOINTERLOCKTHE$!7TO

xiv

Introduction

PICTUREANDINTERFACEWITHTHEANALOGMIXINGSYSTEMSINUSEATTHETIME4HEY RECEIVEDTHE!CADEMY!WARDINFORTHECREATIVEDEVELOPMENTOFTHISSYSTEM4HESYSTEMWASPROPRIETARYTO.EIMAN 4ILLARANDONLYUSEDIN HOUSEFOR SOUNDEFFECTSANDMUSICEDITINGFORMOTIONPICTURES 4WOYEARSLATER IN SEVERALMAJORTECHNICALDEVELOPMENTSAGAINCHANGED THEWAYAUDIOWASRECORDED DISTRIBUTED ANDEDITED0HILIPSDEMONSTRATEDTHE #OMPACT $ISC OR #$ 7HILE THIS WAS STILL SEVERAL YEARS AWAY FROM CONSUMER SHELVESATAPRICETHATTHEAVERAGEPERSONCOULDAFFORD ITINTRODUCEDTHEPUBLIC TOTHEhDIGITALSOUNDv)NTERESTINGLY THEINITIALPUBLICREACTIONWASDISLIKE4HERE WERECOMPLAINTSOFhHARD EDGEDSOUND vhLACKINGWARMTH vANDhDIGITALFLUv $IGITAL FLU 3OON THE FORMAT FOUND WIDE ACCEPTANCE AND AS THEY SAY THE RESTISHISTORY4HATSAMEYEAR)"-RELEASEDTHEFIRST0ERSONAL#OMPUTER0# !LSO THAT YEAR THE -)$) FORMAT WAS RELEASED -)$) OR -USICAL )NSTRUMENT $IGITAL )NTERCHANGE WAS INTENDED TO INTERFACE SYNTHESIZERS AND OTHER KEYBOARDSTOEACHOTHER0ERHAPSITISNOCOINCIDENCETHAT-)$)ANDTHE0#CAME OUTATTHEEXACTSAMETIMEFROMTHEFIRSTMOMENT THEIDEAOFINTERFACINGTHE 0#INTOTHE-)$)CONTROLINTERFACEWASOBVIOUS

Figure 2 The original -AC

)N !PPLE RELEASED THE -ACINTOSH #RITICS CALLED IT THE hTOY COMPUTERv !FTERALL ITLOOKEDLIKEATOY(OWEVER THEPRICETAGWASNOTVERYTOY LIKE BUT THENNEITHERWASTHEPERFORMANCE

Figure 3 4HE-ACB

xv

Introduction

)NWHEN3OUND4OOLSWASRELEASEDITRANONTHE-ACINTOSH)) A+ EXPANDABLETOMEG MEGAHERTZVERSIONOFTHEhTOYCOMPUTERv7HAT MADE IT POSSIBLE TO EDIT AUDIO WAS NOT THE HORRENDOUS SPEED OF THE PROCESSORORTHEAWESOMEAMOUNTOF2!-MEMORYTHISWASTHEFIRST-ACTOOFFER .U"US EXPANSION SLOTS 4HIS MADE IT POSSIBLE TO INTERFACE THE -AC 0LUS WITH OUTBOARDINTERFACES ANDSAVEFILESONAHARDDRIVE(ARDDRIVESWEREAVAILABLE IN SIZES INCLUDING AND EVEN MASSIVE MEG +EEP IN MIND THAT THATISABOUTTHESIZEOFANAUDIO#$+EEPINMINDALSOTHATTHEPOWER OFTHISCOMPUTERWASABOUTOFWHATWEEXPECTTODAY .EVERTHELESS ITWORKED)TEVENWORKEDWELL)NTHENAMEWASCHANGED TO0RO4OOLSAND$30WASADDEDTOTHE.U"USCREATINGTHEBASIC4$-SYSTEM )TSOONBECAMETHEDOMINANTFORCEINAUDIORECORDING FILMANDVIDEOSOUND EDITING ANDMIXING)N!VID MAKERSOFTHELEADINGFILMANDVIDEOEDITING SOFTWARE PURCHASED $IGIDESIGN THE MAKERS OF 0RO 4OOLS WHICH BY THEN HAD BECOME THE PREDOMINANT FILM AND TELEVISION SOUND EDITING AND MIXING SYSTEM 7HILEBOTHTHE!VIDAND0RO4OOLSWERE-AC BASEDINTHEIRORIGINALVERSIONS BOTH WERE SOON OFFERED AS 0# BASED SYSTEMS )N FACT SOMETHING LIKE A WAR BROKE OUT BETWEEN !PPLE AND !VID !PPLE RELEASED &INAL #UT 0RO A VIDEO FILMEDITINGSYSTEMINTENDEDTOCHALLENGE!VIDSPOSITIONINTHEFILMINDUSTRY 7HILE!VIDISSTILLTHEPREDOMINANTPICTUREEDITINGSOFTWARE &INAL#UT0ROHAS CUTINTOTHATMARKETINABIGWAY!ND!PPLEALSOSEEMSTOWANTTORELEASEAN !PPLEVERSIONOFEVERYTHING!VIDOFFERS 4HE GOOD NEWS FOR SOUND PEOPLE IS THAT THIS hWARv HAS DRIVEN THE PRICES DOWN n IN FACT RIGHT THROUGH THE FLOOR 7ITH NEW TECHNOLOGY CONSTANTLY BECOMING AVAILABLE AND WITH THIS COMPETITION NIPPING AT THEIR HEELS THE CAPABILITIES OF THE SYSTEMS ARE NOW PHENOMENAL !ND WHILE IT IS STILL POSSIBLE TO SPEND OVER 000 ON A 0RO 4OOLS SYSTEM IT IS ALSO POSSIBLE TO ADD AN -BOXAND0RO4OOLSSOFTWARETOYOURLAPTOPFORABOUT!NDITISNTJUST !PPLEAND$IGIDESIGNFIGHTINGOVERTHISMARKETSCORESOFOTHER$!7SYSTEMS ARENOWOUTTHERE EACHWITHTHEIROWNLOYALUSERS "UT NOTHING ON THE MARKET CHALLENGES 0RO 4OOLS )T IS SIMPLY THE DE FACTO AUDIOSYSTEMINMUSICRECORDING FILM ANDTELEVISION)N4OM3TOCKHAM RECEIVED AN !CADEMY !WARD FOR THE DEVELOPMENT OF DIGITAL AUDIO RECORDING AND EDITING (E HAD ALSO RECEIVED A %MMY AND THE FIRST EVER TECHNICAL 'RAMMY !WARD IN (E IS ONE OF THE FEW PEOPLE TO HAVE AWARDS IN ALL THREE AREAS !ND IN $IGIDESIGN RECEIVED AN !CADEMY !WARD FOR THE DEVELOPMENTOF0RO4OOLS

xvi


Figure 1 h,OVES $EVOTION&OREVERvWAS THE+ODAKMM PROJECTBY"ROOKS )NSTITUTESSCHOOLOFFILM ANDTELEVISION/VER "ROOKSSTUDENTSWORKED SIDEBYSIDEWITHINDUSTRY professionals making this MINUTEFILM0HOTOBY 0EDRO'UTIERREZ

4HE +ODAK MM PROJECT IS A PROGRAM OF +ODAKS 3TUDENT &ILMMAKER 0ROGRAM 4HE PROJECT GIVES STUDENT FILMMAKERS THE OPPORTUNITY TO CREATE A MM MOTION PICTURE USING THE SAME TOOLS USED BY FILMMAKING PROFESSIONALS+ODAKSPONSORS4HEMM0ROJECTINCONJUNCTIONWITH-OLE2ICHARDSON #LAIRMONT #AMERA &OTO+EM ,ABORATORIES $OLBY ,ABORATORIES ,ASER 0ACIFIC -IX-AGIC .4!UDIO AND&0# 4HE SPONSORS PROVIDE MM MOTION PICTURE FILM FILM PROCESSING CAMERA PACKAGE LIGHTING GRIP AND GENERATOR EQUIPMENT SURROUND SOUND AND AUDIO MIXING FRONT AND END TITLES OPTICAL SOUND TRANSFERS TO FILM TELECINE AND ANSWER PRINTING 3TUDENTS ARE ALSO MENTORED BY TOP FILMMAKERS INCLUDINGMEMBERSOFTHE!MERICAN3OCIETYOF#INEMATOGRAPHERSLIKE,ASZLO+OVACS !3# AND 2ICHARD #RUDO !3# VARIOUS MEMBERS OF THE !MERICAN #INEMA %DITORS ANDPROFESSIONALSOUNDMIXERS4HESPONSORSALSOPROVIDEWORKSHOPS ANDDEMONSTRATIONSONTHEUSEOFCAMERASANDEQUIPMENT 4HECONCEPTFOR4HEMM0ROJECTWASDEVELOPEDINBY,ORETTE"AYLE OF +ODAK 4HE PILOT SCHOOLS INCLUDED #HAPMAN 5NIVERSITY AND THE #ALIFORNIA )NSTITUTE FOR THE !RTS 4HE MM 0ROJECT WAS EXTENDED TO INCLUDE THE 5NIVERSITY OF #ALIFORNIA ,OS !NGELES 3COTTSDALE #OMMUNITY #OLLEGE ,OYOLA -ARYMOUNT 5NIVERSITY #ALIFORNIA 3TATE 5NIVERSITY OF ,ONG "EACH 5NIVERSITY OF!RIZONA #ALIFORNIA3TATE5NIVERSITY.ORTHRIDGE THE5NIVERSITYOF#ALIFORNIA 3ANTA"ARBARA AND"ROOKS)NSTITUTE

xvii


Figure 2 CinematogRAPHER#HUCK-INSKY seen here at the Santa "ARBARAPIER WORKED WITHSTUDENTDIRECTOROF PHOTOGRAPHY-AT7ALLA ANDDIRECTOR*ESSIE(AGGY to achieve the look of THEFILM-ANYINDUSTRY PROFESSIONALSSHAREDTHEIR TALENTSWITHSTUDENTS ONTHETHREE DAYSHOOT 0HOTOBY*ACOB&OKO Figure 3 -ENTORS WORKEDWITHSTUDENTSIN ALLDEPARTMENTS,EFTTO RIGHTnDIRECTINGMENTOR 0ERRY,ANGEverwood, NYPD Blue, Medium STUDENTPRODUCER !LEX:HAN PRODUCER MENTOR3TEVE4RACXLER Windtalkers, Legally Blond 2, Out of Time AND DIRECTOROFPHOTOGRAPHY MENTOR#HUCK-INSKY You, Me and Dupree, The Producers, Pretty Woman 0HOTOBY0EDRO'UTIERREZ

4HE YEAR OLD "ROOKS )NSTITUTE IN 3ANTA "ARBARA #ALIFORNIA HAS BECOME A REGULARPARTICIPANTINTHEMMPROJECT"ROOKS)NSTITUTEGRADUATESAREVISIBLE NATIONALLYANDINTERNATIONALLY WORKINGFORDISTINGUISHEDORGANIZATIONSINCLUDING .ATIONAL 'EOGRAPHIC 3MITHSONIAN THE ,OS !NGELES 4IMES AND OTHER NATIONALMEDIAOUTLETS INCLUDING(ALLMARK0UBLISHING #OUSTEAU3OCIETY ("/ +ODAK ANDOTHERINDUSTRYLEADERSINVISUALMEDIAFIELDS"ROOKSHASBROUGHTIN SEVERALSPONSORSTOSUPPORTTHEIRANNUALPROJECTINCLUDING4HE3ANTA"ARBARA )NTERNATIONAL &ILM &ESTIVAL &ISHER ,IGHT 4 AND 4 EFFECTS -ATCH &RAME 6IDEO AND#HAPMAN,EONARD "ROOKSPROFESSORS4RACY4ROTTERAND$ALE!NGELLENLISTTHEHELPOFAWHOSWHO LIST OF INDUSTRY EXPERTS 3TUDENTS WORK UNDER THE MENTORSHIP OF PROFESSIONALSINCLUDINGPRODUCER3TEVE4RAXLERWHOSECREDITSINCLUDELegally BlondeAND Out of Time ACTOR *OHN #LEESE OF -ONTY 0YTHONS &LYING #IRCUS DIRECTOR OF PHOTOGRAPHY #HUCK -INSKY $0 ON Pretty Woman, Almost Famous AND The xviii


Producers;"ILL"UTLER $IRECTOROF0HOTOGRAPHYONOVERFILMSINCLUDINGJaws, The Conversation,ANDBiloxi Blues;DIRECTOR0ERRY,ANGOFAlias, Dawson’s Creek, AND NYPD Blue AND PHOTOGRAPHER 7AYNE 'OLDWYN WHOSE CREDITS INCLUDE CSI, Jeopardy,ANDNixon4HELISTOFPROFESSIONALMENTORSNUMBERSINTHEDOZENSANDCHANGESEVERYYEAR

Figure 4 0RODUCTION MIXERMENTOR"RUCE 0EARLMANWORKSWITH STUDENT-ATT3ANCHEZ 0HOTOBY0EDRO'UTIERREZ

4HE +ODAK MM 0ROJECT AT "ROOKS INVOLVES A PERSON FILM CREW MORE THAN VENDORS RENTAL EQUIPMENT VALUED AT MORE THAN MILLION AND AN ESTIMATEDHOURSOFLABORFROMSTUDENTS FACULTY ANDVOLUNTEERS0HOTO BY0EDRO'UTIERREZ

h,OVES$EVOTION&OREVERv $IRECTEDBY *ESSIE(AGGY 7RITTENBY*ESSICA+ALIN h,OVES$EVOTION&OREVERvWASTHETHIRDSTUDENTFILMMADEBYSTUDENTSATTHE "ROOKS)NSTITUTEASPARTOFTHE+ODAKSTUDENTFILMMAKERPROGRAM)TWASSHOT ANDFINISHEDON+ODAKMMWITHA$OLBY,#23AND$OLBYSOUNDTRACK xix


Figure 5 3OUNDCART ONSTAGEFORTHEHOUSE SCENES0RODUCTIONAUDIO WASRECORDEDONA!UDIO $EVICES4DIGITAL RECORDERWITHSMARTSLATE 4HEEDITWASPERFORMED ON&INAL#UT0RO#INEMA 4OOLSWITH0RO4OOLS,% AND($FORSOUND DESIGNANDMIXES0HOTO BY0EDRO'UTIERREZ

7E WILL BE FOLLOWING THIS FILM IN EACH CHAPTER AS IT MOVES THROUGH ITS WORKFLOW,IKEALLFILMS THEPROJECTSTARTEDWITHASCRIPT INTHISCASEASUBMISSIONOF STUDENTSCRIPTS#ERTAINELEMENTSWEREREQUIREDTOBEINEVERYSCRIPTSUBMITTEDEACHPROJECTHADTOHAVEBEAROMANTICCOMEDY HAVEASCENEATAPARTY ANDCONTAINAFALLINGSTUNTFROMTHE3ANTA"ARBARAPIER

Figure 6 The set for -ADELINESHOUSEISA hLEFTOVERvFROMTHEFILM Erin Brockovich WHICH WASFILMEDONSTAGETWO IN0HOTOBY0EDRO 'UTIERREZ

!CREWWASSELECTEDFROMRESUMESANDREELSSUBMITTEDBYSTUDENTSWHOWERE VYINGFORONEOFTHEFORTYCOVETEDMAJORCREWPOSITIONS4HESETSWEREDESIGNED AND CONSTRUCTED COSTUMES AND PROPS LOCATED AND THE PRODUCTION SCHEDULE PUTTOGETHER3TUDENTPRODUCERSARRANGEDINSURANCE PERMITS EQUIPMENTDEALS HOUSINGFORMENTORS ANDATHOUSANDANDTWOLASTMINUTECHANGES 4HESHOOTINGSCHEDULEWASTHREEDAYS%VERYTHINGFROMTHEEQUIPMENTTOTHE SCHEDULE AND THE STRANGE REQUIREMENTS ON THE SCRIPT WERE MEANT TO CREATE

xx


A REAL MODEL OF A (OLLYWOOD FEATURE !LL UNION REQUIREMENTS WERE ALSO MET WHENEVER POSSIBLE 4HE PROJECT TRULY GAVE THE STUDENTS KNOWLEDGE OF WHAT GOES ON WHEN MAKING A MODEST BUDGET FEATURE PLUS REAL WORLD ON SET EXPERIENCE

Figure 7 3TUDENTCAMERA DEPARTMENTWORKINGWITH THE!RRI-OVIECAMATTHE "ROOKS)NSTITUTE0HOTOBY 0EDRO'UTIERREZ

4HESTUDENTSALSOATTENDEDVARIOUSWORKSHOPSIN,OS!NGELESONTHECAMERA SYSTEMSTOBEUSED LIGHTINGSYSTEMS GENERATORS SOUNDGEAR ANDSUPPORTSYSTEMS 4HEY WERE ALSO GUIDED IN SCHEDULING GETTING INSURANCE WORKING WITH MUNICIPALITIESGAININGPERMITS ANDarrangingTRANSPORTANDHOUSING -OST OF THE STUDENT CREWMEMBERS HAD AN INDUSTRY MENTOR WORKING DIRECTLY WITH THEM DURING PRODUCTION 4HE PROJECT WAS SHOT IN CONJUNCTION WITH THE 3ANTA"ARBARA)NTERNATIONAL&ILM&ESTIVALSEVERALSCENESWERESHOTDURINGFESTIVALEVENTSANDWEREOPENTOTHEFESTIVALATTENDEES

Figure 8 many of the EXTRASINTHETHEATERSCENE WERE"IGGINSINFLATABLE DUMMIES"LOWUP EXTRASHAVEBEENUSED successfully on scores OFFILMSSeabiscuitUSED OFTHESEBLOWUP PEOPLE0HOTOBY0EDRO 'UTIERREZ

xxi

About Pro Tools 8 Pro Tools 8

Figure 1 0RO4OOLS ANDTHENEWLOOKOF0RO 4OOLS

0RO 4OOLS BRINGS SOME BRILLIANT NEW FEATURES TO 0RO 4OOLS AND WHILE MOST BENEFITTHE-)$)ANDMUSICGUYSORITSUREALWAYSSEEMSLIKETHAT THEREARE MANYNEWTOOLSFORPOSTPRODUCTIONASWELL)NTHE,%AND- 0OWEREDVERSIONS, YOUNOWHAVEUPTOMONOORSTEREOTRACKS ANDTHELONGAWAITEDMIXINGINTHE,%VERSION4HECOSTFORTHISADD-on is highITREQUIRESBOTHTHE$6 4OOLKITSOFTWARETHATADDSTIMECODECLOCK $IGI4RANSLATOR 4,3PACECONVOLUTION REVERB 6OC!,IGN 0ROJECT AND ".2 NOISE REDUCTION AS WELL AS THE -USIC 0RODUCTION4OOLKITTHATADDSTHE$IGIDESIGN(YBRIDSYNTHESIZER 3OUND2EPLACER,

xxii

A b o u t P r o To o l s 8

AND3MACKCOMPRESSOR7ITHTHENEW#OMPLETE0RODUCTION4OOLKIT0RO4OOLS ,%ONLY WHICHCOMBINESBOTHTOOLKITS YOUCANALSOWORKWITHUPTO AUDIOTRACKSWITHSURROUNDMIXING4HISWOULDALSOREQUIRETHEUSEOFAN AUDIOINTERFACEWITHATLEAST EIGHT IN AND OUTPUTS SUCH AS THE "UT NOW FORAROUNDYOUHAVEAN,%SYSTEMTHATALMOST RIVALSTHE($SYSTEMS 0RO4OOLSALSOHASANEWFEATURECALLED3ATELLITE,INK4HISISASIMPLELINKING SYSTEMTHATALLOWSUPTOFIVE($SYSTEMSTOBECONNECTEDWITHOUTTHENEED FOR TIMECODE CHASE !ND IN THE ,% VERSION 3ATELLITE ,INK IS USED TO INTERLOCK WITHADEDICATEDVIDEOSYSTEMTHATOFFERSMANYOFTHEFEATURESOF6IRTUAL642 #HAPTERSn 4HISISGREATASITFREESUPTHEPROCESSORFORMOREAUDIO AND THEVIDEOPLAYERCANPLAY!VIDAND1UICK4IME($3$VIDEO

Figure 2 0RO4OOLS NOWALLOWS-)$)##AND AUTOMATIONTOBEVIEWED ANDEDITEDINLANESOR in the original overlay DISPLAY

4HE LOOK AND FEEL OF THE INTERFACE IS TOTALLY NEW YET THE TOOLS ARE THE SAME ANDINTHESAMEPLACES5NLESSYOUMOVETHEMSOMEWHEREELSE THATISANEW FEATURE A CUSTOMIZABLE INTERFACE 4HOSE PESKY LITTLE BUTTONS THAT YOU NEED A MAGNIFYING GLASS TO SEE LIKE THE .UDGE CONTROL AND ,INK SELECTION ARE NOW BIG AND EASY FOR OLD GEEZERS LIKE THIS AUTHOR TO SEE WITHOUT GETTING WHIPLASH FROM OUR BIFOCALS 9OU CAN CHANGE THE COLORS OF THE MARKERS AND CHANNELSTRIPSTOANYCOLORYOUWANT ANDTHEREISAGREATNEWFEATUREINTHE%DIT WINDOWWHEREYOUCANNOWDISPLAYALLOFTHEAUTOMATIONINh!UTOMATIONAND #ONTROLLERLANESvTOVIEWANDEDITAUDIOTRACKAUTOMATIONVOLUME PAN AND PLUG INAUTOMATION ORFORTHE-)$)GUYS -)$)##DATAVELOCITY PITCHBEND ANDMODULATION WITHOUTCHANGINGTRACKVIEWS 4HEREARENOWINSERTSPERTRACK ANDANEWhUNIVERSEvWINDOW WHICHLOOKS LIKE A TRACK AT THE TOP OF THE EDIT WINDOW BUT IS IN FACT A MAP TO THE ENTIRE SESSIONWITHASORTOFhYOUAREHEREvSQUARESHOWINGTHECURRENTLYDISPLAYED AREA4HISMAKESITPOSSIBLETOJUMPALLOVERTHESESSIONLIKE3POCKBEAMINGIN FROMTHESTARSHIP6ERYFAST VERYCOOL xxiii

About Pro Tools 8

4HERE IS A NEW TRACK COMPING FEATURE /FTEN IN MUSIC PRODUCTION DIFFERENT TAKESARERECORDEDTODIFFERENThPLAYLISTSvINTHESAMETRACK($SYSTEMSONLY !NY OF THESE TAKES CAN BE SELECTED FOR PLAYBACK ON THAT TRACK "UT WITH THE NEWCOMPTOOL,SMALLSECTIONSOFEACHPLAYLISTTAKE CANBESELECTEDFORPLAYBACKATTHECURRENTTIME4HISISGREATFORMUSICTRACKS BUTITCOULDBEUSEFUL IN!$2AND&OLEYRECORDINGASWELL#HAPTERSAND "UTWAIT THERESMORE)VESAVEDTHEBESTFORLASTThat is to say, if you are a -)$)MUSICPERSON 4HEREARESOMEFABULOUSNEWCAPABILITIESFORMUSICPRODUCTION4HESESSIONSANDREGIONSARENOWTOTALLYELASTIC each region can be SPEDUP SLOWEDDOWN MATCHEDTOTHESESSIONSPEED THEBEATSALIGNED AND EACHNOTECANBEPITCHEDUPORDOWNINTOTUNE4HISALSOMAKESITPOSSIBLETO TRANSPOSETONEWKEYS ANDto MATCHSPEEDANDRHYTHMTO-)$)TRACKS 4HEREISALSOASTUDIOFULLOFVIRTUALINSTRUMENTSINCLUDINGTHENEW-INI'RAND PIANO "OOM DRUM MACHINE $" TONEWHEEL ORGAN GEE, ) WONDER HOW THEY CAME UP WITH THAT NAME 6ACUUM AND 8PAND SYNTHS AND THE NEW %LEVEN&REEAND3ANS!MPGUITARAMPS4HERESALSO$*SOFTWAREANDHOURSOF LOOPSTOMAKEYOUROWNCOMPOSITIONS9OUCANALSONOWDISPLAY-)$)TRACKS AS STANDARD -)$) TRACKS OR AS NOTATION $ATA CAN BE WRITTEN DIRECTLY ON THE NOTATIONTRACKSUSINGTHE3CORE%DITORORIN-)$)USINGTHE-)$)EDITOR .OW, IF ALL OF THIS IS SOUNDING A BIT OVERWHELMING FOR WE POST PEOPLE THERE ISANACTOFREVENGE.OONECANSTOPYOUFROMPLAYINGWITHTHEIRTOYS!ND THEYAREVERYFUNTOPLAYWITH 7HERE NECESSARY THIS BOOK SHOWS BOTH THE 0RO 4OOLS ,% INTERFACE AND THE Pro 4OOLS ,% INTERFACE 4HERE ARE A FEW TRICKS TO OVERCOME SHORTCOMINGS IN 0RO 4OOLS ,% OR 0RO 4OOLS - AND ,% WHEN NOT USING THE NEW #OMPLETE 0RODUCTION4OOLKITFOR ,%

xxiv

About the Web site 4HE7EBSITECONTAINSTHEENTIRESOUNDEDITFORh,OVES$EVOTION&OREVERv7E WILLBEUSINGTHISSOUNDEDITANDMIXASANEXAMPLEOFTHETECHNIQUESCOVERED INEACHCHAPTER4HEPROJECTFILESREQUIRE0RO4OOLSVERSIONORGREATERAND USE1UICK4IMEPLAYBACK4HEYCANBEOPENEDON- ,% OR($SYSTEMS 4HE PROJECTS ON THE 7EB SITE ARE THE /-& IMPORT THE FINAL - AND % MUSIC AND EFFECTS STEMS AND FINAL DELIVERY TO THE MIX STAGE ON THE "ROOKS+ODAK mm project h,OVES $EVOTION &OREVErv 4HE PROJECTS ARE COMPRESSED TO + BIT AUDIO AND HIGHLY COMPRESSED 1UICK4IME VIDEO 4HESE SETTINGS AREFORTHEDEMOPROJECTONLY ANDTHESESETTINGSWOULDNEVERBEUSEDONAN ACTUALFILMVIDEOPROJECT4HEACTUALPROJECTWAS +BITWITHA$6FORMAT 1UICK4IMEVIDEO "ECAUSETHEVIDEOISCOMPRESSED ANDNOLONGERin $6FORMAT ITWILLNOTPLAY TOTHEVIDEOMONITORTHROUGHA$6FIREWIREDEVICEBUTit MUSTBEPLAYEDON THE COMPUTER MONITOR )F YOU HAVE THREE COMPUTER MONITORS OR A WALL-SIZED ,#$SCREEN,YOUWILLFINDTHISEXPECTABLETHERESTOFTHEWORLDWILLFEELRATHER CRAMPED 4HE/-&IMPORTISHOWTHEPROJECTWASDELIVEREDFROMTHEPICTUREEDITOR4HE /-&FILEWASOPENEDWITH$IGITRANSLATOR THISSTEPHASALREADYBEENDONEFOR THOSEWITHOUTTHISEXPENSIVEPLUG IN !STHE0RO4OOLSSESSIONCANNOTBEPLAYEDDIRECTLYFROMTHE7EBSITE COPYTHE ENTIRE 0RO 4OOLS 3ESSION FOLDER TO YOUR HARD DRIVE &OR THOSE USING 0RO 4OOLS ,%, YOU WILL FIND that THERE ARE TOO MANY TRACKS TO PLAYBACK )F YOU MAKE TEMPMUSICTRACKSTHREETHROUGHSIXINACTIVE,THISSHOULDSOLVETHePROBLEM !ND AS THESE TRACKS ARE INCLUDED ONLY SO THAT YOU CAN SWITCH TO THE ORIGINAL TEMPMUSICTOCOMPAREWITHTHEFINALSCORE MAKINGTHESEMUTEDTRACKSINACTIVEWILLNOTALTERTHEFINALMIX4EMPMUSICONEANDTWOCONTAINSOMETEMP scORETHATWASRETAINEDINTHEFINALMIXANDSOARENEEDEDTOHEARTHEENTIRE MIX4OLISTENTOTHEENTIRETEMPSCORE, simply make all the final score tracks INACTIVE AND SWITCH OFF AUTOMATION FOR THE TEMP SCORE TRACKS SO THAT THEY DONTAUTOMUTEORTEMPORARILYDELETETHEMUTEAUTOMATIONFORTHESETRACKS

xxv

In this chapter 4HEAUDIOINTERFACE- 0OWERED ,% AND($

$ATASTORAGE

3

4HEVIDEOINTERFACE

)/3ETUP

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39.#($CONNECTIONSON SYNCHRONIZED($SYSTEMS

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3YSTEMSUSEDONh,OVES$EVOTION Foreverv

1 Pro Tools systems

1.1 The audio interface: M-Powered, LE, and HD !LL 0RO 4OOLS SYSTEMS REQUIRE SOME KIND OF HARDWARE AUDIO INTERFACE 7HEN WORKINGWITHAVIDEOREFERENCE THEREALSOMUSTBESOMESYSTEMTOPLAYBACK THE VIDEO AND MAINTAIN ACCURATE SYNC WITH THE 0RO 4OOLS SESSION 3OME OF THESE INTERFACES ARE VERY SIMPLE SOME ARE RATHER COMPLEX BUT ALL SERVE THE SAMEFUNCTIONS 4HE AUDIO HARDWARE INTERFACE MUST BE MATCHED TO THE VERSION OF SOFTWARE BEING USED $IGIDESIGN CURRENTLY OFFERS THREE VERSIONS OF THEIR SOFTWARE - 0OWERED ,% AND($

Figure 1.1 Pro Tools - 0OWERED

4HE - 0OWERED SOFTWARE IS USED WITH THE LINE OF - !UDIO INTERFACE DEVICES - !UDIO ALSO OFFERS A UNIQUE LINE OF SOFTWARE THAT IS COMPATIBLE WITH THEIR INTERFACES AND A VARIETY OF HARDWARE AND SOFTWARE INTERFACES 3OME OF THE - !UDIO INTERFACE DEVICES FOR EXAMPLE THEIR -USICAL )NSTRUMENT $IGITAL )NTERFACE-)$) INTERFACES WILLWORKWITHANYVERSIONOFTHE0RO4OOLSSOFTWARE

3

Pro Tools 8: Pro Tools for Film and Video

'ENERALLY - !UDIO IS ITS OWN UNIQUE SYSTEM THAT CAN ALSO USE 0RO 4OOLS - 0OWEREDSOFTWARE 0RO4OOLSCOMPATIBLE- !UDIOINTERFACESINCLUDESMALL53"AND&IRE7IREBOXES WITHMICINPUTS INSTRUMENTINPUTS 3ONY0HILIPS$IGITAL)NTERFACE30$)& AND !LESIS $IGITAL !UDIO 4APE !$!4 3OME FEATURE ($ SAMPLE RATES AND BIT DEPTH 4HERE IS EVEN A )/CONTROL SURFACE COMBO SIMILAR TO THE $IGIDESIGN 4HEY ALSO SUPPLY AUDIO CARDS WITH DIGITAL SIGNAL PROCESSING $30 AND RACKSYSTEMS- !UDIOALSOMANUFACTURESALINEOF-)$)INTERFACESANDHIGH QUALITY KEYBOARDS THAT WORK WELL WITH THE NEW 0RO 4OOLS VIRTUAL INSTRUMENTS WITH($OR,%SOFTWARE

Figure 1.2 0RO4OOLS,%

4HE ,% SYSTEMS ARE AN EXTREMELY POWERFUL hDOWN SCALEDv VERSION OF 0RO 4OOLS ($ -OST OF THE FUNCTIONALITY OF 0RO 4OOLS IS PRESENT IN THE ,% VERSION ,% AND - 0OWERED SESSIONS ARE ALSO COMPATIBLE WITH THE ($ AND OLDER -)8 SYSTEMS 'ENERALLY SPEAKING ANY VERSION OR NEWER 0RO 4OOLS SESSION CAN BE OPENED ON ANY 0RO 4OOLS SYSTEM IF THE SAMPLE RATE IS SUPPORTED 7HILE SOME OF THE ADVANCED FUNCTIONS USED IN AN ($ SESSION LOCK OUT WHEN THIS SESSIONISOPENEDONAN,%SYSTEM THEYARENOTLOST!LLFUNCTIONSCOMEBACK ONLINEASSOONASTHESESSIONISOPENEDBACKONTHE($SYSTEM7HENOPENINGAPROJECTMADEWITHNEWERSOFTWAREINOLDERSOFTWAREVERSIONS THEREMAY BESOMECOMPATIBILITYPROBLEMS7HILEALLPROJECTSGOINGBACKTOVERSION CANBEOPENEDINVERSIONSTHROUGH ANYVERSIONORPROJECTTO BEOPENEDONANOLDERVERSIONTOMUSTFIRSTBESAVEDBYPERFORMING Ah3AVECOPYINvANDSETTINGTHEPROJECTVERSIONTOTHEPROPEROLDERVERSION 7HILETHISWILLOPENTHENEWERPROJECTONTHEOLDERSYSTEM MANYFEATURESARE LOSTANDTHENEWERPLUG INSARENOTCOMPATIBLE)FYOUHAVEAPRE SYSTEM 'ODBLESSYOU BUTREALLY ITSTIMETOUPGRADE 4HIS IS GREAT FOR SOUND EDITORS 4HEY CAN HAVE AN ,% SYSTEM ON THEIR LAPTOP COMPUTERANDSTILLOPENTHEENTIRESESSION!UDIOCANBERECORDEDANDEDITED ANYWHERE)FYOUWANTTORECORD&OLEYINACAVE THISISNOTAPROBLEM9OULL

4

P r o To o l s s y s t e m s

Figure 1.3 Pro Tools -BOX

HAVEMORETROUBLECONVINCINGTHE&OLEYWALKERTOGOINTOTHECAVETHANYOU WILLHAVESETTINGUPAFULLFUNCTION0RO4OOLSSYSTEMINTHERE 4HE,%SOFTWAREUSESSEVERALAUDIOINTERFACES4HE-BOXNOTTOBECONFUSED WITH - !UDIO INTERFACES HAS TWO ANALOG AUDIO INPUTS WITH MIC PREAMPS PHANTOM POWER INSTRUMENT INPUT FOR ELECTRIC GUITARS AND OTHER PICKUP EQUIPPEDINSTRUMENTSPLUSLINEINPUTS4WOANALOGOUTPUTS TWODIGITAL30$)& INANDOUTSAND-)$)INANDOUT 4HE AND 2ACK HAVE EIGHT ANALOG INPUTS AND OUTPUTS AS WELL AS EIGHT MICPREAMPLIFIERS)TALSOHASEIGHTDIGITAL!$!4INPUTSANDTWO30$)&INPUTS ANDOUTPUTS4HECOMESWITHANEIGHT FADERCONTROLSURFACE!STHESESYSTEMSHAVEEIGHTANALOGOUTPUTS WHENUSING0RO4OOLS,%WITHTHE#OMPLETE 0RODUCTION4OOL+IT THECANNOWBEUSEDFORSURROUNDMIXING 4HE($SYSTEMSARETHEFLAGSHIPOF0RO4OOLS4HEYCANBECONFIGUREDTOJUST ABOUT ANY INPUTOUTPUT CONFIGURATION IMAGINABLE )F YOU WANT TO PLAY TRACKS OUT TO ANALOG OUTPUTS ITS DOABLE 4HE ($ SYSTEMS REQUIRE SEVERAL HARDWARE INTERFACES /NE TO SEVEN EXPANSION CARDS ARE INSTALLED IN THE COMPUTER ANDOR AN EXPANSION CHASSIS AND THESE CONNECT TO ONE OR MORE )/ 5


Figure 1.4 $IGIDESIGN FOR,%SYSTEMS

Figure 1.5 0RO4OOLS($

INTERFACES 4HE )/ INTERFACES HAVE EIGHT ANALOG AND UP TO DIGITAL INPUTS ANDOUTPUTSEACH4HEREISALSOANEIGHT CHANNELMICPREAMPANDATENINAND OUT-)$)INTERFACETHATARESEPARATE 4HE OLDER -)8 SERIES SYSTEMS USE THIS SAME SYSTEM BUT ARE NO LONGER SUPPORTEDBY$IGIDESIGN -)$)WASORIGINALLYINTENDEDTOINTERFACEKEYBOARDSANDOTHERINSTRUMENTSTO SAMPLEPLAYERSANDCONTROLLERS)THASEXPANDEDINSCOPEANDISNOWUSEDFOR AVARIETYOFPURPOSESINCLUDINGDEVICECONTROL SYNCHRONIZINGVIDEOANDMAKINGSOUNDEFFECTS%VENIFYOUHAVENOINTERESTINPLAYINGMUSIC YOUMAYNEED A-)$)INTERFACE

6


Figure 1.6 2ACKOF0RO 4OOLS($)/DEVICES)N THISCASE SIX)/FOR CHANNELSOFDIGITAL)/ TWOI)/FORATOTAL OFANALOGAUDIO)/ ANDMICINPUTSFROM FOUR02%MICPREAMPS 4HERACKALSOHAS-)$) )/AND39.#($ POWER CONDITIONINGANDAN EXPANSIONCHASSISFORUP TOSEVEN($0#)%CARDS

1.2 The video interface "ECAUSE WE ARE EDITING SOUND TO PICTURE WE WILL ALSO NEED SOME WAY TO INTERLOCK THE PICTURE AND HOLD IT IN ACCURATE SYNC TO THE SOUND TRACKS 4HERE ARESEVERALSYSTEMSBEINGUSEDTOINTERFACEVIDEOTO0RO4OOLSEACHHASADVANTAGESANDDISADVANTAGES

Video playback from QuickTime )TISPOSSIBLETOAVOIDUSINGANYMACHINECONTROLANDSIMPLYPLAYTHEREFERENCE FROMA1UICK4IMEFILE4HEREAREMANYPLUSSESTOUSINGTHISSYSTEM)TREQUIRES NOEXTRAHARDWAREORSOFTWARE ANDITCANPLAYATMANYFRAMERATES GREATFOR WORKINGWITH)NTERNETMEDIAORFPSFILMPROJECTS 4HEONLYDOWNSIDEISTHATITTIESUP#05POWERANDMAYMEANUSINGFEWER PLUG INSOREVENAUDIOTRACKS)TALSOREQUIRESTHATTHEPROJECTBEDELIVEREDASA 1UICK4IMEORTHATYOUHAVEASYSTEMTOCAPTURE1UICK4IMEFROMVIDEO !GREATWAYTOHELPWITHBOTHPROBLEMSISTOHAVEEITHERA&IRE7IREVIDEO)/ DEVICE OR A GOOD &IRE7IRE $6 RECORDER &OR EXAMPLE THE #ANOPUS !$6# HASVIDEOINANDOUTDIRECTLYTO&IRE7IRE4HE1UICK4IMEMOVIECANBESETTO h1UICK4IME-OVIE/UT&IRE7IREvANDTHE!$6# WILLCONVERTTHISTOVIDEO

7


WHICHCANBESENTTOAN.ATIONAL4ELEVISION3YSTEM#OMMITTEE.43# MONITOR !NYTIMETHEVIDEOISPLAYEDOUTTOTHE&IRE7IRE #05USAGEISGREATLYREDUCED 4HEREAREALSO&IRE7IRE TO VIDEOBOARDSTHATCANBEINSTALLEDINTHECOMPUTER 4HEREAREEVENONESFORLAPTOPCOMPUTERS !NY$6RECORDER EVENA$6CAMERA CANBEUSEDASTHE&IRE7IREVIDEODEVICE HOWEVER THIS DOES NOT MEAN THAT IT CAN BE USED AS THE $6 1UICK4IME CAPTURE DEVICE -ANY $6 DEVICES CAPTURE WITH TIMECODE AND AT PROPER SPEED BUTSOMEDONOTANDSHOULDBEAVOIDED!NY$6#AMOR$6#0RODEVICEIS FINE BUTASIMPLE$6CAMERAMAYBETROUBLE9OUWILLALSONEEDCAPTURESOFTWARE&INAL#UT0RO !VID$6OR%XPRESS !DOBE0REMIEREOREVENI-OVIEWILL WORKFINE!NYTHINGTHATCANCAPTURETHE$6TOA1UICK4IMEMOVIEWILLWORK 4OIMPORTTHE1UICK4IMEMOVIE CHOOSE&ILE)MPORT6IDEO 7HEN USING THE 6IDEO -OVIE /UT &IRE7IRE FUNCTION THE DECODING VIDEO DEVICEDELAYSTHEVIDEO4HIS KNOCKS THE SESSION OUT OF SYNC 4O COMPENSATE FORTHIS ITISNECESSARYTOSETAh-OVIE3YNC/FFSETv4HISDELAYSTHE0RO4OOLS AUDIOBYAPRESETAMOUNTBRINGINGTHESESSIONBACKINTOSYNC$EPENDINGON THEDEVICE THISDELAYMAYBESEVERALFRAMES4HESETTINGISMADEINQUARTER FRAME INCREMENTS 4HERE ARE PUBLISHED NUMBERS FOR SOME DEVICES HOWEVER THESE MAY NOT BE CORRECT ON YOUR SYSTEM -OST PEOPLE EXPERIMENT TO DIAL THISIN4HE6IDEO3YNC/FFSETISINTHE3ETUPMENU5NFORTUNATELY YOUCANT SIMPLYSTOPONTHETWOPOPANDLINETHISUP4HEREISNODELAYUNTILPLAYBACK STARTS 5SE SOME DIALOGUE AND EXPERIMENT 9OU WILL FIND A RANGE OF SETTINGS THATSEEMSTOWORK3ETTHEOFFSETTOTHECENTEROFTHISRANGE

1.3 Machine control and the SYNC HD 4HEOLDESTSYSTEM WHICHISSTILLWIDELYUSED ISCALLEDhMACHINECONTROLv4HE VERY OLDEST FILM INTERLOCK SYSTEMS LOCKED PICTURE AND SOUND TOGETHER WITH A BICYCLECHAINDRIVENBYONEHUGEMOTOROUTINTHEALLEY4HECHAINRANAROUND THE FACILITY ON PULLEYS 7HEN YOU WANTED TO INTERLOCK ONE THING TO ANOTHER YOUSIMPLYENGAGEDITSCLUTCHTOTHECHAINSPROCKETANDCONTROLLEDTHEENTIRE INTERLOCKWITHTHEMOTORCONTROLS)TSORTOFGIVESNEWMEANINGTOTHEEXPRESSIONhGEARINGUPFORASESSIONv 4HIS IS THE BASIC IDEA BEHIND MACHINE CONTROL 7HEN THE 0RO 4OOLS SYSTEM MOVES FORWARD OR BACKWARD A VIDEO RECORDER ANDOR OTHER EQUIPMENT IS FORCEDTOMOVEWITHITnEXCEPTA0RO4OOLSSYSTEMDOESNTHAVEANYMOVING PARTS WHERE SPROCKETS CAN BE ATTACHED 6IDEO RECORDERS NEED TO BE CONTROLLEDBYSOMETHINGTHATISABITMORESYMPATHETICTOTHEIRNEEDSTHANABICYCLE CHAIN

8


Figure 1.7 (OUSESYNC or the latest innovation FROMTHE4OURDE&RANCE "ICYCLECHAINSWERE ONCEUSEDTOINTERLOCK RECORDERS PLAYBACK MACHINESDUBBERS AND PROJECTORS

"UT THE CHAIN IDEA IS STILL A GOOD ONE A SINGLE REFERENCE THAT EVERY PIECE OF EQUIPMENT HOOKS TO AND USES AS A SPEED REFERENCE 4HERE ARE MANY THINGS THATCANBEUSED BUTTHEKEYISTHATEVERYTHINGNEEDSTOUSETHESAMEREFERENCE4WOREFERENCESTHATAREVERYCLOSEARENOTCLOSEENOUGH -OSTLARGEFACILITIESHAVEAhHOUSESYNCGENERATORv4HEHOUSESYNCISSENTON VIDEOCABLETHROUGHTHEENTIREFACILITYANDCANBEUSEDASASPEEDREFERENCE BYANYPIECEOFEQUIPMENT5NLIKETHECHAIN ITISALWAYSMOVINGFORWARDAND NEVER STOPS BUT IT ALSO IS MUCH QUIETER AND NEVER NEEDS OILING 4HE HOUSE SYNCISSIMPLYABLACKVIDEOSIGNALATFPS.43#SYSTEMS ORFPS0!, SYSTEMS BEING CREATED BY A hBLACK BURST GENERATORv OR OTHER TYPE OF SYNC GENERATOR THAT CAN SUPPLY BLACK BURST 4HERE ARE SEVERAL OTHER SPEED REFERENCESTHATCANBEUSEDINA0RO4OOLSSESSION N

$IGITALAUDIOWITHWORDCLOCK!NYTIMEADIGITALAUDIOSIGNALISRECORDED AS A DIGITAL DATA STREAM THE RECORDER CAN LOCK TO THE INCOMING DIGITAL AUDIO AND USE THIS AS ITS CLOCK !UDIO %NGINEERING 3OCIETY !%3 30$)& AND!$!4ARECOMMON

N

4HECOMPUTERSPROCESSORCLOCK

N

,INEORPILOT ORCYCLEREFERENCE OFTENFROMTHELINEPOWEROR FROMA.AGRAPILOT4HISREQUIRES0RO4OOLS($SOFTWAREANDA39.#($

5NLIKETHEBICYCLECHAIN THESEONLYSUPPLYTHESPEEDREFERENCE7EALSONEED ASYSTEMTOPULLTHEELEMENTSINTOPOSITIONPOSITIONALREFERENCE /NTHEOLD

9


CHAIN DRIVENSYSTEM THISWASDONEBYPLACINGAMARKONEVERYELEMENTATTHE hPICTURESTARTvATTHEHEADOFEACHREEL4HELOADERSIMPLYLINEDUPTHEMARKS ANDENGAGEDTHECLUTCH7HENTHEMOTORSTARTED EVERYTHINGMOVEDTOGETHER INSYNC /NMODERNSYSTEMS WEUSETIMECODEFORPOSITIONALREFERENCE)FPICTURESTART IS AT TIMECODE ON EVERY ELEMENT THE AUTOMATED CONTROLLER CAN SIMPLYLINEEVERYTHINGUPANDWAITFORACONTROLCOMMAND)FONEELEMENTIS NOTINLINEWITHTHISTIMECODE SAYITSPICTURESTARTISAT THENTHIS hOFFSETvCANBEENTEREDANDTHECONTROLLERWILLHOLDITTOTHISOFFSET 4HIS MEANS WE HAVE TWO SIGNALS THAT ARE USED TOGETHER TO HOLD SYNC THE POSITIONALREFERENCE USUALLYTIMECODE ANDTHESPEEDREFERENCE7HENSETTING UPA0RO4OOLSSYSTEM BOTHNEEDTOBECONFIGURED 4HEREARESEVERALOTHERKINDSOFPOSITIONALREFERENCESIGNALS N

-)$)

N

"I PHASEAND4ACHUSEDBYFILMRECORDERSANDPROJECTORS

7HILEANY0RO4OOLSSYSTEMCANUSETHECOMPUTERSCLOCKASTHESPEEDREFERENCE 0RO 4OOLS ,% CANNOT BE LOCKED TO ANY SYNC OTHER THAN THE COMPUTERS CLOCKORINCOMINGDIGITALAUDIOANDISNOTABLETOhRESOLVEvSPEEDSORUSEAN EXTERNALSYNCHRONIZER)TDOESHAVEATIMECODETRIGGERTHATCANSTARTPLAYBACK OFAVIDEORECORDERATTHESAMETIMECODEOFTHE0RO4OOLSSESSIONHOWEVER THEREISNOhBICYCLECHAINvINTHISSYSTEM%ACHDEVICEISSIMPLYBEINGPUTINTO PLAY AT THE SAME TIME BUT THEN LOCKING TO ITS OWN SPEED REFERENCE 5NLESS THEY ARE LOCKED TO THE SAME SPEED REFERENCE WITHIN MINUTES THEY WILL DRIFT APART LOSINGSYNC7HENLOCKING0RO4OOLSTOASYSTEMORDEVICEWITHDIGITAL AUDIOOUT FOREXAMPLE 30$)& IF0RO4OOLSUSESTHE30$)&ASTHECLOCK THEN SYNCCANBEHELDINDEFINITELY7HENLOCKINGTODIGITALAUDIOOUTPUT TIMECODE TRIGGERISNOTJUSTTHEBESTSYSTEM ITISTHEONLYSYSTEM ,%SYSTEMSCANLOCKTOOTHERDEVICESASLONGASTHOSEDEVICESALSOLOCKTOTHE COMPUTERS CLOCK "ECAUSE ,% SYSTEMS USE THE COMPUTERS PROCESSOR AS THEIR SYNC REFERENCE THE PROCESSOR BECOMES THE SPEED REFERENCE FOR THE BICYCLE CHAIN-)$) %THERNETCONTROLLEDHARDWARE AND1UICK4IMECANALLBELOCKED TO THE COMPUTERS PROCESSOR CLOCK AND THEREFORE LOCKED TO 0RO 4OOLS ,% SYSTEMS4HISALLOWSSYNCING1UICK4IMETO0RO4OOLSWITHOUTSYNCDRIFTPROBLEMS !SALWAYS THEKEYISLOCKINGEVERYTHINGTOTHESAMEREFERENCE

Using the SYNC HD (or older USD) 4HE 39.# ($ ALLOWS A 0RO 4OOLS ($ SYSTEM TO hRESOLVEv TO VARIOUS CLOCK SOURCES AND POSITIONAL REFERENCES 2ESOLVING REFERS TO CONTROLLING A SYSTEMS SPEEDTOKEEPITINSYNCWITHOTHERDEVICESORINSYNCTOAREFERENCE4HE39.#

10


Figure 1.8 The Pro 4OOLS39.#($ISUSED to lock Pro Tools to OTHEREQUIPMENTWHILE HOLDINGSYNC

($ IS A CONTROLLER CAPABLE OF RESOLVING MANY DIFFERENT SYSTEMS /NE OF THE PIECES OF INTERFACED EQUIPMENT BECOMES THE hMASTER v AND THE REST RESOLVE TOIT!NDTHEMASTERDEVICEISNOTFREE RUNNINGITTOOISRESOLVEDTOTHESPEED REFERENCE)TISONLYTHEMASTERINTERMSOFPOSITIONALREFERENCE

Video playback via machine control 4OUSEMACHINECONTROLVIDEOON0RO4OOLS A0RO4OOLSSOFTWAREOPTIONMUST BEINSTALLED9OUWILLALSONEEDASYNCHRONIZERnTHEREARESEVERALTHIRD PARTY DEVICESTHATWILLWORK BUTTHEGOLDSTANDARDISTHE$IGIDESIGN39.#($ 6IDEORECORDERSCAPABLEOFMACHINECONTROLHAVEA PINREMOTECONTROLCAPABILITY 7HEN IN THE REMOTE SETTING THE FRONT PANEL CONTROLS ARE DISABLED AND CONTROLOFTHERECORDERISFROMTHE PINCONNECTORONTHEBACK3UCHVIDEO RECORDERSALSOHAVEATIMEBASECORRECTOR4"# ANDARECAPABLEOFRESOLVING THEIRSPEEDTOHOUSESYNC 0RO4OOLSCONTROLSTHERECORDER WITH BOTH SOFTWARE AND HARDWARE 7HEN THE 39.# ($ IS LOCKED TO HOUSE SYNC AND 0RO 4OOLS IS LOCKED TO THE 39.# ($ ITWILLPLAYATTHEEXACTSAMESPEEDASTHEVIDEORECORDER"UTITALSONEEDSTO HAVEATIMECODEREFERENCETOPULLITINTOTHEPROPERPOSITIONBEFORERELEASING BOTHSYSTEMSTOPLAYATSPEED 4HE TIMECODE FROM THE TAPE RECORDER IS RECORDED ONTO THE VIDEO TAPE /N SOME FORMATS THIS IS RECORDED ALONG THE EDGE OF THE VIDEOTAPE AS A LINEAR LONGITUDINAL TRACK 4HIS IS REFERRED TO AS ,ONGITUDINAL 4IMECODE ,4# /THER VIDEO FORMATS USE TIMECODE RECORDED INTO THE VERTICAL SYNC OF THE VIDEO SIGNAL 4HIS IS REFERRED TO AS 6ERTICAL )NTERVAL 4IMECODE 6)4# 3TILL OTHER DIGITAL RECORDERSRECORDTHETIMECODEINTOTHEVIDEOMETADATA4HE39.#($TREATS ALLTIMECODESAS,4#OR6)4#5NLESSYOUAREUSINGA6)4#RECORDER THETIMECODEINPUTWILLBE,4# 4IMECODEFROMTHE0RO4OOLSSYSTEMCOMESFROMTHE($SOFTWAREINCONJUNCTIONWITHTHE39.#($ %ITHERSYSTEMCANBELOCKEDTOTHEOTHER)FTHEVIDEOISTHEMASTER PRESSING PLAY ON THE VIDEO RECORDER WILL CAUSE THE 0RO 4OOLS SYSTEM TO ROLL FORWARD

11


#ONVERSELY IFTHEVIDEOISLOCKEDTO0RO4OOLS PRESSINGPLAYON0RO4OOLSWILL CAUSETHEVIDEORECORDERTOROLLFORWARD 4HERE ARE SEVERAL OPTIONS FOR HOW YOU CAN USE THIS FUNCTION &IRST THE VIDEO RECORDERCANBEREMOTELYCONTROLLEDFROMTHE0RO4OOLSTRANSPORTCONTROLS4HIS IS GREAT FOR CUEING UP A TAPE 4O REMOTELY CONTROL THE VIDEO RECORDER SELECT hMACHINEv FROM THE 4RANSPORT -ASTER SUBMENU IN THE 0RO 4OOLS 4RANSPORT WINDOW.OW THE4RANSPORTWINDOWCONTROLSTHERECORDERBUTNOT0RO4OOLS -AKESURETHEREMOTESWITCHONTHERECORDERISINREMOTE!LLOFTHEBUTTONS SHOULDNOWCONTROLTHEVIDEORECORDER"ECAREFULWITHTHERECORDBUTTON)T WILLCAUSETHEVIDEORECORDERTOINSERTAUDIOORVIDEOOREVENGOINTORECORD DEPENDINGONWHATISARMEDONTHERECORDER

Locking picture to Pro Tools 4OLOCKTHEVIDEOTO0RO4OOLSTHEMOSTCOMMONINTERLOCKISTOUSETHETRANSPORTCONTROLSTOCONTROL0RO4OOLSANDLOCK0RO4OOLSTOTHETIMECODECOMING FROMTHEVIDEORECORDER

Figure 1.9 Pro Tools TOP ANDCENTER 4RANSPORTWINDOW4HE 4RANSPORT-ASTERCAN be set to Pro Tools or -ACHINE7HENTHE transport is controlling VIDEO THE0RO4OOLS SYSTEMISLOCKEDTOTHE VIDEOTIMECODE)NEITHER case, the transport control seems to control both SYSTEMS

3ETTHE4RANSPORT-ASTERTO0RO4OOLS.OWCLICKTHE/NLINEICONONTHETRANSPORT3MALLCLOCK COMMAND SHIFT J 4HECLOCKWILLFLASHBLUEANDTHERESHOULD BEAMESSAGEINTHEEDITWINDOW hWAITINGFORSYNCv7HENTHEPLAYBUTTONIS PRESSEDBOTH0RO4OOLSANDTHERECORDERWILLGOINTOPLAY)TWILLSEEMLIKETHE TRANSPORTSTARTED0RO4OOLSBUTTHISISNOTTHECASE4HETRANSPORTSTARTEDTHE RECORDERAND0RO4OOLSCHASEDAFTERTHERECORDER7HENCLICKEDTHEPLAYBUTTONFLASHESUNTILTHEVIDEOAND0RO4OOLSLOCKINTOSYNC )N THIS MODE THE RECORD FUNCTION IS SET TO 0RO 4OOLS SO THAT YOU CAN RECORD NEWTRACKS)NFACT EVERYTHINGWILLBEASITNORMALLYISEXCEPTTHATTHEVIDEO RECORDERISLOCKEDTO0RO4OOLS

12


)T IS ALSO POSSIBLE TO CONTROL THE RECORDER DIRECTLY AND LET 0RO 4OOLS CHASE THE TIMECODE FROM THE RECORDER 4HIS HAS THE ADVANTAGE OF NOW CONTROLLING THE RECORDFUNCTIONSONTHERECORDERRATHERTHAN0RO4OOLS3IMPLYSETTHE4RANSPORT -ASTERBACKTO-ACHINEASWEDIDWHENWEWEREUSINGTHETRANSPORTCONTROLS ASAREMOTEFORTHEVIDEORECORDER"UTTHISTIMEWEWILLKEEPTHE/NLINEICON SELECTEDINTHE4RANSPORTWINDOW.OWWEHAVEREMOTECONTROLOFTHERECORDER WITHRECORDCONTROLS BUT0RO4OOLSWILLSTILLFOLLOWTHERECORDERANDLOCKTOIT 4HETRACKSCANBEARMEDFROMTHE-ACHINE4RACK!RMINGWINDOW$EPENDING ONWHATMACHINEISINTERLOCKED THISWILLSHOWALLOFTHEAVAILABLETRACKS EVEN VIDEO /N VIDEO RECORDERS THERE IS ALSO AN !SSEMBLE MODE THAT PUTS THE RECORDER INTO RECORD WIPING OUT THE VIDEO AUDIO AND EVEN THE TIMECODE TRACK)TISEXTREMELYUNLIKELYTHATYOUWILLEVERWANTTORECORDVIDEOORUSETHE !SSEMBLEMODEFROM0RO4OOLS SOBECAREFUL!LSO WHENWORKINGWITHANEW SETUP BE CAREFUL n IF THE INCORRECT -ACHINE 4YPE IS SELECTED IN THE -ACHINE #ONTROLPAGEOFTHE0ERIPHERALSWINDOW YOUMAYBEARMINGTHEVIDEOTRACK ORENTERING!SSEMBLEMODEWHENYOUTHINKYOUAREARMINGSOMETHINGELSE ,OOKATTHEVIDEORECORDERANDMAKESURETHEPROPERTRACKSAREARMEDBEFORE MAKINGANINSERT )N THE 4RANSPORT WINDOW IT IS POSSIBLE TO SET IN POINTS AND OUT POINTS AND THERECORDERWILLPUNCHINANDLIFTOUTSEAMLESSLYATTHOSEPOINTS/RYOUCAN PUNCHINMANUALLYWITHTHERECORDBUTTON )TISPOSSIBLETOINTERLOCKANYMACHINEWITHA PINREMOTE EVENAUDIORECORDERS LIKE$!7ITHTHEPROPER-ACHINE4YPESETUPINTHE-ACHINE#ONTROLPAGEOF THE0ERIPHERALSWINDOW ALLEIGHTAUDIOTRACKSWILLSHOWUPINTHE-ACHINE4RACK !RMWINDOW 7ITH THE NEW 3ATELLITE ,INK OPTION IN 0RO 4OOLS IT IS POSSIBLE TO LOCK ANY ,% SYSTEM TO A SECOND COMPUTER USED ONLY AS A 1UICK4IME VIDEO PLAYER OR UPTOFIVE($SYSTEMSTOGETHER&ORMORECOMPLEXSETUPS MANYDEVICESCAN BELOCKEDTO0RO4OOLSAND0RO4OOLSCANBELOCKEDTOMANYDEVICESUSINGTHE 39.#($&OREXAMPLE N

! FILM PROJECTOR OR MAGNETIC FILM RECORDER DUBBER WITH SERVO CAN BE LOCKEDTO0RO4OOLSBYFEEDINGTHEBIPHASECLOCKFROMTHE39.#($TOTHE PROJECTORORDUBBERANDSETTINGTHEFILMDEVICETOSERVOLOCK!NYNUMBER OFSUCHDEVICESCANBEINCLUDEDINTHESERVOSERIALCHAIN!NYONEOFTHESE DEVICESCANBETHEMASTERCONTROLLERBYTAKINGITOUTOFSERVOLOCKANDSETTINGTHE0RO4OOLS4RANSPORT-ASTERTO-ACHINEINTHE4RANSPORTWINDOW

N

! DIGITAL RECORDER CAPABLE OF RESOLVING PLAY AND RECORD CAN BE INTERFACED WITHTHE39.#($&OREXAMPLE A$423 TRACKRECORDERLIKE$! $! OR $! WITH A RESOLVER BOARD CAN BE EITHER THE MASTER OR A CONTROLLED DEVICE *UST LIKE A VIDEO RECORDER IT NEEDS TO BE CONNECTED AND LOCKED TO

13


HOUSESYNC SENDITS,4#TOTHE39.#($ ANDBECONNECTEDANDCONTROLLEDBYTHE PINREMOTE N

3EVERAL0RO4OOLSSYSTEMSCANBELOCKEDTOGETHERBYLINKINGTHEIR39.# ($S)NTHEEVENTYOUNEEDTRULYMASSIVETRACKCOUNTANDORMULTIPERSON MIXINGSETUPWITHMANYMONITORS THISISANOPTION/NVERYLARGEDUBS OFTENONE0RO4OOLSSYSTEMISINTERLOCKEDINTOACHAINOFSEVERALSYSTEMS TO FUNCTION SIMPLY AS THE INSERT RECORDER IN $ESTRUCTIVE 2ECORD MODE 4HIS RESULTS IN ALL OF THE COMP TRACKS AND STEMS BEING ON THAT SYSTEMS DRIVEORDRIVEARRAY READYFORDELIVERYANDARCHIVING

)T IS ALSO POSSIBLE TO INTERLOCK DEVICES WITHOUT USING THE 0RO 4OOLS INTERLOCK $EPENDING ON THE DEVICE IT MAY BE POSSIBLE TO PUT IT INTO A CHASE MODE DIRECTLY &OR EXAMPLE A $423 WITH TIMECODE INTERLOCK LIKE $! CAN CHASE ANY TIMECODE 3IMPLY RUN A ".# CABLE FROM THE 0RO 4OOLS TIMECODE OUT TO THE$!TIMECODEIN,OCKTHE$!TOHOUSESYNC PUTITINTOCHASEMODE ANDITWILLBEINTERLOCKEDASACONTROLLEDDEVICETO0RO4OOLS!TIMECODEOFFSET CANBEENTEREDFROMTHE$!MENUIFNEEDED4HEMENUTREEOFTHE$! ISREMINISCENTOFTHEHEDGEMAZEINThe Shining BUTITCANBEDONE

Figure 1.10 The Virtual 642CONTROLPANEL

&OR VIDEO MACHINE CONTROL THERE ARE SEVERAL HYBRID SYSTEMS OUT THERE AS WELL 7HEN USING THE 39.# ($ IT IS POSSIBLE TO LOCK SEVERAL 0RO 4OOLS SYSTEMSTOGETHER ONEOFWHICHCANBEUSEDASTHEVIDEOPLAYBACK)NTHISTYPEOF SETUP #05USAGEMAYBENOISSUE)TISALSOPOSSIBLETOUSETHE39.#($AND LOCKTOASEPARATE#05USING6IRTUALVIDEOTAPERECORDER642 -ACONLY 4HE SECOND#05BECOMESADEDICATED1UICK4IMEVIDEORECORDERINTERLOCKEDWITH MACHINECONTROL )N0RO4OOLS THISFEATUREISAVAILABLEWITHOUTTHEUSEOFTHE39.#($THE NEW 3ATELLITE ,INK OPTION CAN LOCK UP TO FIVE ($ SYSTEMS TOGETHER AND 0RO 4OOLS,%CANLOCKTOASECONDDEDICATEDVIDEOSYSTEM )T IS ALSO POSSIBLE TO PLAY THE VIDEO DIRECTLY FROM A DISC RECORDER /NE OF THE BESTOFTHESESYSTEMSISTHE$OREMI64HISISAVIDEODISCRECORDERWITH PIN CONTROL7HENUSINGADISCRECORDERASTHEVIDEOPLAYBACKIN-ACHINE#ONTROL

14


Figure 1.11 The Doremi 66IDEO$ISC0LAYER hVIDEOSERVERv

IT BEHAVES EXACTLY LIKE A 1UICK4IME MOVIE YOU HAVE INSTANT LOCK AND THE PICTUREISALWAYSINSYNCWITH0RO4OOLS)TDOESREQUIRERECORDINGTHEVIDEOTO THEDISC BUTTHENTHEVIDEOISREADYTOGOONLINE4HEDRIVESAREREMOVABLE ANDCANSTAYWITHTHEPROJECT$ISCRECORDERSANDVIRTUAL642SARETHESYSTEMS OFCHOICEATMANYHIGH ENDFACILITIES

Using alternate sync references (OUSE SYNC IS MOST OFTEN USED ON INTERCONNECTED DEVICES HOWEVER SEVERAL OTHERSYNCREFERENCESAREAVAILABLEANDNEEDTOBEUSEDINCERTAINSITUATIONS /FTEN IT IS NOT NECESSARY TO HAVE POSITIONAL REFERENCE BUT IT IS NECESSARY TO HAVESPEEDREFERENCE&OREXAMPLE WHENTRANSFERRINGSYNCAUDIOBEFOREITHAS BEENSYNCEDTOPICTURE THEREISNOPOSITIONALREFERENCEASYETBUTITISNECESSARYTOKEEPITATTHEPROPERSPEED3EVERALTHINGSCANBEUSEDASTHESPEED REFERENCEONSYSTEMSEQUIPPEDWITHA39.#($ N

4HECOMPUTERPROCESSORSCLOCK

N

(OUSESYNCORANYOTHERBLACKBURSTSIGNAL

N

0ILOT REFERENCE FROM LINE POWER PILOT RECORDER REFERENCE OR PILOT DERIVED FROMBLACKBURST

N

7ORDCLOCKORDIGITALAUDIOINPUT

,%SYSTEMSCANONLYLOCKTOTHECOMPUTERPROCESSORSCLOCKORADIGITALAUDIO INPUT !T DIFFERENT TIMES WE MAY NEED TO LOCK THE SPEED OF 0RO 4OOLS TO AN ALTERNATE CLOCK 4HIS IS OFTEN THE CASE WHEN TRANSFERRING THE SYNC PRODUCTION AUDIOINTO0RO4OOLS ALSOREFERREDTOASTRANSFERRINGhDAILIESv

1.4 SYNC HD connections on synchronized HD systems %VENIFYOUAREUSINGANEXISTINGSYSTEMANDNOTDOINGANYHOOKUP ITHELPS UNDERSTAND HOW TO USE THE SOFTWARE IF YOU UNDERSTAND THE CABLING AND HOOKUP 4HE 39.# ($ CONNECTS TO THE COMPUTER WITH A SPECIAL 0RO 4OOLS CABLE FROM THE $IGI3ERIAL PORT ON THE 39.# ($ TO THE #ORE 0RO 4OOLS CARD INSTALLEDINTHECOMPUTER

15


7HENUSING-ACHINE#ONTROLTOINTERLOCKAVIDEORECORDEROROTHERCONTROLLABLE DEVICE A PINCABLEMUSTBECONNECTEDBETWEENTHE39.#($ANDTHEVIDEO RECORDER )TISALSONECESSARYTOPROVIDETIMECODEREFERENCEFROMTHEVIDEORECORDERTO THE39.#($/NRECORDERSTHATHAVE6)4#TIMECODE CONNECTANYVIDEOOUT ONTHERECORDERTOTHE39.#($VIDEOIN"ECAUSE6)4#TIMECODEISEMBEDDEDINTHEVIDEO THISSERVESASTHETIMECODEREFERENCE)TISNECESSARYTOSELECT ,4# OR 6)4# IN THE 0RO 4OOLS 0ERIPHERALS WINDOW 4HE VIDEO CONNECTION ON THE39.#($MUSTBETERMINATED IFNOTHINGWILLBECONNECTEDTOTHEPASS THROUGH VIDEO OUT A TERMINATOR MUST BE PLUGGED INTO THE CONNECTION /N RECORDERS WITH ,4# CONNECT THE VIDEO RECORDERS ,4# OUT TO THE ,4# IN ON THE39.#($OR53$0RO4OOLSCANhCHASEvANYTIMECODESUPPLIEDTOTHESE PORTS!SSUMINGTHATTHEDEVICESENDINGTHETIMECODEISLOCKEDTOTHESAME SPEEDREFERENCE ANYTIMETHE/NLINEICONINTHE4RANSPORTWINDOWISSELECTED SMALLCLOCK 0RO4OOLSWILLWAITFORTIMECODEATTHISPORTANDTHENFOLLOWIT)F THEINCOMINGTIMECODEISFROMADEVICETHATISNOTLOCKEDTOTHESAMESPEED REFERENCE SYNCWILLDROPANDTHESYSTEMWILLSTOPAFTERASHORTTIMEASTHETWO SYSTEMSDRIFTAPART )T IS ALSO NECESSARY TO SET UPAhSYNCLOOP vASIMPLE".#VIDEOCABLEFROM THE 39.# ($ ,OOP 3YNC /UT CONNECTOR TO ,OOP 3YNC )N ON THE 0RO 4OOLS !UDIO )NTERFACE AND ANOTHER FROM THE 0RO 4OOLS !UDIO )NTERFACE ,OOP 3YNC /UT TO THE 39.# ($ ,OOP 3YNC )N %VERY 0RO 4OOLS )/ DEVICE MUST BE INCLUDED IN THIS LOOP 4HIS ENABLES YOU TO SET ANY DEVICE IN THE LOOP AS THE -ASTERDEVICE&OREXAMPLE IFYOUWANTTOUSETHE!$!4DIGITALAUDIOINPUT ONTHENUMBER!UDIO)NTERFACEASTHECLOCKSOURCE YOUCANSETTHISINTERFACEASTHE,OOP-ASTER4HEENTIRELOOPINCLUDINGTHE39.#($NOWLOCKS TOTHISAUDIOINPUT 4HEREALSONEEDSTOBEASPEEDREFERENCEINTOTHE39.#($)NALARGEFACILITY THISWILLBETHEHOUSESYNC WHEREASFORASMALLINSTALLATION THISCANBEA SIMPLEBLACKBURSTGENERATOR"ESURETOMATCHTHESYNCREFERENCETOTHEVIDEO FORMAT.43#OR0!,

1.5 Configuring the Peripherals window &OR MACHINE CONTROL CLICK THE -ACHINE #ONTROL TAB TO DISPLAY THE -ACHINE #ONTROLPAGE#HECKTHECHECKBOXFOR PINSERIAL PIN-ACHINE#ONTROL 4HE 39.# ($ HAS TWO PIN PORTS MAKING IT POSSIBLE TO HAVE TWO DIFFERENT VIDEO RECORDERS OR OTHER DEVICES CONNECTED FOR MACHINE CONTROL 3ELECT THE PORTFORTHEDESIREDVIDEORECORDEROROTHERDEVICE OR

16


Figure 1.12 9OU CONFIGURETHE39.#($ AND-ACHINE#ONTROL from the Peripherals WINDOW/N($ systems, in Setup go to 0ERIPHERALSANDCLICKTHE 3YNCHRONIZATIONTAB #HOOSE%NABLE39.# PERIPHERALTOSELECT39.# ($ASTHESYNCHRONIZATION DEVICEONTHE$IGI3ERIAL PORT

.OWYOUNEEDTOSETTHETYPEOFRECORDERYOUAREUSING!SMOSTRECORDERS USE THE 3ONY CONTROL SYSTEM EVEN IF YOU HAVE ANOTHER TYPE OF RECORDER IT WILL PROBABLY WORK IF IT IS SET TO 3ONY PIN 4RY SEVERAL -ACHINE 4YPE SETTINGS"67nISUSUALLYGOODONMOSTRECORDERS!GAIN THISISA3ONYSTANDARD 9OU MAY NEED TO SET A PREROLL OF FRAMES OR SO 4HIS CAN SHORTEN THE TIMENEEDEDFORTHEVIDEOANDAUDIOTOLOCKTOGETHERWHENTHESYSTEMROLLS FORWARD 4HERE IS ALWAYS A SECOND OR SO BEFORE THE PICTURE AND SOUND LOCK TOGETHER )TISALSOPOSSIBLETOCONFIGURETHE2EMOTESECTIONOFTHE0ERIPHERALSWINDOW SO THAT 0RO 4OOLS CAN BE CONTROLLED BY THE VIDEO RECORDER OR ANY PIN DEVICE 4HIS IS RARE BUT YOU MAY NEED TO CONTROL 0RO 4OOLS FROM ANOTHER SYSTEM OR CONTROL CONSOLE EVEN FROM ANOTHER 0RO 4OOLS SYSTEM 4HIS CAN BE CONFIGURED IN THE PIN 2EMOTE SECTION OF THE 0ERIPHERALS WINDOW

1.6 Configuring the Session Setup window $EPENDINGONTHENEEDSOFTHESESSION YOUMAYNEEDTOCHANGESEVERALSETTINGS IN THE 3ESSION 3ETUP WINDOW /N MANY SESSIONS THE DEFAULT SETTINGS WILLBEFINE&IRSTLETSCHECKTHETIMECODEOFFSETANDFRAMERATE

17


Figure 1.13 Session 3ETUPWINDOW($4HE 3ESSION3ETUPWINDOWIS FOUNDINTHE3ETUPMENU IN6ANDTHE7INDOW MENUIN6&ROMHERE you can setup many of the parameters of the SESSION

Session start .ORMALLY THESESSIONSTARTISSETTOWITHTHEh0ICTURE3TARTvFRAME OF THE 3OCIETY OF -OTION 0ICTURES AND 4ELEVISION %NGINEERS 3-04% COUNTDOWN LEADER ALSO AT THIS TIMECODE ON THE VIDEOTAPE )F THIS IS NOT THE POSITIONOFTHE0ICTURE3TARTONTHEVIDEOTAPE ANOFFSETNEEDSTOBESETINTOTHE 0RO4OOLSSESSION)NTHEUPPERRIGHTYOUWILLFINDTHE3ESSION3TARTFIELDTHIS WILLLIKELYSHOW4IMECODEFROMTHETAPEISSHOWNDIRECTLYBELOW THAT )F AN OFFSET NEEDS TO BE SET PARK THE TAPE ON THE 0ICTURE 3TART FRAME AND HIGHLIGHT THE 3ESSION 3TART FIELD 4O COPY THE TIMECODE SETTING FROM THE INCOMINGTIMECODEINTOTHE3ESSION3TARTFIELD PRESSONTHEKEYBOARDFOLLOWED BY 2ETURN TO CONFIRM THE SETTING "ECAUSE THIS COPIES THE INCOMING TIMECODEFROMTHETAPEINTOTHE3ESSION3TARTWINDOW THETIMECODESWILLNOW MATCH4HEREWILLBEADIALOGUEASKINGIFYOUWANTTO-AINTAIN4IMECODEOR -AINTAIN2ELATIVE0OSITION!NYAUDIOALREADYINTHESESSIONWILLNEEDTOMOVE TO A NEW POSITION TO KEEP ITS RELATIVE POSITION TO 0ICTURE 3TART AND TAKE ON A

18


Figure 1.14 Session 3TART4#WHENUSING -ACHINE#ONTROL)F THETIMECODESMATCH BETWEENTHEVIDEOTAPE ANDTHE0RO4OOLSSESSION THENTHEREISNONEEDTO change the session start OROFFSET

NEW TIMECODE $O NOT SELECT -AINTAIN 4IMECODE AS THIS WILL KEEP ALL AUDIO REGIONSATTHEIRCURRENTTIMECODEPOSITIONANDMOVETHEMOUTOFSYNC 9OU MAY NOT WANT TO CHANGE THE SESSION START TIMECODE IS THE EXPECTEDNORM)TISALSOPOSSIBLETOOFFSETTHETWOTIMECODEVALUESNUMERICALLY )NTHE%XTERNAL4IME#ODE/FFSETSSECTION YOUENTERANOFFSETTIMECODEVALUE INTHE PINSETTING/FFSETSAREALSOSETTABLEFOR-)$)-ACHINE#ONTROL--# -)$) AND3YNCDEVICESLIKE39.#($OR53$)FTHELINKBOXISCHECKED ANY SETTINGHEREWILLADJUSTALLTHREESETTINGS4HEOFFSETISENTEREDASTHEOFFSETTIMECODE&OREXAMPLE IFTHEVIDEOTAPEISMINSANDFOURFRAMESAHEADOFTHE 0RO4OOLSSESSION ENTER 4HISMAYREQUIRESOMEFANCYMATH BUT TIMECODECALCULATORSAREAVAILABLEASAPPLICATIONSAND-ACDASHBOARDWIDGETS

Figure 1.15 )TISALSO possible to offset the TWOTIMECODEVALUES NUMERICALLY)NTHE3ESSION 3TART/FFSETSECTION YOU ENTERANOFFSETTIMECODE VALUEINTHE PINSETTING

4HE TIMECODE RATE OR &RAME 2ATE SETTING IS USED TO SET THE FRAME RATE ON 39.#($SYSTEMSANDTHETIMECODERATEON,%SYSTEMS&RAMERATESARENOT ADJUSTABLE ON NONSYNCHRONIZED SYSTEMS /NLY A SYNC DEVICE LIKE 39.# ($ CANADJUSTTHEFRAMERATE)TISPOSSIBLETODISPLAYADIFFERENTTIMECODEFORMAT THATWILLCAUSETHECOUNTERSTOMOVEATADIFFERENTSPEEDANDCREATETIMECODE NUMBERSTOMATCHTHEDESIREDFRAMERATE&OREXAMPLE IFYOUAREWORKINGON A0PROJECTFPS YOURVIDEOAND0RO4OOLSWILLNEEDTOBEPLAYING

19


AT .43# FPS UNLESS YOU ARE USING THE 39.# ($ WHICH CAN SUPPORT 53$ DOES NOT SUPPORT 9OU MAY WANT TO SET THE COUNTERS TO NONDROP FRAME .$& TO SEE THE ACTUAL TIMECODE POSITIONS /N ,% SYSTEMS SOMETIMECODEANDFEET AND FRAMESSETTINGSREQUIRETHE$64OOLKIT OPTION

The clock source and Sync Setup 7HEN USING A 39.# ($ OR 53$ 6 ON ($ OR TIME DOMAIN MULTIPLEXING 4$- SYSTEMS THIS WILL NORMALLY BE SET TO 39.# ($ OR 53$ 4HIS PLACES CONTROLOFTHEhSYNCLOOPvINTHE3YNC3ETUPSELECTORHEREINTHE3ESSION3ETUP WINDOW

Figure 1.16 Sync Setup in the Session Setup WINDOW

4HE OTHER POSSIBLE SETTINGS FOR THE CLOCK SOURCE ARE )NTERNAL AND %XTERNAL "OTHOFTHESEARESETUPSON,%SYSTEMSASWELL)NTERNALREFERSTOTHEINTERNAL PROCESSOR CLOCK SOURCE 4HIS IS THE USUAL SETTING ON ,% SYSTEMS AND LOCKS 0RO 4OOLS TO THE COMPUTER CLOCK 4HE EXTERNAL SETTINGS ARE VARIOUS DIGITAL AUDIO INPUTS ON THE AUDIO INTERFACE 30$)& !%3%"5 4ASCAM $IGITAL )NTERFACE ;4$)&= AND !$!4 )F A DIGITAL CONNECTION IS MADE TO ONE OF THESEINPUTS SYNCWILLNEEDTOLOCKTOTHEEXTERNALDIGITALAUDIOSOURCE 7ITH THE 39.# ($ SELECTED AS THE CLOCK SOURCE THE #LOCK 2EFERENCE CAN BE SET IN THE 3YNC 3ETUP 3EVERAL SETTINGS ARE POSSIBLE 4HE 39.# ($ OR 53$ 6 CAN BE LOCKED TO VIDEO HOUSE SYNC INTERNALVARIABLE SPEED OVERRIDE 63/ OR ANY CLOCK SOURCE IN THE SYNC LOOP 4HE POSITIONAL REFERENCECANBESETTOANYTIMECODEINPUT,4#OR6)4# FORMACHINECONTROL POSITIONAL REFERENCE 4HE VIDEO FORMAT OF THE MACHINE CONTROL VIDEO IS ALSO SET HERE 4HE 63/ IS ALSO SET HERE 4HIS SETS A LIMIT ON THE AMOUNT OF SPEEDVARIANCETHATWILLBEAPPLIEDBEFOREOVERRIDINGTHERESOLVER7HENYOU SELECTAVALIDSYNCSOURCE THE,OCKEDAND3PEED#ALLIGHTWILLBELITSOLID

20


Timecode settings 4HETIMECODEGENERATORCANBEUSEDTOGENERATE,4#AND-)$)4IMECODE -4# FROMTHE39.#($5SING3YNCOUTPUTS TIMECODEFROMTHEDEVICE IS SELECTED IN THE 3YNCHRONIZATION SECTION OF THE 0ERIPHERALS WINDOW -4# TO PORT OUTPUTS -)$) TIMECODE TO THE -)$) DEVICE SELECTED IN THE POP UPMENU &REEWHEEL SETS THE TIME 0RO 4OOLS WILL CONTINUE TO PLAY IF IT LOSES TIMECODE )F THERE IS A DROP IN TIMECODE FROM THE EXTERNAL TIMECODE SOURCE EG THE VIDEO PLAYBACK RECORDER 0RO 4OOLS WILL STOP AND DISPLAY AN ERROR MESSAGE UNLESSTHEFREEWHEELISSETTOALLOWANUMBEROFFRAMESTOPLAYINSPITEOFTHE LOSSOFTIMECODE4HEDEFAULTSETTINGISEIGHTFRAMESANDTHEMAXIMUMIS FRAMES

Pull-up and Pull-down 4HE0ULL UPAND0ULL DOWNSETTINGSHEREINTHE3ESSION3ETUPWINDOWCHANGE THE PLAYBACK SAMPLE RATE 4HIS CAUSES THE SESSION TO PLAY FASTER OR SLOWER $EPENDING ON THE PROJECTS WORKFLOW THIS CAN BE USED TO EDIT A FILM SPEED PROJECTATVIDEOSPEEDSORVICEVERSA)TISCRITICALTOUNDERSTANDTHEPROJECTS WORKFLOW TO DETERMINE WHEN AND IF THESE SETTINGS SHOULD BE USED &OR A COMPLETE EXPLANATION OF PULL UP AND PULL DOWN SEE #HAPTER h0ULL UP AND PULL DOWNWORKFLOWv.ORMALLY THISONLYCHANGESTHEAUDIOPLAYBACKSPEED HOWEVER THEREISALSOASETTINGFORVIDEOPULL UPANDPULL DOWN#HANGINGTHE VIDEOSPEEDISANEXOTICWORKFLOWANDISNOTADVISED

1.7 MIDI interface 4O USE THE -)$) CONTROLLERS OR RECORD -)$) TRACKS IT IS NECESSARY TO HAVE A -)$)INTERFACE4HE-BOXANDINTERFACESINCLUDEA-)$)INTERFACEOLDER -BOXESAND($SYSTEMSDONOTCOMEWITHA-)$)INTERFACE4HE$IGIDESIGN -)$) )/ PROVIDES -)$) INPUTS AND OUTPUTS )T CONNECTS VIA 53" AND WILLWORKWITHANY0RO4OOLSSYSTEM

Figure 1.17 The $IGIDESIGN-)$))/

21


7HILE THE $IGIDESIGN -)$) )/ IS THE GOLD STANDARD ANY -)$) INTERFACE WILL WORK TO INTERFACE THE 0RO 4OOLS SYSTEM TO -)$) $IGIDESIGN ALSO MAKES THE - !UDIO 5./ A COMPACT SINGLE PORT INPUT AND OUTPUT -)$) INTERFACE FORLESSTHAN

Figure 1.18 - !UDIO 5./-)$))/

-)$) IS A SERIAL SYSTEM DEVICES CAN BE CONTROLLED FROM A SINGLE PORT BY hDAISY CHAININGv THEM FROM THE -)$) INPUTS TO THE -)$) OUTPUTS 4HE -)$) DEVICESINTHECHAINMAYINCLUDESAMPLEPLAYERS KEYBOARDS RECORDERCONTROLS AUTOMATEDMIXERS ANDCONTROLSURFACES-)$)CANDOMANYOFTHECONTROLAND INTERFACEFUNCTIONSOFTHE39.#($HOWEVER ITDOESNOTRESOLVESPEEDS4HIS MEANS THAT -)$) CAN BE USED TO CONTROL ONLY ALL DEVICES MUST BE LOCKED TO THE SAME SPEED REFERENCE AND RUN AT NATIVE SPEED )T CAN BE USED WITH ANY 0RO4OOLSSYSTEM ,% - 0OWERED OR($ 7ITH A -)$) INTERFACE INSTALLED 0RO 4OOLS CAN BE INTERLOCKED TO A -)$) CONTROLLEDDEVICE-)$)CONTROLISSETUPINTHE0ERIPHERALSWINDOW

Figure 1.19 -)$) -ACHINE#ONTROL--# WINDOWIN0ERIPHERALS

-)$) -ACHINE #ONTROL IS USED ON SOME RECORDERS AND OTHER REMOTELY CONTROLLEDDEVICES4HISISNODIFFERENTTHANWORKINGWITHTHE PINREMOTE ONLY THEPROTOCOLIS-)$) ANDSOTHEREISNONEEDTOSETUPTHECONTROLPROTOCOL %VERY -)$) DEVICE IN A -)$) CHAIN NEEDS TO BE ASSIGNED AN )$ NUMBER 4HE -)$)NUMBERANDDEVICENAMEARESETONTHEINSTALLATIONOFTHE-)$)DEVICE

22


DRIVER3IMPLYENTERTHENAMEOFTHEDEVICEFROMTHEPULL DOWNMENUTHE)$ NUMBEROFTHEDEVICEWILLAPPEAR ANDITISCONNECTED Figure 1.20 )NVERSION THE-)$)CONTROLISSET from the Transport WINDOWJUSTLIKETHE -ACHINE#ONTROL3IMPLY SETTHE4RANSPORT-ASTER TO-)$)4HESEARESETIN THE0ERIPHERALSWINDOWIN 0RO4OOLS

0RO4OOLS --# AND-ACHINE#ONTROLCANBEUSEDATTHESAMETIMEBYSETTING-)$)ANDOR-ACHINEASONLINEINTHE4RANSPORTWINDOW -)$)ALSOUSESATIMECODEFORMAT -4#*USTASMANYDEVICESCANhCHASEv0RO 4OOLS BY CHASING THE TIMECODE FROM THE 39.# ($ MANY DEVICES CAN CHASE -4#)NTHE3ESSION3ETUPWINDOW SETGENERATE-4#TOANYAVAILABLE-)$) PORTANDCONNECTTHEDEVICEVIA-)$)CABLE3ETTHATDEVICEINTO-4#CHASE ANDITWILLFOLLOW0RO4OOLS 0RO4OOLSCANALSOCHASE-4#4HISCANPROVIDEAWAYTOLOCKAN,%SYSTEMTO AN ($ SYSTEM WITH A 39.# ($ 3ET THE ($ SYSTEM TO GENERATE -4# IN THE 0ERIPHERALS AND 4RANSPORT WINDOW )N VERSION ,% SET THE #LOCK 2EFERENCE IN THE ,% 4RANSPORT WINDOW TO 'ENERIC -4# READER )NTERLOCK BY SETTING THE ,%TRANSPORTCONTROLTO/NLINESMALLCLOCK )NVERSION -)$)INPUTISSETIN THE0ERIPHERALSWINDOW -ACHINE#ONTROLSETTINGS-)$)MASTERORSLAVEFUNCTIONSCANBEENABLEDHEREANDTHEDROPnDOWNMENUFROMTHE64RANSPORT WINDOW CAN BE FOUND IN THE MASTER AREA "OTH SYSTEMS WILL NEED TO HAVE A -)$)INTERFACEANDBECONNECTEDBYA-)$)CABLE

Figure 1.21 -)$) CONTROLLERS-)$) CONTROLLEDDEVICESARE CONFIGUREDFROMTHE 0ERIPHERALSWINDOW -)$) CONTROLLERSAREA&ROM HERE -)$) CONTROLLED DEVICESSUCHAS-)$) control surfaces can BEADDEDTOTHE-)$) CONTROL

23


)TISALSOPOSSIBLETOUSE-)$)ASA PINMACHINECONTROLONVIDEORECORDERS ANDOTHERDEVICESTHATUSE PINREMOTECONTROL!SOFTWAREAPPLICATIONCALLED 'ALLERY CONVERTS --# TO PIN CONTROL AT A COMPUTER SERIAL PORT 4HIS MAYREQUIREA53"TOSERIALADAPTOR

Ethernet control 3OME CONTROL SURFACES SUCH AS THE #\ CONNECT BY %THERNET RATHER THAN -)$) 4HESE ARE CONFIGURED FROM THE %THERNET #ONTROLLERS IN THE 0ERIPHERALS WINDOW4HECONFIGURATIONISFORTHEMOSTPARTTHESAMEAS-)$) BUTTHECONNECTIONANDCONTROLAREVIA%THERNET/NNETWORKEDSYSTEMS THISMAYREQUIRE THE INSTALLATION OF AN %THERNET HUB HOWEVER IF THE SYSTEM IS A STAND ALONE #05 WITHOUT ANY NETWORKING AND IF ONLY ONE %THERNET DEVICE IS CONNECTED THECONNECTIONISMADEWITHASIMPLECATCABLE

Figure 1.22 The $IGIDESIGN#\ control surface uses Ethernet to COMMUNICATEWITH 0RO4OOLS

Figure 1.23 The 0ERIPHERALSWINDOW %THERNETSETUPAREA

24


1.8 Data storage

Figure 1.24 .ETWORK STORAGEUSEDFORDATA STORAGEWITHIMBEDDED backup can serve several 0RO4OOLSSYSTEMS

)NMANYLARGEFACILITIES THEDIGITALAUDIOANDVIDEOISSTOREDONALARGEARRAY CONNECTEDVIAFIBERCHANNELTOALLOFTHEEDITINGSYSTEMS)TCANSERVETHEDATA TOALLOFTHESYSTEMSATTHESAMETIMEANDSELF RECOVERINTHEEVENTOFADRIVE CRASH 4HIS IS GREAT SYSTEM HOWEVER EXPENSIVE AND OFTEN UNNECESSARY /N SMALLERHOMESYSTEMS THE SESSION MAY BE STORED ON THE MAIN HARD DRIVE OR EVEN ON A REMOVABLE &IRE7IRE DRIVE 0RO 4OOLS SESSIONS CAN BE EDITED FROM MOST&IRE7IREDRIVES HOWEVER SOMEBRANDSUSEA&IRE7IREBRIDGETHATISNOT COMPATIBLEWITH0RO4OOLS %VEN ON SMALLER 0RO 4OOLS SYSTEMS MULTIPLE DRIVES WILL IMPROVE PERFORMANCE AND CAN PROVIDE SOME LEVEL OF BACKUP 7HEN A DRIVE CRASHES NOTICE )DONTSAYIF ABACKUPOFEVERYTHINGCANAVOIDANHOUROFSIMULATEDMENTAL ILLNESS )T IS POSSIBLE TO CONFIGURE 0RO 4OOLS TO RECORD TO SEVERAL DRIVES ANDSTOREBACKUPSOFEVERYTHINGTOSECONDORTHIRDDRIVES)NLARGEFACILITIES SEVERALSYSTEMSCANBECONNECTEDTONETWORKSTORAGEVIAFIBERCHANNEL/N SINGLE USER SYSTEMS MULTIPLE DRIVES CAN CONNECT TO THE COMPUTER VIA 3#3) OREVEN&IRE7IRE4HEREISNONEEDFORFIBERCHANNELONASINGLEEDITOR SYSTEM

25


1.9 I/O Setup 4HE )/ 3ETUP WINDOW FOUND IN THE 3ETUP MENU ALLOWS THE USER TO CREATE MANYDIFFERENT)/SETUPS4HE)/3ETUPWINDOWTELLS0RO4OOLSWHICHAUDIO CHANNELS ARE ROUTED TO WHICH CHANNELS ON THE AUDIO INTERFACE $EPENDING ONTHETYPEOFAUDIOINTERFACEAND0RO4OOLSVERSION- 0OWERED ,% OR($ THERE MAY BE TWO EIGHT OR VASTLY MORE INPUTS AND OUTPUTS ON THE AUDIO INTERFACEORINTERFACES %VEN ON A SIMPLE TWO CHANNEL -BOX IT IS POSSIBLE TO HAVE MANY CHANNELS CONTROLLED THROUGH THE )/ 3ETUP BUT IT IS ONLY POSSIBLE TO INPUT OR OUTPUT TWOATATIME

Figure 1.25 3TANDARD )/OUTPUTSETTINGSONAN -BOXWITH,%SOFTWARE

&IGURESHOWSTHEDEFAULT-BOXOUTPUT)/USING,%SOFTWARE.OTICETHAT THEREAREEIGHTCHANNELSOF)/EVENTHOUGHTHEREAREONLYTWOSTEREOCHANNELSONTHE-BOX)NTHISCASE THE,AND2OFTHE-BOXARESETTOOUTPUTSONE ANDTWOFROM0RO4OOLS4HEOTHER)/PATHSAREGRAYEDOUTANDUNAVAILABLE 4HESEWOULDBEAVAILABLEIFTHE,%AUDIO)/WEREA)TISPOSSIBLE HOWEVER TODRAGTHE,AND2FROMPATHTWO SETTO0RO4OOLSCHANNELSTHREEAND FOUR TOTHELEFTANDASSIGNTHEMTO,AND2ONTHE-BOX0RO4OOLSWILLNOTLET YOUCLOSETHEWINDOW ANDTHEREFORESETTHISASTHECURRENT)/BECAUSETHIS WILLCREATEACONFLICT TWO0RO4OOLSOUTPUTCHANNELSSETTOBOTHTHE2AND,OF THE-BOX"UTIFTHEBLUECHECKBOXISUN CHECKEDONTHEFIRSTPATH THISWILL DISABLE THAT PATH ALLOWING 0RO 4OOLS CHANNELS THREE AND FOUR TO BE SET TO 2 AND,ONTHE-BOX 4HEADVANTAGEOFTHISSYSTEMISTHATAMULTICHANNELPROJECTCANBEEDITEDONA STEREOSYSTEM)NFACT ANY0RO4OOLSSETUPCANBEEDITEDONANYSYSTEMWITHIN LIMITS,ETSLOOKATAMIXONAN-BOXWHENTHENEWOPTIONFOR0RO 4OOLS,%ISNOTAVAILABLE

26


Figure 1.26 Even THOUGH,%SOFTWAREDOES NOTSUPPORTSURROUND SOUND ITISPOSSIBLETO CREATEA)/THATCAN BEOPENEDLATERONAN($ SYSTEM)NTHISEXAMPLE WEAREMONITORINGTHE FRONTRIGHTANDLEFT

)N&IGURE THEORIGINALOUTPUT)/CHANNELSFOROUTPUTSONETHROUGHSIX HAVE BEEN MADE INACTIVE #HANNELS SEVEN AND EIGHT WILL NOT BE USED AND HAVEBEENLEFTALONE!NEWPATHHASBEENCREATEDUSINGTHE.EW0ATHBUTTON 4WO NEW SUBPATHS HAVE BEEN CREATED BELOW THAT 4HE STEREO PATH HAS BEENLABELED&RONTANDTHEMONOSUBPATHSHAVEBEENLABELED&,EFTAND &2IGHT 4WOMOREPATHSHAVEBEENCREATEDEACHWITHTWOMONOSUBPATHS4HESEARE LABELED#ENTER LOW FREQUENCYEFFECTS,&% ,S AND2S4HEIRASSIGNSHAVEBEEN DRAGGED TO OUTPUT CHANNELS THREE four, five, AND SIX !LL OF THESE CHANNELS WILL NOW APPEAR IN THE MIXER OUTPUT ASSIGNS "ECAUSE WE ARE EDITING ON AN -BOX WEWILLONLYHEARTWOCHANNELSINPLAYBACK in this case the front right ANDLEFT!NYTRACKSASSIGNEDTOTHECENTER ,&% ORSURROUNDSWILLBEMUTEDAS THESEPATHSAREINACTIVE)FTHESESSIONISOPENEDONAN($SYSTEMASASESsion, THESETRACKSCANBEMADEACTIVEANDWILLPLAYFROMTHEPROPERSPEAKERS 7EWILLLOOKMORECLOSELYATTHISIN#HAPTERONMIXING )TISPOSSIBLETOMONITORTHESEINACTIVETRACKSBYSETTINGTHECORRESPONDINGOUTPUTSTOTHE,AND2OFTHE-BOXINTHE)/SETTINGS4HISWILLREQUIREMAKING THE FRONT RIGHT AND LEFT INACTIVE AS ONLY ONE OUTPUT CAN BE ASSIGNED TO EACH CHANNELINTHE)/SETTINGS 27


Figure 1.27 The output of any channel can be ROUTEDTOTHEPROPER output from the output PULL DOWNMENU4HE MENUNOWREFLECTSTHE ADDED)/OUTPUTPATHS

Figure 1.28 )NTHIS EXAMPLE SIXTRACKSHAVE BEENASSIGNEDTOALL SIXOUTPUTSONTHE )/PATHS.OTICETHAT THETRACKSASSIGNEDTO outputs not available for MONITORINGONTHE-BOX AREGRAYEDOUTANDWILL NOTSOUND

28


Figure 1.29 )NTHIS EXAMPLE THEFRONT PAIRHASBEENMADE INACTIVEBYDESELECTING THEIRBLUECHECKBOX4HIS MAKESITPOSSIBLETODRAG THELEFTANDRIGHTSTEREO assigns for the center AND,&%TOTHELEFTAND monitor these from the -BOX)TISONLYPOSSIBLE TOMONITORTWOOUTPUT channels at a time on the -BOX/THER,%HARDWARE interfaces can monitor MORETHANTWOCHANNELS ATATIMEHOWEVER ONLY ,%SYSTEMSWITH0RO4OOLS ANDTHENEW#OMPLETE 0RODUCTION4OOLKITFOR 0RO4OOLSSUPPORT MIXING

)T IS ALSO POSSIBLE TO SET UP CUSTOM INPUT )/ CONFIGURATIONS OR RENAME THE INPUTSTOFITYOURSTUDIO&OREXAMPLE IFYOUHAVECERTAINHARDWAREMOREOR LESSPERMANENTLYCONNECTEDTOYOUR0RO4OOLSAUDIOINTERFACE YOUCANCHANGE THE NAMES OF THESE INPUTS TO INDICATE WHAT DEVICES ARE CONNECTED TO WHICH INPUTS Figure 1.30 /NTHIS EIGHTCHANNEL)/ the inputs have been NAMEDTOINDICATEWHAT DEVICESARECONNECTED TOTHE0RO4OOLSAUDIO INTERFACE7HENTHEINPUT ASSIGNMENTSAREUSEDON THE0RO4OOLSMIXER THEY ENUNCIATEWHATDEVICES AREAVAILABLEONWHICH INPUTS

4HE INSERTS )/ 3ETUP MAKES IT POSSIBLE TO USE ANY OPEN INPUTnOUTPUT PAIRS AS AN INSERT CHANNEL FOR INSERTING A HARDWARE DEVICE INTO ANY 0RO 4OOLS MIX CHANNEL 3IMPLY MAKE BOTH THE INPUT AND OUTPUT ON THE AVAILABLE CHANNEL INACTIVEANDTHENSETTHATPAIRASANINSERTINTHE)NSERTTABOFTHE)/3ETUP WINDOW.OWANYHARDWAREDEVICE FOREXAMPLE ASPRINGREVERB CONNECTED

29


BETWEEN THAT INPUT AND OUTPUT IS AVAILABLE IN THE )/ SECTION OF THE MIXER INSERTS7EWILLLOOKABITCLOSERATTHISIN#HAPTER INTHESECTIONONUSING OUTBOARDDEVICES

Figure 1.31 The names SETINTHE)/3ETUPNOW SHOWASNAMEDINPUTS ONTHEMIXERANDEDIT WINDOWINPUTANDOUTPUT SETTINGS

1.10 Studio design 4HERE WAS A TIME WHEN STUDIO DESIGN WAS NOT AN ISSUE WHILE EDITING SOUND -OSTMOTIONPICTURESOUNDEDITINGWASDONEWITHHEADPHONES ANDONLYONE TRACKCOULDBEHEARDATATIME/NCEEDITED THEENTIREPROJECTWASMIXEDIN AHUGEDUBTHEATERWHEREALLTRACKSCOULDBEINTERLOCKEDANDPLAYEDINACRITICALLISTENINGENVIRONMENT4HISWASTHEFIRSTTIMEANYONEHADHEARDALLOFTHE SOUNDS TOGETHER MUCH LESS AT FULL FIDELITY )T WAS COMMON FOR SOUNDS TO BE REJECTEDATTHEFIRSTATTEMPTATAROUGHMIX /VERTIME THISWORKFLOWHASEVOLVEDTOTHEPOINTWHEREITISOFTENDIFFICULTTO TELLTHEDIFFERENCEBETWEENTHEEDITINGROOMANDTHEMIXTHEATER)NFACT OFTEN THEYARENOWTHESAMEROOM,ARGEPROJECTSSTILLMIXINLARGEDUBBINGTHEATERS HOWEVER TELEVISION AND SMALLER FEATURE FILMS NORMALLY MIX IN A hSWEETENINGv STUDIO ASMALLSTUDIOTHATCOMBINESTHEEDITINGANDMIXINGINTOONEROOM #RITICAL AUDIO DECISIONS ARE MADE AT EVERY PHASE OF THE EDIT AND SO THE EDIT ROOM MUST BE A CRITICAL LISTENING ENVIRONMENT !SSUMING THAT YOU HAVE A

30


ROFESSIONALSOUNDPOSTPRODUCTIONROOM THENTHISINFORMATIONISPROBABLYOF P LITTLEUSETOYOUnUNLESSLASTWEEKYOURPROFESSIONALSOUNDROOMWASTHESTORE ROOMFORJANITORSUPPLIES BUTSOMEONESTUCKA0RO4OOLSSYSTEMINTHEREAND STUCKYOURNAMEONTHEDOOR )FYOUAREEDITINGANDMIXINGINASPAREROOMORGARAGE THENYOU TOO MAY NEEDSOMEHELP-OSTHOMESTUDIOSARETOTALLYINCAPABLEOFPRODUCINGACCURATESOUNDTHEMONITORSPEAKERSAREPOOR THEROOMISNOISYANDREVERBERANT ORTHENEIGHBORSCALLTHEPOLICEEVERYTIMEYOUTRYTOMIX BITAT$OLBY SPECIFIEDLEVELS 3TUDIODESIGNISACOMPLEXSCIENCEANDWELLBEYONDTHESCOPEOFTHISBOOK HOWEVER A FEW TIPS CAN HELP AT LEAST IMPROVE THE SITUATION &IRST IF YOU ARE PLANNINGONDOINGANYREALWORKONTHEROOM GETHELP!CONSULTATIONFROMA STUDIODESIGNFIRMMAYCOSTASLITTLEAS3ECOND IFYOUCANTDOANYTHING TO THE ROOM n SAY YOU LIVE IN AN APARTMENT n GET HELP 9OU CAN EDIT WITH MICROSPEAKERSORHEADPHONES BUTYOUNEEDTOMIXINAREALROOMWITHREAL MONITORING&ORTUNATELY WITH0RO4OOLSTHISISEASYYOUCANTAKEYOURPROJECT ALMOST ANYWHERE )F YOU CANT AFFORD A HIGH END FACILITY FIND SOMEONE WHO WILLHELPYOUOUTINTHEIRDOWNTIMEFORAGOODPRICE

Basic acoustics 3TANDINGWAVES ASWELLASWAVESTHATCANCELANDAMPLIFY CREATEPROBLEMSIN OURMIXROOM!MIXTHATSOUNDSGREATINSUCHAROOMWILLSOUNDTOTALLYDIFFERENTINANYOTHERROOM7HILEWEHAVENOCONTROLOVERTHELISTENERSROOM WEDOHAVECONTROLOVERTHEROOMWECHOOSETOMIXIN!NDTHEMORENEUTRAL OURROOMIS THEBETTEROURMIXESWILLSOUNDINANYROOM4HEGOALINMAKING AROOMNEUTRALISTOMAKESURENOFREQUENCIESAREBOOSTEDORATTENUATED-OST ROOMS ARE EITHER hBOOMY v BUILDING SOME OF THE LOW FREQUENCIES OR hSHRILL v BUILDINGSOMEHIGHFREQUENCIES)TSEASYTOTESTTHEROOMAFTERYOUHAVEBUILTIT TOSEEHOWITTURNEDOUT BUTCHALLENGINGTOTESTTHEROOMBEFOREYOUBUILDIT 4HESE BOOSTS ARE CAUSED BY REFLECTIONS OFF THE WALLS 3OUND WAVES MOVE EXACTLYLIKEWATERWAVES ONLYINTHREEDIMENSIONSANDMUCHFASTER

Figure 1.32 2EFLECTED WAVESCOMINGOFFOF SQUAREWALLS

31


4HINKOFASQUAREWATERTANKABOUTTWOFEETONASIDEANDWITHTOTALLYVERTICALWALLS$ROPAMARBLEINTHECENTEROFTHETANKANDRIPPLESMOVEOUTFROM THERE HIT THE SIDES AND REFLECT BACK 4HE REFLECTIONS COLLIDE WITH INCOMING WAVES CANCELINGSOMEANDMAKINGSOMEBIGGER

Figure 1.33 Corner LOADING7HENWAVES BOUNCEOFFOFWALLSAT a corner, they reflect symmetrically off the TWOWALLSANDTHEFLOOR CREATINGANEWSETOF WAVESTHATMATCHTHE ORIGINAL

7HEN THE WAVES COLLIDE WITH THE ª CORNERS THEY REFLECT OUT IN CURVES JUST LIKETHEORIGINALSOUNDSOURCE4HESEALSOINTERACTWITHTHEORIGINALWAVESAND THE BOOSTED REFLECTIONS OFF OF THE FLAT WALLS ª CORNERS ARE DIABOLICAL n THEY ACTLIKESONICMIRRORSREFLECTINGBACKONE EIGHTHOFTHEWAVESHAPE BUTMIRRORING THE ENTIRE WAVE )N THE ABOVE IMAGE NOTICE THAT THE WAVES ARE ONLY ONE QUARTEROFTHEORIGINALWAVE"ECAUSEWAVESARETHREE DIMENSIONAL WHERE THE WALLS INTERSECT THE FLOOR AT ª THE SAME THING IS HAPPENING 4HEREFORE ONLY ONE EIGHTH OF THE WAVE IS REFLECTING BACK BUT THE SHAPE OF THE WAVE IS UNALTERED ANDTOSOMEEXTENTREFOCUSED 9OUCANPROVEITWITHASIMPLEEXPERIMENT4URNASPEAKERINTOACORNERABOUT A FOOT FROM THE WALLS +EEP IT FLAT ON THE FLOOR 4HE HIGHS AND MIDS WILL BE MUTED BUT SOME FREQUENCIES OF THE BASS WILL GET LOUDER 4HIS IS WHY SOME SUBWOOFERSARETURNEDINTOACORNER)TIMPROVESTHEIREFFICIENCY

Figure 1.34 $IRECTIONALSOUND WAVES

&ORTUNATELY THESEPROBLEMSARESOMEWHATMORECONTAINEDINAREALROOM)N THEWATERTANK THEWAVESRADIATEINALLDIRECTIONSWHENSOMETHINGISDROPPED IN THE TANK !S WE CAN SEE IN &IG SPEAKERS DIRECT THE SOUND IN ONE DIRECTION%VENTHEBASS WHICHTENDSTORADIATEOUTINALLDIRECTIONS ISRATHER

32


FOCUSED BY THE MONITOR SPEAKER 3O IN A STEREO ROOM MOST OF THE REFLECTION PROBLEMSAREFOCUSEDONTHEBACKWALLSANDCORNERSOFTHEROOM

Figure 1.35 4HE!URALEX ,%.2$"ASSTRAPKEEPS WAVESFROMRADIATINGOUT FROMTHECORNERS

2EDUCINGLOWFREQUENCIESTAKESLININGTHEWALLSWITHABSORBINGMATERIALOVERA FOOTTHICK&ORTUNATELY ITISNOTNECESSARYTOLINEALLTHEWALLSWITHTHISTHICKINSULATION ONLY THE PROBLEM AREAS ª CORNERS CAN HAVE A SHORT ANGLE WALL ACROSS THEMORTHEYCANHAVEAhTRAPvPLACEDINTHEM/NEVERSIONOFTHETRAPISMADE OFFOAM4HESENEEDTOBELARGEnTHEYMAYCOMEOUTAFOOTFROMTHECORNERBUT THEYDONTNEEDTOBESOLIDINFACT THEYWORKBETTERIFTHEYAREMOREOPENWITH hFINSvEXTENDINGFROMTHECORNER4HESEAREAVAILABLEFROMSEVERALSUPPLIERS )TSALSOPOSSIBLETOBUILDATRAP,INETHEWALLSINTHECORNERWITHTHICKSOUND ABSORBINGMATERIAL4HISSHOULDEXTENDOUTABOUTTWOFEETONEACHWALL4HEN PLACEAFRAMEWORKWITHFABRICATTACHEDACROSSTHECORNER 4HEREISANOTHERTYPEOFhBASSTRAPv)NTHISCASE ITISADEEPBOXFORDEADENINGAWALL4HISWILLUSUALLYBETHEBACKWALL THEONEWITHTHEMONITORSPEAKERS ANDTHESUBPOINTEDTOWARDIT)FTHEWAVESARESTOPPEDHERE THEOTHERWALLS WILLNOTBEABIGPROBLEM3OMEOFTHESELOOKLIKEABIGPILLOWANDWORKWELL 3OME PEOPLE PLACE THE PILLOW IN A BOX WITH A FABRIC COVER )T IS USUALLY ONLY NECESSARYTOPLACEABASSTRAPNEARTHETOPOFTHEWALLEXTENDINGDOWNABOUT HALFWAY&URNITUREANDYOUROWNBODYWILLHELPREDUCEWAVESBELOWTHAT 3EVERALCOMPANIESOFFERSTUDIOKITS ALLTHETRAPS DIFFUSERS ANDGLUENEEDEDTO TREATACERTAINSIZEROOM4HESEAREHANDYANDVERYCOST EFFICIENT4HESECAN BEAUGMENTEDFORLARGERROOMSANDMODIFIEDASNEEDED 33


Figure 1.36 4HE20' 3TUDIOINA"OXKIT

Figure 1.37 3TANDING WAVES

.OW LETS LOOK AT STANDING WAVES )F WE VIBRATE THE WATER TANK AT CERTAIN FREQUENCIESSTANDINGWAVESAPPEAR4HESEWAVESAPPEARTONOTMOVEBECAUSE THEY ARE BOUNCING OFF THE SIDES AT THE EXACT SPEED OF THE VIBRATION 3OUND WAVESINTHESTUDIOBEHAVEINAVERYSIMILARWAY 7E HAVE SEVERAL TOOLS AT OUR DISPOSAL THAT CAN HELP 3TANDING WAVES ARE CAUSEDBYWAVESBOUNCINGOFFWALLSANDBOUNCINGBETWEENPARALLELWALLS3O WECANSTARTBYTRYINGTOREDUCEPARALLELWALLS4HINKOFSTEALTHAIRPLANES4HEY ARE DESIGNED TO SCATTER WAVES IN THIS CASE RADAR WAVES 3OME HAVE STRANGE ANGLESDEFLECTINGTHEWAVESINALMOSTRANDOMDIRECTIONS OTHERSHAVEOUTWARD CURVEDSURFACESSCATTERINGWAVESLIKEALENS%ITHERIDEACANWORKINOURSTUDIO

Figure 1.38 Angling the WALLSORCEILINGINSHORT SECTIONS

34


)TISNOTALWAYSPOSSIBLETOTOTALLYELIMINATEPARALLELWALLS BUTTHEYSHOULDBE AVOIDED"ECAUSESOUNDISTHREE DIMENSIONAL THESAMEHOLDSTRUEFORTHECEILINGANDTHEFLOOR)NALARGESTUDIO THISISNOTAPROBLEMCEILINGSCANBEHIGH ANDEASILYANGLED)NAGARAGE ITSABITTRICKY&ORTUNATELY ITISNOTNECESSARY TOANGLETHEENTIREWALLORCEILINGITCANBEANGLEDINSHORTSEGMENTS !NOTHERGOODTOOLISTHEROOMPROPORTIONS#ERTAINPROPORTIONSCREATESTANDINGWAVESATAGIVENFREQUENCYINTWOOREVENTHREEDIMENSIONS/THERSCAN ONLY CERATE A STANDING WAVE AT A GIVEN FREQUENCY IN ONE DIMENSION AND THISGREATLYREDUCESTHEEFFECTOFANYSTANDINGWAVES!ROOMTHATMEASURES OR A PROPORTION OF WILL HELP FIGHT STANDING WAVES4HEREAREOTHERGOODPROPORTIONS BUTTHEREALKEYISTOAVOIDBADPROPORTIONSISPERHAPSTHEWORSTPROPORTIONS!NYTHINGTHATISEXACTMULTIPLES WILL PROPAGATE WAVES AT THE SAME FREQUENCY 4HE WATER TANK WITH PARALLELSIDESPROPAGATESWAVES

Speaker placement .OMATTERWHATYOUDO THEREWILLBEBADEFFECTSINSOMEPARTSOFTHEROOM "UTWEDONTNEEDTHEENTIRESPACETOSOUNDWONDERFUL ONLYTHECRITICALLISTENINGAREA%VERYTHINGINTHEROOMISDIRECTEDTOTHEMIXCHAIR THEPLACEMENT

Figure 1.39 /N SURROUNDSYSTEMS THE monitor speakers must be EQUIDISTANTFROMTHEMIX CHAIR-OREOVER THEFRONT RIGHTANDLEFTMUSTBE THATSAMEDISTANCEAPART FORBESTPERFORMANCE 4HEREARSSHOULDBENOT LESSTHANªOFFAXIS ANDNOTMORETHANª PREFERABLYBETWEENª ANDª

35


OF THE VIDEO MONITOR THE DESK THE CONTROLS ON THE DESK AND CERTAINLY THE MONITORSPEAKERS 3TEREO AND MONITOR PLACEMENTS ARE SIMILAR 4HE RIGHT AND LEFT MONITORS SHOULD BE EQUALLY DISTANT FROM EACH OTHER AND THE MIX CHAIR 4HIS FORMS AN EQUILATERAL TRIANGLE 4HEY SHOULD BE ABOVE THE DESK AND AT THE SAME HEIGHT ORATLEASTTHETWEETERSSHOULDBETHESAMEHEIGHTONALLSPEAKERS4HISMAY REQUIRETHATSOMEMONITORSPEAKERSBEMOUNTEDUPSIDE DOWN /N SYSTEMS THE CENTER MONITOR SHOULD BE HALFWAY BETWEEN THE STEREO SPEAKERSANDATTHEEXACTSAMEHEIGHTANDDISTANCEFROMTHEMIXCHAIR4HIS WILLPLACEITSLIGHTLYFURTHERBACKFROMTHERIGHTANDLEFTMONITORSFORMINGAN ARC #ONTINUING THIS ARC FORMS A CIRCLE THE REAR MONITORS SHOULD BE PLACED ON THIS CIRCLE 4HEY SHOULD BE AT THE SAME HEIGHT AS THE FRONT MONITORS AND BEHINDTHEMIXCHAIRBETWEENªANDªOFFAXISFROMTHECENTERMONITOR PREFERABLYBETWEENªANDª4HEPOSITIONOFTHESUBWOOFERWILLDEPEND ONTHEROOMANDTHEKINDOFSUBWOOFERBUTITISLESSCRITICAL

1.11 Dolby Pro Logic 5.1 playback 7HILETHEPROJECTISSTILLINDISCRETEAUDIOCHANNELSIN0RO4OOLS MONITORING IN0RO4OOLS($ISSIMPLE"UTBEFORETHESOUNDCANBEUSEDINAFILMPRINT OR$6$ THEDISCRETECHANNELSNEEDTOBEENCODEDINTO$OLBY!#FILES5NTIL RECENTLY THISREQUIREDENCODINGWITH$OLBYHARDWAREOR$OLBYLICENSEDCOMPRESSION SOFTWARE SUCH AS !PPLES #OMPRESSOR /NCE ENCODED THE RESULTING !#FILESCANNOTBEPLAYEDBACKIN0RO4OOLSTHEYREQUIREPLAYBACKTHROUGHA $OLBYDECODERTHATSENDSTHEPROPERSIGNALSTOTHEPROPERSPEAKERS 4HELATESTGENERATIONOF-ACINTOSHCOMPUTERSANDSOME0#SHAVEOPTICALOUTPUTS THAT CAN SEND $OLBY 0RO ,OGIC TO A 0RO ,OGIC DECODER !LTHOUGH THERE ARE MANY 0RO ,OGIC PREAMPS AND DECODERS ON THE MARKET AT VERY REASONABLE PRICES 0RO ,OGIC PLAYBACK IN 0RO 4OOLS IS MORE COMPLICATED THAN SIMPLY ATTACHINGSUCHADEVICETOTHEOPTICALOUTONTHECOMPUTER 4HE PROBLEM IS THE $OLBY !# FILES ARE EXPORTED AS 1UICK4IME FILES AND 1UICK4IME DOES NOT SUPPORT $OLBY )T THEREFORE SENDS NO SIGNAL TO THE OPTICALOUT)FTHE!#FILESAREBURNEDINTOA$6$ ANY$6$PLAYERWITH$OLBY OUTCANSENDTHETOTHEDECODERORPREAMP!PPLES$6$PLAYERDOESSUPPORT $OLBY !# FILES AND DOES SEND THE OUT THROUGH THE OPTICAL JACK ON THE COMPUTER 4HIS ALSO MEANS THAT IF YOU CONNECT A $OLBY DECODER TO THE OPTICALOUTONTHECOMPUTERASWELLASTOYOURMONITORS YOUCANWATCH MOVIESFROM$6$INYOURMIXROOM WHICHMAYBEANEGOTIATINGPOINTWHEN YOUWANTTOBUILDYOURMIXROOMINTHEBASEMENTORGARAGE

36


4HEREARENOWPLUG INSFORENCODING$OLBY0RO,OGICDIRECTLYIN0RO4OOLS AND THESEPLUG INSCANPLAYBACKTHEENCODEDFILES4RUE THEYCANTPLAYTHELATEST HOURCUTOFLord of the RingsFROM"LUE2AY BUTWHENITCOMESTOPROFESSIONALAUDIOENCODING BEINGABLETOENCODEANDCHECKTHEPLAYBACKRIGHTIN 0RO4OOLSISAVASTIMPROVEMENTOVERTHEOLDERWORKFLOW7EWILLLOOKATTHESE PLUG INSIN#HAPTER 0RO4OOLS0LUG INS

1.12 Isolation 7E ALSO NEED A QUIET PLACE TO WORK 7E CANT HAVE ANY OUTSIDE NOISES OR MACHINENOISES&ORSOMEREASON PEOPLEGENERALLYTHINKTHATIFYOUWANTTO MAKEAWALLhSOUNDPROOF vALLYOUNEEDTODOISHANGSOMEINSULATIONONIT 'RANTED THIS HELPS AT LEAST A BIT "UT THINK OF IT THIS WAY IF THE NEIGHBOR IS HAVINGAPARTYANDYOUDONTWANTTOHEARIT AREYOUGOINGTOCLOSETHEWINDOWORTHEDRAPES7HILETHEREAREREASONSTODEADENSOMEOFTHEWALLSWITH ABSORBING MATERIAL WHEN TRYING TO STOP SOUND FROM GOING THROUGH A WALL SOFTANDPOROUSARENTGOINGTODOMUCH 5NFORTUNATELY SOUND CAN TRAVEL THROUGH ALMOST ANYTHING %VEN IF YOU HAD SIXINCHESOFCONCRETEINTHEWALL SOMELOW FREQUENCYSOUNDWOULDSTILLGET THROUGH7HENTHENEIGHBORSKIDDRIVESBYINHIShAWESOMERIDEvWITHHIPn HOP CRANKED TO ELEVEN THROUGH HIS FIFTEENS AT K7 FROM A BLOCK AWAY YOU HEAR HIS BASS n NOT THE MIDS AND HIGHS n THE BASS ,OW FREQUENCY PUNCHES THROUGHALMOSTANYTHINGANDTRAVELSFAR5LTRAHIGHSCANBESTOPPEDDEADBY APIECEOFCLOTH 4HEREARESPECIALSOUNDTREATMENTSTHATYOUCANPUTINSIDEOFAWALL"ECAUSE OFTHEPOPULARITYOFHOMETHEATERS SUCHPRODUCTSAREWIDELYAVAILABLE3OME OF THESE PRODUCTS RESEMBLE PLAIN PLASTIC SHEETING YET THESE AIR TIGHT MEMBRANESDOWONDERSFORMID LOWFREQUENCYISOLATION/THERPRODUCTSAREHEAVY FOAMCOMPOSITESINSEVERALLAYERSEACHWITHDIFFERENTSOUNDTRANSMISSIONQUALITIESFORDIFFERENTFREQUENCIES4HEWALLSHOULDBEASTHICKASYOUCANMAKEIT vMINIMUM"ECAUSESOUNDCANTRAVELTHROUGHWALLSTUDS TWOWALLSWITHA SPACEIN BETWEENISBETTERTHANASINGLEWALL ORTHEWALLSTUDSCANBEhSTAGGERED vTHATISTOSAY ONEFORMINGTHEINSIDEOFTHEWALL THENEXTTHEOUTSIDE INSIDE AND SO FORTH 4HIS IS NOT AS GOOD AS TWO WALLS BUT IT IS BETTER THAN A SINGLEWALL )T MAY ALSO BE NECESSARY TO hFLOATv THE WALLS )F ANY SOUND CAN GET INTO THE FLOOR THEN IT WILL TRAVEL UP INTO THE WALLS AND RADIATE OUT FROM THERE 4HIS IS ALSOTRUEINTHEOTHERDIRECTION5NLESSTHEFLOORISASOLIDCONCRETEPADDIRECTLY ON THE GROUND THE WALLS NEED TO BE FLOATED 4HIS IS SIMPLE THERE ARE MANY PRODUCTSAVAILABLEFORTHIS4HESEARERUBBERPADSORCHANNELSTHATGOBETWEEN THEFLOORANDTHEWALLS

37


4HE EQUIPMENT ALSO NEEDS TO BE ISOLATED %VEN A COOLING FAN IS MORE NOISE THANYOUSHOULDHAVEINTHEROOM)DEALLY THECOMPUTERANDANYNOISYEQUIPMENT SHOULD BE IN AN ISOLATION ROOM OR hMACHINE ROOMv )T IS ALSO POSSIBLE TO USE AN ISOLATION RACK AN EQUIPMENT RACK WITH A GLASS DOOR AND ISOLATION MATERIALINTHECASE9OUALSONEEDTOISOLATETHEAIR CONDITIONINGANDHEATING 3PECIALBAFFLESAREAVAILABLEFORTHIS

Ergonomics and equipment )TISIMPORTANTTOBEABLETOREACHALLOFTHEGEARTHATYOUUSEALLOFTHETIME 9OUALSONEEDTOBEABLETOSEETHEVIDEOASWELLASTHECOMPUTERSCREENSn ANDITSEEMSTHATTHEREARENEVERENOUGHCOMPUTERSCREENS*USTKEEPINGTHE EDIT AND MIX WINDOWS OPEN PRETTY MUCH TIES UP TWO SCREENS 7HILE MANY PEOPLE GET BY WITH TWO OR EVEN TOUGH IT OUT WITH ONE THREE ALLOWS YOU TO HAVEEVERYTHINGATYOURFINGERTIPS ! CONTROL SURFACE GREATLY IMPROVES THE ACCESS TO THE CONTROLS AND SPEEDS THE MIXING PROCESS 4HIS IS ESPECIALLY TRUE ON FILM MIXES 7HILE MUSIC MIXES MAYBESETFORLONGSECTIONS ONFILMMIXESEVERYTHINGISGOINGUPANDDOWN ALL OVER THE PLACE ALL THE TIME 4RYING TO SET UP AN ADEQUATE MIX WITH JUST A MOUSEISASTUDYINFRUSTRATIONANDAWASTEOFTIME4HECONTROLSURFACEALLOWS YOU TO ADJUST SEVERAL THINGS AT THE SAME TIME HEAR HOW THEY INTERACT AND MAKEEXACTCHANGES -ANY PEOPLE HAVE SEVERAL PIECES OF HARDWARE hGADGETSv THAT THEY LIKE TO USE7HILETHESEMAYBEAVAILABLEASPLUG INS THESOUNDOFTHEANALOGDEVICE OR SPECIFIC DIGITAL PROCESSOR MAY BE ONLY AVAILABLE BY HAVING AND USING THE STAND ALONEDEVICE4HESEDEVICESWILLALSONEEDTOBEPATCHED4HECONTROLS ANDPATCHESOFTHESEPIECESOFEQUIPMENTNEEDTOBEWHEREYOUCANGETTO THEM FROM THE MIX CHAIR 4HE hUSUALv LOCATION HAS BEEN EITHER RIGHT IN THE MIXING CONSOLE OR DIRECTLY BEHIND THE MIXING CHAIR IN A SHORT RACK 7HILE AT ONETIMETENSOFSUCHDEVICESWEREFOUNDINTHEMIXINGTHEATER TODAYMOSTOF THISFUNCTIONHASBEENTAKENOVERBYPLUG INSANDONLYAFEWDEVICESREMAIN .EEDLESSTOSAY ALLOFTHESEDEVICESNEEDTOBETOTALLYQUIETORELSEMOUNTED INANISOLATIONRACK -ANYSTUDIOSWILLALSOHAVEA-)$)KEYBOARD%VENIFTHISISNOTUSEDFORMUSIC ITMAYBEUSEDTOADD&OLEYSOUNDSORSPECIALEFFECTS(ERE TOO THISNEEDSTO BEWHERETHEMIXEREDITORCANREACHITFROMTHEMIXCHAIR

Audio monitors )T IS ASSUMED THAT AUDIO FOR FILM AND TELEVISION WILL BE PLAYED ON FULL RANGE SPEAKERS NOTSATELLITESPEAKERSWITHASUBWOOFER)NTHETHEATER THISISALWAYS THECASE BUTINTHEHOMETHISISRARELYTHECASE4HISSHOULDNOTAFFECTTHEMIX HOWEVER THE SATELLITE SYSTEMS MANAGE THEIR OWN CROSSOVER ROUTING THE BASS

38


FROM THE STEREO PAIR TO THE SUB AT THE FREQUENCY NEEDED FOR THAT PARTICULAR SYSTEM4HISISALSOTRUEFORSURROUNDSYSTEMSANDMIXES7HEREWERUNINTOA PROBLEMISWHENWEARESURROUNDMIXINGONASATELLITESYSTEM4HEPATCHING FROM0RO4OOLSREQUIRESTHATTHESIXOUTPUTSSHOULDBESENTTOTHESIXSPEAKERS 4HE,&%CHANNELISNOTASATELLITESUBWOOFER ITISONLYUSEDFORAUDIOEFFECTS )NSUCHASETUP THEONLYAUDIOSENTTOTHE,&%ISFROMTHE,&%CHANNEL WHICH DOES NOT CONTAIN ANY OF THE BASS OF THE STEREO PAIR OR ANY OF THE SURROUNDS .ONEOFTHEBASSFROMTHESTEREOPAIRTHATWOULDNORMALLYBEROUTEDTOTHE SATELLITE SUB IS ROUTED TO THE ,&% UNLESS A CROSSOVER IS RUNNING INSIDE OF 0RO 4OOLSORASANEXTERNALHARDWARESYSTEMTODOJUSTTHAT)NTHEMIX IFWESIMPLYROUTESOMEOFTHEBASSFROMTHEOTHERFIVECHANNELSTOTHE,&%TOhFILLOUTv THESOUND WHENTHISMIXISPLAYEDONAFULLRANGESYSTEMORASATELLITESYSTEM THEBASSISDOUBLEWHATITSHOULDBE7HATWENEEDISASATELLITECROSSOVERSYSTEMFOROURMIXROOMTHATWILLEITHEROPERATEINSIDE0RO4OOLSORACTIVELYON THESIX CHANNELSPEAKEROUTPUT

Figure 1.40 4HE7AVES ªSOUNDMANAGER CANADJUSTTIMINGIFTHE speakers are not at their OPTIMUMPOSITIONASWELL ASMANAGETHE,&%ASA SATELLITESUBWOOFER

4HE7AVESª3URROUND4OOLS-ANAGERPLUG INSPLITSTHE,&%ANDFUNCTIONS INTOASATELLITESUBAND,&%ATTHESAMETIME7HENWEMIXSOUNDTOTHE,&% ONLYTHATSOUNDISRECORDEDINTOTHATCHANNEL"UTALSOACONTROLLABLEAMOUNT OFBASSFROMTHEOTHERCHANNELSISSENTTOTHE,&%SPEAKERSOTHATITALSOFUNCTIONSASASATELLITESUB4HE7AVESª3URROUND4OOLSPLUG INSSETALSOCOMES WITHMANYOTHERGREATSURROUNDMIXINGTOOLS 39


Tuning the audio monitors /NCETHEROOMISFINISHEDANDTHEAUDIOMONITORSAREINPLACE ITISPOSSIBLE TO TEST THE ROOM FOR PROBLEMS 0INK NOISE IS PLAYED THROUGH THE SYSTEM AND ANALYZEDWITHANAUDIOSPECTRUMANALYZER4HISSHOWSWHERETHEREARESPIKES ANDVALLEYSINTHESPECTRUM)FTHEACOUSTICSHASBEENPROPERLYDESIGNED THE ROOMSHOULDBEFAIRLYNEUTRAL)FTHEREAREMASSIVEPROBLEMS THISMAYREQUIRE RETHINKINGTHETRAPS"UTIFTHEPROBLEMSARESMALL THEYCANBECOMPENSATED FOR WITH ENVIRONMENTAL EQUALIZATION 4HIS IS DONE WITH A GRAPHIC EQUALIZER INSTALLED IN A PLACE WHERE IT WILL NOT BE hMESSED WITHv 3OME PEOPLE CANT RESIST SLIDING A SLIDER -OST OF THE TUNING WILL BE IN THE LOW END WHICH IS GOOD %QUALIZING THE HIGHS MESSES WITH THE STEREO IMAGING !S ALWAYS WITH EQUALIZATION LESSISMORE4HEBETTERTHEROOM THEBETTERTHESOUND

Figure 1.41 2ADIOSHACK SOUNDPRESSURELEVEL30, METER

4HE LEVEL OF THE AUDIO MONITORS ALSO NEEDS TO BE SET 4HERE NEEDS TO BE A ZERO MARKING ON THE AUDIO MONITORS LEVEL CONTROL !LL OF THE AUDIO MONITORS SHOULD BE HEARD AT THE SAME LEVEL AT THE MIX CHAIR /NE EXCEPTION MAY BETHE,&%)FNOMANAGEMENTSYSTEMISBEINGUSEDLIKE7AVESª3URROUND 4OOLS-ANAGEMENTPLUG IN THE,&%MAYNEEDTOBESETATD"3OME,&% AMPLIFIEDSPEAKERSHAVEAD"SWITCHTHATCANBESET"ASSNEEDSTHIS BOOST TO BE PERCEIVED AS THE SAME VOLUME AS THE OTHER MONITORS AS BASS IS PERCEIVED AT A LOWER LEVEL BY THE HUMAN EAR 7HEN IN DOUBT CHECK WITH THE MANUFACTURER 4HE 3-04% HAS DEVELOPED STANDARDIZED MONITORING LEVELS FOR CINEMAPOSTPRODUCTIONWORK&ORFILMMIXING THEREFERENCELEVELISD"30,AT THEMIXCHAIR4HISISREADWITHASIMPLESOUNDPRESSURELEVELMETER30, SETON 40


THE#WEIGHTED3LOWSCALE!NAFFORDABLEMODELISAVAILABLEAT2ADIO3HACK4HE REFERENCELEVELFORTELEVISIONISnD"ANDnD"FORMUSICPRODUCTION 3ET EACH MONITOR INDIVIDUALLY BY PLAYING PINK NOISE FROM THE 0RO 4OOLS !UDIO3UITESIGNALGENERATORATTHEDEFAULTD"3HUTDOWNALLOTHERMONITORS OTHERTHANTHEONEBEINGCALIBRATEDATTHEPOWERAMP.OWSETTHEVOLUMEOF THISMONITORTOTHEDESIREDLEVELD"FORFILM 2EPEATTHISFORTHEREMAINING FIVEMONITORS)FTHESUBWOOFERHASASETTING SETTHISLEVELWITHTHESWITCH ON7HILETHISSOUNDSWACKO WEAREUSINGTHE#WEIGHTEDSCALETHATTAKESTHIS ROLL OFFINTOACCOUNT)FYOUADDTHEAFTERSETTINGTHELEVEL YOUWILLGETTOO MUCHSUB)NFACT NOMATTERHOWYOUSETTHESUB ITWILLNOTBEALLTHATACCURATEYOUREALLYNEEDTOCALIBRATETHEROOMWITHTHESPECTRUMANALYZER BUTTHIS ISMOREORLESSCLOSEDEPENDINGONTHEROOM /NCETHEINDIVIDUALMONITORSARESET SETTHEMAINVOLUMETOTHEPROPERLEVEL nD"FORTELEVISION D"FORFILM ANDnD"FORMUSICPRODUCTION AT THEMIXCHAIR

Video monitors 4HECHOICEOFVIDEOMONITORISAVERYSUBJECTIVEDECISION)NAPOSTPRODUCTION FACILITY THISWILLNORMALLYBEAREFERENCEVIDEOMONITORHOWEVER BECAUSENO VIDEOCOLORINGORANYVIDEOPROCESSINGHAPPENSHERE THEMONITORCANBEJUST ABOUT ANYTHING THAT SHOWS DETAIL AND DOESNT MAKE ANY NOISE 4HE SECOND CONSIDERATIONISALARGEONEnWEHAVEGONETOALOTOFTROUBLETOMAKETHE ROOMASQUIETASWECAN WEDONTWANTTOBRINGINSOMETHINGTHATHASAFAN INIT!LSO ASTHEMONITORWILLHAVEMANYHOURSPUTONIT WEMAYNOTWANT SOMETHINGTHATCOSTSALOTTOOPERATE 4HEOBVIOUSCHOICEISA#244HESECANBEANYTHINGFROMAREFERENCEMONITOR TO A LARGE SCREEN ($ TELEVISION 4HE DOWN SIDE IS THAT THEY ARE DEEP HEAVY ANDAREONLYAVAILABLEINSIZESLESSTHANINCHES"UTTHEYARECHEAPTOOPERATE HAVEASHARPPICTURE LASTFORYEARS ANDAREVERYQUIET 0LASMAMONITORSCOMEINSIZESUPTOINCHES THEYARETHINANDCANBEHUNG ONTHEWALL4HEYARESHARP BUTHAVEARATHERSHORTLIFEANDINSOMEINSTALLATIONSMAKENOISE!TVERYHIGHELEVATIONS THEYWHISTLEANDAREIMPOSSIBLETO EVENBENEARYETALONETRYTOMAKECRITICALAUDIODECISIONSAROUND"UTTHEY CANMAKEAGOODMONITORINTHERIGHTSITUATION ,#$FLATPANELSHAVEALLOFTHEADVANTAGESOFTHEPLASMASCREENSWITHOUTTHE DOWNSIDES4HEYARENOWAVAILABLEINTHEGIANTSIZESPLASMASOFFER LOOKGREAT ANDAREBECOMINGQUITEAFFORDABLE 6IDEOPROJECTORSAREABLETOPROJECTANYSIZE LOOKGREAT ANDTAKEUPVERYLITTLEROOM4HEYCANBEVERYEXPENSIVETOOPERATESOMEBULBSCOSTOVER

41


AND HAVE A LIFE OF ONLY HOURS 4HE BIGGEST PROBLEM WITH PROJECTORS IS THEIRCOOLINGFANS4HEYCANNOTBEINTHEMIXROOMUNLESSTHEYAREMOUNTED IN AN ISOLATION hBOX v AND THIS MUST BE WELL VENTILATED OR THE UNIT WILL OVERHEAT4HEBESTSOLUTIONFORINSTALLINGAPROJECTORISTOPLACEITINTHEISOLATION ROOM ORINITSOWNISOLATIONROOMORhBOOTH vANDTHISCOMPLICATESTHEROOM DESIGN0ROJECTORSHAVEALIMITEDTHROWTOCERTAINSCREENSIZES SOTHEPROJECTORMUSTBEMATCHEDTOTHEINSTALLATION

Figure 1.42 *UNIPER0OST 3TUDIOS-IX4HEATER

!LARGEMIXTHEATERMAYHAVESEVERALMIXPOSITIONSATTHECONTROLSURFACEAND TWO OR THREE COMPUTER MONITORS FOR EACH POSITION ALL DISPLAYING SEVERAL 0RO 4OOLS SYSTEMS CONNECTED TOGETHER (UGE FILMS OFTEN REQUIRE HUGE RESOURCES "UTWHETHERBIGORSMALL THEMIXROOMNEEDSTOBEEFFICIENTANDCOMFORTABLE

The garage studio )F YOU ARE EDITING AND MIXING IN THE GARAGE YOU HAVE A LITTLE MONEY TO SPENDONTHEPROJECTANDYOURFAMILYIS/+WITHPARKINGOUTSIDEFORTHENEXT YEARS JOY7ELCOMETOTHEFRATERNITYOF'ARAGE!UDIO3TUDIOS'!3 WHICH IS THE SMELL YOU WILL NEED TO GET OUT OF THERE BEFORE BEGINNING ANY WORK 4HERE ARE SEVERAL OTHER THINGS IT WOULD BE NICE TO GET OUT THE WASHER AND DRYER THEEXTRAREFRIGERATORORFREEZER THEWATERHEATER ANDTHELAWNMOWER !FTERNEGOTIATIONSWITHYOURFAMILY YOUWILLSETTLEFORTHELAWNMOWERANDBICYCLESGOINGINTOASHED!CTUALLY THISISGOOD BECAUSEYOUHAVEGIVENINONSOME THINGSYOUWANTED SOYOUCANCASHTHATINLATERWHENYOUGETTHECREDITCARDBILLS

42


$EPENDINGONYOURSTATEANDCITY YOUMAYHAVEANONSTARTER)NSOMEPLACES YOU WILL NEVER BE GIVEN THE PERMIT AND CONSTRUCTION WITHOUT A PERMIT MAY RESULT IN TEARING OUT EVERYTHING YOU HAVE DONE AND COULD AFFECT YOUR INSURANCE &IND OUT WHAT THE LAW IN YOUR AREA IS SO THAT YOU ARE WELL INFORMED BEFORE BUILDING ANYTHING !LSO THINK SAFETY %VEN IF YOU HAVE BEEN GIVEN A PERMIT THISDOESNOTMEANTHATYOURDESIGNISSAFE4HEREARENOWINDOWSIN ASTUDIOANDOFTENONLYONEDOOR$ONTSLEEPINTHERE(AVEFIREEXTINGUISHERS(AVEAWAYOUT 9OUNEEDAQUIETSPACETOBEABLETOHEAREXACTLYWHATYOUAREDOING ANDTHE FREEZER WASHINGMACHINE ANDWATERHEATERDONTSEEMCONDUCIVETOTHAT"UT THENNEITHERDOESACOMPUTERCOOLINGFAN VIDEOTAPERECORDERS OTHERCOOLING FANS ORTHEHEATINGAIR CONDITIONING 7HATYOUNEEDISAMACHINEROOMAPLACETOPUTALLOFTHENOISYEQUIPMENT 3INCETHEWASHERANDDRYERAREALREADYINPLACE THELOCATIONOFTHEMACHINE ROOMMAYBEDICTATEDTOYOU9OUALSONEEDTOKEEPTHEOUTSIDESOUNDSOUTSIDEANDTHEINSIDESOUNDSINSIDE &ORTUNATELY BECAUSEYOUAREINAGARAGE YOUCANBUILDABOXINSIDEOFABOX "EFORE BUILDING THE BOX YOU WILL WANT TO DO EVERYTHING YOU CAN WITH THE GARAGE DOOR AND ANY WINDOWS )N THIS CASE FOAM INSULATION MAY BE ABOUT ALL YOU CAN DO SHORT OF WALLING UP THE DOOR 7HAT EVER YOU DO TRY TO MAKE IT AIRTIGHT AND SOLID %VEN A SMALL GAP AT THE BOTTOM OF WILL EQUATE TO SQUAREINCHES AHOLEBIGENOUGHTOSTICKYOURHEADTHROUGH /NCE YOU HAVE DONE EVERYTHING YOU CAN WITH THE BASIC GARAGE BUILD THE STUDIOSPACEINSIDEOFITWITHSTUDWALLS "ECAUSEYOUAREBUILDINGDIRECTLYONTHECEMENTFLOOR ITSNOTLIKELYTHATANY SIGNIFICANTNOISEWILLTRANSFERFROMTHEFLOORUPINTOYOURWALLS)FYOUAREBUILDING DIRECTLY ON A WOOD FLOOR OR PRESTRESSED CONCRETE WITH SPACE BELOW ANY SOUNDSINTHEFLOORWILLTRANSMITDIRECTLYUPINTOTHEWALLSANDINTOTHEROOM )N THIS CASE IT IS IMPORTANT TO hFLOATv THE WALLS ON ISOLATION MATERIAL 3EVERAL PRODUCTSAREAVAILABLE 4HESTUDIOhBOXvWILLMOSTLYFILLTHEGARAGESPACEWITHSOMESPACELEFTFORTHE MACHINEROOMLAUNDRYSTORAGEAREA4HEhAIRSPACEvAROUNDTHEBOXCANHELP INISOLATION ESPECIALLYIFTHENEWWALLHASANEXPOSEDABSORBENTMATERIAL!NY SOUNDENTERINGTHESPACEWILLBOUNCEBACKANDBEPARTLYABSORBED 4HEDOORINTOTHESTUDIOISCRITICALTHEAVERAGEDOORWILLLETALMOSTALLOFTHE OUTSIDESOUNDSIN(OWEVER IFTHEWASHINGMACHINEISELSEWHERE ANDALLYOU NEED TO WORRY ABOUT IS THE COMPUTER AND RECORDER SOUNDS A GOOD OUTSIDE GRADEDOORWITHAGOODSEALMAYDOTHEJOB4HEREAREhSOUND PROOFvDOORS AVAILABLE BUTTHEYAREEXPENSIVE

43


4HESHAPEOFTHEBOXSHOULDNOTNECESSARILYREFLECTTHESHAPEOFTHEGARAGE #URVED WALLS ARE WONDERFUL IF THEY CURVE AWAY FROM THE ROOM AND NOT CONCAVE INSIDE IT 4HEY ARE TRICKY TO BUILD BUT POSSIBLE !VOID PARALLEL WALLS AND ªCORNERSWHEREVERYOUCAN!ND AGAIN ALITTLEHELPFROMACONSULTANTWILL REALLYHELPCOMEUPWITHAGOODROOM $EPENDING ON THE KIND OF SOUND QUALITY YOU WANT IN THE ROOM YOU WILL BE DEADENINGSOMESURFACES)TSUNLIKELYTHATYOUWILLWANTATOTALLYDEADROOM 7HENPLACINGABSORBENTMATERIALONTHEWALLS THEHIGHSANDMIDSAREKILLED MORE THAN THE BASS AND THIS CREATES A hMUFFLEDv SOUND .ORMALLY AREAS OF THE WALL ARE LEFT HARD TO BOUNCE HIGHS AND MIDS /THER SPECIAL DIFFUSERS ARE USEDONTHEWALLSTOHELPSCATTERTHEBASSWITHOUTKILLINGTHEHIGHSANDMIDS !ND REMEMBER THIS IS NOT A RECORDING STUDIO PER SE IT IS A MOTION PICTURE ANDTELEVISIONEDITINGANDMIXINGROOM4HISISNOTTOSAYTHATYOUWILLNOTBE RECORDINGINHERE BUTTHATISNOTITSPRIMARYFUNCTION9OUWANTAVERYNEUTRAL LISTENINGTHEATER)NFACT IFYOUAREHAVINGTROUBLENEGOTIATINGFORSPACE POINT OUTTHATTHISISREALLYJUSTANAWESOMEHOMETHEATERWITHAMIXINGCONSOLE

Figure 1.43 7ELCOMETO THEFRATERNITYOF'ARAGE !UDIO3TUDIOS'!3

)N THIS GARAGE STUDIO THE WASHER DRYER FREEZER AND WATER HEATER ARE STILL LOCATEDINTHEATTACHEDGARAGE4HEBOXWITHINABOXDESIGNISOLATESTHESTUDIO FROM THE OUTSIDE AND WHILE IT IS LESS ISOLATED FROM THE UTILITY AREA THESE CANBECONTROLLED.OWASHINGDURINGAFINALMIX4HEWALLANDCEILINGTREATMENTSCANBEANYNUMBEROFPRODUCTS EVENAhSTUDIOKITvSETOFDIFFUSERSAND 44


TRAPS 4HE ISOLATION MATERIALS IN THE INNER WALLS CAN ALSO BE ANY NUMBER OF PRODUCTS BUTTHEYSHOULDBESOLIDANDAIRTIGHT &ORLARGERSPACES THEWALLSCANBEMOVEDOUTASLONGASTHEFRONTWALL MIX POSITION AND THE MONITOR SPEAKERS KEEP THIS RELATIONSHIP )F THE BACK WALL IS MOVED BACK UNTIL THE MIX CHAIR IS OF THE DISTANCE BETWEEN FRONT AND BACKWALLS THISISGREAT)FTHEROOMISBIGGERTHANTHAT THECIRCLEANDMONITOR PLACEMENTSSHOULDBEMADELARGERASWELL

Figure 1.44 2ETRO +LIPSCHMIXROOM

)N&IGURE4 WEHAVEARETRO+LIPSCHMIXROOM4HISISABITTOOLARGETOFIT INTHEAVERAGEGARAGE ASTHELARGER+LIPSCHHORNTYPESPEAKERSREQUIREMORE ROOM4HEHEARTOFTHISMIXROOMISTHEPAIROFh+LIPSCHORNS vALSOKNOWNAS THE+HORNUSEDASTHESTEREOPAIR4HESEWEREINVENTEDINBY#OLONEL 0AUL 7 +LIPSCH AND THEY ARE STILL MANUFACTURED ON A LIMITED BASIS 7HILE IT MAY SEEM DELUSIONAL TO USE AN ANTIQUE SPEAKER AS THE MAIN STEREO PAIR THE PROOFISINTHESOUND+LIPSCHSPEAKERSHAVEALOYALFOLLOWING AND YES THEY WE HAVE BEEN ACCUSED OF FANATICISM 4HE +LIPSCHORN IS STILL CONSIDERED BY MANY TO BE THE FINEST LOUDSPEAKER EVER MADE AND IS THE ONLY SPEAKER IN THE WORLDTHATHASBEENINCONTINUOUSPRODUCTIONFOROVERYEARS

45


Figure 1.45 0AUL7 +LIPSCHANDHIS+LIPSCHORN SPEAKERLEFT

Figure 1.46 0AUL7 +LIPSCHANDTHETINSHED WHERETHEFIRST+HORNS WEREMANUFACTURED

4HE+LIPSCHORNWASFIRSTMANUFACTUREDINATINSHEDIN(OPE !RKANSAS IN h4HE#OLONELvWASACOLONELINAN!RKANSASMILITIAANDWELLKNOWNASANhECCENTRICv!NAVIDJOGGER HEWOULDUSEPARKINGMETERSONTHEMAINSTREETASHURDLES (E WAS ALSO KNOWN FOR HIS COLORFUL USE OF LANGUAGE AND HIS WILLINGNESS TO DISAGREEWITHPEOPLE(ETOOKNOTESINCHURCHSOASTOUSEQUOTESINHISREBUTTAL OFTHESERMON4HECORPORATEMOTTOWASh"ULLSHITvnTHISINRESPONSETOCLAIMS

46


MADEBYOTHERSPEAKERDESIGNERS4HEMOTTOWASEMBLAZONEDONBRIGHTYELLOW BUTTONS THAT WERE PASSED OUT WHEN THE NEED AROSE (E ALSO HAD THIS MOTTO STITCHEDONTHELININGOFHISSUITCOATBULLONHISRIGHTSIDE THEREMAINDERON THELEFT4HISWAYHECOULDOPINEBYMERELYhFLASHINGvWHENTHENEEDAROSE

Figure 1.47 ,ASCALA

4HE CENTER SPEAKER IS A +LIPSCH ,ASCALA 4HE ,ASCALA WAS FIRST BUILT IN FOR !RKANSAS GUBERNATORIAL CANDIDATE 7INTHROP 2OCKEFELLER TO USE AS A PUBLIC ADDRESSSYSTEM7HILETHE+LIPSCHORNIShCORNERLOADED vREQUIRINGTHATITBE PLACED TIGHTLY INTO A CORNER OF THE ROOM THE ,ASCALA IS A FREE STANDING VERSIONOFTHE+LIPSCHORNTHATCANBEPLACEDANYWHERE(OPEFULLY 7INTHROPTOOK ALONGSOME%LVISVINYLTOROCKTHEVOTERS

Figure 1.48 4HE (ERESY

47


4HE SURROUNDS ARE (ERESY SPEAKERS ORIGINALLY DESIGNED IN AS A CENTER CHANNEL SPEAKER FOR THE +LIPSCHORN 4HE +LIPSCHORN WAS ORIGINALLY USED IN single speaker mono systems, but as stereo became available the speakers WERE MORE OFTEN USED AS STEREO PAIRS -ANY PEOPLE FELT THE STEREO PERSPECTIVELACKEDANYREALCENTER ANDCENTERCHANNELSPEAKERSBECAMEPOPULARWITH AUDIOPHILES4HEYFELLINTODISUSEASPHASINGACCURACYINRECORDINGSANDAMPLIFIERSREDUCEDTHECENTERhHOLEvINSTEREORECORDINGS4ODAYWITHSURROUND THECENTERCHANNELISBACKINABIGWAY4HE(ERESYWASALWAYSALITTLESMALL FORACENTERBETWEEN+HORNS BUTTHEYAREIDEALFORSURROUNDS

Figure 1.49 4HE-#- 'RANDTHEATERSYSTEM The cabinet on the bottom of the stack is the -7-$UAL

4HE SUB IS THE MASSIVE +LIPSCH -7- 4HE -7- $UAL IS STILL MADE HOWEVER THISSINGLEWOULDNEEDTOBECUSTOMBUILT4HE-7-$UALISPARTOFTHE +LIPSCH-#-'RANDINDUSTRIALTHEATERSYSTEM USEDINHIGH END4(8THEATERS AROUNDTHEWORLD4HE-7-$UALISINCHESTALL INCHESWIDE INCHES DEEP ANDWEIGHSINATOVERPOUNDS4HESINGLEISHALFTHATHEIGHT )T COULD BE PLACED ON THE FLOOR BELOW THE ,ASCALA RAISING THE TWEETER OF THE ,ASCALATOTHESAMEHEIGHTASTHE+HORNS)TCOULDALSOBEMOUNTEDTIGHTTO THECEILINGABOVETHECENTERCHANNEL

1.13 Systems used on “Loves Devotion Forever” 3EVERAL SYSTEMS WERE USED TO EDIT h,OVES $EVOTION &OREVER v 4HE PROJECT WAS STORED AND PRINCIPALLY EDITED FROM A ,A#IE D 'IG &IRE7IRE DRIVE 4HISWASBACKEDUPONTWOOTHERSYSTEMS4HREE-BOXSYSTEMSWITH,% UPGRADED TO DURING THE EDIT WERE USED FOR TRANSFER AND SOME OF THE 48


DITING$6TOOLKITALLOWEDFORTIMECODEDISPLAYANDPROVIDED$IGI4RANSLATOR E 4WO -)8 SYSTEMS WITH 53$ AND SOFTWARE WERE USED TO EDIT RECORD AUTOMATICDIALOGUEREPLACEMENT!$2 ANDTEMPMIX4HESEWEREUPGRADED TO ($ WITH 39.# ($ HOUSE SYNC AND -)$) )/ 6IDEO WAS FROM 1UICK4IMEDURINGEDIT MACHINECONTROLDURINGTHEFINALDUBAND&OLEY 4HEFINALDUBWASPERFORMEDAT4ODD!/STUDIOS ANDTHE&OLEYWASRECORDED AT&ILM,EADERSBOTHON($SYSTEMS/THERHARDWAREINCLUDED N

#ONTROLCONTROLSURFACE

N

$!$423RECORDERS

N

.AGRA

N

3OUND$EVICES4

N

PD 4 DAT

Figure 1.50 "ROOKS )NSTITUTE0RO4OOLS($ MIXnEDITROOM

7HILESOMEMIGHTSAYTHATSETTINGUPTHEGEARISHALFTHEWORK OTHERSWILLSAY ITISHALFTHEFUN4HEROOMANDEQUIPMENTAREANEVOLVINGPROJECT%VERYYEAR BRINGS NEW OPTIONS CHALLENGES PROJECTS AND IDEAS 3EVERAL YEARS AGO ONE GOODFILMRECORDERCOSTASMUCHASTHEEXPANDED0RO4OOLSRACKIN&IG !NDBECAUSEOFTHEAFFORDABILITYANDFLEXIBILITYOFDIGITALGEAR EVENTHESMALLESTSYSTEMISAWORKINPROGRESS

49

In this chapter 0ULL UPANDPULL DOWNWORKFLOWS WHENSHOOTINGONFILM 0RODUCTIONRECORDING

4RANSFERRINGDAILIESWITHORWITHOUT PULL DOWN %XPORTINGTHELOCKEDCUTTO0RO Tools

)MPORTINGTHEAUDIOFROMTHE PICTUREEDIT /-&VERSUS%$, 4IMESTAMPING

0ORTABILITY 7ORKFLOWONh,OVES$EVOTION &OREVERv

2 Audio workflow

&ILM AND VIDEO WORKFLOW HAS BECOME A COMPLEX ISSUE AS FILM AND VIDEO EDITING HAS MOVED INTO THE COMPUTERIZED NONLINEAR EDITING ENVIRONMENT 7HAT WAS ONCE A STRAIGHTFORWARD PATH IS NOW A COMPLEX MAZE WITH TWISTS TURNS AND UNFORTUNATELY DEAD ENDS "OTH THE AUDIO AND PICTURE FACE SCORES OFPOSSIBLEDIRECTIONS CHOICESTHATCANSAVETIMEANDMONEYWHILEENHANCING THEPROJECT ORCOSTMONEY LOSETIMEANDDIMINISHTHEFINALPRODUCT 7ITHINTHEAUDIOWORKFLOW THEREAREMANYOPTIONSFORTUNATELY 0RO4OOLS DEALS WELL WITH THESE OPTIONS /FTEN 0RO 4OOLS PROVIDES SEVERAL OPTIONS OFITSOWN ANDWHILETHISCOMPLICATESTHEDECISIONMAKINGEVENMORE IT ALLOWS FOR THE INDIVIDUAL TO FIND A SYSTEM THAT WORKS FOR BOTH THEM AND THEPROJECT

2.1 Pull-up and pull-down workflows when shooting on film 7EWILLBELOOKINGATHOWTOPULL UPANDPULL DOWNLATERINTHISCHAPTERFOR NOW WENEEDTOUNDERSTANDWHENITISNECESSARYTOPULL UPANDDOWN AND BY HOW MUCH 7HEN THE PROJECT HAS BEEN SHOT ON MOTION PICTURE FILM AT TIMES IT BECOMES NECESSARY TO CHANGE THE SPEED AT WHICH THE AUDIO PLAYS 7EALWAYSWANTTHESOUNDANDPICTURETORUNATTHEEXACTSAMESPEED BUTAT TIMES WENEEDTOCHANGETHESPEEDOFTHEPICTURE ANDTHISREQUIRESALSOTO CHANGETHESPEEDOFTHESOUNDPLAYBACK 4HEREARETHREEBASICFRAMERATESFORPICTURE&IRST THEFILMSPEEDOFFRAMES PER SECOND FPS 3ECOND THE 0!, VIDEO SPEED OF FPS 0!, IS THE VIDEO FORMATUSEDINMOSTOFTHEWORLD&ILMFORVIDEOISALSOSHOTATFPSINMOST 0!, COUNTRIES 4HIRD THE .43# VIDEO SPEED OF FPS 4HIS IS THE VIDEO SYSTEMUSEDIN.ORTH!MERICAAND*APAN

51


7HEN WE TRANSFER FPS FILM TO A 0!, VIDEO SYSTEM WE SPEED UP BY FPS )FWECOPY0!,VIDEOTOMMFILMANDPROJECTITONAFPSPROJECTOR ITIS SLOWEDDOWNBYFPS"ECAUSETHISCHANGEISFAIRLYSMALL ITISNOTNOTICEABLE IN THE IMAGE "UT IF THE AUDIO IS PLAYED AT ITS ORIGINAL SPEED IT IS HOPELESSLY OUT OF SYNC IN A FEW SECONDS )T BECOMES NECESSARY TO PULL UP OR PULL DOWN THESPEEDOFTHEAUDIOANDDOITINSUCHAWAYTHATTHEAUDIODOESNOTSOUND STRANGE 4HE BEST WORKFLOW HERE WOULD BE TO PULL THE FPS VIDEO DOWN TO FPSBEFORERECORDING EDITING ANDMIXINGTHETRACKS 4HISBECOMESMORECOMPLICATEDWITH.43#VIDEO4HECHANGEFROMFPSTO FPSISSOLARGETHATITWOULDNOTICEABLYALTERTHEMOVEMENTSONSCREENIF ITWERESIMPLYSPEDUP3O WHENFPSFILMISTRANSFERREDTO.43#VIDEO IT goes through the 3:2 pull-downPROCESS 4HEFILMISLOADEDONA.43#hTELECINEvMACHINE4HEDEVICECOPIESTHEFILMTO VIDEOINFIELDS WHICHAREHALF FRAMESOFVIDEO4WOOFTHESEHALF FRAMESAREADDED INTOTHEVIDEOINEVERYFOURFILMFRAMES4HISCAUSESFOURFRAMESOFFILMTOBECOME FIVEFRAMESOFVIDEO WHICHISTOSAY FRAMESOFFILMTOBECOMEFRAMESOF VIDEO)FTHISVIDEOWEREPLAYEDATFPS ITWOULDACTUALLYBEPLAYINGATITSORIGINALSPEED/NESECONDOFFILMWOULDSTILLBEONESECONDOFVIDEO"UT.43#VIDEO PLAYSATFPS NOTFPS)NORDERFORTHETELECINEMACHINETOCREATEFPS VIDEO THEFILMISRUNATFPS4HISSLOWSTHESPEEDBY4HISPROCESS ISREFERREDTOASPULL DOWN4HEEXPRESSIONREFERSTOTHEFACTTHATTHEFILM FRAMESAREBEINGTRANSFERREDTOTHEVIDEOTAPEWITHACADENCEOFTHREEFIELDSFROM ONE FILM FRAME TWO FROM THE NEXT THREE FROM THE NEXT AND SO ON 0ULL DOWN REFERSTOTHEFACTTHATTHESPEEDHASBEENSLOWEDBYASWELL5NFORTUNATELY THETERMINOLOGYHASBECOMEPOLLUTEDANDMANYPEOPLENOWREFERTOPULL DOWN ASTHEENTIREFILM TO TAPETRANSFER&ORTUNATELY THISISNOTTRUEINAUDIOPULL DOWN ALWAYSREFERSTOSLOWINGDOWNTHESPEEDTOMATCHANEWPICTURESPEED0ULL UP REFERSTOSPEEDINGUPTHEAUDIOTOMATCHADIFFERENTPICTURESPEED 4HERE IS ALSO A FAIRLY NEW VIDEO SPEED KNOWN AS 0 0 USUALLY PLAYS AT FPS4HISWAYTHE CADENCEOFADDEDFIELDSCANBEAPPLIEDINCAMERA AND.43#RECORDEDTOTAPE4HISVIDEOCANBECAPTUREDINTOTHE!VID OR &INAL #UT 0RO AT EITHER OR "ECAUSE IT IS SHOT IN CAMERA AT THEREISNEVERANEEDTOPULL UPORPULL DOWN 4HESEAREALLCRITICALNUMBERSWHENDEALINGWITHVIDEOANDSOUNDFORFILMAND VIDEO BUTTHEYCANALLBEBROKENDOWNINTOTHETHREEBASICFRAMERATES&ILM .43# AND0!, &ORPURPOSESOFTHISDISCUSSION

52

N

&ILMSPEEDWILLREFERTOANYMEDIAPLAYINGATFPSORFPS

N

.43#SPEEDWILLREFERTOANYMEDIAPLAYINGATFPSORFPS

N

0!,WILLREFERTOANYMEDIAPLAYINGATFPS

Audio workflow

4HEMOSTCOMMONPULL UPSANDPULL DOWNSAREASFOLLOWS N

!UDIOFORFILMTRANSFERREDTO.43#WILLNEEDTOBEPULLEDDOWNBY

N

!UDIOFOR.43#TRANSFERREDTOFILMMUSTBEPULLEDUPBY

N

!UDIOFORFILMTRANSFERREDTO0!,MUSTBEPULLEDUPBYFPS

&ORTUNATELY THERE ARE MANY WAYS TO PERFORM THESE PULL UPS AND PULL DOWNS 5NFORTUNATELY THERE ARE SO MANY WAYS THE WORKFLOW BECOMES A PROBLEM )F YOUARENOTCAREFUL YOUMIGHTPULLTHEAUDIODOWNTWICEORNOTATALL /NESYSTEMAVAILABLEONTHE39.#($ISTHEABILITYTOSIMPLYPLAYTHESESSION ATADIFFERENTSPEED)NTHE3ESSION3ETUPWINDOW THEREARESETTINGSFORTHESE FRAMERATES4HESESSIONCANSIMPLYBESETTOANDTHEAUDIO BUTNOTTHE VIDEO ISSLOWEDDOWN"UTTHISDOESNOTCHANGETHESPEEDOFTHEACTUALAUDIO MEDIA IT ONLY CHANGES THE PLAYBACK SPEED !NY AUDIO EXPORTED TO ANOTHER SOFTWARE WOULD STILL PLAY AT ITS ORIGINAL SPEED 4HERE ARE WORKFLOWS WHERE CHANGINGTHEPLAYBACKSPEEDMAKESSENSE BUTFORMOSTWORKFLOWSTAKINGTHE AUDIOTOAPULLEDDOWNORPULLEDUP SPEEDANDEDITINGITATTHATSPEEDTHAT MAKESTHEMOSTSENSE4HISISEVENTRUEONFILMPROJECTSTHATWILLBEEDITEDAT VIDEOSPEEDANDTHENPULLEDBACKUPTOFILMSPEEDFORFILMPRINTING

Film to NTSC pull-down (EREARESEVERALCOMMONWORKFLOWSFORCAPTURINGANDSYNCINGAUDIOONAFILM SHOOTTHATWILLBETELECINEDTO.43#ANDEDITEDON!VIDOR&INAL#UT0RO 4HE FIRST WORKFLOW IS THE MOST COMMON SYNCING IN TELECINE 4HIS WOULD BE APPROPRIATEFORFINISHINGONFILMOR.43# N

4RANSFERALLORIGINALPRODUCTIONAUDIOTO$423$! ATFPS4HISWILL BEDONEBYTHETELECINEFACILITY

N

)NTERLOCK THE $423 TO THE TELECINE AT FPS 0ULL DOWN IS ACHIEVED IN TRANSFER OR TELECINE DEPENDING ON THE TELECINE WORKFLOW AND THE ORIGINAL SAMPLERATEOFTHEPRODUCTIONAUDIO

N

4ELECINETHEFOOTAGEANDSYNCTOTHESLATES EITHERONTHECLAPPERSTICKSOR THETIMECODEWINDOWONTHESLATE

N

%DITONTHE!VIDOR&INAL#UT0ROATORFPS

N

%XPORTTHEEDITEDPROJECTTO0RO4OOLSWITHNOPULL DOWNANDPERFORMTHE SOUNDEDITANDMIXATORFPS-ACHINECONTROLVIDEOREQUIRE TRANSFERRINGTOVIDEOTAPEAT

N

)FTHEPROJECTISFINISHINGONVIDEO THISWILLBETHEFINISHEDSPEED

N

)F THE PROJECT IS GOING BACK TO FILM PULL UP THE COMPOSITE MIX IN THE TRANSFERTOOPTICALSOUNDOR$43ENCODING 53


4HE SECOND WORKFLOW REQUIRES SYNCING ON THE !VID OR IN &INAL #UT 0RO 4HIS WOULDBEALSOAPPROPRIATEFORFINISHINGONFILMOR.43# N

4ELECINEALLFOOTAGETOUSING&INAL#UT0ROAND!VIDCOMPLIANCE

N

4RANSFERALLAUDIOTO0RO4OOLS

N

$EPENDINGONITSFORMAT THEAUDIOCANBEPULLEDDOWNDURINGTRANSFER

N

$IVIDEALLAUDIOCLIPSFROMMASTERTRANSFERS

N

%XPORTALLAUDIOCLIPSTO!VIDOR&INAL#UT0RO

N

)FTHEAUDIOWASNOTPULLEDDOWNDURINGTRANSFER ITSHOULDBEPULLEDDOWN ONEXPORT

N

3YNC ALL TAKES TO SLATES IN &INAL #UT 0RO OR !VID USING THE -ERGE CLIP FUNCTION� OR!UTO3YNC!VID

N

%DITONTHE!VIDOR&INAL#UT0ROATORFPS

N

%XPORTTHEEDITEDPROJECTTO0RO4OOLSWITHNOPULL DOWNANDPERFORMTHE SOUNDEDITANDMIXATORFPS-ACHINECONTROLVIDEOREQUIRE TRANSFERRINGTOVIDEOTAPEAT

N

)FTHEPROJECTISFINISHINGONVIDEO THISWILLBETHEFINISHEDSPEED

N

)F THE PROJECT IS GOING BACK TO FILM PULL UP THE COMPOSITE MIX IN THE TRANSFERTOOPTICALSOUNDOR$43ENCODING

$IFFERENT AUDIO FORMATS CAN BE PULLED DOWN IN TRANSFER OR ON EXPORT !NY DIGITAL AUDIO SAMPLED IN PRODUCTION AT (Z IS AUTOMATICALLY PULLED DOWN WHEN IT IS TRANSFERRED INTO A (Z K SESSION 4HIS IS THE PREFERRED WORKFLOW BY MANY PRODUCTION SOUND MIXERS "ECAUSE THIS PULL DOWN HAPPENSAUTOMATICALLYONIMPORT CARENEEDSTOBETAKENTOAVOIDNOTPULLING THIS AUDIO DOWN TWICE ONCE IN TRANSFER AND AGAIN IN EXPORT )T IS CRITICAL TO KNOWWHATSAMPLERATEWASUSEDINPRODUCTION .AGRAAUDIOCANBEPULLEDDOWNEITHERINTRANSFERORONEXPORT)FTHE.AGRA ISLOCKEDTOVIDEOORHOUSESYNC ITWILLPULL DOWNONTRANSFER)FITISLOCKEDTO (Z PILOT OR IF THE 39.# ($ IS LOCKED TO THE .AGRA IT WILL STILL NEED TO BE PULLED DOWN IN TRANSFER 4HE TECHNIQUES USED FOR TRANSFER OF DAILIES WITH OR WITHOUTPULL DOWNARECOVEREDLATERINTHISCHAPTER 4HETHIRDWORKFLOWISAFPSWORKFLOWTHATDOESNOTREQUIREPULL DOWN4HIS WOULDONLYBEAPPROPRIATEONPROJECTSTOBEFINISHEDTOFILM

54

N

4ELECINEALLFOOTAGETOUSING&INAL#UT0ROAND!VIDCOMPLIANCE

N

#REATEAFPS!VIDPROJECTANDCAPTUREALLTHETELECINEDFOOTAGE4HISWILL PULL ALL THE VIDEO SPEED FOOTAGE BACKUP TO FILM SPEED AT FPS /N &INAL

Audio workflow

#UT0RO INTHEREVERSETELECINEPROCESSIN#INEMA4OOLS REVERSETOFPS /NBOTH!VIDAND� THEFOOTAGEISNOWBACKTOITSORIGINALFPS N

4RANSFERALLAUDIOTO0RO4OOLSWITHOUTPULL DOWN

N

3YNC ALL TAKES TO SLATES IN &INAL #UT 0RO OR !VID USING THE -ERGE CLIP FUNCTION� OR!UTO3YNC!VID

N

%DITONTHE!VIDOR&INAL#UT0ROATFPS

N

%XPORTTHEEDITEDPROJECTTO0RO4OOLSWITHNOPULL DOWNANDPERFORMTHE SOUNDEDITANDMIXATFPS4HISREQUIRESPLAYINGVIDEOFROM1UICK4IME MACHINECONTROLWILLNOTPLAYATFPS

N

4RANSFERTHEFINALMIXTOOPTICALSOUNDWITHOUTPULL UP

4HE FOURTH WORKFLOW IS A FPS WORKFLOW THAT USES SESSION PULL DOWN 4HIS WOULDALSOONLYBEAPPROPRIATEONPROJECTSTOBEFINISHEDTOFILM N

0REPAREANDTELECINETHEFILMJUSTASONTHEFPSDESCRIBEDPREVIOUSLY

N

%XPORTTHEEDITEDSOUNDPROJECTTO0RO4OOLSWITHOUTPULL UPORPULL DOWN ANDPERFORMTHESOUNDEDITANDMIXATFPS

N

%XPORT THE FPS VIDEO TO FPS 1UICK4IME OR VIDEOTAPE FOR MACHINE CONTROL7HENIMPORTEDINTO0RO4OOLS THISNEWVIDEOSPEEDWILLCAUSETHE PROJECTTOMOVEQUICKLYOUTOFSYNC

N

3ET THE SESSION TO PULL DOWN IN THE 3ESSION 3ETUP WINDOW 4HIS WILL PLAY THE FPS AUDIO AT FPS IN SYNC WITH THE PICTURE 6IDEO CAN BE FROM MACHINECONTROLOR1UICK4IME

N

"ECAUSE THE PROJECT IS GOING BACK TO FILM ALL AUDIO WILL BE RECORDED AND IMPORTEDATFPSITISONLYEDITEDAT!STHISREQUIRESNOPULL UPOF THEFINALMIX THEFINISHEDAUDIOWILLNEVERUNDERGOSAMPLERATECONVERSION ANDBEASPRISTINEASPOSSIBLE

Film to PAL pull-down 7HEN EDITING FILM FOR FINISHING ON FILM 0!, IS NOT OFTEN USED &ILM FOR FILM FINISH MUST BE EDITED ON THE !VID OR &INAL #UT 0RO AT FPS OR FPS TO ENSURE AN ACCURATE CUT LIST 4ELECINE TO .43# WITH REVERSE TELECINE IS THE STANDARDWORKFLOWFORACHIEVINGFPSORFPSMEDIA 7HEN FILM IS SHOT FOR 0!, FINISHING IT IS NORMALLY SHOT AT FPS AND THEN TELECINEDATREQUIRINGNOPULL DOWN(OWEVER WHENFILMSHOTATFPSIS TELECINEDTO0!, ITISTELECINEDATFPS PULLINGTHESPEEDUPBY7HILE THISISNOTVERYNOTICEABLEINTHEIMAGE WHENTHEAUDIOISPULLEDUPBY ISPITCHSHIFTEDUPANDISVERYNOTICEABLE5SUALLY THISISREPAIREDBYDIGITALLY PITCHSHIFTINGBACKDOWN

55


"ECAUSE OF THESE PROBLEMS A NEW SYSTEM HAS BEEN DEVELOPED THAT AVOIDS AUDIO PULL UP ENTIRELY "ORROWING FROM THE .43# FIELD CADENCE SYSTEM 0!, ISOFTENTELECINEDWITHAFIELDCADENCEOF4HISCREATES ANEWFIELDINEVERYORONENEWFRAMEINEVERYCONVERTINGITTO)T ISCRITICALTOKNOWWHICHTELECINESYSTEMWASUSEDONTHEFOOTAGETOKNOWIF YOU NEED TO PULL UP OR NOT PULL UP AT ALL 4HIS WOULD ONLY BE PROPER FOR FINISHINGON0!,VIDEO NOTFILM

2.2 Production recording 7HILETHISISNOTABOOKONPRODUCTIONRECORDINGANDMIXING ITISIMPORTANT TO UNDERSTAND THE FORMATS AND TIMECODE CONVENTIONS USED IN PRODUCTION MIXINGTOPROPERLYDEALWITHTHEPRODUCTIONMEDIA4HEFIELDRECORDERMAYBE ONEOFTHEFOLLOWINGSEVERALFORMATS N

ANALOGMONOREEL TO REELWITHPILOT

N

ANALOGSTEREOREEL TO REELWITHPILOTANDTIMECODE

N

K(ZSAMPLERATE$!4WITHORWITHOUTTIMECODE

N

K(ZSAMPLERATE$!4WITHORFPSTIMECODE

N

$ATA#$OR$6$ATK K OR($SAMPLERATESUPTOK(ZWITH ORWITHOUTTIMECODE

4IMECODE ON THE PRODUCTION AUDIO CAN BE DROP FRAME $& OR NONDROP FRAME .$& 2ARELY IT IS CONTIGUOUS NORMALLY IT HAS BREAKS BETWEEN TAKES 4HEUSUALTIMECODESYSTEMINPRODUCTIONISTOLETTHETIMECODEGENERATORFREE RUN EITHER FROM A PRESET TIMECODE OR AS TIME OF DAY "ECAUSE THE TIMECODE GENERATORCONTINUESBETWEENTAKES THEREAREBREAKSBETWEENTAKES 4HE TIMECODE SLATE IF IT IS USED ALSO HAS A FREE RUNNING TIMECODE GENERATOR IN IT THAT IS hJAMMEDv TO THE GENERATOR IN THE RECORDER ! CABLE IS PLUGGED BETWEEN THE UNITS AND THE JAMB BUTTON ON THE SLATE IS PRESSED MATCHING THENUMBERONTHESLATETOTHETIMECODEONTHEPRODUCTIONRECORDER4HESE WILL MATCH SYNC FOR SEVERAL HOURS BUT REQUIRE BEING REJAMMED SEVERAL TIMES PERDAY4HESLATEISFILMEDATTHEHEADORTAILOFEVERYTAKERECORDINGINTHE PICTUREWHATAUDIOTIMECODEMATCHESTHEPICTURE5SUALLY THESYNCINGISSTILL DONE TO THE CLAPPER STICKS ON THE SLATE BUT IT CAN BE DONE TO THE NUMBERS ON THE SLATE 4HE SLATE DOES SERVE TO INFORM THE SYNC EDITOR OF THE TIMECODE AT STICKS CLOSE SO THAT THIS NUMBER CAN BE ENTERED INTO THE DATABASE AND THEREFORETHEAUDIO%$, 4IME OF DAY NEEDS TO BE TIME ACCURATE TO MATCH THE TIME OF DAY CLOCK EITHER .$& AT FILM SPEED FPS OR FPS OR $& AT VIDEO SPEED FPS OR FPS /NLY THESE TIMECODE FORMATS ARE TIME ACCURATE )F HOWEVER 56

Audio workflow

THESEFORMATSAREPULLEDDOWN THEYBECOMEANEWFORMAT4HEVIDEOSPEED FORMATSBECOMENONEXISTENTFORMATS $&AND$&4HEREFORE THESE TIMECODE FORMATS SHOULD NOT BE USED WITH PULL DOWN 4HE FILM SPEED FORMATS OF .$&AND .$& BECOME VIDEO SPEED FORMATS .$& AND .$&4HISREQUIRESUSINGFREE RUNTIMECODE 7HEN USING A FREE RUN TIMECODE GENERATOR THE FORMAT DOES NOT NEED TO BE TIME ACCURATE SO ANY FORMAT CAN BE USED (ERE TOO IF VIDEO SPEED FORMATS AREPULLEDDOWN THEYBECOMENONEXISTENTFORMATSTHATSHOULDNOTBEUSED 4HEREISALSOTHESTRANGE$&FORMATTHATISANONREALFORMATUNTILITISPULLED DOWNANDITBECOMES$& /N SOME RECORDERS IT IS ALSO POSSIBLE TO hOVERSAMPLEv BY SO THAT THE AUDIO IS AUTOMATICALLY PULLED DOWN WHEN PLAYED BACK AT THE NORMAL SAMPLE RATE4YPICALLY THISIS(ZTOBEPLAYEDBACKAT(Z This tableSHOWSCOMBINATIONSOFSAMPLERATESANDTIMECODEFORMATSTHATCAN BEUSEDINPRODUCTIONWITHANDWITHOUTPULL DOWN

.OPULL DOWN VIDEO

0ULL DOWN FILM 0!,

Time of day or free run

Pulls down to

Free run

Pulls down to

$& $&

n n

.$& .$&

n n

.$&

30 DF $& .$&

Sample rate (Hz)

.$&

$& $&

.$& .$& .$&

OR

.$& .$&

OR

2.3 Transferring dailies with or without pull-down 0RODUCTION AUDIO MAY BE DELIVERED ON SEVERAL DIFFERENT FORMATS 3OME MAY HAVETIMECODE OTHERSWILLNOT-OSTAREDIGITALHOWEVER ANALOGREEL TO REEL ISSTILLUSEDANDEVENPREFERREDBYSOMEPRODUCTIONMIXERSONSOMEPROJECTS 0ULL UP AND PULL DOWN ARE ISSUES WHEN TRANSFERRING DAILIES )T IS CRITICAL TO UNDERSTANDTHEWORKFLOWOFTHEPROJECT $AILIESMAYBEnTRACKS4HETRACKSMAYBEDISCRETEFROMSEVERALMICROPHONES WORN ON THE ACTORS THEY MAY BE THE OVERALL AUDIO FROM A BOOM MIC FROM MICROPHONESHIDDENONTHESET SAFETYTRACKS ORANYCOMBINATION

57


'ENERALLY SPEAKING ALL TRACKS WILL BE IMPORTED INTO THE SAME NUMBER OF TRACKS WITH THE POSSIBLE EXCEPTION OF ANY SAFETY TRACKS 4HE SAFETY TRACKS ARERECORDEDATD"FROMTHEMAINTRACKANDAREUSEDWHERETHEPRIMARY TRACKISOVERMODULATED$EPENDINGONTHEWORKFLOW THESAFETYTRACKS MAY BE TRANSFERRED WITH THE OTHER TRACKS AND SYNCED WITH THE OTHERS OR KEPT AS A SAFETY BACKUP ON THE MASTER PRODUCTION TAPE ONLY 3O DEPENDING ON THE WORKFLOW YOUMAYBEIMPORTINGFROMONETOSIXAUDIOTRACKS

Managing an audio edit decision list $EPENDING ON THE WORKFLOW IT MAY BE NECESSARY TO CREATE AND MANAGE AN AUDIO %$, EDIT DECISION LIST 4HE AUDIO %$, IS MANAGED IN EITHER !VID OR #INEMA 4OOLS ON &INAL #UT 0RO PROJECTS )F THE AUDIO IS SYNCED IN TELECINE IMPORTING THE TELECINE LOGS INTO !VID OR #INEMA 4OOLS CREATES THE %$, /N PROJECTS WHERE THE PRODUCTION AUDIO WILL BE IMPORTED IN 0RO 4OOLS AND SYNCEDONTHE!VIDOR� THEAUDIOTIMECODEWILLNEEDTOBEENTEREDINTO THEDATABASEBYTHESYNCEDITOR)FATIMECODESLATEWASUSEDINPRODUCTION THE AUDIO TIMECODE CAN BE READ FROM THE SLATE AT STICKS CLOSE AND ENTERED INTO THE DATABASE )F NOT THE SLATE STICKS CLOSE SHOULD BE LOGGED FROM THE PRODUCTIONTAPES /N TAPELESS DATA RECORDERS THE MEDIA FILES CAN CONTAIN THE TIMECODE AND OTHERINFORMATIONASMETADATA4HE"ROADCAST7AVE&ORMAT"7& CONTAINSA WEALTHOFINFORMATIONASMETADATATHATINCLUDESTIMECODE4HE"7&METADATA CAN BE READ IN 0RO 4OOLS AS TIMESTAMP INFORMATION "7& METADATA CAN ALSO BEREADIN!VID BUTWHENUSING&INAL#UT0RO THEAUDIOMETADATAMUSTBE CONVERTED INTO A SELF CONTAINED 1UICK4IME FILE /NE SOFTWARE PACKAGE FOR ACHIEVING THIS IS "7&8-, 4HERE ARE OTHER SOFTWARE PACKAGES THAT CAN BE USEDTOREADALLTHEMETADATAINTHE"7&FILESTOAIDINFILEMANAGEMENT 4HE ADVANTAGE OF THE %$, IS THAT THERE IS NOW A MAP TO EVERY FRAME OF EVERY TAKE )F THE DIALOGUE EDITOR WANTS TO RETRANSFER OR CHECK THE ORIGINAL PRODUCTIONAUDIO THEYKNOWONWHICHAUDIOTAPEANDATWHATTIMECODETHE AUDIOCANBEFOUND)TISOFTENNECESSARYTOMAKEALOGOFTHECLAPPERCLOSE FRAMES AS THE AUDIO IS TRANSFERRED EVEN ON PROJECTS THAT USED A TIMECODE SLATE/NSOMEPROJECTS ALLTHEEDITAUDIOWILLBEREPLACEDWITHRETRANSFERSOF THE PRODUCTION AUDIO THE %$, IS ESSENTIAL TO RECAPTURING THE ORIGINAL AUDIO 5SUALLY TIMECODEPRODUCTIONAUDIOISSYNCEDINTELECINE AVOIDINGTHENEEDTO CREATEADATABASEBYHAND7EWILLLOOKATUSINGTHEAUDIO%$,TORECAPTURE THEPRODUCTIONAUDIOIN#HAPTERh$IALOGUE%DITINGAND2EPLACEMENTv !SWITHANYDATABASE ITISONLYASGOODASTHEDATAITISMANAGING%VERYONE WHO LOGS TAPES AND MEDIA OR LABELS TAPES MUST TAKE EXTREME CARE AND BE ACCURATE !LSO CARE MUST BE TAKEN WHEN WORKING WITH OR TRANSFERRING THEMEDIANOTTOCORRUPTORMODIFYTHEMETADATA 58

Audio workflow

/FTEN TAPE AUDIO IS TRANSFERRED TO $423 OR $!4 TAPE BEFORE CAPTURING AND SYNCING 4HIS TAPE ALSO CALLED A hSIMULDATv IS THEN USED AS THE MASTER AUDIOTAPE 4HE SIMULDAT IS RECORDED AT FILM SPEED WITH MATCHING TIMECODE FROMTHEORIGINALPRODUCTIONAUDIOTAPE4HEPLAYBACKCANBELOCKEDTOHOUSE SYNCCAUSINGTHETAPETOPULL DOWNTOVIDEOSPEEDWHILELOCKEDTO0RO4OOLS /R THE $423 CAN BE PLAYED AT ITS ORIGINAL SPEED BY LOCKING TO A NONVIDEO SPEEDREFERENCE4HESEAREMOSTOFTENUSEDWHENSYNCINGINTELECINEBECAUSE OFEASEOFPULL DOWNANDTHEABILITYTOLOCKTOTHETELECINEMACHINE /NTHERAREPRODUCTIONAUDIOTAPESWHERETHEREISCONTIGUOUSTIMECODE ITIS POSSIBLETOMATCHTHETIMECODEOFTHE($0RO4OOLSMEDIAWITHTHETIMECODE ON THE PRODUCTION MASTERS 4HIS IS OFTEN THE CASE WHEN FILMING CONCERTS OR OTHER LIVE EVENTS WHERE THE PRODUCTION RECORDER NEVER CUTS 0ATCH THE TIMECODE OUT ON THE AUDIO PLAYER INTO THE 39.# ($ TIMECODE IN AND PLACE THE 0RO 4OOL 4RANSPORT /NLINE SMALL CLOCK %NTER THE BEGINNING TIMECODE FROMTHEPRODUCTIONMASTERTAPEINTOTHESESSIONSTARTTIMECODEINTHE3ESSION 3ETUP WINDOW 0RO 4OOLS WILL FOLLOW THE PLAYBACK OF THE PRODUCTION MASTER ANDTHEORIGINALTIMESTAMPOFTHE0RO4OOLSMEDIAWILLMATCHTHEPRODUCTION MASTER TAPE 7HEN THIS MEDIA IS CUT INTO SUBCLIPS THE TIME STAMP WILL STILL MATCHTHEORIGINALPRODUCTIONTIMECODE

Analog recordings with pilot

Figure 2.1 .AGRA ANALOGRECORDER

/NOLDERANALOGREEL TO REELTAPERECORDERSLIKETHE.AGRA SYNCISSUPPLIEDBY RECORDINGAhPILOTvONTHETAPE4HISISA CYCLESIGNALGENERATEDBYACRYSTAL CLOCKINTHEPRODUCTIONRECORDER)NPLAYBACK THISISCOMPAREDTOAREFERENCE PILOT )F THE TWO MATCH THE PLAYBACK IS IN SYNC )F THE PILOT IS SPEEDING UP ORSLOWINGDOWN THEPLAYBACKMACHINEWILLCHANGETHEPLAYBACKSPEEDUNTIL THEYMATCH4HISPLAYBACKFEATUREISCALLEDARESOLVER 59


Figure 2.2 /NTHESIDE OFTHE.AGRAARESEVERAL PILOTINPUTSANDOUTPUTS )FSTRIPPEDHOUSESYNCIS SUPPLIEDATTHEPILOTINPIN ONTHE8TALCONNECTOR THE RESOLVERWILLPULL DOWN THEAUDIOTOVIDEOSPEED ANDLOCKTOHOUSESYNC)F (ZPILOTFROMTHE39.# ($ISSUPPLIED THE.AGRA WILLLOCKATTHEORIGINAL SPEEDTOTHE39.#($

4HE39.#($HASANINPUTFORTHISPILOT)FTHE.AGRAPILOTOUTISCONNECTEDTO THE39.#($PILOTINANDTHE39.#($CLOCKREFERENCEISSETTOTHISPILOT IT WILLPRODUCEASYNCACCURATETRANSFER )F YOU NEED TO PULL DOWN THE .AGRA AUDIO AS IT IS TRANSFERRED TO 0RO 4OOLS LOCKING THE 39.# ($ TO HOUSE SYNC AND THEN USING THE HOUSE SYNC AS THE PILOT REFERENCE FOR THE .AGRA WILL ACHIEVE PULL DOWN 4HIS REQUIRES A DEVICE THAT hSTRIPSv THE VIDEO FROM HOUSE SYNC AND CREATES A (Z CYCLE PILOT REFERENCE FOR THE .AGRA 4HIS IS CONNECTED TO THE PILOT INPUT ON THE .AGRA WHICH WILL NOW LOCK TO HOUSE SYNC AND RUN SLOW BY EXACTLY 3UCH A SYSTEMCANHOLDSYNCINDEFINITELY )TISALSOPOSSIBLETOhSOFTLOCKvTHE.AGRATO0RO4OOLSBYLOCKINGTHE.AGRA TO ITS INTERNAL CRYSTAL CLOCK WITH THE INTERNAL RESOLVER ON ,OCK 0RO 4OOLS TO ANYSYNC HOUSEORINTERNAL.OWTRANSFERWITHEACHSYSTEMLOCKEDTOITOWN REFERENCE4HISWILLNOTPRODUCEASYNCACCURATETRANSFER BUTITWILLHOLD sync or ONEFRAMEFORSEVERALMINUTES!STHESEAREDAILIES IFTHETAKESARE NOTOVERMIN ITWILLBEFRAMEACCURATESYNC 3OME.AGRASHAVETWOTRACKSANDTIMECODE)NTHISCASE THETIMECODEMAY NEED TO BE MANAGED AND TWO TRACKS TRANSFERRED INTO 0RO 4OOLS ! SIMULDAT WITHMATCHINGTIMECODEWILLEASETHISPROCESS3IMULDATISMANAGEDLIKEANY OTHER$!4PRODUCTIONAUDIO

DAT production audio $!4USESSEVERALSAMPLERATESNOTONLYASAWAYTORECORDTHEAUDIOBUTALSO ASASPEEDREFERENCE(ZISUSEDIN#$PRODUCTIONANDISCONSIDEREDA hHOMEv NONPROFESSIONAL FORMAT $!4 RECORDERS ALSO USE A (Z SAMPLE RATE THAT HAS BEEN THOUGHT OF AS THE hSTANDARDv SAMPLE RATE FOR FILM AND 60

Audio workflow

VIDEOPRODUCTION3OME$!4RECORDERSCANALSOUSEA(ZSAMPLERATE TOACHIEVEPULL DOWNONPLAYBACK&ORAMOREDETAILEDEXPLANATIONOFDIGITAL AUDIO SEE!PPENDIXh$IGITAL!UDIOh )NPLAYBACK THE$!4LOCKSTOTHESAMPLERATEONTHETAPEANDCOMPARESTHIS TOITSINTERNALCLOCKINTHESAMEWAYA.AGRACOMPARESTHEPILOTONTHETAPE TO A KNOWN REFERENCE )F THE AUDIO IS TRANSFERRED TO 0RO 4OOLS THROUGH THE ANALOG AUDIO CONNECTIONS AND 0RO 4OOLS IS LOCKED TO INTERNAL OR HOUSE SYNC THEN THE SPEED IS SOFT LOCKED JUST AS WITH THE .AGRA SOFT LOCK AND HERE TOO THISCANNOTHOLDSAMPLEACCURATESYNCATALLANDCANONLYHOLDFRAMEACCURATE SYNCFORSEVERALMINUTES &EW$!4RECORDERSHAVETHEABILITYTOLOCKTOANEXTERNALSPEEDREFERENCE SO THEUSUALSYSTEMINVOLVESLOCKING0RO4OOLSTOTHE$!4SINTERNALCLOCK4HEDIGITALOUTPUTONMOST$!4RECORDERSIS3ONY0HILLIPS$IGITAL)NTERFACE30$)& )F THISAUDIOSOURCEISUSEDFORTHETRANSFER THENTHESPEEDREFERENCEOF0RO4OOLS CANBESETTOTHISINPUTLOCKING0RO4OOLSTOTHEINTERNALCLOCKINTHE$!4

Figure 2.3 ,OCKINGTHE SESSIONTO30$)&FOR$!4 TRANSFERS

/N,%SYSTEMS THISISSETINTHE3ESSION3ETUPWINDOW/N($SYSTEMS THE AUDIO )/ BEING USED FOR THE 30$)& INPUT MUST BE SELECTED AS THE SYNC LOOP MASTERINTHEPERIPHERALSWINDOWANDTHE)/INPUTSETTO30$)&DIGITALRATHER THANANALOG 4HERE ARE SEVERAL WAYS TO RECORD THE $!4 INTO 0RO 4OOLS $EPENDING ON THE RECORDING OF THE $!4 PRODUCTION AUDIO THERE MAY BE INDEX POINTS MARKING THE BREAKS BETWEEN TAKES BEEP CUES OR NOTHING AT ALL 4HE TAKES CAN BE RECORDED INTO 0RO 4OOLS ONE AT A TIME OR THE ENTIRE TAPE RECORDED INTO THE SESSIONANDBROKENUPINTOSUBCLIPTAKESFROMTHERE !UDIOINNEEDOFPULL DOWNNOTRECORDEDAT(ZWILLBEPULLEDDOWNIN EXPORT4HISISCOVEREDATTHEENDOFTHISSECTION

Digital tapeless systems 4HENEWESTDIGITALAUDIORECORDERSRECORDDIRECTLYTOFLASHMEMORYORDRIVE)N THISCASE THEAUDIOCANBEIMPORTEDDIRECTLYINTOTHE!VID &INAL#UT0RO OR 0RO4OOLS-ANYSAMPLERATESAREAVAILABLE INCLUDINGPULL DOWNSAMPLERATES 4HE3OUND$EVICES4OFFERS 61


Figure 2.4 The 3OUND$EVICES4

AND K(Z 7HEN THE AND ARE IMPORTED INTO A OR + SESSION THEYPLAYPULLEDDOWN 4HESE SYSTEMS RECORD IN "7& 4HIS DIGITAL FORMAT SOUNDS GREAT AND CAN BE ENCODED WITH METADATA DATA ABOUT THE AUDIO CLIP 4HIS CAN INCLUDE TIMECODE THESCENEANDTAKEINFORMATION CAMERAINFORMATIONORJUSTABOUT ANYTHING THE RECORDIST CHOOSES TO INCLUDE IN THE SLATING 7HEN THIS AUDIO IS IMPORTED INTO THE LATEST VERSIONS OF !VID AND &INAL #UT 0RO THE ACTUAL "7& AUDIO IS USED WITH THE METADATA INTACT 4HIS IS NOT A TRANSFER PER SE BUT AN IMPORTOFTHEBIT BY BITPRODUCTIONAUDIO7HENTHEAUDIOISEXPORTEDTO0RO 4OOLS THE ORIGINAL PRODUCTION AUDIO WITH METADATA IS STILL BEING USED 4HIS MOREORLESSELIMINATESTHENEEDTOEVERGOBACKTOTHEPRODUCTIONAUDIOAND RETRANSFER ASTHEEDITORISWORKINGWITHANEXACTCOPYOFTHEPRODUCTIONAUDIO ATALLTIMES 4HE TIMECODE AND OTHER INFORMATION ARE RECORDED INTO THE "7& AUDIO METADATA AND CAN BE READ BY VARIOUS SOFTWARE SYSTEMS $ELIVERY WILL USUALLY BEONDATA$6$OR#$4HEAUDIOISIMPORTEDFROMTHEOPTICALDISCOROTHER DELIVERYSYSTEMINTO0RO4OOLSUSINGTHEIMPORTAUDIOTOREGIONLISTCOMMAND INTHEFILEMENU

Figure 2.5 )MPORTAUDIO TOREGIONLISTDIALOGUE

62

Audio workflow

Pulling down in Pro Tools

Figure 2.6 4HEAUDIO CANBEPULLEDDOWNASITIS EXPORTEDTO!VIDOR&INAL #UT0ROIN0RO4OOLS

)TISCRITICALTOKNOWWHENTOPULL DOWN%VERYONEINTHEPOSTPRODUCTIONLOOP MUSTBEAWAREOFTHEWORKFLOWTOAVOIDFAILINGTOMAKEANECESSARYPULL DOWN ORINADVERTENTLYMAKEADOUBLEPULL DOWN 4O EXPORT WITH PULL DOWN SELECT ALL THE REGIONS IN THE REGION LIST THAT ARE TO BEEXPORTEDANDUSETHE%XPORT2EGIONSAS&ILESCOMMANDINTHEREGIONSLIST POP UPMENU &ROMTHE%XPORT2EGIONSAS&ILESDIALOGUE YOUCANOPTTOPULL UPORPULL DOWN BYOR/N(ZAUDIO SELECTTOPULL DOWNBYOR TOPULL UP4OPULL UPFPSTOFPSFOR0!,VIDEO SELECT !LTHOUGHTHISISANACCEPTABLEWAYTOPULL DOWNDAILIES ITISNOTANACCEPTABLE WAY TO PULL UP AN ENTIRE PROJECT TO PRINT BACK TO FILM &OR FINAL PULL UP SEE #HAPTERh/UTPUTAND$ELIVERYv

2.4 Exporting the locked cut to Pro Tools 4HERE ARE SEVERAL WAYS TO EXPORT THE AUDIO FROM THE !VID OR &INAL #UT 0RO LOCKEDCUTTO0RO4OOLS7ITHTHE%$,WORKFLOWONLYAN%$,ISEXPORTED AND THEPRODUCTIONAUDIOISRECAPTUREDFROMTHE%$,INTO0RO4OOLS4HE%$,ISA

63


TEXTFILETHATDESCRIBESTHEINANDOUTPOINTSINTHEEDIT WHATTAPETHEAUDIO CAME FROM AND ITS ORIGINAL TIMECODE ON THE PRODUCTION TAPE )T IS OFTEN IN THE #-8 FORMAT HOWEVER SEVERAL FORMATS EXIST 4HIS PUTS CONTROL OF THETRANSFERSANDHANDLINGOFTHEAUDIOINTOTHEHANDSOFTHEPOSTPRODUCTION AUDIO CREW )F THERE ARE ANY PROBLEMS WITH THE AUDIO THE AUDIO TRANSFER PEOPLEATLEASTKNOWTHATTHEYHAVETHEORIGINALANDBESTMEDIA&OREXAMPLE THE PRODUCTION MIXER MAY HAVE RECORDED A SAFETY TRACK AT D" BUT THIS WASNOTUSEDINTRANSFERORTHEEDIT)FTHETRACKISOVERMODULATEDINTHEEDIT THESAFETYMAYSAVETHETAKE/NLYBYRETURNINGTOTHEPRODUCTIONMEDIACAN THESOUNDEDITORBESURETHEYHAVETHEBESTAUDIOAVAILABLE 4HIS HAS BEEN THE STANDARD WORKFLOW FOR DECADES BUT REPRESENTS A LARGE AMOUNT OF WORK THAT IS UNNECESSARY WHEN USING AN /-& /PEN -EDIA &RAMEWORK OR /-&) /PEN -EDIA &RAMEWORK )NTERCHANGE FILE 7HEN THE EDITED PROJECT IS EXPORTED AS AN /-& ALL THE AUDIO AND VIDEO MEDIA ARE COMPRESSED INTO A SINGLE /-& FILE /FTEN ONLY THE AUDIO USED IN THE EDIT IS EXPORTEDANDhHANDLESvAREADDEDTOEVERYAUDIOREGION(ANDLESARESIMPLY ADDITIONALAUDIOMEDIAATTHEHEADANDTAILOFTHEREGIONMAKINGITPOSSIBLE TOEXTENDTHEEDITPOINTASAFUNCTIONOFTHESOUNDEDIT4HEDEFAULTHANDLE SETTING ON BOTH !VID AND &INAL #UT 0RO IS S 3OME EDIT SYSTEMS CAN EXPORT /-&REFERENCEDTOTHEORIGINALMEDIA)NTHISCASE THE/-&CONTAINSONLYTHE EDITINFORMATIONANDNOTTHEACTUALMEDIA-OST/-&FILESARESELF CONTAINED ANDDOCONTAINALLTHEMEDIAASWELLASTHEEDITINFORMATION !LTHOUGH/-&COMPRESSESSOMETYPESOFAUDIO THEPROCESSISLOSSLESS/NE POTENTIALPROBLEMWITH/-&ISTHATTHEAUDIOFROMTHESYNCINGANDEDITINGIS USEDINTHEFINALMIX!NYPROBLEMWITHTHISAUDIOCAUSEDBYERRORSINTRANSFER OR HANDLING OF THE AUDIO WILL ALSO FIND ITS WAY INTO THE FINAL MIX 4HEREFORE A COMBINATION OF THE TWO SYSTEMS MAY BE BEST 4HE /-& CAN BE IMPORTED INTO 0RO 4OOLS AND THE %$, USED AS A GUIDE TO THE ORIGINAL AUDIO TO ALLOW RETRANSFEROFANYPROBLEMAUDIO 7HENUSING"7&PRODUCTIONAUDIOWITH/-& THE"7&ISSIMPLYENCAPSULATED IN THE /-& KEEPING THE "7& PRODUCTION AUDIO INTACT 4HE /-& IS USED AS THESESSIONAUDIOFILESWITHTHE/-&SIMPLYLINKINGALLTIMELINEREGIONSTOTHE AUDIOINTHE/-&7HENUSINGTHELATESTVERSIONSOF&INAL#UT0ROAND!VID THE"7&AUDIOCANBEIMPORTEDANDUSEDINTHEEDITWITHOUTTRANSCODINGOR ALTERINGIT4HE/-&STILLCONTAINSTHIS"7&AUDIO ANDWHENITISUSEDASTHE AUDIO IN THE 0RO 4OOLS SESSION YOU ARE IN FACT USING THE ORIGINAL PRODUCTION AUDIO )TISALWAYSNECESSARYTOHAVEACOUNTDOWNLEADEREDITEDINTOTHEPROJECT4HE EDITORSHOULDHAVEPLACEDTHE h0ICTURE 3TARTv FRAME OF THE LEADER AS THE FIRST FRAME OF THE PROJECT AND THE LEADER WITH THE SAME FRAME RATE AS THE EDIT )F THISISA$6PROJECTOR$6DOWN CONVERTEDPROJECT YOUCANUSEA1UICK4IME

64

Audio workflow

OF THE EDIT AS THE 0RO 4OOLS VIDEO REFERENCE .ON &IRE7IRE FORMATS SUCH AS $IGI "ETAMUSTUSEMACHINECONTROL /N $6 PROJECTS EXPORT THE VIDEO AND AUDIO AS A 1UICK4IME MOVIE ONTO A &IRE7IRE DRIVE 0RO 4OOLS WILL BE ABLE TO PLAY YOUR FILM IN OR FPS /N PROJECTS THAT WILL USE MACHINE CONTROL A TAPE DUB TO THE FORMAT OF THE 0RO 4OOLS MACHINE CONTROL MUST BE MADE FROM THE !VID OR &INAL #UT 0ROPROJECT4HEh0ICTURE3TARTvFRAMEOFTHECOUNTDOWNLEADERSHOULDBEAT TIMECODEONTHEVIDEOTAPE &ROM THE !VID OR &INAL #UT 0RO EXPORT THE AUDIO AS AN /-& TO A PORTABLE &IRE7IREDRIVE4HELENGTHOFAUDIOHANDLESISSETINTHEEXPORT/-&DIALOGUE !NY NESTED SEQUENCES FROM THE EDIT WILL BE COMBINED INTO A MIXED TRACK -OSTOFTEN YOUWANTTOBEABLETOCONTROLTHEINDIVIDUALTRACKSANDNOTHAVE THEM PREMIXED 4HE VISUAL EDITOR SHOULD UN NEST THESE TRACKS BEFORE EXPORT #ROSSFADESALSOAREEXPORTEDONMOSTSYSTEMSANDMAYBEUNCHANGEABLEIN0RO 4OOLS"ESURETOREMOVEANYCROSSFADESFROMTHEEDITBEFORETHE/-&EXPORT 4HE!VIDhAUTOSYNCvFUNCTIONCANBEUSEDTOPRESERVETHEORIGINALMETADATA INCLUDING THE ORIGINAL TIMECODE 2EFERENCED MEDIA ALSO CONTAINS THE ORIGINAL METADATA BECAUSE IT IS REFERENCED TO THE ORIGINAL MEDIA AS OPPOSED TO CONVERTINGTHEMEDIAINTOASELF CONTAINED/-&FILE -OST DIGITAL AUDIO WORKSTATIONS CAN CONVERT AND IMPORT /-& FILES NOT JUST 0RO 4OOLS)TISCOMMONLYUSEDASAPORTABLEUNIVERSALTRANSPORTFORMAT#ONVERTING THE/-&INTOA0RO4OOLSSESSIONISDONEWITHTHE$IGI4RANSLATOR0RO4OOLSOPTION 4HE &INAL #UT 0RO OR !VID AUDIO TRACKS CAN ALSO BE EXPORTED AS !UDIO )NTERCHANGE&ILE&ORMAT!)&& FILESANDIMPORTEDINTO0RO4OOLS4HISIMPORTS THE TRACKS AS CONTINUOUS AUDIO REGIONS THROUGH THE ENTIRE PROJECT REQUIRING THAT THE SECTIONS CONTAINING AUDIO BE EDITED FROM THESE CONTINUOUS REGIONS 4HISISEASILYDONEWITHTHE0RO4OOLS3TRIP3ILENCEFUNCTION!MAJORDOWNSIDE OF IMPORTING !)&& FILES IS THAT AUDIO IS BROUGHT INTO 0RO 4OOLS WITH NO HANDLES !LSO "7& AUDIO WILL BE TRANSCODED INTO !)&& LOSING THE METADATA /NE ADVANTAGE IS THAT THE AUDIO CAN BE TIME STAMPED BEFORE CUTTING IT INTO REGIONS ENSURINGTHATALLREGIONSHAVEAUNIQUETIMESTAMP

2.5 Importing the audio from the picture edit, OMF versus EDL 4O CONVERT AN /-& SIMPLY GO TO OPEN AND NAVIGATE TO THE /-& FILE 4HIS WILL LAUNCH $IGI4RANSLATOR AND CREATE A NEW 0RO 4OOLS SESSION $IGI4RANSLATOR IS OPTIONAL SOFTWARE FROM $IGIDESIGN 3ET YOUR SESSION SETTINGS AND NAME THE SESSION #LICK /+ AND THIS WILL OPEN THE $IGI4RANSLATOR

65


Figure 2.7 DigiTranslator ISUSEDTOIMPORT/-& AND!&&FILESINTO0RO 4OOLS$IGI4RANSLATORIS part of the DV Toolkit OPTIONASWELLASA separately available OPTION

IALOGUE&ROMHERE YOUCANCONVERTYOUR/-&INTOA0RO4OOLSSESSION$O D NOTIMPORTANYSCRATCHORGUIDETRACKSYOUDONTWANTIMPORTEDINTOTHE0RO 4OOLSSESSION BUTSELECT)MPORTAS.EW4RACKFORALLWANTEDTRACKS !FTERTHE0RO4OOLSSESSIONOPENS IFYOUAREUSING1UICK4IMEVIDEOPLAYBACK IMPORTTHE1UICK4IMEMOVIEINTOTHESESSION&ORIMPROVEDPERFORMANCE YOU MAYWANTTOCOPYTHE1UICK4IMEMOVIETOTHEHARDDRIVEANDIMPORTITFROM THERE )F YOU ARE USING A VIDEO MONITOR FOR PLAYBACK MAKE SURE THAT PLAY TO &IRE7IREISSELECTED4HEMOVIEWILLNOWPLAYONTHE.43#MONITOR#HECKTHE POPONTHECOUNTDOWNLEADER!SBOTHTHEAUDIOANDVIDEOWERETHESAME LENGTHWHENEXPORTED THEYSHOULDBEINSYNC

Figure 2.8 )MPORTAUDIO FROMMOVIEISUSEDTO IMPORTTHEEMBEDDED AUDIOFROMTHE1UICK4IME MOVIE

!LSOIMPORTTHEAUDIOFROMCURRENTMOVIE4HISWILLIMPORTTHEAUDIOFROMTHE 1UICK4IMEMOVIE ALLTHECURRENTTRACKSMIXEDDOWN4HISWILLIMPORTINTOTHE REGIONLIST!NEWSTEREOTRACKNEEDSTOBECREATEDANDTHEREGIONPLACEDIN THENEWTRACK#HECKTHEPOPFORTHISAUDIOANDMAKESUREITISINSYNCWITH 66

Audio workflow

THEVIDEOANDALLTHETRACKS4HISWILLSERVEASAREALITYCHECKAWAYTOCHECK SYNC ON ANY TRACKS YOU MAY INADVERTENTLY SLIP OUT OF SYNC -AKE THE TRACK INACTIVEORACTIVEANYTIMEYOUNEEDTOCOMPARESYNCTOTHISGUIDETRACK 4OCAPTUREFROMAN%$, THE%$,ISUSEDASAGUIDETOIMPORTORRECORDTHE ORIGINALPRODUCTIONAUDIOFROMTHE"7&FILES THE.AGRATAPE THE$!4 ORTHE 3IMULDATINTO0RO4OOLSANDRECREATETHEPICTUREEDITIN0RO4OOLS $IFFERENTPICTUREEDITINGSYSTEMSMANAGETHE%$,INDIFFERENTWAYS&INAL#UT 0ROCANMANAGETWODIFFERENT %$,S THE %$, IN THE &INAL #UT 0RO EDIT AND A #INEMA 4OOLS AUDIO %$, 4HE &INAL #UT 0RO %$, WILL NOT SHOW THE ORIGINAL TIMECODEORAUDIOREELINFORMATIONIFTHATINFORMATIONWASNOTPRESENTINTHE AUDIO METADATA 4HIS REQUIRES USING "7& PRODUCTION AUDIO !NY TIMECODE AUDIO CAN BE MANAGED FROM THE #INEMA 4OOLS DATABASE IF THAT INFORMATION IS ENTERED IN THAT DATABASE )MPORTED &,8 FILES FROM A FILM TELECINE CONTAIN THISAUDIOTIMECODE BUTONMANYPROJECTS THETIMECODEANDREELINFORMATION MUSTBEWRITTENINTOTHEDATABASEMANUALLY 7E WILL BE LOOKING AT HOW TO USE THE %$, TO RECONSTRUCT THE AUDIO EDIT IN #HAPTERh$IALOGUE%DITINGv

Changes to the locked cut 7HILETHESOUNDISBEINGEDITED THEPICTUREEDITMAYBECHANGEDFORAVARIETY OFREASONS%VENTHOUGHTHEPICTUREIShLOCKEDvTHESEDAYS ITISOFTENTHOUGHT OFAShLATCHEDv(ISTORICALLY MAKINGCHANGESWASABIGPROBLEMFORTHESOUND EDITORS AND COMPOSERS HOWEVER TECHNOLOGY HAS MADE THE CHANGE PROCESS SMOOTHERANDSIMPLER 4HEBIGGESTPROBLEMWILLBEFORTHECOMPOSER$EPENDINGONTHEPLACEMENT OFMUSICANDCHANGES ITMAYREQUIRETHATSEVERALMUSICCUESWILLNEEDTOBE REWRITTENANDRERECORDED/RITCOULDMEANSIMPLYRETIMINGTHELENGTHOFTHE SESSIONTOMATCHTHENEWPICTURE 4HESOUNDEDITORSCANUSESPECIALSOFTWARETOFACILITATETHECHANGES!SYSTEM CALLED h6IRTUAL +ATYv WORKS WITH &INAL #UT 0RO OR !VID CHANGE LISTS AND CONFORMS THE 0RO 4OOLS SESSION TO THE NEW PICTURE #HANGES CAN ALSO BE MADE MANUALLY FROM THE CHANGE LISTS ! NEW REFERENCE VIDEO SHOULD BE EXPORTED FROMTHEPICTUREEDITTOENSUREITISACCURATETOTHECHANGEDEDIT

2.6 Timestamping 7HEN AUDIO IS RECORDED INTO 0RO 4OOLS IT IS hTIME STAMPEDv OR EMBEDDED WITH TIMECODE INFORMATION THAT RECORDS ITS POSITION IN THE EDIT 7HEN 0RO 4OOLSISIN3POTMODE THISADDRESSISDISPLAYEDINTHE3POT$IALOGWINDOW)FA

67


Figure 2.9 4IMESTAMPINGAUDIO REGIONSALLOWSTHEAUDIO TOBEPLACEDBACKINTO SYNCWITH3POTMODE

REGIONISMOVEDOUTOFSYNC ITCANBESELECTEDIN3POTMODEANDTHEORIGINAL TIMESTAMPRECALLEDBYCLICKINGONTHEORIGINALTIMESTAMPRECALL 3ELF CONTAINED /-& DERIVEDAUDIOREGIONSHAVENOhTIMESTAMPvIFTHEYARE MOVED OUT OF SYNC THE ONLY WAY TO GET THEM BACK INTO SYNC IS TO COMPARE THEMTOTHEGUIDETRACK!TIMESTAMPCANBEADDEDINTHEREGIONSLISTPOP UP MENU WITH THE hTIME STAMP SELECTEDv COMMAND 4HIS SETS THE CURRENT POSITION AS THE USER TIME STAMP 4O RECALL THE USER TIME STAMP AGAIN SELECT THEREGIONIN3POTMODEANDCLICKONTHEUSERTIMESTAMPRECALL "7& PRODUCTION AUDIO SYNCED IN !VID USING THE AUTO SYNC FUNCTION AND ONLY REFERENCED BY THE /-& WILL STILL HAVE ITS ORIGINAL METADATA TIMECODE THAT WILL SHOW AS THE ORIGINAL TIME STAMP IN 0RO 4OOLS 7HEN USING &INAL #UT 0RO "7& AUDIO METADATA CAN BE CONVERTED INTO A SELF CONTAINED 1UICK4IME FILE USING THE "7&8-, APPLICATION BEFORE IMPORTING INTO &INAL #UT 0RO (OWEVER THE TIMECODEISSTRIPEDBYTHESELF CONTAINED/-&EXPORT TOREACQUIRETHETIMECODE THEORIGINAL"7&CANBEIMPORTEDINTO0RO4OOLSUSINGTHE/-&MEDIAANDTHE %$,ASAGUIDE4HISISSIMPLEWITH!VIDEDITS ITMAYBEMORETROUBLETHANITIS WORTHON&INAL#UT0RO)NTHISCASE TIMESTAMPINGMAYBETHEBESTSYSTEMFOR MOVINGTHINGSBACKINTOSYNC 9OU ARE NOW READY TO EDIT YOUR SOUND DESIGN !LL THE AUDIO TRACKS FROM THE LOCKEDCUTEDITANDTHEVIDEOARENOWINTHE0RO4OOLSSESSION 4HESOUNDDESIGNWILLCONSISTOFTHREEBASICELEMENTSDIALOGUE SOUNDEFFECTS ANDMUSIC4HESETHREEBASICCOMPONENTSHAVESUBCOMPONENTS BUTTHETHREE BASIC ELEMENTS MUST ALWAYS BE KEPT IN THEIR OWN AREA AND EVENTUALLY MIXED INTOTHEIROWNMASTERTRACKS4HESECOMPONENTS KNOWNASstems, are an asset OF THE PROJECT AND WHEN A BUYER MAKES A DEAL ON THE MOTION P ICTURE THEY EXPECTTHESEASSETSTOBEINCLUDEDASSEPARATECOMPONENTS!DISTRIBUTORWANTS 68

Audio workflow

TO CUT TRAILERS AND SPOTS AND THIS IS ONLY POSSIBLE IF THE STEMS ARE SEPARATE -OREOVER THE FILM MAY BE hDUBBEDv INTO OTHER LANGUAGES IN WHICH CASE ONLYTHEEFFECTSANDMUSICTHE-% WILLREMAIN)TWILLREQUIREEXTRASOUND WORKTOPREPARETHE-%FORTHEFOREIGNLANGUAGEDUB3OUNDEFFECTSFROM THE PRODUCTION TRACKS THAT ENDED UP IN THE DIALOGUE STEM WILL NEED TO BE REPLACED ! FILM MAY BE SOLD TO A FOREIGN MARKET EVEN BEFORE IT IS SHOT SO OFTENACOMPLETE-%ISCUTINTHESOUNDDESIGNHOWEVER ITMAYBEMIXED LATER AFTER THE MIX ALSO KNOWN AS THE dub IS FINISHED 4HE TRACKS CONTAINING THE COMPLETE FINISHED MIX ARE OFTEN REFERRED TO AS THE hCOMP DUBv TO HELP DISTINGUISHITFROMTHESTEMS

2.7 Portability !STHEPROJECTMOVESFORWARD ITISUSUALLYNECESSARYTOBEABLETOMOVETHE PROJECT FROM ONE LOCATION TO ANOTHER 4HERE MAY BE A NEED TO RECORD &OLEY AT A STAGE IN ,OS !NGELES AND SCORE MUSIC IN THE "AY !REA ALL WHILE EDITING EFFECTSIN/REGON

Figure 2.10 DigiDelivery CANBEUSEDTOMOVE AUDIOANDEVENVIDEO BETWEENSEVERAL0RO4OOLS SYSTEMS

4HEULTIMATEIN0RO4OOLSPORTABILITYISACHIEVEDWITH$IGI$ELIVERY$IGI$ELIVERY ALLOWS FOR THE UPLOADING OF ANY AUDIO FILES TO THE $IGI$ELIVERY SERVER 4HE UPLOADISENCRYPTEDFORSECURITY!TTHEMOMENTOFUPLOADING EVERYONEIN THE POSTPRODUCTION LOOP RECEIVES E MAIL FROM THE SERVER WITH AN ENCRYPTION KEY THAT UN ENCRYPTS THE FILE AND DOWNLOADS IT TO THAT 0RO 4OOLS SYSTEM )F EIGHT SOUND EDITORS ARE WORKING IN EIGHT CITIES IN THE 5NITED 3TATES ANDMUSICISBEINGSCOREDIN%UROPE EVERYONEHASACCESSTOEVERYONEELSES AUDIO AS IT BECOMES AVAILABLE 4HE TIME STAMPED AUDIO REGIONS ONLY NEED TOBEMANUALLYPLACEDINTHEPROPERTRACKS ANDNOWEVERYONEHASTHEEXACT SAMESESSION 4HISSYSTEMWASUSEDEFFECTIVELYONTHELord of the RingsMOVIE4HEMIXWAS BEINGPERFORMEDIN.EW:EALANDASTHESCOREWASBEINGRECORDEDIN,ONDON 0ICTURE CHANGES WERE EVEN BEING MADE AND RECONFORMED WITH 6IRTUAL +ATY ANDEVERYONEHADACCESSTOTHECHANGESORNEWAUDIOASITBECAMEAVAILABLE ! VIDEOCONFERENCE LINK WAS ALSO USED BETWEEN ,ONDON AND .EW :EALAND SO THATFACE TO FACECOMMUNICATIONWASPOSSIBLE

69


$IGIDESIGNSELLSTHE$IGI$ELIVERYSERVERSHOWEVER ITISNOTNECESSARYTOOWN ONE TO USE $IGI$ELIVERY )T IS POSSIBLE TO OPEN AN ACCOUNT ON A THIRD PARTY $IGI$ELIVERYSERVER4HEFILESENDERSNEEDTOSETUPAFILETRANSFERSOFTWARESYSTEMTOTHATACCOUNTHOWEVER FILERECIPIENTSNEEDONLYAFASTCONNECTIONAND ANE MAILACCOUNT 4HE $IGI$ELIVERY #LIENT 3OFTWARE IS A FREE DOWNLOAD ON THE $IGIDESIGNCOM 7EBSITE)TISAVAILABLEFOR7INDOWS80 -AC/3 AND/38 )TISALSOPOSSIBLETOLINKSEVERAL0RO4OOLSSYSTEMSTOGETHERFROMANYLOCATION IN THE WORLD )N SOME SETUPS THE )NTERNET CONNECTION IS BY )3$. AND IS SOMEWHAT COMPLEX AND EXPENSIVE TO USE 4HERE ARE PER MINUTE CHARGES ON )3$.BANDWIDTH A simpler solution is Source Elements Source-Connect, a Pro Tools plug-in CAPABLE OF STREAMING AUDIO AND EVEN CONTROLLING ONE 0RO 4OOLS SYSTEM FROM ANOTHER4HISONLYREQUIRESAFASTCONNECTION$3, #ABLE OR4 4HEMEDIA BEING STREAMED IS A COMPRESSED !DVANCED !UDIO #ODING !!# AUDIO HOWEVER THEACTUALAUDIOFILESCANBETRANSFERREDVIA$IGI$ELIVERYAFTERTHESESSION4HEADVANTAGEISBEINGABLETODIRECTANDRECORDVOICE OVERORAUTOMATIC DIALOGUEREPLACEMENT!$2 REMOTELYFROMANY0RO4OOLSSYSTEMANYWHERE 4HERE IS A TREMENDOUS AMOUNT OF LATENCY OR LAG IN THE CONNECTION BUT THE USER IS NEVER AWARE OF IT "OTH SYSTEMS MUST CONTAIN THE SAME SESSION AND MEDIA THEN THE TIMECODE IS STREAMED FROM THE RECORDING SYSTEM TO THE CONTROLSYSTEM4HERECORDSYSTEMSTIMECODEANDAUDIOARRIVETOGETHERAND INTERLOCK IN SYNC WITH THE PLAYBACK OF THE CONTROL SYSTEM 4HE TWO SESSIONS COMMUNICATEWITHEACHOTHERVIATHETALKBACKSYSTEM4RANSPORTCONTROLCAN BE FROM EITHER SYSTEM THE CONTROL SYSTEM CAN BE DIRECTING THE SESSION OR CONTROLLINGTHESYSTEM3EVERALSYSTEMSCANBELINKED HOWEVER ONLYTWOCAN BECONTROLLEDATTHESAMETIME

Portable systems )TISENTIRELYPOSSIBLETORUNAN,%SESSIONONALAPTOPWITHAN-BOXOR-BOX 0RO INTERFACE 4HIS DOES NOT PROVIDE THE HIGHEST PERFORMANCE IN TERMS OF NUMBEROFTRACKSANDPLUG INS BUTFORMANYPROJECTS THISWILLPROVIDEALLTHE POWER NEEDED AND THE ENTIRE SYSTEM IS NOW PORTABLE -OREOVER THE LAPTOP CANBEUSEDASANEXTERNALDRIVETOALARGERSYSTEMMAKINGITPOSSIBLETOOPEN THE,%PROJECTFROMTHELAPTOPONAN($SYSTEMWITHOUTEVENDUMPINGTHE SESSIONTOTHE($SYSTEMDRIVESALTHOUGHYOUMAYWANTTOCOPYTHEPROJECT THEHARDDRIVEANYWAY !NYPARTOFTHEPORTABLESESSIONCANBEIMPORTEDINTO THE($SESSIONUSINGTHE)MPORT3ESSION$ATAFUNCTION ! PROJECT OR EVEN A DUPLICATE PROJECT ON A LAPTOP WITH AN -BOX HAS THE ADVANTAGE OF BEING A COMPLETE PORTABLE 0RO 4OOLS STUDIO WITH MIC INPUTS 70

Audio workflow

HEADPHONEMONITORING BATTERYOPERATION ANDVIDEOREFERENCE)TISPOSSIBLE TORECORDEFFECTSOREVEN&OLEYWITHTHISSYSTEMANYWHERE ASSUMINGYOUHAVE AQUIETPLACETOWORK7ITHTHE$64OOLKITOPTIONINSTALLEDINTHE,%SYSTEM TIMECODEORFEETANDFRAMESCANBEDISPLAYEDINTHE,%SESSION )T IS ALSO POSSIBLE TO RUN THE ENTIRE PROJECT FROM A REMOVABLE &IRE7IRE HARD DRIVE)FTHEVIDEOPLAYBACKISFROM1UICK4IME COPYINGTHE1UICK4IMEFROM THE REMOVABLE DRIVE TO THE INTERNAL HARD DRIVE AND REIMPORTING IT INTO THE SESSIONWILLDRAMATICALLYIMPROVETHEPERFORMANCE )FITBECOMESNECESSARYTOOPENTHESESSIONONANOLDER0RO4OOLSSYSTEM THISCAN BEDONEBYSAVINGACOPYINTHEOLDERVERSIONFROMTHE&ILEMENU4HISMAYNOT SOLVEALLTHEPROBLEMSWHENATTEMPTINGTOOPENAPROJECTONANOLDERSYSTEM MANYFUNCTIONSWILLNOTWORKINTHEOLDERVERSIONBUTATLEASTITSHOULDOPEN

Figure 2.11 "YUSING hSAVEACOPYvITIS possible to convert to OLDERVERSIONSOF0RO4OOLS

2.8 Workflow on “Loves Devotion Forever” h,OVES $EVOTION &OREVERv WAS SHOT ON MM FILM AT FPS !UDIO WAS RECORDED ON 0$ TO $!4 AT K SAMPLE RATE !LL AUDIO WAS COPIED TO $!$423ANDALLSLATECLAPSWERELOGGEDAGAINSTTHEIRTIMECODE.EGATIVE WASCUTINTOSELECTSANDOUTTAKESANDTHESELECTSWEREWORKPRINTED7ORKPRINT WASPROJECTEDSILENTAT&OTO+EMLABS4HESELECTROLLSWERETELECINEDAT,ASER 0ACIFICINTERLOCKEDTOTHE$423AUDIOTAPES SYNCINGTOTHECAMERASLATESAND THECLAPPERLOGS!UDIOWASPULLEDDOWNINTHETRANSFERTO$423 71


!NERROROCCURREDDURINGTELECINETHATWASNOTCAUGHTUNTILLATER"ECAUSETHE NEGATIVEHADBEENCUTTOPRINTTHESELECTS CARENEEDEDTOBETAKENINTELECINE TORE ENTERTHEKEYCODENUMBERSAFTEREACHSPLICE4HETELECINEMACHINECAN READTHEBARCODESTHATACCOMPANYTHEKEYCODES BUTTHEYARENOTALLREADBY THE TELECINE MOST ARE INTERPOLATED FROM THE KNOWN NUMBERS 3O IF A SPLICE ISMISSED ITWILLBEFOLLOWEDBYSEVERALFEETOFWRONGNUMBERS4HISWASTHE CASEINONESCENEONh,OVES$EVOTION&OREVERv!TONEPOINT TWOSHOTSHAD THESAMEKEYCODES ANDTHISSHOWEDUPASADOUBLEUSE4HEFIXWASTOPULL THENEGATIVEANDREADTHEKEYCODENUMBERSATSTICKSCLOSEONTHESLATEOFTHE TWOSHOTSANDENTERTHECORRECTINFORMATIONINTHEDATABASE 4HE AUDIO INFORMATION WAS FINE BUT IT SHOWS THAT ANY DATABASE IS ONLY AS GOOD AS THE DATA 4HE SAME THING CAN HAPPEN TO THE AUDIO INFORMATION n IF EXTREME CARE IS NOT TAKEN TO AVOID MISTAKES HUGE AMOUNTS OF TIME CAN BE WASTEDFIGURINGOUTWHATISWRONGANDREPAIRINGIT h,OVES$EVOTION&OREVERvWASEDITEDON&INAL#UT0ROATFPS!LLDATA INCLUDING THE AUDIO TIMECODES WERE MANAGED IN #INEMA 4OOLS 4HE PICTURE WASEXPORTEDAS1UICK4IMEANDPRINTEDTO"ETA30FORMACHINECONTROL !LTHOUGHTHEFPSANDFPSFRAMERATESDIDNOTMATCH THESPEED WASTHESAMESOTHATALLPULLED DOWNAUDIOMATCHED 7ORKFLOWISOFTENCONFUSING BUTTHISCOMESFROMLACKOFUNDERSTANDINGAND PLANNING)TISCRITICALTOPLANOUTTHEBESTWORKFLOWWITHINPUTFROMEVERYONE INTHESOUNDEDITLOOP ANDITISNECESSARYTHATEVERYONESTAYSWITHTHEPLAN $ONTASSUMEANYTHINGYES WEALLKNOWTHATTHIShMAKESANASSOUTOFYOU AND MEv BUT IT WASTES TIME AND MONEY AND CAN IMPACT THE QUALITY OF THE FINALPRODUCT(AVEAWORKINGPLAN ANDSTICKTOIT

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In this chapter 4HEEDITWINDOW

%DITINGTOVIDEO

-EMORYLOCATIONS

4HEMIXWINDOW

4HETOOLS

3 Editing Tools and the Pro Tools Interface

3.1 The edit window Timecode display %DITINGFORFILMANDVIDEOISNORMALLYDONETOTIMECODE4HISISNOTAVAILABLE ON- 0OWEREDAND,%SYSTEMSHOWEVER ITCANBEADDEDTO,%SYSTEMSWITH THE$64OOLKIT4IMECODEALLOWSFORFRAME BY FRAMEANDSUBFRAMENUDGING GRID SETTINGS AND TIMECODE SPOTTING 4HIS IS NOT TO SAY THAT FILM AND VIDEO CANNOTBECUTTOMINUTESANDSECONDS BUTTIMECODEISGENERALLYUSEDANDIS STANDARDPROCEDURE)TISTHEREFOREWHATEVERYONEELSEONTHEPROJECTWILLBE USING &ILM HAS BEEN EDITED TO FEET AND FRAMES AS WELL AVAILABLE ON ($ SYSTEMSAND,%SYSTEMSWITHTHE$64OOLKIT BUTTHISISFALLINGINTODISUSE 7HEN USING THE $6 4OOLKIT THE 4IMECODE 2ATE FOR THE SESSION CAN BE SET IN THE 3ESSION 3ETUP WINDOW WITH THE 4IMECODE 2ATE SELECTOR JUST AS ON ($ SYSTEMS 4HE 4IMECODE RULER DISPLAYS THE 4IME 3CALE IN 3-04% FRAMES HOURSMINUTESSECONDSFRAMES !LSO WITH THE $6 4OOLKIT THE PULL UP AND PULL DOWN FEATURES ARE AVAILABLE 4HESE ARE COVERED IN #HAPTER h!UDIO 7ORKFLOWv

Slip mode

Figure 3.1 3LIPMODE SELECTOR

4HISISTHEMODEMOSTOFTENUSEDFOREDITINGPICTURE)TALLOWSANYSOUNDTOBE MOVEDTOANYPLACEORTRACK)TEVENALLOWSTHEINATTENTIVEEDITORTOMOVETHE AUDIOOUTOFSYNC

75


Spot mode

Figure 3.2 3POTMODE SELECTOR

3POTMODEISUSEDTOEDITNUMERICALLYTOWHATEVERTIMEFORMATISSELECTEDIN THE DISPLAY /N TIMECODE SYSTEMS THIS CAN BE TIMECODE %DITING WITH 3POT MODEALLOWSEXACTPLACEMENTOFTIMESTAMPEDMATERIAL!NYAUDIORECORDED INTHE0RO4OOLSSYSTEMISTIMESTAMPED)MPORTEDAUDIOCANBETIMESTAMPED USING THE 4IME 3TAMP COMMAND IN THE 2EGIONS ,IST POP UP MENU AT THE TOPOFTHE2EGIONWINDOW4HISCANBEUSEDTOMOVEOUTOFSYNCAUDIOBACK INTOSYNC 3POTMODECANALSOBEUSEDTOPLACEAUDIOATANEXACTLOCATIONWHENDRAGGED FROMTHE2EGION,ISTOR7ORKSPACE

Shuffle mode

Figure 3.3 3HUFFLEMODE SELECTOR

3HUFFLEMODEONLYALLOWSAUDIOTOBEEDITEDINTOCONTINUOUSAUDIO4HERECAN BENOGAPSORSPACESINTHEAUDIO 3HUFFLE MODE IS GREAT FOR TRIMMING SOUND EFFECTS WITH A DISTINCT BEGINNING MIDDLE ANDENDTHATARETOOLONG4HEMIDDLECANBEEDITEDDOWNANDTHE REGIONHEALSITSELFBACKTOCONTINUOUSAUDIOWITHANINTACTBEGINNINGANDEND 4HISMODEALSOWORKSWELLFOREXTENDINGBACKGROUNDS

Grid mode 'RIDMODEHASTWOSETTINGS!BSOLUTEAND2ELATIVE!BSOLUTEHASFEWUSESIN EDITINGPICTUREBUTISVERYUSEFULWHENSOUNDSORFADESNEEDTOLINEUPEXACTLY WITHTHEFRAMELINES4HEGRIDCANBESETTOANYSIZEANDDISPLAYEDWITHTHE

76

E d i t i n g To o l s a n d t h e P r o To o l s I n t e r f a c e

Figure 3.4 'RIDMODE SELECTOR

h$RAW GRIDS IN TIMELINEv SETTING IN THE PREFERENCES )N !BSOLUTE 'RID MODE THEAUDIOSNAPSTOTHEGRID)N2ELATIVE'RIDMODE AUDIOREGIONSSNAPTOTHE GRIDBUTKEEPTHEIRRELATIVEPOSITIONTOTHEGRID4HISISVERYHANDYWHENMOVING THINGS FROM TRACK TO TRACK AS IT WILL HOLD THE REGION IN SYNC UNLESS IT IS MOVEDFORWARDORBACKWARDBYTHEAMOUNTOFTHEGRID7ITHTHEGRIDSETTO S ITSVERYOBVIOUSIFSOMETHINGHASBEENMOVEDOUTOFSYNC

3.2 Memory locations )TISNECESSARYTOSETUPMEMORYLOCATIONSSOTHATYOUCANSNAPTOANYSCENE ANDSHOWORHIDETHETRACKSYOUWANTTOWORKWITH4HESESSIONMAYBERATHER LONGANDCONTAINWELLOVERTRACKS-EMORYLOCATIONSAREABSOLUTELYNECESSARYTOMANAGEEVENASMALLPROJECT ! MEMORY LOCATION CAN BE ADDED FROM THE -EMORY ,OCATION WINDOW OR WITHTHE%NTERKEYONTHENUMERICKEYPAD4HEMARKERCANBENAMEDFORTHE SCENE 4HE YELLOW SHIELD ICON WHICH IS THE DEFAULT IN THE -EMORY ,OCATION WINDOWCREATESAVISIBLEMARKERINTHERULER4HEOTHERICONSCREATESHOW HIDE STATES ZOOM STATES AND OTHER FUNCTIONS 4HESE CAN BE USED TO CREATE SHORTCUTSTOTRACKSHOW HIDESTATESWITHOUTANYTIMEMARKERBYSELECTINGhNONEvIN PLACEOFTHEYELLOWSHIELD4HEENTIREPROJECTCANNOWBELAIDOUTWITHMARKERSTOJUMPTOANYSCENEANDANYSHOWHIDESTATEFROMTHE-EMORY,OCATION WINDOWORWITHTHEKEYBOARDBYUSINGPERIOD MEMORYLOCATIONNUMBER PERIOD 4HISMARKERSYSTEMCANALSOBEUSEDTOSPOT!$2 &OLEY ANDEFFECTS(OWEVER AS THIS WILL CREATE SCORES OF MARKERS IT IS BEST TO CREATE SEPARATE SESSIONS FOR THESE EDITS AND THEN IMPORT THEM INTO THE MASTER SESSION WITH THE hIMPORT SESSION DATAv COMMAND 4HIS WILL BRING ANY SELECTED TRACKS AND THEIR MEDIA INTO THE MASTER SESSION 7E WILL LOOK MORE CLOSELY AT THIS IN #HAPTER h$IALOGUE%DITINGAND2EPLACEMENT vAND#HAPTERh3OUND$ESIGNv 4HE-EMORY,OCATIONWINDOWISUSEDTOSETUPMARKERSTOSNAPTOTHEBEGINNINGORENDOFANYSCENEANDTOSETUPSHOWANDHIDESTATESTOMAKEITPOSSIBLETOhZOOMvINONONLYTHETRACKSTHATAREBEINGADJUSTED

77


Figure 3.5 4HE-EMORY ,OCATIONWINDOWISUSED TOFINDLOCATIONSSUCHAS SCENECHANGESASWELL ASSETTINGUPSHOWHIDE STATES ZOOMRECALL AND SEVERALOTHERSETTINGS)T ISALSOUSEDTOSPOTFOR EFFECTS &OLEY AND!$2

3.3 The tools

Figure 3.6 4HE%DIT TOOLS4RIMMER 3ELECTOR 'RABBER AND3MART4OOL

The three edit tools 4HEFIRSTTOOLONTHELEFTISTHE4RIMMERTOOL!STHENAMEIMPLIES THISALLOWS THEENDOFANAUDIOREGIONTOBETRIMMEDINANDOUT4HEREISASECONDTRIM TOOLUNDERTHE4RIMMERTOOL THE4IME#OMPRESSION%XPANSION4#% 4RIMMER TOOL)NTHISCASE ASTHEENDISTRIMMEDINANDOUT THEREGIONISCOMPRESSED OREXPANDEDTOFILLTHENEWLENGTH 4HESECONDTOOLISTHE3ELECTORTOOL4HISISUSEDFORSELECTINGSECTIONSOFAUDIO 4HETHIRDTOOLISTHE'RABBERTOOL4HISISUSEDTOGRABENTIREREGIONS)TALSO BECOMESTHEFINGERTOOLWHENLEVELSAREDISPLAYED4HEFINGERISUSEDTOPLACE MARKERSONTHEVOLUMELINEANDTHENMOVETHESEHANDLESTOTRIMAUDIOLEVELS "ELOW THE 'RABBER ARE THE 3EPARATION 'RABBER TOOL AND THE /BJECT 'RABBER TOOLS 7ITH THE 3EPARATION 'RABBER PART OF THE REGION CAN BE SELECTED WITH THE 3ELECTOR TOOL AND THEN MOVED WITH THE 3EPARATION 'RABBER TOOL 4HE /BJECT'RABBERLETSYOUSELECTMULTIPLEREGIONSBYSHIFT CLICKINGONTHEM

78


The Smart Tool 4HE 3MART 4OOL LINKS THE OTHER THREE TOOLS TOGETHER )T BECOMES THE 4RIMMER TOOLWHENMOVEDNEARTHEENDOFAREGION)TBECOMESTHE'RABBERTOOLWHEN MOVED BELOW THE WAVEFORM PLOT 4HE CURSOR BECOMES THE 3ELECTOR TOOL WHEN MOVEDABOVETHEWAVEFORMPLOT)TALSOBECOMESANAUTOFADETOOLWHENMOVED TOTHETOPORBOTTOMOFTHEENDOFTHEREGION )N 0RO 4OOLS THERE ARE FEW EDITING TOOLS 7HEN THE EDITORS WHO HAVE ALWAYS HAD A HUGE KIT OF RAZOR BLADE TOOLS EXTENDING TOOLS AND SELECTING TOOLS SEE BASICALLY THREE TOOLS IN 0RO 4OOLS THEY ARE LOST "UT THESE THREE WELL CHOSEN TOOLS WHICH CAN BE LINKED INTO ONE 3MART 4OOL CAN MAKE ANY EDIT 4HIS IS GREAT FOR THE EDITOR n THERES NO NEED TO CONSTANTLY GO FOR A NEW TOOL WASTING TIME IN TINY LITTLE INCREMENTS THAT REALLY ADD UP BY THE END OF THE DAY !LTHOUGHITDOESTAKEALITTLETIMETOMASTERhONETOOLvEDITING ITSFAST ACCURATE ANDVERYCAPABLE

Keyboard Tools +EYBOARD&OCUSn,INK4IMELINEAND%DIT3ELECTIONSELECTORS

Figure 3.7 )N0RO4OOLS THE:OOMTOGGLE -)$)-IRRORING 4ABTO 4RANSIENTS ,INK4IMELINE AND%DIT3ELECTION SELECTED ,INK2EGION AND4IMELINEANDMOVED FROMPREFERENCES THE%DIT )NSERTION&OLLOWS0LAYBACK buttons are bigger ANDEASYTOFIND4HE KEYBOARDFOCUSFORTHE EDITWINDOWISDROPPED BUTSTILLUSEDINTHEEDIT GROUPSAND2EGION,IST WINDOWS

4HE hFOCUSv OF THE KEYBOARD CAN BE MOVED FROM WINDOW TO WINDOW 4HE hAxZv INDICATOR IS SELECTED WHEN A BLUE BOX APPEARS AROUND IT 4HERE ARE THREESUCHINDICATORSINTHE2EGION,IST -IXGROUPSLIST AND%DITGROUPSLIST 7HEN SELECTED THE KEYBOARD CAN BE USED TO SEARCH THAT WINDOW BY TYPING THEFIRSTLETTEROFTHEDESIREDREGIONORGROUP 4HERE ARE SEVERAL TOOLS IN THE %DIT MENU THAT CAN BE USED MUCH FASTER FROM THEKEYBOARD3EVERALAREBOILERPLATEFUNCTIONSUSEDBYMOSTSOFTWARE

79


Function

Macintosh/Windows

Cut

#OMMAND#ONTROLX

Copy

#OMMAND#ONTROLC

Paste

#OMMAND#ONTROLV

Clear

#OMMAND#ONTROLB

Select All

#OMMAND#ONTROLA

3EPARATERAZOR

#OMMAND#ONTROLE

5NDO

#OMMAND#ONTROLZ

4HE,INK4IMELINEAND%DIT3ELECTIONSELECTORLINKSANYAUDIOREGIONORSELECTED AREAASTHEPLAYBACKINANDOUTPOINTS 7HENSELECTED THE4ABTO4RANSIENTSTOOLWILLJUMPTOTHENEXTSUDDENSOUND WHENTHETABKEYISPRESSED

The Nudge command )N0RO4OOLS THE.UDGEINDICATORISDISPLAYEDATTHETOPOFTHEEDITWINDOW INANEWLARGEWINDOWTHATITSHARESWITHTHE'RIDSETTING"OTHNOWREADIN MINUTESANDSECONDSASWELLASTIMECODE EVENIFYOUDONOTHAVETHETIMECODEOPTION4HE.UDGECOMMANDWILLNUDGEANYSELECTEDAUDIOREGION OR IFNONEARESELECTED ITWILLNUDGETHEINSERTIONPOINTBYTHEDISTANCESELECTED INTHE.UDGEINDICATOR4HE.UDGEVALUEISCONTROLLEDBYTHEAND keys ONTHENUMERICKEYPAD,IKEMANYOTHEREDITTOOLS .UDGEEVENWORKSDURING PLAYBACK GREATFORSYNCINGERRANTSYNC

3.4 Editing to video 7HENEDITINGTOVIDEO THEGOAL IS TO ALIGN THE AUDIO REGIONS TO THE PICTURE 7HEN AN AUDIO REGION IS MOVED AROUND THE DISPLAY SHOWS THE FRAME CORRESPONDING TO THE BEGINNING OF THE AUDIO REGION 5NLESS THE REGION IS BEING PLACEDTOTIMECODE ITWILLBESLIPPEDINTOSYNCVISUALLY4HEREFORE THESIMPLEST SYSTEM INVOLVES TRIMMING AWAY ANY OF THE REGION BEFORE ANY WANTED SOUND 4HEN SLIPTHEREGIONBACKANDFORTHUNTILTHEBEGINNINGOFTHEAUDIOISINTHE PROPERLOCATIONASSEENONTHEVIDEOSCREEN.OWFINDTHEENDOFTHEREGION )FTHEREGIONISTOOLONG SELECTALLOFTHEMIDDLEOFTHEREGIONANDPRESSTHE $ELETEKEY3LIDETHEENDOFTHESOUNDINTOTHEPROPERLOCATION4HE4RIMMER TOOL SHOWS THE VIDEO FRAME THAT CORRESPONDS TO THE END OF THE REGION 3LIDE THEREGIONINTOPLACEWITHTHE'RABBERANDTRIMTHEENDTOPICTUREWITHTHE 4RIMMERTOOL.OWFILLTHEMIDDLEBYEXTENDINGEITHERTHEHEADREGIONORTHE

80


TAILREGIONWITHTHE4RIMMERTOOL4HEMISSINGMIDDLECANBEDUPLICATEDINTO SEVERAL SUBREGIONS IF THE SOUND IS TOO SHORT )F NECESSARY YOU CAN CROSSFADE THE TWO REGIONS WITH AN AUTOMATED FADE 4HIS CAN BE DONE WITH THE 3MART

Figure 3.8 4HE&ADE EDITORISUSEDTOALTERTHE SPEEDANDRAMPORFADE INSANDOUTS

4OOL AT THE EDIT POINT OR BY SELECTING THE AREA FOR THE CROSSFADE WITH THE 3ELECTORTOOLANDPRESSINGF4HEFADECANBEEDITEDBYDOUBLECLICKINGONIT !NOTHER SLICK TRICK IS USING THE 4#% 4RIMMER TOOL UNDER THE STANDARD TRIM TOOL.OWTHEAUDIOISMOVEDINTOPOSITIONWITHTHE'RABBERTHEVIDEODISPLAY SHOWING THE BEGINNING OF THE AUDIO REGION .OW MOVE TO THE END OF THE REGION USING THE 4#% 4RIMMER TOOL AND TRIM TO THE POINT ON THE VIDEO WHERE THE SOUND SHOULD END 4HE VIDEO DISPLAY WILL SHOW THE END FRAME OF THEREGION4HEREGIONWILLNOWCOMPRESSOREXPANDTOFIT4HISSYSTEMONLY WORKSIFTHELENGTHOFTHEREGIONWASALREADYSOMEWHATCLOSE/THERWISETHERE AREHORRENDOUSARTIFACTS

The Pencil tool 4HE 0ENCIL TOOL CAN BE USED TO DRAW AUTOMATION INTO VOLUME OVERLAYS OR TO DRAWNEWWAVEFORMINPLACEOFTHEORIGINAL4HISINVOLVESZOOMINGINTOTHE SAMPLE LEVEL 4HEN A NEW WAVEFORM CAN BE DRAWN TO REPLACE AN UNWANTED 81


SOUND ON THE ORIGINAL TRACK !S THIS IS DESTRUCTIVE THE REGION SHOULD BE DUPLICATED WITH THE !UDIO3UITE $UPLICATE PLUG IN BEFORE DRAWING OVER THE WAVEFORM )TS VERY EASY TO DRAW IN A SOUND MUCH WORSE THAN THE ONE YOU AREATTEMPTINGTOREMOVE/NEWONDERSIFAMILLIONCHIMPANZEESDREWWAVEFORMSFORAMILLIONYEARSIFONEOFTHEMWOULDDRAW"EETHOVENS.INTH ORAT LEASTSOMETOMEFROM4RENT2EZNOR

Figure 3.9 The Pencil TOOLCANBEUSEDTO REDRAWTHEWAVEFORM

Scrolling Figure 3.10 The 0REFERENCESn/PERATION WINDOW)NTHISCASEWITH THEh4IMELINEINSERTION FOLLOWSPLAYBACK vWHEN playback stops the insertion point moves to the stop point, at times AVERYHANDYMODEnSO HANDYTHATTHISISNOW ONTHEEDITWINDOWASA BUTTONINVERSION

4HEREAREVARIOUSSCROLLINGOPTIONS ALMOSTASMANYASTHEREAREEDITINGTOOLS /NALLSYSTEMS THEREARE.O3CROLLING 3CROLL!FTER0LAYBACK AND0AGESCROLLING)NALLCASES THEINSERTIONPOINTSTAYSFIXEDANDTHEPLAYBACKSNAPSBACKTO THEINSERTIONPOINTWHENPLAYBACKRESUMES4HISCANBEVERYHANDYBUTITCAN ALSOBEPROBLEMATIC /N ($ SYSTEMS THERE ARE ALSO THE #ONTINUOUS 3CROLLING WITH 0LAYHEAD AND #ONTINUOUS 3CROLLING SETTINGS )N THESE MODES THE HEAD STAYS FIXED IN THE CENTER OF THE SCREEN AND THE MEDIA SCROLLS UNDERNEATH IT )N THE #ONTINUOUS 3CROLLING WITH 0LAYHEAD MODE WHEN YOU STOP PLAYBACK THE PLAYHEAD AND MEDIA STAY IN THE CURRENT LOCATION EVEN THOUGH THE INSERTION POINT REMAINS INTHESAMEPLACE4HISCANBEAVERYHANDYFUNCTION BUTTHEREISNOEQUIVALENTFUNCTIONON,%AND- 0OWEREDSYSTEMS4HEREIS HOWEVER AHANDYSELECTOR IN THE EDIT WINDOW FOUND IN THE PREFERENCE SETTINGS IN VERSION IN THE 0REFERENCE /PERATIONSETTINGS CALLEDh4IMELINEINSERTIONFOLLOWSPLAYBACKv

82


3.5 The mix window

Figure 3.11 -IXERSCAN be large imposing pieces OFEQUIPMENT"UTTHEIR function is actually rather SIMPLE

4HE FUNDAMENTAL TOOL OF THE DUB IS THE MIXING BOARD !S THE NAME IMPLIES THISDEVICECOMBINESSOUNDSTOGETHER4HEBOARDCANBEQUITEIMPOSINGWITH HUNDREDS OF KNOBS SLIDERS BUTTONS AND HUNDREDS OF FLASHING LIGHTS YET THE FUNDAMENTALFUNCTIONISRATHERSIMPLE

Figure 3.12 A basic three channel to stereo MIXER

83


4HE MOST BASIC VERSION HAS TWO OR THREE INPUTS AND A SINGLE MONO OUTPUT 4HREEKNOBSCONTROLTHELEVELOFTHESOUNDSFROMTHETHREEINPUTSANDAFORTH KNOB CONTROLS THE LEVEL OF THE OUTPUT 4HIS IS A SIMPLE WAY TO MIX SEVERAL SOUNDS TOGETHER WHILE ALTERING THEIR LEVEL OVER TIME ! MORE COMPLEX VERSION MAY BE FUNDAMENTALLY THE SAME BUT WITH MORE INPUTS )F THE MIXER IS EXPANDED TO CHANNELS NOW SOUNDS CAN BE MIXED IN REAL TIME TO A SINGLE MONO SOUND 3EVERAL PROBLEMS ARISE WHEN WE EXPAND THE MIXER TO CHANNELS &IRST KNOBS ARE UNMANAGEABLE UNLESS YOU HAVE HANDS 3LIDERSWORKMUCHBETTERONALARGERMIXERASSEVERALSLIDERSCANBEMANIPULATEDWITHEACHHAND !UTOMATIONALSOHELPSWHENATTEMPTINGTOCONTROLALARGENUMBEROFSLIDERS %ACH SLIDER CAN BE PROGRAMMED TO PLAY AT A CERTAIN LEVEL AT A CERTAIN TIME FREEING THE OPERATOR MIXER TO MANIPULATE OTHER CHANNELS WHILE THE PROGRAMMEDSLIDERSADJUSTTHEMSELVES !DDING MORE OUTPUT CHANNELS CAN FURTHER EXPAND THE MIXING BOARD )F THE BOARD IS EXPANDED TO HAVE TWO OUTPUT STEREO CHANNELS THE INPUT CHANNELS MUST NOW HAVE A WAY TO SET THE OUTPUT TO THE DESIRED OUTPUT CHANNEL -OREOVER THEINPUTCHANNELSTHEMSELVESCANNOWBESTEREOCHANNELS EFFECTIVELYTWOINPUTCHANNELSCONTROLLEDBYASINGLESLIDER4HEMOSTCOMMONWAY TOASSIGNTHECHANNELTOONEOFTHEOUTPUTCHANNELSISWITHAPANPOT ASECOND SLIDER THAT MOVES THE SOUND RIGHT LEFT OR ANYWHERE IN THE MIDDLE 4HIS SLIDERISUSUALLYVERYSMALLANDSETHORIZONTALLYTOINDICATEITISAPANANDNOT ALEVELSET)TMAYALSOBEAKNOB4HEOUTPUTCOULDALSOBESETWITHABUTTON OR CHANNEL ASSIGN "Y PRESSING THE RIGHT OR LEFT BUTTON THE CHANNEL CAN BE ASSIGNED TO RIGHT LEFT OR BOTH !LTHOUGH THE PAN POT MAKES MORE SENSE FOR THESTEREOMIXINGBOARD THECHANNELASSIGNBUTTONMAKESMORESENSEONVERY LARGEMIXERSWITHMANYOUTPUTCHANNELS

Figure 3.13 Even though this hypothetical MIXERISSOFARRATHER LARGE ITSSTILLVERYSIMPLE 4HEREAREAUTOMATED MONOSLIDERSANDPAN POTSFEEDINGASTEREO AUTOMATEDOUTPUT

84


Figure 3.14 The outputs NEEDNOTBESENTTOTHE MAINSTEREOBUS)FTHE MIXERHASAUXBUSSES THE channels can be sent to ANAUXBUSRATHERTHAN THEMAINSTEREOBUS4HIS WILLREQUIREBRINGINGTHE AUXBUSBACKTOTHEMAIN STEREOBUSFOROUTPUT Even the smallest Pro 4OOLSSYSTEMSHAVE MONOSTEREO BUSSES

Figure 3.15 The output of any channel can be ASSIGNEDTOANAUXBUS rather than the main STEREOBUS!STEREO!UX channel can then be set to this bus as its input ANDTHEMAINSTEREOASITS OUTPUT4HESEAREGREAT FORSTEMMIXES ONEEACH FORDIALOGUE EFFECTS &OLEY ANDMUSIC

!STEREO!UXCHANNELNEEDS TO BE CREATED TO SERVE AS THE RETURN FOR THE AUX BUSTOTHESTEREOMAINBUS/NTHE0RO4OOLSMIXER THISISDONEBYCALLINGUP .EW4RACKINTHE4RACKMENUANDSELECTINGSTEREOAUXINPUT "YUSINGTHEAUXBUSES ITISPOSSIBLETOADDCOMPLETESEPARATEMIXERSTOTHE BOARD )F WE ADD A SECOND MIXER TO THE AUDIO PATH BEFORE THE MAIN SLIDER WE NOW HAVE TWO MIXERS EACH FEEDING A DIFFERENT OUTPUT 4HESE ARE CALLED AUXILIARY MIXERS )F THE MAIN SLIDERS DO NOT AFFECT THEM THEY ARE REFERRED TO AS PREFADER MIXERS )F THE LEVEL OF THE MAIN FADER CONTROLS THE VOLUME OF THE INPUTTOTHEAUXMIXER THEMIXERISSAIDTOBEAPOSTFADERAUXMIXER"ECAUSE SLIDERS ARE LARGE AND TAKE UP A LOT OF SPACE AUX MIXER LEVEL CONTROLLERS ON 85


ARDWARE MIXERS ARE USUALLY KNOBS %ACH AUX MIXER WILL ALSO HAVE A MASTER H OUTPUTCONTROLLER)TISCOMMONTOHAVESEVERALAUXMIXERS ONLARGESYSTEMS PERHAPSASMANYAS

Figure 3.16 Effects SENDRETURNSETUP

!UXMIXERSCANBEUSEDTOSENDASEPARATEMIXTOSOMEPIECEOFEQUIPMENT RECORDER MONITOR SPEAKERS OR WHATEVER THE MIXING STRATEGY CALLS FOR )F THE AUXMIXERISSENDINGITSMIXTOAPIECEOFEQUIPMENT THISAUDIOWILLNEEDTO BERETURNEDTOTHEMAINMIX3OTHEBOARDWILLALSOHAVESEVERALRETURNS CHANNELSINTENDEDSIMPLYASAWAYTORETURNANAUXMIXBACKTOTHEMAINMIX %VERY CHANNEL WILL ALSO HAVE INSERTS 4HE SIMPLEST VERSION OF THIS IS A JACK FOR EVERYCHANNELONTHEBACKOREVENTHEFRONTOFTHEBOARD!NINSERTCABLECAN BEPLUGGEDINTOTHISJACK4HEINSERTCABLEHASA9CONFIGURATION TWOCABLES COMINGFROMONEPLUG/NECABLEISTHEINPUTCABLEANDTHEOTHERTHEOUTPUT 7ITH THIS ANY DEVICE CAN BE CABLED INTO THE CHANNEL AND THE AUDIO WILL BE ROUTEDTHROUGHTHEOUTBOARDDEVICEANDRETURNED /NTHE0RO4OOLSMIXER THEINSERTSAREABOVETHE!UXSENDSINTHEDARKERGRAY AREA.ORMALLY PLUG INSAREINSERTED(ARDWARECANALSOBEINSERTEDBYSETTING 86


UP ONE OR MORE OF THE CHANNELS ON THE AUDIO INTERFACE AS INSERTS IN THE )/ SETUPWINDOW4HEREWILLBEMOREONTHISIN#HAPTERh4HE$UBv !S EQUALIZATION IS ALMOST ALWAYS NEEDED ON EVERY CHANNEL RATHER THAN TIE UP AN INSERT ADDING AN OUTBOARD EQUALIZER %1 TO EVERY CHANNEL MOST HARDWARE BOARDSHAVESOMEBASIC%1BUILTINTOEVERYCHANNEL4HISMAYBETHREEORFOUR BANDTUNEABLEEQUALIZATION)N0RO4OOLS THISISANINSERTATTACHEDWHENNEEDED %ACHCHANNELWILLALSOHAVEAMUTEBUTTONANDASOLOBUTTON4HEMUTEMUTES THECHANNELSOTHATITDOESNOTSOUND4HESOLOMUTESALLTRACKSOTHERTHANTHE SOLOEDTRACK!NYNUMBEROFTRACKSCANBEMUTEDORSOLOED /UR hBASICv MIXER IS NOW RATHER IMPOSING WITH CHANNEL SLIDERS AUX MIXER KNOBS FEEDING SIX CHANNEL AUX MIXERS %1 KNOBS CONTROLLING FOURBAND%1S PANPOTS SOLOBUTTONS MUTEBUTTONS ANOUTPUT SLIDER PERHAPSSIXRETURNS SIXAUXOUTPUTMASTERKNOBSANDDOZENSOFBUTTONS TOCONTROLAUTOMATION ASSIGNS ANDPRE POSTCONTROLSFORTHEAUXMIXERS9ET INTHISFORESTOFCONTROLS ITISSTILLVERYSTRAIGHTFORWARD

Figure 3.17 The virtual 0RO4OOLSMIXER

4HEVIRTUAL0RO4OOLSMIXERCANALSOBEIMPOSING YETITISTOOBASICALLYSIMPLE AND EASY TO UNDERSTAND !ND BECAUSE IT IS VIRTUAL IT IS CUSTOMIZABLE )NSERTS ANDSUBMIXERSAREONLYADDEDWHENANDIFTHEYARENEEDED ANDTHETYPEOF %1 IS NOT FIXED AS PART OF THE DESIGN MAKING IT POSSIBLE TO USE ANY NUMBER OF DIFFERENT %1S MIX AND MATCH THEM ADD COMPRESSORS GATES EXPANDERS REVERBS DELAYS ANDANYNUMBEROFOTHERDEVICESASINSERTSWITHNONEEDTO PATCH OR USE ANY PHYSICAL DEVICES !UX MIXERS CAN BE CREATED AS THE NEED ARISES ASCANRETURNS

87


!LTHOUGHITMAYBETEMPTINGTOSIMPLYADDANYNEEDEDPLUG INS ANYMIXHAS AWAYOFBECOMINGRATHERLARGEANDMANAGEMENTOFRESOURCESISALWAYSIMPORTANT -OREOVER CONTROLLING SCORES OF PLUG INS IS TIME CONSUMING AND DIFFICULT A better system is to route groups of tracks through a single plug-in by routing THROUGHANAUXFADER4HISKINDOFhSENDRETURNLOOPvISSIMPLETOSETUP SIMPLE TOUSE ANDUSESFEWERSYSTEMRESOURCESTHANADDINGPLUG INSTOEVERYCHANNEL

Figure 3.18 5PTO SENDSCANBESENTTOTHE BUSSESFROMEACHCHANNEL

-ULTIPLESENDSCANBEADDEDTOANYTRACKINTHESENDSAREAOFTHATCHANNEL 4HEREARETENFOREACHCHANNEL DISPLAYEDINTWOGROUPSOFFIVE4HEOUTPUTS OFTHESESENDSARETHENROUTEDTOANUNUSEDPAIROFBUSCHANNELS$EPENDING ON THE SIZE OF THE 0RO 4OOLS SYSTEM THERE ARE AT LEAST SUCH BUSSES 4HE AUX FADER ON THE OUTPUT OF THE THREE CHANNEL FADERS IS CREATED IN MUCH THE SAMEMANNER)NTHISCASE AN!UXCHANNELISCREATEDANDTHEINPUTSETTOANY UNUSEDPAIROFBUSCHANNELS4HEOUTPUTSOFTHECHANNELFADERSAREALSOSETTO THISPAIROFBUSCHANNELS %ACHCHANNELTHATISTORECEIVETHEEFFECTOFTHEPLUG INISGIVENANAUXSEND FADER!SINTHEILLUSTRATION USUALLYTHISISAPOSTFADERSENDSOTHATTHECHANNEL SLIDER STILL CONTROLS THE TOTAL VOLUME LEVEL OF THE CHANNEL 4HE OUTPUTS OF THE SENDS ARE ROUTED TO AN !UX CHANNEL AND FROM THERE TO THE MAIN STEREO BUS !NYDESIREDEFFECTSCANBEINSERTEDINTOTHERETURNAUXFADER)NTHEILLUSTRATION ANOTHERAUXFADERHASBEENADDEDASTHEOUTPUTOFTHETHREEORIGINALFADERSSO THAT IT BECOMES EASY TO CONTROL THE BALANCE BETWEEN THE EFFECTS RETURN AND THEORIGINALSOUND

88


Figure 3.19 4HESEND RETURNLOOPWITHAUX SUBMIXFADERFROM CHANNEL

Figure 3.20 )NTHIS EXAMPLE AN24!3!)2 +ILLHASBEENADDED TOTHEDIALOGUE$8 CHANNELS4HEREISALSOA $8SUBFADERFORTHEMUSIC TRACKSBOTHROUTEDTOA STEREOMASTERFADER

89


!COMMONUSEFORSUCHASETUPWOULDBETOADDAREVERBTOUSEINANYSCENES WHERE REVERB IS CALLED FOR 4HE REVERB CAN BE ADDED WHEN NEEDED BY AUTOMATING THE MUTE BUTTON OR EVEN THE VOLUME SLIDER ON THE RETURN AUX FADER 4HEAMOUNTOFREVERBFOREACHCHANNELISCONTROLLEDBYTHEINDIVIDUALCHANNEL SENDS WHICHCANALSOBEAUTOMATED )N FILM POSTPRODUCTION IT IS ALSO COMMON TO MIX TO FINAL STEMS THE MIXING BOARD IS OFTEN SET UP TO SIMULTANEOUSLY LAY THE MUSIC EFFECTS AND DIALOGUE STEMSOFFTOANOTHERCHANNELORCHANNELS)NMOSTCASES THEYWILLBERECORDED OREXPORTEDTODELIVERYSTEMSAFTERTHEFINALMIX7ITHANDOTHERMULTITRACK FINISHINGFORMATS THEREMAYBEnMUSICSTEMS nEFFECTSSTEMS ANDn DIALOGUESTEMS3TEMSFORASTEREOMIXAREUSUALLYONEORTWODIALOGUE TWO STEREO MUSIC ANDTWOSTEREO SOUNDEFFECTS4HESTEMSCANBEUSEDFOREDITINGTHETRAILER hDUBBINGvINTOAFOREIGNLANGUAGE OREVENREMIXINGFORVIDEO 3TEMSAREANABSOLUTELYNECESSARYASSETOFTHEMOTIONPICTURE 4O SET UP THE BOARD FOR STEM MIXING SIMPLY ROUTE ALL THE EFFECTS TRACKS TO A &8AUXSUBMASTER ALLMUSICTOA-8AUXSUBMASTER ANDALLTHEDIALOGUETO A$8AUXSUBMASTER4HISALSOALLOWSFORTIGHTFINE TUNINGOFTHEFINALMIXBY TWEAKINGTHESTEMFADERSTOOPTIMIZETHEBALANCEAMONGTHEMUSIC EFFECTS ANDDIALOGUE /NVERYLARGEPROJECTS ITISOFTENNECESSARYTOCONNECTSEVERAL0RO4OOLSSYSTEMS TOGETHER !LTHOUGH ONE SYSTEM CAN BE INCREDIBLY POWERFUL IN POSTPRODUCTIONISOFTENNECESSARYTOHAVESEVERALPEOPLEATTHEMIXINGBOARDATTHE SAMETIME4HREEANDFOURPERSONMIXESARENOTUNCOMMON 5P TO FIVE 0RO 4OOLS ($ SYSTEMS CAN BE INTERLOCKED WITH THE 3ATELLITE ,INK OPTION OR ANY NUMBER OF SYSTEMS CAN BE INTERLOCKED TOGETHER VIA TIMECODE AND39.#($4HISALLOWSEACHMIXERTOHAVECONTROLOVERTHEIRSYSTEM WITH THE EXCEPTION OF TRANSPORT CONTROL WHICH MUST BE CONTROLLED BY ONE MIXER 5SUALLYTHISISTHEDIALOGUEMIXER%ACHSYSTEMCANHAVEUPTOFOURComputer screens HOWEVER EACH SYSTEM CAN ONLY HAVE ONE MIX WINDOW OPEN "Y LINKINGSEVERALSYSTEMS EACHMIXERHASTHEIROWNMIXWINDOWDISPLAYINGTHE TRACKSONTHEIRSYSTEM4HEMASTERSYSTEMHASINPUTSFROMTHEOTHERSYSTEMS WITHAUXFADERSCONTROLLINGTHESEINPUTSANDROUTINGTOTHEPROPERSTEMSTHAT AREALSOONTHEMASTERSYSTEM )TISALSOCOMMONTOUSEANOTHER0RO4OOLSSYSTEMASANINSERTRECORDERINTHE FINALMIX)NTHEhOLDDAYS vOVERYEARSAGO SOUNDWASUSUALLYDUBBEDON ADUBSTAGEFROMhDUBBERSv4HESEPLAYBACKMACHINESWEREINTERLOCKEDWITH A PROJECTOR AND AN INSERT RECORDER "EFORE THESE RECORDERS WERE OPTICALANDNOTABLETOINSERT BACKUP ORRECORDOVERAPREVIOUSRECORDING7ITH ADVENT OF MAGNETIC RECORDING THERE SOON FOLLOWED THE INSERT RECORDER 4HIS RECORDERCOULDhPUNCHINvOVERANEXISTINGRECORDINGWITHOUTMAKINGANYTICK OR POP )F A SECTION OF THE MIX WAS NOT RIGHT THE ENTIRE INTERLOCK COULD BE 90


BACKEDUP ROLLEDFORWARD ANDTHERECORDERCOULDBEPLACEDINTORECORD THE SECTIONREMIXEDANDTHERECORDERTAKENBACKOUTOFRECORD )TS HARD TO BELIEVE BUT EARLY FILMS SUCH AS The Wizard of Oz AND Gone With the Wind WERE MIXED IN REAL TIME IN ONE PASS &ORTUNATELY THEY WERE MIXED IN MINREELS BUTIFTHEREWASANYMISTAKEINTHE MINSECTION ITMEANT STARTINGALLOVER 4HESEDAYSITISMUCHMORECOMMONTOSPENDWEEKSADJUSTINGTHEAUTOMATIONOFTHEMIXANDTHENSIMPLYhBOUNCETODISC vINOTHERWORDSRECORDTHE AUTOMATEDMIXINREALTIMETOADRIVE "UTSOMEMIXERSFEELSOMETHINGISLOSTBYNOTPERFORMINGATLEASTSOMEPART OF THE MIX LIVE AND MOREOVER THEY FEEL THEY ARE FASTER WHEN MIXING IN REAL TIMETHANWHENSETTINGUPELABORATEAUTOMATION)NTHISCASE ASEPARATE0RO 4OOLS SYSTEM INTERLOCKED TO THE MASTER SYSTEM CAN FUNCTION AS THE hINSERT RECORDERv4HISREQUIRESAMONITORCONTROLLERSYSTEMKNOWNASAhPECDIRECTv 4HE MIXERS NEED A WAY TO LISTEN TO THE PLAYBACK FROM THE RECORDED MIX COMPARE THIS TO THE OUTPUT FROM THE MIXING BOARD AND WHEN ALL THE LEVELS MATCH PUNCHINTORECORD-OSTSTUDIOSPURCHASEORCONSTRUCTABUTTONPANEL TOSWITCHFROMTHEOUTPUTOFTHEINSERT0RO4OOLSSYSTEMTOTHEOUTPUTOFTHE PLAYBACK0RO4OOLSSYSTEMS 4HEINSERTSYSTEMISSETUPTORECORDSTEMSAND THECOMPOSITEMIXATTHESAMETIME4HISWAYTHEDRIVEOFTHEINSERTSYSTEM ENDSUPCONTAININGTHEDELIVERABLEFINISHEDTRACKS0ECREFERSTOhPHOTOELECTRIC CELL vALASTVESTIGEOFTHEOLDOPTICALDUBBERS4HEPECDIRECTSELECTORSWITCHES THEMONITORSFROMTHEOUTPUTOFTHEMIXINGCONSOLEANDTHEPLAYBACKOFTHE RECORDER REFERREDTOHEREASTHEPEC 4HE HUGE ADVANTAGE OF THE VIRTUAL MIXER IS ITS FLEXIBILITY AND ABLE TO BE CUSTOMIZEDTOTHENEEDSOFTHEPROJECTASWELLASTHEMIXINGSTYLEOFTHEMIXERS !NDWITHHUNDREDSOFPOWERFULPLUG INSAVAILABLE THEPOWERSOFRACKSFULLOF HARDWARE ARE AT THE MIXERS FINGERTIPS WITHOUT THE NEED FOR THE RACKS OR THE EXTRAAIRCONDITIONING

91

In this chapter 4YPESOFPLUG INS 3

3URROUNDSOUNDTOOLS

6IDEOTOOLS 4

3OUNDDESIGN

2EVERBSANDCONVOLUTION

.OISEREDUCTIONAND

REVERBS &UTZINGPLUG INS

RESTORATION 5TILITIES

4 Plug-ins

4.1 Types of plug-ins 0LUG INSCOMEINSEVERALTYPES24!32EAL4IME !UDIO3UITE PLUG INSWILLWORK INANY0RO4OOLSSYSTEM ($- 0OWERED OR,%4HEYUSETHECOMPUTERSPROCESSORANDMEMORY REQUIRINGNOSPECIALHARDWARE4HEREAREALSO4$-PLUG INS 4HESEWILLONLYWORKON($SYSTEMSASTHEYUSETHE$30CHIPSINTHE($BOARDS TOPROCESSAUDIO"OTHTYPESFUNCTIONASINSERTSTHATAREINSERTEDINTOANAUDIO PATHANDPROCESSAUDIOINREALTIMEASTHEAUDIOMOVESTHROUGHTHEPLUG IN 4HERE ARE ALSO !UDIO3UITE PLUG INS FOR PROCESSING AUDIO TO NEW MEDIA FILES 4HESEAREUSEDFROMTHE!UDIO3UITEMENUIN0RO4OOLS 7ITHINTHESETYPES THEREAREMANYOTHERCATEGORIESOFPLUG INS FILTERS PROCESSORS GATES COMPRESSORS VIRTUAL MUSICAL INSTRUMENTS AND AUDIO ROUTING SOFTWARE4HEREAREHUNDREDSOFPLUG INSAVAILABLEFROM$IGIDESIGNASWELLAS OTHERSUPPLIERS!SITISPOSSIBLETOSPENDHUNDREDSOFTHOUSANDSOFDOLLARSON PLUG INS THEQUESTIONCOMESUP WHATDO)REALLYNEED -OSTOFTHEPLUG INSAVAILABLEAREINTENDEDFORMUSICPRODUCTIONANDEVENLIVE CONCERT MIXING !LTHOUGH ITS IMPOSSIBLE FOR ONE PERSON TO PICK PLUG INS FOR SOMEONEELSESCREATIVEUSE THEREARESEVERALPLUG INSTHATANYONEEDITINGAND MIXINGFORCINEMASHOULDCONSIDER -ANYOFTHESEPLUG INSMAYBESOMETHINGYOUWILLONLYUSEONCEORTWICEIN ALIFETIME BUTTHEGOODNEWSISTHATMANYCANBERENTEDFORADAYORTWOON THE$IGIDESIGN7EBSITE -OST PLUG INS ARE I,OK PROTECTED 4HE PLUG IN LICENSE IS LOADED INTO THE I,OK PLASTIC KEY THAT MUST BE PLUGGED INTO A 53" PORT BEFORE THE PLUG IN CAN BE USED4HE0ACEI,OKISAVAILABLEINMANYCOMPUTERSTORESANDONLINE

93


Figure 4.1 4HE0ACEI,OK AVAILABLEINSTORESAND ONLINE

,ETS TAKE A CLOSER LOOK AT SOME VERY USEFUL PLUG INS ,INKS TO DEALERS CAN BE FOUNDONTHE$IGIDESIGN7EBSITE

4.2 Video tools

Figure 4.2 The DV 4OOLKITISABUNDLEOF SELECTEDPLUG INSAND TOOLSTHATAREEXCELLENTFOR WORKINGWITHVIDEOAND FILM

DV Toolkit 2 0ERHAPS THE MOST IMPORTANT BASIC PLUG IN SET USED IN FILM AND VIDEO IS THE $6 4OOLKIT 4HIS IS NOT A PLUG IN BUT SEVERAL OPTIONS AND PLUG INS SOLD AS A SET !LTHOUGH VERY EXPENSIVE THESE OPTIONS AND PLUG INS WOULD COST EVENMOREIFPURCHASEDSEPARATELY$64OOLKITINCLUDESTHESEOPTIONSAND PLUG INS

94

N

$IGI4RANSLATORFORIMPORTEXPORTOF/-& !!& AND-8&FILES

N

4,3PACE.ATIVE%DITIONCONVOLUTIONREVERB

Plug-ins

N

3YNCHRO!RTS6OC!,IGN0ROJECTTIME ALIGNMENTTOOL

N

$IGIDESIGN)NTELLIGENT.OISE2EDUCTION$).2 ,%NOISEREDUCTIONPLUG IN

4HE$64OOLKITALSOALLOWS,%USERSNOT- 0OWERED TOUSESOMEFEATURESONLY AVAILABLEON($SYSTEMS N

4IMEBASERULERS4IMECODEAND&EET&RAMES

N

4IMECODE2ATESELECTOR

N

Feet &RAME2ATESELECTOR

N

#URRENT4IMECODE0OSITIONCOMMAND

N

Current Feet &RAMES0OSITIONCOMMAND

N

5SE3UBFRAMESOPTION

N

!UDIO2ATE0ULL 5PAND0ULL $OWN

N

6IDEO2ATE0ULL 5PAND0ULL $OWN

N

4IMECODE-APPINGOPTIONSWHENIMPORTINGTRACKS

N

#USTOM3HUTTLE,OCK3PEED

N

3CRUBBER4OOLFORSCRUBBINGTHE6IDEOTRACK

N

$IGI"ASE0RO THEFULL FEATUREDVERSIONOFTHE$IGI"ASEFILEMANAGEMENTTOOL

N

4IMECODEAND&EET Frames functions

N

0OWERFULEDITINGANDSESSIONMANAGEMENTFEATURES

N

5P TO MONO OR STEREO TRACKS AT UP TO K(Z ON HARDWARE INTERFACES that can support these sample rates

N

0RO4OOLS-0/PTION

4HE MOST IMPORTANT PLUG IN IN THIS SET IS THE $IGI4RANSLATOR 7E LOOKED AT THIS PLUG IN IN #HAPTER WHEN WE WERE DISCUSSING AUDIO WORKFLOW AND IMPORTING/-&FILES!LTHOUGHCONVERTING/-&FILESTO0RO4OOLSSESSIONSISTHEMOST COMMON USE FOR $IGI4RANSLATOR IT IS CAPABLE OF ALSO IMPORTING !!& AND -8& ASWELL4HISALLOWSTHESOUNDEDITSFROMPICTUREEDITINGSYSTEMSLIKE!VIDAND &INAL #UT 0RO TO BE IMPORTED INTO 0RO 4OOLS 9OU DONT USE THIS function very OFTEN HOWEVER WHEN YOU NEED IT YOU NEED IT THE WORKAROUNDS ARE SO CUMBERSOME AND $IGI4RANSLATOR IS SIMPLY NECESSARY !LTHOUGH THE REST OF THE $6 4OOLKIT IS INTENDED FOR ,% SYSTEMS $IGI4RANSLATOR IS A MUST FOR ($ SYSTEMS ASWELL 4,3PACE.ATIVE%DITIONCONVOLUTIONREVERBINCLUDESACOMPREHENSIVELIBRARY OFHIGH QUALITYSAMPLEDROOMSANDSPACESASWELLASREVERBEFFECTS4HISCAN

95


BE USED TO MAKE WIRELESS MICS AND !$2 SOUND LIKE hLIVEv RECORDINGS IN A CERTAINSPACE4HESESPACESAREALSOTUNABLE!LTHOUGHTHISIS!UDIO3UITEONLY ($USERSMAYWANTTOUSEITASWELL 6OC!,IGN 0ROJECT IS USED TO PULL !$2 AND WILD LINES INTO SYNC WITH A GUIDE TRACK)FTHERERECORDEDLINEISATALLCLOSE 6OC!,IGNWILLPULLITINTOSYNC4HE $64OOLKITINCLUDESTHE,%VERSION WHICHISVERYPOWERFUL BUTTHEREISALSOAN ($VERSION 4HE$).2,%NOISEREDUCTIONPLUG INISOLDASDIRTANDJUSTASSOLID)TISUSED BY SAMPLING A SMALL SECTION OF NOISE INTO $).2 WHICH BECOMES A TUNED NOISE GATE THAT TREATS THE SAMPLED NOISE AS NONSIGNAL 4HE RESULT IS GOOD REMOVAL OF THE SAMPLED NOISE 4HERE IS AN ($ VERSION AS WELL AND A SET OF 4$- ($ ONLY NOISE REDUCTION TOOLS ALSO KNOWN AS $).2 THAT INCLUDES THIS PLUG IN 4HETIMECODE PULL UPANDPULL DOWN AND$IGI"ASEOPTIONSBRINGTHESEPOSTPRODUCTIONTOOLS AVAILABLEONALL($SYSTEMS INTO,%VERSIONS

Music Production Toolkit 7HY YOU MAY BE ASKING IS THE -USIC 0RODUCTION 4OOLKIT HERE WITH VIDEO TOOLS7HENTHE-USIC0RODUCTION4OOLKITAND$64OOLKITAREBOUGHTTOGETHER THEY ARE KNOWN AS THE #OMPLETE 0RODUCTION 4OOLKIT FOR 0RO 4OOLS ,% ONLY 4HE -USIC 0RODUCTION 4OOLKIT ADDS THE $IGIDESIGN (YBRID SYNTHESIZER 4HIS IS ONE OF THE BEST EARLY SOUNDING SYNTHESIZERS COMBINED WITH A GREAT SAMPLEPLAYER)TNEEDSA-USICAL)NSTRUMENT$IGITAL)NTERFACE-)$) KEYBOARDTO BE VERY USEFUL 4HE -USIC 0RODUCTION 4OOLKIT ALSO ADDS 3OUND2EPLACER AND 3MACKCOMPRESSOR 7HEN BOUGHT AS THE #OMPLETE 0RODUCTION 4OOLKIT 0RO 4OOLS ,% USERS ALSO GETMIXINGWITHTHEFULLSURROUNDCONTROLSFROMTHE($SYSTEMS4HIS ALSOREQUIRESONEOFTHEAUDIO)/DEVICES BUTTHEENDRESULTISAN,%SYSTEMTHATISMOREOFAMINI($SYSTEM

4.3 Reverbs and convolution reverbs 2EVERBS AND CONVOLUTION REVERBS ARE USED TO ADD ROOM ACOUSTICS TO hDRYv AUDIO BE IT EFFECTS OR DIALOGUE ! REVERB ADDS IN A DECAY CAUSING THE AUDIO TOhTRAILOFFv4HISSHOULDNOTBECONFUSEDWITHADELAYTHATACTUALLYHOLDSTHE AUDIOOFFANDTHENPLAYSITLATER4HISCANBEUSEDTOADDANECHOEFFECTAND CAN BE USED IN CONJUNCTION WITH A REVERB 2EVERB IS MUCH FASTER THAN DELAY ECHOANDHASNODISCERNABLEECHO

96

Plug-ins

#ONVOLUTION REVERBS USE DIGITAL SAMPLES OF ACTUAL ROOM ACOUSTICS RECORDED ANALYZED USING A MATHEMATICAL CONVOLUTION OPERATION AND THEN CONVERTED INTO A DIGITAL REVERB PRESET )T IS EVEN POSSIBLE TO RECORD THE OUTPUT OF OLD SPRING AND OIL FILLED REVERBS FROM THE S AND CONVERT THESE INTO CONVOLUTION PRESETS 4HE BEST OF THESE ARE SMOOTH AND NATURAL WITH NO ELECTRONIC FEEL 3AMPLE SETS ARE ALSO AVAILABLE FOR THESE PLUG INS EXPANDING THE SONIC POSSIBILITIES /NEOFTHEBIGGESTPROBLEMSINSELECTINGTHERIGHTREVERBISTHESHEERNUMBER AVAILABLE TODAY 4HERE ARE SCORES ON THE MARKET AND ALL ARE GOOD AND MANY AREGREAT

Digital Reverbs

Figure 4.3 $IGISFREE $ 6ERBPLUG INISAGOOD BASICDIGITALREVERB

/NEOFTHETOPFEATURESOFTHE$IGIDESIGN$ 6ERBISTHEPRICEFREE9ETTHISLITTLE DIGITALREVERBISQUITECAPABLEANDADEQUATEINMANYSITUATIONS$OWNLOADIT FROMTHE$IGIDESIGN7EBSITE

97


TrueVerb

Figure 4.4 7AVES TrueVerb is a classic DIGITALREVERBWITH GRAPHICMODELINGOF THEROOMPARAMETERS)T also features preverb or early reflections that are common in actual room ACOUSTICS

Reverb One

Figure 4.5 2EVERB/NE FROM$IGIDESIGN

98

Plug-ins

2EVERB/NEFROM$IGIDESIGNISAFIRST CLASS4$-REVERBTHATCANHOLDITSOWN INANYSITUATION4HEONLYDRAWBACKISTHATTHEREISNONATIVE24!3VERSION &EATURES N

)NDEPENDENTLY CONTROLLABLE REVERB SETTINGS INCLUDING LEVEL DECAY TIME ATTACK SPREAD ROOMSIZE DIFFUSION ANDPREDELAY

N

%XTENSIVELIBRARYOFREVERBPRESETS

N

%ARLY REFLECTION CONTROLS INCLUDING LEVEL DELAY AND SPREAD PLUS EARLY reflection room presets

N

$YNAMICS AND CHORUS SECTIONS FOR SHAPING REVERB DECAY AND OPTIMIZING reverb effects

Convolution Reverbs 4,3PACE

Figure 4.6 4,3PACE convolution reverb FORMUSICAND POSTPRODUCTION

4,3PACEISAGOOD SOLID0RO4OOLSCONVOLUTIONREVERBFORMUSICANDPOSTPRODUCTIONAPPLICATIONS)FYOUAREONLYGOINGTOHAVEONEREVERBINYOURKIT CONSIDER THISONE"YCOMBININGTHESAMPLEDCONVOLUTIONACOUSTICSOFREALSPACESWITH$30 ALGORITHMS 4,3PACEOFFERSSTUNNINGREALISMWITHFULLTWEAKABILITYOFTHEREVERB PARAMETERSINBOTHMONOANDSTEREOFORMATS!4$-VERSIONISALSOAVAILABLE 99


4, 3PACE INCLUDES A COMPREHENSIVE LIBRARY OF HIGH QUALITY SAMPLED REVERB SPACES AND EFFECTS IDEAL FOR MUSIC AND POSTAPPLICATIONS AND YOU CAN DOWNLOAD ADDITIONAL IMPULSE RESPONSES FROM THE 4, 3PACE )MPULSE 2ESPONSE ,IBRARY &EATURES N

3UPPORTS24!3AND!UDIO3UITEPROCESSING

N

&ULLYFEATUREDREVERBENGINEFORMONOANDSTEREOFORMATS

N

)NCLUDES A LIBRARY OF REVERB AND EFFECT IMPULSES FOR MUSIC AND POST applications

N

)MPULSELIBRARYBROWSERFORQUICKANDEASYAUDITIONING

Altiverb

Figure 4.7 /FTENVOTED hBESTREVERBEVER v Altiverb is the original CONVOLUTIONREVERB

100

Plug-ins

)NTRODUCEDIN !LTIVERBISTHEORIGINALCONVOLUTIONREVERB!LTIVERBISTHE FAVORITEOFMANYMIXERSBECAUSEOFITSFEATURESANDITSEVER GROWINGLIBRARYOF ACOUSTICSSAMPLES)TISOFTENVOTEDhBESTREVERBEVERvBYMAGAZINEREVIEWERS ASWELLASTOPSOUNDEDITORSANDMIXERS &EATURES N

4$-AND.ATIVEPROCESSING

N

3TAGEPOSITIONERnPUTYOURINSTRUMENTANYWHEREONSTAGE

N

40 snapshot memories for automatable total recall

!COUSTICS SAMPLES INCLUDE THE 3YDNEY /PERA (OUSE .OTRE $AME #ATHEDRAL #ELLO3TUDIOS,! CARINTERIORS CAVES FORESTS LOTSOFESSENTIALCLASSICREVERB GEAR A*UMBO*ETCOCKPIT ANDMUCH MUCHMORE

Waves IR-1 Parametric Convolution Reverb

Figure 4.8 7AVES)2 Parametric Convolution STEREOREVERB

4HE 7AVES )2 0ARAMETRIC #ONVOLUTION 2EVERB FEATURES MANY SAMPLED ROOMSINCLUDINGTHE7EMBLEY!RENA 'RAND/LE/PRY 3YDNEY/PERA(OUSE "IRDLAND ANDOVERAHUNDREDMORE&ULLYTUNEABLEANDTWEAKABLE THE)2 IS ANAMAZINGSTEREOREVERB7AVESALSOOFFERTHE)2 ,#ONVOLUTION2EVERB

Waves IR-360 Parametric Convolution Reverb 4HE)2 TAKESTHE0ARAMETRIC#ONVOLUTION2EVERBINTOTHESURROUNDTHEATER 4HEROOMSAMPLINGISNOWªANDSTILLFULLYTUNEABLE

101


Figure 4.9 7AVES)2 Parametric Convolution 2EVERB

4.4 Futzing plug-ins /FTEN THE GOAL IN POSTPRODUCTION IS NOT TO MAKE THE SOUND QUALITY GREAT IT IS TO MAKE IT RIGHT 4HE SOUND MAY NEED TO SOUND LIKE IT IS COMING THROUGH A TELEPHONE AN OLD JUKEBOX OR RADIO OR OVER A BULLHORN 4HERE ARE SEVERAL GREATPLUG INSFORMUTATING TWISTING ANDGENERALLYRUININGTHEAUDIOUNTILITIS PERFECT

SpeakerPhone !LTHOUGHTHISISAhPHONEFUTZ vITHASPRESETSFORSPEAKERSOFALLSIZESASWELL AS THEIR ENVIRONMENTS !LTHOUGH THESE BACKGROUNDS ARE GOOD THEY SHOULD NOT BE ADDED TO THE MIX BY A PLUG IN "ACKGROUNDS SHOULD BE PLACED IN BACKGROUND TRACKS (OWEVER THIS PLUG IN HAS DIGITAL RECORDINGS OF EVERYTHING FROM FEEDBACK TO DIAL TONE THAT CAN BE RECORDED INTO A BACKGROUND TRACK 3PEAKERPHONE USES ACTUAL SAMPLES OF HUNDREDS OF ORIGINAL SPEAKERS A RADIO TUNINGDIAL RECORDPLAYERSCRATCHANDSTATIC '3-PHONECOMPRESSION DISTORTION TREMOLO DELAY %1 AND DYNAMICS BIT CRUSHING SAMPLE RATE REDUCTION ANDAFULL-BLOWNCONVOLUTIONREVERB

D-Fi $ &I CONSISTS OF FOUR UNIQUE PLUG INS ,O &I 3CI &I 2ECTI &I AND 6ARI &I !VAILABLE FOR 4$- 24!3 AND !UDIO3UITE THESE PLUG INS CREATE RETRO SYNTH DISTORTIONS REMINISCENT OF THE S AND S ,O &I PROVIDES BIT REDUCTION FORRETROSOUNDPROCESSING3CI &IADDSANALOGSYNTH TYPERINGMODULATION FREQUENCYMODULATION ANDVARIABLEFREQUENCYRESONATORSn)NDISPENSABLEIFYOU

102

Plug-ins

Figure 4.10 SpeakerPhone ISUSEDTOREPRODUCETHE SOUNDQUALITYOFSPEAKERS ANDTELEPHONES)TEVEN PRODUCESBACKGROUNDNOISE

are remaking Battlestar Galactica 2ECTI &I PROVIDES SUPER AND SUB HARMONIC SYNTHESIS AND6ARI &ICREATESTHEEFFECTOFANALOGAUDIOCHANGINGSPEEDTOOR FROMACOMPLETESTOP!LTHOUGHYOUMAYGOALIFETIMEWITHOUTEVERNEEDING THESEESOTERICDISTORTIONS IFTHENEEDARISESTHESETCANBERENTEDFORDAYSON THE$IGIDESIGN7EBSITEFOR

103


Figure 4.11 $ &IISUSED TOFUTZAUDIOINTOWEIRD ANDNOISYANALOG SEEMING SOUND

Cosmonaut Voice

Figure 4.12 Cosmonaut 6OICEFROMTHE"OMB &ACTORY

4OPSECRETDOCUMENTSRECENTLYDECLASSIFIEDFROMTHEFILESOFTHE+'"+OMITIJET 'OSUDARSTVJENNOJ "JEZOPASNOSTI HAVE BROUGHT US #OSMONAUT 6OICE 1UOTING FROMTHEORIGINALUSERMANUALh3UPERIORADVANCEDSPACETECHNOLOGYBYGREAT SCIENTISTS OF 5NION OF 3OVIET 3OCIALIST 2EPUBLICS BRINGS CREATION OF #OSMONAUT 6OICE ADVANCED COMMUNICATION SIMULATION 0RODUCTION OF VOICES FROM THE 104

Plug-ins

COSMOS AND BEYOND IS EASY AS CAKE 3IMPLY TURN KNOB INTENDED FOR ADDITION OF NOISE PPR WHEN LEVEL OF COMRADE ACTORS VOICE REACHES CERTAIN LEVEL AS DEFINED BY ROTATION OF THRESHOLD KNOB )))9- 4HIS TRIGGERS ADVANCED SIMULATIONOF3OVIETSQUELCHSOUNDORINFERIOR!MERICANBEEPTONEUSEDBY.!3!WHO CLAIMS TO HAVE PLACED FLAG ON MOONv #ERTAINLY A PLUG IN THAT SOUNDS AS BAD ASITLOOKS"UTIFCRAPPYSRADIOORWALKIE TALKIESOUNDSARECALLEDFOR HERE YOUGO)TEVENDOESAWONDERFULLYBADCELLPHONE#ANYOUHEARMENOW

Trash by isotope

Figure 4.13 Trash by ISOTOPE7HENALLELSE FAILS TAKEOUTTHETRASH

4HE NAME ABOUT SUMS IT UP 4RASH 9OU CAN MAKE IT BUZZ FUZZ SQUASH AND TRASH ! VERY HIGH TECH WAY TO SOUND LOW TECH 4HIS PLUG IN IS INTENDED FOR USEONHEAVYMETALMUSICTOMAKEITFEELMOREOVER DRIVENANDDISTORTED BUT DONTRULEOUTACRAPPY0!SYSTEM!NDDONTWORRYABOUTTHELOOSEWIRES THE GUYISCOMINGTOFIXIT 4HE!)2TOOLS FREEWITH0RO4OOLS AREGREATFORMESSINGUPDIALOGUETOMAKE IThJUSTRIGHTv4RYTHE&UZZ7AHASAPHONEFUTZ!WESOME/RTHE4ALKBOXFOR ROBOTSOREVEN%LEVENASA0!SYSTEM4HE!)2$ &IISMUCHBETTERTHANTHEOLD 4$-VERSION ANDITSFREE9OUCANTBEATTHAT3OMEOFTHESETOOLSAREGOOD FOR SOUND DESIGN AS WELL BUT THEY SHINE AS DIALOGUE FUTZES /H AND ) GUESS THEYWORKFORHEAVYMETALMUSICASWELL 105


Figure 4.14 .EWTO 0RO4OOLSARETHE!)2 !DVANCED)NSTRUMENTS 2ESEARCHgROUP tools, OFTENUSEDWITHTHE!)2 instruments, these can ALSOBEUSEDTOGREAT effect on vocal tracks to hFUTZvTHESOUND

4.5 Surround sound tools 3URROUND SOUND COMES IN MANY FORMATS FROM SEVERAL COMPANIES -OST OF THETHEATRICALFORMATSREQUIRE ENCODING BY TECHNICIANS FROM THE COMPANIES THATPROVIDEANDLICENSETHEUSEOFTHEFORMATS-OSTOFTHESEFORMATSALSO HAVEA$6$VERSIONTHATCANBEVERYSIMILARTOTHETHEATRICALVERSION4HESE TOO HAVE REQUIRED LICENSING AND ENCODING BY THE COMPANIES LIKE $OLBY (OWEVER WITH THE EXPLOSION OF $6$S AND SMALL RUN $6$ REPRODUCTION SOMEFORMATSHAVEBECOMEAVAILABLEFORSELF ENCODINGWITHOUTTHENEEDFOR ASPECIFICONETIMELICENSE HARDWARE ORAVISITFROMACOMPANYTECHNICIAN FORTHEPROJECT ALSO OFTEN REQUIRES BASS MANAGEMENT FOR MANY 0RO 4OOLS SYSTEMS IF THE ,OW&REQUENCY%FFECTS,&% CHANNELISALSOGOINGTOBEUSEDASASATELLITESUBWOOFER4HISISCOVEREDATLENGTHIN#HAPTERh0RO4OOLS3YSTEMSv 4HE MOST POPULAR SURROUND FORMATS ARE AND ,#23 ,EFT #ENTER 2IGHT 3URROUND REFERS TO THE NUMBER OF CHANNELS IN THIS CASE FIVE FULL RANGE CHANNELS LEFT CENTER RIGHT LEFTSURROUND ANDRIGHTSURROUND4HEPOINTONE REFERSTOAN,&%CHANNEL)N,#23 THEREAREONLYTHESEFOURCHANNELSHOWEVER VERYLOWFREQUENCIESCANSTILLBEROUTEDTOTHE,&%THROUGHACROSSOVERSYSTEM

Dolby Surround Tools $OLBY 3URROUND 4OOLS ENCODES THE FOUR CHANNEL $OLBY ,#23 FORMAT 4HIS IS ANANALOGFORMATTHATUSESPHASEANGLESTOENCODESTEREOAUDIOINTOTHEFOUR ,#23CHANNELS4HEREARESEVERALADVANTAGESTOTHISFORMAT&IRST ITISANALOG STEREO AUDIO AND IS FULLY COMPATIBLE WITH ANALOG STEREO )F IT IS NOT DECODED INTO,#23 ITPLAYSNORMALLYINSTEREO)TISTHEMOSTBASICSURROUNDFORMATAND HASBEENUSEDFORYEARS 4HE DISADVANTAGES ARE THAT IT IS FALLING INTO DISUSE AS ALL DIGITAL FORMATS HAVE BECOME THE NORM )T ALSO REQUIRES ADDING THE PHASING MATRIX AS THE PROJECT

106

Plug-ins

ISMIXED WHILEDIGITALFORMATSCANBEENCODEDAFTERTHEMIX$OLBY3URROUND 4OOLSADDSINTHISMATRIXWITHOUTTHENEEDFORANYHARDWARE

Figure 4.15 Dolby 3URROUND4OOLSISUSED WITHTHE$OLBY,#23 FORMAT

$OLBY3URROUND4OOLSALSO COMES WITH A PINK NOISE GENERATOR AND DECODING SYSTEMFORCALIBRATINGTHESYSTEMANDDECODINGINPLAYBACK

SurCode for Dolby Pro Logic II and Neyrinck SoundCode for Dolby Digital and DTS 4HESETHREEPLUG INSFROM3UR#ODEAND.EYRINCKENCODE$OLBY$IGITAL $OLBY 0RO,OGIC AND$434HEYALSOALLOWFORPLAYBACKOFTHESEENCODESASWELLAS FINISHED$6$SFORQUALITYASSURANCE 3UR#ODEISUSEDTOENCODE$OLBY0RO,OGIC))FORGAMESAND$6$0RO,OGIC)) ISSIMILARTO$OLBY,#23BUTISASIX CHANNEL FORMAT,IKE,#23THEMULTIPLE CHANNELS ARE ENCODED INTO STEREO AUDIO THAT IS STEREO COMPATIBLE#OMPREHENSIVEMONITORINGALLOWSFORAUDITIONINGOFBOTHTHESOURCEAND ENCODEDAUDIO6IRTUALLYEVERY$OLBY$IGITALHOMETHEATRESYSTEMSOLDTODAY CANDECODETHIS0RO,OGIC))STEREO)TISALSOBACKWARDS COMPATIBLEWITH$OLBY 0RO,OGICRECEIVERSANDDECODERS .EYRINCK3OUND#ODEFOR$OLBY$IGITALPLUG INSUITEPROVIDESTOOLSTHATENABLE YOUTOENCODEANDDECODE$OLBY$IGITAL!# AUDIODIRECTLYWITHIN0RO4OOLS

107


Figure 4.16 3UR#ODE FOR$OLBY0RO,OGIC))AND .EYRINCK3OUND#ODEFOR $OLBY$IGITALAND$43

SOFTWARE WITHOUT THE NEED FOR DEDICATED $OLBY HARDWARE !LTHOUGH !# FILES CAN BE CREATED WITH APPLICATIONS LIKE !PPLES COMPRESSOR 3OUND#ODE FOR$OLBY$IGITALPERFORMSTHISENCODERIGHTINSIDE0RO4OOLSANDPROVIDESFOR PLAYBACKOFTHEENCODEDAUDIO$OLBYENCODESCOMPRESSTHESOUNDANDCAN BEHEARDFLATTENINGTHEAUDIO"ECAUSETHEREISLOSSINTHE$OLBYENCODE THE QUALITYOFTHEENCODEISCRITICAL4HESEPLUG INSPRODUCEHIGH QUALITYENCODES WHERECOMPRESSIONSOFTWAREMAYNOTDOTHEJOBASWELL 3IMILARTO3OUND#ODEFOR$OLBY$IGITAL .EYRINCK3OUND#ODEFOR$43PLUG IN ENABLES SURROUND ENCODING AND DECODING OF THE $43 $6$ FORMAT DIRECTLY WITHIN0RO4OOLS

Waves 360 Surround Bundle 4HIS IS EXPENSIVE BUT AN ABSOLUTELY NECESSARY SET OF SURROUND TOOLS 3URROUND 4OOLS INCLUDES COMPRESSION LIMITING REVERB SPATIAL ENHANCEMENT BASSMANAGEMENT ANDMUCHMORE )TINCLUDES

108

N

33URROUND0ANNER

N

33URROUND)MAGER

N

23URROUND2EVERB

N

# Compressor

Plug-ins

Figure 4.17 7AVES 3URROUND4OOLS"UNDLE

N

,3URROUND,IMITER

N

-3URROUND-ANAGER

N

-3URROUND-IXDOWN

N

,&%,OW0ASS&ILTER

N

)$23URROUND"IT2E 1UANTIZER

ALR (Audio Research Labs) Sound Stage

Figure 4.18 !,23OUND 3TAGE

109


!,23OUND3TAGEPROVIDESSOMEOFTHEFEATURESFOUNDINTHE7AVESSETAT AMUCHLOWERPRICE4HE!,23OUND3TAGE8 /VERPROVIDESTHEMUCHNEEDED BASSMANAGEMENTON0RO4OOLSSYSTEMSTHATDONOTHAVEFULLRANGESPEAKERS !,2 0AN PROVIDES SPATIAL ENHANCEMENT EXCELLENT STEREO TO CONVERSION ANDSOMEINTERESTINGPANNINGFUNCTIONSFORMOVINGTHEENTIRESURROUNDPROSPECTIVEAROUNDTHELISTENER

SurroundScope

Figure 4.19 3URROUND3COPE AFREE $IGI2ACK0LUG IN

3URROUND3COPEPROVIDESAGRAPHICALDISPLAYOFTHESIGNALLEVELFOREACHAUDIO CHANNEL WITHIN THE MULTICHANNEL SOUND FIELD 9OU CAN VISUALLY MONITOR WHAT YOURLISTENERSWILLHEAR!STHEPERCEIVEDLOCATIONISHIGHLYDEPENDENTONPHASE ANGLES 3URROUND3COPE COMES WITH A FULL FEATURED ,ISSAJOUS 0HASE -ETER A SIMPLEYETHIGHLYACCURATEWAYOFMONITORINGTHEPHASEOFYOURSTEREOMIXOR OTHERSTEREOTRACKSINYOURSESSION

110

Plug-ins

&EATURES N

2EAL TIMEDISPLAYOFSTEREOORMULTICHANNELTRACKDATA

N

3UPPORTFORALLSTANDARDMULTICHANNELFORMATS

N

!UTOMATICDETECTIONOFMULTICHANNELTRACKFORMATS

N

-ULTIDIMENSIONAL DISPLAY DEPICTS THE POSITION OF THE AUDIO SIGNAL WITHIN YOURMULTICHANNELTRACKSURROUNDMIX

3URROUND3COPE IS NOW PART OF THE FREE 3IGNAL4OOLS $IGI2ACK 0LUG IN FOR 0RO 4OOLSANDHIGHER($SYSTEMS

4.6 Sound design /FTENTHENEEDSOFTHESOUNDDESIGNERREQUIREBEINGABLETOTURNDONKEYSINTO DRAGONS AND CATS INTO DEMONS 4HERE ARE MANY PLUG INS ABLE TO TWIST AUDIO INTOSOMETHINGTRULYUNWORLDLYOROVERWORLDLYIFNEEDSBE

Pitch shifters and time expansion and compression 4HE MOST BASIC TOOLS IN THE SOUND DESIGNERS KIT ARE PITCH SHIFTERS AND TIME EXPANSION AND COMPRESSION 3LOW DOWN A SHOPPING CART AND IT BECOMES A MOVABLEGORILLACAGE0ITCHITDOWNANDITBECOMESARUMBLINGWARMACHINE 4HERE ARE MANY GREAT TOOLS FOR PITCH SHIFTING AND TIME COMPRESSION SOME GOODBASICTOOLSEVENCOMEWITHYOUR0RO4OOLSSOFTWAREFORFREE !LTHOUGHDEFINITELYNOTFREE 0ITCH@N4IMEISONEOFTHEMOSTPOWERFULPITCHINGANDTIMECOMPRESSIONTOOLSAVAILABLE Since Pitch ‘n Time my life is fine! David Lynch, Film Director &EATURES N

-ODIFY SPEED FROM TH TO EIGHT TIMES THE ORIGINAL RATE AND SIMULTANEously pitch-shift by three octaves

N

0REVIEWCHANGESINREALTIME

N

5NRIVALEDPROCESSINGQUALITY

N

.OLOSSOFTIMINGACCURACY

N

0ROCESSMULTICHANNELAUDIO

N

0ROCESS$OLBYMATRIX ENCODEDTRACKSWITHOUTLOSINGSURROUNDINFORMATION

111


Figure 4.20 0ITCH@N 4IMEBY3ERATO

SoundToys TDM 9OU ARE NEVER TOO OLD TO PLAY WITH TOYS 3OUND4OYS IS GREAT AND SIMPLE TO hPLAYWITHvWHENTHEGOALISCREATINGEFFECTSFORMIXING SOUNDDESIGN REMIX POST AND AUDIO FOR GAMING )T HAS NINE PLUG INS AND THOUSANDS OF EFFECTS 4HEREISALIMITED24!3VERSIONASWELL

112

N

%CHO"OYn0ROANALOGECHODELAYMODELER VINTAGEANDMODERNMODELS AND-)$)SYNC

N

3OUND"LENDER n )NDUSTRY STANDARD POWERFUL MULTIEFFECTS PLUS INTELLIGENT pitch-shifting

N

&ILTER&REAKn&ATANALOGSOUND FLEXIBLEMODULATION -)$)SYNCDRHYTHM

N

0ITCH$OCTORn3MOOTH EASY AUTOVOCALPITCHCORRECTIONWITHOUThCHIPMUNKSv

Plug-ins

Figure 4.21 3OUND4OYS 7HOSAYSWORKCANTBE FUN N

0HASE-ISTRESS n ,USH ANALOG SOUNDING PHASE SHIFT SIX MOD MODES -)$) SYNCDRHYTHMS

N

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Eventide Anthology II Bundle %VENTIDESGREATPLUG INSHAVEBEENAROUNDALMOSTASLONGAS0RO4OOLS4HESE ARENOTJUSTFUNAUDIOTWISTERSBUTINNOVATIVEAUDIOPROCESSINGTOOLSTHATCAN HELP SOLVE MANY AUDIO PROBLEMS AND ALSO TWIST THE SOUND INTO SOMETHING UNRECOGNIZABLE )TINCLUDESTHEFOLLOWING N

% #HANNELn#ONFIGURABLECHANNELSTRIPWITHGATE COMPRESSORLIMITERWITH SIDECHAIN ANDFIVE BAND BITDOUBLEPRECISIONPARAMETRICEQUALIZATION 113


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ELS Vocoder – Orange Vocoder

Figure 4.23 4HE%,3 6OCODERANDTHE/RANGE 6OCODERBY0ROSONIC

4HE ORIGINAL 6OCODERS WERE ANALOG SYNTHESIZER DEVICES 4HE SOUNDS FROM -OOGANDOTHERSYNTHSWEREFEEDINTOTHEDEVICETHATMODULATEDTHESOUND WITHAVOICERECORDING4HENETRESULTWASASYNTHVOICETHATWASMOREORLESS UNDERSTANDABLE4HESEWEREPOPULARINTHESFORROBOTVOICESANDOTHER STRANGEEFFECTS4HESE6OCODERPLUG INSDUPLICATETHEFUNCTIONOFTHEORIGINAL ANALOG DEVICES IN A SIMPLE TO USE 0RO 4OOLS PLUG IN !LTHOUGH A 6OCODER IS STRICTLY AN ELECTRONIC SOUNDING VOICE OR EFFECT THE RETRO ROBOT QUALITY OF THE EFFECTWORKSINMANYSCIENCEFICTIONORSPYFILMPROJECTS!NDWHOKNOWSWHAT STRANGESOUNDSITCANBETWISTEDINTOMAKING

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Figure 4.24 4HE5SRA -AJOR3PACE3TATION334 BY0RINCETON$IGITAL

4.7 Noise reduction and restoration /FTEN THERE IS A NEED TO REMOVE HUM BROADBAND NOISE AND MANY OTHER UNWANTED SOUNDS )T COULD BE GENERATOR SOUNDS HUM FROM LIGHTS OR POWER LINESOREVENTHEDIRECTORORASSISTANTDIRECTORCALLINGADIRECTIONTOANACTOR 4HEREAREALSOTIMESWHENOLDSOUNDFILESNEEDTOBERESTOREDFOR$6$RERELEASE ORTOUSESOMEGREATOLDSOUNDSINANEWFILM4HEREAREMANYGOODTOOLSTO HELPTHEAUDIOENGINEERnEDITORnMIXERWHENTHESECHALLENGESCOMEUP

CEDAR Tools

Figure 4.25 #%$!2 4OOLSFORNOISEREDUCTION ANDRESTORATION

116

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#%$!2 4OOLS OFFER SOME GREAT TOOLS FOR RESTORING BAD AUDIO AND REMOVING UNWANTEDSOUNDS N

2ETOUCH ! HUGE LEAP FORWARD IN AUDIO PROCESSING 2ETOUCH ALLOWS YOU TO IDENTIFY AND ELIMINATE UNWANTED SOUNDS AS VARIED AS COUGHS RECORD DAMAGE SQUEAKYCHAIRS ANDEVENCARHORNS

N

Auto Dehiss !UTO $EHISS EMBODIES A MORE ADVANCED ALGORITHM THAN ANY PREVIOUS DEHISSER ANDITOFFERSAUNIQUEh!UTOvMODETHATENABLESITTODETERMINE THE BROADBAND NOISE CONTENT REMOVING THIS WITHOUT THE INTRODUCTION OF UNWANTEDSIDE EFFECTSORARTIFACTS

N

Declip !GENUINEDECLIPPINGALGORITHM $ECLIPALLOWSYOUTOIDENTIFYANDREMOVE MOST INSTANCES OF CLIPPING IN A SINGLE PASS )T PROVIDES TWO PROCESSING MODES TO ENSURE THAT YOU CAN REMOVE PROBLEMS WITHOUT DAMAGING THE GENUINESIGNAL

N

Auto Declick 4HISPLUG INAUTOMATICALLYDETECTSEACHCLICK REMOVESIT ANDFILLSTHEGAP WITH THE BEST ESTIMATE OF THE MATERIAL THAT WOULD HAVE EXISTED HAD THE CLICKNOTOCCURRED

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Dethump $ETHUMPREMOVESTHELOW FREQUENCYDISTURBANCESTHATYOUCANNOTRESTORE USING CONVENTIONAL DECLICKERS 4HE MAXIMUM THUMP LENGTH HANDLED IS SAMPLESALITTLEOVERS ATK(Z

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Decrackle 4HISAUTOMATICALLYDETECTSTHETINYDISTURBANCESTHATCOMPRISECRACKLEAND VARIOUSTYPESOFBUZZANDDISTORTION REMOVESTHEM ANDRESTORESTHEAUDIO WITHMATERIALINDISTINGUISHABLEFROMTHEUNDAMAGEDORIGINAL

DINR $).2IS$IGIDESIGNSAWARDWINNINGBROADBANDNOISEREDUCTIONPLUG IN$).2 SAMPLES A SMALL SECTION OF THE UNWANTED NOISE AND THEN BECOMES A TUNABLE

117


Figure 4.26 $).2BY $IGIDESIGN

NOISEGATETHATIGNORESTHENOISEWHILEGATINGONTHESIGNAL4HERESULTISGOOD REDUCTIONOFTHESAMPLEDNOISEWITHOUTANYNOTICEABLEDEGRADATIONOFTHEORIGINALSOUND4HEREISAN,%!UDIO3UITE ONLYVERSIONASWELL WHICHISINCLUDEDIN THE$64OOLKIT4HISISAGREATTOOLFORCLEANINGDIALOGUEWITHUNWANTEDSOUNDS SUCHASGENERATOR REFRIGERATOR AIRCONDITIONER ANDSIMILARSOUNDS

Waves Z Noise

Figure 4.27 7AVES: .OISE

&ROMHUMTOBROADBANDNOISE THISMAYBETHEANSWERTOYOURPROBLEM

118

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&EATURES N

&IVE "AND.OISE0ROFILE%1

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%NHANCEDLOW FREQUENCYRESOLUTIONANDTIMESENSITIVITY

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-ONITORTHEENTIREOUTPUTORJUSTTHENOISE

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%XCLUSIVE%XTRACTMODECREATESNOISEPROFILEFROMSOURCESCONTAININGSIGNAL ANDNOISE

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!DAPTIVEDYNAMICDETECTIONFORNOISETHATCHANGESOVERTIME

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5PTOBITK(ZRESOLUTION

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-ONOAND3TEREOCOMPONENTS

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24!3AND!UDIO3UITE

reNOVAtor by Algorithmix

Figure 4.28 2E./6!TOR BY2E3YNTHESIS

2E./6!TOR IS USED TO FIND IDENTIFY AND VERY PRECISELY REMOVE UNWANTED SOUNDSWITHOUTMESSINGUPTHEAUDIOYOUWANTTOKEEP2E./6!TORDOESNOT LEAVEHOLESINYOURSOUNDTRACKWHENREMOVINGTHEUNWANTEDSOUNDS)NSTEAD

119


IThACTSONANEXACTLYTAILOREDHOLEINTHESPECTRALREPRESENTATIONOFTHEPROCESSEDSIGNALTHATCANBEREMOVEDANDREPLACEDv)NOTHERWORDS ITREMOVES UNWANTEDSOUNDS FILLSINTHEHOLES ANDWORKSVERYWELL &EATURES N

&LAWLESSOPERATIONWITHUPTOK(ZSAMPLINGRATE

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!UDIOFIXESTHATWEREBASICALLYIMPOSSIBLEUNTILNOW

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.OAUDIBLECHANGESINDESIREDSIGNALANDAMBIENCE

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2EPLACEMENTOFASPECTRALREGIONCOPYANDPASTE

N

!UTOMATICSELECTIONOFHARMONICSBELONGINGTOAMARKEDFUNDAMENTAL

N

!UTOMATICIDENTIFICATIONOFCLICKSANDSPIKES TONES ANDHARMONICS

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-ULTIPLEUNDOFUNCTIONS

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!LLINTERNALCALCULATIONSINDOUBLEFLOATING POINTACCURACYBITS

Waves Restoration Bundle

Figure 4.29 7AVES 2ESTORATION"UNDLE&IVE GREATNOISEREDUCTION TOOLS

7AVES 2ESTORATION BUNDLE INCLUDES lVE GREAT TOOLS FOR REMOVING UNWANTED NOISEFROMOLDRECORDINGS VINYLRECORDS OLDFILMSOUNDTRACKS FIELDRECORDINGS ORWHATEVER7ITHTHERELEASEOFMANYOLDFILMSON$6$ TELEVISIONSYNDICATION ANDFORENSICS THESEAREABUSINESSINTHEIROWNRIGHT 120

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8 .OISEn"ROADBANDNOISEREDUCTION%XTRAPREMOGOOD

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8 #LICKn#LICKREMOVAL

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8 #RACKLEn#RACKLEANDSURFACENOISEREMOVAL

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8 (UMn3PECIALIZEDGROUND LOOPHUMFILTERING

N

: .OISEn!DAPTIVEDYNAMICDETECTIONFORNOISETHATCHANGESOVERTIME

4.8 Utilities Source Connect

Figure 4.30 Source #ONNECTALLOWSFORTHE INTERCONNECTIONOFTWOOR more Pro Tools systems VIATHE)NTERNET

121


5SING3OURCE#ONNECT ITISPOSSIBLETOLINKSEVERAL0RO4OOLSSYSTEMSTOGETHER VIA THE )NTERNET /NE SYSTEM CAN BE USED TO CONTROL ANOTHER WITH OTHER SYSTEMShLOOKINGINv!NYAUDIORECORDEDONANYSYSTEMCANBE&40DORDELIVEREDVIA$IG$ELIVERYTOTHEOTHERSYSTEMS4HISISGREATFOR!$2SESSIONSTHE ACTORCANBEANYWHERE EVENONSET AND!$2CANBERECORDEDBYTHEMIXER IN THE POSTPRODUCTION FACILITY 4HE DIRECTOR CAN EVEN BE IN A THIRD LOCATION 4HISSAVESTIMEANDMONEYANDFREESTHEPOSTPRODUCTIONTOBEDONEREMOTELY DURINGPRODUCTION)TALSOSAVESTRAVELTIMEANDEXPENSE 4HE SYSTEM CAN ALSO BE USED TO hLOOK INv ON THE SCORING SESSION SO THAT THE PRODUCERSANDDIRECTORCANBEINSEVERALLOCATIONSATTHESAMETIME!NDTHIS MEANSSEVERALTHINGSCANBEDONEATTHESAMETIME

Virtual Katy

Figure 4.31 6IRTUAL+ATY CONFORMSTHEAUDIOEDIT TOPICTURECHANGESAND monitors the progress of THEEDITING

4HEEDITORSANDSOFTWAREGURUSONTHELord of the RingsTRILOGYNEEDEDASYSTEM TO MAKE PICTURE CHANGES AFTER THE EDIT WAS LOCKED AND SO DEVELOPED 6IRTUAL+ATY+ATYWASTHEASSISTANTSOUNDEDITORWHOGOTSTUCKWITHMAKING CHANGES #HANGELISTSCANBEEXPORTEDFROM!VIDOR&INAL#UT0ROANDTHESE LISTS ARE FEED INTO 6IRTUAL +ATY 6IRTUAL +ATY CONFORMS THE AUDIO TRACKS TO THE NEWEDIT 4HEWAYITFUNCTIONSISBYTAKINGTHEENTIREEDITANDSHIFTINGITFORWARDINTHE TIMELINEBYH)TTHENMOVESTHEDUPLICATESOFTHEAUDIOREGIONSBACKTOTHE ORIGINALLOCATIONWHILESHIFTINGBYTHECHANGES /THER FUNCTIONS INCLUDED WITH THE FULL 6IRTUAL +ATY SYSTEM INCLUDE A SYSTEM FOR CONFORMING THE ORIGINAL AUDIO AND A SYSTEM FOR TRACKING THE PROGRESS OF

122

Plug-ins

THEENTIREEDIT4HEPOSTPRODUCTIONSUPERVISORANDORTHESOUNDDESIGNERCAN TRACKANDPREVIEWTHEWORKASITISBEINGDONE

ADR Studio !$23TUDIOBY'ALLERYISUSEDTOCUEANDRECORD!$24HECUEFUNCTIONCREATES PRINTABLECUESHEETS WHILETHEPLUG INIMPORTSTHISINFORMATIONINTO0RO4OOLS ANDINSERTSNAMEDREGIONSINTHECUEDTRACKSREADYFOR!$2)TCANALSOBEUSED TO CUE AND RECORD &OLEY )T ADDS THE CUE BEEPS AND EVEN CONTROLS THE RECORD LIGHT&ORMOREINFORMATIONONTHEUSEOFTHISPLUG IN SEE#HAPTERh$IALOGUE %DITINGv 0LUG INSMAKEEVERYSYSTEMUNIQUEANDEXPANDITSUSEFULNESS4HEYCUSTOMIZE THEFUNCTIONALITYTOTHESPECIFICNEEDSOFTHEUSER ANDBECAUSETHEYAREMANAGEDBYTHEI,OK THEYAREPORTABLETOBOOT

123

In this chapter 3PLITTINGOFFTRACKSANDDIALOGUE EDITINGBYCHARACTER .OISEREDUCTIONANDAMBIENCE MATCHING

!$2 0 7ALLA $IALOGUEEDITINGONh,OVES$EVOTION &OREVERv

5 Dialogue editing and replacement

5.1 Splitting off tracks and dialogue editing by character 4HEDIALOGUEEDITWILLGOMUCHMORESMOOTHLYIFYOUSTARTWITHWELL ORGANIZED TRACKS4HENUMBEROFPRODUCTIONTRACKSNEEDEDDEPENDSONTHECOMPLEXITY OF THE PROJECT 3OME RULES TO KEEP IN MIND DONT CUT ANY SOUND CLIPS UP TO EACHOTHERUNLESSTHEYAREDERIVEDFROMTHESAMETAKE!LTHOUGHYOUCANSETA DIFFERENTLEVELFOREACHCLIP INTHEFINALMIXYOUWANTTOTALCONTROLOFTHELEVEL OFTHEINDIVIDUALCLIPS ANDTHISWILLBETRICKYIFTHEYAREBUTTEDUPTOGETHERIN THESAMETRACK %VERY PROJECT WILL BE GIVEN TO THE DIALOGUE EDITOR IN A DIFFERENT TRACK ARRANGEMENT 4HE PICTURE EDITOR MAY HAVE BEEN VERY ORGANIZED AND PLACED ALL TEMP EFFECTS IN DEDICATED TRACKS TEMP MUSIC IN OTHER DEDICATED TRACKS AND THE DIALOGUE MAY EVEN BE MORE OR LESS SPLIT OFF /R EVERYTHING MAY BE AJUMBLEWITHMUSIC EFFECTS ANDDIALOGUEALLOVERTHEPLACEANDEVENSOME DIALOGUEOUTOFSYNC4HEPROJECTWILLPROBABLYBEDELIVEREDASANOPENMEDIA FRAMEWORK/-& THATWILLNEEDTOBETRANSLATEDINTOA0RO4OOLSPROJECTWITH $IGI4RANSLATOR 4HE /-& MAY REFERENCE AUDIO FILES THAT ARE DELIVERED ON #$ OR$6$ORITMAYBESELF CONTAINED WITHALLOFTHEAUDIOEMBEDDEDINTOTHE /-&6IDEOMAYBEDELIVEREDASA1UICK4IMEORONVIDEOTAPE 4HE /-& AUDIO MAY BE USED IN THE FINAL EDIT OR THE AUDIO %$, USED TO RECAPTUREALLOFTHEPRODUCTIONAUDIOANDREPLACETHE/-&AUDIOONETAKEAT ATIME-OSTOFTEN THEPROJECTWILLREQUIREABITOFBOTHUSINGANY/-&AUDIO THATISCLEARLYUSABLEANDREPLACEANYAUDIOTHANISINANYWAYQUESTIONABLE /N SOME PROJECTS ALL AUDIO WILL NEED TO BE REPLACED SIMPLY FOR WORKFLOW REASONS3EE#HAPTERONWORKFLOW 7HEN USING "7& PRODUCTION AUDIO THE /-& CAN BE USED AS THE SESSION AUDIOFILESWITHTHE/-&SIMPLYLINKINGALLREGIONSTOTHEAUDIOINTHE/-&

125


Figure 5.1

7HEN USING THE LATEST VERSIONS OF &INAL #UT 0RO AND !VID THE "7& AUDIO CAN BE IMPORTED AND USED IN THE EDIT WITHOUT TRANSCODING OR ALTERING IT 4HE/-&STILLCONTAINSTHIS"7&AUDIOANDWHENITISUSEDASTHEAUDIOIN THE0RO4OOLSSESSION YOUAREINFACTUSINGTHEORIGINALPRODUCTIONAUDIO !LL/-&AUDIONEEDSTOBETIMESTAMPEDBEFOREMOVINGANYTHINGAROUND%VEN IFTHEPICTUREEDITORHASALREADYSPLITOFFTHEPRODUCTIONTRACKSBEFOREBRINGING THE PROJECT INTO 0RO 4OOLS ITS STILL A GOOD IDEA TO hTIME STAMPv ALL DIALOGUE USINGTHE4IME3TAMP3ELECTEDCOMMANDINTHE2EGION,ISTPOP UPMENU 4HE SIMPLEST APPROACH TO SPLITTING OFF DIALOGUE LOOKS LIKE AN ! " CHECKERBOARD LAYOUTWITHTHEFIRSTCLIPINTRACKONE THESECONDINTWO THIRDBACKINONE ANDSO FORTH4HEAUDIOREGIONSAREEXTENDEDANDOVERLAPPEDWITHQUICKFADESTOHELP HIDETHEEDITS4HISWORKSVERYWELLANDISTHESYSTEMOFCHOICEONMANYPROJECTS (OWEVER THIS LAYOUT CAN BE CONFUSING IN MIXING #HARACTERS MOVE FROM TRACKTOTRACKANDTHEMIXERREALLYKEEPSRIDINGONTHETWOPRODUCTIONTRACKS -ANYEDITORSFEELITISMORELOGICALTOPUTEACHCHARACTERINADEDICATEDTRACK 4HIS IS HOW !$2 AUTOMATIC DIALOGUE REPLACEMENT IS MOST OFTEN EDITED AND IT WORKS WHEN PRODUCTION RECORDING IS DONE WITH MULTITRACKS AND MULTIPLE MICROPHONES4HISISESPECIALLYTRUEWITHWIRELESSMICSEACHPERSONISALREADY INTHEIROWNTRACK(OWEVER PRODUCTIONRECORDINGISDIFFERENTFROM!$2!$2

126

Dialogue editing and replacement

ISALLATTHESAMEBASICLEVELANDITSOKAYTOCUTTWOTAKESTOGETHER0RODUCTION TRACKS TEND TO BE ALL OVER THE PLACE SO A CUT IN TO A CLOSE UP OR CUT TO THE MASTER BUTTS TWO VERY DIFFERENT CLIPS TO EACH OTHER IN THE SAME TRACK WHICH IS A PROBLEM IN MIXING /N A FEATURE FILM IT IS NORMAL TO HAVE AN ! AND " TRACKFOREACHMAINCHARACTER4HECHARACTERANDSUPPORTINGPEOPLEMAYNOT HAVEDIALOGUEWHERETWOTAKESAREEVERBUTTEDTOGETHER-OREOVER MANYWILL NEVER BE IN SCENES TOGETHER AND CAN THEREFORE SHARE A TRACK 4HIS WILL CREATE SCORES OF PRODUCTION TRACKS MAKING MIXING AND TRACK MANAGEMENT COMPLEX ANDTYINGUPALLYOURRESOURCESTRYINGTOPUTNOISEGATESANDFILTERSONALLOF THESETRACKS"UTTHISISHOWBIGPROJECTSARENORMALLYDONE!FTERALL THEYARE BIGPROJECTSANDSHOULDHAVEBIGRESOURCES 0RODUCTION SOUND EFFECTS WILL NEED TO BE SPLIT OFF TO SEVERAL PRODUCTION &8 TRACKS 4HESE WILL BE MOVED TO THE &8 SECTION OF THE MIX AND USED WITH THE EDITED EFFECTS AND &OLEY TO CREATE A NATURAL EFFECTS DESIGN 4HEY NEED TO BE MOVEDSOTHATTHEYENDUPINTHE&8STEMAFTERTHEMIX3EE#HAPTERON MIXERLAYOUTAND#HAPTERABOUTTHEDUB %VERY FILM AND SCENE IS DIFFERENT AND DIFFERENT DIALOGUE EDITORS AND MIXERS HAVE DIFFERENT WAYS OF WORKING .OT ALL FILMS NEED TO HAVE EVERYTHING SPLIT OFF/NECOMMONSTRATEGYONSMALLERPROJECTSANDDOCUMENTARIESISTOLIMIT THEEDITTOTHREEORFOURPRODUCTIONTRACKSANDTRYTOGROUPTHINGSINTOTHESE TRACKS IN THE MOST LOGICAL MANNER AND CREATE A PROBLEM TRACK PUT ALL THE NOISY WIDE SHOTS IN THE PROBLEM TRACK WIDE SHOTS ARE ALWAYS A PROBLEM PUT SHOTS THAT YOU THINK NEED SPECIAL TREATMENT SUCH AS NOISE REDUCTION IN THISTRACK

5.2 Noise reduction and ambience matching 4HERE ARE TWO STRATEGIES IN EDITING AROUND BACKGROUND NOISE IN PRODUCTION TRACKS"OTHWORKINSOMEINSTANCES4HETRICKISKNOWINGWHICHTOUSEWHEN

Dialogue editing technique one 4HEFIRSTTECHNIQUEISTOFILLINALLHOLESWITHAMBIENCE#AREFULLYEDITOUTANY UNWANTED SOUNDS LIKE DIRECTION OR A # STAND FALLING OVER 4HEN OVERLAP THE cuts from one clip to another slightly, filling any holes left from cutting things OUTWITHAMBIENCEFROMTHISOROTHERTAKES3ETUPQUICKFADESONTHEOVERLAPS INANEFFORTTOMAKETHEAMBIENCESOUNDSEAMLESS 4HISCANPRODUCEASEAMLESSAMBIENCEANDWORKSWELLONPROJECTSWITHALOT OF DIALOGUE AND FAIRLY CLEAN TRACKS )T IS OFTEN USED ON SHORT FILMS OR SIMPLER PROJECTSASWELLASALMOSTALLDOCUMENTARIES 127


Figure 5.2 %DITING DIALOGUEBYCHARACTER WHILEFILLINGAMBIENCE HOLES

5SINGTHISEDITINGTECHNIQUE THEEDITFORTHEDINNERSCENEINh,OVES$EVOTION &OREVERv MIGHT LOOK LIKE THIS 7E WILL LOOK AT THE ACTUAL DIALOGUE EDITING OF THISSCENELATERINTHISCHAPTER !LLOF-ADELINESLINESAREINTRACKONE-OST OF THE MOVEMENT AND AMBIENCE IS IN THE SECOND TRACK WITH "URKS LINES !LL UNWANTEDSOUNDSHAVEBEENREMOVEDANDALLHOLESPATCHEDBYMOVINGAUDIO AROUND AND COPYING AND PASTING 3HORT FADES ARE USED TO SMOOTH THE EDITS ANDCOVERNOTICEABLEEDITS4HESCENEPLAYSWELLANDSOUNDSGOOD4HISEXAMPLEISINCLUDEDONTHE7EBSITE )TISTRICKYTOMIXBECAUSESOMEOF"URKSLINES ARERATHERDIFFERENTFROMEACHOTHER SOMEARENOTGOODATALL ANDSOMEARE BUTTEDTOGETHERINTHESAMETRACK )FTHEBACKGROUNDNOISEISSHIFTINGDRAMATICALLYONTHEEDITSANDSOMEOFTHEDIALOGUEWILLNEEDTOBEREPLACED THISTECHNIQUEMAYNOTPRODUCEUSABLERESULTS -OREOVER IFTHEMIXISINTENDEDTOPRODUCEAN-AND%FORFOREIGNLANGUAGE REPLACEMENT AMBIENCETRACKSWILLBEINCLUDEDINTHEEFFECTSEDITING PRODUCING EVENMOREBACKGROUND4HEREFORE ANOTHERTECHNIQUEISOFTENUSEDONFEATURES

Dialogue editing technique two )NTHISCASE THEDIALOGUEISCUTASTIGHTASPOSSIBLETOTHEMODULATIONSTRIPPING OUTALLSOUNDBETWEENTHELINES3HORTFADESCANBEUSEDTOEASEINANDOUT OFLINESWHERETHEBACKGROUNDCANBEHEARDhPOPPINGINvWITHTHELINES4HE BACKGROUND FROM A CLEAN SECTION OR SECTIONS OF AUDIO IS THEN USED TO CREATE A PRODUCTION SOUND BACKGROUND 5SUALLY THE AMBIENCE ANDOR BACKGROUND WILLRUNTHROUGHTHEENTIRESCENEANDWILLBEPARTOFTHEEFFECTSTRACKS!GOOD AMBIENCEWILLFILLALLHOLESANDHELPESTABLISHTHESCENE 7ITHNOISYPRODUCTIONAUDIOTHATWILLNOTBEREPLACED THEAMBIENCENEEDSTO MATCHTHEBACKGROUNDOFTHEPRODUCTIONAUDIO/FTENTHEPRODUCTIONMIXER WILLRECORDAWILDTRACKOFAMBIENCETHATCANBEUSEDFORTHISTRACK BUTOFTEN THECLEANNOISEBETWEENLINESWORKASWELLOREVENBETTER!TTIMES THETRACK

128


WILLBERATHERNOISY BUTNECESSARILYSO)TNEEDSTOMATCHTHEBACKGROUNDNOISE OFTHEDIALOGUE!TTIMES ATRULYHORRIDMIXOFCAMERANOISEANDRUMBLEMUST BEUSEDTOhSAVEvTHESCENE/NEOLD TIMEEDITORREFERREDTOTHISAShDRAGGING ADEADMULETHROUGHTHESCENEvCOLORFULBUTAPROPOS )TWASSOMETHINGTHAT NOONEWANTED BUTITWASTHEONLYWAYTOMAKETHEPRODUCTIONAUDIOWORK /FTENTHEhDEADMULEvWASCAMERANOISEFROMTHESAMENOISYCAMERA

Figure 5.3 Dialogue EDITINGTECHNIQUETWO creates a seamless BACKGROUNDAND movement track from THEPRODUCTIONAUDIO TRACKFOUR !LTHOUGH this is the same scene as IN&IG INTHISCASE "URKSAND-ADELINES lines are still in tracks ONEANDTWO ONLYNOW they are cut tight to the MODULATIONSOTHATTHERE ISNOSOUNDBETWEEN LINES ALLMOVEMENTAND BACKGROUNDSOUNDNOW SOUNDINGONTRACKFOUR /NELINEOFPROBLEM DIALOGUEFOR"URKISIN TRACKTHREE4HISLINE NEEDEDCLEANUPANDSO WASPLACEDINASEPARATE "URKTRACK/FTENTHIS type of splitting is DONEFOREVERYOTHER line, creating sort of a CHECKERBOARDTHATALLOWS FORADJUSTMENTSTOEACH LINE)NTHISCASE ONLYTHE PROBLEMTRACKISSPLIT AND WASEVENTUALLYREPLACED WITH!$2

4HEREISAGREATTRICKONTHE4$-($0RO4OOLSSYSTEMSCALLEDVOICEBORROWING /N THESE SYSTEMS YOU CAN ASSIGN A hVOICEv TO A TRACK .ORMALLY EACH TRACKISSETTODYNAMICDYN ANDHASITSOWNVOICE BUTON4$-SYSTEMSYOU CAN ASSIGN A VOICE TO SEVERAL TRACKS /NLY ONE TRACK ON A VOICE CAN PLAY AT THESAMETIME THATBEINGTHELOWERTRACKNUMBERINOTHERWORDS THETRACK NEARER THE TOP OF THE %DIT WINDOW 4HEREFORE IF YOU LAY AN AMBIENCE IN ON TRACK TWO AND TIGHT CUT DIALOGUE IN ON TRACK ONE WITH BOTH TRACKS ASSIGNED 129


TOTHESAMEVOICEEVERYTIME ALINEPLAYSTHEAMBIENCEDROPSOUT.EATTRICK INSOMECASES4HE!UTO2EGION&ADEPREFERENCEIN/PERATIONSSETSTHESPEED OFTHESWITCHFROMTOMS SOYOUCANMAKETHESWITCHAVERYFASTFADE !CTUALLY ALL REGIONS NOW FADE IN AND OUT TO THIS SETTING !LSO WHEN THE DIALOGUETRACKSAREMADEINACTIVEFOREXPORTINGTHE&8STEM THEAMBIENCENOW RUNSTHROUGHTHEENTIRESCENEWITHOUTSWITCHING )N EITHER CASE THE !UDIO3UITE PLUG INS CAN BE USED TO CLEAN UP AND MATCH THEDIALOGONACLIP BY CLIPBASIS3ELECTTHECLIPYOUWANTTOWORKONINTHE TIMELINEANDOPENONEOFTHE!UDIO3UITEPLUG INS'AINCANBEUSEDTOBRING UPVERYLOWLINES$).2DIGIDESIGNINTELLIGENTNOISEREDUCTION CANBEUSED TOCLEANUPSOMEIFNOTMOSTOFTHEBACKGROUNDNOISE3AMPLEASMALLSECTIONOFBACKGROUNDSOUNDONLYANDLET$).2USEITASAGUIDETOREMOVEALL SIMILARSOUND&OURBANDEQUALIZER%1 CANBEUSEDTOREMOVERUMBLEAND HELPTOMATCHMICROPHONEPERSPECTIVEFROMTAKETOTAKE!LLOFTHISISDONE TOTHECLIPONLY SOFINALADJUSTMENTSWILLALWAYSBEMADEINTHEMIXWHEREALL THETRACKSAREHEARDATTHESAMETIME$ONTOVERDOTHINGSHERE!LWAYSDO THELEASTNECESSARYTOGETCLOSETOWHEREYOUNEEDTOBE!UDIO3UITEPROCESSINGISNOTDESTRUCTIVETHEORIGINALSARESTILLINTHEREGIONBIN)FYOUDOGOTOO FAR WITH PROCESSING THE MIXER WILL WANT YOU TO PUT THE ORIGINAL BACK IN THE EDIT

C

On t h e We b s it e

4HESE TWO EDITING TECHNIQUES CAN BE EXPERIMENTED WITH THE WEBSITE PROJECT 4HE SCENE IS THE DINNER SCENE SCENE MEMORY LOCATION %XPERIMENTWITHTHETWOTOGETASENSEOFTHEAPPROPRIATETECHNIQUEFOR EACH SITUATION &OR EXPERIMENTING WITH VOICE BORROWING ON ($ SYSTEMS SETALLFOURTRACKSTOTHESAMEVOICEANDCOMPARETHISTECHNIQUETOKEEPING THE MOVEMENT AND BACKGROUND TRACK SOUNDING THROUGH THE ENTIRE SCENE3OLOTHEMOVEMENTANDBACKGROUNDTRACKTOSEEHOWTHISPRODUCTION TRACK CAN BE USED WITH THE OTHER EFFECTS AND MUSIC TRACKS TO CREATE A COMPLETE - AND % MUSIC AND EFFECTS TRACK FOR FOREIGN LANGUAGE VOICE REPLACEMENT

5.3 ADR 7EARENOWREADYTOCUEORhSPOTvTHE!$2&ORYEARS THISWASDONEWITHA PROCESSCALLEDhLOOPING vWHERETHEAUDIOCLIPSWERECUTINTOLOOPSWITHCUE POPSANDPLAYEDINSYNCWITHAFILMRECORDER4HELOOPEDGUIDETRACKSERVED AS A SYNC GUIDE FOR THE ACTOR WHO RERECORDED THE LINES IN A SOUND BOOTH OR SMALLSTAGE

130


Figure 5.4 !$2ISUSUALLY RECORDEDINAVOICEBOOTH ORONALARGERSTAGEWITH VIDEOPLAYBACK

!$2 REPLACED LOOPING WHEN AUTOMATED DIALOGUE REPLACEMENT SYSTEMS WERE DEVELOPED !$2 HISTORICALLY WAS RECORDED IN A STUDIO EQUIPPED WITH AN !$2 SYSTEM)N!$2THEENTIREFILMORREELISPLAYEDASCUEPOPSAREGENERATEDBYA COMPUTER4HEACTORHEARSTHREECUEPOPSABOUTSECONDAPARTJUSTBEFORETHE LINE ANDTHELINETOBEREPLACED ANDSEESTHEPICTUREASTHEYRERECORDTHELINE !CTORSCANGETQUITEGOODATMATCHINGSYNCHOWEVER SOMEMAYLIKEADIFFERENT CUEINGSYSTEM3OMEDONTLIKETHEPOPSANDPREFERTOCUETOTHEIRMOVEMENTON SCREEN OTHERSMAYWANTONLYTWOPOPS FASTERPOPS SLOWERPOPS ANDSOFORTH -ANY!$2SYSTEMSLETYOUCUSTOMIZETOTHEACTORS WISHES WHEREASOTHERSDONT

Figure 5.5 !$23TUDIO FROM'ALLERYALLOWS for cueing, printing CUESHEETSANDCANBE IMPORTEDDIRECTLYINTOTHE !$2SESSION)TCREATES POPS LIGHTSTHERECORD LIGHT ANDINTERFACESWITH BOTH0RO4OOLSAND6IRTUAL 642

131


#UEING OR SPOTTING THE !$2 IS AN ART IN ITSELF 4HE PERSON DOING THE CUEING MUST DECIDE WHICH LINES CAN BE USED AND WHICH ONES NEED TO BE REPLACED 7HATPROBLEMSCANBEFIXEDINTHEMIX WHATPROBLEMSCANNOT)FTHEREISA MAJOR PROBLEM OF NOISE OVER DIALOGUE THEN THE WHOLE LINE IS REPLACED WITH !$2!NDIFTHEREISNOWAYTOMATCHTHE!$2THENTHEWHOLESCENEWILLNEED TO BE REPLACED OR AT LEAST THIS CHARACTERS LINES 4HE PERFORMANCE IS ALSO AN ISSUE 3OMETIMES THE LINES ARE REPLACED IN AN ATTEMPT TO IMPROVE A WEAK PERFORMANCE)NTHISCASETHEDIRECTORANDORTHEPRODUCERNEEDTOBEPARTOF THEPROCESS/FTEN NEWOFF CAMERALINESAREALSOADDED #UEING SHOULD TAKE PLACE IN A PSEUDO MIXING ROOM OR EVEN RIGHT ON A DUB STAGE 4HE PERSON DOING THE CUEING NEEDS TO BE ABLE TO HEAR WHAT IS ON THE TRACKINACRITICALLISTENINGENVIRONMENT)TSALSONICETOHAVESOMEBASICMIXING TOOLSANDNOISEREDUCTIONEQUIPMENTLIKETHETOOLSTHATWILLBEUSEDINTHEMIX TODETERMINEIFAPROBLEMCANBEFIXED4HEREISNOATTEMPTTOACTUALLYFIXANY PROBLEMSHERE ONLYDECIDEWHATISFIXABLE#UEING!$2ISADIAGNOSTICPROCESS 4HELINESTOBEREPLACEDARELISTEDBYACTORANDTIMECODEANDGIVENAMEMORY LOCATION IN THE DIALOGUE SESSION 4HE EXACT LINE AS USED IN THE FILM NOT JUST FROM THE SCRIPT IS TRANSCRIBED 4HE CUE SHEETS NEED TO BE COPIED AND GIVEN TOTHEEFFECTSEDITOR WHOISALSOCUEING ASTHE!$2ISBEINGCUED4HEEFFECTS EDITORWILLNEEDTOKNOWWHICHPRODUCTIONTRACKSAREGOINGTOBEREMOVEDSO THEYCANCUEPROPEREFFECTSAND&OLEYINTHESEAREAS )NTHE!$2SESSIONTHE$IRECTOR !$2MIXER !$2EDITOR ANDACTORAREPRESENT)T ISIMPORTANTFORTHEACTORSTOPUTTHEMSELVESINTOTHESCENE)FTHEYARESCREAMINGOVERAJETENGINEASFIREBURNSALLAROUND ITMAYBEHARDERFORTHEACTORIN

Figure 5.6 4HE!$2 -IXERUSESMICPLACEMENT ANDMINIMAL%1TOMATCH THESOUNDOFTHEORIGINAL PRODUCTIONRECORDING

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!$2TORECREATETHEPERFORMANCEFROMTHESET4HEYAREWARMANDCOMFORTABLE INASTUDIO NOTONANAIRCRAFTCARRIER3OMETIMESACTORSNEEDTORUNOUTSIDEAND RUNAROUNDTHEPARKINGLOTTOGETWINDEDANDINTOTHESCENEnWHATEVERITTAKES 4HE!$2MIXERHASADIFFICULTJOB4HEYNEEDTORECORDTHELINECLEANLY MATCH THE SOUND OF THE NONREPLACED LINES AND KEEP THE SOUND FROM SOUNDING LIKE ITWASRECORDEDINTHESTUDIO!NYONECANRECORDCLEANAUDIO BUTITTAKESAN ARTIST TO RECORD THE NOT SO PERFECT NEVERTHELESS JUST RIGHT AUDIO -ICROPHONE SELECTIONANDPLACEMENTARETHESTRONGESTTOOLSOFTHE!$2MIXER3OME%1CAN BEUSED BUTITSBESTLEFTTOTHEDUBLATERON-ANY!$2MIXERSUSETWOMICS ONEOFWHICHISTHESAMEMODELUSEDINPRODUCTION/NEMICISPLACEDSOMEWHATCLOSENEVERRIGHTONMIC THEhPRODUCTIONvMICPLACEDATADISTANCE 5SUALLYTWOORTHREEGOODTAKESARESAVED4HISWAYTHE!$2EDITORHASSOME MATERIAL TO TWEAK 4HE !$2 EDIT IS ALL ABOUT USING THE RIGHT WORDS FROM THE RIGHTTAKES4WEAKUNTILITFITS%VERYONEHASNOTICEDBAD!$2INAMOVIE.O ONENOTICESGOOD!$24HETRACKSAREUSUALLYCUTSOTHATEACHCHARACTERHAS THEIROWNTRACKINTHESCENE

Recording ADR with ProTools

Figure 5.7 3TUDIOMICS AREOFTENUSEDFORVOICE OVERANDTOREINFORCE PRODUCTIONMICSTYPICALLY USEDIN!$2)DEALLY THESAMEMICUSEDIN PRODUCTIONSHOULDBE USEDIN!$2HOWEVER MANY!$2MIXERSALSOUSE ASECONDMIC

4HE !$2 SHOULD BE CUED AND TRANSCRIBED BY THE !$2 CUEING ASSISTANT OR DIALOGUEEDITINGASSISTANT4HECUESHEETSNEEDTOSHOWTHESESSIONTIMECODE OFFIRSTMODULATIONOFTHELINETOBEREPLACED4HEEXACTLINEISTRANSCRIBEDINTO

133


THE!$2SCRIPT+EEPONECOPYOFTHESCRIPTONLOOSESINGLE SIDEDPAGES)NTHE STUDIOYOUWILLWANTAWIDEMUSICSTANDTOHOLDTHESCRIPTSOTHATTHELOOSE PAGESCANBELAIDOUTWITHNONEEDOFTURNINGORHANDLING !LTHOUGH !$2 HAS BEEN RECORDED WITH !$2 COMPUTERS AND STILL IN SOME STUDIOS !$2 IS OFTEN RECORDED DIRECTLY INTO 0RO 4OOLS 4HIS REQUIRES A GOOD STUDIOSPACEORVOICEBOOTH!VOIDABOOTHTHATSOUNDSLIKEABOOTHAMORE OPEN STUDIO OR EVEN A LIVE ROOM MAY SOUND BETTER 7ORK WITH THE MIC POSITIONSTOMATCHTHEPRODUCTIONSOUNDASCLOSELYASPOSSIBLEWITHOUTUSING ANYREVERBANDMINIMUMEQUALIZATION !SWEARENOTUSINGAN!$2COMPUTER YOUWILLNEEDCUEPOPS4HESECANBE CUTFROM(ZTONEGENERATEDWITHTHETONE!UDIO3UITEPLUG IN%DITONE FRAMEPOPSABOUTFRAMESAPARTANDBOUNCETHESETODISC9OUWILLALSONEED TOSETUPAVIDEOMONITORANDHEADPHONESFORTHEACTORINTHESTUDIOSPACE #REATE SEVERAL NEW TRACKS AND NAME THEM !$2 AND SO FORTH #HECK THE INPUT ASSIGNS AND SET THEM TO THE MIC INPUTS THAT YOU ARE USING FOR RECORDING!LSOCREATEANEWTRACKANDNAMEITcue)MPORTANDDROPTHETHREE CUEPOPSINTHECUETRACKATAPOINTJUSTATTHESTARTOFTHELINEYOUWANTTO REPLACE 9OU CAN COPY THE CUE POPS AND PLACE A SET BEFORE ALL THE LINES YOU NEEDTOREPLACEORSIMPLYMOVETHEMUPASNEEDED 'O TO THE CUED TIMECODE AND SELECT THE PRODUCTION TRACK REGION WITH LINK TIMELINEANDEDITSELECTIONON4URN,INK4IMELINEAND%DIT3ELECTIONOFF3OLO THE CUE TRACK AND THE PRODUCTION TRACK CONTAINING THE ORIGINAL LINE 3ET THE INANDOUTBRACKETSINTHETIMELINETOAPOINTJUSTATTHESTARTOFTHECUEPOPS AND THE END OF THE LINE TO BE REPLACED 3ET LOOP PLAYBACK IN THE OPERATIONS MENU2ECORDENABLE!$2 "EGIN PLAYBACK 4HE ACTOR WILL HEAR THE LOOP PLAYING OVER AND OVER IN THEIR HEADPHONESASTHEYTRYTOMATCHSYNC7HENYOUFEELTHEACTORISREADY SET THE TRANSPORT CONTROL TO RECORD AND CLICK PLAY 4HIS WILL RECORD ONE TAKE AND STOP #HECK THE LINE BY SOLOING IT ON THE 0RO 4OOLS MIXER AND UNSOLOING THE CUE AND GUIDE TRACKS )F YOU LIKE THE LINE RENAME IT IN THE REGION BIN )F YOU WANT ANOTHER RECORD ENABLE !$2 AND UNENABLE !$2 )F YOU DONT WANT TOKEEPTHETAKE SELECTITINTHEREGIONBINANDFROMTHEMENUATTHETOPOF THEREGIONBINSELECTDELETE)FTHEACTORISONLYABLETOHITSYNCONTHETHIRDOR FOURTHLOOPPLAYBACK YOUCANSETLOOPRECORDANDRECORDSEVERALTAKESASONE MASTERREGIONWITHSEVERALsubregionsOFEACHTAKE

ADR editing /NCE THE !$2 IS RECORDED IT NEEDS TO BE TIGHTENED UP AND ARRANGED BY THE !$2 EDITOR 4HE !$2 TRACKS AS RECORDED MAY HAVE ALL CHARACTERS IN THE SAME THREE OR FOUR !$2 TRACKS WITH SEVERAL TAKES FOR EACH LINE IN THE

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TRACKS %ACH MAIN CHARACTER SHOULD HAVE THEIR OWN !$2 TRACK AND OTHER CHARACTERS CAN SHARE !$2 TRACKS AS LONG AS THEY ARE NOT IN THE SAME SCENE TOGETHER4HEBESTTAKEFROMTHE!$2SESSIONISPLACEDINTOTHEPROPERTRACK AND ALIGNED FOR BEST SYNC 4HIS MAY INVOLVE CUTTING AND PASTING THE LINE AROUND OR EVEN CUTTING SEVERAL TAKES TOGETHER TO ACHIEVE PERFECT SYNC AND PERFORMANCE ! VERY USEFUL TOOL FOR ALIGNING !$2 IS 6OC!,IGN FROM 3YNCHRO !RTS 4HE ORIGINAL GUIDE TRACK IS PLACED IN ONE TRACK OF THE PLUG IN AND THE RECORDED LINEINTHEDUBTRACKOFTHEPLUG IN!VOLUMEPLOTISGENERATEDFROMEACHLINE AND COMPARED 4HE EDITOR HAS SOME CONTROL OVER THE ALIGNMENT OF THE TWO PLOTS 7HEN THE EDITOR IS HAPPY WITH THE ALIGNMENT TIME COMPRESSION AND EXPANSIONISUSEDTOMATCHTHESYNCOFTHEDUBTRACKTOTHEORIGINAL4HISIS SOGOODATPULLINGTHESYNCTOGETHER THATITISPOSSIBLETORECORDTHEDUBLINES WILDWITHNOPICTUREORGUIDETRACK 4HERE ARE TWO VERSIONS OF THE SOFTWARE 6OC!,IGN PROJECT AND 6OC!,IGN 0RO THAT ALLOWS THE EDITOR TO MATCH hSYNC POINTSv ,IKE ALL TIME ALIGNMENT TOOLS OVERDOINGTHECOMPRESSIONOREXPANSIONWILLCREATEVERYUNDESIRABLEARTIFACTS 7HAT THIS MEANS THOUGH IS THAT THE EDITOR CAN NOW USE THE PERFORMANCE THE DIRECTOR LIKES WITHOUT WORRYING ABOUT SMALL SYNC PROBLEMS )N FACT THE ALIGNMENTCANBEDONERIGHTINTHE!$2SESSIONWITHTHEDIRECTORPRESENTTO ACCEPTORREJECTTHETAKEWITHOUTWONDERINGIFTHEEDITORCANhFIXvTHESYNCIN EDITING )FTHEPRODUCTIONAUDIOISANOISY 6OC!,IGNMAYNOTBEABLETOhREADvTHEVOLUMEPLOTMAKINGITIMPOSSIBLETOALIGNTHE!$2TOTHEPRODUCTION(OWEVER IFTHEREISONEGOODSYNCTAKE ITCANBEUSEDTOALIGNTHEBESTPERFORMANCE TAKE

Figure 5.8 6OC!,IGNCAN BEUSEDTOPULLTHE!$2 INTOSYNCWITHTHEORIGINAL PRODUCTIONAUDIO

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Figure 5.9 6OC!,IGN0RO OFFERSMORECONTROLAND better performance over THEBASIC6OC!,IGN

5.4 Walla /NESPECIALTYPEOFBACKGROUNDISwalla AGROUPOFHUMANVOICESBLENDINGINTO A BACKGROUND %DITORS DISTRIBUTORS PRODUCERS AND DIRECTORS OFTEN DISAGREE ON WHETHERWALLAISANEFFECTORDIALOGUE3HOULDITBECUTBYTHEEFFECTSEDITORAND ORENDUPINTHEEFFECTSSTEM7ALLAISOFTENRECORDEDBYTHE!$2EDITORWHO SCHEDULESAWALLASESSIONWITHAGROUPOFWALLAACTORSYES THEREISSUCHATHING 4HIS WALLA IS CUT INTO AN !$2 TRACK /R OFTEN THE EFFECTS EDITORS PUT TOGETHER THEIROWNWALLASESSIONORPULLWALLAFROMALIBRARY)NTHISCASETHEWALLAENDS UPINANEFFECTSTRACKANDPOSSIBLYTHEEFFECTSSTEM7HICHEVERSYSTEMYOUUSE NEVERPREMIXTHEWALLAINTOTHEBACKGROUNDYOUMAYNEEDTORECORDITINTOTHE DIALOGUESTEMINTHEDUB&OREIGNLANGUAGEDUBSMAYREQUIREFOREIGNLANGUAGE WALLA)FNOT ITISASOUNDEFFECTANDSHOULDBEEDITEDINTOANEFFECTSTRACK !SAGENERALRULE COMPLETELYNONDESCRIPTWALLAVOICESSHOULDBEEDITEDINTO ANEFFECTSTRACK!NYWALLAWHERETHEACTUALWORDSCANBEUNDERSTOOD OREVEN ASENSEOFTHELANGUAGE SHOULDBEEDITEDINTOADIALOGUETRACKSOTHATITCAN BEREPLACEDINANYFOREIGNLANGUAGEDUB

5.5 Dialogue editing on “Loves Devotion Forever” The dialogue edit 4HE/-&WASIMPORTEDWITHTHE$IGI4RANSLATOROPTIONANDTHE0RO4OOLSEDIT CREATED 136


C

O n t h e We b si te – The Di al ogue E di t

4HE WEBSITE INCLUDES SEVERAL 0RO 4OOLS SESSIONS FROM h,OVES $EVOTION &OREVERv 4HE FIRST IS NAMED AS /-& )MPORT 4HIS IS THE 0RO 4OOLS SESSION DERIVED FROM THE EXPORTED /-& AUDIO EXPORTED FROM &INAL #UT 0RO 4HIS COULDALSOHAVEBEENEXPORTEDFROM!VIDORANYNUMBEROFPICTUREEDITING SOFTWARES-OSTOFTHEDIALOGUETOBEUSEDINTHEDIALOGUEEDITISINTRACKS ONE AND TWO 4HE OTHER TRACKS ARE MOSTLY TEMP MUSIC AND SOME TEMP EFFECTS AND TEMP !$2 4HESE SESSIONS CAN BE OPENED AND EDITED ON ANY 0RO 4OOLS 6 OR 6 SYSTEM ,% - 0OWERED OR ($ 4HE FINISHED DIALOGUE EDIT IS NAMED $)! EDIT AND CONTAINS ALL THE SPLIT OFF TRACKS AS WELL AS THE TEMP!$2-EMORYLOCATIONSHAVEBEENCREATEDFOREACHSCENE ASWELLAS SHOWHIDEPRESETSFORDIALOGUE TEMPTRACKS ANDPRODUCTIONEFFECTS 4HEOTHERTWOSESSIONSAREEDITTYPEONEANDTWOSHOWINGTHETWOSYSTEMS FORSPLITTINGDIALOGUEINTHEDINNERSCENE MEMORYLOCATION 9OU CAN FOLLOW ALONG WITH THE EDIT AND TRY YOUR OWN SYSTEMS OF SPLITTING OFFTHEDIALOGUE Figure 5.10 The WORKINGTITLEOFTHEFILM WASBlackheart4HEFILM WASEDITEDON&INAL#UT 0ROWITHCINEMATOOLS MANAGINGTHEMEDIA DATABASE3EVERALFILES WEREEXPORTEDFROM&INAL #UT0RO TWOOFWHICHARE the basis of the Pro Tools SESSION"LACKHEART?&INAL ;REDCARPET=OMFANDTHE 1UICK4IME "LACKHEART? &INALCOPY4HEOTHER files are the Final Cut Pro project, the Cinema Tools DATABASE THECUTLISTFOR THENEGATIVEEDITOR AN ARCHIVEPROJECTIN8-, A PICTURE%$,EDITDECISION LIST ANDANAUDIO%$,

/NCETHEINITIALSESSIONWASCREATEDFROMTHE/-& THE1UICK4IMEPICTUREAND AUDIO GUIDE TRACK WERE IMPORTED AND THE TWO POP CHECKED FOR SYNC ON THE COUNTDOWNLEADER .OTICETHATTHEPRODUCTIONISDOUBLEDINTRACKSONEANDTWOINMANYPLACES 4HE PRODUCTION AUDIO WAS RECORDED INTO TWO TRACKS WHENEVER ONLY ONE 137


Figure 5.11 $IGI4RANSLATORWASUSEDTO IMPORTTHE/-&INTO0RO 4OOLSANDCREATETHEINITIAL DIALOGUESESSION

Figure 5.12 The initial IMPORTOFTHE/-& SHOWEDDISORGANIZED TRACKS THETEMPAUDIO WASINALLTRACKS EVEN AUDIOONE4HISISNOT UNCOMMON ANDITISNOT APROBLEM4HEFIRSTSTEP INEDITINGWILLBETOTIME STAMPANDORGANIZETHE TRACKSTOBEGINPRODUCTION DIALOGUEEDITING.EW TRACKSWEREADDEDAND TRACKSNAMEDFORTHE DIALOGUEEDIT4HISHAS ALREADYBEENDONEIN&IG )NITIALLYTWOTRACKS WERECREATEDFOR-ADELINE ONEFOR"URK TWOFOROTHER CHARACTERS TWOFORTEMP !$2ANDEFFECTS ANDFOUR FORTEMPMUSIC

138


Figure 5.13 4HE/-& HADALSOIMPORTEDTHE AUTOMATEDFADESINTOTHE 0RO4OOLSEDITFROM&INAL #UT0RO4HESEWEREALSO PRESENTINTHEFADEFILES FOLDERINTHE0RO4OOLS 3ESSIONFOLDER

Figure 5.14 All temp MUSICWASMOVEDINTOTHE FOURTEMPMUSICTRACKS The temp music tracks ANDTHEGUIDETRACKWERE ALLMADEINACTIVEAND SETTOHIDEINTHESHOW HIDEMENU)NTHEEVENT THEYWERENEEDEDINTHE FUTURE THEYCOULDBE MADEACTIVE

ICROPHONEWASUSEDONSET7HENTHETWOTRACKSAREATTHESAMELEVEL ONE M IS SIMPLY DELETED )F ONE OF THE TRACKS IS A SAFETY TRACK AT D" UNLESS IT IS NEEDEDITCANBEREMOVEDORMOVEDTOANINACTIVETRACKONTHECHANCEITMAY BENEEDEDINTHEFUTURE !LLPRODUCTIONREGIONSWERETIMESTAMPEDINTHEIRCURRENTLOCATIONUSINGTHE 4IME3TAMP3ELECTEDn5SER4IME3TAMPBEFOREANYMOVINGOFTHESEREGIONS

139


Figure 5.15 All scenes WEREGIVENLOCATION markers at the first FRAMEOFTHESCENE&ROM the memory locations WINDOWANYSCENE COULDNOWBESELECTED by clicking on the CORRESPONDINGMEMORY LOCATION3HOW HIDE STATELOCATIONSWEREALSO CREATEDFORTHEDIALOGUE TRACKSANDTHETEMP TRACKS-EMORYLOCATIONS ANDSHOW HIDESTATES ARECREATEDINTHENEW memory loc pop-up menu in the memory LOCATIONWINDOWCLICKON THE.AMEBUTTON

Figure 5.16 4HENEW memory location menu ISUSEDTOCREATENOTONLY markers at certain locations, SETTINGONTHELEFT BUTCAN BEUSEDTOCREATESHOW HIDESTATES ZOOMSETTINGS GROUPENABLES ANDOTHER PRESETS4HEYCANALSOBE USEDTOCUE!$2 &OLEY EFFECTS ANDOTHERCUES

)N &IGURE THE DINNER SCENE IN h,OVES $EVOTION &OREVER v INITIALLY THE IMPORTEDPICTUREEDITHADTWOTRACKSOFPRODUCTIONAUDIOCONTAININGAMIXTURE OFTYPESOFTRACKS3OMEWEREDUPLICATEMONOTRACKS MOSTWERETWOMICSETUPS ONEWIRELESS ANDONEBOOM4HEAUDIOISNOTGOODINSOMEPLACES ANDWILLBE ACHALLENGETOWORKWITH3OMEMAYNEEDTOBEREPLACED!VISUALEXAMINATION

140


Figure 5.17 "EFOREANY DIALOGUEWASMOVED ITWASTIMESTAMPED WITHTHE4IME3TAMP COMMANDINTHE2EGION ,IST0OP UPMENU4HE CURRENTSELECTIONWAS USED

Figure 5.18 The original PRODUCTIONTRACKSAND PICTUREFORSCENE MEMORYLOCATION THEDINNERSCENEThe THREEWINDOWSPRINTED ONTHEVIDEOBELOWTHE image SHOW5PPER left n0RODUCTIONAUDIO TIMECODE ,OWERLEFTn 6IDEOTIMECODE for this FRAMEOFVIDEO ,OWER rightn&ILMKEYCODE number for this frame ONTHEORIGINALMM NEGATIVE Film stocks are mASHEDWITH numbers ANDMACHINEREADABLE BARCODESTHATSHOWUP AFTERTHElLMISDEVELOPED

OFTHETRACKSREVELSTHATTHEFIRSTREGIONISADUPLICATETRACKINONEANDTWO4HE NEXTTWOREGIONSARETWOMICSETUPS DIFFERENTAUDIOINTRACKSONEANDTWO4HE NEXTTWOREGIONSAREDUPLICATESAGAINANDTHELASTONEISANOTHERTWOMICSETUP 4HETIGHTCUTTINGTECHNIQUE WE LOOKEDAT BEFOREIN&IGREQUIREDTHATALL LINESBECUTASCLOSETOTHEDIALOGUEASPOSSIBLE7HENUSINGTHISTECHNIQUE REMOVE ANYTHING THAT ISNT DIALOGUE .O AMBIENCE BETWEEN LINES NOTHING BETWEENTHELINES4HENFINDAGOODAMBIENCEQUITESIMILARTOTHEORIGINALAND LAYITINONANEFFECTSTRACK)FNECESSARY SETUPQUICKFADESONTHEPRODUCTION LINESSOTHEYDONTPOPONOROFF)NTHISEXAMPLE THEPRODUCTIONMOVEMENT AND AMBIENCE HAVE BEEN MOVED TO TRACK FOUR AND ALL HOLES PATCHED 141


WITH AMBIENCE AND MOVEMENT FROM OTHER TAKES 4HIS CREATES A SEAMLESS BACKGROUNDTHATCANBEPLACEDINTHEEFFECTSTRACKSANDMIXEDINTOTHEEFFECTS STEM .ORMALLY THIS WOULD NOT BE A CONTINUOUS TRACK WITH MOVEMENT AND EFFECTSASITISINTHISSCENE BUT RATHER THEEFFECTSMOVEDINTOAPRODUCTION EFFECTSTRACKANDTHEAMBIENCEWOULDBEPLACEDINANOTHERTRACK Figure 5.19 )NTHIS EXAMPLEONEOF"URKS lines has been split off INTOANEW"URK"TRACK (ISFIRSTTWOLINESATTHE beginning of the scene ONTHEPORCHAREWEAK ANDNOISY4HETHIRD LINEDOESNOTMATCHTHE SOUNDQUALITYOFTHEOTHER TWOLINES WHICHWILL NEEDSPECIALTREATMENT ORPOSSIBLYREPLACEMENT -IXINGTHEPRODUCTION LINESWOULDBEDIFFICULT or even impossible if THEYREMAINEDBUTTED UPTOTHETHIRDLINE!S ITTURNEDOUT ALLTHREE LINESWEREREPLACEDWITH EXCELLENTRESULTS

"ECAUSETHISSCENEHASLONGSECTIONSWHERETHEREISNODIALOGUE ONLYMOVEMENT ITWASPOSSIBLETOCREATETHISCONTINUOUSBACKGROUNDWITHMOVEMENT7ITHTHE ADDITIONOFALITTLE&OLEYANDONEORTWOTIGHTEREFFECTS THEEFFECTSSTEMWILLBE COMPLETE 4HE SCENE WILL PLAY WITH THE DIALOGUE OUT )F THE SCENE DOES NEED !$2 ORWHENITIShDUBBEDvINTOANOTHERLANGUAGE ITISREADYTOMIX)FITWERE CUTUSINGTHEOTHERhHOLEPATCHINGvTECHNIQUE ITWOULDNEEDMAJORREWORKING

Figure 5.20 7HENTIGHT CUTTINGDIALOGUETHE strip silence function in THEEDITMENUWINDOW MENUIN6 CANBEUSED TOREMOVETHEAUDIO BETWEENLINES)TTENDS to clip off the tail of the LINE ANDUSUALLYREQUIRES TWEAKINGORTRIMMING

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Figure 5.21 The final DIALOGUEEDITWITHTWO TRACKSOFPRODUCTION EFFECTSThis tight cutting TECHNIQUEONLYWORK SWELL WHENTHEDIALOGUE is FAIRLYCLEANOFBACKGROUND NOISE!UDIOWITHALOT OFBACKGROUNDNOISE REQUIRESTHEPATCHING TECHNIQUE

)NITIALLY THERE WERE FOUR DIALOGUE TRACKS LAID OUT -ADELINE "URK $*!GENT .EWSMANWHOWEREALLSHARINGTHETRACKASTHEYNEVERAPPEAREDINTHESAME SCENE AND THE FANATICS ,ATER THIS WAS EXPANDED TO INCLUDE A -ADELINE " TRACKANDA"URK"TRACKASBOTHHADLINESTHATNEEDEDTOBESPLIT%FFECTSWERE SPLITOFFTOAPRODUCTION&8AND&8!LLTHETEMP!$2CONSISTINGOFADDED LINES WAS MOVED INTO A TEMP !$2 TRACK TO BE REPLACED LATER WITH THE ACTUAL !$24HEDIALOGUEEDITISINCLUDEDINTHEPROJECT7EBSITE

ADR and walla on “Loves Devotion Forever” /RIGINALLYITWASTHOUGHTTHEONLY!$2NEEDEDWASTHEADDEDLINESFROM"URK -ADELINE ANDTHE!GENTONTHEANSWERINGMACHINE THEPREMIERESCREENING ANNOUNCER AND"URKgSAND-ADELINESLINESASTHEYRUNOUTOFTHETHEATERAT THEPREMIERE!FTERATTEMPTINGTOhSAVEv"URKSDIALOGUEONTHEPORCHBEFORE SCENE THE DINNER SCENE IT WAS DECIDED TO REPLACE THESE LINES INSTEAD OF TRYINGTOhFIXITINTHEMIXv "ECAUSE-ADELINESLINESBUTTUPTOBOTHTHE!GENTAND"URKONTHEANSWERING MACHINE TWO!$2TRACKSWERECREATED !$2"URK!GENT!NNOUNCERAND!$2 -ADELINE6OC!,IGNWASUSEDTOTIGHTEN"URKSLINESONTHEPORCHWITHGOOD EFFECT !WALLASESSIONWASPUTTOGETHERTORECORDWALLAFORTHETHEATERANDTHEFINAL SCENE AT THE PIER 0ARTY WALLA WAS PULLED FROM THE EFFECTS LIBRARY !BOUT h"ROOKIESv "ROOKS )NSTITUTE FILM STUDENTS SHOWED UP AND WERE RECORDED IN THE)NSTITUTESCREENINGROOM 3OME OF THE AUDIO REGIONS NEEDED TO BE CLEANED UP 3OME HAD A TRACE OF UNWANTED NOISE SOME HAD SOUNDS THAT NEEDED TO BE CUT OUT /FTEN SOME SMALL SOUND HAPPENS RIGHT IN THE MIDDLE OF DIALOGUE AND YET CAN STILL BE REMOVED(OPEFULLYTHESOUNDISNOTRIGHTONAWORDSOTHATITCANBEEDITED OUTANDTHEHOLEFILLED 3OME LINES WERE PROCESSED WITH !UDIO3UITE PLUG INS 3OME NEEDED GAIN APPLIED SOMEBROADBANDNOISEREDUCTION ANDSOMECLIPREMOVAL

143


Figure 5.22 )NTHIS EXAMPLE AWIRELESSMIC WASBUMPEDDURINGTHE TAKE SEENINTHECIRCLED AREAINTHEUPPERIMAGE !LTHOUGHTHESOUNDIS small, it is more than CANBEREPAIREDWITHTHE PENCILTOOLDRAWINGINA NEWWAVEFORM4HEREFORE INTHESECONDIMAGE THEUNWANTEDSOUNDIS SELECTEDANDWASDELETED Then a short section of AUDIOFROMJUSTBEFORE THEHOLEWASSELECTED COPIED ANDPASTEDINTO THEHOLE6ERYSHORTFADES WEREUSEDTOSMOOTHTHE EDITASSEENINTHEBOTTOM IMAGE

! GREAT TRICK WHEN USING !UDIO3UITE PROCESSING IS TO MAKE A DUPLICATE TRACK BEFORE DOING ANY !UDIO3UITE PROCESSING AND THEN HIDE AND MAKE THE NEW TRACKINACTIVE4HISWAYIFYOUDONEEDTORETURNTOTHEORIGINALYOUCANBRING THE TRACK BACK AND MOVE REGIONS AS NECESSARY /NCE THE PLUG IN IS USED A NEWUSAGEOFTHEAUDIOISPLACEDINTOTHETRACK!NDWHILETHEPLUG INISNOT DESTRUCTIVE THE ORIGINAL MEDIA IS IN THE REGION BIN WITH HUNDREDS OF OTHER SOUNDS )T CAN TAKE SEVERAL MINUTES TO FIND THE ORIGINAL MEDIA IF IT BECOMES NECESSARY TO REMOVE THE PLUG IN )F THERE IS A DUPLICATE TRACK WHICH IS KEPT INACTIVE THEORIGINALMEDIAISALWAYSRIGHTTHEREUNDERTHEFILTEREDSOUND READY TOBEMOVEDBACKTOTHEORIGINALTRACKANDSPOTTEDINTOPOSITIONINSECONDS

Figure 5.23 Several of THEhFINEvLINESINTHE FRONTYARDHADATINY AMOUNTOFCLIPPING 4HEREWASNONEEDTO !$2FORTHIS THEPROBLEM WASSMALLANDTHE"OMB Factory clip remover IMPROVEDTHESOUND

144


Figure 5.24 The apply GAINPLUG INWASUSEDON SEVERALLINESTHATWERE JUSTLOWENOUGHTOBE APROBLEMINTHEMIX .OPROBLEMnAPPLYING gain brought them up to ABETTERLEVELWITHLITTLE EXTRANOISE

/FTENTHEPROBLEMISNOISE(UMCANBEFILTEREDWITHAGOODPARAMETRICFILTER BUTBROADBANDNOISELIKEANAIRCONDITIONERORAFURNACEISAPROBLEM4HESE KIND OF SOUNDS CAN BE HELPED WITH BROADBAND NOISE REDUCTION ".2 4HIS PLUG INSAMPLESTHENOISEANDTHENCREATESATUNEDNOISEGATETOREMOVETHAT CHARACTERISTICNOISE

Figure 5.25 4HE".2 !UDIO3UITEPLUG INISUSED to remove noise that is ATTHESAMEFREQUENCY ASTHEHUMANVOICE)T SAMPLESTHENOISEAND THENREMOVESTHATSOUND WITHOUTAFFECTINGTHE DIALOGUE

(UM AND SOUNDS THAT ARE ABOVE THE RANGE OF THE HUMAN VOICE AS WELL AS BELOW THE HUMAN VOICE CAN BE REDUCED WITH A GOOD NOTCH FILTER OR hPARAMETRICv FILTER 4HESE FILTERS CAN BE TUNED TO A CERTAIN FREQUENCY THAT IS THENATTENUATED4HEREAREMANYSUCHFILTERSAVAILABLEASPLUG INS4HESEVEN BAND%1THATCOMESWITHALL0RO4OOLSSYSTEMSISAGOODTUNABLEFILTERABLETO REMOVEHUM HISS ANDRUMBLE /NESLICKSYSTEMFORREMOVINGHUMISTOTURNTHEGAINONONEOFTHEBANDSALL THEWAYUP THE1TOTHENARROWESTPEAKPOSSIBLE4HENTUNETHE FREQUENCY

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Figure 5.26 The sevenBANDPARAMETRICBY $IGIDESIGNCANBEUSED TOREMOVEHISS HUM AND RUMBLE4HE&2%1KNOBIS ADJUSTEDTOTHEFREQUENCY OFTHESOUNDORHUMTO BEREMOVED THE'!). KNOBISTURNEDDOWN AND THE1ISUSEDTOSETTHE SCOPEOFTHEFILTER

UNTIL THE HUM GETS VERY LOUD 4HEN TURN THE GAIN ALL THE WAY DOWN )T IS EASIERTOHEARTHEHUMGETLOUDERTHANSOFTER2UMBLEANDHISSCANOFTENBE REMOVEDWITHJUSTTHE(0&ORHIGHPASSFILTERFORRUMBLEANDTHE,0&ORLOW PASSFILTERFORHISS 7ITH ALL OF THE DIALOGUE SPLIT OFF INTO TRACKS AND CLEANED UP THE DIALOGUE IS READYFORMIXING0ARTOFTHEKEYTOGOODAUDIOCLEANUPISTOUNDERSTANDWHAT CAN BE DONE AND WILL BE DONE IN THE MIX 9OU DONT NEED TO DO EVERYTHING HEREINFACTYOUWANTTODOASLITTLEASISNEEDED $IALOGUEISTHEHEARTOFTHESOUNDTRACK!LTHOUGHTHEBIGEFFECTSANDDRAMATIC MUSICGETTHEATTENTION ITSTHEDIALOGUETHATMUSTBECLEAN UNDERSTANDABLE ANDhJUSTRIGHTvFORTHESCENE0EOPLEOFTENTALKABOUTTHEOLDSILENTMOVIES 4HESEWEREPROJECTEDWITHLIVEMUSICANDOFTENBASICLIVEEFFECTS"UTWITHOUT DIALOGUE THEFILMISSILENT

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In this chapter #UINGSOUNDEFFECTS&8

-)$)&OLEY

,IBRARYEFFECTS

"ACKGROUNDS

2ECORDINGSOUNDEFFECTS

3URROUNDEFFECTS

#REATINGSOUNDEFFECTS 4RACKLAYOUT 0

6 Sound design

6.1 Cuing sound effects (FX) 3OUND EFFECTS ARE CUED DIFFERENTLY THAN AUTOMATIC DIALOGUE REPLACEMENT !$2 #RITICALLISTENINGISNOTREQUIREDCRITICALTHINKINGIS4HE&8EDITORNEEDS TOPREVISUALIZETHEMIX ALSOCALLEDTHEdub7HATISNEEDEDTOMAKETHISSCENE PLAY *UST BECAUSE THERE IS A PRODUCTION TRACK DOESNT MEAN THE EFFECTS ARE THEREORCLEANENOUGH-OREOVER THEDIALOGUEEDITORMAYHAVECUTTHEMOUT )N THIS CASE YOU MAY WANT TO CUT THE EFFECTS FROM THE PRODUCTION TRACK INTO YOUR EFFECTS TRACK /R THE DIALOGUE EDITOR MAY HAVE MOVED ALL OF THE EFFECTS INTOONEEFFECTSTRACKFORYOU 9OU MAY NEED TO REINFORCE CERTAIN SOUNDS A DOORKNOB A MATCH LIGHTING WHATEVER4HEREWILLBESOUNDSMISSINGBECAUSETHEYWERENEVERRECORDEDOR ARESOUNDSFORVISUALEFFECTS3UBDIVIDETHESOUNDSINTOCOMPONENTS!MASSIVE CHANDELIER CRASHING THROUGH A HEAVY TABLE IS NOT A SOUND YOU WILL FIND IN A LIBRARY .OR DO YOU WANT TO ATTEMPT TO RECORD IT !ND THE PRODUCTION SOUND IFANY ISNODOUBTTHESOUNDOFAPLASTICCHANDLERSMASHINGTHROUGHA BREAKAWAYTABLE,OOKFORAHEAVYWOODCRASH AHEAVYIRONHITOFSOMEKIND 7HATELSECANBESEEN#HAINSRATTLING WOODSPLINTERING GLASSBREAKING PLASTERFALLINGAROUNDTHECHANDELIERnYOUMAYNEEDTRACKS BUTYOUCANBUILD THESOUNDFROMCOMPONENTS -AKE A LIST OF THE SOUNDS YOU NEED AND THEIR TIMECODES 4RY TO REMEMBER THELOOKANDFEELOFTHESCENE3TARTLISTENINGTOLIBRARYEFFECTS7HENYOUFIND SOMETHINGDONTJUSTDUMPITTOYOURDRIVE WRITEDOWNWHEREITCAMEFROM ONYOURCUESHEETS'ETSEVERALOFEVERYTHING-ANYSOUNDSTHATSOUNDPERFECTNOWMAYNOTFITWITHTHEPICTUREWHENYOUTRYIT9OUWILLALSONEEDTOGO OUTANDRECORDMANYOFTHETHINGSYOUNEED4HEREALSECRETTOEFFECTSEDITING ISFINDINGORRECORDINGTHEPERFECTSOUND$ONTTHINKTOOMUCHABOUTTHEREAL SOUND THINKABOUTTHESCENEANDTHEFILMASAWHOLE4HERIGHTSOUNDMAY NOTBETHEMOSThREALvSOUND BUTTHEPERFECTSOUND

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See an animal, hear an animal – the art of sound design 4HERE IS AN OLD hRULEv IN SOUND EFFECT SAYS THAT EVERYTHING SEEN ON CAMERA MUST MAKE A SOUND 0AINTINGS ON THE WALL MAY BE QUIET WHILE IN SOME FILMS FOR EXAMPLE (ARRY 0OTTER EVEN THESE MAKE SOUNDS !NIMALS ARE ALMOST ALWAYS HEARD EVENTHEMOSTSTOICANDQUIETSPECIESTENDTOBECHATTERBOXESONCAMERA !BEARWILLALWAYSGROWL ALIONWILLALWAYSROAR ANDEVENADEERMAYWHIMPER THISDESPITETHEFACTTHATADEERDOESNTWHIMPER)FTHEANIMALCANTMAKESOUND ONCAMERABECAUSEITISNTACTUALLYDOINGANYTHING ITWILLDOITOFFCAMERA !LTHOUGHTHISISANOLDRULE ANDMOSTEDITORSWOULDSAYASTUPIDRULE THEREISA LOGICBEHINDITTHATMUSTBEUNDERSTOOD)TISTHEGOALOFTHEFILMTOTELLASTORY %VERYTHINGINTHEFILMINCLUDINGTHESOUNDEFFECTSMUSTBETRUETOTHESTORY2EALITY ISONLYIMPORTANTWHENITISANELEMENTINTHESTORY)Nh!3PACE/DYSSEY v THE ONLY SOUNDS HEARD IN THE VACUUM OF SPACE ARE BREATHING SOUNDS INSIDE THE SPACESUITS 4HIS IS THE INTENT OF THE FILMMAKER THEREFORE IT IS NECESSARY IN THE SOUNDDESIGNANDISCRITICALTOTHESTORY4HETAGLINEFOR!LIENWARNEDhINSPACE NOONECANHEARYOUSCREAMv"UTWHENWATCHINGTHEFILMTHATSABOUTTHEONLY THINGYOUCANTHEAR%VERYSPACESHIPRUMBLES EVERYHUGELATCHMAKESARESOUNDINGMETALBANGASITOPENS ANDEVENRADIOANTENNASPRODUCEABEEPING CRACKLING SOUND4HE!LIENSNARLSANDGROWLSANDCOMPUTERSCREENSBEEPANDMAKE4ELETYPE SOUNDS!LLOFWHICHISTRUETOTHESTORYANDAPPROPRIATETOTHEFILMMAKERSVISION )FALIONORABEAROREVENASNAKENEEDSALITTLEHELPFROMTHE3$&8TOSEEM MORETHREATENING SOBEIT)FADEERNEEDSTOWHINELIKEADOGTOFEELSAD AND THE STORY IS SUPPORTED BY SOMETHING THAT PEDESTRIAN GO FOR IT ! PRODUCER ONCEDEMANDEDTHATTHEEFFECTSEDITORSTAKEOUTTHESOUNDOFARACCOONAND USETHESOUNDOFASPIDERMONKEYSAYINGh4HATSTHESOUNDARACCOONWOULD MAKEIFITHADACHOICEv+EEPINMINDTHATTHISWASINAFILMWITHATALKING BEAR/N SCREENREALITYISRELATIVETOTHESTORY -ANYOFTHESOUNDSUSEDINTHE&8TRACKSWILLNOTBEINTENDEDTOPROVIDETHE SOUND OF ANY REAL OR UNSEEN THING IN THE SCENE BUT ARE PURELY AN EFFECT n A DRONE WHISPERING VOICES A HEARTBEAT OR WHATEVER 4HESE SOUNDS ARE OFTEN REFERRED TO AS NONDIEGETIC SOUND AS IS THE MUSICAL SCORE $IEGESIS IS A 'REEK WORDFORhRECOUNTEDSTORYv$IEGETICSOUNDISACTUALSOUNDFROMASOURCEON CAMERA OR FROM OFF CAMERA .ONDIEGETIC SOUNDS HELP TO CREATE THE FEEL AND MOOD4HEYMAYEVENTAKETHEPLACEOFORAUGMENTASYNCEFFECT!LIGHTFALLING TO THE GROUND MAY HAVE A CERTAIN DIEGETIC SOUND BUT THE EFFECTS EDITOR MAY INSTEAD USE THE SOUND OF A PIANO FALLING OVER TO CREATE A STARTLING AND UNREALEFFECT!TTIMESSUCHSOUNDSMAYBEMUCHMORELIKEAMUSICALSCORE THEYMAYBEVERYDRAMATICORVERYSUBTLE %FFECTS EDITING IS VERY CREATIVE AND VERY TECHNICAL 4HE SOUND MUST BE HIGH QUALITY ATTIMESCHALLENGINGTHECAPABILITIESOFTHEMOSTADVANCEDRECORDING

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AND PLAYBACK SYSTEMS )T MUST COMPLETE THE SOUNDSCAPE OF THE PRODUCTION RECORDINGANDITMUSTBEIMAGINATIVE ARTISTIC ANDEMOTIONAL 4HERE IS A TENDENCY TO THROW IN THE KITCHEN SINK IN THE EFFECTS EDIT )F TOO MUCH IS PUT INTO THE TRACK IT TURNS TO MUD 4HE EFFECTS EDITOR AND ESPECIALLY THEEFFECTSMIXERINTHEFINALDUBNEEDTOKNOWHOWTOFEATURESOUNDS7HEN THEDIRECTORANDCINEMATOGRAPHERFIGUREOUTTHEFRAMINGOFTHESHOT THEYFEATURETHETHINGSINTHEFRAMEANDREMOVEEVERYTHINGELSE%VENAWIDESHOTOF (ONG+ONGISNOTASHOTOFMILLIONPEOPLEDOINGMILLIONTHINGSITISA SHOTOFONETHINGn(ONG+ONG 4HE FEATURED SOUND IS MOST LIKELY TO BE THE DIALOGUE WHEN THE ACTORS ARE SPEAKING .OTHING IN THE SCENE SHOULD COMPETE WITH THAT UNLESS THE DIALOGUE IS NOT THE FEATURED SOUND FOR SOME STORY REASON )N #LOSE %NCOUNTERS OFTHE4HIRD+INDTHEDIALOGUEINTHEOPENINGSCENEISBURIEDUNDERTHEWIND OF THE SANDSTORM 4HE WIND IS THE FEATURED SOUND UNTIL THE AIRPLANE ENGINES START4HENTHEENGINESARETHEFEATUREDSOUND!TTHEENDOFTHESCENEONE LINE OF DIALOGUE GETS TO BE FEATURED 4HE FEATURED SOUND IS CERTAINLY NOT THE ONLYSOUND BUTEVERYTHINGINTHESCENEISSUPPORTINGTHEFEATUREDSOUND4HIS MAYINVOLVEFINDINGEFFECTSTHATDONOTCOMPETEWITHTHEFEATUREDSOUND)FA JAZZBANDISPLAYING ASAXOPHONEWILLCOMPETEWITHTHEDIALOGUEBECAUSEIT ISASIMILARSOUND)FTHEBANDISAPIANOTRIO THEYCANBEMIXEDMOREFORWARD UNDERDIALOGUEWITHOUTCOMPETING 4HE SAME IS TRUE OF EFFECTS 0ICK SOUNDS THAT DONT COMPETE WITH THE FEATURED SOUNDS)FATRAINISPASSINGBY ITSLIKELYTHATITWILLBLOWITSHORNSEEANANIMAL HEARANANIMAL "UTITSHOULDNOTBLOWITSHORNUNTILITCANBEFEATUREDDONT COMPETEWITHTHEDIALOGUE4HESAMEISTRUEOFMUSICATTIMESTHESCOREWILLBE THEFEATUREDSOUND)FTHEPLANISTOHAVETHESCORECARRYTHECHASESCENE THENA MASSIVEEFFECTSEDITISNOTONLYPOINTLESS ITSCOUNTER PRODUCTIVE)FTHEEFFECTSARE MIXEDUP THEYWILLONLYCOMPETEWITHTHEMUSIC4HEMUSICMAYBESCOREDTO LETTHEEFFECTSBEFEATUREDATTIMESINTHESCENE)FTHEREISABIGCRASHOREXPLOSION INTHESCENETHISEFFECTWILLMOSTCERTAINLYBEPLAYEDUP ANDTHEMUSICSHOULDBE SCOREDANDORMIXEDTOLETTHISBEFEATURED)FNOT THEMIXWILLBEMUD -ANY OF THE FEATURED SOUNDS ARE INTEGRAL TO THE STORY AND ARE IN THE SCRIPT 4HEACTORSMAYREACTTOTHEM BUTINMANYCASESTHEYAREINTHESCRIPTWITHOUT ANYOUTWARDSIGNSINTHEACTION4HEEFFECTSEDITORNEEDSTOHAVETHESCRIPTTO UNDERSTANDTHESEFEATUREDSOUNDS

6.2 Library effects -ANY OF THE SOUNDS NEEDED IN THE EDIT MAY BE FOUND IN AN EFFECTS LIBRARY 4HEREAREMANYGOODLIBRARIESONTHEMARKET3OUND)DEAS (OLLYWOOD%DGE .ETWORKANDSCORESOFOTHERS4HELIBRARIESAREUSUALLYSOLDAS#$S BUTSOME

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EFFECTS CAN BE DOWNLOADED ONLINE 4HE #$ OPTION IS USUALLY MUCH CHEAPER PER EFFECT BUT YOU MAY BUY EFFECTS AND USE TWO )N THE LONG RUN ITS STILLAGOODINVESTMENT4HEYAREALSOUSUALLYIN!UDIO)NTERCHANGE&ILE&ORMAT !)&& FORMAT BUT ARE BECOMING AVAILABLE AS BROADCAST WAVE FORMAT "7& 4HE ENTIRE LIBRARY CAN BE PLACED ON A DRIVE AND IMPORTED AS NEEDED 4HE RIGHTSARENORMALLYhBUYOUTv9OUCANUSETHEMWITHOUTPAYINGROYALTIESFOR ASLONGASYOUOWNTHE#$S BUTYOUCANTRESELLTHEEFFECTS ,IBRARIESCONTAINTHOUSANDSOFSOUNDSANDMAYHAVETHESOUNDYOUARELOOKING FOR IF YOU CAN FIND IT !N EFFECTS LIBRARY WITHOUT A GREAT SEARCH ENGINE IS USELESS )F YOU ARE LOOKING FOR A WATERFALL A #$ NAMED hWATER EFFECTSv WITH EFFECTSCALLEDTRACK ANDSOFORTHISAWASTEOFTIMESOPROFOUNDYOU MIGHTASWELLJUSTFLYTO.IAGRAANDRECORDTHEEFFECT)TWILLBEFASTER!GOOD SEARCH ENGINE HITS ON WORDS LIKE hWOOD v hHIT v hFALL v hBREAK v AND hBYv 3EARCH FOR EXPRESSIONS LIKE hCAR BY v NOT hCAR PASSING v AND hBODY FALLv NOT hPERSON FALLING DOWNv -OST OF THE GOOD LIBRARIES HAVE THEIR SEARCH ENGINE ONLINE 4HIS HELPS SELL THE EFFECTS LIBRARIES BUT IT IS A GREAT ADVANTAGE TO THE EDITOR9OUCANSEARCHFROMANYWHEREYOUCANGETONLINE ,ETSSAYWEARELOOKINGFORWOODCRASHESFORTHECHANDELIERCRASHINGTHROUGH THE WOOD TABLE EFFECT WE DISCUSSED EARLIER ,ETS GO TO 3OUND )DEAS AND SEE WHATCOMESUP

Figure 6.1 3OUND)DEAS ONLINESEARCHENGINE 3OUND)DEASISONEOFTHE LARGESTSUPPLIERSOFSOUND effects in several formats INCLUDING-)$)

7EHAVEENTEREDhBIGWOODCRASHv4HISISONLYONEOFMANYSOUNDSWEWILL NEEDTOMAKETHISEFFECT BUTITSAGOODSTART

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Figure 6.2 Search results FORhBIGWOODCRASHv

!LTHOUGHSEVERALOFTHEEFFECTSLISTEDIN&IGLOOKLIKESOMETHINGTHATWILL WORK THE ONLY WAY TO KNOW IS TO LISTEN AND THIS SEARCH ENGINE ONLY DIRECTS USTOTHEPROPERPLACEINOURLIBRARY4HISISMUCHSLOWERASWHATLOOKSLIKEA GREAT EFFECT LIKE 86 MAY NOT SOUND AS GOOD AS WE THINK IT WILL 3OME SEARCHENGINESALLOWFORPREVIEWINGRIGHTINTHESEARCHENGINE /NE GREAT WAY TO SEARCH IS IF THE AUDIO HAS BEEN ENCODED AS "7& AUDIO "ECAUSE"7&CANCONTAINMETADATAABOUTTHECLIP THISCANBESEARCHEDWITH ANY SEARCH ENGINE 4HE PROBLEM IS THAT FOR YEARS SOUND EFFECTS HAVE BEEN OFFERED ONLY AS !)&& WITH NO METADATA 4HE SEARCH INFORMATION IS CONTAINED INASEARCHABLEDATABASETHATDIRECTSTHEEDITORTOTHEAUDIOORINSOMECASES PREVIEWSTHECLIPASALOW RESOLUTION-0OR7!6 .ET-IX 0RO IS A SEARCH ENGINE DESIGNED TO NOT ONLY SEARCH "7& FROM METADATA BUTALSOTOASSISTINCONVERTING!)&&LIBRARIESTO"7&WITHTHEINFORMATION FROMTHEDATABASEENCODEDASMETADATA0ROSOUNDEFFECTSISOFFERINGALLOFTHE MAJORSOUNDLIBRARIES OVEREFFECTS ASTURNKEY.ET-IX0RO"7&MEDIA WITHMETADATA 4HE0RO4OOLS$IGI"ASECANSEARCHANDPREVIEWANYMEDIAINCLUDINGTHIS"7& MEDIA4HECOMMENTSCOLUMNINTHE$IGI"ASEWILLDISPLAYUPTOCHARACTERSOFMETADATA!)&&AND3$))CANBESEARCHEDASWELL BUTBECAUSETHEREIS NOCOMMENTMETADATA SEARCHINGBYKEYWORDSWILLONLYSEARCHTHENAMEOF THE CLIP /FTEN THIS WORKS WELL DEPENDING ON THE AMOUNT OF INFORMATION IN THECLIPNAME $IGI"ASEISUSEDTOSEARCHTHEENTIREWORKSPACE INOTHERWORDSALLMOUNTED DRIVES FOR NEEDED SOUNDS +EYWORDS CAN BE ENTERED INTO THE FIND AREA AND ANY OR ALL DRIVES SEARCHED FOR POSSIBLE SOUNDS !S THIS TAKES TIME THE SEARCH ISMUCHFASTERIFALLSOUNDEFFECTSANDOTHERSOUNDSARESTOREDINADEDICATED AREA PREFERABLY ON A DEDICATED DRIVE 4HIS WAY THE SEARCH CAN BE LIMITED TO THATDRIVEANDNOTIMEWILLBELOSTSEARCHINGALLDRIVESANDUNRELATEDFILES

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7HENEVERAFOLDERISOPENEDIN$IGI"ASE ITISINDEXED)NDEXINGISTHEPROCESS OF READING THE MEDIA FILES EXTRACTING THE METADATA AND NAMES FOR EACH FILE THENSTORINGTHEDATAINADATABASESOTHATITMAYBEDISPLAYEDINTHECOLUMNS OF THE $IGI"ASE BROWSER !LTHOUGH THIS TAKES ONLY A FEW SECONDS FOR A FOLDER WITHOR+"OFMEDIA ITMAYTAKEAMINUTEORTWOTOINDEXANENTIRE LIBRARY IF EVERYTHING IS IN ONE FOLDER 5SUALLY FOLDERS ARE KEPT IN THEIR ORIGINAL LAYOUTFROMTHEIRORIGINAL#$S!LTHOUGHTHISMEANSHAVINGHUNDREDSOFFOLDERSANDSUBFOLDERS THISISTHEBETTERANDFASTERSYSTEM )TISALSOPOSSIBLETOGENERATEWAVEFORMPLOTSFORTHESOUNDSTHATAREDISPLAYED IN THE WORKSPACE 4HE WAVEFORMS ARE CREATED WITH THE hCREATE WAVEFORMSv COMMAND IN THE $IGI"ASE TOOLBOX 4HIS CAN TAKE SOME TIME DEPENDING ON THE AMOUNT OF MEDIA IN THE FOLDER &OR THIS REASON YOU MAY WANT TO INDEX ANDCALCULATEWAVEFORMSFORYOURSOUNDEFFECTSFILESPRIORTOSTARTINGAPROJECT TO SPEED THE EDITING LATER ON )F YOU SELECT THE TOPMOST FOLDER OR EVEN THE ENTIREDRIVEANDUSETHEhCREATEWAVEFORMSvCOMMAND ALLSOUNDFILESINTHE FOLDERORONTHEDRIVEWILLBECALCULATED4HISMAYTAKEALLNIGHT BUTONCEITS DONE ITS DONE 4HE INDEXED WAVEFORMS WILL BE INSTANTLY AVAILABLE WHENEVER ANYFOLDERISOPENEDINTHEWORKSPACE )NDEXINGREWRITESTHEDRIVEINDEXANDLINKSTHISTOTHE$IGI"ASE&ORTHISREASON YOUSHOULDALWAYSKEEPYOURMEDIAINDEDICATEDFOLDERS PREFERABLYONDEDICATEDDRIVES.EVERSTOREMEDIAINTHESYSTEMFOLDERORWITHTHEOPERATINGSYSTEM OR APPLICATIONS OR ANY KIND OF APPLICATION SUPPORT /RGANIZE THE MEDIA INTOFOLDERSASITISPLACEDONTHEDRIVE4HISISMUCHSIMPLERTHATORGANIZING AFTERTHEFACT /N ($ SYSTEMS AND ,% SYSTEMS WITH $6 4OOLKIT A CATALOG CAN BE CREATED FROM INDEXED MEDIA 4HE CATALOG CAN BE USED AS A hMINI LIBRARYv OF MEDIA FOR INDIVIDUAL PROJECTS )N THE TOOLBOX ICON YOU WILL FIND hCREATE CATALOGv 3OUNDS CAN BE SEARCHED IN THE WORKSPACE AND DRAGGED INTO THE CATALOG 4HESE SOUNDS WILL NOT BE IMPORTED AND COPIED INTO THE AUDIO FOLDER UNTIL THEYAREUSEDINTHETIMELINE4HISWAYANYTHINGYOUFEELYOUMAYWANTTO USECANBEPLACEDINTHECATALOG WITHOUTSPENDINGTIMEIMPORTINGORCOPYINGUNLESSYOUACTUALLYUSETHESOUND4HEREARESEVERALREASONSTOCREATEA CATALOGONSOMEPROJECTS)FSEVERALEDITORSAREWORKINGONDIFFERENTREELSOF THEFILM THESUPERVISINGEDITORORSOUNDDESIGNERCANPICKALLOFTHESOUNDS TOUSEINTHEPROJECT!LLEDITORSWILLBEUSINGTHEhAPPROVEDvSOUNDSINTHE CATALOG 4HIS HELPS ASSURE CONSISTENCY THROUGH THE SHOW ! CATALOG IS ALSO A GREAT WAY TO hTAGv SOUNDS AS YOU FIND THEM WITHOUT ACTUALLY ATTEMPTING TOCUTTHEMIN4HISCANSPEEDTHESEARCHINGPROCESS!NDONA46SERIESA CATALOGISAWAYTOKEEPALLOFTHESOUNDSTHATAREUSEDINMOSTSHOWSINAN EASYTOFINDPLACE3UBCATALOGSCANBEUSEDFORTHEINDIVIDUALSHOWS!FEW HOURS SPENT CREATING AND MAINTAINING SUCH A CATALOG CAN SAVE HUNDREDS OF HOURSOFEDITING

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$ATABASECOMMENTSINACATALOGARESTOREDINTHECATALOGDATABASE$ATABASE COMMENTS CANBEUPTOCHARACTERS ARESEARCHABLE CROSS PLATFORM AND EDITABLE 4O CREATE A CATALOG OF A FOLDER AND ITS COMMENTS SIMPLY DRAG AND DROP THE FOLDER ONTO THE CATALOG ICON IN THE WORKSPACE BROWSER 0RO 4OOLS INDEXESTHEFOLDER THENCREATESTHECATALOGWITHTHESAMENAMEASTHEFOLDER #ATALOGS ARE AN EXCELLENT WAY TO MANAGE THE SOUND EFFECTS MEDIA FROM THE LIBRARY 9OU CAN CREATE A CATALOG FOR EFFECTS OR SEVERAL CATALOGS FOR TYPES OF EFFECTSANDFILLEACHWITHTHESOUNDSYOUINTENDTOUSEINTHEEDIT4HENSIMPLY DRAGTHECLIPSFROMTHECATALOGINTOTHETIMELINE!LLOFTHEFILESREFERENCEDBY THECATALOGWILLBECOPIEDINTOTHESESSIONAUDIOFOLDER

Figure 6.3 The Pro 4OOLSWORKSPACECANBE USEDTOSEARCHALLDRIVES FORSOUNDSANDPREVIEW RIGHTIN0RO4OOLS&OUND SOUNDSCANBEDRAGGED DIRECTLYINTOTHETIMELINE ORREGIONBIN

4HE7ORKSPACEISOPENEDINTHEWINDOWMENU&ROMHEREYOUHAVEACCESS TO ALL DRIVES AND ALL FOLDERS !FTER A VOLUME IS INDEXED IT IS INSTANTLY AVAILABLE FOR SEARCHING OR PREVIEWING )F THE FOLDER IS CLOSED BEFORE INDEXING IS COMPLETE THE PROCESS WILL RESUME AS SOON AS THE FOLDER IS REOPENED HOWEVER CALCULATING WAVEFORMS GOES ON IN THE BACKGROUND EVEN IF THE FOLDERS ARECLOSED)FTHECONTENTSAREALTERED THEINDEXINGWILLBEUPDATEDWITHOUT REINDEXINGALLOFTHEOTHERMEDIA)FFOLDERSAREKEPTSMALL THEPROCESSGOES QUICKLY AS THE FOLDER IS FIRST OPENED AND ALLOWS FOR INDEXING AS YOU BROWSE ANDEDIT)FYOUAREINDEXINGYOURENTIREEFFECTSLIBRARY YOUMAYWANTTODO ITOVERNIGHT 3EARCHINGISPERFORMEDWITHTHESEARCHFUNCTIONMAGNIFYINGGLASS #LIPSCAN BE DRAGGED INTO THE CATALOG OR DIRECTLY INTO ANY TRACK IN THE TIMELINE 4HIS COPIESTHEMEDIAINTOTHESESSIONSAUDIOFILESANDIFNECESSARY TRANSLATESTHE MEDIAINTOTHECURRENTFORMAT

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Creating a catalog for “Loves Devotion Forever” 7ITH ALL OF THE INDEXED SOUND EFFECTS LIBRARIES MOUNTED TO ONE OF THE ($ SYSTEMS THE WORKSPACE WAS OPENED &ROM THE BROWSER MENU TOOL BOX ICON ANEWCATALOGWASCREATEDCALLEDhHARDEFFECTSv!NEWFOLDEROPENED BYTHISNAME .OWTHESEARCHBEGINSFOREFFECTSUSINGTHEVOLUMEBROWSER#LICKINGONTHE SEARCH ICON MAGNIFYING GLASS OPENS A SEARCH WINDOW THAT IS LIMITED TO THE EFFECTS VOLUME ! KEY WORD OR WORDS ARE ENTERED INTO THE FIND WINDOW !S THESELIBRARIESARE!)&& THEREISNOMETADATAOTHERTHANTHECLIPNAMES4HISIS WHEREHAVINGTHECOMMENTSINFORMATIONINTHEEFFECTSDATABASEOREVENBETTER ASMETADATAIN"7& WOULDBEAHUGETIMESAVER!SITISTHESEARCHWILLBE BYVOLUMEANDCLIPNAMESANDWILLRETURNMANYEFFECTSTHATWILLNOTWORKWITH THESCENE4HISSEARCHINGCANBETOANYVOLUME EVENA#$INSERTEDINTOTHE DRIVE)FTHELIBRARYWASNOTALREADYINDEXED EACHDIRECTORYANDSUBDIRECTORY WOULDNEEDTOBEINDEXEDTAKINGQUITEABITOFTIMEDEPENDINGONHOWMUCH ISINTHEDIRECTORY !S USABLE SOUNDS ARE FOUND THEY ARE DRAGGED INTO THE HARD EFFECTS CATALOG 7HENTHEHARDEFFECTSCATALOGISOPENEDALLOFTHEEFFECTSAREPRESENTANDSEARCHABLEFOREDITINGDIRECTLYINTOTHETIMELINE4HECATALOGISSTILLLINKEDTOTHESOUND EFFECTSVOLUME)FTHATDRIVEISUNMOUNTEDALLOFTHEEFFECTSGOOFFLINE7HENTHE CLIPS ARE DRAGGED INTO THE TIMELINE EACH CLIP IS COPIED OR CONVERTED FROM THE EFFECTSVOLUMEINTOTHESESSIONAUDIOFILESFOLDERONTHESESSIONVOLUME

6.3 Recording sound effects 6ERYOFTENTHEREWILLNOTBEANYLIBRARYEFFECTTHATWILLWORKFORTHEEFFECTAND THE SOUND WILL NEED TO BE RECORDED OR CREATED %VEN IF THE LIBRARY EFFECT IS GOOD ITMAYNOTBETHEEXACTSOUNDNEEDED/RITMAYSIMPLYNOTBEUNIQUE ENOUGH 2ECORDING AN EFFECT IS NOT MUCH DIFFERENT FROM PRODUCTION RECORDING EXCEPTTHEREISNONEEDTOMAKECONCESSIONSFORTHEPRODUCTIONCREWAND THEIRNEEDS-UCHMORETIMECANBESPENTSETTINGUPTHETAKEANDFINDINGTHE PERFECTMICPLACEMENT/NEOFTHEBIGGESTCHALLENGESISFINDINGAQUIETPLACE TOWORK/FTENTHEEFFECTSNEEDTOBERECORDEDOUTSIDE ANDTHISMEANSFINDINGAQUIETPLACEWITHNOBIRDS WIND AIRPLANES ORTRAFFIC5NLESSYOUWANTTO TRAVELTOTHE3ALT&LATSTORECORDQUITEADRIVEBUTITWORKSWELL THISUSUALLY MEANS RECORDING AT NIGHT OR IN THE EVENING BEFORE THE CRICKETS BECOME A PROBLEM4HISMAYBEINANUNEXPECTEDPLACESUCHASANINDUSTRIALPARKTHAT ISEMPTYATNIGHT ORACEMETERY/NCEYOUFINDAPLACEYOUWILLPROBABLYBE RECORDINGTHEREOFTENTOGETTOKNOWTHENEIGHBORS,ETTHEMKNOWWHATYOU AREUPTOANDALSOINFORMTHEPOLICE4HEYMAYWANTYOUTOGETAPERMITIN WHICHCASEYOUMAYWANTTOFINDADIFFERENTPLACE

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Figure 6.4 /FTENTHE ONLYWAYTOGETTHE PROPERSOUNDISTORECORD ITINTHEFIELDORSTUDIO

9OURRECORDINGMAYBEVERYLITERALORITMAYBESOMETHINGYOUWILLBEUSING TOCREATESOMETHINGELSE9OUMAYBESMASHINGPUMPKINSWITHASLEDGEHAMMER SHOOTING ARROWS CHAIN SAWING WOOD RECORDING AUTOMOBILE EFFECTS THROWINGLARGEROCKSINAPOND ORJUSTABOUTANYTHINGYOUCANDOOUTDOORS )FTHESOUNDISOFSOMETHINGTHATCANBERECORDEDONSTAGEORINTHESTUDIO THENTHATSTHEBESTPLACETORECORDIT-ANYTIMESYOUWILLBEOUTSIDEBECAUSE YOUNEEDTOGOTOTHESOUND9OUMAYBEAFTERHORSESONARANCH ATRACTOR PLOWINGAFIELD ANIMALSOUNDS ORWHATEVERTHESCENECALLSFOR !SALWAYS THINKINTERMSOFCOMPONENTS9OUMAYWANTTOPLACEAMICUNDER THEHOODOFTHESPORTSCARANDGETJUSTTHEENGINESOUNDSDRIVING4HENRECORD INSIDETHECARSINTERIOR4HENBYS INS TIRESONDIRT TIRESONPAVEMENT ANDSO FORTH$ONTTRYTOPUTEVERYTHINGINTOTHERECORDINGATONCE 4HIS IS ALSO TRUE OF STEREO BACKGROUNDS 4RY NOT TO RECORD THE RESTAURANT 2ECORD THE PEOPLE IN THE RESTAURANT IN ONE RECORDING AND THE DISHES AND MOVEMENTINANOTHER)FTHEREISMUSICINTHEBACKGROUND ITSUSELESS7HILE YOUMAYWANTMUSICINTHEFINALSCENE THISISMUSICANDTHEREARERIGHTSPROBLEMS MIXPROBLEMS ANDTHEDIRECTORWILLWANTSOMETHINGELSEANDTHENTHE WHOLETHINGISOUT%VENARAILROADYARDSHOULDNOTHAVEANYNOTICEABLEHORNS )TSBETTERIFTHEYAREONTHEIROWNTRACK4HISWAYYOUCANPLACETHEMWHERE YOUWANT ASMANYASYOUWANTANDASLOUDASYOUWANT $ONT BE AFRAID TO BACK AWAY WITH THE MIC OR GET VERY CLOSE IF THATS WHAT YOUTHINKWILLWORK4HECONVENTIONALWISDOMISRECORDSOMEWHATCLOSEYOU CANADDREVERBBUTYOUCANTTAKEITAWAY!LTHOUGHBACKINGOUTISRISKY THE RESULTSMAYBEWORTHIT

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6.4 Creating sound effects #REATINGSOUNDSUSUALLYSTARTSWITHRECORDINGASOUND)FYOUAREGOINGTOTURN ADONKEYBRAYINTOADRAGONROAR,ORDOFTHE2INGS YOUWILLNEEDACERTAIN DONKEY SOUND THAT MAY REQUIRE RECORDING LOTS OF DONKEYS BEFORE YOU HAVE SOMETHINGTOWORKWITH 4HECLASSICALTERATIONISSLOWINGTHESOUNDDOWNANDORPITCHSHIFTINGDOWN !LTHOUGHTHISISSIMPLE ITCANBEVERYEFFECTIVE%DITINGISCRITICAL)TSNOTLIKELY THECOWSOUNDYOURECORDEDISPERFECT9OUMAYNEEDTOREMOVESOMEOFTHE MIDDLEANDSHORTENTHETAIL3LOWITABITANDITSADEMON3PEEDITABITAND ITSAZOMBIE /NE OF THE CHALLENGES IS DIGITALLY MODIFYING THE SOUND WITHOUT IT SOUNDING DIGITALORELECTRONIC5NLESSYOUARETRYINGTOCREATEADIGITALSOUNDFORAROBOT VOICE THENITSFINE"UTADIGITALSOUNDINGBEARJUSTISNTGOINGTOCUTIT/FTEN THE OLD ANALOG DEVICES CAN BE A BIG HELP 3LOWING THE EFFECT DOWN ON THE .AGRAISAVERYNATURALEFFECTEVENIFTHESOUNDISSLOWED$IGITALPITCH SHIFTINGSOUNDSELECTRONICIFTAKENTOOFAR 4HE BEST WAY TO AVOID A DIGITAL OR ELECTRONIC SOUND IS TO USE DIGITAL EFFECTS VERYSPARINGLY2ELYMOREONEDITING MIXINGSOUNDSTOGETHER RERECORDINGIN STRANGE ENVIRONMENTS LIKE UNDERWATER OR INSIDE THE METAL TANK OR ANYTHING ELSE YOU CAN DREAM UP 4HE GOOD NEWS IS THAT ANYTHING MIGHT WORK .O ONEHASEVERHEARDTHESOUNDOFHOTKRYPTONITEFALLINGINCOLDWATERORTHE VOICE OF A MUMMY 4HE LAST PERSON TO HEAR THE SOUND OF A CHARGING SABER TOOTHTIGERDIDNTTELLANYONEABOUTIT4HISMEANSYOUCANHAVEFUNANDBE CREATIVE 4HINK OUTSIDE OF THE BOX OR PUT THE MIC IN THE BOX AND RERECORD THESOUND ,ETSLOOKATSOMECLASSICSOUNDALTERINGEFFECTSTHATCANBEDONEIN0RO4OOLS

Rereversing

Figure 6.5 2EVERSING ANDEVENREREVERSING THESOUNDCANBEUSED TOCREATEUNIQUENEW SOUNDS

!SOUNDCANBEREVERSEDUSINGTHEAUDIOSUITEPLUG INhREVERSEv4HEREVERSED SOUNDCANTHENBESLIGHTLYALTEREDANDTHENREREVERSEDWITHTHEREVERSEAUDIO SUITEPLUG IN4HISCANBEUSEDINCONJUNCTIONWITHMANYEFFECTSHOWEVER THE CLASSICEFFECTISTOSLIGHTLYREVERBTHEREVERSEDSOUNDBEFOREREREVERSING 158

Sound design

Key gating /NE SOUND CAN BE USED TO CONTROL THE VOLUME OF ANOTHER BY APPLYING A GATE TO THE SOUND YOU WANT TO CONTROL KEYED BY THE OTHER SOUND ,ETS SAYYOUWANTTOMAKEADEMONVOICEWITHSOMETHINGOFCATQUALITY)FYOU

Figure 6.6 5SINGAGATE WITHASIDECHAINCAN ALTERTHEGATEDSOUND WITHTHEDYNAMICSOFTHE KEYSOUND

SPENDSOMETIMERECORDINGANDTWEAKINGACATGROWL SNARLTHISCANBETHE BASIS OF THE VOICE 0LACE THIS IN ONE TRACK AND APPLY A GATE TO THAT TRACK 0LACE THE RECORDED DIALOGUE IN ANOTHER TRACK (OPEFULLY THE LINE ALREADY HAS A DEMON LIKE PERFORMANCE SO THAT WE ARE SIMPLY ADDING A SUBTLE EFFECT TO HELP IT OUT 3ET THE SIDE CHAIN INPUT OF THE CAT EFFECTS GATE TO THEDIALOGUETRACKANDSELECTEXTERNALKEY.OWTHEVOLUMEOFTHEVOICEIS CONTROLLING THE VOLUME OF THE CAT EFFECT "LEND THE TWO TOGETHER AND YOU MAYHAVESOMETHINGTHATWORKSINTHESCENE/RITMAYBEJUSTPARTOFTHE EFFECTTHEMODULATEDCATTRACKCANBEFURTHERMANIPULATEDBEFOREMIXING IT BACK WITH THE DIALOGUE ANDOR THE DIALOGUE MAY NEED TO BE MANIPULATEDBEFOREITISUSEDTOGATETHECATEFFECT4HISWORKSWELLWITHREREVERSING 4HE DIALOGUE CAN BE REVERSED USED TO GATE THE EFFECT AND THEN THE LINEANDEFFECTREVERSEDSOTHATTHELINEISPLAYINGFORWARDANDTHEEFFECTIS PLAYING BACKWARD .OW THATS DEMONIC 4HE 3OUND2EPLACER PLUG IN DOES SOMETHINGSIMILAR

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Speeding up, slowing down, and pitch shifting 3PEEDINGUP SLOWINGDOWN ANDPITCHSHIFTINGAREALLRELATEDANDCANBEUSED TODRAMATICALLYALTERASOUNDEFFECT5SINGTHEPITCHSHIFT!UDIO3UITEPLUG INWITH TIME CORRECTION ONLY SHIFTS THE PITCH 7HEN USED WITHOUT TIME CORRECTION THE PITCHSHIFTPLUG INALSOSPEEDSORSLOWSTHESOUND%FFECTSCANSOUNDELECTRONIC IFTAKENTOOFAR BUTSLOWINGANDSPEEDINGWITHPITCHSHIFTCANBEDONEONAN ANALOG RECORDER LIKE THE .AGRA 3IMPLY RECORD AT A HIGH SPEED AND PLAY AT A LOWERSPEED7HENTHESPEEDISSLOWEDDRAMATICALLY AHIGH PITCHEDWHISTLECAN BEHEARD4HISISTHERECORDERSBIASSHIFTINGDOWNINTOTHEAUDIBLERANGE4HIS CANBEREMOVEDWITHANOTCHFILTER5SINGANANALOGRECORDER THESOUNDCANBE SHIFTEDASFARASYOUWANTWITHOUTEVERBECOMINGELECTRONICSOUNDING

Special plug-ins 4HERE ARE MANY PLUG INS DESIGNED TO ALTER SOUNDS INTO SOMETHING UNUSUAL #OSMONAUT6OICEISUSEDTOCREATEANANTIQUEWALKIE TALKIERADIONOISE)TCAN BEUSEDTOhFUTZvOTHERSOUNDSTOSOUNDLIKETHEYAREPLAYINGTHROUGHARADIO ORTELEPHONE,O &IALSOISUSEDFORTHISEFFECT 3OME PLUG INS CREATE A FULLER BASS SOUND 7ITH EFFECTS THIS IS OFTEN DONE BY SLOWINGTHEEFFECTDOWN WHILESUBHARMONICSCANBECREATEDWITH2ECTIFYAND 3ANS!MP 4HIS CAN MAKE THUNDER BIGGER AND BODY FALLS SOUND LIKE ELEPHANT FALLS7AVES-AXX"ASSUSESANOLDTRICKINAVERYNEWWAY)NSTEADOFADDING LOWERFREQUENCIESTOTHESOUNDITADDSHIGHERFREQUENCIESTHAThBEATvAGAINST THE LOWER SOUNDS 3MALLER PIPE ORGANS HAVE USED THIS EFFECT FOR OVER A YEARS! FOOTAND FOOTPIPEPLAYEDTOGETHERCANSOUNDLIKEA FOOTPIPE WITHOUTTHENEEDOFAFOOTHIGHROOM-AXX"ASSDOESBASICALLYTHESAME THING/NEHUGEADVANTAGEOVERSUBSONICSYSTEMSISTHATTHELOWFREQUENCIES ARESYNTHESIZEDINTHESCREENINGROOM NOTPLAYEDBYTHESPEAKERS4HISMEANS THATTHISEFFECTWILLEVENMAKESMALLHOMESCREENINGSYSTEMSSOUNDBIGGER 4HEREARESCORESOFPLUG INSANDTHOUSANDSOFWAYSTOALTERSOUND/NESOUND EDITORWENTSOFARASTOTURNHISEFFECTSINTO-)$)SAMPLESANDPLAYTHESOUND EFFECTSINTOTHETRACKSWITHHISGUITAR)TS/+TOGOALITTLENUTSANDCREATIVEAS LONGASITWORKSWITHTHEFILMANDTHEPRODUCERANDDIRECTORLIKEIT!NDLIKEALL SOUNDS LEAVEASMUCHCONTROLASYOUCANTOTHEFINALMIX4HESOUNDNEEDSTO BESHAPEDINTHEMIXTOWORKWITHTHESCENE

6.5 Track layout )N EDITING THE EFFECTS TRACKS USE A LOGICAL TRACK LAYOUT -ANY EDITORS LIKE TO PUT THE MORE SYNC SPECIFIC SHORTER EFFECTS LIKE A DOOR SLAM IN THE HIGHER LOW NUMBER TRACKS LESS SPECIFIC SOUNDS LIKE A CAR BY OR A TARP FLAPPING IN THE WIND IN THE MIDDLE TRACKS AND BACKGROUNDS IN THE LOWEST TRACKS HIGH 160

Sound design

NUMBER 4HISWAYWHENYOUHAVEEFFECTSTRACKSANDTHEREISAGUNSHOTTHAT ISGIVINGTHEMIXERAPROBLEM THEYCANGORIGHTTOTHEAREAINTHETRACKSTHEY KNOWYOUWOULDHAVEPLACEDIT

Backgrounds and ambiences %VERY LOCATION SHOULD HAVE A UNIQUE BACKGROUND SOUND "' 4HIS MAY BE SEVERALTRACKSWIND BIRDS STREAM TRAFFIC ANDSOFORTH4HEBACKGROUNDHELPS TODEFINETHELOOKANDFEELOFTHESCENE3OMETIMESTHEBACKGROUNDSAREhSUBMIXEDvINTHEFINALMIXTOMAKEITSIMPLER4HEBACKGROUNDSAREASSIGNEDTOA GROUPFADERANDTHEUNDERLYING"'TRACKSHIDDEN9OUHAVECONTROLOFTHE"' THROUGHITSFADERANDIFTHESUBMIXISWRONGYOUSTILLHAVEACCESSTO ANDCONTROLOF THEINDIVIDUALTRACKS/RTHEBACKGROUNDSCANBEPREMIXEDINSIDETHE SESSIONTOAhNESTEDvTRACKANDTHEORIGINALTRACKSMADEINACTIVE4HISISALSO CALLEDhPINGPONGINGv )FTHETRACKCOUNTISBECOMINGTOOHIGHFORAGIVENSYSTEM MANYEFFECTSCAN BEPREMIXEDINTHISMANOR&OREXAMPLE THEMASSIVECHANDELIEREFFECTCOULD BE PREMIXED INTO ONE EFFECT "UT ALWAYS SAVE THE PREMIX INACTIVE TRACKS n IN THEFINALDUBYOUMAYWANTTOHEARMOREOFTHEPLASTERFALLINGEFFECT ANDTHE ONLYWAYTODOTHATISTOGOBACKTOTHEPREMIXANDREMIX

Foley &OLEYISASPECIALKINDOFSOUNDEFFECTRECORDEDONA&OLEYSTAGEINSYNCWITH THEPICTUREANDGUIDETRACK/NLARGEPROJECTSTHEREISOFTENONEOREVENTWO &OLEYEDITORS-OREOFTEN &OLEYISHANDLEDBYTHEEFFECTSEDITOR&OLEYISCUED EARLYINTHESOUNDDESIGN OFTENAS!$2ANDEFFECTSAREBEINGCUED4HEUSUAL THINGS RECORDED ON THE &OLEY STAGE ARE FOOTSTEPS CLOTH MOVEMENT AND ANY SYNC EFFECTS TO SYNC SPECIFIC FOR WILD RECORDING OR LIBRARY EFFECTS ! GLASS OF WATERISBEINGPOUREDANDDRUNK SETTINGDOWNABOXOFJUNK ASLAPORPUNCH EVENSOMETHINGLIKEABLOCKOFWOODBEINGSANDED/FTEN&OLEYISUSEDWHEN THEEFFECTISHARDTORECORDOUTDOORSBECAUSEOFBACKGROUNDNOISE4HEUSUAL &OLEY CREW CONSISTS OF A &OLEY MIXER AND BECAUSE THE CHIEF PRODUCT OF THE &OLEYISFOOTSTEPS TWOhSTEPPERSvWITHLOTSOFSHOES 4HE&OLEYSTAGEISSIMILARTOAN!$2STAGEANDOFTENISUSEDASAN!$2STAGEAT TIMES EXCEPTA&OLEYSTAGEHASVARIOUSFLOORSURFACESANDhPITS vDEPRESSIONSIN THEFLOORTHATCANBEFILLEDWITHSAND DIRT WATER ANDSOFORTH4HEREAREALSO HUNDREDSOFPROPSAROUNDA&OLEYSTAGETHATATTIMESRESEMBLESATHRIFTSTORE 2ECORDING &OLEY IS A HIGH GAIN SITUATION THE SOUNDS ARE OFTEN SMALL AND THE MIC PLACEMENT IS USUALLY AT SOME DISTANCE 4INY UNWANTED SOUNDS ARE A PROBLEM 3TOMACH GROWLS BREATHING AND UNWANTED MOVEMENT SOUNDS ARE OFTENPICKEDUPBYTHEMICANDREQUIRERETAKING!VERYCLEANMICPREISALSO NECESSARY

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Figure 6.7 &OLEYWALKER -IKE#RABTREEWALKSTHE 7ARNER"ROS46SHOW%2 AT&ILM,EADERSSTUDIOSIN "URBANK

Figure 6.8 &OLEYMIXER 4OM2UFFRECORDING&OLEY for The Catbird Seat at &ILM,EADERSSTUDIOS

162

Sound design

3OME &OLEY MIXERS HAVE THEIR FAVORITE PLUG INS MICS OR OTHER hTRICKSv !LTHOUGH&OLEYISMOSTLYINTENDEDTOBEhNATURALISTIC vITISALWAYSSOMEWHAT EXAGGERATED CREATINGASUBTLETYSURREALEFFECT!NDLIKE!$2 ITSHOULDNEVER BERIGHTONMICORSTUDIOSOUNDING

Cuing Foley &OLEYISCUEDINAREASWHERETHEREEITHERARENOFOOTSTEPSORMOVEMENTSOUNDS ORWHERETHESESOUNDSARETHINANDNEEDTOBEENHANCED/FTENSOMESHOTSIN THE SCENE WERE SHOT -/3 WITHOUT SOUND OR THEY MAY HAVE BEEN RECORDED WITH LAPEL MICROPHONES THAT FALL OFF DRAMATICALLY AND TEND TO ONLY RECORD THE VOICEANDNOTMUCHELSE7HATEVERCAUSEDTHENEED MANYSCENESWILLREQUIRE THAT FOOTSTEPS AND MOVEMENT BE RERECORDED -ANY FILMS WILL BE EDITED AND MIXEDFORFOREIGNLANGUAGEREPLACEMENTANDMAYNEED&OLEYINALLSCENES

Figure 6.9 &OLEYISCUED INTHETIMEHONOREDWAY 4HISISALSOHOW!$2IS CUEDANDHOWTHEENTIRE MIXWASCUEDWHENCUE SHEETSWEREUSEDINTHE MIX%ACHTRACKSHOWS THEINTENDEDCONTENT THE INCOMINGTIMECODE AND THEENDTIMECODE4HIS SHEETWASEXPORTEDFROM !$23TUDIO4HEPURPLE LINESWEREADDEDBYTHE &OLEYWALKERAFTEREACH CUEWASRECORDED

4HE!$23TUDIOPLUG INFROM'ALLERYCANBEUSEDTOCUE&OLEYASWELLAS!$2 &OR MORE INFORMATION ON !$2 3TUDIO SEE #HAPTER 3PECIFIC SOUNDS NEED TOBECUEDINDIVIDUALLY)FTHESCENEISAHOUSEFALLINGAPARTINANEARTHQUAKE CUEINGhHOUSEFALLINGAPARTSOUNDvISMEANINGLESS-OREOVER THEREARETHINGS THAT JUST CANT BE DONE ON A &OLEY STAGE !LTHOUGH SUCH A SCENE IS A PROJECT FOR THE EFFECTS EDITOR THE &OLEY WALKERS CAN HELP WITH TIGHTLY SYNCED DETAILS 7ITHINTHEMAYHEMOFTHISSCENETHEREMAYBEANEEDFORSMALLSOUNDSTHAT THE&OLEYTEAMCANRECORDABOTTLETIPPINGOVERANDROLLING ALAMPRATTLINGAT

163


DIFFERENTRATES APILEOFJUNKMAILFALLINGTOTHEFLOOR ORANYSMALLDETAILTHATIS SYNCSPECIFIC ,ARGEOPERATIONSUSECUEINGSOFTWARETHATCANBELOADEDINTOACONTROLLERON THESTAGE HOWEVER ASIMPLELISTORSPREADSHEETWORKSFINE3OMEEDITORSLIKE TOCUETHESOUNDASTRACKSSHOWINGHOWTHEYWOULDLIKETHESOUNDSARRANGED INTO A DEFINED NUMBER OF TRACKS HOWEVER THERE IS SOMETHING OF A STANDARD FORMATTHATISUSUALLYFOLLOWED /FTEN EIGHT TRACKS OF &OLEY ARE RECORDED &OOTSTEPS &3 OF THE PRINCIPALS ARE RECORDEDINTOTRACKAND$EPENDINGONTHESCENE MOREOFTHEPRINCIPAL FOOTSTEPS MAY BE RECORDED INTO TRACK 4RACKS AND ARE USUALLY FOOTSTEPSOFNONPRINCIPALS4RACKSANDAREUSUALLYPROPS!GUNBEINGCOCKED ORHANDLED HANDCUFFS POURINGAGLASSOFWATER ORWHATEVER4HELASTTRACKIS USEDFORMOVEMENTOFCLOTHES THECLOTHTRACK

Figure 6.10 &OLEYWALKER *ENNIFER7ETZELCREATES THECLOTHPASS4HE cloth movement track is USUALLYRECORDEDSITTING HOLDINGACLOTHORHEAVY FABRIC!LLOFTHECLOTH MOVEMENT-64 FORALL THECHARACTERSISRECORDED INTOTHECLOTHTRACK

4HERE MAY BE ANY NUMBER OF &OLEY TRACKS WHILE EIGHT IS COMMON SOME FILMSMAYREQUIRESUBSTANTIALLYMORE!NDJUSTASWITHEFFECTSEDITING BREAK THE SOUNDS INTO COMPONENTS )F THE COWBOY IN THE BLACK HAT WALKS INTO THE SALOON WALK HIS BOOTS ON WOOD IN ON ONE TRACK AND THE JANGLE OF HIS SPURSINONANOTHER&INISHITOFFWITHTHEMOVEMENTOFHISLEATHERCHAPSON ANOTHERTRACKANDYOUAREREADYTOSERVEHIMASHOTOF2ED%YE2YEONTHE PROPSTRACK &OLEY IS ALWAYS CUT INTO SEPARATE &OLEY ONLY TRACKS NEVER CUT INTO AN EFFECTS TRACK -IXING &OLEY IS QUITE DIFFERENT FROM MIXING EFFECTS BECAUSE IT IS A STUDIORECORDINGANDALLATTHESAMELEVEL(ERETOOITMAYBEPREMIXEDORPING PONGEDTOFEWERTRACKSITMAYEVENBEPREMIXEDTOONE&OLEYTRACK 164

Sound design

Figure 6.11 The footsteps tracks are the HEARTOFTHE&OLEYSESSION

)T IS ALSO COMMON TO RECORD hWILD &OLEY v SOUNDS THAT CAN BE USED IN THE EFFECTS EDIT BUT ARE SOUNDS THAT CAN BE RECORDED BY THE &OLEY CREW ON THE &OLEYSTAGE7ILD&OLEYSOUNDSMAYBEDIFFICULTTOSYNCTOPICTURE BUTAREEASY TO RECORD ON THE &OLEY STAGE WITHOUT PICTURE &OR EXAMPLE A CHEESE GRATER SWINGING ON THE END OF A ROPE TO BE USED AS A DRAGON TAIL SWISH OR A SODA CAN BEING SMASHED TO BE SLOWED AND USED AS A COMPONENT IN A CAR CRASH 4HEWILD&OLEYEFFECTSCANBECUEDTOBERECORDEDAFTERALLOFTHESYNC&OLEYIS

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RECORDED ORTHEEFFECTSEDITORORCREATORMAYCOMETOTHE&OLEYSESSIONORTHE &OLEYSTAGEWITHOUTTHEWALKERSANDRECORDTHEIRWILD&OLEYANDOTHEREFFECTS

Figure 6.12 ) GLASSES CANBEUSEDASAVIDEO PLAYBACKFORFIELD&OLEY RECORDING

!DUPLICATEOFTHEPROJECTONALAPTOPWITHAN-BOXHASTHEADVANTAGEOF BEINGACOMPLETEPORTABLE0RO4OOLSSTUDIOWITHTWOMICINPUTS HEADPHONE MONITORING BATTERYOPERATION AND VIDEO REFERENCE )T IS POSSIBLE TO RECORD EFFECTSOREVEN&OLEYWITHTHISSYSTEMANYWHERE ASSUMINGYOUHAVEAQUIET PLACETOWORK)NSIDEACAVE ONASHIP INARESTROOM ORWHATEVERTHESCENE CALLSFOR4HE&OLEYWALKERCANUSETHELAPTOPSCREEN HOWEVER THATISADIFFICULTNECK BENDER6IDEOGLASSESCANMAKETHE&OLEYWALKERSJOBMUCHSIMPLER) 'LASSESFROM)/DISPLAYSYSTEMSAREAVAILABLEINVIDEOINPUTASWELLAS 36'!THATCANCONNECTDIRECTLYTOTHELAPTOPANDAREBATTERYOPERATED

6.6 MIDI Foley )TISPOSSIBLETO&OLEYONA-)$)KEYBOARD4HISCANBEDONEUSINGAHARDWARE -)$)SAMPLEPLAYERLIKETHE/BERHEIM$08 ORSAMPLEPLAYERBUILTINTOSOME KEYBOARDS -ORE OFTEN IT IS DONE WITH SOFTWARE SAMPLE PLAYERS THAT CAN BE LINKEDTO0RO4OOLSVIATHE2E7IREPLUG IN%FFECTSSAMPLESAREAVAILABLEINSEVERAL FORMATSBESURETHESAMPLEPLAYERYOUAREUSINGSUPPORTSYOUREFFECTSSAMPLES /NCE THE EFFECTS ARE LOADED INTO THE SAMPLE PLAYER AND BEING CONTROLLED BY THE-)$)KEYBOARD EACHKEYWILLPLAYADIFFERENTSAMPLE3EVERALVERYSIMILAR SAMPLESOFFOOTSTEPSCANBELOADEDINTOSEVERALADJOININGKEYS THE&OLEYFOOT166

Sound design

STEPSWALKEDWITHYOURFINGERS4HEKEYSANDEFFECTSSHOULDBEVELOCITYSENSITIVESOTHATTHEVOLUMEANDIMPACTOFTHEFOOTSTEPISCONTROLLEDBYHOWHARD THEKEYISPRESSED/THER&OLEYEFFECTS SUCHASSHUFFLESANDSCRAPES CLOTH AND POURINGWATERAREIMPOSSIBLEUSING-)$)

6.7 Backgrounds "ACKGROUNDS ARE CRITICAL TO THE SUCCESS OF THE SCENE %ACH SCENE AND EVERY LOCATION NEEDS TO HAVE A UNIQUE SET OF BACKGROUNDS THAT HELPS TO ESTABLISH THE FEEL OF THE LOCATION 4HE FILMMAKER AND THE ART DIRECTOR HAVE WORKED TO GIVE THE LOCATION A CERTAIN LOOK AND FEEL AND THE BACKGROUND SOUND MUST SUPPORT THIS LOOK AND FEEL %VEN IF A NEW SCENE IS IN THE SAME BASIC LOCATION ASTHELASTSCENE THENEWLOCATIONORTIMENEEDSTOHAVEASUBTLETYDIFFERENT BACKGROUND 4HEBACKGROUNDSNOTONLYSUPPORTTHELOOKOFTHESETORLOCATION BUTALSOAID INCONTINUITY%VENTHEBESTBLOCKEDANDEDITEDSCENETENDSTOHAVENOTICEABLEEDITS ANDUSUALLYTHEGOALISTOMAKETHEEDITSSOSMOOTHTHATTHEYDISAPPEAR ORBECOMEhINVISIBLEvASNOTEDFILMCRITIC!NDRE"AZANWROTE"YPLAYING THROUGH THE SCENE AND ACROSS THE EDITS THE BACKGROUNDS HELP DEFINE A CONTINUOUSSPACE ANDASPACETHATOFTENEXTENDSBEYONDTHECAMERASEYE /N STEREO PROJECTS ALL BACKGROUNDS SHOULD BE STEREO TRACKS #LOSE UP EFFECTS CAN BE CENTERED OR EVEN PANNED LEFT OR RIGHT BUT BACKGROUNDS NEED TO FILL THESTEREOFIELD5SEASTEREOMICORTWOMATCHEDMICSANDRECORDTOASTEREO RECORDER -ANY LIBRARY BACKGROUNDS ARE STEREO HOWEVER MANY OF THE OLDER ONES ARE MONO 2ATHER THAN AVOIDING ALL OF THESE GREAT BACKGROUNDS THEY CAN BE SYNTHESIZED INTO STEREO WITH SEVERAL AVAILABLE PLUG INS LIKE THE 7AVES 33URROUND)MAGER!LTHOUGHTHISISAN($SURROUNDPLUG IN ITALSOOFFERS MONO TO STEREOASWELLASSTEREOTOSURROUND )T IS COMMON FOR A SCENE TO HAVE SEVERAL BACKGROUND TRACKS -OST SCENES WILLHAVETWOORMOREBACKGROUNDS ANDATTHESCENECHANGETHENEWBACKGROUNDSSHOULDCOMEINONEMPTYTRACKSSOTHATTHELEVELSCANBECONTROLLED IN THE MIX LATER )F A SCENE HAS FIVE TRACKS OF BIRDS WIND LEAFS RUSTLING AND WHATEVER ANDTHENEWSCENEHASFIVETRACKSOFBACKGROUNDSASWELL THENYOU WILLNEEDSTEREOBACKGROUNDTRACKS 4HEKEYTOBACKGROUNDSISNOTINTHEEDITING BUTINTHEFINDINGORRECORDING OFTHEPERFECTSOUND4HEREAREAFEWTHINGSTOKEEPINMIND N

!VOIDSOUNDSWITHFOREGROUNDSOUNDSLIKECLOSECARHORNS ABELLRINGING FOOTSTEPS ON THE SIDEWALK OR ANYTHING THAT JUMPS FORWARD IN THE BACKGROUND !LTHOUGH THESE MAY SOUND GREAT THEY NEED TO BE CONTROLLABLE ANDSHOULDTHEREFOREBE&OLEYOREFFECTS

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N

!VOIDBACKGROUNDSWITHWALLAORANYKINDOFVOICES4HESETOOSHOULDBE INSEPARATEDIALOGUEOREFFECTSTRACKS

N

5NLESSYOUWANTTOGETFIRED SUEDANDGETNOPRESENTSONYOURNEXTTHREE BIRTHDAYS AVOIDMUSIC

6.8 5.1 Surround effects 4HE BIGGEST DIFFERENCE IN EDITING A SURROUND PROJECT IS THAT THE BACKGROUNDS NEEDTOBEFOURTRACKS NOTJUSTSTEREO2ATHERTHANRECORDINGWITHAFOUR TRACK RECORDER THIS IS MOST OFTEN DONE BY RECORDING TWO EXTREMELY SIMILAR STEREO BACKGROUNDSUSINGONEINTHEFRONTCHANNELSANDONEINTHEREAR/RTHESAME BACKGROUND EFFECT CAN BE USED IN TWO STEREO TRACKS SLIPPED SOME OR S OUTOFSYNCWITHEACHOTHER 3OMESOUNDDESIGNELEMENTSMAYBEHANDLEDINTHESAMEWAY!SYOUWORK TOCREATETHESOUNDSFROMSOMEALIENREALM YOUWILLWANTTOTAKEADVANTAGE OF THE ENVIRONMENT 3OUNDS CAN PANNED AROUND IN THE MIX BUT FOUR CHANNEL SPATIAL EFFECTS ARE JUST TO COOL TO PASS UP 4HE SAME TECHNIQUE USED FORBACKGROUNDSCANBEUSEDHERETOO 3OMEOFTHEMIDGROUNDEFFECTSMAYGETSPECIALTREATMENTASWELL)FTHE SCENETAKESPLACEINALANDINGCRAFTON$ $AY THEBACKGROUNDSOFOCEANAND OTHER LANDING CRAFT SHOULD BE FOUR CHANNELS AS SHOULD THE WALLA AND ENGINE SOUNDSOFTHEBOAT"UTWHATABOUTPASSINGTHEAIRCRAFT4HESECANBEMONO ORSTEREOANDPANNEDBACKTOFRONTINTHEMIX/RTHEYCANBEFOURCHANNEL WITHTHEFRONTSTEREOPAIRPITCHSHIFTEDDOWNSOWHENTHELEVELSAREMATCHED INTHEMIX THEREISA$OPPLEREFFECTCOOL 7EWILLBELOOKINGATMIXERLAYOUT ANDMIXINGIN#HAPTERh4HE$UBv 4HEFOREGROUNDEFFECTSAREGENERALLYKEPTINTHEFRONTCHANNELS USUALLYTHELEFT ANDRIGHTBUTSOMEMONOEFFECTSMAYENDUPINTHECENTERCHANNEL4HESEARE MIXING ISSUES AND DONT IMPACT THE EFFECTS EDITING OTHER THAN TO NOTE THAT STEREOEFFECTSWILLENDUPINTHELEFTANDRIGHTMONOMAYBESPLITBETWEENLEFT ANDRIGHTORINTHECENTERCHANNEL 4HEEFFECTSEDITISCREATIVEANDGIVESTHEEDITORANDMIXERACHANCETOREALLY PUSH THE AUDIO ENVELOPE TO THE OUTER EDGE ,IKE ALL ASPECTS OF SOUND IT REQUIRESGREATRECORDING EDITING ANDMIXING)TISNECESSARYFORTECHNICALREASONS BUT MORE IMPORTANTLY IT FINISHES WHAT THE REST OF THE FILMMAKING TEAM STARTED)TCREATESAWORLDOUTSIDEOFREALITY BUTINSIDETHEFILM

168


169

In this chapter

Knowledgebases

4HEMUSICEDITOR )NTRODUCTION 3

3CORINGANDRECORDING 3TUDIOV%XPRESSTHEMANYFLAVOURSOF

-)$)ANDINSTRUMENTTRACKS !BRIEFHISTORYOF,OGIC0RO 4

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7 Music

!LMOSTWITHOUTEXCEPTION FILMSHAVESOMEKINDOFMUSICALSCORE%VENINTHE DAYS OF hSILENTv FILMS A SCORE ACCOMPANIED THE FILM PLAYED ON A h-IGHTY 7URLITZERvPIPEORGANOREVENBYANORCHESTRA3OMETIMES ASCOREWASWRITTEN #HARLIE#HAPLINEVENWROTEHISOWNSCORESFORHISFILMS/FTEN THESCOREWAS SIMPLYASETOFCUESHEETSMOSTORGANISTSIMPROVISEDALMOSTTHEENTIREFILM 4HETECHNIQUESOFMUSICRECORDINGANDEDITINGAREQUITEDIFFERENTFROMTHETECHNIQUESUSEDINPOSTPRODUCTION BUTFORTHESCORE THESEWORLDSCOLLIDE4HEPERSONMOSTRESPONSIBLEFORBRIDGINGTHISGAPISTHEPOSTPRODUCTIONMUSICEDITOR

Figure 7.1 /RCHESTRAATTHE5TAHPREMIEREOFBirth of a NationATTHE3ALT,AKE4HEATER 0HOTOCOURTESYOFTHE5TAH3TATE(ISTORICAL3OCIETY

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7.1 The music editor !LTHOUGH THE FINAL SCORE IS COMPOSED TO THE LOCKED CUT THE MUSIC EDITING AND COMPOSING OFTEN STARTS BEFORE THE FILM IS EVEN SHOT !LTHOUGH IT IS NOT NECESSARYFORTHEMUSICEDITORTOBEAMUSICIANPERSE ITISIMPORTANTTHATTHE MUSICEDITORUNDERSTANDSBASICMUSICALTHEORYANDISABLETOREADMUSIC4HEY ALSONEEDTOUNDERSTANDBOTH0RO4OOLSWORLDSVIDEOANDFILMPOSTPRODUCTION ASWELLASSTUDIOMUSICRECORDINGANDPRODUCTION 4HE MUSIC EDITOR IS OFTEN BROUGHT IN AT THE VERY BEGINNING ON SOME FILMS THEIRWORKWILLBENEEDEDBEFOREMUSICALSCENESCANEVENBESHOT4HISMAY INVOLVE MAKING CLICK TRACKS FOR DANCE NUMBERS OR PREPARING PLAYBACK TRACKS FOR MUSICAL SCENES INVOLVING LIP SYNCING OR THE SIMULATED PLAYING OF MUSICAL INSTRUMENTS 4HIS INVOLVES PREPPING $!4 OR OTHER PLAYBACK TAPES FOR USE ON THESET"ECAUSEPLAYBACKONSETISTHERESPONSIBILITYOFTHEPRODUCTIONMIXER THEY DETERMINE THE PLAYBACK FORMAT OF THIS hGUIDE TRACKv 4HE DIRECTOR WILL ALSO BE INVOLVED IN THIS PLANNING AS THE PLAYBACK TRACKS MUST BE PREPARED BASEDONTHESHOTLISTSANDCAMERABLOCKING )T IS ALSO COMMON AS PART OF PREPRODUCTION FOR THE DIRECTOR COMPOSER AND MUSICEDITORTOSTARTPICKINGSOMEOFTHETEMPMUSICTOBEUSEDINTHEPICTURE EDIT 4HE COMPOSER WILL BE WRITING SOME OF THE BASIC THEMES FOR THE SCORE IN PREPRODUCTION AND HAVING SOME TEMP MUSIC ALREADY SELECTED HELPS EVERYONE COMMUNICATETHEhFEELvOFTHESCENES3OMEDIRECTORS INCLUDING3TANLEY+UBRICK EVENUSEDTEMPMUSICONTHESETTOHELPTHEACTORSGETTHEFEELOFTHESCENE #LICK TRACKS ARE OFTEN USED IN PLACE OF ACTUAL MUSIC PLAYBACK ON SET DURING PRODUCTION4HISCANBEUSEDFORDANCERSWHONEEDTOKNOWTHERHYTHMAND SPEED THEY CAN DANCE TO THESE BEATS WHICH INCLUDE A DOWN BEAT AND THE EDITORS CAN CUT TO THE CLICK KEEPING EVERYTHING LINED UP ON THE BEATS 4HEN WHENTHESCOREISDROPPEDIN EVERYTHINGSHOULDMATCHUP #LICKTRACKSCANEASILYBEMADEIN0RO4OOLS#REATEANEWINSTRUMENTTRACKAND APPLYTHE#LICKINSTRUMENTPLUG IN4HETEMPOISSETINTHE4RANSPORTWINDOW BYSHUTTINGDOWNTHETEMPORULERCONDUCTORICON ANDUSINGTHETEMPOSLIDER 4HECLICKCANBERECORDEDINTOANAUDIOTRACKBYSETTINGTHEOUTPUTOFTHECLICK TRACK OUT TO AN UNUSED BUS AND CREATING A NEW AUDIO TRACK WITH ITS INPUT SET TOTHECLICKTRACKSBUS9OUCANTHENRECORDTHELENGTHOFCLICKNEEDEDFORTHE SCENES PLAYBACK 4HE MUSIC COORDINATOR THE COMPOSER AND THE DIRECTOR WILL DETERMINETHETEMPOOFTHECLICK4HECLICKCANBEUSEDTOSETTHETEMPOFOR DANCERS OR MUSICIANS ON SET 4HE ACTUAL MUSIC WILL BE COMPOSED LATER TO THIS TEMPOANDTHEPICTUREEDITORWILLKEEPTHEBEATINLINEACROSSTHEPICTUREEDITS )N SOME CASES THE ACTUAL MUSIC WILL BE USED AS THE PLAYBACK TRACK IN PRODUCTION4HEMOSTOBVIOUSUSEOFSUCHATRACKISLIP SYNCINGVOCALS)NTHIS CASE THEFINALMUSICISRECORDEDFIRST#AREMUSTBETAKENTODUBTHISMUSICTO

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the playback DAT or other playback format to ensure that the playback track ISINSYNCTOTHEFINALTRACKSUSEDINTHEEDITANDTHEFINALDUB 7HENTHEFINALMUSICISIMPORTEDINTOA0RO4OOLSSESSION THESECTIONOFMUSIC FOREACHSCENECANBECUTFORINDIVIDUALSHOTSINTHETIMELINEANDRECORDEDTO $!4 EXPORTEDORBOUNCEDFORPLAYBACKFROMDIGITALMEDIA)FTHEPRODUCTION MIXER IS REQUESTING $!4 FOR THE PLAYBACK TAPES THE DUB TO $!4 SHOULD BE MADE DIGITAL TO DIGITAL 30$)& INPUT TO ENSURE SAMPLE ACCURATE SYNC 0RODUCTIONPLAYBACKCANBEFROMMANYFORMATS EVENDIRECTLYFROMALAPTOP RUNNING0RO4OOLS4HECALLISLEFTTOTHEPRODUCTIONMIXERTHEIRTEAMWILLBE RESPONSIBLEFORPLAYBACKONSET )FTHEPROJECTISTOBESHOTONFILMATFPSFILMSPEED ANDFINISHEDOREDITEDON VIDEOATORFPSVIDEOSPEED THEREWILLBEPULL UPANDPULL DOWN ISSUES&ILMSTHATARESHOTATFPS EDITEDATFPS ANDTHENPROJECTEDAT FPSWILLBEPULLEDDOWNANDTHENPULLEDBACKUPINFINALFINISHING&ILMSTHAT ARESHOTATFPSANDTHENFINISHEDONVIDEOATWILLONLYBEPULLEDDOWN )F CLICK TRACKS OR GUIDE TRACKS ARE USED IN PRODUCTION THE GUIDE ANDOR CLICK TRACKWILLBEPULLEDOUTOFSYNCWHENTHEPRODUCTIONFILMANDAUDIOAREPULLED DOWN %VEN IF THE PROJECT IS PULLED BACK UP FOR PROJECTION THIS MAY MEAN THATTHEMUSICHASBEENSPEEDCHANGEDORRESAMPLEDTWICE WHICHMAYHAVE INTRODUCEDUNDESIRABLEARTIFACTS %VENINPREPRODUCTION ITISCRITICALTOHAVETHEWORKFLOWDESIGNEDSOTHATTHE ENTIREPOSTPRODUCTIONTEAMKNOWSWHENTHEYNEEDTOPULL UPORPULL DOWN)F THEFINALTRACKWILLBEENCODEDIN$OLBY $43 OR3$$3 TECHNICIANSFROMTHESE COMPANIESSHOULDHAVEINPUTONTHEWORKFLOWFROMTHEOUTSET )F THE WORKFLOW CALLS FOR THE FINAL DUB TO BE DONE AT VIDEO SPEED AND THEN PULLED UP TO FILM SPEED AFTER THE DUB AND ON PROJECTS THAT WILL SIMPLY BE

Figure 7.2 )FTHE WORKFLOWCALLSFORTHE FINALDUBTOBEDONEAT VIDEOSPEEDANDTHEN PULLEDUPTOFILMSPEED AFTERTHEDUB ANDON PROJECTSTHATWILLSHOT ONFILMBUTFINISHEDON VIDEO THEGUIDEORCLICK TRACKSSHOULDBEPULLEDUP BEFOREBEINGUSEDONSET

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FINISHEDONVIDEO THEGUIDEORCLICKTRACKSSHOULDBEPULLEDUPBEFOREBEING USEDONSET4HISWAY WHENTHEFILMISPULLEDDOWNINTELECINETOVIDEO THE FILMSYNCWILLMATCHTHEORIGINALCLICKORGUIDETRACK #LICKANDGUIDETRACKSCANEASILYBEPULLEDUPFROM0RO4OOLS3ELECTALLOFTHE REGIONS THAT YOU NEED TO EXPORT PULLED UP IN THE REGION LIST AND THEN SELECT %XPORT 2EGIONS AS &ILES IN THE REGIONS LIST POP UP MENU 3ELECT THE PROPER PULL UP SAMPLE RATE FOR THE ONSET PLAYBACK OR DEPENDING ON THE PLAYBACK SYSTEM AND EXPORT THIS MEDIA AT THE NEW FASTER SPEED 7HEN PULLED DOWN LATER IN TELECINE THIS SHOULD MATCH THE ORIGINAL SPEED 4HIS SYSTEM IS NOT SAMPLE ACCURATE AND SHOULD NOT BE USED TO PULL UP A FINISHED MIXTOMATCHTHEORIGINALFILMSPEED BUTITCANHOLDVISUALLYACCURATESYNCFOR EVENTHELONGESTTAKESINPRODUCTION !S SOON AS THE FILM GOES INTO PRODUCTION THE EDITING OF THE PICTURE ALSO BEGINS%VERYDAYNEWFOOTAGEORhDAILIESvAREDELIVEREDTOTHEPOSTPRODUCTION TEAM CATALOGED DIALOGUESYNCEDIFNECESSARY ANDSTRUNGINTOBASICVERSIONS OF THE SCENE )N SOME SCENES THE TEMP MUSIC WILL BE ADDED INTO THIS VERY ROUGH EDIT 4HE TEMP MUSIC WILL NEED TO BE EDITED SHORTENED LENGTHENED AND CHANGED FOR OTHER MUSIC ALL AT THE DIRECTION OF THE EDITOR AND DIRECTOR !T THE SAME TIME THE THEMES FOR THE FINAL SCORE ARE STILL BEING DEVELOPED CHANGED ANDATTIMES ADDEDINTOTHEEDIT *UST AS WITH &OLEY STRINGERS NEED TO BE ADDED TO THE PICTURE AND THIS IS NORMALLY PART OF THE MUSIC EDITORS JOB (OLE PUNCHES ARE ALSO USED TO MARK KEYPOINTS!SWITH&OLEY THESEAREDONENOWADAYSDIGITALLYBYLAYERINGDIGITAL FILESOFhPUNCHESvANDhGREASEPENCILSTRINGERSvOVERTHEIMAGEINTHEEDITING SOFTWARE 4HE COMPOSER WILL COMMUNICATE WHERE THEY NEED THESE CUES TO MARK KEY POINTS IN THE SCORE SO THAT THEY CAN CONDUCT THE PACING TO ENSURE THEMUSICALhHITSvLANDONTHEPROPERPOINTSINTHEFILM 4HE COMPOSER ALSO NEEDS TIMECODE 4HE WINDOWS ON THE FILM TRANSFER OR DIGITAL VIDEO TRANSFER SHOW TIMECODES NEEDED BY THE PICTURE EDITORS 4HEY ARE THE TIMECODE FROM THE ORIGINAL VIDEOTAPE OR FILM TRANSFER THE KEYCODE NUMBERS OFF OF THE FILM NEGATIVE IF THE PROJECT WAS SHOT ON FILM AND THE TIMECODE FROM THE PRODUCTION SOUND .ONE OF THIS IS NEEDED BY THE MUSIC EDITORORCOMPOSERHOWEVER THETIMECODEOFTHEEDITEDSHOWISCRITICAL4HIS ANDANYSTRINGERSORPUNCHES MUSTBEADDEDTOTHEVIDEOTOBEDELIVEREDTO THE MUSIC TEAM USING THE PICTURE EDITING SOFTWARE "OTH !VID AND &INAL #UT 0ROHAVETHEABILITYTOADDTHISNEWTIMECODEWINDOWANDEVENMASHOUTTHE PICTUREEDITTIMECODEWINDOWS4HISWINDOWCANBESETTOREADTHETIMECODE FROMTHETIMELINEORGENERATEANEWTIMECODE3TANDARDPRACTICECALLSFORTHIS TIMECODE TO ALIGN DROP FRAME TO THE FIRST FRAME OF THE ACTUAL EDITAFTERTHECOUNTDOWNLEADERHOWEVER SOMEEDITORSPREFERTHISTIMECODE TOBEALIGNEDTOTHE0ICTURE3TARTFRAMEONTHECOUNTDOWNLEADER

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!S THE FILM IS FINE CUT WHICH IS TO SAY IN A MORE OR LESS FINAL EDIT THE FILM IS MOST OFTEN SCREENED TO TEST AUDIENCES TO SEE IF THE STORY IS ENGAGING THE AUDIENCEANDWHEREITSTILLMAYNEEDTOBETIGHTENEDUP4EMPMIXESORhTEMP DUBSvWILLNEEDTOBEMADEFORTHESESCREENINGS5SUALLY THISISWITHTHETEMP MUSICSTILLIN BUTTHEFILMMAYALSOHAVESOMEOFTHEROUGHSCOREIN4HEEDITIS USUALLYCHANGEDSEVERALTIMESBASEDONTHETESTSCREENINGSANDREQUIRESMAJOR REWORKING OF THE TEMP MUSIC TRACKS &INALLY AT SOME POINT THE FILM OR FILM REELIShLOCKED vWHICHTOSAYTHATTHEREWILLBENOMOREMAJORCHANGESTOTHE EDIT/FTEN HOWEVER THEEDITISCHANGEDAFTERITISLOCKED!LTHOUGHTHESOUND EFFECTS AND DIALOGUE EDITORS CAN USE 6IRTUAL +ATY TO RECONFORM THEIR TRACKS TO THE CHANGED EDIT THERE IS NO SOFTWARE PACKAGE THAT CAN REWRITE THE SCORE TO MATCH THE NEW EDIT 4HE MUSIC DEPARTMENT IS DRAMATICALLY IMPACTED BY PICTURECHANGESAFTERTHELOCK3OMECHANGESCANBEMADEINEDITING BUT MORE OFTEN SECTIONSOFTHESCORENEEDTOBEREWRITTENANDRERECORDED

7.2 MIDI and instrument tracks !LONG WITH AUDIO TRACKS THE SESSION MAY CONTAIN -)$) AND INSTRUMENT TRACKS4HISISMOSTOFTENUSEDTORECORDANDPLAYMUSICFROMASAMPLER THE SAMPLE BEING RECORDED INTO THE SAMPLE PLAYER -OST OFTEN THE SAMPLE IS A NOTE FROM AN INSTRUMENT 4HE SAMPLE CAN BE QUITE COMPLEX MANY SAMPLES ARE RECORDED AND EDITED TOGETHER TO FORM THE BEGINNING MIDDLE AND END

Figure 7.3 7HILEA-)$) TRACKANDANINSTRUMENT TRACKLOOKQUITESIMILAR INTHE%DITWINDOW THE channel strip reveals that THEREARENOAUDIOINPUTS outputs, or inserts on a -)$)CHANNELASTHEREIS NOACTUALAUDIOCREATEDIN THE-)$)TRACK

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ATSEVERALVOLUMES4HESAMPLEISPLAYEDFROMA-)$)KEYBOARD MUCHLIKEA PIANOKEYBOARD!STHEKEYISSTRUCK THEBEGINNINGOFTHESAMPLEISPLAYEDAT THEPROPERVOLUMEFORTHESTRENGTHOFTHEKEYSTROKE THEMIDDLEISPLAYEDUNTIL THE KEY IS LIFTED AND THEN THE END IS PLAYED /NLY THE KEYSTROKE IS RECORDED AS -)$) INFORMATION INTO A 0RO 4OOLS -)$) TRACK ! -)$) TRACK IS NOT SOUND BUT RATHER ASETOFINSTRUCTIONSTOSENDTOASAMPLEPLAYER4HESETRACKSTHEN NEEDTOBERECORDEDASSOUNDINTOASOUNDTRACKBEFORETHEMIXISEXPORTED (OWEVER AS -)$) THEY ARE EXTREMELY EDITABLE 9OU CAN CHANGE THE ATTACK EVENCHANGETHESAMPLEPLAYED!PIANOBECOMESASAXOPHONE "ECAUSE-)$)ISNOTAUDIO -)$)TRACKSDONOTHAVEANYAUDIOINPUTSOROUTPUTS 4HEINPUTANDOUTPUTSELECTORSOFA-)$)TRACKCOMMUNICATEONLYWITHTHE-)$) INTERFACE4HE-)$)CODEISSENTTOTHE-)$)SAMPLEPLAYERTHATCANBEASEPARATEDEVICELINKEDVIATHE-)$)INTERFACEORTHESAMPLEPLAYERCANBEASOFTWARE RUNNINGONTHESAMECOMPUTERASTHE0RO4OOLSSESSION%ITHERWAY THEAUDIO FROMTHESAMPLEPLAYERNEEDSTOBEROUTEDBACKTOTHE0RO4OOLSSESSIONONAN AUDIOTRACKWHERETHEAUDIOCANBEWORKEDWITHANDMIXEDINTOTHEFINALMIX !0RO4OOLSINSTRUMENTTRACKDIFFERSFROMA-)$)TRACK INTHATITCONTAINSTHE SAMPLEPLAYERASAPLUG IN4HISWAYTHE-)$)KEYBOARDCANSEND-)$)CODE TOTHEINSTRUMENTTRACK ANDTHE-)$)CODECANBERECORDEDINTHETRACK BUT THEACTUALSOUNDOFTHEINSTRUMENTPLUG INISOUTPUTFROMTHETRACKASAUDIO )NSTRUMENTTRACKSTHEREFOREHAVEAUDIOINPUTSANDOUTPUTSANDCANHAVEAUDIO PROCESSINGPLUG INSATTACHEDTOTHETRACK Figure 7.4 Strike is a GREATDRUMMACHINE YET still a basic instrument PLUG INFROM!)2-)$) COMMANDSARERECORDED into the track from a KEYBOARD THE-)$) EDITOR ORTHE3CORE EDITORVERSION !UDIO ISROUTEDFROMAMIXER INSIDETHEPLUG INFROM sampling microphones LOCATEDATTHEDRUMS OVERHEAD ACROSSTHE ROOM ANDEVENA TALKBACKMIC!LLTHESE MICSAREMIXEDTOTHE stereo bus, the stereo Pro 4OOLSAUDIOTRACK4HE INDIVIDUALDRUMSCANBE PLAYEDASCANELABORATE hSTYLES vPERFORMANCES THATCANBEALTEREDONTHE FLYORVIA-)$)EDITOR

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Figure 7.5 Several SOFTWAREpackages are able to connect to Pro 4OOLSUSING2E7IRE)N THISCASE 2EASON!DAPTED ADAPTEDFORUSEIN0RO 4OOLS ISOPENINTHE 0RO4OOLSSESSION7HEN 0RO4OOLSROLLSFORWARD 2EASONISINTERLOCKED ANDSENDSAUDIODIRECTLY TOTHE0RO4OOLSMIXER 2EASONOFFERSAGREAT SAMPLEPLAYERASWELLASA DRUMMACHINE FULLMIXER ANDSEVERALhOLDSTYLEv ANALOGSYNTHDEVICES )TALSOHASTHECOOLEST ANIMATEDPATCHCABLESIN THEWORLD

There are several popular applications for use as plug-ins on instrument TRACKS OR OUTBOARD AS -)$) DEVICES 2EASON !DAPTED IS OFTEN USED WITH 0RO 4OOLSASITCANBEUSEDDIRECTLYINSIDE0RO4OOLSONANINSTRUMENTTRACK4HESE APPLICATIONS ARE OFTEN CALLED hSEQUENCINGv SOFTWARE BECAUSE THEY CAN CREATE A SEQUENCE OF -)$) EVENTS 4HEY ARE MUCH MORE THAN THIS HOWEVER THEY CONTAINTHEHUNDREDSOFAUDIOSAMPLESANDCONTROLTHEENTIREhENVELOPEvOF THESOUNDFROMKEYSTRIKETOKEYLIFT

Figure 7.6 2E7IREIS USEDTOCONNECTTHIRD PARTYSOFTWARESTO0RO 4OOLS-ANYAPPLICATIONS CANBELINKEDVIA2E7IRE INCLUDING2EASON !DAPTED !BLETON,IVE -ELODYNE5NO AND3ONYS !CID

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4HERE ARE MANY SUCH APPLICATIONS THAT CAN LINK TO 0RO 4OOLS 7HEN USED IN AN INSTRUMENT TRACK THESE APPLICATIONS COMMUNICATE WITH 0RO 4OOLS VIA THE 2E7IRE PLUG IN /NCE INSTALLED AND LINKED THESE APPLICATIONS SHOW UP AS PLUG INS IN AN INSTRUMENT TRACK 7HEN THE INSTRUMENT hPLUG INv IS ATTACHED TO THE TRACK THE 2E7IRE PLUG IN IS ATTACHED AND THE SEPARATE APPLICATION IS LAUNCHED LINKEDTO0RO4OOLSTHROUGH2E7IRE #REATING THESE LINKS IS SIMPLE AND AUTOMATIC 3IMPLY LAUNCH THE 2E7IRE APPLICATION THEN0RO4OOLS2E7IREWILLSEETHE2E7IREAPPLICATIONANDCREATE ALINK3HUTDOWNBOTHSOFTWARESANDTHE2E7IREAPPLICATIONSHOULDSHOWUP ASANINSTRUMENTPLUG ININ0RO4OOLS7HENLINKED ALL2E7IREAPPLICATIONSWILL NEEDTOBEQUITBEFOREQUITTING0RO4OOLS Figure 7.7 .OTALLTHESE 2E7IREAPPLICATIONSARE SAMPLEPLAYERS5NO FOREXAMPLE ISMORE OFANEDITINGSOFTWARE 5NOCONVERTSSINGLE note music tracks into PSEUDO -)$)THEAUDIOIS intact but is split out into something resembling -)$)COMMANDS4HE INDIVIDUALNOTESCANNOW BEREALIGNEDTOTHEBEAT ANDMOVEDONTOTHE PROPERPITCH%VENTHE MOSTOFF PITCHANDOFF tempo vocalist can be PLACEDONPITCHANDON TEMPO

-)$)ALSOHASITSOWNTIMECODEFORMATCALLED-)$)4IME#ODE-4# -4# CAN BE USED IN PLACE OF VIDEO TIMECODE TO INTERLOCK -)$) CONTROLLED DEVICES LIKERECORDERSANDCONTROLSURFACES-ANYTIMECODELOCKINGDEVICESHAVE-)$) CLOCKOUTPUTSMAKINGITEASYTOINTERLOCK-)$)HARDWARETOYOUREDITORSOUND DESIGN )NTERFACING -)$) TO HARDWARE REQUIRES A -)$) INTERFACE DEVICE 4HIS ISOFTENASIMPLE53"DEVICEWITH-)$)INANDOUT-ANY0RO4OOLSINTERFACES ALSOHAVEBUILT IN-)$)INANDOUT

7.3 Library music and rights &ORDECADES THEREHAVEBEENMUSICLIBRARIESWITHALLTYPESOFSTOCKMUSICTHAT CANBEUSEDINAPROJECT(ISTORICALLY THESEHAVEBEENCOLLECTIONSOFFINISHED MIXEDMONO ORSTEREOMUSICTHATCANBEUSEDFORAFEE4HESEFALLINTOTWO

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general groups, buyout AND rights available "UYOUT ALSO KNOWN AS hFREE RIGHTS v IS PURCHASED OUTRIGHT )F YOU OWN THE ORIGINAL #$ OR TAPE YOU ALSO OWNTHERIGHTSTOUSEITFORANYPURPOSEOTHERTHANSELLINGRIGHTSTOSOMEONE ELSE 2IGHTS AVAILABLE LIBRARIES CONTAIN MUSIC THAT CAN BE USED FOR A FEE PER USE ALSOKNOWNAShNEEDLEDROPvREFERRINGBACKTOATIMEWHENTHESELIBRARIES WERE DELIVERED ON VINYL RECORDS )N THIS CASE EVERY USE OF EVERY PIECE OF MUSIC EVENMUSICEXTENDED THROUGH EDITING MUST BE LICENSED AND PAID FOR DEPENDINGONTHEKINDOFPROJECTITISBEINGUSEDIN7HENEVERTHEPROJECTIS RE ISSUEDORRE RELEASED RIGHTSMUSTBEPAIDAGAINBASEDONTHESIZEOFMARKET ANDTYPEOFUSE )NTHEORY ALLMUSICISRIGHTSAVAILABLE4HEORIGINALPRODUCERORPERSONHOLDING THERIGHTSCANNEGOTIATEAFEETOUSETHEMUSIC!LIBRARYSIMPLYPUTSAFIXED PRICEONACOLLECTIONOFMUSICSOTHATTHEREISLITTLENEEDTONEGOTIATE ANDTHE PRICEISTYPICALLYMUCHLESS 4HISISOFTENTRUEOFARECORDEDSCOREASWELL)FTHEPROJECTISRE ISSUED AFEEIS USUALLYPAIDTOTHECOMPOSERFORTHEMUSICRIGHTS)FTHEMUSICISRE EDITEDFOR USEINADIFFERENTCUTOFTHEPROJECT THESAMERULESAPPLY)TISNORMALLYPARTOF THEMUSICEDITORSJOBTOMAKEASETOFCUESHEETSAFTERTHEFINALMIXSHOWING EXACTLY WHAT MUSIC WAS USED WHERE IF ANY EXTENDING THROUGH EDITING TOOK PLACE ANDWHERETHEMUSICORIGINATEDFROM4HESECUESHEETSWILLBEUSEDTO CALCULATEFEESFORFINALRIGHTSANDIFTHEPROJECTISRE ISSUED -ANY NEWER BUYOUT LIBRARIES ARE NO LONGER COLLECTIONS OF FINISHED MUSIC BUT RATHER LOOPS AND SAMPLES THAT CAN BE USED IN 0RO 4OOLS AND OTHER SOFTWARE TO BUILD COMPLETE PIECES OF MUSIC 4HIS COMPLETELY BLURS THE LINE BETWEEN COMPOSERANDEDITOR

7.4 Multitrack, instrument groups, and music stems !T TIMES THE SCORE OR OTHER MUSIC IS DELIVERED TO THE MUSIC EDITOR AS STEREO OREVENMONOTRACKS!LTHOUGHTHISMAYBEFINEFORACERTAINPROJECT THEBEST DELIVERYISASMULTITRACKRECORDINGS4HISISNOTTOSAYTHEUNMIXEDTRACKSFROM THE MUSIC SESSIONS BUT RATHER MUSIC TRACKS THAT HAVE BEEN PREMIXED INTO INSTRUMENT GROUPS AS MONO OR STEREO PAIRS 4HERE MAY BE MANY SUCH PAIRS STRINGS PERCUSSION BRASS VOCAL LEADS AND SO ON 4HIS WAY THE FEEL OF THE MUSIC CAN BE GREATLY ALTERED IN THE FINAL DUB -OREOVER THE PLACEMENT IN A MIXCANBESPREADACROSSTHEENTIRESPECTRUMRATHERTHANSIMPLYSPLITTINGTHESTEREOBETWEENTHESTEREOFRONTANDREAR $ELIVERY MAY BE ON TAPE OR BETTER PORTABLE DRIVE BUT PERHAPS THE BEST SYSTEM FOR MUSIC DELIVERY IS VIA $IGI$ELIVERY !S NEW CUES BECOME AVAILABLE

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FROM THE SCORING SESSION THEY ARE UPLOADED TO THE SERVER AND AN E MAIL IS AUTOMATICALLYSENTTOTHEMUSICEDITORWITHANENCRYPTIONALGORITHMTHATFUNCTIONS AS A SECURE KEY TO DOWNLOAD THE CUE TO THE MUSIC EDIT AND FINAL DUB 4HIS IS VERY HANDY BECAUSE USUALLY THE MUSIC IS BEING RECORDED IN A SECOND LOCATION SOMETIMESTHOUSANDSOFMILESFROMTHEEDITORDUB )DEALLY THE COMPOSER IS PRESENT AT THE FINAL DUB BECAUSE WITH A MULTITRACK score, there is so much control over the final feel of the music that their intent MAY BE ALTERED OR EVEN DESTROYED 4HE MUSIC EDITOR ACTS AS SOMETHING OF A REPRESENTATIVE FOR THE COMPOSER AND THE SCORE WHEN THE COMPOSER IS NOT AVAILABLE )T IS CRITICAL THAT THE MUSIC EDITOR AND THE COMPOSER BE IN CREATIVE SYNCANDTHATTHECOMPOSERTRUSTSTHEEDITOR

7.5 Scoring and recording 4HE SCORE IS RECORDED IN A STUDIO THAT IS DESIGNED FOR MUSIC RECORDING 4HE SYSTEMS AND STUDIO DESIGNS USED IN POSTPRODUCTION ARE NOT APPROPRIATE FOR RECORDINGMUSIC9ETMANYMUSICRECORDINGSTUDIOSMAYNOTHAVETHEPROPER EQUIPMENTFORVIDEOPLAYBACKORSYNCINGSYSTEMS

Figure 7.8 &OXS3TAGE ONE THE.EWMAN3CORING 3TAGE NAMEDFORTHE GREAT.EWMANFAMILY ,IONEL !LFRED $AVID %MIL -ARIA 2ANDY AND 4HOMAS WHOTOGETHER HAVEBEENNOMINATED FOROVER/SCARS! FIXTUREAT&OX !LFRED EVENCOMPOSED&OXS SIGNATUREFANFARE0HOTO COURTESYOF*OHN2OTONDI OF#REATIVE!UDIO3ERVICES WHOWASPARTOFTHETEAM THATREBUILTTHE.EWMAN 3TAGE

.OT LONG AGO VISUAL PLAYBACK MEANT MM INTERLOCKED PROJECTION 4HERE WERE FEW FACILITIES IN THE WORLD THAT HAD SUCH A SYSTEM !LTHOUGH SOME SCORESWERERECORDEDBLIND WITHOUTPICTURE MOSTCOMPOSERSDEMANDEDFILM PROJECTIONDURINGTHERECORDINGSESSIONS 4HESYSTEMINCLUDEDAROOMFULLOFhDUBBERS vPLAYBACKMACHINESTHATCOULD HOLD MONO THREE OR SIX TRACK AUDIO 5SUALLY THESE WERE MM THAT IS TO 180

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Figure 7.9 The INTERLOCKEDPROJECTOR WASUSUALLYAMASSIVE THEATERSYSTEMFITTED WITHSEVERALINTERLOCK MOTORSTHATALLOWEDITTO hROCKANDROLLvWITHTHE RECORDERSANDPLAYBACK MACHINES/NEOFTHE GREATCHALLENGESWITH THESESYSTEMSWASGETTING THEMTOGOFORWARDAND BACKATSPEEDSGREATER THANTHEUSUALFPS !TSPEEDSGREATERTHAN TWOTIMESNORMALSPEED MOSTSYSTEMSWOULD SHREDWHATEVERPRINTWAS THREADEDONIT

SAY THE MAGNETIC FILM THREADED ON THE DUBBER WAS MM FILM BASE WITH MAGNETIC OXIDE ON ONE SIDE /THER SYSTEMS MADE INCLUDED MM MM ANDEVENMMSYSTEMS %ARLIER SYSTEMS USED OPTICAL TRACKS ON FILM 4HIS SYSTEM HAD THE RATHER HUGE DISADVANTAGETHATTHEOPTICALRECORDERWASACTUALLYACAMERALOADEDWITHRAW FILM 4HERE WAS NO GOING BACK AND RERECORDING )F THE RECORDING FAILED THE CAMERAWASRELOADEDANDANOTHERATTEMPTWASMADEONTHECUE

Figure 7.10 Film DUBBERSPLAYERS ANDRECORDERSWERE INTERLOCKEDWITHTHE PROJECTORANDLATEREVEN MULTITRACKTAPERECORDERS Although magnetic film HASFALLENINTODISUSE ITISSTILLUSEDFORSOME APPLICATIONSINCLUDING FILMRESTORATION0ICTURED ARETWO-AGNA4ECSIX CHANNELRECORDERSANDA DOUBLEPLAYBACKDUBBER

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4HESEDAYSVIDEOPLAYBACKISSOSIMPLETOSETUPTHATMOSTHOMESTUDIOSHAVE IT)TCANBEPARTOFAPORTABLE0RO4OOLSRECORDINGSYSTEMALLOWINGJUSTABOUT ANYSPACETOBEASCORINGSTAGE !LTHOUGH MANY FILM SCORES ARE RECORDED ON A LARGE STAGE WITH A LARGE ORCHESTRA MANY ARE RECORDED ON A BASIC SYSTEM WITH ONLY A FEW MUSICIANS BECAUSEOFTHEOVERWHELMINGCOSTOFRECORDINGWITHALARGEORCHESTRA-OST INDEPENDENThNOBUDGETvFILMSARESCOREDWITHSAMPLESUSING-)$)SOFTWARE

7.6 Music on “Loves Devotion Forever” 4HE TEMP MUSIC FOR h,OVES $EVOTION &OREVERv WAS hCOMPOSEDv WITH 3ONICFIRE 0RO ONE OF THE FAMILY OF 3MART 3OUND PROGRAMS 7HILE THERE IS NO 2E7IRE VERSION AT THIS TIME FOR USE WITHIN 0RO 4OOLS 3ONICFIRE IS A STAND ALONE VERSION THATEXPORTSFINISHEDTRACKSIN!)&&OR"7&FORMAT$EPENDINGONTHEINPUTLOOPS ANDSAMPLES TRACKSCANBEEXPORTEDASASTEREOMIXDOWNORASSEPARATETRACKS ,OOPS WERE FROM THE 2ICHARD "AND LIBRARY AS WELL AS THE 3MARTSOUND LIBRARY 3ONICFIRE 0RO ALLOWS THE EDITOR TO COMBINE CUES AND TRACKS THAT CAN BE COMBINEDSEAMLESSLYINTOMUSICCUES7HEREMOSTLOOPSYSTEMSPROVIDEDRUM TRACKS MUSIC BEDS AND BASS LINE TO WHICH LEAD INSTRUMENTS CAN BE ADDED 3MARTSOUND WORKS WITH COMPLETE MUSICAL PHRASES THAT CAN BE COMBINED IN DIFFERENT WAYS TO hCREATEv THE MUSIC 4HROUGH MULTITRACK RECORDING AND LAYERING THEFEELOFTHEMUSICCANBEGREATLYALTERED !LSO ONE FREE RIGHTS CUE WAS USED FROM THE 4(% -USIC ,IBRARY WHICH THE "ROOKS)NSTITUTEOWNSFORUSEINSTUDENTPROJECTS4HISCUEISSUPPLIEDINSEVERAL MIXESTHATCANBECOMBINEDANDMIXEDINDIFFERENTWAYSTOALTERTHEFEELAND INSTRUMENTATIONOFTHECUE 4HETRACKSWERECREATEDANDEXPORTEDASSEPARATEFILESBYINSTRUMENTSECTION 4HIS CREATED UP TO SIX SEPARATE STEREO FILES ON SOME SCENES /THERS WERE EXPORTED AS STEREO FILES ONLY BECAUSE THE ORIGINAL LOOPS WERE PREMIXED TO STEREO)NSOMECASES THE3ONICFIREEDITSWEREPRESERVEDBYEDITINGINSEVERAL TRACKS SO THAT THE INDIVIDUAL TRACKS COULD STILL BE EXPORTED AS FILES 4HIS GAVE IMPROVEDCONTROLINTHEFINALMIX %ACHCUEWASEXPORTEDSEPARATELYAS!)&&WITHTHE3ONICFIRESESSIONLINEDUP ATPICTURESTART4HISEXPORTEDALARGEAMOUNTOFEMPTYTRACKATTHEHEADOF EVERY CUE BUT IT HELD ALL TRACKS IN SYNC AND IN PROPER ALIGNMENT WITH EACH OTHER 4HE TRACKS WERE THEN IMPORTED INTO THE 0RO 4OOLS SESSION WITH THE hIMPORTAUDIOTOTRACKvCOMMANDINTHEFILEMENU4HISCONVERTEDTHEFILESTO "7& ANDTHENEWFILESWEREPLACEDINASEPARATE-8FILEWITHINTHEAUDIOFILES FOLDER4HEORIGINAL!)&&SWEREALSOARCHIVEDINTHISFOLDERASWELL 182

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Figure 7.11 4HEEXPORT function in Sonicfire 0ROALLOWSFOREXPORTOF separate tracks as files WHENUSINGMULTITRACK SOUNDLOOPS

Figure 7.12 The IMPORTAUDIOTONEW track item imports the CLIPANDCREATESANEW TRACKPLACINGTHEAUDIO ATPICTURESTART!LLTRACKS FORTHECUEAREIMPORTED TOGETHERnINTHISCASE SIX STEREOTRACKS

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4HE3ONICFIRETRACKSHADBEENPLACEDINTHEIROWNFILEWITHINTHESESSIONAUDIO FILES AND THESE WERE THEN IMPORTED DIRECTLY WITHOUT THE NEED TO MAKE ANY DUPLICATE FILES IN THE SESSION AUDIO 4HE NEW TRACKS WERE CREATED CONTAINING THE CUE AS WELL AS THE LONG EMPTY LEAD IN USE TO PLACE THE TRACKS INTO THE PROPER PLACE IN THE PROJECT AND IN PHASE WITH EACH OTHER 4HESE TRACKS WERE THENTIME STAMPEDUSINGTHEhTIMESTAMPSELECTEDvCOMMANDINTHEREGION LISTPOP UPMENU

Figure 7.13 4HESIXNEW REGIONSARETIME STAMPED .OTETHATTHEAUDIOIS ONLYATTHEENDOFTHE CUE ASTHENEWAUDIOHAS NOMATCHINGTIMECODE THEBEGINNINGISUSED only as spacer to keep the cue in the proper POSITION4HETRACKSCAN NOWBECUTDOWNTOTHE ACTUALLENGTHANDPLACED INTHEPROPERTRACKS

Figure 7.14 The timeSTAMPEDGROUPEDREGIONS CANBEPLACEDINSYNCIN the proper tracks in Spot MODE

184

Music

4HE TIME STAMPED TRACKS WERE THEN GROUPED USING THE hGROUPv COMMAND IN THE REGION MENU 4HE LEAD IN SPACER COULD NOW BE CUT AWAY FROM THE SIX STEREO TRACKS AND THEY COULD BE MOVED TO THE ACTUAL MUSIC -8 TRACKS "ECAUSETHEAUDIOWASTIME STAMPED THESPOTFUNCTIONCANBEUSEDTOSPOT THEBLOCKOFTRACKSINTOTHEPROPERPLACEINTHE-8TRACKSBYSELECTINGTHE hUSERTIMESTAMPvINTHE3POTDIALOGWINDOW

Figure 7.15 The final five track cue is UNGROUPEDSOTHATEACH CHANNELCANBECONTROLLED INTHEMIX

4HE TRACKS WERE THEN UNGROUPED TO ALLOW EACH TRACK TO BE CONTROLLED AND EDITEDSEPARATELY4HESIXTRACKSCREATEDBYIMPORTINGTHEAUDIOTOANEWTRACK WERENOTDELETEDANDTHENEXTCUEWASIMPORTEDTHESAMEWAY -UCHOFTHENEW3ONICFIRESCOREWASREJECTEDINTHETEMPDUBANDCOMPOSER -ARK $UNNETT WAS HIRED TO COMPOSE THESE AREAS 4HE SCORE WAS RECORDED IN 4ORONTO WHERE THIS KIND OF WORK IS SOMEWHAT LESS EXPENSIVE WITHOUT IMPACTING THE QUALITY )N THIS CASE THE 3ONICFIRE SCORE MADE A GREAT TEMP TRACK EASILY CHANGEABLE AND ALLOWING EXPERIMENTATION IN THE MOOD AND FEELOFTHESCORE%VENSMALLCHANGESINTHESCORECANDRAMATICALLYAFFECTTHE NARRATIVE)NTHISCASE SOMEOFTHE3ONICFIRESCOREFROM2ICHARD"ANDWASPUT BACK IN FOR THE SCORE OF THE FILM WITHIN THE FILM )T WAS SO EXAGGERATED AND OVERTHETOP ITWORKEDGREATASASCOREFOR-ADELINESFILM3UCHCHANGESARE SOCOMMONASTOBECONSIDEREDANORMALPARTOFTHEPROCESS 185


4HENEWSCOREWASALSODELIVEREDASSTEMS GIVINGEXTRACONTROLINTHEMIX!LL THESE STEMS WERE PREMIXED USING AUTOMATION SO THAT THEY WOULD NOT NEED ADJUSTMENTINTHEFINALMIXUNLESSTHEFEELNEEDEDTOBEALTERED3EVERALSUCH MUSICREMIXESWERENECESSARYINTHEFINALDUBTOTWEAKTHEPERFECTFEEL -USICEDITORSANDMIXERSLIVEANDWORKSPLITBETWEENTWOWORLDS MUSICAND POSTPRODUCTION AND THEY NEED TO BE WELL VERSED IN BOTH AREAS 4HEY ALSO NEEDTOUNDERSTANDRIGHTSANDCONTRACTUALOBLIGATIONSSOASTONOTEDITINOR OUTSOMETHINGNOTCOVEREDINTHECONTRACTS9ETTHEREAREVERYFEWJOBSMORE satisfying than bringing the score to life on a film, being on both the scoring STAGEANDTHEDUBBINGSTAGE!LTHOUGHITISENORMOUSWORKANDINVOLVESLONG HOURS SOME MUSIC EDITORS EVEN FIND TIME TO HAVE AN OUTSIDE LIFE AND EVEN SLEEP ALTHOUGHNORMALLYTHESLEEPINGPARTISONLYDONEBETWEENlLMPROJECTS

186


In this chapter $UBBINGTHEORYAND TECHNIQUES 0REMIXINGANDPREMIXINGWITH automation

4HETEMPDUB 4HEFINALDUB

#ONTROLSURFACESAND automation

/UTBOARDDEVICES 0 ,EVELSANDEQUALIZATION -IXINGEFFECTSANDFUTZING -)$)MUSIC 3URROUNDMIXING 3URROUNDMIXINGTHEORY 0 -IXINGh,OVES$EVOTION &OREVERv

8 The Dub

8.1 Dubbing theory and techniques -IXING THE TRACKS ALSO KNOWN AS dubbing, consists primarily of placing all OF THE SOUNDS AT THE PROPER VOLUME AND EQUALIZATION !LTHOUGH THIS IS THE PRINCIPALGOALOFTHEDUB THEDUBISALSOTHELASTCHANCETOFIXANYPROBLEMS PLACE SOUNDS IN THE STEREO OR SURROUND PERSPECTIVE AND ALTER THE SOUND TO BETTERFITTHEAPPARENTENVIRONMENTORTOFINETUNETHESOUNDDESIGN-IXING FOR POSTPRODUCTION IS OFTEN MORE DEMANDING THAN MIXING MUSIC IN A STUDIO SESSION4HEMUSICSESSIONOFTENISONLYMOVEDATPOINTS ANDMANYCHANNELS TENDTOMOVETOGETHERANDMOVEMENTSAREOFTENSMALL)NPOSTPRODUCTIONTHE LEVELS EFFECTS ANDEQUALIZATIONTENDTOCHANGEALLOVERTHEPLACEALLTHETIME 4HE SOUNDS MUST WORK WITH THE PICTURE 4HIS IS NOT TO SAY THEY MUST MATCH THEPICTUREnINFACT USUALLYTHEYWONT-ANYSOUNDSWILLBELOUDERTHATTHE PICTUREMIGHTSUGGEST OTHERSSOFTERORMISSINGALLTOGETHER )T IS CRITICAL THAT THE SOUNDS NOT COMPETE WITH EACH OTHER 7HATEVER SOUND IS hFEATUREDv IN THE SCENE THE OTHER SOUNDS SHOULD TAKE A BACK SEAT AND LET THEFEATUREDSOUNDSOWNTHESCENE4HISWILLOFTENBETHEDIALOGUE BUTMAY BE THE EFFECTS &OLEY MUSIC OR BACKGROUNDS /FTEN THE SOUNDS PUSHED TO THEBACKWILLBESOSLIGHTTHATTHEYAREBARELYAUDIBLE YETTHEMIXFEELSSTARK WITHOUTTHEM)NMANYCASESITWILLBENECESSARYTOHAVEEVERYTHINGPRESENT BUTINAVERYCONTROLLEDPROPORTION)NOTHERCASESONLYCERTAINSOUNDSWILLBE HEARD!LTHOUGHTHISISOFTENTHEMUSICBEINGALLOWEDTOPLAYFORWARDWITHALL OTHERSOUNDSMUTED ITMAYEVENBEANEFFECT OREVEN&OLEY WITHEVERYTHING ELSEPULLED )TISIMPORTANTTOMANIPULATETHEDYNAMICS!TTIMESTHESOUNDSWILLBEHUGE AND VERY DYNAMIC !T TIMES THE DYNAMICS SHOULD BE COMPRESSED TO SUPPORT THE DIALOGUE OR hFATTENv SOUNDS )T IS THE DIFFERENCE BETWEEN LOUD AND SOFT

189


Figure 8.1 *IM#ORBETT #!3 -03%LEFT AND #HARLES$AYTON#!3 ON4ODD!/S'LEN 'LENNSTAGEONE*IMAND Charles volunteer their TIMEMIXINGTHE+ODAK MM0ROJECTFILMS4ODD !/ALSOSPONSORSTHE PROJECTWITHFREESTAGE TIME'LEN'LENNSTAGE one is one of the largest ANDFINESTMIXINGSTAGES IN(OLLYWOOD

THAT MAKES A SOUND SEEM LOUD OR SOFT )F EVERYTHING IS LOUD THEN THE MIX IS BLAND EVERYTHING BECOMES ANNOYING WHILE NOTHING SEEMS LOUD )N Lord of the RingsATRICKWASUSEDTOMAKEVERYLARGESOUNDSSOUNDEVENLOUDER*UST BEFORETHELARGESOUNDEVERYTHINGELSEWASPULLEDOUTFORAFRACTIONOFASECOND 3O RATHER THAN THE LARGE SOUND FIGHTING WITH A LARGE BACKGROUND THE LARGESOUNDJUMPEDOUTFROMSILENCE4HEFRACTIONOFASECONDOFSILENCEISNOT EVENPERCEIVABLE YETITMAKESTHELOUDSOUNDSEEMEVENLOUDER)FYOUGETIN A CAR AND KEEP YOUR FOOT ON THE BRAKE FOR NEXT HOUR THE CAR WILL NOT MOVE -ACHINESAREABSOLUTEANDOBJECTIVE"UTIFYOUGETONAHORSEANDPULLBACK ONTHEREINSFORANHOURYOUARELIKELYTOENDUPALONEONTHEGROUNDWITHA HEADACHE 0ERCEPTION IN LIVING THINGS IS NOT ANALYTICAL OR MECHANICAL )N THIS CASEALLTHEHORSEPERCEIVEDISTHATYOUWERETRYINGTOHURTIT0ERCEPTIONISNOT ABSOLUTE WE MEASURE ONE THING COMPARED TO ANOTHER 5NLESS YOU LET UP ON THEREINSTHEHORSEHASNOWAYTOKNOWWHENYOUWANTTOSTOP!NDWITHOUT SOFTTHEREISNOLOUD &EATUREFILMSAREMIXEDMUCHMOREDYNAMICALLYTHANTELEVISION&ORONETHING THE BIT THEATER SYSTEMS CAN HANDLE A MUCH WIDER DYNAMIC RANGE THAN BROADCASTTELEVISION4HEQUESTIONISOFTENASKEDWHATLEVELSSHOULD)SEEONMY METERS WHILE MIXING !SSUMING THAT THE ROOM IS SET UP CORRECTLY FOR D" AT THEMIXCHAIRSEE#HAPTERFORMOREINFORMATIONONTHIS BLOODWILLBECOMINGFROMYOUREARSBEFOREYOUOVERMODULATE4HEREFOREMIXERSMIXTOTHEIREARS NOT THEIR METERS 4HE MONITOR SPEAKERS ARE NORMALLY SET LOWER FOR TELEVISION BETWEEN D" AND D" CAUSING THE MIXERS TO MIX AT A SOMEWHAT HIGHER LEVEL TO GET THE SAME VOLUME IN THE MIX ROOM 4HESE HIGHER LEVELS CAN CAUSE THEMIXERTOOVERDRIVETHEMIXANDSOSOMEATTENTIONTOTHEMETERSISNECESSARY 190

The Dub

Figure 8.2 Charles $AYTONMIXINGEFFECTSFOR h,OST(OPEAND-OREvAT 4ODD!/STAGESIX

4HE GOAL IN MIXING HIGHER IS TO CONSTRAIN THE MIX TO A LOWER DYNAMIC RANGE WITHOUTBRINGINGUPTHENOISEFLOOR)FTHEMIXISCONSTRAINEDATALOWERLEVELITIS CLOSERTOTHENOISEFLOORRESULTINGINANOISIERRECORDING 4HE EFFECTS EDITOR HAS SELECTED BACKGROUNDS FOR EACH SCENE THAT SUPPORT THE FEEL OF THE SCENE 4HE MIX %1 REVERB AND COMPRESSION MUST ALSO SUPPORT THOSE ENVIRONMENTS *UST BECAUSE THE EFFECTS EDITOR HAS CUT IN WIND BIRDS A DISTANTSTREAMANDLEAVESRUSTLINGDOESNOTMEANTHATALLOFTHESESOUNDSARE EQUALLYIMPORTANTANDPLAYATTHESAMELEVEL4HEENVIRONMENTONTHESCENE SHOULDBESUPPORTEDBYTHESESOUNDS ANDWHERESOMEWILLBEVERYFORWARD SOMEWILLBEHARDLYNOTICEABLE 4HEREARESEVERALWAYSTOMIXAFILMIN0RO4OOLS OFTENDIVIDEDINTOTWOBASIC SYSTEMS REFERRED TO AS hINSIDE THE BOXv AND hOUTSIDE THE BOXv 4HE OUTSIDE THE BOX SYSTEM INVOLVES INSERT RECORDING 4HIS SYSTEM IS BASED ON THE OLDEST SYSTEMUSEDFORMIXINGAFILM WHEREALLTHETRACKSAREPLAYEDTOGETHERANDTHE OUTPUTOFMAINMIXINGBUSISRECORDEDINTOAMIXCHANNELORCHANNELS)NITS MOSTBASICFORMTHISSYSTEMUSESNOAUTOMATION THELEVELSARESETANDRIDDEN ONACONTROLSURFACEBYTHEMIXERS ASTHEOUTPUTOFTHEMIXBUSISRECORDED ONTOONEORMOREMIXCHANNELS$EPENDINGONTHE0RO4OOLSSYSTEMANDTHE COMPLEXITYOFTHEMIX THISMAYREQUIRESPECIALHARDWAREANDSOFTWARE 4HE FIRST THING NEEDED IS A h0%#DIRECTv MONITORING SYSTEM 4HE MONITORING NEEDS TO BE ASSIGNABLE FROM THE OUTPUT OF THE MIXING BUS AND THE OUTPUT 191


OFTHEMIXEDCHANNELS!LTHOUGHTHESECONTROLSAREPRESENTINSIDE0RO4OOLS ITREQUIRESSELECTINGMONITORINGUSINGTHEMOUSE!0%#DIRECTSYSTEMNEEDS TOBEEASYTOACCESSANDQUICKTOUSE-OUSECLICKSARETOOCUMBERSOMEFOR THISTASK4HE0%#DIRECTSYSTEMALLOWSTHEMIXERTOSELECTWHATCHANNELSARE BEINGMONITOREDANDTOINSERTTHEMIXCHANNELS INTORECORD 4HE OUTPUT OF THE MAIN MIX BUS NEEDS TO BE RECORDED ONTO ONE OR MORE CHANNELSINTHE0RO4OOLSSESSION!LTHOUGHTHISCANBEDONEINTHE0RO4OOLS INTERFACE ITCANBECONFUSINGANDDIFFICULT4HESIMPLESTSYSTEMISTOUSETWO0RO 4OOLSSYSTEMS ONEFORPLAYBACKANDONEDEDICATEDTORECORDING4HERECORDING SYSTEMDOESNOTNEEDTOBEEXTREMELYCAPABLEEVENAN,%OR- POWEREDSYSTEMWILLDOPROVIDEDITHASTIMECODEOR-4#TOLOCKITTOTHEPLAYBACKSYSTEM 4HE0%#DIRECTNEEDSTOHAVETHEFOLLOWINGFUNCTIONS N

/UTPUTOFTHEPLAYBACKSYSTEMTOTHEMONITORSPEAKERS

N

/UTPUTOFTHERECORDINGSYSTEMTOTHEMONITORSPEAKERS

N

2ECORDFORTHERECORDSYSTEM

N

4RANSPORTCONTROLSFORTHEINTERLOCKEDSYSTEMS

!LTHOUGHMOSTCONTROLSURFACESHAVETRANSPORTANDRECORDCONTROLS NONEHAVE A0%#DIRECTMONITORINGSYSTEM/NECANBECONSTRUCTEDFROMCOMMONPARTS ANDCANBELAIDONTHECONTROLSURFACENEARTHETRANSPORTCONTROLS 7HEN INSERT MIXING THE SYSTEM ROLLS FORWARD AS THE OUTPUT BUS IS RECORDED TO THE FINAL TRACKS 7HEN A PROBLEM COMES UP WITH THE MIX THE SYSTEM IS STOPPED AND RETURNED TO A PLACE BEFORE THE PROBLEM 4HE SYSTEM IS ROLLED FORWARDASTHEMIXER! "COMPARESTHEOUTPUTOFTHEMAINBUSTOTHEOUTPUT OFTHEMIXEDTRACKS)FANYOFTHECHANNELSWERENOTRUNNINGFROMAUTOMATION ORRECORDINGTOAUTOMATIONTHENTHEPROPERLEVELS FORTHOSECHANNELSMUST BEFOUNDBEFORETHERECORDINGSYSTEMCANBEINSERTEDINTORECORD)FTHELEVELS DONOTMATCH THEREWILLBEAhBUMPvINTHEAUDIOATTHEPOINTOFTHEINSERT 5SINGTHE0%#DIRECTSYSTEM THEMIXERQUICKLYSWITCHESBETWEENTHEOUTPUT OFTHEBUSANDTHEPLAYBACKOFTHEMIXEDTRACKSWHILEMOVINGANYSLIDERSTO FINDTHEMATCHINGLEVELS7HENNODIFFERENCECANBEHEARDBETWEENTHETWO THERECORDSYSTEMIShPUNCHEDvINTORECORDANDMIXINGBEGINSAGAINFROMTHIS POINT!LLOFTHISMUSTBEDONEQUICKLY USUALLYINJUSTAFEWSECONDS )F THE 0%#DIRECT SYSTEM IS BEING USED IN CONJUNCTION WITH THE TRANSPORT CONTROLSONTHECONTROLSURFACE THENALLTHATISNEEDEDISASMALLFLATBOXTHAT CANSITONTHECONTROLSURFACENEARTHETRANSPORTCONTROLS/NTHEBOXARETWO BUTTONS ONETHATSELECTSTHEOUTPUTOFTHEMIXBUSANDONETHATSELECTSTHE OUTPUT OF THE RECORDING SYSTEM 4HE RECORD SYSTEM NEEDS TO BE THE MASTER system so that the transport controls on the control surface control the entire

192

The Dub

INTERLOCKEDSYSTEMANDTHEMASTERRECORDCONTROLINTHETRANSPORTCONTROLSCAN BEUSEDTOPUNCHINTOTHERECORDCHANNELS .OW THE MIXER CAN SHUTTLE TO A POINT SEVERAL SECONDS BEFORE THEY NEED TO INSERT PRESSPLAY SWITCHBACKANDFORTHBETWEENTHEOUTPUTOFTHEPLAYBACK SYSTEMS MAIN BUS AND THE OUTPUT OF THE RECORDING SYSTEM WHILE MATCHING LEVELSONCHANNELSLIDERSWITHTHEIROTHERHAND7HENTHELEVELSMATCH PUNCH THERECORDBUTTONONTHETRANSPORTCONTROL "ECAUSEEVENASIMPLEMIXCANBETOOCOMPLICATEDTOMIXENTIRELYINTHISWAY SOMETRACKSARENORMALLYAUTOMATEDORPREMIXED4HENTHEFILMISMIXEDINSECTIONSTHATAREABOUTMINLONG5SUALLYTHESEARETHEhREELSvOFAFEATUREFILM &EATURESWEREHISTORICALLYEDITEDINREELSNOTTOEXCEEDFEET!LTHOUGHTHE ACTUAL REELS OF FILM NO LONGER EXIST IN POSTPRODUCTION THE CONCEPT OF BREAKING THEFILMINTOREELLENGTHSISSTILLUSED 5SUALLYTHEREELISREHEARSEDINANONSTOP PASS AS THE MIXERS TRY DIFFERENT LEVELS AND GET THE FEEL OF THE ENTIRE SECTION 4HENMIXINGSTARTSFROMTHEBEGINNINGOFTHEREELANDCONTINUESLIVEUNTILALEVEL ISMISSEDORANYOTHERPROBLEMCOMESUP4HENTHESYSTEMISRETURNEDTOAPLACE SEVERAL SECONDS BEFORE THE PROBLEM 4HE SYSTEM IS THEN ROLLED FORWARD WHILE THE MIXERS FIND MATCHING LEVELS AND THEN THE RECORD CHANNELS ARE INSERTED INTORECORDANDMIXINGBEGINSAGAINATTHISPOINT7HENTHEMIXISFINISHED THE RECORDTRACKSAREBACKEDUPTOSEPARATEFILES ANDWHENNEEDED OUTPUTTOTAPE 4HEADVANTAGEOFMIXINGTHISWAYISTHATITSFAST AND DEPENDINGONTHESKILL OFTHEMIXERS VERYCREATIVE4HEDISADVANTAGEOFTHISISTHATIFTHESEMIXING MOVESAREPERFORMEDLIVEANDNOTAUTOMATED THEREISNOWAYTOREPEATTHE COMBINATIONOFMOVES#HANGESAFTERTHEMIXBECOMEMOREDIFFICULT 4HE OTHER TECHNIQUE FOR MIXING THE FILM KNOWN AS hINSIDE THE BOXv INVOLVES RECORDING AUTOMATION INTO EVERY CHANNEL AND THEN WHEN THE ENTIRE MIX SOUNDS RIGHT BOUNCING THE MIX TO DISC RECORDING THE MIX DIRECTLY TO TAPE ORPLAYINGTHEMIXBACKTHROUGHENCODINGEQUIPMENTORSOFTWARETORECORDABLE MEDIA 4HE MIX CANNOT BE SIMPLY EXPORTED OR BACKED UP AS MANY OF THEAUDIOPROCESSORS ENCODESAND-)$)FUNCTIONSREQUIREREAL TIMEPLAYBACK 7HEN BOUNCING THE OUTPUT OF THE MAIN BUS IS RECORDED INTO ONE OR MORE AUDIOFILESTHATARETHEFINISHEDMIX

8.2 Premixing and premixing with automation /FTENWHENAFILMPROJECTISVERYCOMPLICATEDITISNECESSARYTOPREMIXSOME OFTHETRACKSTOMAKETHEMIXMANAGEABLE4HEGOALINPREMIXINGISTOREDUCE THENUMBEROFTRACKSTOBECONTROLLEDINTHEFINALDUBWHILEKEEPINGALLOFTHE

193


TRACKSAVAILABLETOREMIXANYPREMIXIFTHELEVELSUSEDINTHEPREMIXNEEDTO BEALTEREDTOIMPROVETHEFINALMIX !UTOMATION CAN BE USED IN PLACE OF PREDUBBING IF THE SYSTEM HAS THE CAPABILITYTOPLAYALLTRACKSINREALTIME)FTHE0RO4OOLSSYSTEMISNOTCAPABLE OFPLAYINGALLTRACKS PREDUBBINGWILLBENECESSARY 0REDUBBINGCANBEPERFORMEDINAVARIETYOFWAYS/NESIMPLESYSTEMISTOSET THEOUTPUTOFALLOFTHETRACKSTOBEPREMIXEDTOANUNUSEDBUS4HENCREATE ANEWTRACKINTHESAMEFORMAT AS THE MIX STEREO ,#23 ORWHATEVER 3ETTHEINPUTTOTHISNEWCHANNELTOTHESAMEBUSASTHEOUTPUTOFTHEOTHER CHANNELS 4HE SELECTED CHANNELS CAN NOW BE MIXED AND RECORDED TO THE NEW CHANNEL 4HE ORIGINAL TRACKS CAN THEN BE MADE INACTIVE FREEING UP ANY RESOURCES BEING USED BY THESE TRACKS AND THEN HIDDEN TO FREE UP SPACE ON THECONTROLSURFACEANDINTERFACESCREEN)FANYPROBLEMSCOMEUPINTHEDUB WITHTHEPREMIX THESECHANNELSCANBEMADEACTIVEANDTHEPREMIXCHANNEL ALTERED )FTHE0RO4OOLSSYSTEMISABLETOPLAYALLTRACKS ANDTHEREISNONEEDTOFREEUP RESOURCESBEINGUSEDBYTHEPREMIXTRACKS ANDTHEGOALISSIMPLYTOSIMPLIFY THE MIX THEN THE PREMIX TRACKS CAN BE AUTOMATED ROUTED THROUGH A AUX TRACK TO CONTROL THE LEVEL OF THE PREMIX AND ALL BUT THE AUX TRACK HIDDEN TO FREEUPSPACEONTHEINTERFACESCREEN )NTHISCASE ANEWAUXTRACKISCREATED THEINPUTOFTHEAUXSETTOANOPEN BUS4HENTHEOUTPUTOFTHEPREMIXCHANNELSCANBEROUTEDTOTHESAMEBUS ANDLEVELS PLUG INS ANDPANSOFTHEPREMIXTRACKSAUTOMATED7HENTHISMIX ISSOUNDINGRIGHT THEPREMIXTRACKSCANBELEFTACTIVEBUTHIDDEN LEAVINGONLY THEAUXTRACKTODEALWITHINTHEFINALDUB)FANYADJUSTMENTSARENEEDEDTO THEPREMIX THEHIDDENTRACKSCANBESHOWNANDTOUCHEDUP 4HEMOSTCOMMONCHANNELSTOPREMIXAREBACKGROUNDS4HEREMAYBEMANY OFTHESETRACKS ANDTHEYCANBEPREMIXEDEASILYITISEASYTOPREVISUALIZEHOW THESETRACKSWILLPLAYINTHEFINALMIX/NEPROBLEMTHATOFTENCOMESUPISAT SCENECHANGES)FTHEMIXERWANTSTHENEWBACKGROUNDTOCOMEINATACERTAIN LEVEL THENTHEOUTGOINGSCENEWILLALSOBEBROUGHTUPTOTHATLEVELJUSTBEFORE THECUT!SOLUTIONTOTHISPROBLEMISTOPREMIXTHEBACKGROUNDSTOTWOCHANNELS AN!BACKGROUNDTRACKANDA"BACKGROUNDTRACKMAKINGSURETHATTHE BACKGROUNDS DO NOT BUTT UP TO EACH OTHER AT THE SCENE CHANGES .OW THE MIXERCANSETALEVELFORTHESCENECHANGEWITHOUTALTERINGALARGENUMBEROF OUTGOINGBACKGROUNDS -ANY CHANNELS ARE OFTEN PREMIXED USUALLY EFFECTS TRACKS )T IS EXCEEDINGLY RARETOPREMIXDIALOGUETRACKSWITHTHEPOSSIBLEEXCEPTIONOFELABORATEWALLA EFFECTS&OLEYTRACKSAREOFTENPREMIXEDASWELL SOMETIMESASONE&OLEYTRACK ORASTWOORTHREE&OLEYTRACKS FOREXAMPLE FOOTSTEPS MOVEMENT ANDPROPS

194

The Dub

3OMETIMES THE ENTIRE EFFECTS EDIT IS PREMIXED )N THIS CASE HOWEVER THIS PREMIXISUSUALLYPARTOFTHEFINALMIXTHEEFFECTSARESIMPLYMIXEDFIRST THEN THE MIXERS RETURN TO THE BEGINNING AND START ADDING IN THE DIALOGUE AND MUSIC )T IS IMPORTANT WHEN PREMIXING TO KEEP IN MIND HOW THE ENTIRE MIX WILLGOTOGETHER4HEREMAYBEPOINTSWHERETHESOUNDSEEMSTHINORATRANSITION FEELS UNNATURAL BUT KEEP IN MIND WHAT WILL BE GOING ON IN THE OTHER TRACKS4HETRANSITIONMAYBECOVEREDBYAHUGEMUSICCUE ORTHETHINSOUNDS MAYBEREINFORCEDBYOTHERTRACKSNOTPRESENTINTHEPREMIX

8.3 The temp dub ! TEMP DUB IS USUALLY PERFORMED 4HIS IS A GOOD ATTEMPT TO MIX THE TRACKS WITHOUTANYHIGHATTENTIONTODETAIL4HEGOALHEREBEINGTOCHECKTHATALLTHE SOUNDSAREHEREANDTHESHOWISMIXABLE (ISTORICALLY THE TEMP DUB OR TEMP DUBS WERE NECESSARY BECAUSE THE SCORES OFTRACKSCOULDONLYBEHEARDONAMIXINGSTAGE4HESOUNDEDITORSHADNEVER HEARDMORETHANTWOORTHREETRACKSATATIMEUNTILTHETEMPDUB/NLYTHEN COULDDECISIONSBEMADE AS TO WHAT REALLY WORKED AND WHAT DID NOT 4HIS IS WHYOFTENSEVERALTEMPDUBSWOULDBEMADE 7ITHMODERNDIGITALAUDIOWORKSTATIONSITISPOSSIBLETOHEARALLOFTHETRACKSAS THEYAREBEINGEDITED%VENIFSEVERALPEOPLEAREWORKINGINSEVERALLOCATIONS EVERYONECANBEWORKINGONTHESAMEPROJECTFILESVIA$IGIDELIVERY ORCHANGES CANBE&40EDOREVENSNEAKERNETWORKEDVIAPORTABLEDRIVE 4HIS MEANS THAT YOU KNOW IF A SOUND IS GOING TO WORK THE WAY YOU WANT IT TO AS YOU ARE EDITING IT INTO THE PROJECT 4HE NEED FOR A FORMAL TEMP DUB IS DIMINISHED#RITICALEFFECTSANDMUSICCUESCANBESENTVIA$IGIDELIVERYTOTHE DIRECTOR AND PRODUCERS FOR APPROVAL 7ITH VERSION AND HIGHER IT IS EVEN POSSIBLETOBOUNCESHORTSECTIONSOFTEMPDUBWITHPICTUREANDSENDTHISFOR APPROVALWITH$IGIDELIVERY /N A FILM FINISH WORKFLOW THERE ARE CRITICAL POINTS ALONG THE WAY WHERE A COMPLETE TEMP DUB IS NEEDED )F A WORKPRINT IS CONFORMED THIS SHOULD BE INTERLOCKED WITH THE SOUNDTRACK AND PROJECTED 4HIS REQUIRES A TEMP DUB TO BETRANSFERREDTO$!ORMAGNETICFILM3OINTHISCASETHETEMPDUBMAYBE NOTHINGMORETHANATOUCHUPOFLEVELSANDATRANSFERFORSCREENING )TISALSONECESSARYTOINTERLOCKANDSCREENTHEFIRSTANSWERPRINTONWORKFLOWS WHEREASILENTANSWERPRINTISMADE!NDTHIS TOO REQUIRESATEMPDUB /N ALL PROJECTS THERE MAY BE A NEED TO SCREEN A TEMP DUB FOR PRODUCERS THE DIRECTOR NETWORK PEOPLE OR WHOMEVER )N THIS CASE THE TEMP DUB MAY BE DONE IN A 0RO 4OOLS MIX ROOM BY SIMPLY SCREENING THE 0RO 4OOLS SESSION -ORE THAN LIKELY THIS WILL BE A MORE FORMAL SCREENING FROM VIDEOTAPE IN A

195


S CREENING ROOM WITH A GOOD AUDIO SYSTEM 4HE TEMP DUB WILL BE BOUNCED TO DISC SYNCED WITH VIDEO EDIT AND PRINTED TO TAPE 0RO 4OOLS EVEN OFFERS A hBOUNCE TO 1UICK4IMEv FOR JUST THIS PURPOSE 4HIS IS ONLY AN OPTION WHEN VIDEO PLAYBACK IS FROM 1UICK4IME )N THIS CASE THE MIX AND THE 1UICK4IME MOVIEARECOMBINEDINTOASINGLE1UICK4IMEMOVIE4HISISGREATFORTEMPING BUTSHOULDNEVERBEUSEDFORDELIVERY /N MANY PROJECTS THE TEMP DUBS SIMPLY EVOLVE INTO THE FINAL DUB /N VERY LARGE PROJECTS THIS IS COMMON AS THE SOUND EDITORS AND MIXERS MAY HAVE ACCESSTOAMIXINGSTAGETHROUGHTHEENTIREPOSTPRODUCTION4HISWASTHECASE on the Lord of the RingsTRILOGY4HEMIXSTAGEWASDEDICATEDTOTHEPROJECTFOR THEENTIRETIMETHEFILMSWEREBEINGEDITED4HEONLINESESSIONWASMIXEDFOR MONTHS AS THE SOUNDS INCLUDING THE SCORE WERE BEING RECORDED !T THE END THEYGAVETHEFILMAWEEKOFFINALADJUSTMENTSANDITWASFINISHED 4HISISSIMILARTOHOWMOSTSMALLPROJECTSAREMIXEDASWELL!STHENO BUDGET GUERILLAFILMMAKERMAYBEMIXINGONTHEIROWNEDITINGSYSTEM ATSOMEPOINT THEYWILLGIVEITONELASTSETOFTWEAKSANDCALLITFINISHED 4HEh(OLLYWOODvWORKFLOWISMUCHCLOSERTOTHEOLDERCONVENTIONALWORKFLOW )NTHISCASETHESOUNDMAYBEMIXEDASITISEDITED BUTATKEYPOINTSATEMP DUB IS PERFORMED AND SCREENED UNTIL EVERYONE IN THE DECISION LOOP IS IN AGREEMENTTHATTHEPROJECTISREADYFORTHEFINALDUB %ACHSOUNDCANBEAPPROVEDORREJECTEDINTHETEMPDUBPROCESS!LTHOUGH REJECTING SOUNDS IN THE TEMP DUB IS COMMON IT IS EXPENSIVE AND TIME CONSUMINGTOOPTTOREEDITATTHEFINALDUB

8.4 The final dub )TALLCOMESDOWNTOTHIS.OWALLTHETRACKSAREMIXEDASTIGHTLYASPOSSIBLE EVERY ATTENTION TO EVERY DETAIL -ANY OF THE DECISIONS ARE SUBJECTIVE HOW MUCHBACKGROUND HOWLOUDSHOULDTHEMUSICBE3HOULDWEPANASOUNDAS THECHARACTERMOVESORNOT4HEREARENORULESBUTTHEREAREGUIDELINES.EVER BURY THE DIALOGUE +EEP THE DIALOGUE IN THE FOREGROUND OVER EFFECTS MUSIC EVERYTHING )F YOU THINK THE DIALOGUE IS FORWARD ENOUGH ITS NOT 'O MORE $ONTGETTOOBIGONEFFECTSANDMUSICUNLESSITSABIGFILM$ONTBEAFRAIDTO GOSMALLWITHSOMEEFFECTS9OUDONTNEEDTOALWAYSHEAREVERYFOOTSTEPAND SHOESQUEAK +EEPTHEINTENTOFTHEFILMMAKER4RYNOTTOLETTHEMIXTURNINTOACOMMITTEE DECISION&IGUREOUTWHOISDIRECTINGTHEMIXnUSUALLYTHEDIRECTOR BUTOFTEN THISMAYBETHEPRODUCERnANDLETTHEMMAKETHECALL%VERYONEATTHEMIX NEEDS TO DO EVERYTHING TO ACHIEVE THE FILMMAKERS GOAL AND THE FILMMAKER NEEDSTOEXPRESSHISORHERDESIRES

196

The Dub

Figure 8.3 *UNIPERPOSTS MIXROOM0HOTOBY *EFF-ERRITT

-UCHOFWHATISGOINGONISTECHNICAL!RETHELEVELSGOINGTOOHIGH$OWE NEED TO SAVE HEADROOM FOR LATER WHEN WE NEED TO GET MUCH LOUDER 4HERE ARESTANDARDSFOREVERYTHING4HEMONITORSPEAKERSSHOULDBESETATALEVELSO THATTRULYLOUDSOUNDSAREBEINGHEARDLOUDLY4HEACOUSTICSOFTHEROOMARE ALSOCRITICAL-IXATAREPUTABLEFACILITY -OST MIXING FACILITIES WILL WANT TO START FROM SCRATCH BUT SOME MAY BE INTERESTEDINWHATLEVELSHAVEBEENUSEDUPTONOWANDBUILDONTHIS!SALWAYS CHECKWITHTHEMASTOTHEIRNEEDS BUTMOSTLIKELYTHEYWILLWANTYOUTOSTRIP OUTALLOFYOURLEVELSSOTHATTHEYCANHEARJUSTWHATTHEYHAVETOWORKWITH -AKE A BACKUP OF THE 0RO 4OOLS PROJECT SO THAT IF YOU NEED TO GET BACK TO YOUR TEMP DUB YOU CAN 4HEN SELECT THE VOLUME AUTOMATION FOR EACH TRACK SELECT ALL AND PRESS $ELETE 2EMOVE ANY PAN OR MUTE AUTOMATION THE SAME WAY4HENREMOVEALLMIXINGFILTERS &EWMIXINGFACILITIESUSE1UICK4IMEFORVIDEOPLAYBACK4HEYWANTTOKEEPALL OFTHECOMPUTERRESOURCESAVAILABLETO0RO4OOLS.ORMALLYTHEYUSEhMACHINE CONTROLvWHERE0RO4OOLSCONTROLSAVIDEOTAPEPLAYERANDKEEPSITINSYNCWITH THE0RO4OOLSSESSION4HEYMAYALSOUSEVIRTUAL642ORDISCPLAYBACK)FSO YOU WILLNEEDTOPRINTYOURVIDEOTOVIDEOTAPEINWHATEVERFORMATTHEYUSE ORTHEY WILLDIGITIZETHISFORTHEIRDISCSYSTEM!LSOFINDOUTWHATTIMECODEFORMATTHEY PREFER 4HEY WILL WANT ON THE VIDEOTAPE TO CORRESPOND TO THE beginning of the Pro Tools session, normally the first frame of the picture after THECOUNTDOWNLEADER/RTHEYMAYWANTITONTHEPICTURESTARTFRAMEOFTHE COUNTDOWN LEADER 9OU WILL PROBABLY NEED TO HAVE A PROFESSIONAL VIDEOTAPE DUB MADE TO INSURE PROPER FORMAT AND TIMECODE PLACEMENT %VEN IF THEY AREUSINGSOMEFORMOFDIGITALPLAYBACK THEYWILLCAPTUREFROMTHISVIDEOTAPE TOENSURETHATEVERYTHINGISACCURATE 197


)F YOU ARE FINISHING ON FILM THE ABSOLUTE BEST WORKFLOW IS TO MAKE THE FIRST ANSWER PRINT BEFORE THE FINAL DUB 4HEN TELECINE THIS ANSWER PRINT TO THE PROPER VIDEOTAPE FORMAT WITH THE PROPER TIMECODE 4HIS WILL ENSURE THAT THE VIDEO REFERENCE IS AN EXACT MATCH OF ANY FUTURE PRINTS )F THERE IS A SYNC PROBLEM IT COULD BE BECAUSE OF AN EDITING ERROR A CONFORMING ERROR OR ANY NUMBEROFPOTENTIALOTHERPROBLEMS2ATHERTHANWORRYINGABOUTHOWITHAPPENED SIMPLYFIXITHEREKNOWINGTHATTHISISABSOLUTELYTHEACCURATEPICTURE )FYOUAREFINISHINGONVIDEO YOUCANALSOMIXAFTERTHEONLINEFORTHESAME REASON(OWEVER ITISMUCHLESSIMPORTANTONAVIDEOFINISHBECAUSEIFTHERE IS A SYNC PROBLEM IT CAN BE FIXED BY SLIPPING THE VIDEO SHOT RATHER THAN THE AUDIO "ECAUSE OF THIS FLEXIBILITY IN VIDEO FINISH THE SOUND MAY BE MIXED BEFORE DURING ORAFTERTHEONLINEEDIT

8.5 Control surfaces and automation

Figure 8.4 The $IGIDESIGN&OCUSRITE #ONTROLCONTROL SURFACE

! CONTROL SURFACE LOOKS VERY MUCH LIKE A MIXING BOARD AND IT IS USED EXACTLY LIKEAMIXINGBOARD"UTINFACTITISMORELIKEACOMPUTERKEYBOARDMOUSE)T ONLYCONTROLSTHE0RO4OOLSSOFTWAREANDHASVERYLITTLEBUILTINFUNCTIONORACTIVE ELECTRONICS 3OME MAY HAVE MIC PREAMPS OR EVEN A SMALL MONITORING MIXER BUTFORTHEMOSTPARTALLOFTHEIRFUNCTIONISPROVIDEDBYTHE0RO4OOLSSYSTEM 9OU MAY ASK WHEN ONE OF THE GREATEST ADVANTAGES OF THE 0RO 4OOLS MIXER IS THATITISVIRTUALANDTHEREFORETOTALLYCUSTOMIZABLE WHYTIEYOURSELFDOWNTOA HUGEHARDWAREMIXER4HEADVANTAGEOFSUCHACONTROLLERISTHATMANYOFTHE

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The Dub

CONTROLSANDSLIDERSOFTHE0RO4OOLSINTERFACEARENOWINTHEhREALWORLDvAND CAN BE QUICKLY BE TOUCHED AND MANIPULATED -OREOVER SEVERAL CONTROLS CAN BEMANIPULATEDATTHESAMETIMEANDWITHBETTERCONTROL 4HE KEY TO A GOOD CONTROL SURFACE IS THAT IT IS VERY ADAPTABLE SO THAT ANY CUSTOM0RO4OOLSMIXERCANBEINTERFACEDEASILYWITHTHECONTROLSURFACE-ANY OFTHECONTROLSAREOBVIOUS!CHANNELSLIDERISALWAYSGOINGTOBEASLIDERAND EVERY CHANNEL WILL HAVE ONE ! PAN POT IS ALSO USUALLY PRESENT HOWEVER IT MAYBEASINGLEKNOBORSLIDER TWOKNOBSORSLIDERS ORAINTERFACE)FTHE CONTROL SURFACE HAS A SINGLE KNOB PAN AT TIMES IT WILL SERVE YOUR NEEDS AT TIMESNOT %QUALIZERSAREABIGGERPROBLEMNOTWOWILLHAVETHESAMETYPEORNUMBERS OF CONTROLS )NTERFACING THE CONTROL SURFACE TO AN %1 PLUG IN MAY NOT EVEN be possible on some control surfaces or plug-ins, but it certainly can still be CONTROLLED WITH THE MOUSE 4HE BETTER CONTROL SURFACES HAVE FLEXIBLE SYSTEMS TOCONTROL%1 4HETRANSPORTCONTROLSARESTRAIGHTFORWARDANDEASYTOPLACEONTHECONTROLSURFACE ASAREAUTOMATIONCONTROLS MONITORING SHUTTLINGANDSCRUBBING METERING ANDRECORDING!CONTROLSURFACEISABSOLUTELYNECESSARYFORPOSTPRODUCTION MIXING IT CAN CUT THE TIME NEEDED IN HALF WHILE INCREASING CONTROL AND ACCURACY

Figure 8.5 The $IGIDESIGN)#/.CONTROL SURFACE

!UTOMATION WITH CONTROL SURFACES IS PROGRAMMED MORE OR LESS IN THE SAME WAY THAT IT IS WITH A VIRTUAL MIXER 4HE CONTROLS ON THE CONTROL SURFACE ARE TOUCHSENSITIVEWHENINONEOFTHEAUTOMATIONWRITEMODES ANYCONTROLTHAT IS MOVED WILL BE WRITTEN INTO THE AUTOMATION 3OME CONTROLS ARE MOTORIZED SOTHATTHESLIDERFOLLOWSEVERYMOVEOFTHEVIRTUALMIXER-ANYKNOBSARENOT MOTORIZEDBUT RATHER USE,%$STOSHOWTHEPOSITIONOFTHEKNOB4HEDISPLAY CHANGESWHENTHEKNOBISMOVEDORWHENTHEAUTOMATIONMOVESTHECONTROL

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Figure 8.6 $IGIDESIGN )#/.CHANNELFADER STRIPMODULE

3OMEOFTHECONTROLSONSOMEOFTHECONTROLSURFACESAREPROGRAMMABLEAND CAN BE ATTACHED TO MANY OF THE FUNCTIONS OF THE VIRTUAL MIXER 4HE )#/. $ #ONTROL IS AVAILABLE WITH CUSTOMIZABLE MODULES FROM WHICH VERY ELABORATE LARGECONTROLSURFACESCANBEBUILT4HE)#/.$#ONTROLISEXPANDABLETO FADERSTRIPSPER0RO4OOLSSYSTEM

Figure 8.7 $IGIDESIGN )#/.PRODUCERSDESKn GEARRACKMOUNTMODULE

)T IS NOT NECESSARY TO HAVE ALL OF THE ACTIVE CHANNELS PRESENT ON THE CONTROL SURFACE #ONTROL SURFACES HAVE hBANKINGv CONTROLS THAT MAKE IT POSSIBLE TO MOVETHEFADERSACROSSSETSOFCHANNELSINTHEMIX/NLYTHECHANNELSACTUALLY BEINGMANIPULATEDNEEDTOBEPRESENTONTHECONTROLSURFACE !NOTHERADVANTAGEOFACONTROLSURFACE ORSEVERALCONTROLSURFACESCONTROLLING SEVERAL0RO4OOLSSYSTEMS ISTHATTHISALLOWSTHEMIXERSTOhINSERTMIX vTHATIS TOSAY MIXWITHTHECONTROLSURFACEWHILERECORDINGTHEOUTPUTASAFINALMIX 200

The Dub

8.6 Outboard devices !S THE NEEDS OF POSTPRODUCTION ARE OFTEN A BIT OUT OF THE ORDINARY ITS UNDERSTANDABLE THAT SOME OF THE DEVICES USED IN MIXING FOR POSTPRODUCTION ARE ALSO A BIT hSTRANGEv %VEN THOUGH MOST AUDIO PROCESSORS ARE AVAILABLE AS 0RO 4OOLS PLUG INS IT SEEMS THAT THERE SHOULD BE NO NEED FOR hOUTBOARD DEVICESv (ISTORICALLY THERE WERE RACKS OF DEVICES NEAR THE BOARD WITH PROCESSORS SUCH AS EQUALIZERS COMPRESSORS REVERBS NOISE GATES AND EVEN CUSTOM MADEhFUTZBOXESvANDOTHERSTRANGEDEVICESPREFERREDBYTHEMIXER -ANYOFTHEDIGITALPLUG INSAREATTEMPTSTORECREATEOLDEROUTBOARDDEVICES THEY MAY EVEN LOOK LIKE BEAT UP OLD RACK MOUNT OR HOME MADE DEVICES ON THECOMPUTERSCREENSEE#HAPTERABOUTPLUG INS !NDALTHOUGHTHEYMAY SOUNDVERYMUCHLIKETHEHISTORICDEVICE THEYMAYNOTSOUNDEXACTLYLIKETHE DEVICETHEYAREDUPLICATING/RTHEMIXERMAYJUSTLOVESOMESTRANGEDEVICE THAT LOOKS LIKE A REJECT FROM A GOVERNMENT SURPLUS SALE )N ANY EVENT THERE ARESTILLTIMESWHENYOUMAYWANTTOCONNECTANOUTBOARDDEVICE!NDEVEN THOUGHITMAYLOOKLIKEJUNK ITNEEDSTOBEWHERETHEMIXERCANOPERATEIT RIGHTOUTTHEREINPLAINSIGHTAMIDALLOFTHEHIGH TECH CENTURYCOMPUTER MIXINGTOOLS!NDITNEEDSAPATCHINGSYSTEM4HESEDAYSSOME0RO4OOLSMIXINGSYSTEMSMAYNOTEVEN HAVE A PATCH BAY AT THE CONSOLE BUT IF YOU WANT TOUSEOUTBOARDDEVICES ITISNECESSARYTOHAVEAWAYTOCONNECTTHEMTOTHE 0RO4OOLSSYSTEM )TISPOSSIBLETOUSEOUTBOARDDEVICESJUSTLIKEAPLUG ININSERTONTHE0RO4OOLS MIXER )NSERTS USE CORRESPONDING INPUTS AND OUTPUTS ON THE 0RO 4OOLS AUDIO INTERFACE&OREXAMPLE THEDEVICECANBEPATCHEDBETWEENOUTPUTSEVENAND INPUTSEVENONTHE0RO4OOLS)/BOX

Figure 8.8 )TISPOSSIBLE TOSETUPTHE)NSERT)/ 3ETUPTOUSEOUTBOARD HARDWAREDEVICESAS0RO 4OOLSINSERTSINTHE-IX WINDOW

4HE INSERT IS NOW DEFINED IN THE )/ 3ETUP WINDOW IN THE )NSERT MENU BY SELECTING THE )/ CHANNELS BEING USED WITH THE HARDWARE INSERT 4HE CORRESPONDING CHANNELS MUST ALSO BE DISABLED IN BOTH THE INPUT AND OUTPUT

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)/3ETUP)N&IGURE THESTEREOINANDOUTSARENOWACCESSIBLEASANINSERT ONTHEMIXCHANNELS

Figure 8.9 4HEHARDWARE DEVICEISNOWAVAILABLE INTHEINSERTPULL DOWN menu as an )/INSERT

3OMEHARDWAREDEVICESWILLCONNECTTOTHE0RO4OOLSSYSTEMDIGITALLY)NTHIS CASE THE 0RO 4OOLS SYSTEM MUST BE THE MASTER CLOCK FOR THE DIGITAL DEVICE -AKE SURE TO SET YOUR DIGITAL OUTBOARD DEVICE TO EXTERNAL CLOCK 3EE THE 0RO 4OOLSMANUALFORPOSSIBLESETUPS 3OME OUTBOARD HARDWARE DEVICES CAN BE AUTOMATED 4HEY MAY CONNECT BY TIMECODE OR THEY MAY USE SOME OTHER SYSTEM BUT IT MAY BE POSSIBLE TO CONNECTTHEMTOTHE0RO4OOLSAUTOMATION *USTASTHEMIXINGBOARDISOFTENCONTROLLEDBYAMIXINGSURFACE SOMEPLUG INS THATMIMICOUTBOARDDEVICESMAYHAVELOSTSOMELEVELOFCONTROLINBECOMING VIRTUAL)TISBECOMINGMORECOMMONFORSOMEPLUG INSTONOWBECONTROLLABLE FROMAPHYSICALCONTROLBOXTHATCONNECTSTOTHECONTROLSURFACEOR0RO4OOLS SYSTEMTHATVERYMUCHBLURSTHELINEBETWEENPLUG INSANDOUTBOARDDEVICES

8.7 Levels and equalization 4HEMOSTOBVIOUSGOALOFTHEDUBISTOSETTHELEVELSANDEQUALIZATIONOFTHE EDITEDSOUNDS!LTHOUGHTHEGROSSSOUNDLEVELNEEDSTOBEALTEREDINTHEMIX THEDYNAMICSOFTHESOUNDWILLALSONEEDTOBEALTERED!GOODRECORDINGWILL HAVE WIDE DYNAMICS THAT IS A BROAD RANGE BETWEEN LOUD AND SOFT SOUNDS !LTHOUGHTHISISONESIGNOFAGOODRECORDING ITMAYNOTBETHEBESTSOUND WHENMIXED#ONSIDERTHESOUNDOFSOMEONETALKINGOVERAHEAVYNOISEFLOOR SAYAFREEWAYSOUND4HEDYNAMICVOICERECORDINGHASPEAKSANDVALLEYS EVEN

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The Dub

WITHINWORDS4HEPEAKShPUNCHTHROUGHvTHENOISEFLOOR BUTTHEVALLEYSARE LOST UNDER THE FREEWAY SOUND 4HIS MAY MAKE THE DIALOGUE HARD TO UNDERSTAND)FTHEDYNAMICSARECOMPRESSEDTOREMOVEBOTHTHEPEAKSANDVALLEYS THE COMPRESSED SOUND CAN BE PLAYED UP SO THAT ALL OF THE SOUND PUNCHES THROUGH THE NOISE FLOOR 2EVERB AND OTHER EFFECTS MAY NEED TO BE ADDED TO MAKETHESOUNDSFITTHEAPPARENTENVIRONMENTOFTHESCENE

Production audio 4HE PRODUCTION SOUND MAY BE GOOD OR IT MAY BE CHALLENGING WITH BACKGROUNDNOISE VARYINGLEVELSANDVARYINGAMOUNTSOFROOMREVERBERATION4HIS ISOFTENTHEHARDESTTOMIX ANDITISNORMALFORTHEMOSTEXPERIENCEDMIXERTO BEONTHEPRODUCTIONTRACKS-OREOVER MOSTOFTHISSOUNDWILLBEDIALOGUE WHICH IS ALSO THE MOST LISTENED SOUND AND IN MANY WAYS THE MOST CRITICAL SOUND5NLESSITISTHEINTENTOFTHEFILMMAKER THEDIALOGUESHOULDALWAYSBE EASY TO UNDERSTAND AND THE MOST FEATURED SOUND 4HE DIALOGUE WILL USUALLY BE EQUALIZED IN AN EFFORT TO GIVE IT MORE CLARITY AND REMOVE ANY LOW RUMBLEANDOTHERUNDESIRABLEFREQUENCIES)TOFTENISALSOCOMPRESSEDTOhFATTENv THESOUNDSOTHATITCANPUNCHTHROUGHTHENOISEFLOOR4HISEVENHELPSWHEN THENOISEFLOORISPARTOFTHEPRODUCTIONRECORDINGEVENROOMREVERBERATIONIS DIMINISHEDTOSOMEEXTENTWHENTHESOUNDISCOMPRESSED ,ESS IS OFTEN MORE 4HERE IS A TENDENCY FOR LESS EXPERIENCED MIXERS TO DO TOO MUCH TOO MANY SOUNDS COMPETING FOR THE LISTENERS ATTENTION AND TOO MUCHCOMPRESSION REVERB ANDEQUALIZATIONMUDDYINGTHESOUND)NTERMSOF PUNCHINGTHEDIALOGUETHROUGHMUSICANDEFFECTS MOREISOFTENMORE7HEN THE MIX BETWEEN THE DIALOGUE AND EVERYTHING ELSE SEEMS JUST RIGHT MANY MIXERSWILLGIVETHEDIALOGUEATINYEXTRAPUSH .OISE REDUCTION IS OFTEN NECESSARY WHEN MIXING PRODUCTION DIALOGUE 5NLESS THESOUNDWASUNRECOVERABLE ITWOULDNOTHAVEBEENREPLACEDWITHAUTOMATIC DIALOGUEREPLACEMENT!$2 3OMETIMESSOMENOISEWILLNEEDTOBEREMOVED )FTHEPROBLEMISSOMEUNWANTEDFREQUENCY FOREXAMPLEHUM ORIFITISINTHE VERY LOW FREQUENCIES OR HIGH FREQUENCIES IT CAN BE REMOVED WITH FILTERING !PARAMETRICORhNOTCHvFILTERCANDOTHEJOB)FTHENOISEISACROSSTHEFREQUENCY RANGEORATLEASTACROSSTHEVOICERANGE ITCANBEDRAMATICALLYREDUCEDWITHA BROADBANDNOISEREMOVERSUCHAS".2 ! NOISE GATE OR THE hSTRIP SILENCEv FUNCTION MAY ALSO BE USED 4HIS LOWERS THE AUDIOTRACKDOWNOREVENTURNSITOFFIFTHEDIALOGUEDROPSBELOWASETLEVEL4HIS CANBEEXTREMELYEFFECTIVEIFTHEREISAGOODEFFECTSBACKGROUNDTOFILLTHEHOLES )TISUNLIKELYTHATYOUWILLWANTTOPLACEALLOFTHESEPLUG INSONEVERYDIALOGUE CHANNELSOMEWILLNEEDTOBEONTHEINDIVIDUALCHANNELS BUTUSUALLYTHESEARE MOREMANAGEABLE USEFEWERCOMPUTERRESOURCESANDEVENDOABETTERJOBIF THEYAREONLYONTHEOUTPUTOFTHEDIALOGUESTEMORONASENDTOTHEDIALOGUE

203


STEM )N #HAPTER WE LOOKED AT HOW TO SET THESE UP +EEP IN MIND THAT COMPRESSION ANOISEGATE BROADBANDNOISEREMOVER ORNOTCHFILTERWILLNOT FUNCTION PROPERLY ON A SEND 4HE ORIGINAL UNEFFECTED SOUND WILL STILL BE SENT TOTHESTEMANDTHEEFFECTSRETURNWITHTHENOISEREDUCTIONCANTDOANYTHING ABOUTTHAT.OISEREDUCTIONANDCOMPRESSIONMUSTBEINSERTEDDIRECTLYINTHE STEM FADER OR ON THE INDIVIDUAL PRODUCTION DIALOGUE CHANNELS 2EVERB AND EQUALIZATIONINTENDEDTOhSHARPENUPvTHEDIALOGUECANBEPLACEDONASEND ANDMANYMIXERSFEELTHEYHAVEIMPROVEDCONTROLWITHITSETUPTHATWAY

ADR !LTHOUGH!$2ISADIALOGUE ITISSTUDIORECORDEDANDCANBELESSDEMANDING THAN PRODUCTION AUDIO 4HE TRICK WITH MIXING !$2 IS MAKING SURE IT DOESNT SOUND LIKE !$2 4HE !$2 MIXER SHOULD HAVE RECORDED THE !$2 SO THAT IT SOUNDS MORE OR LESS LIKE THE PRODUCTION WHEREAS IN THE DUB IT WILL NEED TO BEFINE TUNEDWITHLEVELANDEQUALIZATIONTOSOUNDEXACTLYLIKETHEPRODUCTION DIALOGUE )T WILL ALSO BE NECESSARY TO ADD REVERB OR hROOMv TO SOME !$2 )T MAYEVENBENECESSARYTOADDCOMPRESSIONTOhFATTENvTHE!$2HOWEVER THE !$2ISMOSTLIKELYRATHERFATTOSTARTWITH *UST AS WITH PRODUCTION DIALOGUE THESE PLUG INS CAN BE PLACED ON A SEND TO THEDIALOGUESTEMANDROUTETHE!$2DIRECTLYTOTHEDIALOGUESTEM)TSUNLIKELY THATYOUWILLWANTTOPLACE!$2PLUG INSDIRECTLYONTHEDIALOGUESTEM ASTHIS WOULD ADD THESE EFFECTS TO THE PRODUCTION DIALOGUE 9OU COULD ALSO ADD AN !$2FADERANDROUTEALLOFTHE!$2THROUGHITANDTHENTOTHEDIALOGUESTEM 4HIS WOULD ALLOW FOR THE ADDITION OF NOISE REDUCTION AND COMPRESSION HOWEVER THERESHOULDBENONEEDTOEVERUSENOISEREDUCTIONON!$2

Walla 4HEWALLAMAYHAVEBEENRECORDEDORPULLEDFROMLIBRARYSOUNDS)TMAYNEED TO BE MIXED INTO THE EFFECTS STEM BUT ONLY IF IT IS TOTALLY NONDESCRIPT AND NONEOFTHEWORDSUNDERSTOOD-OREOFTENITWILLBEMIXEDINTOTHEDIALOGUE STEM 4HE WALLA NEEDS TO MATCH THE FEEL OF THE EFFECTS AND OTHER DIALOGUE ANDSOISSOMEWHATLIKEMIXING!$2)NMOSTCASESWALLAWILLBERECORDEDAT A MORE DISTANT MIC PLACEMENT AND MAY SOUND RATHER NATURAL IN ITS ORIGINAL STATE-OREOFTENITWILLNEEDSOME%1ANDREVERBTOGETITTOFEELATHOMEIN THESCENE

Sound effects 7HILETHEEFFECTSSHOULDCONSISTOFONLYHIGH QUALITYSOUNDTHEYAREATWILDLY WRONG,EVELSBECAUSEMOSTOFTHEEFFECTSWERERECORDEDWILDWITHOUTPICTURE ORAREFROMALIBRARY ANDWHILETHEYWERERECORDEDATAPROPERLEVELFORTHE RECORDING THELEVELNEEDSTOBEADJUSTEDFORTHISPARTICULARSCENE

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The Dub

/FTEN THE EFFECTS WILL BE VERY SUBDUED HELD WAY BACK UNDER THE DIALOGUE OR MUSIC 4HEY MAY EVEN BE REMOVED ALTOGETHER AND THE MUSIC BE GIVEN THE ENTIRE TRACK !T OTHER TIMES THE SOUND EFFECTS WILL OWN THE SCENE EVEN DIALOGUEMAYTAKEABACKSEAT 4HEEFFECTSAREOFTENCOMPRESSEDWHENTHEYAREVERYSUBTLEANDINTHEBACK BUTWHENTHEYAREPLAYINGATFULLVOLUME THEYAREASDYNAMICASTHERECORDING CAN SUPPORT 4HE ORIGINAL RECORDING MAY EVEN BE EXPANDED IN THE MIX )F A CANNONISFIREDONSCREEN YOUMAYWANTTOMAKETHEAUDIENCEHEARTHEFULL SOUND OF A CANNON GOING OFF IN THE THEATER !ND THE NEW BIT RECORDING AND PLAYBACK SYSTEMS CAN DELIVER IT TOO %VEN IF THE EFFECTS THAT HAVE BEEN CUTINAREBIT THEYCANBEDYNAMICALLYEXPANDEDANDMIXEDINTOA BIT MIX 4HE EFFECTS WILL ACTUALLY BE CONVERTED TO BIT WHEN IMPORTED INTO A BIT MIX BUT WHILE THIS ADDS HEADROOM IT STILL REQUIRES TAKING ADVANTAGE OF THIS HEADROOM BY EXPANDING THE EFFECTS IN THE MIX 4HEY CAN BE PLAYED LOUDER OR THEY CAN BE EXPANDED WITH PLUG INS LIKE THE 3ONALKSIS -ULTIBAND $YNAMICS PLUG IN OR EVEN OUTBOARD DEVICES LIKE THE $"8! 3UBHARMONIC "ASS3YNTHESIZER 4HE TRICKIEST ASPECT OF EFFECTS TRACKS IS THAT THERE ARE OFTEN MANY OF THEM )T MAYTAKESOUNDSINTRACKSJUSTTOMAKETHEPERFECTSOUNDFORAPECULIAR EFFECT )T IS NOT UNCOMMON TO HAVE MORE EFFECTS TRACKS THAN ALL OF THE OTHER TRACKS COMBINED &OR THIS REASON IT IS OFTEN NECESSARY TO PREMIX ALL OF THE EFFECTS BEFORE THE FINAL MIX 4HIS IS CERTAINLY TRUE ON EFFECTS HEAVY SHOWS LIKE LARGESCIENCEFICTIONORFANTASYFILMS

Foley &OLEY IS USUALLY MIXED MORE TO THE FRONT THAN THE PICTURE WOULD TEND TO SUGGEST 4HE AUDIO IN FILM IS ALMOST ALWAYS AN EXAGGERATED SOUND AND THERE ISOFTENASENSETHATTHEAUDIENCEHASSUPERHEARING ABLETOMAKEOUTEVERY SHOESQUEAKANDPAPERSETDOWN)FTHE&OLEYISMIXEDTOOLOUDITWILLDESTROY THESENSETHATTHISISACTUALPRODUCTIONAUDIOKung Fu Movie ANYONE !ND WHILE HERE TOO LESS IS MORE A BIT MORE THAN NATURAL IS FINE AND MOST OFTEN THECASE/FTENTHE&OLEYISNOTMIXEDBYTHEEFFECTSMIXERONMULTIPLEMIXER DUBS BUT BY THE MUSIC MIXER WHO HAS LESS TO DO AND CAN HANDLE THE EXTRA TRACKS

Music 4HEREISAMISPERCEPTIONTHATTHESCOREREQUIRESLITTLEORNOMIXINGATTHEFINAL DUB!LTHOUGHITISPOSSIBLETOCUTINTHESCOREASASIMPLESTEREOTRACK THISIS NOT THE BEST PRACTICE $ELIVERING THE SCORE AS A STEREO MIX IS SOMETHING LIKE DELIVERINGTHEEFFECTSASASTEREOMIX9ES THISWORKS BUTTHEREISLITTLEORNO CONTROL OF THE FINAL MIX AND IF THE FILMMAKER WANTS SOMETHING DIFFERENT IT

205


CANTBEDONE!LTHOUGHTHEMUSICWILLNEEDTOBEPREMIXEDBEFOREDELIVERY IT IS BEST IF IT IS MIXED TO STEMS STRINGS PERCUSSION BRASS SOLO PIANO OR WHATEVERSTEMSWILLGIVESOMEMEASUREOFCONTROLINTHEFINALDUB4HEGOAL OFMIXINGFROMSTEMSISNOTTOALTERTHEWAYTHESCOREHASBEENWRITTENAND PERFORMED BUT TO ALLOW FOR SUBTLE CHANGES IN THE MUSIC MIX TO BETTER SERVE THENEEDSOFTHEFILM

Figure 8.10 4HE7AVES 33URROUND)MAGERFOR 0RO4OOLS($

)TISALSOBETTERTOHAVETHESTEMSINAMIXASTHEINSTRUMENTSCANBEPLACED IN DIFFERENT PLACES IN THE THEATER 3TEREO SOUND WILL NEED TO BE EXPANDED TO WITHLITTLECONTROLOVERWHATINSTRUMENTSENDUPWHEREANDEVENLESSCONTROLOFTHEMMOVINGAROUNDATWILL4HE7AVES33URROUND)MAGERISONE SUCHPLUG INFORIMAGINGSOUNDINTOAMIXWITHEXCELLENTRESULTS

8.8 Mixing effects and futzing /FTEN THE MUSIC IS INTENDED TO BE SOURCE MUSIC COMING FROM A RADIO OR JUKEBOX OR WHATEVER 4HIS IS OFTEN REFERRED TO AS hDIEGETICv SOUND MEANING THAT IT IS IN THE WORLD OF THE NARRATIVE )N THIS CASE THE MUSIC MAY BE BOTH

206

The Dub

FUTZED TO SOUND LIKE AN OLD JUKEBOX AS WELL AS EQUALIZED AND REVERBERATED TO FEEL LIKE THE PRODUCTION AUDIO 3OMETIMES MUSIC NEEDS TO SOUND LIKE IT IS COMINGTHROUGHAWALLORFLOOR2ISETHEBASSANDSMASHTHEHIGHS ADDREVERB ANDPOSSIBLYCOMPRESSFORGOODMEASURE ANDITSHOULDSOUNDJUSTLIKEACHEAP HOTELROOMABOVEABAR 3OMETIMESTHEREISANINTENTIONALMISDIRECTIONOFWHATSEEMSTOBESCORETHAT TURNS OUT TO BE SOURCE MUSIC 4HIS IS A BIT TRICKY IF THE MIXER DOES ANYTHING TOO OVERT TO THE SCORE IT GIVES AWAY THE EFFECT TOO EARLY )N SOME CASES THE SCOREISSUDDENLYFUTZEDINTOSOURCEMUSIC BUTAGENTLETRANSITIONTHATSNEAKS UPONTHELISTENERCANBEMUCHMOREFUN

8.9 MIDI music )N SOME CASES SOME OR ALL OF THE MUSIC MAY BE ON -)$) AND NOT AUDIO AT ALL )N TERMS OF MIXING THIS CAN BE MORE DIFFICULT SIMPLY BECAUSE THERE IS NO PREMIXING OF THE INSTRUMENTS EACH -)$) INSTRUMENT IS IN ITS OWN -)$) TRACK 4RUE -)$) TRACKS WILL BE BROUGHT INTO THE MIX ON AN AUDIO TRACK 4HE -)$)TRACKWILLSENDITSCODETOTHE-)$)SAMPLEPLAYEROROTHER-)$)DEVICE AND THAT DEVICE WILL RETURN THE -)$) AS AUDIO ON AN AUDIO TRACK !LTHOUGH THEAUDIOTRACKISTREATEDTHESAMEASANYOTHERAUDIOTRACK THE-)$)DEVICE CANBEMANIPULATEDTOALSOALTERTHESOUND4HEREISINCREDIBLECONTROLnTHE INSTRUMENTSCANEVENBECHANGEDINTODIFFERENTINSTRUMENTS)TISUNLIKELYTHAT THE FILMMAKER WILL WANT TO TURN A PIANO INTO A SAXOPHONE AT THE FINAL DUB (OWEVER IFTHEYWANTTO YOUCAN 3OME -)$) TRACKS MAY BE )NSTRUMENT TRACKS RATHER THAN PURE -)$) )N THIS CASE THE -)$) IS HANDLED INTERNALLY IN 0RO 4OOLS AND THE SAMPLE PLAYER IS A PLUG IN)NTERMSOFMIXINGTHISISREALLYTHESAMEASWORKINGWITH-)$)TRACKS AND OUTBOARD -)$) DEVICES BUT IT IS SIMPLER TO SET UP AND DOES NOT REQUIRE HAVING THE -)$) DEVICES PRESENT AT THE DUB )T DOES STILL REQUIRE HAVING THE PROPERPLUG INSINSTALLEDONTHEMIXINGSYSTEM .ORMALLY -)$) IS PREMIXED TO STEMS AS AUDIO AND THEN MIXED INTO THE FINAL DUBLIKEANYOTHERSCORE"UTITISPOSSIBLETOMIXWITH-)$)TRACKSDIRECTLYIN THEFINALDUBIFACCESSTOTHESAMPLESISDESIRABLE

8.10 Surround mixing 3URROUND SOUND COMES IN MANY FORMATS AND FLAVORS /NE OF THE OLDEST AND MOST OFTEN USED IS $OLBY ,#23 OR LEFT CENTER RIGHT SURROUND 4HIS FORMAT USESOPTICALSOUNDTRACKSTHATAREENCODEDWITH$OLBYANALOGNOISEREDUCTION !LTHOUGHTHISFORMATISTHEMOSTCOMMONLYUSEDONPRINTS ITISRARELYUSEDIN

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ACTUALPROJECTION)TWASATONETIMETHEFORMATOFCHOICEFORMMFILM BUTIT HASBEENREPLACEDBYSEVERALDIGITAL$OLBYFORMATS $43AND3$$39ETA,#23 TRACKISSTILLPRINTEDONTHEMMPRINTFORTHEATERSTHATDONOTSUPPORTANYOF THEDIGITALFORMATSANDASABACKUPWHENTHEDIGITALSYSTEMISNOTWORKING 3OME FILMS ARE STILL MIXED IN ,#23 AND 0RO 4OOLS ($ SUPPORTS THIS FORMAT $OLBYEVENOFFERSAN,#23PLUG INFORENCODINGANDDECODING,#23 RIGHTIN THE0RO4OOLSSESSION!LTHOUGHANYFORMATCANBEMIXEDIN0RO4OOLS ALLOF THEOTHERPROJECTIONFORMATSREQUIREENCODINGOUTSIDEOF0RO4OOLS-OSTFILMS ARE MIXED IN SURROUND WHICH CAN BE ENCODED INTO A VARIETY OF FORMATS ANDDOWN MIXEDTO,#23ANDSTEREOWITHOUTANYREMIXING -IXINGUSINGCANBEQUITETIME CONSUMING$EPENDINGONTHETRACKLAYOUT IN THE SOUND EDIT IT MAY BE NECESSARY TO FURTHER MODIFY THE 0RO 4OOLS MIXER TOACCOMMODATETHEMIX)NAWORSTCASETHEEDITMAYBESTEREOIFTHEEDITORS WERESTUCKWITHWORKINGON,%OR- 0OWEREDSYSTEMSTHATDONOTSUPPORT )NTHISCASETHESTEREOEDITWILLNEEDTOBECHANGEDINTOASESSION,ETSTAKE A LOOK AT THAT &IRST CREATE A NEW SESSION IN 4HERE ARE THREE FORMATS IN0RO4OOLS N

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N

$43

4HEONLYDIFFERENCEBETWEENTHESEFORMATSISINTHESPEAKERASSIGNMENT4HE FORMATSIMPLYNEEDSTOMATCHTHE)/SETTINGSANDTHEWIRINGOFTHEMONITOR SPEAKERS)FYOUARESENDINGAUDIOTOTHERIGHTREARANDITSCOMINGOUTOFTHE SUBWOOFER YOURE USING THE WRONG FORMAT OR WRONG )/ SETTINGS &IND OUT HOWTHESYSTEMISWIRED /NCEYOUHAVEASESSIONOPEN GOTO)MPORT3ESSION$ATAANDIMPORTTHE STEREOSESSION)MPORTALLTRACKS4HISWILLALTERTHE)/SETTINGSBACKTOSTEREO 'OTOTHE)/SETTINGSANDSETTHE)/TOONTHEFIRSTSIXCHANNELS .OWSETTHEOUTPUTOFEACHCHANNELTO4HEPANPOTSDISAPPEARANDARE REPLACED WITH THE PAN WINDOW #LICKING ON THE SMALL SLIDER ICON IN THE CHANNEL STRIP CAN EXPAND THIS WINDOW &ROM HERE YOU CAN SET THE CHANNEL TO THE OUTPUT CHANNEL OR CHANNELS DESIRED )F THE EDIT WAS MADE WITH IN MIND ALLOFTHENEEDEDFOURCHANNELSOUNDSSHOULDBEPRESENTINTWOSTEREO TRACKSEACH ORPOSSIBLYFOURMONOTRACKS !STHEEDITORS WEREWORKINGINSTEREO THEYHADNOWAYOFMONITORINGFIVECHANNELS SO THEY HAVE EDITED SOUNDS BY VISUALIZING THE FINAL MIX MONITORING BOTH FRONTANDREARTHROUGHSTEREOMONITORS4HERESABITOFGUESSWORKINTHIS SORTOF LIKEPAINTINGINTHEDARK"UTITCANBEDONEANDINFACTISDONEALLTHETIME

208

The Dub

!NOTHERSYSTEMFOREDITINGAPROJECTISTOWORKWITHATEMPLATE)TISPOSSIBLETOCREATEACUSTOMSESSIONTEMPLATETHATKEEPSALLTHEASPECTSOFTHESESSION 4HISSETSNOTONLYTHEFORMAT ,#23 STEREO ORWHATEVER BUTALSOTHEMIXER CONFIGURATION )/SETTINGS TRACKSETUPS ANDTHEPREFERENCE SETTINGS4HISSAVES YOUTHETIMEANDGRIEFOFSETTINGUPTHESESSIONEVERYTIMEYOUSTARTAPROJECT "UT ANDTHISISVERYCOOL EVENTHOUGH,%WITHOUTTHETOTALPRODUCTIONTOOLKIT AND- 0OWEREDSYSTEMSDONOTSUPPORTSURROUNDPROJECTS BECAUSEOFTHEABILITY OF0RO4OOLSTOOPENSESSIONSMADEONANY0RO4OOLSSYSTEM SESSIONSCANBE OPENEDON,%SYSTEMS.ATURALLYTHEREISONLYTHESTEREOBUSONTHESESYSTEMS SOTHE)/SETTINGSCANNOTBESUPPORTEDANDTHEYGRAYOUTROUTINGEVERYTHING TOTHESTEREOOUTPUT-OREOVER THESESSIONWILLCRASHTHE,%SOFTWAREIFITIS OPENEDINHOWEVER THESESSIONCANBEIMPORTEDINTOANEWSTEREOSESSIONONTHE($SYSTEMUSINGTHEhIMPORTSESSIONDATAvFUNCTIONINTHEFILEMENU "UTTHESESSIONREMAINSTHESAMEANDWILLRETURNTOPROPERMONITORINGWHEN THESESSIONISIMPORTEDBACKINTOASESSIONONAN($SYSTEM )TISNOTPOSSIBLETOCREATEASURROUNDSESSIONONAN,%OR- 0OWEREDSYSTEM AND YOU MAY NOT HAVE ACCESS TO AN ($ SYSTEM TO CREATE THE NEW SURROUND SESSION BUTYOUCANCREATEANEWSESSIONONASTEREOSYSTEMBYOPENINGA TEMPLATE 4HEONLYREALDIFFERENCEBETWEENATEMPLATEANDASESSIONISTHATTHETEMPLATE ISLAIDOUTASABASICSESSIONWITHLITTLEORNOMEDIA4HETEMPLATECANCONTAIN MEDIAHOWEVER SOITCANINCLUDEATWOPOP HEADTONE ORWHATEVER"UTTHE IDEAISTOCREATEALAYOUTFORTHESESSIONREADYFOREDITINGORRECORDINGTOTHE NEWSESSION 4HE TEMPLATE IS ALSO READ ONLY SO THAT YOU DONT ACCIDENTALLY SAVE YOUR NEW SESSIONOVERYOURTEMPLATE!FTERTHESESSIONANDTEMPLATEAREOPENED SIMPLY DOA3AVE!SANDNAMETHESESSION4HISALLOWSTHENEWSESSIONTORECORDTO DRIVEANDTOBESAVED 4HERE ARE TWO WAYS TO ACQUIRE A SURROUND TEMPLATE MAKE ONE OR FIND ONE /FTENAMIXINGSTAGEWILLEMAILYOUONEORYOUCANGOHUNTINGFORTHISCHOICE %ASTER%GGONTHISBOOKS7EBSITE SEVERALAREINCLUDED)FYOUFINDATEMPLATE THAT SERVES YOUR NEEDS BUT HAS MANY TRACKS YOU DONT NEED THIS IS NORMAL ! GOOD TEMPLATE GOES TOO FAR CONTAINING ALL TYPES OF TRACKS AUX CHANNELS ANDSENDS9OUCANALWAYSDELETEWHATYOUDONTNEED BUTYOUMAYNOTBE ABLETOCREATETHESETRACKSINTHESTEREOSESSION$OLBYOFFERSSEVERAL0RO4OOLS TEMPLATESONTHEIRWEBSITEFORCONVERSIONOFVARIOUSFORMATS

Creating session templates 9OUCANCREATEASESSIONTEMPLATEONA-ACINTOSHSIMPLYBYSAVINGTHESESSION ASASTATIONERYPAD/N7INDOWSYOUCREATEAREAD ONLYSESSION4HISSESSION ISNOWATEMPLATETHATYOUCANOPENANDSAVEJUSTLIKEANYOTHERSESSION

209


4OCREATEATEMPLATEONA-ACOR7INDOWS N

#REATEANEWSESSIONONAN($SYSTEMINWHATEVERFORMATYOUWANTYOUR TEMPLATE

N

#HECKANDALTERTHE)/SETTINGSANDPREFERENCESASNEEDED

N

#REATEALLTHETRACKSANDTHEMIXERNEEDEDINTHETEMPLATE

N

)MPORTANYMEDIAORPLUG INSYOUWANTINTHETEMPLATE

N

3AVEANDCLOSETHESESSION

N

,OCATETHENEWSESSIONFILE

N

/N-AC

N

O

'OTO'ET)NFOBYPRESSING#OMMAND )

O

#LICKONSTATIONERYPAD

/N7INDOWS O

2IGHT CLICK THE 3ESSION FILE CHOOSE 0ROPERTIES THEN CLICK IN THE 2EAD /NLYBOX

4HIS SESSION CAN NOW BE OPENED AND SAVED AS THE NEW SESSION ON ANY 0RO 4OOLSSYSTEMANDDOINGA3AVE!SINTHE&ILEMENU !NY TIME YOU ARE WORKING ON AN ($ PROJECT ON AN ,% SYSTEM 0RO 4OOLS WILLASKYOUIFYOUWANTTOCONVERTTHESESSIONTOATWO CHANNEL,%SESSION 7HEN CONVERTED ALL OF THE FUNCTIONS NOT SUPPORTED IN ,% GRAY OUT INCLUDING THE )/ SETTINGS "UT THE PROJECT CAN BE EDITED IN STEREO WHILE VISUALIZINGWHATWILLBEPLACEDWHEREINTHESURROUNDMIXLATERONTHE($SYSTEM 7HEN THE SESSION IS REOPENED ON THE ($ SYSTEM AGAIN 0RO 4OOLS WILL ASK IF YOU WANT TO CONVERT THE PROJECT WHEN CONVERTED ALL OF THE GRAYED OUT FUNCTIONSCOMEBACKONLINE4HEREWILLSTILLBEALOTOFTWEAKINGANDALTERING OF THE TRACK SETTINGS AND PANS TO GET THE TRACKS INTO THE SURROUND OUTPUT BUTTHETRACKSAREEDITEDANDREADYTOMIXDESPITEBEINGEDITEDONASTEREO SYSTEM

8.11 Surround mixing theory )N THE EARLY DAYS OF STEREO MUSIC WAS OFTEN MIXED WITH SOUNDS IN ONE SPEAKER OR THE OTHER AND SOUNDS FLEW BACK AND FORTH LIKE A SPASTIC CHICKEN &ORTUNATELY THENOVELTYWOREOFFANDENGINEERSSTARTEDWORKINGONCREATINGA STEREOPROSPECTIVE7HENCAMEALONG SOUNDSWEREFLYINGALLAROUNDTHE ROOM DIALOGUEWASCOMINGFROMTHEBACKOFTHETHEATER ANDTHEWHOLEMESS

210

The Dub

COULD BE QUITE DISTRACTING IS NOT 3ENSURROUND OR 3MELLAVISION )TS NOT A GIMMICKWHENUSEDPROPERLY ITENHANCESTHEFILMANDTHESTORY 4HEKEYISTOREMEMBERTHEFILMISONTHESCREENATTHEFRONTOFTHETHEATER 4HIS IS A WINDOW TO ANOTHER WORLD .ORMALLY BOTH THE SOUND AND IMAGE OF THIS OTHER WORLD COMES IN THROUGH THIS WINDOW 3OUND THAT SEEMS TO BE COMING FROM THE BACK ROW IN THE THEATER IS ABOUT AS DISTRACTING AS A CELL PHONERINGINGINTHEBACKROW)TSHATTERSTHEILLUSIONTHATTHEVIEWERHASBEEN TRANSPORTEDTHROUGHTHISWINDOWINTOANOTHERWORLD4HEKEYISMAKINGTHE VIEWERFEELLIKETHEYAREINSIDEOFTHISWORLD NOTINATHEATER!NDIFTHECUTE LITTLESPACEALIENSLINESARECOMINGFROMTHEBACKOFAROOMFULLOFPEOPLE ITS HARDNOTTONOTICETHATYOUAREINAROOMFULLOFPEOPLEGIVESDEPTHTO THEWORLDONTHESCREENANDSHOULDNOTTRYTOPLACETHEVIEWERINTHEMIDDLE OFTHESCENE &ORTHEMOSTPARTTHEREARCHANNELSCONTAINONLYMUSICANDBACKGROUNDS4HIS WAYTHEMUSICISREINFORCEDANDGIVENDEPTH ANDTHEENVIRONMENTBECOMES THREE DIMENSIONAL WITHOUT PULLING THE VIEWERS ATTENTION AWAY FROM THE SCREEN 4HE SURROUNDS ARE MOSTLY SUBLIMINAL ADDING DEPTH WITHOUT CALLING ATTENTIONTOTHEMSELVES !LTHOUGHTHISMAYSEEMLIKETHESIDESWILLNEEDTOBEMIXEDTOALOWERVOLUME THANTHERESTOFTHEMIX THESIDESCANACTUALLYGETVERYLOUD)TDEPENDSON WHATSOUNDSARECOMINGFROMTHESIDES ANDWHATSOUNDSGETTOTHELISTENER FIRST4HISLATTERTECHNIQUEISBASEDONTHE(AASEFFECT4HE(AASEFFECTSTATES THAT A LISTENER WILL DETECT THE DIRECTION OF SOUND BASED ON THE FIRST SOUND TO REACHTHEIREARS)FTWOCANNONSAREFIREDATTHEEXACTSAMETIME BUTAPERSON HEARINGTHISISSLIGHTLYCLOSERTOONE THESOUNDWILLSEEMTOCOMEFROMTHAT DIRECTIONEVENIFTHATCANNONISTHESMALLEROFTHETWO9ETTHESOUNDWILLBE VERYFULL LOUDANDHAVEDEPTH4HELEVELOFTHEDELAYEDSIGNALMAYBEUPTO DBLOUDERTHANTHEORIGINALATTHELISTENERANDSTILLSOUNDLIKEITISCOMING FROMTHELOCATIONOFTHEFIRSTSOUNDTOARRIVE4HEDELAYCANNOTEXCEEDMS ORTHESOUNDSBEGINTOSOUNDLIKETWODISTINCTSOUNDSOURCES )TSVERYDIFFICULTTOSAYJUSTWHENASOUNDWILLREACHTHELISTENERSEARINALARGE THEATER ESPECIALLY WHEN THE LISTENER IS NOT LIKELY TO BE SITTING IN THE CENTER OFTHEROOM0ARTOFTHESURROUNDSYSTEMREQUIRESCAREFULTIMINGOFDELAYSIN THETHEATERSSOUNDSYSTEMTOKEEPTHESOUNDOFTHESIDESFROMREACHINGTHE LISTENERBEFORETHESOUNDFROMTHEFRONT4HISCANEXPANDTHELISTENINGAREAIN THETHEATERTOAVERYLARGEAREA4HISISNOTTOSAYTHEREARENOTCRAPPYSEATSIN THETHEATER BUTATLEASTTHEREISNOTJUSTONEGOODSEAT&ORMOREINFORMATION ONTHE(AASEFFECT PULLDOWNACOPYOFhÄBERDEN%INFLUSSEINES%INFACHECHOS AUF DIE (ÚRSAMKEIT VON 3PRACHEv BY (ELMUT (AAS /R YOU CAN JUST TAKE MY WORDFORIT

211


!LL OF THESE EFFECTS CAN BE USED TO CREATE A VERY FULL SURROUND MIX WITHOUT EVER CALLING ATTENTION TO THE THEATER SPACE 4HE 7AVES ª 3URROUND 4OOLS OFFERS SEVERAL GREAT TOOLS TO CREATE A VERY SPATIAL THREE DIMENSIONAL MIX THAT NEVERCALLSATTENTIONTOITSELF4HISCANALSOBEDONEJUSTWITHLEVELSANDSTEREO PLUG INS JUSTDELAYINGTHEMUSICINTHESIDESBYAFRAMEMS CANCREATEA VERYSPATIALEFFECTINMOSTOFTHETHEATERSEATS!NDDUETOTHE(AASEFFECT THE SOUNDSTILLFEELSLIKEITISCOMINGMOSTLYFROMTHESCREEN

Low frequency effects 4HE IN STANDS FOR THE ,&% OR LOW FREQUENCY EFFECTS CHANNEL !LTHOUGH WEALLTENDTOCALLTHISASUBWOOFER ITSNOTASUBWOOFERINTHEHOMESTEREO SENSE/NHOMESATELLITESYSTEMSTHEREAREFIVESMALLSPEAKERSANDASUB)NA SATELLITESYSTEMTHEFIVEFRONTANDSURROUNDSPEAKERSARENOTFULLRANGE LACKING ANYWOOFERATALL&ORTHISREASONTHELOWFREQUENCIESFROMTHESECHANNELSPLUS THE,&%AREROUTEDTOTHESUB THESYSTEMSONLYWOOFER4HISISHANDLEDINTHE DECODER PREAMPANDISTUNEDTOTHESURROUNDSYSTEM 4HIS IS NOT THE CASE IN A THEATER )N A THEATER THE SPEAKERS ARE FULL RANGE OFTEN WITH A GOOD INCH WOOFERS %ACH CHANNEL IS SIMPLY ROUTED TO THE PROPER SPEAKER OR SPEAKERS AND THE ,&% IS SENT TO THE ,&% SUBWOOFER 4HIS IS ATRUESUBWOOFERMEANTTOREPRODUCEBONERATTLINGBASSEFFECTS/NLYEFFECTS INTENDEDTOREALLYBOOMATTHELOWENDSHOULDBESENTTOTHE,&%CHANNEL )F YOU ARE MIXING ON A SATELLITE MONITOR SYSTEM RATHER THAN FULL RANGE MONITORS THEMANAGEMENTOFHOWMUCHBASSISSENTFROMTHEFIVEFRONTAND SURROUND CHANNELS NEEDS TO BE HANDLED BY A PLUG IN OR EXTERNAL DEVICE THAT PROPERLY TUNES THE SUB TO THE SPEAKERS AND THE ROOM )F YOU MIX BASS INTO THE ,&% BECAUSE THE BASS IS LACKING IN THE FIVE FRONT AND SURROUND SPEAKERS in playback, on either a full range theater system or a home satellite system, THIS WILL PRODUCE WAY TOO MUCH BASS 4HE 7AVES - 3URROUND -ANAGER IS DESIGNED FOR JUST THIS PURPOSE !LTHOUGH THIS IS AN ISSUE OF STUDIO SETUP COVEREDIN#HAPTER ITISCRITICALTOUNDERSTANDTHISCONCEPTWHILEMIXING TOAVOIDOVERCRANKINGTHEBASS 2OUTING SOUND TO THE ,&% CAN ONLY BE DONE BY ROUTING THE SOUND TO ONE OR MORE OF THE OTHER FIVE CHANNELS AND THEN ROUTE THE EXTREME BASS TO THE ,&% 4HIS IS BECAUSE THE ,&% CAN ONLY REPRODUCE FREQUENCIES AT THE VERY LOW ENDOFTHESPECTRUM)FTHUNDERISSENTTOTHE,&% ITWILLNOTSOUNDANYTHING LIKE THUNDER !T BEST IT WILL SOUND LIKE A LOW RUMBLE 4HE HIGHER FREQUENCIES NEED TO BE PLAYED THROUGH A FULL RANGE SPEAKER OR SPEAKERS TO KEEP THEIR CHARACTERISTICSOUND 4HISISWHYTHEPANWINDOWHASNODIRECTASSIGNFOR,&% BUTRATHERASLIDER THATADDSTHE,&%TOTHEFIVESPEAKERPANSYSTEM7HENASTEREOTRACKISROUTED TOTHE,&% THEEXTREMELOWSAREMIXEDTOMONOANDROUTEDTOTHEMONO,&%

212

The Dub

Figure 8.11 *IM#ORBETT MIXINGDIALOGUEON h,OVES$EVOTION&OREVERv

8.12 Mixing “Loves Devotion Forever” 4HE FINAL MIX WAS DONE AT 4ODD !/ STAGE BY *IM #ORBETT AND #HARLES $AYTON4HISISTHEOLD'LEN'LENNCOMPLEXIN(OLLYWOODSACREDGROUNDFOR FILMAUDIOPEOPLE4HOUSANDSOFFILMSANDTELEVISIONSHOWSHAVEBEENMIXED ONTHISSITEOVERTHELASTYEARS4HE'LEN'LENNSTUDIOSBECAMEPARTOFTHE 4ODD!/COMPANYIN !TEMPDUBHADBEENMADEATTHE"ROOKS)NSTITUTEMIXROOMPRIORTOTHEFINAL DUB4HE0RO4OOLSSESSIONWASSPLITINTOTWOSEPARATESESSIONS/NECONTAINED ALLOFTHEEFFECTS THEOTHERTHEDIALOGUEANDMUSIC&OURSYSTEMSWERELINKED TOGETHER THREE PRO TOOLS SYSTEMS AND A FOURTH -AC RUNNING 6IRTUAL 642 FOR PICTUREPLAYBACKSEE#HAPTERFORMOREONVIDEOPLAYBACKAND6IRTUAL642 4HE OTHER THREE SYSTEMS WERE 0RO 4OOLS SYSTEMS ONE FOR EACH SESSION AND A THIRDUSEDASANINSERTRECORDER !S #HARLES IS A CERTIFIED MEMBER OF '!3 'ARAGE !UDIO 3TUDIOS HE TOOK THE SESSIONS HOME AND DID SOME CHECKING AND PREMIXING IN HIS EXCELLENT ($ GARAGE 4HE MIX CAME OFF WITHOUT ANY NOTABLE PROBLEMS (OWEVER ONELINEDISAPPEAREDSOMEHOWANDWASBROUGHTTOTHEMIXON A KEYCHAIN FLASH DRIVE KNOWN AS h4HE 3WORD OF A 4HOUSAND 4RUTHSv "UT OTHERTHANTHAT THEMIXWASSMOOTHSAILING THANKSTOTHESKILLOF#HARLES AND*IM

213


Figure 8.12 The Pro 4OOLSEQUIPMENTROOMAT 4ODD!/STAGE

-IXINGISAPOWERFULTOOLINFILMMAKING ANDWHILEAGOODMIXISONLYPOSSIBLE WITH A GOOD SOUND EDIT THE MIX IS WHERE IT ALL EITHER COMES TOGETHER OR IT FAILS4HEMIXISTHEFINALSTEPINMAKINGAFILM ANDISACRITICALSTEP7HENYOU AREDONEHEREYOUARETRULYDONEEVENIFTHEWRAPPARTYWASMONTHSAGO

Figure 8.13 4ODD!/ MIXERS*IM#ORBETTLEFT AND#HARLES$AYTON RIGHT

214


In this chapter ,EVELSANDHEADTONES /UTPUTANDDELIVERY

MIXANDFINISHINGON$6$ %NCODING DELIVERY ANDOPTICAL

3TEMS 3 $ELIVERYFORFILMPRINTING OPTICAL SOUND ANDPULL UP 3 4HEPROJECTION0RINT

%XPORTINGTHESURROUNDCOMPOSITE

SOUNDONh,OVES$EVOTION &OREVERv

9 Output and delivery

9.1 Levels and head tones 5NLESSYOUAREPOURINGCEMENT LEVELISRELATIVE7HENTHEPOLICECOMETOMY HOUSEANDTELLMEMYMUSICISUPSETTINGTHENEIGHBORSANDISBLARINGATOVER DECIBELS)LOVETOASK30, D"U ORD"6)THENPOINTOUTTHATEACHSCALEIS BASEDONADIFFERENTREFERENCE ANDD"UWOULDBERIGHTOFFMYMETERS SO HEMUSTBEWRONG(ETHENPOINTSOUTTHATHECANTHEARATHING)MSAYING BECAUSE MY STEREO IS BLARING AT OVER A DECIBELS AND HE IS GOING TO KICK MY !T THIS POINT ) KNOW A CIVILIZED DISCUSSION OF SOUND PRESSURE LEVEL IS POINTLESSANDATTENUATEACCORDINGLY 7HENDELIVERINGTHEMIXONTAPE AREFERENCETONEISNEEDEDTOKEEPEVERYONE ON THE SAME PAGE )F THE DIGITAL AUDIO IS GOING TO BE COPIED BIT BY BIT TO ANOTHER DRIVE NO REFERENCE IS NEEDED "UT IF THE MIX IS GOING TO BE DUBBED TOTAPE FROMTAPE SHOTTOOPTICALSOUNDORANYPROCESSWHERETHELEVELCAN BE ALTERED THE HEAD TONE WILL GIVE EVERYONE A WAY TO CHECK THAT THEY ARE TRANSFERRING ENCODING OR BROADCASTING AT THE PROPER LEVEL %VEN IF YOU ARE CERTAINTHEPROJECTWILLBEDELIVEREDDIGITALLY ITNEVERHURTSTOLAYAHEADTONE JUSTINCASESOMEDAYINTHEFUTURETHEREISANEEDTOLAYTHEDUBTOTAPE -ANY TONES AND SCALES HAVE BEEN USED BUT FOR OUR DIGITAL DELIVERY (Z at D"&3ISALWAYSUSED-ETERSUSEDINDIGITALRECORDINGPEAKATD"&3 MEANINGTHATTHEYCLIPIFTHELEVELEXCEEDSD"!NDWHENDIGITALRECORDINGS CLIP THE SOUND IS HORRID !NALOG RECORDING CAN EXCEED D" AND WILL CLIP AT SOME UNFORESEEN PEAK DETERMINED BY THE QUALITY OF THE RECORDER THE TAPE THEBIAS ANDANUMBEROFOTHERFACTORS!NDWHENITDOESSTARTTOCLIP ATFIRST ITSOUNDSGREAT4HENITGRADUALLYBECOMESGARBAGE !DDINGHEADTONETOTHESESSIONISSIMPLE/NESYSTEMISTOMOVETHESESSION STARTINTHESESSIONSETUPWINDOWTOTHATADDSMINTOTHEBEGINNINGOFTHESESSION"ESURETOUSEhMAINTAINRELATIVEPOSITIONv2ECORDSOF

217


BLANKMEDIAINTOONETRACK.OWUSETHE3IGNAL'ENERATOR!UDIO3UITEPLUG IN TO CONVERT THIS INTO HEAD TONE 4HE DEFAULT SETTING ON THE 3IGNAL 'ENERATOR !UDIO3UITEPLUG INISD"AT(Z

Figure 9.1 The Signal 'ENERATOR!UDIO3UITE PLUG INCANBEUSEDTOLAY HEADTONEATD"

!NOTHERSIMPLEWAYTOLAYHEADTONEISDIRECTLYTOTAPE$ONTEXTENDTHE0RO 4OOLS SESSION SIMPLY USE THE 3IGNAL 'ENERATOR 24!3 PLUG IN TO SEND TONE TO TAPEANDRECORDSBEFORELAYINGTHEMIXORSTEMSTOTAPE)TSALSOAGOOD IDEATORECORDAVOICESLATE

9.2 Output and delivery $ELIVERYOFSURROUNDMIXESCANBEFROMDISCRETE7!6FILESFOREACHCHANNELFOR ENCODINGINSOFTWARESUCHAS!PPLES#OMPRESSOR ORTHESURROUNDENCODING MAY HAVE BEEN DONE IN 0RO 4OOLS WITH $OLBY OR $43 PLUG INS )F A MATRIXED FORMAT LIKE $OLBY ,#23 OR 0RO ,OGIC HAS BEEN USED THIS CAN BE RECORDED AS STEREO AND A DECODER CAN EXTRACT THE SURROUND MIX FROM THE STEREO !LSO THE STEREO WILL PLAY NORMALLY AS STEREO /THER ENCODED FILES WILL BE DELIVERED DIGITALLY 4APE DELIVERY MAY BE ON A VARIETY OF TAPE FORMATS /NE VERY POPULAR AND ACCURATESYSTEMISTORECORDTHECOMPMIXANDANYSTEMS ISONADIGITALTAPE RECORDINGSYSTEM$423 TAPEORCOMPATIBLERECORDERWITHBOTHTHERECORDER AND 0RO 4OOLS LOCKED TO HOUSE SYNC "ECAUSE OF THE TWO SPEED SETTINGS ON THE$423RECORDERS ITCANBEUSEDASBOTHAVIDEOANDFILMMASTER ANDWITH

218

Output and delivery

EIGHTTRACKSITCANHANDLEEVENASURROUNDMIXONASINGLETAPE$ELIVERY CANALSOBEON!$!4BUTTHISISFALLINGINTODISUSE 3OMETIMESDELIVERYISONVIDEOTAPE4HISISMOREOFALEFTOVEROFTAPE TO TAPE EDITING HOWEVER IT IS STILL USED /FTEN THIS IS $IGI "ETA WHICH SUPPORTS FOUR AUDIO CHANNELS )T IS EXCEEDINGLY RARE TO LAY A FOUR CHANNEL MIX SAY ,#23 $OLBY TO THIS TAPE 2ATHER THE FOUR OR EVEN MATRIXED ENCODE CAN BE RECORDED TO TWO CHANNELS 4HIS IS CALLED THE LEFT TOTAL ,4 AND RIGHT TOTAL 24 MEANINGTHATALLOFTHELEFTINFORMATIONISINTHELEFTANDALLOFTHERIGHT INFORMATIONISINTHERIGHT/FTENASTEREODOWN MIXISALSOLAIDTOTHEOTHER TWOCHANNELS $IGITAL DELIVERY CAN BE ON REMOVABLE DRIVE MAGNETO OPTICAL DRIVE $6$ 2/- &40 )NTERNET DELIVERY $IGI$ELIVERY INTERNET DELIVERY OR DIGITAL DATA TAPE $IGITAL DATA TAPE LIKE EXABYTE HAS BEEN POPULAR BUT IS FALLING INTO DISUSE !S THESE FORMATS MAY JOIN THE DINOSAURS SOON THEY ARE WORTH AVOIDING $ELIVERYMAYINCLUDE$OLBYENCODEDONEATTHEMIX&ORMMFILMPROJECTS EACHFILMISGRANTEDALICENSEFROM$OLBYANDMUSTBEENCODEDATTHEENDOF THEMIXBYAREPRESENTATIVEFROM$OLBY4HEENCODEDMIXCANBERECORDEDTO $423TAPEANDDELIVEREDTOTHEOPTICALSOUNDFACILITY-OREOFTEN THE$OLBY ENCODES ARE RECORDED TO MAGNETO OPTICAL DRIVE 4HIS IS A RATHER OLD FORMAT AND HAS MOSTLY VANISHED FROM THE COMPUTER WORLD )T WAS OFTEN USED AS A BACKUPSYSTEM-AGNETOOPTICALDRIVEHASBEENTHESTANDARD$OLBYDELIVERY SYSTEMFORYEARS4HEDRIVESAREEXPENSIVE ANDTHEMEDIAISNOTONTHESHELF AT #OMPUTER #ITY "UT THE DISCS ARE ROBUST HOLD THE DATA SEEMINGLY FOREVER ANDARENOTOVERLYAFFECTEDBYMAGNETICFIELDS

Figure 9.2 -AGNETO OPTICALDISCSCOMEIN SEVERALPHYSICALSIZESAND UPTO'IGINSTORAGE

219


Bouncing to disc versus layback "OUNCING TO DISC INVOLVES SETTING UP AUTOMATION FOR THE ENTIRE MIX AND USING THE "OUNCE TO $ISC FUNCTION IN THE FILE MENU 4HERE IS ALSO A BOUNCE TO 1UICK4IME MOVIE THAT ALSO RECORDS THE VIDEO IF VIDEO PLAYBACK IS FROM 1UICK4IME4HISVIDEOISONLYUSEDTOCREATESCRATCHEXPORTSTOGETAPPROVAL FROMTHEDIRECTORORPRODUCERS

Figure 9.3 The bounce TODISCDIALOGUE

"OUNCETODISCPLAYSTHEENTIREPROJECTINREALTIMEANDTHENCREATESTHEAUDIO FILE)TSSIMPLEANDTHEFINALOUTPUTISONEORMOREFINISHEDAUDIOFILES ,AYBACK INVOLVES RECORDING THE SESSION TO TAPE NEW TRACKS OR EVEN ANOTHER 0RO 4OOLS SYSTEM THAT IS INTERLOCKED TO THE SESSION )T ALLOWS CHANGING LEVELS ONTHEFLYASTHESESSIONISROLLINGFORWARD)TISALSOPOSSIBLETOSTOP BACKUP ANDREMIXSECTIONS-OREDETAILSREGARDINGTHISISDISCUSSEDIN#HAPTERh4HE $UBv7HENLAYINGTOTAPE THETAPERECORDERSHOULDBEINTERLOCKEDTOTHE0RO 4OOLSSYSTEM4HEREARESEVERALWAYSTODOTHISDEPENDINGONTHETAPERECORDER 4HETAPERECORDERCANBETHEMASTERAND0RO4OOLSWILLFOLLOWITOR0RO4OOLS CANBETHEMASTERWITHTHETAPERECORDERINCHASEMODEFOLLOWING0RO4OOLS 4HEDETAILSREGARDINGINTERLOCKSARECOVEREDIN#HAPTERh0RO4OOLS3YSTEMSv 220

Output and delivery

-IXINGTO0RO4OOLSTRACKSINVOLVESCREATINGANEWSTEREOTRACK THENSETTINGITS INPUTTOAPAIROFUNUSEDBUSCHANNELS THENSETTINGTHEOUTPUTOFTHETRACKS TO THIS BUS 4HIS TRACK CAN NOW BE RECORD ENABLED AND THE MIX LAID BACK TO THISCHANNELASLEVELSARERIDDEN )F YOU FIND IT NECESSARY TO STOP BACK UP AND PUNCH INTO RECORD ON THESE CHANNELS THEYWILLNOTBECOMPLETESELF CONTAINEDAUDIOFILES BUTRATHERASERIES OFINSERTEDAUDIOREGIONS4HEYNEEDTOBEMADEINTOSELF CONTAINEDAUDIOFILES BY SELECTING ALL IN THE LAYBACK TRACK AND THEN USING #ONSOLIDATE IN THE EDIT MENU4HISWILLhMERGEvALLTHEREGIONSINTHETRACKINTOONEAUDIOFILE4HESE LAYBACKTRACKSCANALSOBEBOUNCEDTODISCTOMAKETHEMINTOFINISHEDTRACKS )TISALSOPOSSIBLETOMIXTOTAPE INWHICHCASETHEFINISHEDAUDIOISONLYON THEMASTERTAPE4HISSHOULDBEBACKEDUPASSOONASTHEMIXISFINISHED)N FACT ALL DELIVERABLES SHOULD BE BACKED UP BEFORE THE MIX CAN BE CONSIDERED FINISHED

9.3 Stems !STHEMIXISGOINGFORWARDTHEMIXINGBOARDISOFTENSETUPTOSIMULTANEOUSLY LAYTHEMUSIC EFFECTSANDDIALOGUESTEMSOFFTOANOTHERCHANNELORCHANNELS )NSOMECASESTHEYWILLBELAIDOFFLATER)NSOMEWORKFLOWSTHEYWILLBEMIXED FIRSTANDTHENTHEhCOMPMIXvCOMPOSITEMIX MIXEDFROMTHESTEMS7HEN MIXINGFROMTHESTEMS ITISNORMALTOMAKEADJUSTMENTSINTHESTEMSMIXASIT ISGOINGTOTHECOMP)FTHISCOMPMIXINGISMADEWITHAUTOMATION BESURETO DISABLETHEAUTOMATIONBEFOREBOUNCINGORLAYINGBACKTHESTEMSSOTHATTHEY WILL NOT HAVE THESE DIPS AND GAINS 7ITH AND OTHER MULTITRACK FINISHING FORMATSTHEREMAYBEnMUSICSTEMS nEFFECTSSTEMS ANDnDIALOGUE STEMS 3TEMS FOR A STEREO MIX ARE USUALLY ONE OR TWO DIALOGUE TWO STEREO MUSIC AND TWO STEREO SOUND EFFECTS "OUNCING STEMS CAN BE AS SIMPLE AS MAKING ALL OF THE TRACKS NOT TO BE EXPORTED INACTIVE AND THEN BOUNCING TO DISC/RTHESTEMSMAYBEROUTEDTOSETSOFBUSSESANDTHESEBOUNCEDORLAID BACKTOA0RO4OOLSCHANNEL

9.4 Delivery for film printing, optical sound, and pull-up "EFORETHEhMARRIEDvPRINTAPRINTMADEWITHTHESOUNDTRACK CANBEPRINTED THEAUDIOFROMTHEMIXNEEDSTOBESHOTTOOPTICALSOUND)FTHEPROJECTWAS EDITED AND MIXED AT .43# VIDEO FRAME RATES EITHER OR FPS THE MIXWILLNEEDTOBEPULLEDUPTOMATCHFPS)FTHEFILMWASORIGINALLYSHOT ATFPSANDWASPULLEDDOWNINTRANSFERTOVIDEO THENTHISPULL UPISSIMPLY 221


PUTTINGTHESOUNDBACKTOITSORIGINALSPEED)FTHEPROJECTWASSHOTONHIGH DEFDIGITALATOR THEPICTUREWILLBESPEEDUPTOFPSWHENITIS TRANSFERREDTOFILMANDPROJECTED)NTHISCASE THEPULL UPISSYNCINGTHEAUDIO TOTHISNEWPICTURESPEED)FTHEPROJECTWASSHOTON0!,VIDEO THEPROBLEMIS MORECOMPLEXTHANSIMPLYPULLINGTHESPEEDFROMFPSDOWNTOFPS4HIS ISALARGEENOUGHSPEEDSHIFTTOCAUSEARTIFACTS4HEBESTWORKFLOWHEREWOULD BETOPULLTHEFPSVIDEODOWNTOFPSBEFORERECORDING EDITING ANDMIXINGTHETRACKS 0ULLING UP IS MORE CRITICAL THAN PULLING DOWN 7HEN WE PULLED THE ORIGINAL SOUNDDOWNFORSYNCINGTOFOOTAGE WEWERESLOWINGDOWNBYEXACTLY -OREOVER IFWEWEREOFFBYSOMESMALLFRACTIONOFTHISSMALLPERCENT IT RARELY CREATES A PROBLEM AS WE ONLY NEED TO HOLD SYNC FOR THE DURATION OF THETAKE PERHAPSAFEWMINUTESONEVENALONGTAKE4HEPULL UP HOWEVER IS DONETOTHEENTIREFILM7ENEEDTOHOLDEXACTSYNCEVENADRIFTOF WILLCAUSETHEPICTURETODRIFTOUTOFSYNC!LTHOUGHITISNOTBESTPRACTICE IT IS NOT UNCOMMON FOR PULL DOWNS TO BE DONE WITH THE EQUIPMENT LOCKED TO SEVERALSYNCCLOCKS0RO4OOLSMAYBELOCKEDTOITSINTERNALCLOCK A.AGRAMAY USE ITS CRYSTAL AND AS THESE ARE BOTH VERY ACCURATE CLOCKS WE CAN HOLD SYNC THROUGH THE TAKE "UT FOR TRULY ACCURATE SYNC EVERY PIECE OF THE EQUIPMENT MUSTBELOCKEDTOTHESAMECLOCKREFERENCE4YPICALLY AVIDEOSYNCGENERATOR IS FED THROUGH A DISTRIBUTION AMPLIFIER AND SENT TO EVERY PIECE OF EQUIPMENT INTHEFACILITY4HISISREFERREDTOAShHOUSESYNCv-OREOVER THOUGHTHEPULL DOWNWASEXACTLY THEPULL UPISADIFFICULT 4HERE ARE MANY WAYS TO DO THIS AND THE LAB OR SOUND FACILITY WILL USE THEIR FAVORITE SYSTEM 0RO 4OOLS CAN PERFORM THE PULL DOWN AND PULL UP AND ($ SYSTEMS WITH 39.# ($ CAN BE LOCKED TO HOUSE SYNC 4HE 0RO 4OOLS SESSION CANBEBOUNCEDTODISCWITHPULL UPSETINTHEBOUNCEDIALOGUEWINDOWAND THERESULTINGAUDIOFILECANBEDELIVEREDONMAGNETOOPTICALDISC $OLBY,#23ISNORMALLYENCODEDONMMPRINTSASTHEOPTICALTRACK,#23PROVIDES FOUR CHANNELS OF HIGH QUALITY AUDIO %NCODING OF ANY MULTITRACKS IS USUALLYPERFORMEDBEFORETHEOPTICALTRANSFER$OLBYENCODINGINVOLVESUSINGPHASE ANGLESTOENCODETHEVARIOUSCHANNELSINTOTHESTEREOOPTICALTRACK.OISEREDUCTIONANDDYNAMICCOMPRESSIONANDEXPANSIONAREALSOENCODED WHICHDRAMATICALLYIMPROVESTHEQUALITYOFTHEOPTICALSOUND!$OLBYTECHNICIANWITHENCODING EQUIPMENTISDISPATCHEDTOTHEMIXINGFACILITYAFTERTHEMIXISCOMPLETEDANDTHE MAGNETOOPTICALDISCOR$!TAPEISENCODED4HE$!TAPEORMAGNETOOPTICALDRIVEISTHENSENTTOTHEOPTICALHOUSETOSHOOTTHEOPTICALSOUND 4HEOPTICALTRACKISAhPICTUREvOFTHESOUNDSHOTONTOANARROWSTRIPEJUSTINSIDE THESPROCKETHOLESOFABLACKANDWHITESOUNDFILM/NMMTHEOPTICALISLAID INTHEAREAJUSTOUTSIDETHESTANDARDPICTUREAREAEXTENDINGALLTHEWAYTO THEEDGEOFTHEFILM4HISAREAISUSEDFORPICTUREINSUPERANDSPROCKETHOLES

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Output and delivery

ONDOUBLEPERFFILM SOSOUNDPRINTSONMMAREALWAYSSINGLEPERFANDNEVER SUPER3UPERMUSTBEFINISHEDDIGITALLYORBLOWNUPTOMM Figure 9.4 The film strip ONTHERIGHTISAMM OPTICALSOUNDNEGATIVE 7HENPRINTEDONTOA POSITIVEPRINTTHEFILM STRIPONTHELEFT ONLYTHE WHITESOUNDTRACKSTRIPES print through creating the TWOSTEREO UNDULATING WHITESTRIPESONTHELEFT SIDEOFTHEPRINT4HESE CANBEPLAYEDDIRECTLY INSTEREOORMONO)F $OLBYENCODINGHASBEEN APPLIED THEYCANALSO BEPLAYEDASLEFT CENTER RIGHT SURROUND$OLBY ,#23 SOUNDINTHEATERS The center strip is the SAMEPRINTINMM MONO

4HEREISNOPICTUREONTHEOPTICALSOUNDNEGATIVE ITISONLYABLACKANDWHITE FILM NEGATIVE CONTAINING THE SOUND STRIPE IMAGE )T WILL BE PRINTED ONTO THE ANSWERPRINTINONEPASSTHROUGHTHEPRINTER THEPICTUREWILLBEADDEDINONE ORTWOMOREPASSES

9.5 The projection print 4HEREHASALWAYSBEENATREMENDOUSAMOUNTOFUNUSEDSPACEONTHEMM FILM PRINT THE SPROCKET HOLES ARE WELL IN FROM THE EDGES AND THERE IS A FAIR AMOUNTOFSPACEBETWEENTHEM!LSO THEAREAUSEDFORTHEOPTICALSOUNDIS LARGEBYhMODERNvSTANDARDS7ITHSCORESOFNEWDIGITALSOUNDFORMATSNOW BEINGUSED EVERYSQUAREMILLIMETEROFNONPICTUREFILMISBEINGUSEDTOSTORE AUDIOINFORMATION /N$OLBY$IGITALALLSIXCHANNELSOFAUDIOINFORMATIONARERECORDEDBETWEEN THESPROCKETHOLES.EWFORMATSNOWRECORDUPTOEIGHTCHANNELSOFSOUND /N $43 DIGITAL SOUND THE SOUND IS RECORDED ONTO A COMPACT OPTICAL DISC #$ !TIMECODEISADDEDTOTHEOPTICALSOUNDINTHEFORMOFACONTINUOUS BARCODEBETWEENTHEPICTUREANDTHEOPTICALSTEREOTRACK4HISTIMECODEPULLS THEDIGITALSOUNDINTOSYNCANDCONSTANTLYCHECKSFORSYNC)FTHEREISALOSSOF

223


SYNCORANYPROBLEMSDETECTEDBYTHESYSTEM ITSWITCHESOVERTOTHEOPTICAL SOUND UNTIL SYNC IS RESTORED $43 IS AVAILABLE FOR MM HOWEVER THERE ARE FEWMM$43THEATERS/N3ONY3$$3 THESOUNDTRACKCONSISTSOFANARRAY OF MICROSCOPIC DOTS RECORDED ONTO BOTH EDGES OF THE FILM JUST OUTSIDE THE SPROCKETHOLES,IKETHETINYPITSONA#$ THESEARETHEACTUALDIGITALSOUND 4HEREISSTILLANOPTICALSOUNDTRACKRECORDEDINCASEOFSYSTEMPROBLEMSAND FOR THEATERS THAT CANNOT PLAY 3$$3 $OLBY ,#23 $OLBY $IGITAL $43 AND 3$$3CANALLBEENCODEDONTOONEPRINT

9.6 Exporting the surround composite mix and finishing on DVD &OR $6$ SURROUND SOUNDS CAN BE ENCODED IN !PPLES #OMPRESSOR AS A PARTOFTHEAUTHORINGPROCESS&OR$OLBYTHEINDIVIDUALTRACKSAREBOUNCED AS MULTIMONO AND IMPORTED ONE AT A TIME IN #OMPRESSOR 4HEY ARE THEN COMPRESSEDINTOA$OLBY!#AUDIOFILETHATISUSEDINTHE$6$AUTHORING !SOFLATE ITISNOWALSOPOSSIBLETOENCODE$43 $OLBY0RO,OGIC AND $OLBY$IGITALDIRECTLYIN0RO4OOLSUSINGAVAILABLEPLUG INSSEE#HAPTERABOUT USEFUL PLUG INS 4HESE ARE FOR $6$ ENCODING ONLY NOT THEATRICAL S YSTEMS WHICHALWAYSREQUIREENCODINGBY$OLBY 3ONY OR$43

9.7 Encoding, delivery, and optical sound on “Loves Devotion Forever” !FTER THE MIX WAS TWEAKED TO A HIGH STATE OF FINISH THE $OLBY TECHNICIAN ARRIVED AND CONNECTED HIS PROPRIETARY $OLBY ENCODE GEAR AT THE PATCH PAY ANDTHEMIXWASENCODEDINTOA-AGNETO/PTICALDISC 4HE-/DISCWASHANDDELIVEREDTO.4AUDIO WHOEXPOSEDTHEOPTICALSOUND FILM 4HIS WAS DELIVERED TO &OTO +EM ,ABORATORIES WHO HAD ALREADY MADE THREEANSWERPRINTSTOCHECKCOLOR!RELEASEPRINTWASMADEANDCHECKEDFOR PROBLEMS4HEFILMPREMIEREDATTHE!RC,IGHT#INEMASIN(OLLYWOODDAYS LATER5NFORTUNATELYALLOFOURLIMOSWEREINTHESHOPSOTHECASTANDCREWHAD TOFINDTHEIROWNWAYTOTHETHEATER !STHESTEPSLEADINGUPTOENCODINGANDDELIVERYAREMOVINGFORWARD ATSOME POINTITBECOMESOBVIOUSTHAT THERE IS NOTHING LEFT TO DO THAT THE PROJECT IS FINISHED !FTER MONTHS OF AROUND THE CLOCK PRESSURE AND MAKING DEADLINES

224

Output and delivery

CHAMPAGNE IS OFTEN CALLED FOR BUT THERE IS ALSO A DISQUIETING SENSE OF DECOMPRESSIONTHATCANLEADTOANEEDFORPSYCHOTHERAPY&EARNOT)TPASSES ASSOONASYOUDIVEINTOTHENEXTPROJECT

Figure 9.5 The Dolby ENCODEEQUIPMENTIS PATCHEDINTOTHE0RO4OOLS SYSTEMATTHEPATCHBAY .OTETHEMAGNETOOPTICAL DISCONTOPOFTHECASE 4HEENCODEISRECORDED TOTHEDISCINREALTIME through the Dolby EQUIPMENT

Figure 9.6 Dolby TECHNICIAN"RYAN 0ENNINGTONRIGHT WORKS WITH4ODD!/TECHNICIANS "ILL2ITTERAND3TEVE (OLLENBECKTOADJUSTTHE $OLBYENCODEGEAR4HE Dolby controls are on THEDESKINFRONTOF"RYAN There is also a Dolby METERBRIDGESETUPINTHE STAGETOMONITORLEVELS 4HE$OLBYEQUIPMENTIS SETTOSEVERALTONESPLAYED THROUGHTHESYSTEM

225


Figure 9.7 The Dolby SOFTWAREISRUNNINGFROM the number three system WITHTHESESSIONSTILL RUNNINGONONEANDTWO 4HEENCODEMUSTBEDONE in one real time pass for EACHENCODE)NTHISCASE THATREQUIRESTWOPASSES one for Dolby Digital ANDONEFOR$OLBY,#23 ANALOG4HISPASSALSO PULLSTHESPEEDBACKTO FPSFORFILMPROJECTION

Figure 9.8 Toasting THEFINISH3EATED,TO 2 RERECORDINGMIXERS #HARLES$AYTONAND*IM #ORBETT3TANDING,TO2 COMPOSER-ARK$UNNETT EXECUTIVEPRODUCER4RACY Trotter, Dolby technician "RYAN0ENNINGTONAND YOURSTRULY $ALE!NGELL

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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.

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 vibrating 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,

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FROM PEAK TO PEAK 4HE SPEED OF THESE VIBRATIONS IN NO WAY CHANGES THE SPEED THAT THE SOUND TRAVELS WHICH IS MORE OR LESS CONSTANT DEPENDING ON BAROMETRICPRESSURE"ECAUSETHESOUNDTRAVELSATAFIXEDSPEED SLOWERWAVES ARE LARGER AND FASTER WAVES ARE SMALLER 4HE SPEED OF THE WAVE IS CALLED FREQUENCYANDTHESIZEISTHEWAVELENGTH 4HELOWESTFREQUENCYTHEAVERAGEPERSONCANHEARISABOUTCYCLESPERSECOND4HISFORMSAWAVEJUSTOVERFEETLONG4HEHIGHESTFREQUENCYSOUNDA PERSONCANHEARVARIESWIDELYFROMPERSONTOPERSON/NAVERAGE THISWILLBE AROUNDCYCLESANDAWAVELENGTHTHATISASMALLFRACTIONOFANINCH 7HILETHESIZEOFTHEWAVECANBEKNOWN THEACTUALhHEIGHTvOFTHEWAVEIS RELATIVE)STHETIDEINOROUT4HISDOESNOTCHANGETHESIZEOFTHEWAVEBUT IF WE ARE GOING TO MEASURE THIS WAVE WE NEED TO KEEP OUR MEASUREMENTS INSIDEOFTHEWAVE NOTRELATIVETOSOMEFIXEDPOSITION3OWEMUSTSTATETHE REFERENCEIFWEAREGOINGTOUNDERSTANDTHEMEASUREMENTOFTHEWAVE)FTHIS WEREATAPIER WECOULDSAYTHEPEAKSHITONTHEPILINGTWOFEETBELOWALINE WEPAINTEDTHERE ORTHREEFEETABOVEIT4HELINEBECOMESAKNOWNFIXEDZERO POINT/RWEMAYBEONASHIPSOLARGETHATITFLOATSATTHEEXACTSEALEVELMIDPOINTFORTHATMOMENT ANDITTOOHASALINEONITWHEREWAVESCANBEMEASURED4HISISAKNOWNRELATIVEZEROPOINT.EEDLESSTOSAY YOUWOULDEXPECTTO GETVERYDIFFERENTMEASUREMENTSFROMTHESETWOSCALESEVENTHOUGHTHEYMAY BEMEASURINGTHEEXACTSAMEWAVE /UR EARS WORK LIKE THE SHIP OTHERWISE SOUNDS WOULD BE LOUDER WHEN IT IS WARMANDNICEOUTANDSOFTERWHENITISSTORMING%ARSREGISTERTHECHANGES IN AIR PRESSURE AND NOT THE ACTUAL BAROMETRIC PRESSURE /UR EARS hFLOATv LIKE THE BIG SHIP AND JUST LIKE A BIG SHIP THEY MOAN AND POP IF THE hSEA LEVELv CHANGESTOOQUICKLY)FYOUDONTBELIEVETHIS TRYSTANDINGDIRECTLYINTHEPATH OFATORNADO.OWAIT THATSPROBABLYABADIDEA)NSTEAD TRYDRIVINGDOWNA STEEPCANYONANDSEEIFYOUREARSPOP 4HE MORE POWERFUL THE WAVE IS THE TALLER IT IS FROM PEAK TO TROUGH -ORE POWERFULWAVESAREPERCEIVEDASLOUDER SOFTERSOUNDSARESMALLERINPEAKTO TROUGHHEIGHT4HEHEIGHTOFTHEWAVEISCALLEDITSAMPLITUDEANDISMEASURED IN DECIBELS DB "ELL ,ABS AND !LEXANDER 'RAHAM "ELL CREATED THIS MEASUREMENT ! bel REFERS TO A SOUND THAT IS PERCEIVED TO BE TWICE AS LOUD AS SOME OTHERSOUND!decibelISONE TENTHOFABEL"ECAUSEABELISREFERENCEDTOA SOUNDTHATTHENEWSOUNDISTWICEASLOUDAS ITISNECESSARYTOALSOSTATEWHAT THATREFERENCESOUNDIS !COMMONUSEOFTHEDECIBELSCALEISSOUNDPRESSURELEVEL30, 4HEREFERENCE SOUNDONTHE30,SCALEISTHESOFTESTSOUNDAPERSONCANHEAR4HISISDB30, 4HEREFORE DB 30, IS TWICE AS LOUD AS THE SOFTEST SOUND A PERSON CAN HEAR DB30,ISTWICEASLOUDASDB DBISTWICEASLOUDASDB ANDSOON 4HELOUDESTSOUNDAPERSONCANPERCEIVEISAROUNDDB30,!TTHISPOINT IF 230

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THESOUNDKEEPSGETTINGLOUDER ITISNOTPERCEIVEDASGETTINGLOUDER HOWEVER ITHURTSTHEEARSMORE4HISMAXIMUM30,ISKNOWNASTHEhTHRESHOLDOFPAINv )TISALSOKNOWNASA*IMMY(ENDRIXSOLO9ES THISDATESMEASANOLDHIPPIE .INE)NCH.AILSWORKS TOO 4HEDIFFERENCEBETWEENTHELOUDESTSOUNDANDTHE SOFTESTISREFERREDTOASDYNAMICRANGE ,ETSALSOLOOKATPHASING)NTHEREALWORLD THEREISNEVERAWAVETHEREARE INFINITE WAVES ALL INTERACTING OVER TIME 7HEN RECORDING WE TEND TO LOOK AT THE SNAPSHOT OF THE WAVES OR THE LEVEL AT THE MICROPHONE FOR THAT EXACT MOMENT(OWEVER WAVESMOVEANDINTERACT ANDDEPENDINGONTHEPOSITION OFTHATMICROPHONE THENETRESULTWILLBEALTERED 4HINK OF TWO WAVES MOVING TOGETHER IN THE SAME DIRECTION BUT SEPARATE )MAGINETOOTHATTHEYAREIDENTICALINSIZEANDSHAPE)FTHEPEAKSANDVALLEYS LINE UP WITH EACH OTHER THE TWO WAVES ARE hIN PHASEv )F THE PEAKS OF ONE WAVELINEUPWITHTHEVALLEYSOFTHEOTHER THEWAVESAREOUTOFPHASE)F WEHADSOMEWAYOFLAYINGTHETWOWAVESONTOPOFEACHOTHERWHENTHEYARE OUTOFPHASE THEYCANCELEACHOTHEROUTANDVANISH7HENTHEYAREINPHASE THEY ADD TOGETHER AND MAKE A BIGGER WAVE 7HILE THIS NEW WAVE IS hTWICE ASBIGvIFITWERESOUND ITWOULDBEONLYDB30,LOUDER4HISISBECAUSEOUR EARSARENOTLINEARBUTCOMPRESSSOUNDASITGETSLOUDER -ICROPHONES ARE VERY SUSCEPTIBLE TO PHASE PROBLEMS BECAUSE THEY HAVE NO BRAINTOTELLTHEMICROPHONEWHATTOLISTENTOANDWHATTOREJECTLIKEOUREARS DO/UREAR BRAINISSOGOODATTHIS WEEVENUSETHISTOFIGUREOUTTHEDIRECTION OF SOUND !S THE BRAIN FILTERS OUT PHASE ANGLES BETWEEN OUR EARS IT CAN SAY THISSOUNDSHOULDSOUNDLIKETHISANDITISCOMINGFROMRIGHTOVERTHERE )F WE USE TWO MICROPHONES RECORDING TO TWO CHANNELS STEREO THIS PHASING INFORMATION CAN BE PRESERVED AND WHEN THE LISTENER STANDS BETWEEN TWO STEREO SPEAKERS THEY CAN SAY hTHIS SOUND IS COMING FROM RIGHT THEREv %VEN IFhRIGHTTHEREvISJUSTAPLANTPOT ITSEEMSLIKETHATTHESOUNDISCOMINGFROM THERE"UTWHATIFTHERECORDINGISNOTACCURATETOTHEORIGINALPHASING 4RYTHISTAKEAPAIROFSPEAKERSANDPLAYASINGLESOUNDTHROUGHBOTH)TWILL SOUNDLIKETHEPLAYBACKISCOMINGFROMAPOINTDIRECTLYINTHECENTERBETWEEN THE TWO SPEAKERS IF THE SYSTEM HAS MORE OR LESS ACCURATE PHASING .OW TAKETHEWIRESONONEOFTHESPEAKERSANDREVERSETHEPOLARITY*USTSWITCHTHE WIRESFORn.OW ASTHEREWIREDSPEAKERSHOULDBEMOVINGITSCONESOUTTO MAKEAWAVE THEYMOVEINMAKINGATROUGH!LISTENERSTANDINGBETWEENTHE SPEAKERSWILLHEARWEIRDINTERACTIONS ANDTHESOUNDMAYEVENSEEMTOCOME FROMBEHINDTHEMATTIMES4HEBRAINJUSTCANTSORTTHISMESSOUT4HESOUND FROMTHESPEAKERSISOUTOFPHASE "UTWHATIFTHESOUNDISONLYATINYAMOUNTOUTOFPHASE SAYS,OW FREQUENCY SOUNDS ARE NOT ALTERED THAT MUCH BUT VERY SMALL WAVES ARE WAY

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OUTOFPHASE POSSIBLYEVENTHOUSANDSOFDEGREESOUTOFPHASE4HENETRESULT ISTHATTHEHIGHSOUNDSMOVEAROUNDINPLAYBACK ANDUSUALLYSOUNDLIKETHAT THEYARECOMINGFROMTHESPEAKER WHICHSEEMSNORMALASTHISISWHERETHEY ARECOMINGFROM"UTIFTHEPHASEWASTOTALLYCORRECT EVENTHECYMBALSSHOULD SOUNDLIKETHEYARECOMING NOTFROMTHESPEAKERBUTFROMTHEORIGINALLOCATIONBETWEENTHEMICROPHONES !S THIS CANNOT REALLY WORK IN THE REAL WORLD WE CHEAT SURROUND SOUND ADDSMORESPEAKERSASIFTHESOUNDSEEMSLIKEITISCOMINGFROMTHELOCATION OFTHESPEAKER THISISMOREORLESSTHEGOAL"UTIFWECOULDKEEPTHEPHASING ACCURATE RIGHT DOWN TO THE PLAYBACK SPEAKERS SOUND COULD SOUND LIKE IT IS SURROUNDEVENIFITISONLYSTEREO 4HERE HAVE BEEN SEVERAL HOME THEATER AND STEREO SYSTEMS THAT USE THIS AND hSYNTHESIZEv SURROUND SOUND FROM STEREO ) HAVE ONE MADE BY #ARVER 3OUND VERY FUN "UT THIS IS NOT ACCURATE IT JUST FAKES IN hPLACEMENTv (OWEVER IFYOUWANTTORECORDANDPLAYSOUNDSOACCURATEINPHASINGTHAT THELISTENERCANTELLWHERETHESOUNDISCOMINGFROM EVENIFITISOVERTHEIR HEAD YOU NEED TO CREATE A VERY ACCURATE RECORDING AND PLAYBACK SYSTEM WITH ALMOST PERFECT PHASING AND AN ANALOG OF A HUMAN HEAD 4HERE ARE ACTUALLYMICROPHONESSHAPEDLIKEAHUMANHEAD SOMEEVENHAVEHAIR THAT WHEN RECORDED IN ACCURATE PHASE AND PLAYED BACK THROUGH HEADPHONES TOREMOVEPHASINGFROMTHELISTENERSWALLS THERESULTISAMAZING4OTALLY DIRECTION ACCURATERECORDINGSRECORDEDONJUSTTWOCHANNELS4HEKEYTOTHIS ISTHEHEADANALOG APLASTICHEADTHATSHAPESTHEPHASINGOFTHEWAVESJUST AS A HUMAN HEAD DOES "UT THE SOUND ITSELF CAN ALSO BE AN ANALOG OF THE ORIGINALWAVES Analog or analogue COMES FROM THE 'REEK analogos, meaning something THAT BEARS AN ANALOGY TO SOMETHING ELSE )N ANALOG RECORDING SOME SORT OF MODELOFTHESOUNDISRECORDED4HISMAYBEAMAGNETICIMAGEOFTHEWAVE ANALTERNATINGELECTRICALCURRENT APHYSICALMODELINPLASTICORMETAL OREVEN APHOTOGRAPHOFTHEWAVE4HEKEYTOANALOGAUDIORECORDINGISTHATITUSESA VARYINGSIGNALOVERTIMETOCREATETHEEXACTSAMEWAVEINSOMEOTHERRECORDABLEFORM7HENRECORDINGASOUNDUSINGANANALOGRECORDER ITISNECESSARY TO FAITHFULLY RECORD A MODEL OF THE FREQUENCIES AND THE DYNAMICS 7HEN THE RECORDINGISFAITHFULTOTHEORIGINALSOUND ITISREFERREDTOASHAVINGHIGHFIDELITYORHI FI 4HEUPSIDEOFANALOGISTHATITCANBEVERYSIMPLE4HEDOWNSIDEISTHATTHE RECORDING IS MODELED IN THE RECORDING MEDIUM WHICH CAN ADD IN ITS OWN CHARACTERISTICS0LASTICRECORDSNOTONLYCONTAINTHEMODELOFTHESOUNDWAVES CARVED INTO THE GROVES OF THE RECORD BUT ALSO THE SOUND OF ANY IMPURITIES IN THEPLASTIC WHICHADDSACHARACTERISTICPLASTICSOUND$IRTANDDUSTADDTHEIR SOUND ASDOESTHENEEDLESCRAPINGALONGTHERECORD

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A brief history

Figure A1.2 .OTEXACTLY A"LUETOOTHEARBUD "ELLS FIRSTTELEPHONE ,IBRARYOF#ONGRESS PHOTO

4HE FIRST USE OF ANALOG SOUND WAS NOT A RECORDING DEVICE BUT RATHER THE TELEPHONE4HEREHADBEENATTEMPTSATSENDINGVOICEOVERTELEGRAPHLINES BUT NONE WERE SUCCESSFUL 4HE TELEGRAPH IS A DIGITAL DEVICE SENDING ONLY HIGH ANDLOWPULSESDOWNTHEWIRE"EFORETHEINVENTIONOFTHEANALOGTELEPHONE THEHANDKEYTELEGRAPHWASALREADYOBSOLETEAUTOMATEDSYSTEMSWEREBEING DEVELOPED TO SEND HIGH SPEED CODE FROM KEYBOARD DEVICES THAT COULD BE RECEIVEDANDPRINTEDATTHEOTHERENDINREALTIME$IGITALFAXMACHINESHAD BEEN SENDING IMAGES OVER TELEGRAPH LINES SINCE "UT DIGITAL AUDIO WAS MOREELUSIVE "ELLS TELEPHONE DIFFERED IN THAT IT CREATED AN ELECTRICAL ANALOG OF THE SOUND IN ALTERNATING CURRENT 4HE ELECTRICAL WAVES WERE QUITE ACCURATE MODELS OF THE SOUND WAVES 4HE SOUND WAVES WOULD STRIKE A DIAPHRAGM CARBON GRAINS PRESSED AGAINST THE DIAPHRAGM WOULD CREATE AN hUNDULATINGv CURRENTMODELINGTHESOUNDWAVES ANDTHESEWEREUSEDTOVIBRATEANOTHERDIAPHRAGMONTHERECEIVERTHATWASCONNECTEDTOACOILOFWIREANDPERMANENT MAGNET4HISDIAPHRAGMWOULDVIBRATETHEAIRRECREATINGTHEORIGINALSOUND 4HISCREATEDASTORMOFNEWhANALOGvDEVICESTHATWEREBASEDONTHISUNDULATINGCURRENT %DISON ,ABS INVENTED THE FIRST ANALOG RECORDING SYSTEM A YEAR LATER IN %DISONHIMSELFCAMEUPWITHTHEIDEAWHILEHEWASWORKINGONADIGITALHIGH SPEED TELEGRAPH CODE RECORDING SYSTEM THAT WOULD USE A ROTATING DRUM

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Figure A1.3 /RIGINAL %DISON4IN&OIL 0HONOGRAPH0HOTO COURTESYOF53 Department of the )NTERIOR .ATIONAL0ARK 3ERVICE %DISON.ATIONAL (ISTORIC3ITE

%DISON REALIZED THAT THIS DIGITAL RECORDING DEVICE COULD BE ALTERED INTO AN ANALOGRECORDINGDEVICE 4HE CONCEPT WAS SIMPLE "ELLS DIAPHRAGM COULD BE USED TO SCRIBE A GROOVE INTOAROTATINGCYLINDERCREATINGUNDULATINGWAVESINTHEGROOVE!PLAYBACK STYLUS AND DIAPHRAGM COULD THEN PLAY THIS RECORDING BY TRACKING THE UNDULATING GROOVE &RED /TT AT %DISON ,ABS CONSTRUCTED THE DEVICE IN H AND IT WORKEDONTHEFIRSTTEST

Figure A1.4 %DISONS RECORDINGSTUDIOANDTEST LABORATORYIN4WO pianos, a pipe organ, ANDSEVERALRECORDERSCAN BESEEN4HEDOLLONTHE KEYBOARDOFTHEPIANOON THERIGHTISATALKINGDOLL DEVELOPEDBY%DISON,ABS ANDSOLDASACHILDSTOY .OTETHETWOBOXESOF BLANKRECORDINGCYLINDERS ONTHETABLEINTHECENTER 0HOTOBY7+,$ICKSON ,IBRARYOF#ONGRESS PHOTO

9EARSLATERIN 7+,$ICKSONOFTHE%DISON,ABSCONSTRUCTEDAMOTION PICTURE CAMERA %DISON SAW LITTLE FUTURE IN THE DEVICE BUT REALIZED THAT IT COULD BE CONNECTED TO A PHONOGRAPH FOR MAKING SYNC SOUND FILMS 7HILE HESTILLCOULDNOTSEEANYWAYTOMAKEAPROFITABLEBUSINESSOFTHISCAMERA HE DID FEEL THAT MOTION PICTURES OF MUSICIANS WOULD BE NOVEL AND A GREAT

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WAY TO SELL RECORDINGS 4HIS WAS THE BIRTH OF THE hMUSIC VIDEOv 4HE PROBLEM FOR BOTH %DISON AND $ICKSON WAS THAT THEY DID NOT ENVISION A PROJECTIONSYSTEMANDTHEREWASNOWAYTOAMPLIFYTHEPHONOGRAPHSOUNDTOFILL ALARGEHALL 4HESOLUTIONWASTHE+INETOGRAPHCAMERAANDTHE+INETOSCOPEVIEWER4HESE WERESILENTVIEWERSSETUPINh+INETOSCOPICPARLORSvWHEREPATRONSCOULDVIEW SEVERAL SHORT FILM CLIPS FOR A SMALL PRICE "Y THE SPRING OF %DISON WAS OFFERING+INETOPHONES +INETOSCOPESWITHPHONOGRAPHSINSIDETHEIRCABINETS

Figure A1.5 The +INETOSCOPESILENTFILM VIEWER!STHEDEVICEUSES AhPEEPHOLEvINTHETOP TOVIEWTHEFILM ONLYONE PERSONATATIMECOULD VIEWTHEFILM

4RUE TO %DISONS PREDICTION THE IDEA WAS A FINANCIAL FLOP $URING THIS SAME TIME SILENT FILMS WERE BEING PROJECTED IN RESTAURANTS AND CLUBS IN %UROPE USING THE &RENCH CAMERA PROJECTOR MADE BY ,UMIERE AND WERE A BIG HIT %DISONSOONSTARTEDBUILDINGPROJECTORSANDCONTINUEDTOPROMOTESOUNDFILMS WHILEPRODUCINGMOSTLYSILENTFILMS

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Figure A1.6 The +INETOPHONEWASA +INETOSCOPEVIEWERWITHA PHONOGRAPHINSIDE.OTE the tube earphones on THESHARP DRESSEDPATRON

Figure A1.7 This frame FROMANEARLY%DISONFILM SHOWS7+,$ICKSON THEINVENTOROFTHE MOTIONPICTURECAMERA PLAYINGAVIOLINWHILETWO GENTLEMENDANCETOHIS FINETUNE4HELARGECONE TUBECARRIEDTHESOUNDTO THEPHONOGRAPHRECORDER ,IBRARYOF#ONGRESS PHOTO

%DISONWASFORCEDTOGIVEUPONSOUNDFILMSANDNEVERRETURNEDTOTHATIDEA )N SOUNDFILMSCAMEBACK THISTIMEWITHAMPLIFIEDSPEAKERSANDMOVIE PALACETHEATERS7HILETHESEhNEWvSOUNDFILMSALSOUSEDPHONOGRAPHRECORDS FORTHEIRSOUNDPLAYBACK SOONOPTICALSOUNDBECAMETHENORMANDISSTILLIN USETODAY 236

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Figure A1.8 This sync SOUNDPROJECTORBY%DISON WASINTERLOCKEDWITH electrical motors, but THESOUNDWASSTILLNOT AMPLIFIEDANDTHEREFORE THISSYSTEMWASINTENDED ONLYFORhHOMETHEATERSv ,IBRARYOF#ONGRESS PHOTO

Figure A1.9 )NLATER YEARS 4HOMAS%DISON TURNEDTOWORKINGWITH CONCRETEANDFOUNDED THE0ORTLAND#EMENT #OMPANY(EPATENTED DESIGNSFORCASTCONCRETE HOUSESANDOTHERUNUSUAL USESFORCEMENT)N this photograph, he is SITTINGWITHTWOOFHIS phonographs, the one on the right is cast from CEMENT

237

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Figure A1.10 The filmstrip on the right ISANOPTICALSOUND NEGATIVE7HENPRINTED TOAPOSITIVE THESOUND CANBEPLAYEDONAN OPTICALSOUNDREADER The strips in the center ANDONTHERIGHTARE FILMPRINTSSHOWINGTHE POSITIVEOPTICALSOUNDAND PROJECTIONPICTURE

/PTICALSOUNDUSESTHESAMEPHOTOCELLTECHNOLOGYTHATMADEFAXMACHINES POSSIBLE IN 4HE hELECTRIC EYEv OR PHOTOCELL CREATES A SMALL ELECTRICAL CURRENT WHEN STRUCK BY LIGHT 3OUND WAS RECORDED ON MOTION PICTURE FILM USING A SYSTEM BASED ON "ELLS TELEPHONE )N FACT "ELL WAS A BIG PROMOTER OFSOUNDFILMS"ELLHADSEVERALCOMPANIESHISMANUFACTURINGCOMPANYWAS 7ESTERN %LECTRIC AND HIS FILM DUBBERS AND RECORDERS SOLD UNDER THE NAME 7ESTEREX !N ELECTROMAGNETIC MECHANICAL GATE THAT OPENED AND CLOSED DRIVEN BY THE ALTERNATING CURRENT hMODELv OF THE SOUND WAS PLACED IN THE CIRCUIT FROM THE CARBON MICROPHONE ,IGHT WAS PASSED THROUGH THIS GATE AND FOCUSED ON MOVING UNEXPOSED FILM 7HEN THE FILM WAS PROCESSED AN IMAGEOFTHESOUNDWAVESCOULDBESEENONTHEFILM7HENLIGHTWASPASSED THROUGH THIS FILM AND FOCUSED ON A PHOTOCELL A SMALL CURRENT WAS CREATED BYTHEPHOTOCELL4HISWASAMPLIFIEDANDCOULDBEPLAYEDTHROUGHSPEAKERS EVENINALARGETHEATER4HISALSOMEANTTHATSOUNDCOULDBEPRINTEDDIRECTLY ON THE FILM PRINT MAKING SYNCHRONIZING AND PROJECTING NO MORE DIFFICULT THANSILENTFILMS )NPRODUCTION ANOPTICALRECORDERWASINTERLOCKEDUSINGELECTRICSELSYNMOTORS TOTHECAMERA"OTHTHEPICTUREANDSOUNDFILMSWEREPROCESSED PRINTED AND COULD BE PUT IN SYNC BY LINING UP THE CLAPPER STICKS AT THE BEGINNING OF THE SHOT AND THEN EDITING WITH BOTH SOUND FILM AND PICTURE INTERLOCKED ON AN EDITINGMACHINE -ANYTRACKSOFSOUND MUSIC DIALOGUE ANDSOUNDEFFECTSCOULDALLBEEDITED ONEATATIMEONTOSCORESOFREELS4HENALLTHESETRACKSWOULDBEPLAYEDINTERLOCKEDWITHAPROJECTORANDOPTICALRECORDER4HETRACKSWEREMIXEDONAMIXING CONSOLE AND THE AUDIO FED TO THE OPTICAL RECORDER "ECAUSE THIS SYSTEM RECORDEDDIRECTLYTOOPTICALFILM THEREWASNOCHANCETOBACKUPORREDOTHE MIX%ACHROLLOFTHEFILMWASMIXEDINREALTIME INONEPASS ANDTHENPROCESSEDANDPRINTED/NLYTHENTHEMIXCOULDBEPLAYEDBACKTOCHECKFORPROBLEMS!NYREDOREQUIRESBEGINNINGAGAINATTHESTARTOFTHEREEL )NTHES THE'ERMANSWEREWORKINGSECRETLYONMAGNETICSOUNDRECORDING!FTER7ORLD7AR)) THE!LLIEShLIBERATEDvTHISTECHNOLOGY4HECONCEPTIS 238

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SIMPLE THE LIGHT GATE IN OPTICAL SOUND IS REPLACED BY A SIMPLE COIL MAGNET !MOVINGIRONWIREISPASSEDNEARTHEMAGNETANDTHEFLUCTUATINGMAGNETIC FIELDMAGNETIZESTHEWIRE AS IT PASSES )N PLAYBACK THE WIRE IS PASSED BY THE SAMECOIL WHICHNOWCONVERTSTHEMAGNETICFIELDSINTHEWIREBACKINTOELECTRICALSIGNALTHATCANBEAMPLIFIEDANDPLAYEDTHROUGHSPEAKERS 4HE WIRE RECORDERS COULD NOT BE INTERLOCKED TO A CAMERA OR PROJECTOR AS THE WIRE WAS NOTORIOUS FOR STRETCHING AND SLIPPING ON THE DRIVE SYSTEM CAUSING ITTOLOOSESYNC3OONABETTERSYSTEMWASDEVELOPED4HEWIREWASREPLACED WITHAPLASTICTAPECOATEDONONESIDEWITHIRONOXIDERUST 4HERUSTCOULD BE EASILY MAGNETIZED AND THE TAPE WAS MUCH MORE STABLE (OWEVER IT STILL SLIPPEDONTHEDRIVEMECHANISMANDSTILLEXPANDEDANDCONTRACTED )RON OXIDE COULD ALSO BE COATED ONTO FILM BASE AND THE SAME BASIC INTERLOCK SYSTEMUSEDINOPTICALSOUNDCOULDBEUSEDTORECORDONTOTHEhMAGNETICFILMv -AGNETICHEADSTHECOILSOFWIRE WEREMOUNTEDONTHEOPTICALDUBBERSWITH PROPERELECTRONICSTOPLAYORRECORDFROMTHESEHEADS ANDTHEOPTICALSYSTEM COULDNOWALSODOMAGNETIC4HISMEANTTHATDURINGTHEMIX THESYSTEMCOULD BESTOPPED BACKEDUP PLAYEDBACK ANDASECTIONRERECORDED)TALSOSOUNDED MUCH BETTER THAN OPTICAL SOUND 4HE FINAL PRINTS WERE STILL PRINTED WITH OPTICAL SOUND AS THEY STILL ARE TODAY 7HILE THERE WAS A MOVE TO USE MAGNETIC SOUNDONTHERELEASEPRINTS THEFORMATNEVERREALLYCAUGHTON4HEATERSWERE SET UP TO PROJECT OPTICAL SOUND BUT MORE IMPORTANTLY THE RELEASE PRINTS HAD TOBESTRIPEDWITHOXIDEAFTERTHEPRINTWASPROCESSED ANDTHENTHESOUNDWAS RECORDEDONTOTHEPRINTINREALTIME4HISSLOWEDPRINTINGTOACRAWLANDWAS EXPENSIVE 2ECORDINGDIRECTLYTOMAGNETICFILMWASAHASSLEASTHERECORDERSWERELARGE AND NOISY AND REQUIRED LINE VOLTAGE TO RUN THEIR LARGE MOTORS 3MALL BATTERY POWERED FIELD RECORDERS HAD BEEN DEVELOPED THAT USED v WIDE MAGNETIC TAPE BUT AGAIN AS TAPE SLIPS AND STRETCHES IT WAS UNACCEPTABLE FOR SYNC RECORDING IN MOTION PICTURES )N A SYSTEM WAS DEVELOPED TO MODIFY A FIELD TAPE RECORDER FOR RECORDING IN SYNC 4HE SYSTEM WORKED LIKE THIS WHILE THEAUDIOWASRECORDEDONTOTHETAPE ASECONDSIGNALFROMTHECAMERAWAS ALSO RECORDED 4HIS WAS AN ALTERNATING CURRENT THAT WOULD OSCILLATE AT (Z WHENTHECAMERAWASRUNNINGATFPS)FTHECAMERASPEDUPBY THEN THE SIGNAL SPED UP BY THE SAME TO (Z )F THE TAPE STRETCHED THE RECORDINGOFTHE(ZSIGNALWASALSOSTRETCHEDWHICHCAUSEDITTOPLAYBACK SLOWER)FWAVESARERECORDEDONTOONEFOOTOFTAPEANDTHETAPESTRETCHES TOTWOFEETLONG ITSTILLHASONLYWAVESRECORDEDONIT7HENPLAYEDATTHE SAME ONE FOOT PER SECOND IT WAS RECORDED AT THE WAVES ARE NOW SPREAD OVER TWO FEET CAUSING THE SPEED OF THE WAVES COMING OFF THE RECORDING TO PLAYBACKAT(Z 4HE v TAPE WAS TRANSFERRED TO MAGNETIC FILM USING THE SAME BASIC FILM RECORDER THAT BEFORE WAS USED IN PRODUCTION )N THIS CASE THE SYNCHRONOUS 239

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MOTORINTHEFILMRECORDERWASDRIVENBYTHE(ZSIGNALRECORDEDONTOTHE vTAPEINPRODUCTION!STHESOUNDWASTRANSFERREDFROMTHEvTAPETO MAGNETIC FILM THE FILM RECORDER WOULD SLOW DOWN AND SPED UP AS THE SIGNALONTHETAPESLOWEDANDSPED)FTHETAPEWASPLAYEDBACKATTHEORIGINAL SPEED THEFILMRECORDERWOULDNOWMATCHTHESPEEDOFTHECAMERA THEREBY HOLDINGSYNC)FTHETAPESLIPPEDORSTRETCHED THISWOULDALSOCAUSETHEFILM RECORDERTOSLOWORSPEED STILLHOLDINGSYNC !NOTHERSYSTEMWASDEVELOPEDBASEDONTHISONEINTHISCASE ADEVICECALLED ARESOLVERWASUSEDTOCONTROLTHESPEEDOFTHEPLAYBACKTAPERECORDER7HEN THE SIGNAL ON THE TAPE SLOWED THE RESOLVER WOULD SPEED UP THE PLAYER UNTIL THE SIGNAL WAS AT THE PROPER (Z 4HIS HAD THE ADVANTAGE THAT IT NEVER CAUGHTONFIRE4HISISNOTTOSAYTHATTHEEARLIERSYSTEMWASPRONETOCATCHING ONFIREBUTTODRIVETHEFILMRECORDERWITHTHESIGNALCOMINGOFFTHETAPE THIS SIGNALNEEDEDTOBEBOOSTEDTO6USINGAGIANTAMPLIFIERWITHTUBESTHE SIZE OF MAYONNAISE JARS 4HIS GENERATED MORE THAN SYNC IT GENERATED LOTS OF HEAT ANDITCOULDCATCHONFIREIFTHERIGHTAMOUNTOFDUSTANDLINTENDEDUP INTHEAMP 4HERESOLVERMADETHETRANSFERTOMAGNETICFILMSIMPLERANDCOOLER4HEREIS THEOLDPROBLEMTHATTHETWODEVICESNEEDTOBELOCKEDTOTHESAMECLOCKIF SYNCISTOBEACCURATESEE#HAPTER 3OIFWEWANTTOHOLDSYNCFOR SEVERALMINUTES THEFILMRECORDER AND THE RESOLVER NEED TO BE LOCKED TO THE SAME REFERENCE 4HIS IS DONE BY CONNECTING THE SAME (Z LINE VOLTAGE TO BOTHTHERESOLVERANDTHEFILMRECORDERSOTHATTHEYCANNOTSHIFTTHEIRRELATIVE SPEEDS 4HISSYSTEMISSTILLUSEDFORANALOGRECORDINGINTHEFILMINDUSTRYHOWEVER THE CABLE BETWEEN THE CAMERA AND THE v RECORDER VANISHED YEARS AGO 4WO ACCURATECRYSTALCLOCKSREPLACEDIT ONEINTHECAMERAENSURINGTHATTHECAMERARUNSATFPSEXACTLYANDTHEOTHERFEEDINGANACCURATE(ZSIGNALTOTHE TAPE RECORDER 4ODAY DIGITAL RECORDING IS PUSHING ANALOG RIGHT OUT THE DOOR $IGITALRECORDERSHAVEMANYADVANTAGESOVERANALOGHOWEVER SOMEPEOPLE STILLPREFERTHESOUNDOFANALOG

Noise reduction and expanding dynamics in analog recordings 4WOOFTHEDISADVANTAGESOFANALOGRECORDINGSARETHATTHERECORDINGMEDIA ADD THEIR OWN CHARACTERISTICS TO THE SOUND IN THE FORM OF NOISE AND THE DYNAMIC RANGE IS RATHER LIMITED )T TAKES A CERTAIN AMOUNT OF SIGNAL BEFORE THE ANALOG RECORDER CAN RECORD ANYTHING 6ERY SOFT SOUNDS ARE LOST AS THEY CANTSCORETHEPLASTICOFTHERECORDORMAGNETIZETHERUSTONTHETAPE!LSO ATTHEOTHEREND VERYLOUDSOUNDSCANTBERECORDED EITHER/NARECORD THE 240

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Analog audio

GROOVEBECOMESSOWIDETHATITCROSSESOVERINTOTHENEXTGROOVEORTHENEEDLEISMOVINGAROUNDSOMUCHTHATITLOSESCONTACTWITHTHERECORD)NMAGNETICRECORDING ONCETHERUSTISMAGNETIZEDTOACERTAINPOINT ITJUSTCANTBE MAGNETIZEDANYMORE3OALLANALOGRECORDINGSHAVEADYNAMICRANGEFROM THE SOFTEST SOUND TO THE LOUDEST SOUND THEY CAN RECORD AND A METER TO TELL YOU WHEN YOU ARE NEARING THE TOP OF THIS RANGE 4HIS RANGE IS DIFFERENT FOR EACH MEDIUM $IGITAL RECORDERS ALSO HAVE A DYNAMIC RANGE BUT THIS IS SET BY THE BIT DEPTH OF THE RECORDER )N THEORY IT IS POSSIBLE TO CREATE A DIGITAL RECORDERWITHALMOSTUNLIMITEDDYNAMICRANGE CERTAINLYGREATERTHANHUMAN HEARING "UT MOST ANALOG RECORDINGS NEED HELP (UMANS CAN HEAR APPROXIMATELY DB OF DYNAMIC RANGE /PTICAL RECORDINGS CAN ONLY RECORD APPROXIMATELY DB CASSETTE TAPE DB A GOOD PHONOGRAPH DB 4O BOOST THESE NUMBERS DYNAMIC COMPRESSION HAS BECOME THE NORM -OST OF THESE SYSTEMS HAVEBEENDEVELOPEDBY$OLBYLABSANDAREUSEDINVIRTUALLYALLTHEATERS 4HECOMPRESSIONSCHEMEWORKSSOMETHINGLIKETHISWHILETHESOUNDISBEING RECORDED THEDYNAMICSARECOMPRESSED!STHESOUNDGETSLOUDER THESYSTEM TURNSITDOWNMAKINGITSOFTER)TSLIKEHOLDINGONTOTHEVOLUMECONTROLAND TURNING THE VOLUME ALL THE WAY UP 4HEN WHEN ANY SOUND IS PLAYED TURN IT QUICKLY DOWN 4HE LOUDER THE SOUND THE MORE YOU TURN IT DOWN 4HE GOAL IS TO RECORD A TRACK WITH VERY LITTLE DYNAMIC RANGE SOMETHING THAT CAN BE RECORDEDEVENONOPTICALSOUND

Figure A1.11 "RITISH CIGARETTETRADINGCARD

241

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)N PLAYBACK THE EXACT OPPOSITE PROCESSING IS APPLIED !S THE SOUND GETS LOUDER THE VOLUME IS TURNED UP AS IT GETS SOFTER ITS TURNED DOWN )F THE RECORDINGCOMPRESSIONISANEXACTMIRROROFTHEPLAYBACKEXPANSION THEORIGINAL DYNAMICS ARE RESTORED EVEN THOUGH THERE IS VERY LITTLE DYNAMIC RANGE IN THEACTUALRECORDING4HISCANEXPANDTHEDYNAMICRANGEOFACASSETTEOROPTICALRECORDINGTOAPPROXIMATELYDB $OLBY USES COMPLEX COMPRESSION AND EXPANSION SCHEMES THAT APPLY DIFFERENT AMOUNTS OF PROCESSING AT DIFFERENT FREQUENCIES 4HIS NOT ONLY CAPTURES A LARGE DYNAMIC RANGE BUT IT ALSO REMOVES MUCH OF THE CHARACTERISTIC NOISE OF THEOPTICALRECORDING 7HILE ANALOG SOUND HAS BEEN FOR THE MOST PART REPLACED BY DIGITAL AUDIO IT LIVESONASABASICSYSTEMFOROLDERTHEATERSANDABACKUPSYSTEMINEVENTHE MOSTMODERNTHEATERSANDAFEWSTRANGECHARACTERSSTILLHOLDONTOTHEIRVINYL RECORDSANDEVENPLAYTHEM NOTJUSTFORTHENOSTALGIABUTBECAUSETHEYACTUALLY LOVE THE SOUND 4HEY WE ARE NOT LIKELY TO CHANGE THEIR LISTENING TASTES ANY TIME SOON )T IS INTERESTING TO NOTE THAT ALL THE ULTRAMODERN ANALOG SYSTEMS EIGHT TRACK CASSETTE MINICASSETTE 6(3 HAVE BEEN THE FIRST TO VANISH THESURVIVINGFORMATSBEINGPHONOGRAPHRECORDSANDOPTICALSOUND THEOLDESTRECORDINGSYSTEMS4HESEFORMATSAREYEARSOLD ANDTHEYCANSTILLGIVE DIGITALAUDIOARUNFORTHEMONEY

242


Appendix 2 Digital audio

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; digital audio recording was written about and attempted in the early 20th century, 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 waiting 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 successful 16-bit digital recording. The concept works like this: analog electrical audio is sent to an analog to digital 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 closest 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 recording 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.

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Appendix 2

Digital audio

Figure. A2.1 )NTHIS illustration, the analog WAVEFORMBLACKCURVED LINE ISBEINGDIGITIZED 4HEWHITEVERTICALLINES represent the sample clock, sampling the ANALOGWAVEFORM TIMESPERSECOND ONANAUDIO#$)NTHE close-up in the upper left, it can be seen that each SAMPLEDVALUEISBEING GIVENADIGITALVALUE)N THEEXAMPLE THISISAN BITWORD INAUDIO#$ THISISA BITWORD 4HEDIGITALWAVEFORMIN THELOWERRIGHTSHOWSA DEGREEOFhALIASING vTHE SQUARINGOFFTHEEDGESOF THESAMPLES

Figure A2.2 )NTHIS HIGH FREQUENCYANALOG WAVEFORM ITCANBESEEN THATITTAKESATLEASTTWO DIGITALSAMPLESTODIGITIZE ASINGLEWAVE4HISISWHY THEFREQUENCYRESPONSE OFADIGITALRECORDINGCAN NEVEREXCEEDHALFOFTHE SAMPLERATE

4HEFREQUENCYRESPONSEISSETBYTHESAMPLERATEOFTHERECORDING)TCANBE seen in &IG ! THAT IT TAKES A MINIMUM OF TWO SAMPLES TO QUANTIFY ONE WAVE 4HIS MEANS THAT THE MAXIMUM HIGH FREQUENCY RESPONSE OF A DIGITAL RECORDING IN THEORY IS HALF OF THE SAMPLE RATE "UT AGAIN THESE WAVES ARE EXTREMELYCOMPLEX ANDTHESAMPLESWILLSQUAREOFFMUCHOFTHESEVERYHIGH FREQUENCIES AND WORSE ADD IN SQUARE WAVEFORMS THAT WERE NOT PRESENT 246

Appendix 2

Digital audio

IN THE ORIGINAL 4HIS IS CALLED aliasing or quantization error THE SQUARING OFF DETAILEDEDGES4HESESQUAREEDGESAREATAVERYHIGHFREQUENCY WELLABOVE HUMANHEARING YETCREATEINTERACTIONSTHATCANBEEASILYHEARD4OPREVENT THIS PROBLEM HIGH FREQUENCIES ARE FILTERED OUT OF THE ORIGINAL SOUND BEFORE THE!TO$CONVERTERCONVERTSITTOADIGITALDATASTREAM-OREOVER THEPLAYBACKMUSTBEFILTEREDATVERYHIGHFREQUENCIESTOREMOVETHESEPLAYBACKARTIFACTS 4HIS CAN BE ACHIEVED WITH ANALOG FILTERS IN THE ANALOG STREAM OUTPUT FROMTHEDIGITALTOANALOG$TO! CONVERTERTHATCONVERTSTHEDATASTREAM BACK TO ANALOG SOUND 5NFORTUNATELY THIS ADDS PHASE SHIFT IN HIGH FREQUENCIESTHATMESSESUPTHESTEREOIMAGING WHICHISTOSAYTHEAPPARENTPLACEMENT OF THE SOUNDS IN A STEREO FIELD -ANY SOUNDS SEEM TO MOVE AROUND FROM LEFT TO RIGHT BECAUSE OF THIS PHASE SHIFT ! BETTER WAY TO hFILTERv THESE HIGHFREQUENCIESISTOOVERSAMPLETHEPLAYBACK!LTHOUGHTHERECORDINGWAS SAMPLED AT IN PLAYBACK EACH OF THESE SAMPLES CAN BE READ MANY TIMES PERHAPSTIMES4HESESAMPLESCANTHENBEhANTI ALIASED vREMOVING THESQUAREEDGES 4HE FILTERING MUST REMOVE ALL FREQUENCIES ABOVE HALF THE SAMPLE RATE IN THIS CASE (Z "UT THE FILTERING CANT SIMPLY CUT OFF AT IT NEEDS TO RAMPINTOTHEFILTERINGAGAINONAUDIO#$S THISFILTERINGSTARTSAT(Z "ECAUSETHISISTHEHIGHENDOFHUMANHEARING ITWASASSUMEDTHATNONEOF THIS FILTERING COULD BE HEARD (OWEVER THIS CONCEPT WALKS THE EDGE OF PERCEPTIONANDRECORDINGSMADEATHIGHERSAMPLERATESDOSOUNDBETTER MOSTLY BECAUSEOFTHESEALIASINGPROBLEMS 4HEANTI ALIASINGUSESADIGITALFILTERTOREMOVEHIGHFREQUENCIESFROMTHEPLAYBACK AND WITH THE PLAYBACK OVERSAMPLED THIS IS NOW FILTERING A VERY HIGH Figure A2.3 )NTHE WAVEFORMONTHELEFT THE original playback is over SAMPLEDINTHISCASE OVERSAMPLINGBY4HIS takes the playback SAMPLERATETO(Z ONANAUDIO#$ 4HISCANPRODUCEAN AUDIOFREQUENCYRESPONSE OF(Z7HENDIGITAL ANTI ALIASINGISAPPLIED TOTHISNEWSAMPLERATE ITTENDSTOSMOOTHTHE SQUAREEDGESOFTHE ORIGINALRECORDING Any analog filters USEDWILLNOWFILTERAT HIGHERFREQUENCIESTHAT WILLNOTADDPHASESHIFTTO ANYAUDIBLESOUND

247

Appendix 2

Digital audio

SAMPLERATE ASMUCHASTIMESTHEORIGINALSAMPLERATE"ECAUSEOFTHIS THE FILTERINGCANFUNCTIONATONEHALFOFTHENEWSAMPLERATEANDTHEREFORESMOOTH SOMEOFTHESQUAREEDGES /DDLY ASMALLAMOUNTOFNOISEISINTENTIONALLYINSERTEDINTOTHEANALOGAUDIO BEFOREDIGITIZINGANDSOMETIMESMOREISADDEDINPOST)TSEEMSLIKETHELAST THINGTHATANYONEWOULDWANTTOADDTOTHEIRSOUNDISRANDOMNOISE BUTIT HIDESSOMEOFTHEDIGITALARTIFACTS.OTBYCOVERINGTHEMWITHNOISEBUTBY GIVINGTHE!TO$CONVERTERSOMETHINGTOWORKWITHATALLTIMES)FTHESAME DIGITALSAMPLEISRECORDEDOVERANDOVER ESPECIALLYATTHEZEROPOINT STRANGE DIGITAL ARTIFACTS CAN BE HEARD 4HE hDITHERv NOISE KEEPS SOMETHING FEEDING THE!TO$CONVERTERSOTHATITNEVERTRIESTORECORDASTRINGOFZEROVALUES 6IDEO HAS TYPICALLY USED A SAMPLE RATE OF WHICH IS AN IMPROVEMENT OVER"UTINTHELASTFEWYEARS HASBECOMERATHERCOMMONAND ISSUPPORTEDBY0RO4OOLS,%WHENUSINGTHE-BOX0RO0RO4OOLS($NOW SUPPORTSSAMPLERATESUPTO(Z7HILETHEIMPROVEMENTTOTHEHIGH FREQUENCYRESPONSEISPHENOMENAL ITISWELLABOVEHUMANHEARING SOATFIRST ITSEEMSPOINTLESS(OWEVER ITREMOVESTHENEEDFOROVERSAMPLINGINPLAYBACK ANDFILTERINGTHERECORDING -OREOVER ABITDEPTHOFBITSHASBECOMECOMMONINPROFESSIONALRECORDING 4HIS EXPANDS THE DYNAMIC RANGE TO APPROXIMATELY DB )F YOU CAN HEARIT BITCANRECORDIT7HILENONEOFTHISCANBEHEARDINTHEHOMEONA BIT(Z#$OR(Z$6$PLAYER ITISUSEDINTHEATERSUSING$43 $OLBY $IGITAL AND 3$$3 %VEN WHEN THESE RECORDINGS ARE DOWN CONVERTED TO #$ OR $6$ THEY STILL DONT HAVE THE SAME PROBLEMS AS A BIT RECORDING

Advantages !LL DIGITAL RECORDINGS ARE BASED ON A SYSTEM THAT USES A CLOCK AND THEREFORE CAN BE EASILY USED IN FILM AND VIDEO %VEN ON A #$ PLAYER THE DATA COMING OFFTHE#$ISSENTTOABUCKETMEMORYANDACONTROLLER!STHEMEMORYSTARTS TOFILL THECONTROLLERBEGINSSENDINGDATATOTHE$TO!CONVERTERFORPLAYBACK ! VERY ACCURATE PROCESSOR CLOCK THAT IS SENDING ONE SAMPLE SET TIMES PER SECOND CONTROLS THE SAMPLES SENT TO THE $ TO ! CONVERTER )F THE BUCKET MEMORYSTARTSTOFILLUP THE#$CANBESLOWEDBYTHECONTROLLERORTHEFLOWOF DATAFROMTHE#$INTERRUPTEDFORABRIEFMOMENT)FTHECLOCKSTARTSTOhOVER RUNv THE MEMORY AND THE MEMORY BECOMES LOW THE #$ DATA CAN BE SPED UP 3O WHILE THE DATA COMING FROM THE TAPE #$ OR DIGITAL FILE MAY SPEED ANDSLOW THEAUDIOPLAYBACKISEXTREMELYTIME ACCURATE

248

Appendix 2

Digital audio

7HILETHEYAREVERYACCURATE NOTWOCLOCKSRUNATTHEEXACTSAMESPEED AND THISWILLCAUSESYNCDRIFTOVERTIME(OWEVER MANYDIGITALPLAYERSANDRECORDERSCANBECONTROLLEDFROMTHESAMECLOCK!SWESAWIN#HAPTER 0RO4OOLS CANBELOCKEDTOANYONEOFMANYDIFFERENTCLOCKS-ANYOTHERDIGITALDEVICES CANALSOBELOCKEDTOTHESAMEEXTERNALCLOCKSOURCE)FADEVICEISNOTCONTROLLABLE ITCANBEUSEDASTHECLOCKSOURCE7HEN0RO4OOLSISLOCKEDTOTHE7ORD #LOCKFROMA30$)&INPUT SAYFROMA$!4RECORDER THECLOCKCONTROLLINGTHE SPEEDOFTHE BITDIGITALWORDSINTHE$!4ISALSOCONTROLLINGTHEPROCESSOR CLOCK IN THE 0RO 4OOLS SYSTEM 3O DIGITAL RECORDINGS ARE NOT ONLY VERY SYNC ACCURATEBUTALSOVERYINTERLOCKABLE !NOTHERADVANTAGEOFDIGITALAUDIOISTHATITCANBECOPIEDMANYTIMESWITHOUT DEGRADATION 5NLESS THE COPIES ARE WEAKER OR HAVE OTHER PROBLEMS THE DATAINTHERECORDINGISSIMPLYTHEDATA AONEISAONEANDAZEROISAZERO /NLYIFTHEDATAISDAMAGEDWILLTHEAUDIOQUALITYBEREDUCED3MALLAMOUNTS OF DAMAGE WILL NOT BE HEARD AS THE DIGITAL PLAYBACK INCLUDES SYSTEMS TO REBUILDDATALOSTTODROPOUT BUTIFTHEDROPOUTISSEVERE THEREBUILTDATAWILL NOT BE EXACT AND ARTIFACTS CAN BE HEARD )F THE DAMAGE IS BAD ENOUGH THE PROCESSORWILLMUTETHEPLAYBACKRATHERTHANPLAYINGRANDOMNOISE(OWEVER IFTHECOPIESAREACCURATE THEREISNOGENERATIONALLOSSINDIGITALAUDIO

Error correction and compression $ROPOUTISCORRECTEDUSINGPARITYCHECKANDOTHERTRICKSTOREBUILDTHEMISSINGDATA"ECAUSETHEDIGITALDATACANBESHUFFLEDANDMIXEDWITHOTHERDATA SEVERALSYSTEMSCANBEUSEDTOCHECKFORDAMAGEDDATADROPOUT ANDREPAIR ORINTERPOLATEAREPAIR#HECKSUMERRORCORRECTIONUSESAFIXEDINTERVALINTHE SAMPLEINFORMATION!LLTHEVALUESOFTHESAMPLESINSIDETHEINTERVALAREADDED TOGETHER4HISNUMBERISRECORDEDATTHEENDOFTHEINTERVALASTHEFIRSTCHECKSUM4HENALLTHESAMPLEVALUESAREMULTIPLIEDBYTHEIRPOSITIONINTHEINTERVAL THESECONDSAMPLEVALUEISMULTIPLIEDBY THETHIRDBY ANDSOON ,ETSLOOKATASIMPLIFIEDEXAMPLE,ETSSAYWEHAVEFOURSAMPLESINOURINTERVAL4HEVALUESOFTHESAMPLESARE AND3O THEFIRSTCHECKSUMIS .OWTHEVALUESAREMULTIPLIEDBYTHEIRPOSITION4HEYBECOME AND 4HESECONDCHECKSUMISTHEREFORE.OWLETSSAYINPLAYBACKWEGETVALUES OF AND4HISCHECKSUMIS SOWEKNOWSOMETHINGISOVERBY"UT WHICHVALUEISOVER4HESECONDCHECKSUMISOROVERISTWICE SOWE KNOWTHATTHESECONDVALUEISTHEERRANTSAMPLE4HEREFORE ITISREDUCEDBY !NOTHERSYSTEMUSESINTERLEAVING AND INTERPOLATION )N INTERLEAVING THE SAMPLESARENOTRECORDEDINORDERBUTARERECORDEDINAPREDICTABLEPATTERN4HE

249

Appendix 2

Digital audio

FIRSTSAMPLEMAYBETHETHRECORDED THESECONDSAMPLEMAYBETHETHIRD RECORDED THETHIRDMAYBETHENDVALUERECORDED.OW IFTHEREISDAMAGE ONTHETAPEORDIGITALFILEANDVALUESINAROWAREDROPPEDOUT THEMISSING INFORMATIONISSCATTEREDALLOVERTHEWAVEFORM)FSEVERALVALUESINTHECHECKsum interval have been lost, there is no hope of the checksum error correction FIXING THE PROBLEM (OWEVER BECAUSE THE MISSING SAMPLES ARE SCATTERED ALL OVERTHEWAVEFORM THESAMPLESONEITHERSIDEOFTHEMISSINGSAMPLECANBE AVERAGEDANDTHISVALUEISUSEDINPLACEOFTHEMISSINGSAMPLE 4HISTYPEOFRECORDINGISCALLEDPULSE CODEMODULATION0#- 4HEPULSEREFERS TO THE CLOCK PULSES THE CODE TO THE DIGITAL DATA AND THE MODULATION TO THE WAVEFORM%ACHPULSEISRECORDEDALONGWITHTHEERRORCORRECTIONINFORMATION 4HESERECORDINGSAREMOREORLESSUNCOMPRESSED EVERYSAMPLEISRECORDEDAS A OR BITWORD "UT SOME DIGITAL AUDIO IS COMPRESSED TO FIT MORE ON A STORAGE SYSTEM OR TO REDUCETHEBANDWIDTHOFATRANSMISSIONORARECORDING#OMPRESSIONISUSED TOREDUCETHESIZEOFTHEDATA SOMEINFORMATIONCANBERESTRUCTUREDINSUCH AWAYTOMAKETHEFILESMALLER ANDTHENRESTORETHEINFORMATIONINPLAYBACK /THERINFORMATIONCANBEENCODEDINSIDETHECOMPRESSIONSCHEME&OREXAMPLEIN$OLBY!# UPTOEIGHTDISCRETECHANNELSOFAUDIOCANBEINTERLEAVED ALONGWITHINFORMATIONABOUTWHICHSPEAKERINASURROUNDSYSTEMWILLRECEIVE WHICHAUDIOSTREAM 3OME COMPRESSION IS LOSSLESS ALL THE AUDIO INFORMATION IS RECONSTRUCTED IN PLAYBACK -OST SYSTEMS ARE NOT ABLE TO RESTORE ALL THE INFORMATION AND ARE THEREFOREhLOSSYv"ECAUSEDIGITALAUDIOISASTREAMOFEXTREMELYVARIEDWAVEFORMS MANY OF THE COMPRESSION SYSTEMS USED IN OTHER DATA STORAGE FORMATS WILLNOTWORKWELLASEVENASMALLAMOUNTOFCOMPRESSIONCANBEHEARD-ANY AUDIOENGINEERSSIMPLYACCEPTTHISDEGRADATION4HEASSUMPTIONISTHATMOST -0S FOR EXAMPLE ARE ONLY PLAYED ON PORTABLE PLAYERS WITH CHEAP HEADPHONES AND CAN THEREFORE BE COMPRESSED IN SPITE OF QUALITY LOSS 7ITH -0 THEUSERCANDOWNLOADDIFFERENTFILESWITHMOREORLESSCOMPRESSIONDEPENDINGONTHEIRNEEDSANDWHATTHEYFINDACCEPTABLE 4HERE ARE A COUPLE OF COMPRESSION SCHEMES THAT REDUCE BANDWIDTH AND FILE SIZE WITHOUT CREATING NOTICEABLE ARTIFACTS /NE SYSTEM IS RATHER SIMILAR TO THE OVERSAMPLING SCHEME USED IN #$ PLAYBACK 7HILE FREQUENCIES THAT WERE NEVERRECORDEDCANNEVERBEPLAYED AWAVESLOPETHATCANBEPREDICTEDASIT ISRECORDEDCANBEIGNOREDANDTHEPREDICTEDSLOPEISRECREATEDINPLAYBACK 4HISISTRICKYBUSINESSATBEST BUTITWORKS4HEPROBLEMISTHATITONLYWORKS ATTIMESWHENTHEWAVEFORMISSIMPLERANDCANBEPREDICTED !NOTHER SYSTEM FOR COMPRESSING AUDIO INVOLVES THE CONCEPT THAT A PERSON CANT HEAR SOMETHING LOUD AND SOFT AT THE SAME TIME )F A CANNON IS FIRED

250

Appendix 2

Digital audio

DURING THE 1812 Overture, for an instant no one can hear anything but the CANNON !ND THE WAVE SLOPE OF THE CANNON IS HUGE AND THEREFORE RATHER PREDICTABLE 4HE VIOLINS ARE A COMPLEX WAVEFORM AND ANY COMPRESSION OF THEMWOULDBEHEARD BUTEVENIFTHEYSTOPPEDPLAYINGDURINGTHESPLITSECOND OF THE CANNON FIRE NO ONE WOULD HEAR THE DIFFERENCE 3O COMPRESSION CANBEINCREASEDDURINGLOUD LOW FREQUENCYSOUNDS )TS ALSO EASY TO INTERLEAVE MULTICHANNELS AND SAVE TREMENDOUS FILE SIZE 3IX CHANNEL SOUND NEED NOT BE SIX TIMES AS LARGE AS ONE CHANNEL &OUR CHANNEL ,#23$OLBYISACTUALLYONLYTWOANALOGCHANNELS YETTHESETWOCHANNELSCONTAINALLFOURCHANNELSDISCRETELYENCODEDINTOTHESETWOCHANNELSUSINGNOTHINGMORETHANPHASEANGLE)NTHISCASE ANYSOUNDRECORDEDONLYINTHELEFT CHANNELISINFACTALEFTCHANNELSOUND!NYSOUNDRECORDEDINPHASEINTOBOTH LEFT AND RIGHT CHANNELS IS IN FACT A CENTER CHANNEL SOUND AND WILL BE ROUTED TOTHECENTERSPEAKER!NYSOUNDINBOTHRIGHTANDLEFT WHERETHERIGHTAND LEFTSOUNDSAREEXACTLYªOUTOFPHASE ISASURROUNDCHANNELSOUND4HIS ISCALLEDMULTIPLEXINGANDITISPOSSIBLEWHENTHEREAREMULTIPLESIGNALS4HERE ARE SCORES OF SURROUND FORMATS AND COMPRESSION SCHEMES AND ALL USE COMPRESSIONANDSOMEUSEMULTIPLEXINGTOONEDEGREEORANOTHER

Digital processing $IGITALAUDIOALSOCANBEPROCESSEDWHILEINTHEDIGITALFORM)TCANBEPITCH SHIFTED TIME SHIFTED DELAYED FILTERED EXPANDED COMPRESSED AND MANY OTHER TYPES OF PROCESSING ALL MATHEMATICALLY 3OME OF THIS PROCESSING IS UNIQUETOTHEDIGITALREALM OTHERS ARE MODELS OF ANALOG PROCESSES -ANY OF THESEDIGITALMODELSARENOTTRUETOTHEANALOGPROCESS THEYCLAIMTOMODEL 9ETMANYCOMEVERYCLOSEANDMANYAREJUSTASRICHANDINTERESTINGTHANTHEIR ANALOGCOUNTERPART(OWEVER THEREISSTILLNEEDTOPERFORMMANYANALOGPROCESSESTOAUDIO)FYOUWANTASOUNDTOSOUNDLIKEITISPLAYINGINSIDEOFABIG WOODBOX WHILEITMIGHTBEPOSSIBLETOBUILDADIGITALFILTERTHATMAKESAUDIO SOUNDMOREORLESSLIKEIT WAS RECORDED IN A WOOD BOX THE BEST AND EASIEST WAYTOGETTHISEFFECTISTORERECORDTHESOUNDINSIDEOFABIGWOODBOX4HE DOWNSIDEOFTHISISTHATIFYOUWANTTOCHANGETHESIZEOFTHEBOXAFTERHEARINGTHESOUNDATTHEMIX OTHERTHANSTOPPING BUILDINGANEWBOX ANDRERECORDINGTHESOUND THESOUNDCANTBECHANGED)FTHESOUNDISPROCESSEDTO SOUNDLIKEITISINABOX ITCANBECHANGEDATWILL 0ROCESSING CAN BE REAL TIME OR RENDERED 2EAL TIME PROCESSING CAN BE ADDED TO THE DATA STREAM THE DIGITAL AUDIO STREAM SIMPLY PLAYS THROUGH THE DIGITAL DEVICEORSOFTWAREPLUG IN2ENDEREDEFFECTSAREAPPLIEDTOADIGITALAUDIOFILE THAT IS RENDERED INTO A NEW DUPLICATE AUDIO FILE 4HERE ARE ADVANTAGES AND DISADVANTAGES TO BOTH 4HE ADVANTAGES TO RENDERED EFFECTS ARE THAT THEY ARE

251

Appendix 2

Digital audio

FINISHED AND SELF CONTAINED !SSUMING THAT THE EFFECT IS GOOD THE RENDERED EFFECTEDAUDIOISUSEDLIKEANYOTHERAUDIO4HEDISADVANTAGESARETHATTHERENDEREDEFFECTCANNOTBEEASILYALTEREDANDTHATTHEREARESOMEDISADVANTAGESTO BEINGSELF CONTAINED.ORMALLY ALTERINGARENDEREDCLIPWILLREQUIREGOINGBACK TOTHEORIGINALMEDIAANDREDOINGTHEEFFECTANDRENDER!LSO THEEFFECTCANNOT BE ALTERED OVER TIME THE EFFECT IS APPLIED EQUALLY TO THE ENTIRE CLIP "ECAUSE THEMEDIAISSELF CONTAINED THEEFFECTCUTSOFFATTHEENDOFTHEMEDIA)NTHE CASEOFADELAYORREVERB THISCANBECLEARLYHEARDIFTHEMEDIACUTSOFFSHARPLY !PROCESSORATTACHEDTOACHANNELOFAUDIOHASNONEOFTHESELIMITATIONSBUT WILLBEAPPLIEDTOTHEENTIRETRACKANDWILLTHEREFOREREQUIREMANAGEMENTTO AVOIDAPPLYINGANEFFECTTOAUDIOTHATSHOULDNOTBEEFFECTED $IGITAL AUDIO HAS REVOLUTIONIZED AUDIO PRODUCTION AND POSTPRODUCTION #APABILITIES HAVE GONE UP WHILE COSTS HAVE PLUNGED DOWN #OMPLEX EDITS CANBECUTINAFRACTIONOFTHETIMEANDWITHFEWERPEOPLE7HILETHEREWAS ORIGINALLY AN ANTIDIGITAL BACKLASH FOR THE MOST PART THE VAST MAJORITY WOULD SAY THAT THE QUALITY HAS ALSO GONE RIGHT THROUGH THE ROOF 4HE SYSTEMS ARE NOW BECOMING SIMPLER MORE RELIABLE AND CROPPING UP EVERYWHERE .O DOUBTSOMEONEISEDITINGAFILMSOUNDTRACKIN0ODUNK .EW9ORK ATTHISVERY MOMENT

252


Index

Index

5.1 mixing, 208 5.1 session, 209

A Absolute grid mode, 77 ADR. See Automatic dialogue replacement Advanced audio coding (AAC), 70 AIFF. See Audio interchange file format AIR D-Fi, 105 Aliasing error, 247 ALR Sound Stage, 109–110 Altiverb, 100–101 Analog recording, 217, 232–233 DISADVANTAGESOF NOISEREDUCTIONANDEXPANDINGDYNAMICS IN n WITHPILOT Anti-aliasing, 247 Apple’s compressor, 36 Audio interchange file format (AIFF), 65, 152–153, 156, 182 Audio interface, 3–6 Audio monitors, 38 level of, 40 TUNING n Audio regions, 126 TIMESTAMPING n Audio workflow, 51 FILMSHOOTING PULL UPANDPULL DOWN n TO.43#PULL DOWN n TO0!,PULL DOWN n ONh,OVES$EVOTION&OREVERv n AudioSuite Duplicate plug-in, 82 AudioSuite processing, 144 Audiotape, 59 Auto Declick, 117 Auto Dehiss, 117 Automatic dialogue replacement (ADR), 70, 126, 130, 149, 161, 163 ANDWALLA

CUEING n EDITING n MIXING RECORDING n STUDIO Automation PREMIXINGWITH n WITHCONTROLSURFACES n Auxiliary channel, 85, 88 Auxiliary mixers, 85–86

B Background noise, 128 Background sound (BG), 130, 161, 167 PINGPONGING Black burst generator, 9, 16 Bone rattling bass effects, 212 Broadband noise reduction (BNR), 145 Broadcast wave format (BWF), 58, 68, 126, 152–153, 156, 182 Burk’s lines, 128 BWF. See Broadcast wave format

C Canopus ADVC-110, 7 Catalogs CREATING DATABASECOMMENTSIN FORh,OVES$EVOTION&OREVERv HARDEFFECTS INLIBRARYEFFECTS n CEDAR Tools, 116–117 Channel equalization, 87 Cinema Tools audio EDL, 67 Click tracks, 172–174 Clock pulses, 250 Complete production toolkit, 96 Configuration 0ERIPHERALSWINDOW n 3ESSION3ETUPWINDOW n

255

Index

Continuous scrolling with Playhead mode, 82 Control surface AUTOMATIONWITH n MIXERINTERFACEDWITH Convolution reverb, 95–97, 99–100 Cosmonaut Voice, 104–105 Create waveforms command, 154

D D-Fi, 102–104 DA88, 13, 222 DA98, 13–14 DAT IMPORTINGMUSIC PRODUCTIONAUDIO n Data storage, 25 Declip, 117 Decrackle, 117 Delay-echo-reverb, 115 Dethump, 117 Dialogue editing BYCHARACTER n $6$ ONh,OVES$EVOTION&OREVERv n SPLITTINGOFFTRACKSAND n TECHNIQUES n Dialogue mixer, 90 Diegetic sound, 150 DigiBase, 153 CREATEWAVEFORMSCOMMANDIN INDEXING DigiDelivery, 69–70, 179, 219 Digidesign D-Verb, 97 Digidesign Hybrid synthesizer, 96 Digidesign Intelligent Noise Reduction (DINR), 95–96, 117–118, 130 Digidesign MIDI I/O, 21–22 Digital audio, 61, 217, 245–252 ADVANTAGES n ERRORCORRECTIONANDCOMPRESSION n Digital filter, 247, 251 Digital plug-ins, 201 Digital processing, 251–252 Digital recorders, 13, 240 Digital recordings, 217 Digital reverbs, 97 Digital tape recording system (DTRS), 218 Digital tape recording system 8-track recorder, 13 Digital tapeless systems, 61–63 DigiTranslator, 65, 95, 125

256

DINR. See Digidesign Intelligent Noise Reduction Disc vs. layback, bouncing to, 220–221 Dolby AC3 files, 36 Dolby Digital, Neyrinck SoundCode for, 107 Dolby encoding, 222 Dolby LCRS, 106–107, 207, 209 Dolby Pro Logic 5.1 playback, 36–37 Dolby Pro Logic II, SurCode for, 107 Dolby Surround tools, 106–107 Doppler effect, 168 Drop frame (DF), 56 Drum machine, 176 DTS plug-in, Neyrinck SoundCode for, 107 Dub, 69, 149 FINAL n TEMP n Dubbing, 189 MUSIC TECHNIQUES n THEORY n DV Toolkit 2, 94–96 Dynamic voice recording, 202

E E-Channel, 113 Edit decision list (EDL) ADVANTAGE MANAGING n PICTUREEDITINGSYSTEMSMANAGING Edit selection selectors, 79–80 Edit tools, 78 Edit window, 75–77 EDL. See Edit decision list ELS Vocoder, 115 EQ45 Parametric Equalizer, 114 EQ65 Filter Set, 114 Equalizer (EQ), 130 Ethernet control, 24 Eventide Anthology II Bundle, 113–115 Eventide Reverb, 114

F Film printing, delivery for, 221–223 Film projector, 13 Film recorder, 239 Film speed, 51–52 Final Cut Pro EDL, 67 Final dub, 196–198, 207 FireWire DV recorder, 7 FireWire video device, 8

Index

Foley, 38, 161–163, 205 CLOTHMOVEMENTTRACK CUING n FOOTSTEPSTRACKS n ) GLASSESASVIDEOPLAYBACKFOR -)$) n MIXER n TRACKLAYOUT n WILDEFFECTS Foley walker, 162–164, 166 Foreign language dubs, 136 Four-channel LCRS Dolby, 251 Frame rates, 51–52 Free-run timecode generator, 57 Frequency response, 246 Futzing, 206–207 PLUG INS n FX editor, 149

G Garage Audio Studios (GAS), 42 Garage studio, 42, 44 Grabber tool, 78–79 Grid mode, 76–77 ABSOLUTE RELATIVE Guide tracks, 173–174

H H3000 Band Delay, 114 H3000 Factory, 114 Haas effect, 211–212 HD systems, 5 39.#($CONNECTIONSON n Head tones, 217 LEVELSAND n High pass filter (HPF), 146 House sync, 9, 11, 15

I I/O settings, 26–30, 208–210 ICON D Control, 200 Indexing, 154 $IGI"ASE LIBRARIES SOUNDEFFECTS n Insert CABLE MIXING ONMIXCHANNELS RECORDER n Instrument tracks, 172, 175–178 PLUG INS n vs.-)$)TRACKS n

K Keyboard focus, 79 Keyboard tools, 79–80 Kinetoscopic parlors, 235 Klipschorn, 45–46

L Layback, 220 DISCvs.,n LCD flat panels, 41 LCRS. See Left center right surround LE systems, 4–6, 10, 15, 26, 192, 208–209 Left center right surround (LCRS), Dolby, 106–107, 207, 209 Libraries, sound effects, 151–156 CATALOGSIN n INDEXING SEARCHENGINES Library music, 178 BUYOUT RIGHTSAVAILABLE Link timeline selectors, 79–80 Lo-Fi, 102 Locking picture to Pro Tools, 12–15 Longitudinal timecode (LTC), 11, 16 “Loves Devotion Forever” !$2ANDWALLAON AUDIOWORKFLOWON n CATALOGSFOR DIALOGUEEDITINGON n ENCODING DELIVERY ANDOPTICALSOUNDON MIXING n MUSICFOR n SYSTEMSUSEDON Low frequency effects, 212–213 MIXINGBASSINTO ROUTINGSOUNDTO Low pass filter (LPF), 146 Low-frequency effects (LFE), 27, 39, 106 LTC. See Longitudinal timecode

M M-Audio interface devices, 3–4 M-Audio UNO MIDI I/O, 22 M-powered system, 3, 192, 208–209 Machine control, 8–14, 16, 22 AND39.#($ n VIDEOPLAYBACKVIA n Madeline’s lines, 128 Magnetic film recorder, 13 Magnetic recording, 90, 238, 241 Magneto optical drive, 219, 222

257

Index

Manual Declick, 117 Marker system, 77 Mbox 2, 5, 21 Memory location window, 77–78 Mid-low frequency, 37 MIDI EDITOR &OLEY n INTERFACE n MUSIC MIDI machine control (MMC), 19, 22 MIDI timecode (MTC), 21, 23, 178 MIDI tracks, 175–178 vs.INSTRUMENTTRACKS n Mix channels, inserts on, 202 Mix window, 83–91 Mixing, 191, 193, 196, 206–207 !$2 ADVANTAGEOF BOARD DISADVANTAGEOF INSERT h,OVES$EVOTION&OREVERv n SURROUND n THEORY SURROUND n Monitors AUDIO n PLASMA VIDEO n Motion picture camera, 234 Movie Sync Offset, 8 MTC. See MIDI timecode Music, 205–206 ANDPOSTPRODUCTION DELIVERY $IGI$ELIVERY MULTITRACKRECORDINGS DUBBING FORh,OVES$EVOTION&OREVERv n See also Sonicfire Pro IMPORTING $!4 LIBRARIES BUYOUT RIGHTSAVAILABLE -)$) RECORDING n INTERLOCKEDPROJECTION n SCORING n n Music editor, 172–175 CLICKTRACKS n GUIDETRACKS n PLAYBACKTRACKS

258

TEMPMUSIC n TIMECODES Music production toolkit, 96

N Nagra audio, 54, 60 National Television System Committee (NTSC) PULL DOWN n TELECINEMACHINE VIDEOSPEED NetMix Pro, 153 Neyrinck SoundCode FOR$OLBY$IGITAL FOR$43PLUG IN Noise compression, 204 Noise reduction, 203–204 ANDAMBIENCEMATCHING n ANDRESTORATION n INANALOGRECORDING n Nondiegetic sound, 150 Nondrop frame (NDF), 56 Nudge command, 80

O Object grabber tool, 78 OMF. See Open media framework Open media framework (OMF), 64, 125–126 Open media framework interchange (OMFI) files, 64 Optical sound, 221–223 ONh,OVES$EVOTION&OREVERv Orange Vocoder, 115 Outboard devices, 201–202

P Pace iLok, 93–94 PAL pull-down, 55–56 PAL video speed, 51 PEC/direct monitoring system, 91, 191–192 FUNCTIONSOF Peripherals window, configuration, 16–17 Picture edit, 65, 67, 140, 174 Pilot, analog recordings with, 59 Pink noise, 40 Pitch ‘n Time, 111–112 Pitch shifting, 111, 160 Plasma monitors, 41 Playback tracks, 172 Plug-ins, types of, 93–94

Index

Portability, 69–71 Portable systems, 70–71 Postfader aux mixer, 85 Predubbing, 194 Prefader mixers, 85 Premixing with automation, 193–195 Princeton Digital, 115 Pro Tools 8 FEATURES XII -)$)##ANDAUTOMATION XIII Pro Tools AudioSuite signal generator, 41 Production audio, 203–204 $!4 n EXPORTING IMPORTING TIMECODEON TRANSFERRING Production recording, 56–57 Prosound effects, 153 Pull-up and pull-down, 21, 51–56, 63 Pulse-code modulation (PCM), 250

Q Quantization error, 247 QuickTime, video playback from, 7–8, 197, 220 QuickTime movie, 7–8, 15, 66, 196, 220

R Reason Adapted, 177 Recording !$2 n ANALOGSee!NALOGRECORDING DIGITAL MAGNETIC MUSIC n PRODUCTION n SOUNDEFFECTS n VOICE Recti-Fi, 103 Relative grid mode, 77 ReNOVAtor BYALGORITHMIX FEATURES Rereversing sound, 158 Resolver, 59, 239 Retouch, 117 Retro Klipsch mix room, 45 Reverb One, 98–99 Reverbs, 96–101. See also Convolution reverb ReWire, 177–178

S S/PDIF. See Sony/Philips Digital Interface Satellite Link, xiii Sci-Fi, 102 Score, music, 150–151, 180–182 Selector tool, 78 Separation grabber tool, 78 Sequencing software, 177 Session Setup window, configuration, 17–21 #LOCKSOURCEAND3YNC3ETUP PULL UPANDPULL DOWNSETTINGS SESSIONSTART n TIMECODESETTINGS Session template, creating, 209–210 Shuffle mode, 76 Signal Generator AudioSuite plug-in, 218 Silent films, 235 Simuldat, 59 Slip mode, 75 Smart tool, 79 Society of Motion Pictures and Television Engineers (SMPTE), 18, 40 Sonicfire Pro, 182 EXPORTFUNCTIONIN IMPORTAUDIOTOTRACKCOMMANDIN n LOOPSYSTEMS SCORE STEREOFILES TIME STAMPEDTRACKS Sony/Philips Digital Interface (S/PDIF), 4–5, 10, 61 Sound BACKGROUND DIEGETIC EQUALIZATION n LEVELS n NONDIEGETIC OPTICAL n Sound design, 68, 111–115, 150 ELEMENTS Sound editors, 67 Sound effects, 204–205. See also Foley CREATING KEYGATING PITCHSHIFTING PLUG INS SLOWINGDOWN SPEEDINGUP CUING n FEATUREDSOUND LIBRARIES n

259

Index

RECORDING n RULEIN WAVEFORMSFOR Sound films, 235, 238 Sound Ideas search engine, 152 Sound pressure level (SPL) meter, 40 Sound waves, 31–32 SoundReplacer plug-in, 159 SoundToys TDM, 112–113 Source connect, 121–122 Space Station SST-282, 115 Speaker placement, 35–36 SpeakerPhone, 102–103 Spot mode, 76 Standing waves, 31, 34–35 Stems, 68, 179, 221 BOUNCING FORSTEREOMIX MIXING Stereo Aux channel, 85 Stereo backgrounds, 157, 167–168 Studio design, 30–36 BASICACOUSTICS n SPEAKERPLACEMENT n SurCode for Dolby Pro Logic II, 107 Surround effects, 168 Surround mixes AND$6$ DELIVERYOF Surround mixing, 207–210 THEORY n Surround sound tools, 106–111 SurroundScope, 110–111 SYNC HD CLOCKSOURCEAND CONNECTIONSONSYNCHRONIZED($SYSTEMS n MACHINECONTROLAND n USING n USINGALTERNATESYNCREFERENCES

T Tape delivery, 218 Telecine machine, 52, 72 Temp dub, 175, 185, 195–196, 213 Time base corrector (TBC), 11 Time Compression Expansion (TCE) trimmer tool, 78 Time compression tools, 111 Timecode, 10, 14 DISPLAY GENERATOR n

260

,4# -4# MUSICEDITOR ONPRODUCTIONAUDIO SETTINGS 6)4# Timecode rate, 75 Timestamping, audio regions, 67–69 TL Space, 95, 99–100 Track comping feature, xiv Track layout, 160 BACKGROUNDS &OLEY n Transport controls, 192, 199 Trash by isotope, 105 Trimmer tool, 78 TrueVerb, 98

U Ultra-Channel, 115 Undulating waves, 234 USD. See SYNC HD Usra Major Space Station SST-282, 115–116

V Variable speed override (VSO), 20 Vertical interval timecode (VITC), 11, 16 Video EDITINGTO n 0ENCILTOOL n SCROLLING MONITORS n TOOLS n Video interface, 7–8 Video playback FROM1UICK4IME n VIAMACHINECONTROL n Video projectors, 41 Video workflow, 51 Videotape, 219 Virtual instruments, xiv Virtual Katy, 67, 69, 122–123 Virtual mixer, 91 Virtual video tape recorder (VTR) control panel, 14 VITC. See Vertical interval timecode VocALign project, 96 Vocoders, 115 Voice borrowing, 129–130 Voice recording, dynamic, 202

Index

W Walla, 204 !$2AND ONh,OVES$EVOTION&OREVERv Waves 360 Surround Bundle, 108–109 Waves IR-1 Parametric Convolution Reverb, 101

Waves IR-360 Parametric Convolution Reverb, 101–102 Waves M360 Surround Manager, 212 Waves Maxx Bass, 160 Waves Restoration Bundle, 120–121 Waves S360 Surround Imager, 206 Waves Z Noise, 118–119

261


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