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Adding music, foley, ADR, and FX

From: Pro Tools 8 Essential Training

Video: Adding music, foley, ADR, and FX

Adding audio to video in Pro Tools can be a lot of fun. Here I'm going to show you a project I created for this course that demonstrates adding audio in various forms to a video file in Pro Tools. This project ties in many of the recording, editing, mixing and mastering techniques that I have shown here in this course. First, I'm going to show you the video without any of the audio. So I'm just going to go ahead and press play and watch in the video screen over here. You can see that it's just a bunch of slow motion aerial shots of Las Vegas.

Adding music, foley, ADR, and FX

Adding audio to video in Pro Tools can be a lot of fun. Here I'm going to show you a project I created for this course that demonstrates adding audio in various forms to a video file in Pro Tools. This project ties in many of the recording, editing, mixing and mastering techniques that I have shown here in this course. First, I'm going to show you the video without any of the audio. So I'm just going to go ahead and press play and watch in the video screen over here. You can see that it's just a bunch of slow motion aerial shots of Las Vegas.

Let me show you the music that I have added to this as the first step. So I have got a group of music tracks right here at the top, Bass track, Horns and a Beat. I'm going to unmute those, and we can listen to how I started it. I started with this Beat. So, I'm going to just play that with it. (Music playing.) Now that's a beat that comes from Xpand. And I recorded that beat from this virtual instrument track on to this audio track and at the moment I have the virtual instrument track assigned to no output. So we can't hear the output from this track.

After adding the Drums, I wanted to add kind of a funky Horn line. So, I found this in the Pro Tools 8 Audio Loops and samples, which is a DVD that comes with Pro Tools 8. So check out the Horns here. (Music playing.) So, I just looped that Horn line and then I added in a bass track. (Music playing.) Now what's fortunate about both of those Horn and Bass lines are that they were actually recorded at 105, which is the tempo, but something interesting is that the bass is actually in the key of A originally, while the Horn line is actually in the key of B flat.

So, I took the bass line and pitch shifted it up one semi-tone using the Time Shift plug-in and that's up here. I set the Preset to Bass Polyphonic and then change this just up one semi-tone and then processed the bass loop audio file. And so that's what we see right here is the Funk Bass 01_A with the Time Shift, so now it's a B flat.

Not only that, I actually went in to the Bass track and applied Polyphonic Elastic Time and let's take a look at the Warp. I created a bunch of Warp markers and tried to align the bass notes better with the tempo grid. So, I went in with the Grabber tool here and moved notes around. I'm going to undo that. Once I had the bass loop the way that I wanted it, I recorded it to this other Bass track and then I set the Output to no output on the Bass raw track.

So we are not hearing that. As I have mentioned here in the comments, pitch shifted this up one semi-tone and adjusted it with Elastic Time to get the timing better. So, the Beat, the Horns and the Bass lines all create the music track that we are listening to here. Let's move on to the voiceover. I recorded several versions of the voiceover track, but ended up using one full take that I thought was perfect but then I chopped it up a little bit. I took out some of the spaces in between the sentences to get rid of the dead air and I also made a copy of that track called the VO dist track, which is short for distortion, where I have added on some effects.

And let's go over to the Mix window now and I'll show you what I have got on the voiceover tracks here. So, I have got an EQ where I have boosted the low end, dropped out some of the muddy 300 areas and then boosted some more around the 3K area. I have added a De-Esser just slightly. I have added a little bit of a Gate so that some breaths and some noise can be cut off. And I have also added the Maxim plug-in which will maximize the volume output for this track.

Now that's the undistorted track right there, the raw vocal, and then I have a double of that where I have added this AIR Enhancer plug-in that has a little bit of distortion on it and then some more of the Maxim and you'll see that I have mixed these together where the non- distorted one is much higher in the mix than the distorted one. And let's take a listen to that. I'll group my music tracks again and here we go.

(Voiceover: Las Vegas, Sinatra's town.) (Voiceover: A make-you town, or a break-you town.) So you can hear a slight bit of the fuzz on this VO distortion track, as well as a touch of the Delay and Reverb that I have got going on, on this Aux track. Now this Aux track is just receiving signal from the VO track, not the VO distorted track. And I can show you that, if I go to Mix Window Views > Sends A-E, you can see that Bus 1-2 on just the VO track is routed here. I'll hide that again.

Now let's listen to the each one of these tracks individually really quickly. (Voiceover: Las Vegas, Sinatra's town.) (Voiceover: A make-you town, or a break-you town.) So, I just thought it sounded kind of cool adding both of those together. They are both time aligned and they sound pretty good together. (Voiceover: Las Vegas, Sinatra's town.) Now let's check out the Sound effects. Let me go back over to the Edit window.

So as you can see in the video, there is obviously some traffic going on. So, I've got a traffic sample. It's actually a track that I recorded by myself with microphone out on the street and let's check it out. (Whoosh. Cars passing by.) So, I have added some volume automation on here at particular times that seem to fit in between the voiceover track.

Next, I've got this slot machine sound effect that I made with analog synth a long time ago. And I thought that it would work well in this piece. So let's take a listen to just that sample. (Music playing.) Now we can listen to the dice roll because it seems to fit with the voiceover and then a couple of other sound effects that I created with just my voice. (Clatter clatter.) And that dice roll, I actually took a couple of pieces of wooden blocks and roll them on a hard wooden surface and that's what you hear there.

And here is a couple of voiceover samples. (Male Speaker: Yes! Augh.) And this last one-- (Female speaker: Cha-ching!) --sounds like a girl but that's actually me, where I used the Time Shift plug-in using the Monophonic mode. I transposed the Pitch and the Formant up a number of semi-tones to get that pitch. So, why don't we listen to it altogether? (Music playing.) (Male speaker: Las Vegas, Sinatra's town.) (Male speaker: A make-you town, or a break-you town.) (Male speaker: Where one roll of the dice brings fortune and vice. Yes!) (Male speaker: Or frustration and weeping. Augh!) (Male speaker: Either way, you're not sleeping.) (Male speaker: What happens in here, stays here, and what happens here most is money. Cha-ching!) (Male speaker: Tonight we're going inside to take a closer look at casinos, the lifeforce behind the city that never sleeps.) So let's talk about a few things that are going on here, just to finish this off.

Let me go over to the Mix window real quick and you can see here that I've set up three submixes. Submix one for the dialog, submix two for the FX & Foley and submix three for the music. And it's simply just busing these different tracks to the various submixes and what this does is gives us control over the individual tracks that are submixed and we can change the volume of each individual piece.

Some people call these stem mixes and all of these stems are routed out to the main output that goes here to the Master Fader track and you'll notice that I've got another Maxim plug-in here to kind of maximize the volume. But one other thing I want to mention about the submixes is that I have got some EQ and compression on here and this one right here on the music, I've carved out this little section at 3 Kilohertz to allow the voice to pop-out a little bit more here.

And going back to the Edit window, let's just talk about a couple of more things. I have set up a Fade Out on the Master Fader, so that by the time that this video ends, we have no volume left. And as you can see out the very end of it, the way that the timing of it works out, the picture goes to black, right as I'm saying "sleeps." Check it out. (Male speaker: --the force behind the city that never sleeps.) So, now you see all the pieces that go into this. Let's have a listen to the whole thing one more time, so you can hear the different voiceover sounds, the different musical sounds and the pieces of sound effects and how they are all mixed together. Make sure to listen for these individual sound effects down here and the fade out at the end, where the screen cuts to black from the top. (Music playing.) (Male speaker: Las Vegas, Sinatra's town.) (Male speaker: A make-you town, or a break-you town.) (Male speaker: Where one roll of the dice brings fortune and vice. Yes!) (Male speaker: Or frustration and weeping. Augh!) (Male speaker: Either way, you're not sleeping.) (Male speaker: What happens in here, stays here, and what happens here most is money. Cha-ching!) (Male speaker: Tonight we're going inside to take a closer look at casinos, the lifeforce behind the city that never sleeps.) Adding audio to video in these various ways is called post-production and many of the techniques shown here are used everyday in film and TV show production using Pro Tools.

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This video is part of

Image for Pro Tools 8 Essential Training
Pro Tools 8 Essential Training

120 video lessons · 10794 viewers

David Franz
Author

 
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  1. 12m 54s
    1. Welcome
      1m 16s
    2. Exploring the different versions of Pro Tools
      2m 30s
    3. Optimizing your computer before installing Pro Tools
      3m 51s
    4. Troubleshooting
      3m 1s
    5. Using the exercise files
      2m 16s
  2. 23m 41s
    1. Connecting your Pro Tools system
      5m 8s
    2. Powering up and powering down
      58s
    3. Optimizing Pro Tools performance
      6m 55s
    4. Setting essential preferences
      3m 42s
    5. Creating a Pro Tools session
      3m 56s
    6. Identifying elements in a session folder
      3m 2s
  3. 47m 9s
    1. Exploring the Edit window
      4m 50s
    2. Exploring the Mix window
      2m 21s
    3. Exploring the Transport and Big Counter windows
      4m 0s
    4. Using the Color palette and window arrangements
      2m 55s
    5. Investigating Pro Tools menus
      4m 37s
    6. Creating new tracks
      4m 10s
    7. Understanding samples and ticks
      3m 36s
    8. Viewing and manipulating tracks
      5m 54s
    9. Adjusting the I/O setup
      7m 7s
    10. Understanding signal paths and gain stages
      3m 50s
    11. Utilizing keyboard shortcuts and keyboard focus
      3m 49s
  4. 30m 43s
    1. Using DigiBase and the Workspace browser
      5m 6s
    2. Importing audio
      5m 13s
    3. Importing MIDI
      3m 55s
    4. Importing session data
      6m 17s
    5. Importing tracks from a CD
      4m 18s
    6. Importing video
      2m 57s
    7. Unmounting a hard drive
      2m 57s
  5. 1h 2m
    1. Recording audio
      5m 6s
    2. Playing back audio
      10m 31s
    3. Creating a Click track
      4m 53s
    4. Overdubbing and using the record modes
      9m 25s
    5. Recording with playlists and the Loop Record mode
      3m 6s
    6. Punch recording and using the monitoring modes
      5m 28s
    7. Dealing with latency
      4m 17s
    8. Creating a group
      4m 33s
    9. Adding effects while recording
      7m 41s
    10. Creating a headphone (cue) mix
      5m 34s
    11. Assigning disk allocation
      2m 13s
  6. 1h 26m
    1. Understanding nondestructive editing and region types
      3m 31s
    2. Using the Selector and Grabber tools
      3m 29s
    3. Using the Trimmer and Scrubber tools
      6m 57s
    4. Using the Zoomer tool and Zoom presets
      5m 14s
    5. Using the Pencil tool
      3m 27s
    6. Using the Smart tool
      1m 26s
    7. Understanding the edit modes
      7m 54s
    8. Arranging regions
      8m 38s
    9. Undoing an edit
      2m 3s
    10. Utilizing fades and crossfades
      10m 29s
    11. Building a comp track using playlists
      5m 28s
    12. Locking and muting regions
      3m 36s
    13. Special buttons in the Editing window
      8m 16s
    14. Creating an audio loop
      5m 11s
    15. Editing a voiceover
      10m 59s
  7. 18m 43s
    1. Working with region groups
      5m 47s
    2. Setting time, tempo, meter, key, and chord
      5m 46s
    3. Creating memory locations
      7m 10s
  8. 35m 30s
    1. Setting up MIDI on a Mac
      4m 25s
    2. Setting up MIDI on a PC
      2m 50s
    3. Setting up MIDI in Pro Tools
      2m 46s
    4. Recording MIDI data
      5m 24s
    5. Recording multiple MIDI tracks with one virtual instrument
      2m 15s
    6. Recording options for MIDI
      6m 27s
    7. Using step input
      4m 45s
    8. Making a drum loop with MIDI Merge
      2m 51s
    9. Composing with virtual instruments
      3m 47s
  9. 48m 41s
    1. Using the edit tools for editing MIDI data
      8m 23s
    2. Editing MIDI data with the MIDI Editor
      7m 20s
    3. Working with the MIDI event list
      2m 41s
    4. Editing MIDI data with event operations
      8m 25s
    5. Quantizing MIDI tracks
      11m 31s
    6. Creating and using groove templates
      5m 59s
    7. Utilizing real-time properties
      4m 22s
  10. 18m 51s
    1. Exploring the Score Editor
      5m 22s
    2. Using the Score Editor
      6m 33s
    3. Setting up a score
      4m 30s
    4. Printing and exporting a score
      2m 26s
  11. 19m 0s
    1. Utilizing the Time Shift plug-in
      7m 41s
    2. Editing with Elastic Time
      8m 30s
    3. Editing with Elastic Pitch
      2m 49s
  12. 48m 20s
    1. Working with Boom
      11m 23s
    2. Working with Xpand2
      7m 21s
    3. Working with DB-33
      6m 58s
    4. Working with Vacuum
      7m 55s
    5. Working with Structure Free
      7m 12s
    6. Working with Mini Grand
      3m 57s
    7. Using Midi Learn
      3m 34s
  13. 25m 55s
    1. Writing and editing automation
      6m 4s
    2. Drawing automation with the Pencil tool
      4m 56s
    3. Editing automation with the Trimmer and Grabber tools
      2m 9s
    4. Cutting, copying, pasting, and clearing automation
      4m 5s
    5. Turning automation on and off
      4m 25s
    6. Automating plug-ins and virtual instruments
      4m 16s
  14. 1h 40m
    1. Setting up a session for mixing
      8m 0s
    2. Setting up an effects loop
      9m 18s
    3. Working with plug-ins
      3m 53s
    4. Dealing with delay compensation
      6m 51s
    5. Applying EQ
      9m 19s
    6. Adding compression
      11m 17s
    7. Applying limiters
      2m 57s
    8. Using Gates and Expanders
      4m 40s
    9. Working with Side Chains
      3m 35s
    10. Working with De-Essers
      3m 4s
    11. Adding delay
      7m 34s
    12. Utilizing modulation effects
      4m 43s
    13. Adding reverb
      7m 5s
    14. Adding harmonic effects
      5m 7s
    15. Renting and purchasing plug-ins
      2m 2s
    16. Applying AudioSuite plug-ins
      5m 19s
    17. Bouncing down a mix
      5m 50s
  15. 25m 44s
    1. Setting up a session for mastering
      8m 56s
    2. Using plug-ins for mastering
      8m 47s
    3. Applying Dither and Noise shaping
      4m 5s
    4. Bouncing down master recordings
      3m 56s
  16. 19m 52s
    1. Importing and displaying video files
      4m 20s
    2. Adding music, foley, ADR, and FX
      12m 28s
    3. Bouncing down video and audio together
      3m 4s
  17. 4m 50s
    1. Archiving an entire session
      4m 50s
  18. 31s
    1. Goodbye
      31s

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