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Audio for Film and Video with Pro Tools
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Importing and the DigiBase browser


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Audio for Film and Video with Pro Tools

with Scott Hirsch

Video: Importing and the DigiBase browser

In this movie, I'd like to go over an import scenario where you aren't working with an OMF file, but rather importing directly from a production audio field recorder. These days most location sound recordists use hard disk recorders which are able to attach metadata, or specific additional information, to each audio file as broadcast wave files. Information such as timecode stamps, scene and take number, even circled takes can be edited and stored along with the broadcast wave audio files as metadata. Pro Tools has the ability to fully identify and display this info in a special window browser called DigiBase browser.
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  1. 6m 13s
    1. Welcome
      1m 3s
    2. Using the exercise files
      40s
    3. Using this course with Pro Tools 10
      1m 57s
    4. Relinking audio files
      2m 33s
  2. 18m 37s
    1. Understanding the new audio for video features in Pro Tools 9
      5m 17s
    2. Exploring the hardware requirements for Pro Tools 9
      5m 19s
    3. Understanding the audio components of a finished video
      5m 22s
    4. Understanding the audio production workflow
      2m 39s
  3. 25m 10s
    1. Understanding video formats, SMPTE timecode rates, NTSC, and PAL
      6m 21s
    2. Understanding video formats, codecs, and pull-up/pull-down
      5m 16s
    3. Setting up your Pro Tools session for video
      8m 44s
    4. Exporting OMF and AAF files
      4m 49s
  4. 32m 14s
    1. Importing OMF and AAF files
      8m 8s
    2. Importing and the DigiBase browser
      4m 0s
    3. Conforming the OMF import to your template
      6m 51s
    4. Setting up groups and windows
      6m 2s
    5. Spotting film and using markers
      7m 13s
  5. 52m 55s
    1. Organizing the dialog tracks
      5m 0s
    2. Optimizing the dialog in the first pass
      4m 30s
    3. Using room tone
      4m 10s
    4. Creating fades to smooth out audio edits
      5m 4s
    5. Understanding sound effects, ambiences, and backgrounds
      7m 12s
    6. Sweetening and hard effects
      6m 52s
    7. Processing tips for sound effects
      8m 46s
    8. Bringing emotion to the mix with music tracks
      5m 33s
    9. Leveraging clip-based gain in Pro Tools 10
      2m 51s
    10. Exploring AudioSuite enhancements in Pro Tools 10
      2m 57s
  6. 15m 29s
    1. Preparing the session for foley and ADR recording
      9m 19s
    2. Recording ADR and editing with VocALign LE
      6m 10s
  7. 45m 5s
    1. Noise-reducing hums, rumbles, and buzzes
      8m 11s
    2. Eliminating crackles and digital clicks
      5m 30s
    3. Taming plosives and sibilance
      6m 10s
    4. Reducing broadband noise
      9m 26s
    5. Conforming to video changes
      8m 36s
    6. Pitch shifting for effect or utility, TC expansion
      7m 12s
  8. 56m 19s
    1. Setting up for stereo mixing
      5m 11s
    2. Calibrating levels using an SPL meter
      7m 2s
    3. Mixing with automation
      11m 4s
    4. Advanced mix automation
      8m 0s
    5. Automating plug-in parameters
      9m 22s
    6. Mixing with reverb
      7m 20s
    7. Ducking techniques
      8m 20s
  9. 42m 4s
    1. Setting up a surround mix template
      11m 14s
    2. Calibrating for 5.1 surround mixing and bass management
      9m 2s
    3. Mixing and spatial techniques for 5.1 surround
      14m 9s
    4. Downmixing, encoding, and using Neyrinck plug-ins
      3m 38s
    5. Automating techniques for 5.1 surround mixes
      4m 1s
  10. 10m 6s
    1. Print mastering and stem mixes
      5m 47s
    2. Mastering delivery levels and dynamics
      4m 19s
  11. 5m 29s
    1. Backing up your final project
      5m 29s
  12. 18s
    1. Goodbye
      18s

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Audio for Film and Video with Pro Tools
5h 9m Intermediate Jun 14, 2011 Updated Apr 04, 2012

Viewers: in countries Watching now:

In this course, professional audio engineer Scott Hirsch shows how to create an evocative sound mix for a film or video, built from basic audio collected during the shoot and transformed into a final mix using Pro Tools 9. This course shows how to set up and optimize a Pro Tools session template for projects with unique requirements, record Foley and ADR audio, layer sound effects, perform corrections such as noise reduction and pitch shifting, mix for stereo and 5.1 surround sound, and finally, how to format and deliver the finalized mix, whether destined for DVD, movie theater, broadcast, or the web.

Topics include:
  • Understanding video formats, codecs, and timecode rates
  • Importing OMFs and AAFs into Pro Tools
  • Spotting film and using markers
  • Using room tone
  • Creating fades to smooth out audio edits
  • Sweetening and hard effects
  • Recording ADR and editing with VocALign LE
  • Editing out plosives, crackles, and hums
  • Mixing with automation and reverb
  • Calibrating for 5.1 surround mixing and bass management
  • Mastering delivery levels and dynamics
  • Understanding the Audio Suite enhancements in Pro Tools 10
Subjects:
Audio + Music Video Audio for Video Post Production
Software:
Pro Tools
Author:
Scott Hirsch

Importing and the DigiBase browser

In this movie, I'd like to go over an import scenario where you aren't working with an OMF file, but rather importing directly from a production audio field recorder. These days most location sound recordists use hard disk recorders which are able to attach metadata, or specific additional information, to each audio file as broadcast wave files. Information such as timecode stamps, scene and take number, even circled takes can be edited and stored along with the broadcast wave audio files as metadata. Pro Tools has the ability to fully identify and display this info in a special window browser called DigiBase browser.

Let's open the DigiBase browser. Go to Window > Workspace, or Option+Semicolon, to open up the DigiBase browser. Here I am going to navigate to a folder that was copied to my hard drive straight from a Sound Devices Field Recorder, which is a very popular field recorder that a lot of location sound recordists use. I am going to my Mac hard drive, under Users > scotthirsch > Desktop > Exercise Files, and we are in 03_02, and here I have a folder called 10B.

This is that folder that was copied from the Sound Devices Recorder. If I open this up, you can see there is two files in there. We are going to customize the view of the DigiBase browser so we can see some of the metadata. If I go to the right window pane over here and I right-click at the top, I can customize the types of metadata that I am going to see. So if I scroll all the way to the bottom, I will start with NONE and I will build out from there. So I am going to choose to see Scene, Take, Frame rate, Project, and Waveform.

You can see it goes off the screen, but I can pull the window pane over a little bit, and now I can see the metadata in there. I can see the waveform of the original file. I can see the clip name, 10BT01. I can see that it's scene 10B. I can see that it's take 1 and take 2, and I can see that the project name is GRAVITY, which is the name of the film that we are working on. I can even use the DigiBase browser to audition the files before importing them into Pro Tools. I am going to click on the Play button and the waveform display. (Male speaker 1: Chloe?) (Chloe: Yeah?) (Male speaker 1: Roll sound. Call it.) (Male speaker 2: Ten Baker, take one.) You can even skip around the file as it's playing.

(Male speaker: Chloe?) (clunking sounds) If you click right in the 0 digit display, you can pull the fader up and down as it's playing back. (Male speaker 1: Chloe?) (Chloe: Yeah?) (Male speaker 1: Roll sound. Call it.) Now to import these files into Pro Tools, it's simple. You can drag and drop them, either into the timeline or into the Regions list on the right. I will minimize this window a little bit. I am going to Shift+Click both of these files, and drag them both into the Regions list, and they come into my session.

If I open the Regions list a little bit, you can seen here that the metadata also came across. You can see in parentheses I have S:10B. That's Scene 10B, T1, Take 1. You can see this information as long as in the Regions pulldown menu you say Show > Channel Name, and Scene and Take. Now one more thing, back in the DigiBase browser--Option+Semicolon-- we can customize this view and store it for later. So if I wanted to come back to seeing this specific metadata, I can use these five screen presets at the top.

All you need to do is Command+Click on say number 2 and it will store this view for later. So if I was looking at some different information, such as Preset 5, I wanted to come back to see the view I just created, I can click on 2, and it brings our customized view right back. Audio with metadata can be very useful if you need to search through original sound reels to find specific audio as you work. When you use the DigiBase browser to manage these audio files, you will never be more thankful for metadata. It can really save you time.

Find answers to the most frequently asked questions about Audio for Film and Video with Pro Tools.


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Q: This course was updated on 4/04/12. Can you tell me what changed?
A: This update was initiated when Avid released Pro Tools 10. It explains that this course can be taken with either Pro Tools 9 or 10 (the exercise files are compatible with both), and we also added movies that explore the enhanced clip-based gain and Audio Suite features in Pro Tools 10, both of which are useful when building a soundtrack.
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