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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.
The final mix or re-recording session is the first time all your post-production elements will be heard together at the same time. A game-changing new feature of Pro Tools 10 called Clip-Based Gain can help facilitate this type of workflow. Ideally, the Re-recording Mixer will start with all track volumes at unity gain or zero on the mix fader. That way he or she has enough headroom to pull any sound up or down and is starting the final mix in a level playing field. In practice though, this is difficult, because each of the stems may need their own internal volumes from track to track to sound right together during editing.
This is where Clip Gain comes in. In Pro Tools 10, Clip-Based Gain allows you to have an independent volume tied to each clip, which is what regions are now called in Pro Tools 10. These Clip Gains come before the clip signal is routed to any plug-ins on the track, and before it hits the track fader. They're independent clip volume controls associated and contained only within the clip, not the track the clip is on. To view Clip Gain, go to the View menu and choose Clip > Clip Gain Line.
Also, View > Clip > Clip Gain Info. Now we see some volume information associated inside the clip. To adjust Clip Gain up and down, I can choose the Trimmer tool and click right on the volume line, up or down. If I go up, I'm increasing the volume, and you can see the waveform reacts to show that the volume is increasing. Or I can decrease Clip Gain. You can do the same thing by clicking on the fader in the lower left of the clip. I move the volume up or down. What I'm doing here is called Static Clip Gain, since the gain applies to the whole clip, but with the Grabber Tool, you can make more individual Clip Gain by using break points.
Pull the Clip Gain up or down within the clip itself. You can also use the Pencil tool to draw in Clip Gain, just like you would draw in volume automation on a mix track. Remember, these changes are tied to the clip wherever it moves and they'll come along with clips as their imported from OMF and AAF sequences, and they can be exported to AAF sequences but not OMF sequences. You can edit Clip Gain by selecting a portion of the clip and then going to the Edit menu and choosing Copy Special > Copy Clip Gain, and then you can make another selection elsewhere and go to the Edit menu and choose Paste Clip Gain.
By allowing clips to have their independent volumes, editors can now have the freedom to control the volumes of there individual elements without affecting the overall track volume, which is kept untouched for the re-recording mix session. It's a very powerful technique enabled by Pro Tools 10 for post-production.
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