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Leveraging clip-based gain in Pro Tools 10

From: Audio for Film and Video with Pro Tools

Video: Leveraging clip-based gain in Pro Tools 10

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.

Leveraging clip-based gain in Pro Tools 10

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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Audio for Film and Video with Pro Tools

51 video lessons · 9565 viewers

Scott Hirsch
Author

 
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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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