1. Pro Tools 11 New FeaturesChecking the compatibility of your system| 00:00 |
As with any software update, you've got to
check your compatibility with all parts of
| | 00:04 |
your system.
First, check the compatibility of your
| | 00:07 |
computer and its operating system.
On a Mac system, you'll need an Avid
| | 00:12 |
qualified computer and Mountain Lion
10.8.3.
| | 00:16 |
Now technically I'm running 10.8.4 for
these videos, and while it's not
| | 00:20 |
officially approved, it is working.
You'll also need four gigs of ram.
| | 00:26 |
If you have further questions, consult
this URL shown here.
| | 00:32 |
On a Windows system, you'll need an
avid-qualified computer, one of the
| | 00:36 |
compatible versions of Windows, and 4 gigs
of ram.
| | 00:41 |
If you have further questions, consult
this URL shown here, being 64-bit, Pro
| | 00:45 |
Tools 11 is incompatible with some older
Pro Tools related hardware and software.
| | 00:52 |
Here's a table showing a few of the
hardware options that are incompatible
| | 00:56 |
with Pro Tools 11.
While the newer HDX and HD Native cards
| | 01:00 |
can work with both 32-bit and 64-bit
versions of Pro Tools, Pro Tools HD Accel
| | 01:05 |
cards are technically incompatible with
64-bit systems.
| | 01:11 |
That's one main reason that avid includes
Pro Tools 10.3.6 or higher with the
| | 01:15 |
installation of Pro Tools 11, so HD users
can continue using their gear and software.
| | 01:23 |
You can install Pro Tools 10.3.6 or
higher, on the same computer along with
| | 01:27 |
Pro Tools 11.
I have both installed here and you can see
| | 01:32 |
them in my dock.
Here's Pro Tools 11, here's Pro Tools 10.
| | 01:38 |
Now you should note that, both can't run
at the same time and they both have the
| | 01:42 |
exact same icon, so make sure you know
which one is which.
| | 01:48 |
On this page, you can see all of the
supported, non-tested, and unsupported
| | 01:52 |
interfaces and peripherals, and here's
that same list for the Pro Tools HD
| | 01:56 |
supported audio interfaces and
peripherals.
| | 02:03 |
On this page, you can download the latest
drivers for any Avid gear that you have.
| | 02:09 |
Another reason that the Pro Tools 11
installation comes with Pro Tools 10 as
| | 02:13 |
well is that, RTAS plugins and TDM plugins
are 32 bit and not compatible with the 64
| | 02:17 |
bit architecture.
So, any RTAS or TDM plugins that haven't
| | 02:23 |
been ported to 64 bit in the new AAX
format, will not open up in Pro Tools 11.
| | 02:30 |
The newer plugin format, AAX, was also 32
bit, but those are being supported, and
| | 02:35 |
compiled for 64 bit and Pro Tools 11.
So you should go to this page, the audio
| | 02:42 |
plugin finder on Avid's site, to see if
your plugins are supported.
| | 02:46 |
There's a compatibility with iLoks as
well.
| | 02:51 |
ILoks hold the authorization for Pro
Tools, and the iLok must be plugged into
| | 02:54 |
your computer, in order for Pro Tools to
work.
| | 02:58 |
The original iLok,, iLok 1, is not
compatible with Pro Tools 11, only iLok 2
| | 03:03 |
is compatible.
There are other updates in the iLok world
| | 03:07 |
as well.
iLok.com is no longer where you go to
| | 03:10 |
manage and update your licenses, you have
to download the iLok manager from this page.
| | 03:17 |
It's a separate app that you need to run,
this is the new place to manage your licenses.
| | 03:23 |
If you're having trouble installing Pro
Tools, be sure you've downloaded this app
| | 03:27 |
and use it with your iLok to obtain your
license.
| | 03:31 |
The manager looks like this.
So there's a lot to be aware of when
| | 03:35 |
updating to Pro Tools 11, you'll need to
make sure your iLok, plugins, computer,
| | 03:39 |
operating system, and hardware are all
compatible, before you start working with
| | 03:43 |
Pro Tools 11.
Start here, on this website if you have
| | 03:49 |
any questions.
| | 03:50 |
| | Collapse this transcript |
| Utilizing the new audio engine features| 00:00 |
The most important advancement that Avid
made in Pro Tools 11 is with it's new Avid
| | 00:05 |
Audio Engine, or AAE.
Here's where we find the settings.
| | 00:09 |
Go to Set Up > Play Back Engine.
Note that I'm using a Mac laptop with no
| | 00:14 |
interface connected.
Your playback engine window may look a
| | 00:17 |
little different than this.
The audio engine has been optimized to
| | 00:21 |
maximize the usage of your computer's
processing power, meaning that you'll get
| | 00:25 |
more power for virtual instruments, sample
libraries, plug in effects, automation and
| | 00:28 |
audio clips.
AAE has a 64-bit architecture now up from
| | 00:33 |
32-bit in previous versions, and in those
32 bit versions, you were limited to using
| | 00:38 |
just 4 gigabytes of RAM.
Now, ProTools 11 can utilize as much RAM
| | 00:44 |
as is available on your computer.
And you can check the RAM usage in the
| | 00:49 |
memory meter in the System Usage window.
I'll go there now.
| | 00:53 |
Window > System Usage, and right down here
where it says Memory is where you can
| | 00:58 |
check your RAM.
Here, you'll also see usage for each
| | 01:03 |
individual processor within your computer.
I have two cords on this machine, and
| | 01:07 |
thus, one and two are shown.
These meters show the CPU usage for native
| | 01:12 |
plug ins, mixer processing, clip gain
processing, and elastic audio processing.
| | 01:17 |
I'm going to close this up.
There are three things that are
| | 01:22 |
interesting upgrades to the playback
engine that will have serious, positive
| | 01:25 |
effects on how Pro Tools performs while
recording and mixing.
| | 01:29 |
Now, there's not much to show visually on
them, as they're happening behind the scenes.
| | 01:34 |
In earlier versions of protools you might
have experienced latency when monitoring
| | 01:37 |
virtual instruments in record enable
tracks.
| | 01:40 |
That really shouldn't be an issue anymore.
Protools 11 has a new ultra low latency
| | 01:44 |
buffer that's automatically engaged.
Now you'll notice down here at the bottom
| | 01:50 |
of the Options menu, we have low latency
monitoring, but you may not need that anymore.
| | 01:54 |
Second, when you turn Delay Compensation
on, as I'll do here, ProTools 11 applies
| | 01:59 |
the maximum amount of automatic delay
compensation.
| | 02:04 |
In previous versions of ProTools, you
needed to go to the Playback Engine
| | 02:07 |
window, and choose it here.
But as you'll see, that option isn't in
| | 02:12 |
this window anymore.
The third upgrade is this, and it's a big
| | 02:16 |
one, Dynamic Plugin Processing.
This feature allocates processing power
| | 02:20 |
for host based plugins, only when the
plugins are actually processing audio.
| | 02:26 |
For instance, if you have an area on a
track where there's no audio, and there's
| | 02:30 |
actually a plug in on the track, Pro Tools
is smart enough now to not use processing
| | 02:34 |
power while there's no audio playing
through it.
| | 02:40 |
And here are a couple of other
improvements related to the audio engine.
| | 02:44 |
You can now automate while you're
recording.
| | 02:47 |
If I go to Setup > Preferences, and go to
the Operations page, there's a new option
| | 02:53 |
here, Enable Automation in Record.
I've checked that off, and now I can down
| | 03:00 |
to this track here, record enable it.
And you'll see there is signal coming in,
| | 03:06 |
and I can change the automation mode to
right.
| | 03:10 |
So as I playback and record here you'll
see me adjust the volume and record
| | 03:14 |
animation in real time.
(MUSIC).
| | 03:29 |
Now this will be a great feature in music
studio and it's probably even more helpful
| | 03:33 |
for broadcasting live venue applications.
And finally, there are now up to 64 levels
| | 03:39 |
of undo.
If I go back to the Preferences, and look
| | 03:43 |
in the Editing tab, you'll see down here
levels of undo, 64.
| | 03:48 |
This is up from 32 in previous versions of
pro tools.
| | 03:52 |
So as you can see there are some serious
upgrades in the audio engine in Pro Tools 11.
| | 03:58 |
| | Collapse this transcript |
| Offline bouncing options| 00:00 |
The best new feature of Pro Tools 11, in
my opinion, is the offline bouncing capability.
| | 00:05 |
Yes, faster-than-realtime bouncing is
finally here in Pro Tools.
| | 00:09 |
I'm going to choose what I want to bounce.
So I'm going to just click and drag for
| | 00:14 |
that amount of time.
And then, go to File > Bounce to > Disc.
| | 00:19 |
Now, there are a lot of new features in
this window.
| | 00:21 |
The first one to point out is this little
checkbox down here and this is for offline bouncing.
| | 00:28 |
Just check that and your bounces will be
offline.
| | 00:31 |
So now I'll go up here and choose the
settings I want.
| | 00:35 |
I actually do want to wave and interleave
and a 16 bit file.
| | 00:38 |
And if I choose Bounce, look at that.
Non-real time bounce.
| | 00:43 |
And it looked like it was actually
bouncing at about 8 times the speed of
| | 00:47 |
normal time.
You should also know that these offline
| | 00:51 |
bounces are phase-accurate with real time
bounces.
| | 00:55 |
So you can be assured of the accuracy of
these bounces.
| | 00:59 |
Now let's explore the Bounce window some
more.
| | 01:01 |
Go back up to File > Bounce to > Disk.
There are several other great features
| | 01:07 |
here, such as, the Add MP3 button.
If you check that, you'll create both a
| | 01:12 |
WAV, in this case, and an MP3.
And these happened both at the same time.
| | 01:18 |
Now, if you want to bounce an MP3 to
iTunes or SoundCloud or Gobbler, then, you
| | 01:23 |
need to choose MP3 here, and uncheck the
Add MP3 button.
| | 01:29 |
We can share to Gobbler, add to iTunes
Library.
| | 01:34 |
And yes, this is a new feature, too, Share
With Gobbler.
| | 01:37 |
Now Gobbler is, as they say, the easiest
way to backup, transfer, and organize
| | 01:41 |
creative projects.
Now, this is an online service from Amazon.
| | 01:46 |
And if you're interested, check out
Gobbler.com for more information.
| | 01:49 |
In the HD version of Pro Tools 11, you can
bounce multiple mixes at once.
| | 01:56 |
Just click the plus button over here to
add more outputs or bus paths.
| | 02:01 |
Here, there'll be two bounces.
One to Analog 1-2, and to Bus 1-2.
| | 02:07 |
This is great for bouncing out multiple
stem mixes at once.
| | 02:11 |
Now, what's included in a bounce?
Well, not everything that you might think.
| | 02:16 |
Hardware inserts, for example, such as the
output from an external reverb unit will
| | 02:20 |
not be included in an offline bounce.
External MIDI driven audio, such as, your
| | 02:26 |
outboard MIDI synths, will not be included
in an offline bounce.
| | 02:30 |
So you should bounce their audio into the
session first.
| | 02:35 |
External audio sources monitored by Aux
Input tracks.
| | 02:39 |
You should also record those into the
session before you bounce.
| | 02:42 |
DSP-only plug-ins, you'll have to use
native plug-ins instead.
| | 02:47 |
And any audio source that is synchronized
externally, say from a tape machine.
| | 02:53 |
Record that audio into Pro Tools first,
then you can do an offline balance.
| | 02:59 |
The speed of an offline balance will vary
depending on the speed of your CPU and its usage.
| | 03:04 |
Your hard drive speed and its usage, some
processing intensive third party plug-ins,
| | 03:09 |
and an unbalanced core processor usage.
It can be very fast, depending on your setup.
| | 03:16 |
In our example I did earlier in the movie,
it was eight times regular speed.
| | 03:21 |
That said, it's possible in huge sessions
with loads of DSP based plug-ins and
| | 03:25 |
automation that an offline bounce may be
even slower than a real time bounce.
| | 03:31 |
I think that would be pretty rare though.
Another great feature about Pro Tools 11
| | 03:36 |
is that you can quickly bounce down stem
mixes.
| | 03:40 |
I'm going to right-click on the send and I
can quickly bounce everything that's
| | 03:44 |
routed to Reverb1.
And that's plus 1 and 2 here in this session.
| | 03:49 |
Such as bounce, and you'll see that that
speed actually was about 13 times regular speed.
| | 03:56 |
Once you bounce a mix, where does the file
go?
| | 03:59 |
Well, Pro Tools has a separate Bounces
folder within the session folder.
| | 04:04 |
You can, of course, change this location.
I'm going to go ahead and hide Pro Tools.
| | 04:09 |
And here you see the Bounces folder where
I've got a number of bounces that go
| | 04:12 |
directly into this folder.
Now, I want to make one comment about
| | 04:18 |
using the offline bouncing feature.
I often use a real time bounce as a
| | 04:22 |
quality control check, making sure the mix
is correct and stopping the bounce
| | 04:26 |
midstream if something needs to be fixed.
Just because offline bouncing exists, you
| | 04:32 |
may not want to use it all the time.
Hence, the checkbox down here in the corner.
| | 04:37 |
That said, once you're sure your mix is
correct and sounds great, offline bouncing
| | 04:42 |
is awesome, and will certainly be a huge
time saver for you.
| | 04:46 |
| | Collapse this transcript |
| Navigating the new workspace| 00:00 |
In previous versions of Pro Tools there
was Digi Base which utilized several
| | 00:04 |
windows to manage and access files for a
project.
| | 00:07 |
That's all been consolidated into the New
Workspace window.
| | 00:11 |
If I go to Window > New Workspace.
You'll see the New Workspace window.
| | 00:17 |
Here on the left is the Locations pane.
That shows all the drives and volumes that
| | 00:21 |
are connected to your system.
And over here is the Workspace pane, and
| | 00:27 |
you can dive deeper, into each folder
here.
| | 00:31 |
You can also use these new search tools.
We have a Search Field, we have a Simple
| | 00:36 |
Search, and an Advanced Search, as well as
this new Browser menu.
| | 00:41 |
So if I type in oceans, into the search
field here, it brings up everything that's
| | 00:47 |
ocean related in my user folder.
If I limit that search down to just this
| | 00:54 |
session, you'll see I've pulled up the
session file.
| | 00:58 |
And if I right-click on that I can access
the Browser menu.
| | 01:03 |
Now this is just a simple search.
If I want a more advanced search, I can
| | 01:07 |
click the Advanced Search button and then
constrain my search in different ways.
| | 01:13 |
For example, I can choose only files that
have a certain bit depth, or a certain
| | 01:17 |
tempo, or a certain size.
And right now, my search is going on for
| | 01:22 |
all of the locations possible here.
If I uncheck this button, I can choose to
| | 01:28 |
only search in particular volumes or
folders.
| | 01:32 |
Pro Tools 11 automatically indexes all
volumes connected to the system and
| | 01:38 |
creates one unified database file.
If you need to access the database file,
| | 01:45 |
it's stored here on Macs, and here in
Windows systems.
| | 01:50 |
The new workspace is definitely a step up
from the previous DigiBase system.
| | 01:54 |
I'm sure it'll help you as you dig in to
using Pro Tools 11.
| | 01:58 |
| | Collapse this transcript |
| Exploring metering enhancements| 00:00 |
The most obvious visual update in Pro
Tools 11 is the new metering.
| | 00:05 |
They're 30% taller than previous versions
of Pro Tools, and they show more detail.
| | 00:09 |
Let's take a look.
(MUSIC).
| | 00:19 |
There's also some serious functionality
that's been built in for the pros in
| | 00:23 |
broadcasting post production and mixing
and mastering facilities.
| | 00:28 |
Some of these options are Pro Tools HD
features only, but in Pro Tools here, we
| | 00:31 |
can choose a few different options in the
new metering preferences tab.
| | 00:37 |
So I'll go to set up, preferences,
metering Now we're here we can choose the
| | 00:41 |
meter type between these different four.
And if we want to change the decay time,
| | 00:48 |
the reference levels, where the colors
break, we can.
| | 00:52 |
I would recommend just keeping this the
same and keeping it on your default.
| | 00:57 |
The new default sample peak has a slower
decay time in the metering as its decay
| | 01:02 |
time is calculated in DB per second.
Yet, it's quick to show dynamic changes.
| | 01:07 |
It has a 0 sample integration time, so at
every moment it's displaying the dynamic
| | 01:11 |
activity of the signal.
In Pro Tools hd, sample peak is also the default.
| | 01:18 |
but you can choose from 16 other metering
standards, including linear, rms, vu and a
| | 01:23 |
variety of ppm k and venue metering
choices.
| | 01:28 |
These address the multitude of standards
in the audio world.
| | 01:32 |
On the left side of this window, you can
set the track and master meters to
| | 01:35 |
different types or link them if you like.
I'm going to close this.
| | 01:41 |
And if I right click on this meter, I can
actually change the meter type if I like.
| | 01:48 |
Another awesome feature is the gain
reduction meter, however, it too is also
| | 01:53 |
an HD-only feature.
If you have a dynamics plugin on one
| | 01:56 |
track, for example a compressor or
limiter, the gain reduction meter shows
| | 01:59 |
how much gain reduction is occurring on
the track, without you even needing to
| | 02:03 |
view the plugin.
If you have multiple dynamics processors
| | 02:08 |
on a track, you can choose to view only
the gain reduction from the compressor
| | 02:12 |
limiters or from the expander gates, or
all dynamics processing some together.
| | 02:19 |
There's a new view option in the mix
window view selector, and that's meters
| | 02:23 |
and faders.
So if I go down here and click on this
| | 02:26 |
button I can choose to hide the faders and
meters if I like but usually I want to see them.
| | 02:33 |
Another small but very useful feature is
the headroom indicator.
| | 02:37 |
You can see this numeric display under the
meter of the track.
| | 02:40 |
Right now because I haven't been playing
anything it's not there but once I play
| | 02:43 |
you'll see the number.
(MUSIC).
| | 02:57 |
The headroom value is measured by the last
registered sampled peak level in relation
| | 03:01 |
to the reference level of the currently
selected meter type.
| | 03:05 |
For the default setting, sample peak, that
reference level is zero db.
| | 03:09 |
The point of digital clipping.
So when I play back my session, the
| | 03:12 |
numbers in the headroom indicator
demonstrate how close the output level
| | 03:16 |
comes to zero db.
Let's take a look at this again.
| | 03:19 |
(MUSIC).
So on the master fader we can see that the
| | 03:26 |
value is -4.2.
That means that the output level went to
| | 03:30 |
4.2 dB below 0 dB.
And while we're talking about clipping,
| | 03:35 |
due to Pro Tools 11's 64-Bit architecture,
there will actually never be any clipping
| | 03:39 |
in the internal mixer, which is great
news.
| | 03:42 |
That said, it is still very possible to
clip with the converters.
| | 03:47 |
If you see an audio tracks fader clip,
that is turn red when recording or input
| | 03:51 |
monitoring a signal.
Then that signal is clipping at the analog
| | 03:56 |
to digital input converters.
It's also possible the clip when recording
| | 04:00 |
16 byte and 24 byte files within Protools
itself.
| | 04:04 |
However, 32 byte floating point audio
files will not clip.
| | 04:08 |
If you see a master fader clip.
That is, this track.
| | 04:11 |
If this track clips.
That means that the signal will clip at
| | 04:14 |
the digital to analog output converters.
The meters on the transport window and in
| | 04:20 |
the edit window will show this as well.
Wait a minute.
| | 04:23 |
There's meters in the transport and edit
windows?
| | 04:26 |
Yes, this is a new feature.
So let me open up the transport window.
| | 04:30 |
And if I go over to this button here, I
can choose output meters.
| | 04:35 |
And here's our little meter.
(MUSIC).
| | 04:40 |
If I switch over to the edit window, I can
do the same, right here.
| | 04:46 |
(MUSIC).
The sense have also gotten a metering enhancement.
| | 04:51 |
When expanded the sense will show level
meters but they will also now show a small
| | 04:55 |
meter when their collapsed.
This one here is collapsed.
| | 05:01 |
(MUSIC).
And you'll see when the signal starts
| | 05:04 |
going through it, there's signal going
through this little meter here.
| | 05:08 |
Now you can choose to expand all of the
sends, none of the sends or any
| | 05:12 |
combination of the sends that you like.
All you need to do is Cmd + Click or Ctrl
| | 05:18 |
+ Click a send collector to expand or
collapse it.
| | 05:21 |
Expanding all of them we'll make for quite
a big mixer page.
| | 05:26 |
So, as you can see there's a lotta
metering improvements here in Pro Tools 11.
| | 05:31 |
| | Collapse this transcript |
| Using key commands and other improvements| 00:00 |
Avid has introduced a number of very
useful commands, particularly for mixing
| | 00:04 |
applications in Pro Tools 11.
For instance, now it's easy to mute all
| | 00:09 |
sends at once.
You might want to do that if you want to
| | 00:12 |
hear you mix without effects, or to mute
all submixes, to mute all separate
| | 00:16 |
headphone mixes, or other applications.
To do this, first you must select the
| | 00:21 |
tracks that you want this to occur on.
So I'm going to scroll down here and
| | 00:25 |
highlight this one track name, press
Shift, and click on the master track, and
| | 00:29 |
that highlights or selects all of these
tracks.
| | 00:35 |
Now, I'll go up to the track menu, and
choose mute sends.
| | 00:39 |
And you'll see that I have three choices.
All sends a through a, and sends f through j.
| | 00:44 |
In this case, I'm going to choose all.
And now, all of these sends have been muted.
| | 00:51 |
Note that you cannot use the undo command
to undo this action.
| | 00:55 |
So, you should learn the key commands
associated with these actions to use this
| | 00:59 |
functionality quickly.
Let's take a look at them.
| | 01:03 |
To mute a Send and all Sends below it on a
track, Ctrl + Click or Start + Click a
| | 01:06 |
Send Assignment button.
To mute a Send and all Sends below it on
| | 01:11 |
all tracks, Ctrl + Opt + Click or Start +
Alt + Click a Send assignment button.
| | 01:18 |
To mute or unmute all Sends on selected
tracks, press Shift + Q.
| | 01:22 |
To mute or unmute Sends A through E on the
tracks, press Shift + 3.
| | 01:28 |
And to mute or unmute sends f through j on
selected tracks press Shift + 4.
| | 01:33 |
There are a number of insert enhancements
as well.
| | 01:36 |
You can now right click on any insert, and
choose a user preset.
| | 01:40 |
So if I go over to this EQ plug in, and
right click on it.
| | 01:44 |
I can choose from the user presets, and
these are all the presets that are saved
| | 01:48 |
with this particular EQ.
You now have more control over bypassing
| | 01:53 |
inserts too.
So if I go back up to the track menu,
| | 01:56 |
choose bypass inserts, you can see that I
can choose all, inserts A-E, Inserts f
| | 02:01 |
through j and just specific eq dynamics,
reverb, delay and modulation plugins.
| | 02:08 |
If I choose All you'll see all of these
get bypassed including the virtual
| | 02:12 |
instruments, and note that the tracks must
be select before you can bypass the
| | 02:17 |
inserts on the tracks, so these tracks are
still selected as you can tell down here...
| | 02:25 |
So that's why all of these are bypass.
To unbypass them go back to the track
| | 02:29 |
menu, choose bypass inserts and hit all.
And then their all un bypass.
| | 02:37 |
There are key commands that go along with
these choices too.
| | 02:39 |
To bypass and insert in all inserts below
it on the track, Ctrl + Click or Start +
| | 02:43 |
Click and insert assignment button.
To bypass an insert and all inserts below
| | 02:49 |
it on all tracks Ctrl + Opt + Click or
Start + Opt + Click and insert assignment button.
| | 02:56 |
To bypass or unbypass all inserts on
selected tracks press Shift + A.
| | 03:01 |
To bypass or unbypass inserts a through e
on selected tracks press Shift + 1, and to
| | 03:05 |
bypass or unbypass inserts f through j on
selected tracks press Shift + 2.
| | 03:11 |
And if you want to bypass or unbypass all
inserts of a certain type on selected
| | 03:16 |
tracks for both Mac and Windows, for EQ
press Shift + E.
| | 03:21 |
Dynamics processing press Shift + C.
Reverb press Shift + V.
| | 03:26 |
Delay press Shift + D and Modulation press
Shift + W.
| | 03:32 |
Moving forward, one command that I've
wanted for quite some time is finally here.
| | 03:37 |
And it's in the tracks list pulldown menu
here.
| | 03:40 |
It's called restore previously shown
tracks.
| | 03:44 |
Now it's not an active choice in this list
yet, but, let's say you only want to show
| | 03:47 |
the instrument tracks in your session.
Well, before now there was no way to only
| | 03:53 |
show those and then go directly back to
showing all of the tracks that you have
| | 03:56 |
shown in this session.
You'd have to do it manually, so let's try
| | 04:01 |
it out.
Show only instrument tracks.
| | 04:05 |
So now I have all of the instrument tracks
shown in this session even the inactive
| | 04:10 |
ones and if I go back to restore
previously shown tracks, viola.
| | 04:16 |
The hidden tracks go back to being hidden
and all the tracks that were showing
| | 04:20 |
before are now showing again.
Now this is just a small session, and it's
| | 04:23 |
very useful, but imagine how useful this
could be in a session with hundreds of tracks.
| | 04:29 |
Another small enhancement is that you can
now add new tracks by double clicking in
| | 04:33 |
the mix window over here, so I'll double
click and a track is automatically created
| | 04:37 |
right there.
And over in the edit window if I double
| | 04:42 |
click down here, another track is created.
Now why is it, a mono, aux track that's
| | 04:48 |
been created?
Because, I had previously created a mono
| | 04:52 |
aux track, in this session.
And, lets talk about it.
| | 04:57 |
By default, Pro Tools will make, the same
type of track, that was last created, in
| | 05:01 |
the session.
So in this particular case, it was, a mono
| | 05:05 |
aux track.
So if you want to take control over this,
| | 05:09 |
use these commands shown here to create
the type of track that you want to make.
| | 05:15 |
Lets switch gears.
In the transport window, there's a new feature.
| | 05:20 |
Its this, the fade in button.
While this feature isn't working for me at
| | 05:24 |
the moment, and is curiously not included
in the current version of the Pro Tools
| | 05:27 |
reference manual.
It should allow you to fade in the signal
| | 05:31 |
from Pro Tools linearly instead of all at
once when you press Play.
| | 05:36 |
Enable it by clicking it on, and setting a
time of four seconds or less.
| | 05:41 |
Shorter times will likely be better for
music production applications, whereas
| | 05:45 |
longer times might be more beneficial in
post-production situations, when Pro Tools
| | 05:49 |
has to sync to external devices.
Note that if you use this feature while
| | 05:54 |
recording, your recorded audio will also
have a fade-in.
| | 05:58 |
So I recommend turning this off when
recording for most recording situations.
| | 06:03 |
And speaking of recording, there's a new
click to plugin.
| | 06:05 |
If I go to Track > Create, click Track.
There's a new track down here.
| | 06:13 |
And I'll open up the new click to plugin.
With this new plugin, we can now sub
| | 06:17 |
divide the beat.
If we activate the meter button here.
| | 06:22 |
And now I can choose different sub
divisions.
| | 06:25 |
And you have access to more sounds than
were in the previous versions.
| | 06:30 |
So look at all these.
The new click to plugin, along with all
| | 06:36 |
the other features I've mentioned in this
movie, are all welcome upgrades in Pro
| | 06:40 |
Tools 11.
| | 06:43 |
| | Collapse this transcript |
| Working with the new video features| 00:00 |
Avid is merged in a number of video
features from the other video products
| | 00:04 |
intro Pro Tools 11.
At the heart of it it's that Pro Tools 11
| | 00:08 |
now supports the Avid Video Engine which
is also at the core of Avid Media Composer.
| | 00:14 |
This obviously enables greater
compatibilty between the two applications.
| | 00:19 |
With this engine, Pro Tools can now
support a number of avid HD and SD MXF
| | 00:24 |
video file formats on Pro Tools video
tracks, without transcoding.
| | 00:30 |
Including DNxHD, MXF HD, Apple ProRes and
all other video formats supported by Avid
| | 00:36 |
Media Composer.
Pro Tools can output video to Avid Mojo
| | 00:41 |
DX, Avid Nitris DX, AJA, Blackmagic
Design, and other peripherals also
| | 00:45 |
supported by Avid Media Composer.
Now lets check out how it looks to import
| | 00:52 |
video under Pro Tools 11.
Go to File > Import > Video, double click
| | 00:56 |
on the video that I want.
And you'll see the Video Import Options
| | 01:01 |
window is much smaller than it used to be
but it still has the most important
| | 01:05 |
options here.
So I'm going to include the audio and put
| | 01:09 |
the video at the session start.
Now you'll see this.
| | 01:14 |
The video engine must be enabled to work
with video.
| | 01:17 |
Would you like to enable it now?
Yes I would.
| | 01:20 |
This is a check box that's actually found
in the playback engine window.
| | 01:25 |
Now we need to tell Pro Tools where we
want to save the audio files.
| | 01:27 |
And that's fine.
We'll save in the audio files folder.
| | 01:31 |
And our video pops up.
And our audio track.
| | 01:35 |
On the video track, there are some new
track controls.
| | 01:39 |
There's the project type.
There is the video quality and the output settings.
| | 01:45 |
The project type shows the frame-rate and
allows you to set the resolution if there
| | 01:48 |
are video clips with different resolutions
residing on the track.
| | 01:53 |
The video quality allows you to choose how
you want to view the video and Pro Tools.
| | 01:58 |
You can have Full quality which is 8-bit.
Full quality 10-bit, not an option here.
| | 02:04 |
Draft, which is 8 bit, which uses one
quarter of the image information and Best
| | 02:09 |
Performance, which is also 8 bit but only
uses 1/16th of the image information.
| | 02:16 |
If you need to save processing power, use
this last option.
| | 02:20 |
The output settings can be configured if
you're using external video peripherals.
| | 02:25 |
If you do have video peripherals connected
to your system, you'll have options in the
| | 02:29 |
Video Output Tool window for configuring
your video output, like sync clock and
| | 02:33 |
calibration settings.
In my setup, I don't have any video gear
| | 02:37 |
connected so the output settings are
grayed out.
| | 02:41 |
There are a few more video features I'd
like to mention here quickly.
| | 02:44 |
First, you can now right-click on a video
file, like I will right here, and import
| | 02:49 |
the audio from that file.
I've already got that audio imported from
| | 02:54 |
this clip here, but if I needed it, I
could use this command.
| | 03:00 |
There are several new video preferences.
I go to Set Up > Preferences.
| | 03:05 |
And the Operation tab down here on the
bottom right, we have Enable GPU, Prevent
| | 03:09 |
Taring, Enable Hardware During Scrub, and
Play Start Latency.
| | 03:16 |
Let's talk about a couple of these.
The Play Start latency.
| | 03:20 |
If you set this to a higher number the
longest number let's say 5 here, that will
| | 03:23 |
save you some processing power.
But you'll also experience a delay when
| | 03:28 |
pressing Play before the video starts to
play.
| | 03:30 |
Also the GPU, which stands for Graphic
Processing Unit, is the place where Pro
| | 03:35 |
Tools does the video processing on your
computer.
| | 03:39 |
If the GPU is slow on your computer you
may consider disabling the GPU.
| | 03:44 |
Like this.
And instead, use your computer's main CPU,
| | 03:48 |
which is more powerful, to process the
video.
| | 03:53 |
Finally, satellite link is now included on
Pro Tools 11 HD systems and does not
| | 03:57 |
require a separate purchase.
Also, Video Satellite LE is included with
| | 04:02 |
Pro Tools 11 and does not require a
separate purchase.
| | 04:07 |
These applications enable you to connect
and sync multiple Pro Tools and Avid video systems.
| | 04:12 |
There's a ton of new video features here
in Pro Tools 11, making the interaction
| | 04:15 |
between Avid Video Systems and Pro Tools
much better.
| | 04:19 |
| | Collapse this transcript |
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