Complete Production Toolkit Version 1.
Legal Notices This guide is copyrighted ©2008 by Digidesign, a division of Avid Technology, Inc. (hereafter “Digidesign”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Digidesign.
contents Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Complete Production Toolkit Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Contents of the Boxed Version of Complete Production Toolkit . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 5. Editing Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Continuous Scrolling During Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 The Scrub Trimmer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Replacing Audio Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 9. Time Code and Synchronization Features . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Timebase Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Secondary Time Code Ruler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Selecting Time Code and Time Code 2 Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Selecting Feet+Frame Rate . . .
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chapter 1 Introduction Complete Production Toolkit for Pro Tools LE® provides additional features, plug-ins, and software options for music creation and post production. Complete Production Toolkit provides increased voice and track counts, and surround mixing capabilities that are equal to Pro Tools HD. Additionally, it includes the full contents of DV Toolkit™ 2 and Music Production Toolkit 2. • Enabling of all DigiTranslator™ 2.
• Surround mixing up to 7.1 with 003®, 003 Rack, 003 Rack+, Digi 002®, and Digi 002 Rack, and up to 5.1 with Mbox® 2 Pro With Complete Production Toolkit, you can open surround sessions on any Pro Tools LE system. Use the Neyrinck SoundCode™ Stereo down mixer plug-in for monitoring surround sessions in stereo with Pro Tools LE interfaces that have fewer than six outputs.
System Requirements and Compatibility To use Complete Production Toolkit, you need: An iLok USB Smart Key (an iLok.
Conventions Used in This Guide All Digidesign guides use the following conventions to indicate menu choices and key commands: : Convention Action File > Save Choose Save from the File menu Control+N Hold down the Control key and press the N key Control-click Hold down the Control key and click the mouse button Right-click Click with the right mouse button The names of Commands, Options, and Settings that appear on-screen are in a different font.
chapter 2 Installation Installing Complete Production Toolkit A Digidesign-qualified version of Pro Tools LE must be installed before you install your toolkit and authorize its software components. To install Complete Production Toolkit: 1 Do one of the following: • Download the installer for your computer platform from the Digidesign website (www.digidesign.com). After downloading, make sure the installer is uncompressed (.ZIP on Windows or .SIT on Mac).
Authorizing Complete Production Toolkit Option Complete Production Toolkit and its additional software components must be authorized before they can be used in Pro Tools.
To authorize Complete Production Toolkit using an Activation Code: 1 If you do not have an existing iLok.com ac- count, visit www.iLok.com and sign up for an iLok.com account. 2 Transfer the license for your toolkit option and plug-ins to your iLok.com account by doing the following: • Visit http://secure.digidesign.com/ activation. – and – • Input your Activation Code (listed on your Activation Card) and then your iLok.com User ID. Your iLok.com User ID is the name you create for your iLok.com account.
To remove the TL Space Native impulse response library: 1 Locate the TL Space Impulse Responses folder (Library/Application Support/Trillium Lane/TL Space). 2 Drag it to the Trash and empty the Trash. Windows Vista To remove Complete Production Toolkit on Windows Vista: 1 Choose Start > Control Panel. 2 Double-click Programs and Features. 3 From the list of currently installed applica- tions, select Digidesign Complete Production Toolkit. 4 Click Uninstall.
chapter 3 Session and Track Features Complete Production Toolkit enables additional session and track features in Pro Tools LE. It also includes support for the MP3 export option. For more information on working with Pro Tools sessions and tracks, see the Pro Tools Reference Guide. Increased Voice and Track Counts Support for Up to 128 Voices Complete Production Toolkit lets you play or record up to 128 voices simultaneously at 44.1 or 48 kHz and up to 96 voices at 88.1 or 96 kHz.
Track Priority and Dynamic Voicing Tracks do not play back when they are inactive or their voice assignment is set to Off. When working with more than 128 voices (at 44.1 or 48 kHz), you can play back audio on a track that would use voice number 129 and higher by changing the higher track’s priority, as follows: • Make a lower numbered track inactive (click the Track Name and select Track > Make Inactive) to free up its voice.
Import Session Data Enhancements This section provides information on Import Session Data features that Complete Production Toolkit adds to Pro Tools LE systems. With Complete Production Toolkit, the Import Session Data dialog lets you view the properties of a session, select which tracks to import, and choose which attributes of those tracks you want to import into the current session.
Replacing Track Attributes When you import an attribute of the source track into an existing track in the current session, it replaces the corresponding attribute in the destination track. If you choose not to import an attribute of the source track, the corresponding attribute in the destination track is retained. Regions and Media Imports all of the audio files or regions in the source track, and places them in the Region List.
Plug-in Settings and Automation When the source track’s plug-in assignments are imported, this option imports the track’s plug-in settings and any automation data associated with the plug-ins. If no plug-in assignments are imported, this option has no effect. Track Playlist Options Hardware Insert Assignments Imports the source track’s hardware Insert assignments. Any Insert assignments in the destination track are replaced.
Do Not Import Main Playlists—Leaving Destination Playlists Intact Does not import the main playlist from the source track. No audio is imported; only the attributes selected in the Session Data to Import list are imported to the selected tracks. If you select the above option and import all of the source track’s input, output, send, insert and plug-in attributes, this is equivalent to importing a “channel strip.
MP3 Export Option With Complete Production Toolkit, the MP3 file type is available when using Bounce to Disk or exporting a region as a new audio file. When you export or bounce to MP3 format, you can set the following options: Encoder Settings MPEG-1 Layer 3 (MP3) Encoder Speed Determines the audio quality of the bounced file. There are two options: Highest Quality and Fastest Encoding Time.
While ID3 v2.3 is the current standard MP3 format, not all MP3 players support ID3 v2.3. Contact the developer of your player software for compatibility information. Title/Artist/Album/Comment Type the title, artist, and other information for the MP3 file. This information is displayed by many MP3 players. Genre Choose a genre for the file. This information is displayed by many MP3 players, and can appear in searchable catalogs and databases. Track Number If you select ID3 tag type v1.1 or v2.
• VCA Master tracks are hidden and any VCA automation is automatically coalesced. When subsequently opening the session in Pro Tools HD, VCA tracks remain hidden and will need to be manually shown. Groups • Mix Groups keep only Main Volume information. • Mix/Edit Groups keep only Main Volume and Automation Mode information. • Automation overflow information for grouped controls is be preserved.
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chapter 4 DigiBase Pro Complete Production Toolkit enables DigiBase Pro in Pro Tools LE. 3 If in the Workspace browser, select volumes or folders to search. For information on DigiBase, see the Pro Tools Reference Guide. Search icon With DigiBase Pro, you can: • Search on any combination of file metadata simultaneously. Search Pane • Create and share custom Catalog browsers (Catalogs) that reference files wherever they are stored.
Searching begins, indicated by the spinning arrows in the toolbar, and by the Search button changing to Stop. The Results List (at the bottom of the browser) fills with items that match the search criteria. Items can be selected and auditioned as they are found. 7 Click the Stop button at any time to stop the search, and keep the list of files already found (if any). For detailed information on DigiBase search functions, see the Pro Tools Reference Guide.
A Catalog is analogous to a folder full of aliases or shortcuts. Placing a file in a Catalog does not create a copy of the file, and does not change where the file is stored. Rather, it stores a reference (or alias) to the file so that it can be found and manipulated without having to search for its physical location. Opening a Catalog Browser Catalogs are displayed in the Workspace browser. Clip names can only be edited in a Catalog.
Creating Catalogs Renaming a Catalog Catalogs can be added to the Workspace as new, empty Catalogs, or you can select items first and then save a Catalog of all selected items. Catalogs can be renamed at any time. To create a new, empty Catalog: 1 Open the Workspace browser. To rename a Catalog: 1 Click the Catalog item in the Workspace browser until its name highlights. 2 Enter a new name for the Catalog. 2 Choose New Catalog from the browser menu. 3 Enter a unique name and click OK.
Consolidating Files with Catalogs Deleting Catalogs Catalogs are excellent tools for consolidating files from a variety of sources. To delete a Catalog: 1 Select one or more Catalogs in the Workspace For example, create a Catalog named “Thumps” and fill it with sound effects from three different volumes. You can then drag the Catalog from the Workspace browser to another volume, and a folder named “Thumps” is created on that volume.
Importing Offline Items from a Catalog With Catalogs, it is possible to search and import files that are offline. For example, if you have a music cue that you know you want to use, but it resides on a CD-ROM or other unmounted volume, you can spot the file from a Catalog to the session Timeline, and it is automatically imported into the session when the volume is mounted. The first step is to add files to a Catalog (files must be online to be added to a Catalog).
chapter 5 Editing Features Complete Production Toolkit enables additional editing features in Pro Tools LE. For information on editing in Pro Tools, see the Pro Tools Reference Guide. Half-Screen Edit Window When the Scrolling option is set to Continuous, a half-screen appears at the far left of the Edit window (before the beginning of the session) when the Playhead is at the beginning of the session.
This action creates a new region. Note that the Scrub Trimmer tool changes into a “right trim” or “left trim” shape as it is placed over the right or left side of a region. To reverse the direction of the Scrub Trimmer tool, press Alt (Windows) or Option (Mac) before you click the region. Scrub Trimmer tool over a region Scrub playback speed and direction vary with controller movement. Scrubbed audio is routed through the track signal path, so you hear any effects in the signal path.
Replace Region Dialog Replace: All Instances of the Original Region Replaces all instances of the selected region that fit the On criteria with the replacement region from the Region List. • On This Track: replaces regions that fit the Match criteria and are on the same track as the original region. • On All Tracks: replaces regions that fit the Match criteria for all tracks in the session. • On Within the Selection: replaces regions that fit the Match criteria within the current selection.
Region matching uses all specified Match criteria. For example, if you select Start Position and End Position, all regions from the same original audio file as your selection with the same original start and end times will be replaced. Fit Region Using The: Original Region Length If the replacement region is smaller than the original region, the region is placed in the playlist and any remaining audio from the original region is removed.
TCE (Time Compression and Expansion) Edit To Timeline Selection When the Edit and Timeline selections are unlinked, you can compress or expand an audio selection to fit the Timeline selection. On audio tracks, TCE Edit to Timeline Selection uses the TCE AudioSuite™ Plug-in selected in the Processing preferences. On Elastic Audio–enabled tracks, TCE Edit To Timeline Selection uses the track’s selected Elastic Audio plug-in.
Expanding Alternate Channels to New Playlists or Tracks When working with a mono region that is part of a multichannel recording imported from a field recorder, you can expand that region (or a selected portion of it) to new playlists that reflect its matching alternate channels while preserving any edits or fades.
If alternate channels are available, Pro Tools expands them to new playlists (including the channel represented in the original track) according to the selected option. Expanding Channels to New Tracks To expand alternate channels to new tracks: 1 In the Timeline, do one of the following: • To expand only a portion of the regions on the track, make a selection that includes or overlaps any number of regions on a track, and Right-click (Windows or Mac) or Control-click (Mac) the selection.
Relinking the Original Unedited Guide Track After importing the AAF (or OMF) sequence and original source audio files into the session, it is recommended that you relink the edited guide track to the original unedited source audio. To relink the original unedited guide track: 1 Open the Project Browser for the session and open the Audio Files folder. 2 Right-click the edited guide track audio file in the browser and choose Relink Selected.
chapter 6 Beat Detective Features Complete Production Toolkit enables additional Beat Detective features for working in Pro Tools. For more information about other Beat Detective features, see the Pro Tools Reference Guide. Extending the selection to the snare, hi-hat, and overhead microphones tracks, and then performing the separation, results in separated regions in each of the drum tracks at the same location, based on the beat triggers from the kick drum track (see Figure 3).
unique triggers from the current track to the overall collection. For more information, see “Detection (Normal) and Collection Mode” on page 34. the selection to the other drum tracks and separate them, the regions from the kick, snare, and tom tracks will be cut slightly late (see Figure 4 below). Detection (Normal) and Collection Mode In some instances, it may be difficult for Beat Detective to successfully analyze multiple tracks with the same Detection settings.
To use Collection mode: 1 In the Edit window, make an audio selection on a single track. Make sure the selection’s start and end points fall cleanly on the beat. 2 In the Beat Detective window, select one of the following modes: • Bar|Beat Marker Generation • Groove Template Extraction 10 Do one of the following: • In the Detection (Collection Mode) section, click Add Unique Triggers to add only the unique triggers from the track to the collection. • Click Add All to add all triggers to the collection.
1. Beat triggers detected in Kick track added to collection 2. Unique beat triggers detected in Snare track added to collection 3. Unique beat triggers detected in Hi-hat track added to collection 4.Collected beat triggers applied to Overhead microphones track Figure 5.
chapter 7 Mixing and Automation Features Complete Production Toolkit enables additional mixing and automation features in Pro Tools LE. For more information on mixing and working with automation in Pro Tools, see the Pro Tools Reference Guide. To write snapshot automation: 1 In the Automation window, make sure that the parameters you want to edit are write-enabled. Deselect any parameters whose automation you want to preserve.
6 Choose Edit > Automation and do one of the following: • To write the current value to only the currently displayed automation parameter, choose Write to Current. – or – • To write the current settings for all automation parameters enabled in the Automation window, choose Write to All Enabled. Writing Snapshot Automation over Existing Automation Data When you move the playback cursor, the automated controls in Pro Tools update to reflect the automation data that is already on the track.
Capturing Automation and Applying it Elsewhere The Write Automation commands can also be used to capture automation states at specific locations in a track and apply them to other locations in the track. To capture and apply automation: 1 In the Automation window, make sure that the automation parameters you want to edit are write-enabled. Deselect any parameters whose automation you want to preserve.
4 Choose Edit > Automation and do one of the following: To apply a Glide Automation to the current automation parameter type: • To write the current delta value to only the currently displayed automation parameter, choose Trim to Current. 1 In the Automation window, make sure the au- – or – tomation type you want to automate. • To write the current delta value for all automation parameters enabled in the Automation window, choose Trim to All Enabled. tomation type is write-enabled.
Glide Automation Considerations When Glide Automation is applied to automation data, it behaves as follows: • When a selection is made, automation breakpoints are written at the start and end points of the Glide Automation. The automation value at the start of the selection is the start point of the Glide Automation and the end of the selection is the end point of the Glide Automation.
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chapter 8 Surround Features Pro Tools LE with Complete Production Toolkit supports surround mixing. Pro Tools supports mixing in the following multichannel (greater than stereo) formats: LCR, Quad, LCRS, 5.0, 5.1, 6.0, 6.1 and 7.1. Pro Tools LE with the Complete Production Toolkit option and 003, 003 Rack, 003 Rack+, Digi 002, or Digi 002 Rack can monitor mixing in surround up to 7.1. Pro Tools LE with the Complete Production Toolkit option and Mbox 2 Pro can monitor mixing in surround up to 5.1.
To connect your audio interfaces for 5.1 format mixing and monitoring: 1 Determine the 5.1 format and track layout you want to use. Custom Multichannel Paths You can customize and redefine existing paths in the I/O Setup dialog. For more information, see “Custom Multichannel Paths” on page 46. 2 Connect the output channels of your audio interface to the corresponding input channels of your monitoring system according to the assignments listed in Table 1 on page 43.
To create a new session for multichannel mixing: 1 Choose File > New Session. The surround presets preconfigure the I/O Setup dialog for the new session with default 5.1 format main and sub-paths for outputs and busses. 2 Select the Create Blank Session option. 3 Select the Audio File Type, Sample Rate, and Bit Depth as desired. New Session dialog, 5.1 Film Mix I/O setting selected 4 From the I/O Settings menu, select one of the following options: • 5.1 Film Mix • SMPTE/ITU Standard 5.
All three 5.1 format I/O Settings (Film, SMPTE/ITU, or DTS) provide the following default output and bus paths for the new session: To import a multichannel I/O Setup settings file: 1 Choose Setup > I/O. 2 Click Import Settings. Default 5.1 Output Paths • One 5.1 main output path, with sub-paths for 5.0 (no LFE), LCR, Left/Right (stereo), and Center (mono). – and – • One stereo main path with two mono subpaths. Default 5.1 Bus Paths 3 Select the settings file (.pio) to import and click Open.
In addition, the I/O Setup dialog, like the Main page of the Hardware Setup dialog, provides controls for routing the physical inputs and outputs on your audio interface to available inputs and outputs in Pro Tools. When creating 5.1 format paths, you can specify the default track layout. See “Default Path Order for 5.1 Tracks” on page 48. Remapping Channels The I/O Setup dialog and its Channel Grid also let you remap channels.
Pro Tools track layout of 5.1 format audio tracks in the Edit window also conforms to the Film layout (arranged top to bottom). See the illustration “5.1 Track Layouts, Routing, and Metering” on page 49. In the I/O Setup dialog, you can route these signals out of your audio interfaces according to any track layout (such as DTS or SMPTE/ITU). To re-map channels in a path: Click and drag a channel to a new valid location in the Grid.
5.1 Track Layouts, Routing, and Metering 5.1 Format Tracks Track Meters Channel Map in I/O Setup Film (Pro Tools Standard, and C24) L C R Ls Rs LFE L C R Ls Rs LFE SMPTE/ITU (Control|24 Monitoring) L R C LFE Ls Rs same L C R Ls Rs LFE (top to bottom) L C R Ls Rs LFE same L C R Ls Rs LFE (left to right) L R C LFE Ls Rs DTS (ProControl Monitoring) L R Ls Rs C LFE same L C R Ls Rs LFE same L C R Ls Rs LFE L R Ls Rs C LFE Figure 6. Track layout of different 5.
Multichannel audio tracks can be: • Recorded directly into Pro Tools, using multiple microphones or microphone arrays, or routed to appropriate multichannel Pro Tools Input paths • Imported from other Pro Tools sessions • Edited, processed, and mixed in combination with mono and stereo tracks 5.1 format multichannel audio track 5.1 format audio files and tracks conform to the Film track layout standard. Regardless of path mapping in the I/O Setup dialog, all 5.
To convert a multichannel track into discrete mono tracks: 1 Select the multichannel track. 2 Choose Track > Split Into Mono. To have discrete control of gain on individual channels of a multichannel track: 1 Insert a multi-mono Trim plug-in on the multichannel track. 2 Unlink the Trim plug-in by clicking the Link icon so that it is unlit. 3 Use the Channel selector to display the con- trols for a channel, and adjust the gain.
Multichannel Signal Routing To mix in a multichannel format, tracks are assigned to multichannel paths. Tracks can be mixed in surround using the following two methods: • By setting a track main output to a multichannel path. • By assigning a multichannel send to route audio to a multichannel path. Additional output assignments can be added by Start-clicking (Windows) or Control-clicking (Mac) the Selector tool and assigning another path.
Pro Tools bussing and submixing features are available for all channel formats, from mono/stereo through 8-channel. For examples of multichannel monitoring, effects processing, and bussing, see “Mixing with Paths and SubPaths” on page 55. For mono and stereo mix examples, see the Pro Tools Reference Guide. Multichannel Auxiliary Inputs and Master Faders A multichannel Auxiliary Input or Master Fader is used as a return for the multichannel bus.
Multichannel Plug-ins Are designed for use on stereo and multichannel tracks that require correlated processing, including stereo and multichannel limiting, compression, and similar effects. Linking and Unlinking Controls on MultiMono Plug-ins When a multi-mono plug-in is used on a multichannel track of more than two channels, the controls are normally linked. Adjusting the Gain control on one channel, for example, will adjust it for all channels.
Paths in Surround Mixes Because Pro Tools provides a flexible routing and submixing environment, you can maximize your system’s available resources by first identifying the elements that you want to pan dynamically and those that can be placed in certain channels only (see “Mixing with Paths and SubPaths” on page 55). Once you have identified these elements in your session, you can use a combination of main and sub-path assignments, and multichannel panning.
Tracks routed to subpaths Tracks routed to main 5.1 surround path Auxiliary Input routed to main 5.1 surround path Effect bus routing Outputs to sub-paths Outputs to main 5.1 path for surround panning Figure 8.
Example Paths and Signal Routing for a Surround Mix The examples that follow show how Auxiliary Inputs, Master Faders, and other Pro Tools signal routing features can be used for stem mixes, submixes, and similar project needs. In these examples, music and effects are being mixed for a trailer, in 5.1 surround. Separate stem mixes (for music and for effects) are to be mastered to 8-track MDM. Sub-paths have been defined for Mix, Music, and FX main output paths.
Example Sub-Paths Sub-paths let you route to selective channels within the multichannel surround output. In Figure 11, the Mix 5.1 bus has several sub-paths that show this. Extending Stereo Mixing Conventions to Surround Mixing Stereo mixing sets the precedent for active and static panning, and surround mixing can benefit from the same basic principles. Panning a sound back-and-forth between the left and right speakers is best used as a special effect.
Figure 12. FX stem Figure 13.
Most of the music tracks in this example are routed to the front left/right channels, using a stereo sub-path. A 5.1 Auxiliary Input controls the bus and stem output. Figure 14 shows a channel Output window, sending and metering to the LFE channel. LFE fader Multiple Output Assignments Multiple output assignments make it possible to configure a number of multi-format mixes. For example, you can assign an additional stereo output to tracks and create a stereo mix at the same time as a 5.1 mix.
Figure 15 shows how a “traditional” LFE track can be routed to only the LFE channel. This example uses a custom-defined LFE sub-path to the FX main bus path.
Click and drag to pan Output Windows Output windows provide panning controls (called panners), as well as standard Pro Tools controls, for tracks of all mix formats (from 3channel LCR through 8-channel 7.1). For information on Output window standard controls, see “Standard Controls” on page 63. For information on Output window panning controls, see “Surround Panner Controls” on page 64.
To open an Output window: Click the Output Window button (it’s the small fader at the right edge of the Output selector for a track in the Mix or Edit window (I/O View). Standard Controls All Output windows provide standard Pro Tools controls for routing, path assignment and other track features. These controls are located at the top of all Output, Send, Insert, and Plug-in windows. Some controls are specific to the type of window.
Surround Panner Controls When assigned to tracks or paths with four or more channels, the Output window provides an X/Y Grid for surround panning. The speakers associated with the panner’s multichannel format are displayed in their relative positions outside the Panner Grid. These speakers are also used as Snap Pan to Speaker controls. This section identifies all the controls and features found in Pro Tools multichannel panners.
The X/Y Grid and Pan Location Cursor The X/Y Grid is where multichannel panning information is input and displayed. You can input pan information using X/Y mode, 3-Knob mode, or by entering numeric values in the Position data fields. You can also edit pan automation graphically in the Edit window. Panning Mode Button This button, located below the X/Y Grid, provides access to Surround panning modes (see “Panning Modes” on page 67).
Divergence Controls Divergence determines the width of the panned signal with respect to neighboring speakers. (For more information, see the Pro Tools Sync & Surround Concepts Guide). There are three Divergence controls: Front, Rear, and F/R Divergence Provide separate, automatable divergence control over front speakers, rear speakers, and between front/rear, respectively. Divergence controls The LFE fader determines how much of the current track’s signal will be routed to the LFE channel.
Panning Modes The Panning Mode button provides access to four panning modes: X/Y mode, Divergence Editing, 3-Knob mode, and AutoGlide mode. Panning controls can be automated in all four modes. To enable a Panning Mode: Click on the Panning Mode button in the Surround Panner until the desired mode icon is displayed. X/Y Panning To pan in X/Y mode: 1 Click on the Panning Mode button until the X/Y mode icon is displayed.
To snap the Pan Location cursor to a location in the Grid: Control-Shift-click (Windows) or CommandShift-click (Mac) at the desired location in the X/Y Grid. Grid Options and Shortcuts Fine-Adjust Mode Hold down the Control key (Windows) or Command key (Mac) for fine adjustment of all Panner controls. Constraining to X or Y Movement Shift-drag the Pan Location cursor to constrain its movement to the X or Y direction.
To enable 3-Knob Panning mode: AutoGlide Mode Click on the Panning Mode button until the 3-Knob mode icon is displayed. AutoGlide mode lets you quickly write Surround Panner automation by clicking new locations in the Surround Panner window, instead of manually moving the Surround Panner controls. When writing automation in AutoGlide mode, the Pan Location cursor cannot be dragged from its location.
4 Set a new destination for the cursor by doing one of the following: • Click a Snap Pan to Speaker icon to glide to its speaker location. – or – • Click in the pan window to glide to a specific location in the X/Y Grid. Snap Pan to Speaker icons Divergence and Center Percentage The Divergence and Center Percentage controls range from 0 to 100, and can be automated. They are especially useful for ensuring audibility and coverage in large venues, and to increase clarity of voices.
By default, Pro Tools surround panners are 100% or fully divergent, meaning that a signal that is panned completely to one speaker will only be audible in that speaker. Lower divergence settings result in a progressively wider source signal. When Divergence is less than 100%, tracks will be routed to neighboring speakers to some degree, even when the Pan Location cursor is positioned next to a single speaker.
As you reduce the Center Percentage value, the center speaker at the top of the Grid becomes less visible. At 0, the center speaker is completely invisible, reflecting the setting for fully phantom center. LFE Enable Some multichannel plug-ins, including the multichannel DigiRack Dynamics III Compressor/Limiter, provide LFE Enable. This lets you enable or bypass processing of the LFE channel if present.
Surround Scope Plug-in The Surround Scope plug-in provides a 360° meter for metering multichannel paths during mixing. 5.1 Format Track Layouts All 5.1-format meters (including those displayed in the Surround Scope meter, on tracks, and in Output windows and their Path Meter Views) are always arranged in the following order: L C R Ls Rs LFE For more information on Pro Tools metering, see “5.1 Tracks, Formats, Mapping, and Metering” on page 47.
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chapter 9 Time Code and Synchronization Features Complete Production Toolkit enables various time code and synchronization features for working with audio, film, video, or digital video in Pro Tools LE. For more information on working in Pro Tools with time code and synchronization, see the Pro Tools Reference Guide. Pro Tools supports the following frame rates: • 23.976 FPS • 24 FPS • 25 FPS • 29.97 FPS • 29.
Secondary Time Code Ruler Pro Tools LE with the Complete Production Toolkit option provides an additional Timebase ruler, labeled Time Code 2. This secondary time code ruler lets you re-reference video frame rates in the Timeline that are different from the session time code rate. The Time Code 2 ruler can be set to show any of the following rates: • 23.976 FPS • 24 FPS • 25 FPS • 29.97 FPS • 29.
Redefining Time Code Position To set the Main Time Scale to SMPTE Time Code, do one of the following: Choose View > Rulers > Time Code. – or – Redefining a Time Code Position Use the Current Time Code Position command to redefine the current time code position and session start time. By creating an insertion point (or selection), and then entering the new time code position for that location, the session start time will be recalculated based on the new, relative Time Code location.
To set a relative frame position for a session (Feet+Frames): 1 With the Selector tool, click in a track (or make a selection) where you want to redefine the position. If your insertion or selection is not on a grid boundary, it will round to the closest boundary. 2 Choose Setup > Current Feet+Frames Position. 3 Enter a Feet+Frame position to correspond to the time code shown in the dialog. 4 Click OK.
In normal industry standard workflows, when audio is pulled down, video and time code maintain their current speed, and only the audio and MIDI are pulled down, in relationship to the video and time code. For example, when 24 frame film to 29.97 NTSC video transfers are made, it is necessary to slow the film playback speed during the transfer process by 0.1%.
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chapter 10 Video Features Complete Production Toolkit enables additional session and track features (including DigiBase Pro) for working with video in Pro Tools LE. For more information on working with Pro Tools sessions and tracks, see the Pro Tools Reference Guide.
Destination Section Region List Imports the video file directly into the Region List, where it will be available to drag and drop into Pro Tools. Video Regions You can create video regions that function in much the same way as audio regions. Additional Video Import Options Gaps Between Regions When you import more than one video file into a track, they will be shuffled together by default.
Showing or Hiding Video Regions in the Region List Playing and Selecting Video Track Material The Region List menu provides commands that let you show or hide video regions in the Region List. • Selecting and editing across multiple Video and audio tracks To show or hide video regions in the Region List: 1 In the Edit window, click the Region List • Selecting within video frame boundaries • Link or unlink track and Edit selections • Auto-scroll video tracks • Loop playback menu, and choose Show.
• Insert space Selecting and Editing Across Multiple Audio and Video Tracks • Compact Selected (nothing happens to the video, and at least one audio track must be selected) You can create a selection across multiple audio and video tracks, and cut, copy, or paste audio and video simultaneously. Managing Regions • All naming and displaying of region commands before Editing Caveats The following caveats apply to video editing in Pro Tools: • MPEG-2 video in the Timeline cannot be edited.
Selecting within Video Frame Boundaries Pro Tools does not let you select, play back, or edit a partial video frame. The following rules apply when selecting or editing video: • When you make a selection in a video track, the selection boundaries follow the current Grid setting but round to the nearest video frame boundary, as follows: • If the selection includes more than half of a video frame, the full video frame is included within the selection.
To display the Video Universe window: 1 Make sure the Video Online button in the main video track is set to online status (blue). 2 Choose Window > Video Universe. To use the Video Universe window to zoom video regions in the Edit window: 1 Move the cursor over the top half of any video frame until it becomes a zoom tool.
To use the Video Universe window to select ranges in video regions in the Edit window: 1 Move the cursor over the bottom half of any video frame until it becomes a selector tool. 2 Do one of the following: • To place the cursor at the beginning of a video region, click the video frame representing the video region. • To select an entire video region from start to end, double-click the video frame representing that region.
88 Complete Production Toolkit Guide
chapter 11 Included Plug-ins Complete Production Toolkit includes the following plug-ins: • DINR LE • Eleven LE • Hybrid • SoundCode Stereo • Smack! LE • Structure LE Eleven LE The Eleven LE guitar amplifier plug-in gives you stunning guitar amplifier, cabinet, and microphone models of the “best of the best” vintage and contemporary gear. For more information, refer to the Digidesign Eleven Plug-in Guide.
SoundCode Stereo TL Space Native The Neyrinck SoundCode Stereo plug-in is an RTAS plug-in that down mixes a surround mix to a stereo mix for Pro Tools HD and Pro Tools LE surround compatible systems. The plug-in supports all Pro Tools surround formats (LCR, LCRS, Quad, 5.0, 5.1, 6.0, 6.1, 7.0, and 7.1). TL Space Native is a powerful convolution reverb for post production and music applications.
index Numerics C 3-knob panning 68 5.0 paths in 5.1 mixes 58 5.
E Edit menu TCE Edit to Timeline Selection command 29 Trim Automation to All Enabled command 40 Trim Automation to Current command 40 Write Automation commands 38, 39 Edit window half-screen 25 Expand Channels to New Playlists 30 Export Selected Tracks as OMF/AAF command 14 exporting AAF files 14 OMFI files 14 F Feet+Frame Rate 76 Feet+Frames redefining position 77 Feet.
O R OMF file format 14 OMFI file format 14 Output Window button 63 outputs default 5.1 paths and sub-paths 46 format and tracks 51 to multichannel paths 52 Rear Divergence 70 redefining Feet+Frames position 77 time code position 77 regions replacing 26 Render Sources 24 Replace Region command 26 and multichannel tracks 28 Replace Region dialog 27 requirements 3 Ruler View options Feet.
surround and sends 52 basic signal routing 52 center percentage (%) 71 configuring Pro Tools 49 configuring Pro Tools and sessions 44 discrete level, solo, mute 50 example 5.
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