Complete Production Toolkit 2 Version 9.
Legal Notices This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid.
contents Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Complete Production Toolkit 2 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 5. Advanced Automation Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 AutoJoin with Latch Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Touch/Latch Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 7. Video Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Video Track Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Support for Video Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Video Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
chapter 1 Introduction The Complete Production Toolkit 2 for Pro Tools® provides additional features, plug-ins, and software options for music creation and post production. Complete Production Toolkit 2 provides increased voice and track counts, and surround mixing, editing, and automation capabilities that are equal to Pro Tools HD. For information on standard Pro Tools features, refer to the Pro Tools Reference Guide (Help > Pro Tools Reference Guide).
• Numeric Keypad set to Shuttle mode • AutoFades • Back/Forward Amount • Advanced editing features: • Shuttle • Continuous Scrolling • Auto Region Fade In/Out Length • Scrub Trim tool • Use Absolute Pan Linking • Replace Region command • Suppress Automation “Write To” Warning • TCE Edit to Timeline Selection command • Allow Latch Prime in Stop • Selection of alternate field recorder audio channels in the Pro Tools Timeline • Coalesce when Removing Slaves from VCA Group • Expanding alternate fi
System Requirements and Compatibility Conventions Used in This Guide To use Complete Production Toolkit 2, you need: All our guides use the following conventions to indicate menu choices and key commands: : An iLok USB Smart Key (an iLok.
About www.avid.com The Avid website (www.avid.com) is your best online source for information to help you get the most out of your Pro Tools system. The following are just a few of the services and features available. Product Registration Register your purchase online.
chapter 2 Installation and Authorization Installing Complete Production 2 Toolkit A qualified version of Pro Tools must be installed before you install your toolkit and authorize its software components. To install Complete Production Toolkit 2: 1 Do one of the following: • Download the installer for your computer platform from www.avid.com. After downloading, make sure the installer is uncompressed (.dmg on Mac or .ZIP on Windows). 3 Follow the on-screen instructions to complete the installation.
Authorizing Complete Production Toolkit 2 Complete Production Toolkit 2 and its additional software components must be authorized before they can be used in Pro Tools. Complete Production Toolkit 2 and Additional Software Components Each Complete Production Toolkit 2 component must be authorized before it can be used in Pro Tools. Authorization includes activating your software licenses online, then transferring your licenses to an iLok USB Smart Key (iLok).
Uninstalling Complete Production Toolkit 2 Software Option and Included Plug-Ins Plug-ins included with Complete Production Toolkit 2 software can be removed from your system. The Complete Production Toolkit 2 feature set for Pro Tools is automatically enabled if a valid Complete Production Toolkit 2 authorization is detected on your iLok.
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chapter 3 Session and Track Features Complete Production Toolkit 2 enables additional session and track features in Pro Tools. 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 192 Voices Complete Production Toolkit 2 lets you play or record up to 192 voices simultaneously at 44.1 or 48 kHz, up to 96 voices at 88.2 or 96 kHz, and up to 48 voices at 176.4 or 192 kHz.
VCA Master Tracks Setting a track voice assignment to Off For the track that was originally higher numbered than the total allowed number of voiced audio tracks, its voice assignment was set to Off. When bringing it into the range of total allowed voiced tracks, it automatically resets to DYN. For more information on track priority and voice assignments, see the Pro Tools Reference Guide.
This ensures that even when a VCA Master track is not visible, the true state of its slave tracks is accurately displayed. VCA Slave Track Controls and Group Behavior When a group is assigned to a VCA Master, the VCA-modifiable controls (Volume, Mute, Solo, and Record Enable) on its slave tracks, by default, do not follow any grouped behavior that may be set in the Attributes page of the Groups dialog.
Record Enable Assigning Groups to VCA Masters The VCA Record Enable button toggles the Record Enable status of only those audio, Instrument, and other VCA tracks that have already been record-enabled individually. You can then toggle record enable on and off for those tracks using the VCA Master Record Enable. An existing Mix group can be assigned to a VCA Master, or a new Mix group can be assigned to a VCA Master while it is being created. Only one group can be assigned to a VCA Master at a time.
Allowing Grouped Behavior of VCA Slave Track Controls When a track is a VCA slave track, its Volume, Mute, Solo, Record Enable, and TrackInput controls follow VCA functions, and normally do not follow Mix group behavior. Globals Lets you select parameters to use as a template that can be applied to individual groups by selecting the Follow Globals option. However, these slave track controls can be set to allow Mix group behavior in addition to their VCA functions.
Mix Groups Setting Group Attributes Mix Groups can be set to affect the following items: When creating a Mix Group or a Mix/Edit Group, you can select the Mix window parameters that will be linked for that group. These linked parameters are the attributes of the group.
To select attributes for an individual group: 1 While creating or modifying a Mix Group or a Mix/Edit Group, do one of the following: • Click Attributes in the Group dialog, and select the attributes you want to link. Selecting Group Attributes The following attributes can be selected for Global settings and for individual groups. Track controls: – or – • Main Volume • Enable Follow Globals to follow the base set of attributes.
Saving Group Attribute Presets You can define six Group presets that can be recalled on either the Attributes or Globals page whenever you are creating or modifying a Mix or Mix/Edit Group. To recall a Group preset: Click the corresponding Preset button (1–6) in the Groups dialog. (Follow Globals must be unchecked to recall a setting in the Attributes page.) To save the current attribute settings as a Group preset: 1 In the Groups dialog, click Save.
Setting Playback Location with Back and Forward Commands Pro Tools provides four Back/Forward commands (sometimes called “rollback”) for moving the playback location in the Edit window.
Repeating Back/Forward Commands 3 Do one of the following: All the Back/Forward commands can be repeated in order to increase the amount of the total Back or Forward move. • To extend the selection backwards by the Back/Forward Amount, press Shift+Command (Mac) or Shift+Control (Windows) and click Rewind in the Transport window. To repeat Back/Forward moves: – or – 1 Press and hold Command (Mac) or Control (Windows).
Numeric Keypad Set to Shuttle Pro Tools offers another form of shuttling, different from that of Shuttle Lock mode. With the Numeric Keypad mode set to Shuttle, playback of the current Edit selection is triggered by pressing and holding the keys on the numeric keypad—playback stops once the keys are released. Various playback speeds are available in both forward and reverse. In this mode, pre- and postroll are ignored.
To set the length of automatic fade-ins/outs: 1 Choose Setup > Preferences and click the Operation tab. 2 Type a value between 0 and 10 ms for the Auto Region Fade In/Out Length. A value of zero (the default) means that no auto-fading will occur. 3 Click OK. The AutoFade value is saved with the session, and is automatically applied to all freestanding region boundaries until you change it.
Automation Section Suppress Automation “Write To” Warnings When selected, Pro Tools suppresses the warnings that appear after invoking any of the Write Automation To Start, Selection, End, or Punch commands and then stopping the transport. Allow Latch Prime in Stop When selected and any tracks are in Latch mode, any automationenabled controls on those tracks can be set to new values while the transport is stopped by touching or moving controls, to prepare for the next automation pass.
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chapter 4 Advanced Editing Features Complete Production Toolkit 2 enables additional editing features in Pro Tools. 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 5 Advanced Automation Features Complete Production Toolkit 2 enables additional mixing and automation features in Pro Tools. To enable AutoJoin from Pro Tools: 1 Choose Window > Automation. 2 Click the AutoJoin button. For more information on mixing and working with automation in Pro Tools, see the Pro Tools Reference Guide.
AutoJoin Indicator After a Latch automation pass with AutoJoin enabled, the AutoJoin indicator appears in the Pro Tools Edit window. Touch/Latch Mode Touch/Latch Automation mode places a track’s Volume control in Touch mode and all other automatable controls in Latch mode. In Touch/Latch mode, the Volume control follows Touch behavior, writing automation when touched and returning to previously written levels when released.
Trim Mode You can adjust (or trim) existing track volume and send level automation data in real time. Pan, mute and plug-in automation cannot be trimmed in this manner. Trim mode works in combination with the other Automation modes (Read, Touch, Latch, Touch/Latch, and Write) and is useful when you want to preserve all of your volume automation moves, but need to make levels a bit louder or softer to balance a mix. When writing automation in Trim mode, fader moves write relative rather than absolute values.
Touch Trim Touch/Latch Trim In Touch Trim mode, Volume and Send level Trim faders are disengaged from the main automation playlist and follow any existing Trim automation. When a Trim fader is touched, writing of Trim automation begins. When the fader is released, writing stops and the fader returns to any previously written Trim automation values. In Touch/Latch Trim mode, Volume and Send level faders are disengaged from the main automation playlist and follow any existing Trim automation.
Send Levels and Trim Mode You can set Pro Tools to exclude Send levels from Trim mode, so that only the Main Volume goes into Trim when a track is put into Trim mode. This gives you more flexibility in setting Send levels while in Trim mode. To exclude Send levels from Trim mode: 1 Choose Setup > Preferences and click Mixing. 2 Under Automation, deselect Include Sends in Trim Mode.
Copy Track Automation to Sends There may be times where you want a track’s send settings or automation to mirror the settings or automation in the track itself, for example, when creating a headphone mix based on the main mix, or when an effect level needs to follow the levels in a main mix. You can copy the current settings or the entire automation playlist for the selected controls to the corresponding playlist for the send.
AutoMatching Individual Tracks AutoMatch You can invoke AutoMatch on individual tracks. All controls currently writing automation on the track stop writing and return to existing automation levels. AutoMatch button AutoMatch button in the Automation window AutoMatching All Controls You can AutoMatch all currently writing controls to their existing automation levels. To AutoMatch all controls on a track: Control-click (Windows) or Command-click (Mac) the Automation Mode selector on the track.
To AutoMatch a pan control or the controls for an individual insert or send: 1 Press the switch in the Channel Strip Mode controls to display the Pan controls or the top level of Inserts or Sends for the channel. 2 Hold Control (Windows) or Command (Mac) and press the Rotary Encoder Select switch for the control you want to AutoMatch: • For Sends, the Send level, pan, and mute will AutoMatch. • For Inserts, all automated controls will AutoMatch. • For Pan, all pan sliders on the channel will AutoMatch.
Taking Tracks and Controls Out of Latch Prime You can take individual tracks or automation types out of their Latch Prime state before or during an automation pass. When you take a track or automation type out of Latch Prime before starting playback, it stays in Latch mode but the corresponding controls are not primed to write when playback starts.
To take an automation type out of Latch Prime on all tracks, do one of the following: In the Automation window, Control-click (Windows) or Command-click (Mac) the button for the automation type (Volume, Pan, Mute, Plug-In, Send level, Send pan, or Send mute). 4 In the Automation window, click the Capture button and then click the Punch Capture button. The AutoJoin marker (a vertical red line) appears on-screen at the punch point.
To apply a Glide Automation to the current automation parameter type: 1 In the Automation window, make sure the au- tomation type is write-enabled. 2 Click the Track View selector to choose the au- tomation type you want to automate. 3 Drag with the Selector tool in the track to se- lect the area you want to write the glide to. 4 Change the automation parameter to the value you want at the end of the selection. For example, to glide automation volume to –Infinity, move the Volume fader to –Infinity.
Trim Automation If you have already written automation, you can modify automation data for track volume and send levels in real time by using Trim mode. When a track is trim-enabled, you are not recording absolute fader positions, but relative changes in the existing automation. See “Trim Mode” on page 33 for more information. To trim track Volume or Send levels: 1 In the Automation window, make sure the au- tomation type (Volume or Send level) is writeenabled.
Manually Trim moves are stored separately in the Trim automation playlist until they are coalesced. With this setting, the only way to coalesce Trim moves is with the Coalesce Trim Automation command. You can repeat an automation pass, edit Trim automation manually on any of the Trim playlists, or clear Trim automation before coalescing with this method. To set the method by which Trim Automation is coalesced: 1 Choose Setup > Preferences and click Mixing.
Suspending Trim Automation To suspend Trim automation on all tracks: In the Automation window, Command-click (Mac) or Control-click (Windows) the Suspend button. The Suspend button highlights yellow to indicate that Trim automation is suspended. To suspend Trim automation for individual controls on a track: 1 In the Edit window, set the Track View selector to show the automation playlist for the Trim control you want to suspend (Volume Trim or Send level Trim).
Write Automation to the Start, End, or All of a Track or Selection Pro Tools lets you write current automation values from any insertion point forward (or backward) to the end (or beginning) of a track or Edit selection in a track, or to an entire track or Edit selection, while performing an automation pass.
Write to Start, End or All and Trim Mode While in Trim mode, it is also possible to write trim delta values for track volume and send levels to the start, end or all of a track or Edit selection. To write current trim delta values to the start, end, or all of a track or selection: 1 Choose Window > Automation. 2 Make sure the automation type (track volume or send level) is write-enabled.
To configure Write on Stop modes to remain enabled after an automation pass: 1 Choose Window > Automation. 2 Alt-click (Windows) or Option-click (Mac) one of the Write On Stop buttons (Start, All or End) to enable the Write On Stop mode. The enabled Write on Stop arrow appears in red.
6 When you reach a point in the track where you want to apply the current settings, click the Write Automation to Next Breakpoint button. To write current automation values back to the automation punch point: 1 Choose Window > Automation. 2 Make sure the automation type is write en- abled. 3 Click in a track to define an insertion point. 4 Start playback.
Write To Next Breakpoint or Punch Point and Trim Mode While in Trim mode, it is also possible to write trim values for track volume and send levels to the next written breakpoint or back to the automation punch-in point. To write current trim values to the next breakpoint or to the punch point: 1 Choose Window > Automation. 2 Make sure that the automation type (track volume or send level) is write-enabled. 3 In the Mix or Edit window, click the Automa- tion Mode selector and select Trim.
Guidelines for “Write To” Commands Using “Write To” Commands During Playback You can carry out any of the Write Automation To commands without stopping the Pro Tools transport. On supported control surfaces, the corresponding “Write To” button flashes until you stop the transport.
Overwrite or Extend Mute Automation A mute event can be extended when the automation pass begins before an on or off event and stops before the end of the second event. Pro Tools lets you overwrite or extend an existing mute event in real time, without changing the current mute state. A mute event can be overwritten when the automation pass begins before the first mute event and ends after the second event. In this case, the current on/off state of the mute is maintained.
To overwrite a mute state on one or more tracks: 1 Choose Window > Automation. 7 Press Control (Windows) or Command (Mac) and the track Mute button before the start of the mute event you want to overwrite. 2 Make sure Mute is write-enabled. To overwrite mute states on multiple tracks, press Alt+Control (Windows) or Option+Command (Mac) and the Mute button on one of the tracks to be automated. 8 After the end of the second mute event, re- Mute automation enabled lease the key and the Mute button.
To extend a mute state on a track: 1 Choose Window > Automation. 2 Make sure mute is write-enabled. 3 In the Mix or Edit window, click the Automa- tion Mode selector of the track you want to automate, and select Touch or Latch mode. Example: Stop automation pass here, before end of mute event Stopping automation before the end of a mute event To extend mute states on multiple tracks, set all tracks to the same Automation mode. 9 When you have finished the automation pass, click Stop.
Snapshot Automation You can write automation data values for multiple parameters in a single step. You can write snapshot automation in two ways: To a Selection Automation data is written to the Timeline selection (as well as the Edit selection if linked). Anchor breakpoints are placed just before and after the selection so that data outside the selection is not affected. To a Cursor Location Automation data is written at the insertion point.
Adding Snapshot Automation to Empty Automation Playlists Writing Snapshot Automation over Existing Automation Data When you use a Write Automation command on an automation playlist with no previously written automation data, the selected value is written to the entire playlist and not just the selected area. 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.
Snapshot Automation and Trimming of Automation Data Pro Tools lets you use trim values as snapshots and apply the relative changes (delta values) to the selected automation by using the Trim Automation command. This works in much the same way as the Write Automation command, except that it writes delta values instead of absolute values to automation data. You can use trim values in writing snapshot automation to any automatable parameter.
Previewing New Automation Values To preview a new automation value for a control: 1 Make sure the track where you want to preview the value is enabled for automation (Touch, Latch, Touch/Latch or their corresponding Trim modes). 2 Make sure the automation type you want to 4 To isolate a control, touch or move an automation-enabled control.You can isolate controls during playback or while the transport is stopped.
Isolating Multiple Controls Punching Preview Values In some cases, such as when starting a new mix, you may want to isolate multiple controls at the same time. After you have isolated a control and auditioned a new value, you can punch (write) the value to the automation playlist. To isolate all currently write-enabled controls: To punch a preview value to the automation playlist: Alt-click (Windows) or Option-click (Mac) the Preview button.
Capturing Automation Values Capture Automation You can capture current automation values at one location in a session and quickly apply them in another location with the Capture and Punch Capture commands. The Capture command temporarily stores the value of all controls currently writing automation, and the Punch Capture commands writes those stored values to all enabled automation types. ICON Systems allow for the capture of up to 48 different values, or snapshots.
Punching Captured Automation Values Capturing Automation Values for All Controls After automation values are captured, they can be punched (written) to another location in the track. Any tracks set to Read or Off are unaffected. You can capture the state of all automatable controls (except on tracks with their Automation Mode set to Off) in a session, regardless of whether they are currently writing automation.
Punching Automation Values for All Controls You can punch all captured automation values to another location on their corresponding tracks (except those tracks with their Automation Mode set to Off). To punch the automation values of all controls: When you reach a location where you want to apply the captured automation states, Alt-click (Windows) or Option-click (Mac) the Punch Capture button. Any track set to Read or Touch are set to Latch. Any tracks set to Off are unaffected.
Capture and Preview Mode Loading Captured Values into Preview You can preview and modify captured automation values in Preview mode before punching the values to the automation playlist. To capture an automation value and use it to preview: 1 Make sure the track where you want to preview the value is enabled for automation (Touch, Latch, Touch/Latch or their corresponding Trim modes).
VCA Master Track Automation Displaying Automation on VCA Master Tracks The following controls on VCA Master tracks can be automated and have separate automation playlists: Excluding VCA Slave Tracks from VCA Master Automation When you are writing automation on a VCA Master track, the corresponding moves will appear on the composite automation playlist of each of its slave tracks. If you want to exclude a slave track from an automation pass, write-enable the slave track for automation.
Coalescing VCA Automation There are several ways to commit, or coalesce, the contribution of a selected VCA Master track’s Volume and Mute automation to the automation playlists of its slave tracks. To coalesce automation from a VCA Master to all of its slave tracks and delete the VCA Master track: 1 Select the VCA Master track whose automa- tion you want to coalesce. 2 Choose Track > Delete.
Duplicating a Slave Track When you duplicate a slave track without duplicating its group assignments, the VCA automation is coalesced to the duplicate track. The coalesced duplicate plays back exactly as if it were in the VCA group. Coalescing Automation Across an Edit Selection You can commit VCA automation across an Edit selection in a VCA Master track, without committing the automation on the entire length of the track.
chapter 6 Surround Features Pro Tools with Complete Production Toolkit 2 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, 7.0, 7.0 SDDS, 7.1, and 7.1 SDDS. Pro Tools with the Complete Production Toolkit2 option and 003, 003 Rack, 003 Rack+, Digi 002, or Digi 002 Rack can monitor discrete mixing in surround up to 7.1.
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 71. 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 67.
To create a new session for multichannel mixing: 1 Choose File > New Session. 2 Select the Create Blank Session option. The surround presets preconfigure the I/O Setup for the new session with default 5.1 format output paths and main and sub-paths for output busses. 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.
Surround Mix Settings Files The surround mix I/O Settings provide output and bus paths for three specific track layout standards in the new session. (For information on inputs and insert paths, see “Default Input and Insert Paths with 5.1 Settings” on page 70.) Settings Files and Track Layouts 5.
Exporting I/O Settings Reassigning Channels Exporting I/O Setup settings files lets you build a library of multichannel setups for different projects. The I/O Setup dialog and its Channel Grid also let you assign Pro Tools Output channels to physical outputs on your audio interface. This is especially useful to route channels within a multichannel path, without having to re-patch your audio interfaces. To export an I/O Setup settings file: 1 Choose Setup > I/O. 2 Click Export Settings.
To define an LCRS path: 1 Choose Setup > I/O, and click the Output tab. 2 Click New Path. 3 Select LCRS from the Path Format selector. 4 Name the path LCRS. 5 In the Channel Grid, click in the box below the first (left-most) audio interface channel for the path. Pro Tools automatically fills up the adjacent units to the right. If you click in the LCRS row under channel 1, the LCRS path is assigned to channels 1–4. 6 Select the Bus tab. 7 Select Output Busses from the Default selector. 5.
Default I/O Selectors in I/O Setup The Output page and the Bus page of the I/O Setup provide selectors for setting I/O defaults in your multichannel sessions. Audition Paths Selects the monitoring path for previewing audio in the Region List, Import Audio dialogs, and DigiBase. Only outputs on your primary interface can be used as your Audition path. Default Output Bus Selects the default output bus path for all new tracks, for each supported track format.
5.1 Track Layouts, Routing, and Metering 5.1 Format Tracks Track Meters Channel Assignments 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 ICON X-Mon (8-channel 7.
Multichannel Audio Tracks Placing Audio in Multichannel Tracks Multichannel audio tracks contain an individual channel for each signal in the track (for example, a 5.1 track would have six channels for left, center, right, left surround, right surround, and LFE). You can drag audio files and regions from DigiBase browsers, the Region List, Windows Explorer, or Mac Finder, or from other tracks, to place them in multichannel audio tracks.
Solo, Mute, and Gain in Multichannel Tracks and Paths Stereo and multichannel tracks consist of multiple audio signals, linked together. By default, multichannel tracks are linked and are controlled by a single channel fader, and solo and mute switches. For discrete control of signals, multichannel tracks can be converted into individual mono tracks. For discrete level and phase adjustment, you can insert and unlink a multi-mono Trim plug-in. Both of these techniques are explained below.
Multiple Output Assignments and Track Format When a track is assigned to more than one path of differing formats, the main output for that track will match the format of the assigned path with the greatest number of channels. Multiple Outputs and Automation Playlists When a track has multiple output assignments, Pro Tools sorts panning data appropriately for each assigned path. For example, if you assign a mono track to a stereo path and a 5.1 path simultaneously, that track will have a 5.
Multichannel Track Outputs Tracks can be routed to multichannel output or bus paths using the track’s Output Path selector. This provides a multichannel panner and meter in the Mix and Edit window I/O View. Additional output assignments can be added by Start-clicking (Windows) or Control-clicking (Mac) the Selector tool and assigning another path. Figure 2 shows a mono audio track with a 5.1 (6-channel) send (View > Sends A–E > Send A).
Multichannel Auxiliary Inputs and Master Faders Mono, Multi-Mono and Multichannel Plug-Ins A multichannel Auxiliary Input or Master Fader is used as a return for the multichannel bus. Sends are useful when you need to create an additional, independent mix simultaneously (perhaps of a distinct format), requiring dedicated fader, mute, solo, and automation controls. Plug-ins can be used in mono, multi-mono, or multichannel formats. You can assign Master Faders to main and subpaths.
Linking and Unlinking Controls on Multi-Mono 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. If necessary, you can unlink plug-in controls on specific channels of a track and edit them independently. You can also selectively link the controls of specific 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 81). 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 3.
Example Paths and Signal Routing for a Surround Mix Example Bus Paths Figure 5 shows example bus paths. 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.
Example Sub-Paths Sub-paths let you route to selective channels within the multichannel surround output busses. In Figure 6, the Mix 5.1 bus has several subpaths 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. Figure 8 on page 85 below shows a routing configuration for music tracks.
Figure 7. FX stem Figure 8.
LFE Examples LFE tracks and other audio can contribute to the LFE output in two ways: Figure 10 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. • Using the LFE fader in Output windows. This LFE signal is post-fader. – or – • Using a custom sub-path to route channels discretely. Main output to mono LFE channel Figure 9 shows a channel Output window, sending and metering to the LFE channel.
Introduction to Pro Tools Surround Panning Click and drag to pan There are four different track panning methods available: • In the Edit window, using the reduced-height Panner Grid in the I/O View • In the Mix window, using the reduced-height Panner Grid • In the Output window, using the full-size Panner Grid • Through pan automation editing Control surfaces provide additional panning options. Refer to the documentation for your control surface for more information.
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 88. For information on Output window panning controls, see “Surround Panner Controls” on page 89.
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 92).
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.
Divergence To adjust divergence: In the Panner Grid, the current divergence values are displayed using a purple outline. Adjust the Front, Rear, and Front/Rear Divergence controls as necessary. Divergence Editing Mode Divergence display In Divergence Editing mode, you can adjust the divergence boundaries by dragging directly in the Divergence Grid. To adjust divergence graphically: 1 Click on the Panning Mode button until the Divergence Editing icon is displayed.
To adjust Center Percentage: Adjust the Center Percentage knob as appropriate. 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.
Pan Playlists Surround Scope Plug-In Multichannel panners have an automation playlist for each position and divergence control. The Surround Scope plug-in provides a 360° meter for metering multichannel paths during mixing. Pan automation can be drawn, edited, cut, copied, and pasted from the Edit window. For more information, see the Pro Tools Reference Guide. 5.1 Format Track Layouts All 5.
chapter 7 Video Features Complete Production Toolkit 2 enables additional session and track features for working with video in Pro Tools. For more information on working with Pro Tools sessions and tracks, see the Pro Tools Reference Guide. Video Track Support Multiple Video Track Playlists Playlists provide an easy way of changing back and forth between alternate versions of a video track.
Support for Video Import Options Complete Production Toolkit 2 adds the following options to Pro Tools when using the Video Import Options dialog to import video into Pro Tools: 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. 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.
Video Regions in the Region List A video region displays in the Region List with a small video icon next to its name. General Video Editing Most editing operations that are available for audio regions can also be applied to video regions. This section describes all available video editing operations. Unless noted, the procedure for each video editing operation is the same as its audio editing counterpart.
Working with Regions and Selections Editing Caveats • Capture regions The following caveats apply to video editing in Pro Tools: • Separate regions and Separate Grabber Tool • Region overlap and underlap • All trimming commands except for TCE • Heal separated regions • Place, align, slide, shuffle, and spot regions • Nudging (quantized to frame boundaries) • Shift command (moving track material back or forward in time by a specified amount) • If you create and enable a track group containing audio and
Selecting and Editing Across Multiple Audio and Video Tracks You can create a selection across multiple audio and video tracks, and cut, copy, or paste audio and video simultaneously. before • 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.
Video Region Groups You can include video regions within region groups for the following operations: 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: To use the Video Universe window to select ranges in video regions in the Edit window: 1 Move the cursor over the top half of any video frame until it becomes a zoom tool.
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chapter 8 Included Plug-Ins Complete Production Toolkit 2 includes the following plug-ins: • SoundCode Stereo • X-Form SoundCode Stereo The Neyrinck SoundCode Stereo plug-in is an RTAS plug-in that down mixes a surround mix to a stereo mix for Pro Tools 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). For more information, refer to the SoundCode Stereo Guide.
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index Numerics 3-knob panning 93 5.0 paths in 5.1 mixes 84 5.1 formats in Pro Tools 72 A Activation Code 6 Allow Latch Prime in Stop option 21 alternate channels Expand to New Playlists 28 attributes (groups) 14 audio regions fitting to an Edit selection 27 audio tracks 5.
C F capturing automation values 60 Center % (Percentage) 95 Center % in Output window 96 Channel selector for multi-mono plug-ins 80 Clear Trim Automation Track command 44 Coalesce Trim Automation options 21 Coalesce when Removing Slaves from VCA Group option 21 coalescing Trim automation 42 VCA automation 65 Complete Production Toolkit features 1 installing 5 system requirements 3 uninstalling 7 Continuous Scroll with Playhead option 23 Continuous Scrolling During Playback option 23 Copy to Send command
L P Latch Mode AutoJoin 31 Join 31 LCRS path examples 72 LFE enable in plug-ins 97, 84, 86 faders 97 Link Enable buttons in multi-mono plug-ins 80 linking multi-mono plug-ins 80 stereo panners 91 panning 3-knob 93 fine-adjust mode 93 grids 87, 84 linked stereo 91 multichannel automation playlists 98 take over in grid 92, 94 Use Absolute Pan Linking option 20 X/Y mode 92 parallel mixing 77 paths creating multichannel 71 for surround 81 sub-path surround examples 84 plug-ins and surround mixing 79 Channel
112 S T Scrolling options Continuous Scrolling During Playback 23 Scrub Trim tool 23 scrubbing with Scrub Trim tool 24 sends and multichannel mixing 78 copying track automation to 36 multichannel 78 sessions creating for surround mixing 68 shuttle fixed mode option 18 Shuttle Numeric Keypad mode 19, 20 Side Center % (Percentage) 95 signal routing basics for surround 77 surround examples 84 Snap Pan to Speaker icons 91 snapshot automation 54 adding to empty automation playlists 55, 57 writing over existin
W Write 56 Write Automation commands 54, 56 Write Automation To commands 59 Write Automation to Next Breakpoint command 47 Write Automation to Next Breakpoint on Stop command 49 Write Automation to Selection/Selection Start/Selection End buttons 45 writing automation on stop 46, 47, 45 snapshot automation 54 Index 113
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