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APP 8-9
Audio Post Production
| Question | Answer |
|---|---|
| Advantages of Surround | Enhances movie exp., envelopes the audience in the sound scape, more realness, and creativity |
| Disadvantages of Surround | Various formats to consider, needs specialized equip. to produce and listen/playback |
| Media that Benefits from Surround? Media that does NOT Benefit from Surround? | Does: Action films, Specialized documentaries, Planetarium shows, Theme Park, Specialized Corporate presentations. NOT: Most Web based media, Music media, Non-action/short and feature films, Reality TV, News. |
| Fantasound | Disney's Fantasia 1941, First true surround sound movie: 3 Front Ch. and 2 Rear Ch. (Rear was recorded on separate reels of film, steered in when needed.) |
| Cinemascope | The Robe 1953, Used 4 Ch. magnetic audio tracks: 3 ch. across front, 1 surround ch. in back (known as the "FX Ch.") |
| Dolby Stereo | Star Wars 1977, Used 4 Ch. optically printed audio tracks (included noise reduction). 3 Ch. across front and 1 surround Ch. Had better frequency response and quality than magnetic tracks. |
| Dolby Stereo Surround | Apocalypse Now 1979, Used 6 Ch. magnetic audio tracks. 3 Ch. across front, 2 Surround Ch. (Stereo surround), 1 LFE (sub-woofer) |
| Dolby Digital Surround | Batman Returns 1992, Used 6 CH. AC-3 Digital Stream (optically on film). 3 CH. across font: L, C, & R. 2 Surround Ch. Ls & Rs, 1 LFE Ch. |
| DTS | Jurassic Park 1993, Used 6 Ch format, audio not on film-stock, just a time-coded leader. Audio stored on separate CD-ROM. LED Reader read time code data. DTS Processor synchronizes the audio with the film. |
| SDDS (Sony Dynamic Digital Sound) | Last Action Hero 1993, 8 ch format, 7.1 optically printed audio. 5 front ch: L, Lc, C, Rc, R. 2 rear surround ch: Ls, Rs. I LFE ch. |
| Dolby EX | Star Wars: The Phantom Menace 1999, 7 Ch Format, 6.1 optically printed audio. 3 front ch: L, C, R. 3 rear surround ch: Ls, C,s, Rs. I LFE ch |
| Where is DIALOGUE placed in Surround sound? | Center. |
| Where is FOLEY placed in Surround sound? | Placed across Front channels L, C, R. Most of signal goes to L and R and is dipped in the center to leave room for Dialogue. |
| Channel Assignments: FIlm? | L, C, R, Ls, Rs, LFE. Default for Pro Tools onscreen meters. Default layout for Pro Tools Multi channel regions. Default monitoring setting for D-Control/D-Command, Control 24 (New version) |
| Channel Assignments: SMPTE/ITU | L, R, C, LFE, Ls, Rs. Default monitoring setting for Control 24 (older versions) |
| Channel Assignments: DTS | L, R, Ls, Rs, C, LFE. Default monitoring setting for Pro Control. |
| Surround in Pro Tools: Multichannel Tracks | Pro Tool s can have up to 8 Ch. Track output is dependent on the Main Path Setup. No Multichannel Main Path = No Multichannel outputs. |
| Surround in Pro Tools: Multichannel Buses | Pro Tools can have Busses with up to 8 channels. Buses are also dependent on Main Path setup. |
| Surround in Pro Tools: Tracks for Surround | Tracks do not need to be surround. The output will be surround instead. Surround (multichannel) tracks can be created later, to hold surround mixed regions. |
| Multichannel Panner Linking | Only for stereo tracks with multichannel outputs. Provides separate L/R multich. panners. Pan Linkage Contrls: Link (links L/R), Front Inverse, Rear Inverse, Front/Rear Inverse |
| Pan Modes: X/Y Mode | Allows Joystick style panning on the X/Y Grid, the position of the Pan Location Cursor determines pan position. Note: Clicking on Speaker Icon snaps cursor directly to speaker. |
| Pan Modes: 3 Knob Panning | Allows Panning In Straight Lines. Panning discretely between pairs of speakers. |
| Pan Modes: Position Controls | 3 Controls that determine the pan cursor position: Front, Rear, F/R |
| Pan Modes: Divergence | 3 Controls that determine bleed between speakers: Front, Rear, F/R. controlled by a scale percentage level: 100% = No Bleed (point source) to 0% = Widest Spread. |
| Pan Modes: Center Percentage | Determines Discrete or Phantom Center, dependent on Divergence. Controlled by a scaled percentage level 0% = Phantom Center - 100% = Discrete Center. |
| LFE Controls: LFE Fader | Controls the amount of Direct Signal sent through the LFE Ch, Not filtered. Present on all tracks assigned to output paths 5.1, 6.1, 7.1. |
| LFE Controls: LFE Enable | Button that lets you enable or bypass processing of the LFE Ch. Avail on some Multichannel or Multi-mono Plug-Ins. |
| Sub is not ________. | Not LFE. This is only the Playback device. |
| What is a Mix? | A cohesive blend of sound. Elements should be clearly audible. Dialogue should always be heard. Effects have their own dynamics, don't make everything loud. |
| In a Multi track DAW, Sub-mixing from multiple tracks down to 2 or 6 tracks is the process of ___________________. | Summing to the outputs. Ease of providing multiple mixes of the same project. |
| In a Multi track DAW, ____ & ____ can still be overloaded. Not as forgiving as the Analog system, watch meters | Outputs and converters can still be overloaded. |
| ______ is the most important element to hear consistently. | Dialogue. |
| In film, ______ EQing is preferred. | Subtractive EQing. Removing/subduing unwanted frequencies. notching out frequency. Or attenuate gain on a particular frequncy. |
| Sweeping for Frequency | Raise Gain on particular frequency band. Narrow Q on this band, move freq. back and forth to search. Lower gain when frequency is found. |
| De-Essing | Band specific frequency suppression, affects dynamics (EQ/compression). Greater for suppressing Sibilance. Sibilant frequencies vary person to person. Use EQ to find sibilant frequency first. |
| Dialogue Leveling | -6dB |
| When mixing movies, make sure session is in ________. | Post-fader Metering. For D-control Meter Bridge and Metering Plug-Ins. |
| Sub-grouping Elements | Splitting off the categories into their own sub Mix. Rerouting tracks to an Aux track. Gives another level of fine-tuning. Allows for mass processing of elements with less plugins |
| Sub-Group Master | Destination Aux Track of source Sub-Group Elements. This can contain Plugins to process group |
| Multi-Band Compressor/Expander/Limiter | Level out the problem areas by their frequency range. They must have processors for you mix. Ex: Waves C4, T. C. Electronics MD3 |
| Try to use different _____ for each _____. Pan each slightly differently. Adds greater space and imaging. Set up each Reverb on its own Aux Track, bus sub-group to it from Sub-master aux. | Try to use different REVERBS for each SUB-GROUP. |
| Automation Enable Window: Write Enable | CMND + 4: Controls all parameter ability to write in real time. Parameter is enabled when lit. does not affect reading back automation or graphical automation. |
| Automation Enable Window: Auto-Suspend | completely disables reading and writing of all real-time automation globally. Does not affect writing of graphical automation. Affects reading. |
| Touch Mode | Is like Read mode until a fader is moved. Once fader is released, it moves back to the previously automated position. |
| Auto Match Time | The amount of time it takes for a fader to return to its Null Point. After the fader is released, user set preference in Mixing section. 0-5000 msec. |
| Latch Mode | Once the fader is moved and released, it stays at that position until playback is stopped. Good for Pan and Plug-In automation. |
| Touch/Latch Mode | Track volume control remains in Touch Mode. All other Tracks parameters placed in Latch Mode. |
| Trim Modes are avail in Pro Tools ____ only. | Pro Tools HD only. Works in combination with all other automation modes. N/A for pn, mute and Plug-In. |
| Volume and Send Level Trim | 2 Extra Playlists. Mirroring regular Volume or Send Level playlists. But shows Relative changes to existing automation. Relative Change = Delta Value (dB) |
| Read Trim | Used just for auditioning a Fader move. No trim automation is written. |
| Touch Trim | Only affects Volume & Send Level Faders. No trim automation is written for the other parameters (They behave normally as if in Touch Mode). |
| Latch Trim | Only affects Volume and Send Level Faders. No Trim automation is written for other parameters (Behaves normally as if in Latch Mode). |
| Touch/Latch Trim | Only affects Volume and Send Level faders. Volume fader follows Touch Trim behavior, Send Level fader follows Latch Trim behavior. No Trim automation is written for other parameters. |
| Write Trim | Stops over-writing of automation data on other playlists. Only affects volume and send level faders. No automation is written for other parameters (behave like Touch mode). |
| Trimming automation: Graphical only | Using the Trim to do relative changes to existing automation. #38: LEFT: Shows actual level in dB. RIGHT: Shows relative change, Delta Value in dB (inside Brackets). |
| Coalescing | Committing Trim Automation to the main automation playlist. Redrawing to match existing Volume/Send Volume Playlist: Automatically after every pass (Preferences), or Manually (Right-click on the Track Name). |
| Plug In Automation | Every plug-in parameter can be automated. Once enabled, plug-in parameter shows up as a new playlist. |
| Snapshot Automation | Writing data values for multiple parameters in a single step: TO a selection in the timeline or to a cursor location. Plugin parameters have to be enabled. |
| Surround: AutoGlide Time | Designed for surround panning. specifies how quickly Pro Tools transitions (glides) from one automation value to another. This is not to be confused with AutoMatch |
Created by:
la.maricha
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