Audio Post Production
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| Advantages of Surround | Enhances movie exp., envelopes the audience in the sound scape, more realness, and creativity
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| Disadvantages of Surround | Various formats to consider, needs specialized equip. to produce and listen/playback
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| 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.
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| 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.)
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| Cinemascope | The Robe 1953, Used 4 Ch. magnetic audio tracks: 3 ch. across front, 1 surround ch. in back (known as the "FX Ch.")
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| 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.
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| 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)
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| 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.
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| 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.
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| 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.
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| 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
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| Where is DIALOGUE placed in Surround sound? | Center.
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| 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.
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| 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)
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| Channel Assignments: SMPTE/ITU | L, R, C, LFE, Ls, Rs. Default monitoring setting for Control 24 (older versions)
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| Channel Assignments: DTS | L, R, Ls, Rs, C, LFE. Default monitoring setting for Pro Control.
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| 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.
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| Surround in Pro Tools: Multichannel Buses | Pro Tools can have Busses with up to 8 channels. Buses are also dependent on Main Path setup.
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| 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.
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| 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
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| 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.
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| Pan Modes: 3 Knob Panning | Allows Panning In Straight Lines. Panning discretely between pairs of speakers.
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| Pan Modes: Position Controls | 3 Controls that determine the pan cursor position: Front, Rear, F/R
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| 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.
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| Pan Modes: Center Percentage | Determines Discrete or Phantom Center, dependent on Divergence. Controlled by a scaled percentage level 0% = Phantom Center - 100% = Discrete Center.
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| 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.
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| 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.
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| Sub is not ________. | Not LFE. This is only the Playback device.
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| 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.
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| 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.
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| 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.
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| ______ is the most important element to hear consistently. | Dialogue.
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| In film, ______ EQing is preferred. | Subtractive EQing. Removing/subduing unwanted frequencies. notching out frequency. Or attenuate gain on a particular frequncy.
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| 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.
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| 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.
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| Dialogue Leveling | -6dB
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| When mixing movies, make sure session is in ________. | Post-fader Metering. For D-control Meter Bridge and Metering Plug-Ins.
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| 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
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| Sub-Group Master | Destination Aux Track of source Sub-Group Elements. This can contain Plugins to process group
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| 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
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| 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.
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| 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.
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| 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.
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| Touch Mode | Is like Read mode until a fader is moved. Once fader is released, it moves back to the previously automated position.
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| 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.
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| 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.
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| Touch/Latch Mode | Track volume control remains in Touch Mode. All other Tracks parameters placed in Latch Mode.
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| 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.
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| 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)
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| Read Trim | Used just for auditioning a Fader move. No trim automation is written.
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| 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).
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| Latch Trim | Only affects Volume and Send Level Faders. No Trim automation is written for other parameters (Behaves normally as if in Latch Mode).
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| 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.
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| 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).
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| 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).
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| 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).
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| Plug In Automation | Every plug-in parameter can be automated. Once enabled, plug-in parameter shows up as a new playlist.
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| 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.
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| 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
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