Until recently, I had only ever worked as a 1 person ADR team where I am being both the ADR mixer and Pro Tools operator as back in Ireland a one person ADR team was all I ever knew. Cut to now and freelancing in London and being booked to work in Goldcrest, I’ve had to learn the two-person system. So what are the advantages? How does it work?
There’s a feature that had it been in Pro Tools would have been a life saver on a recent project. It’s already in Avid Media Composer so should it come to Pro Tools?
Following our article Apple Announce End Of Native Support For Avid DNx Codecs - Avid Respond. Why This Matters For Pro Tools Users Adobe have announced that the pro video apps now support ProRes export on the Windows platform releasing updates to the Adobe Creative Cloud video apps, including Premiere Pro CC, After Effects CC and Adobe Media Encoder CC.
Apple ProRes is a codec technology developed by Apple for high-quality, high-performance editing. It is a popular codec in professional post-production used for acquisition, production, delivery, and archive.
Adobe has been working behind the scenes with Apple to provide ProRes export to post-production professionals using Premiere Pro and After Effects. Support for ProRes on both macOS and Windows helps video production easier and simplifies final output, including server-based remote rendering with Adobe Media Encoder.
Once you download and install the latest Adobe updates, ProRes 4444 and ProRes 422 export will be available within Premiere Pro, After Effects, and Media Encoder on macOS and Windows 10.
You can read release notes for these apps here…
This helps those working in both audio and video post production to maintain a streamlined workflow and for the first time for Windows users provide proper ProRes support in the Adobe Pro video applications.
Will this move make you more likely to use Apple’s ProRes format rather than Avid’s DNx format?
With the release of a major Final Cut update Apple also took the opportunity to warn users that a future macOS will NOT support a number of commonly used video codecs including Avid’s DNxHD, which Avid recommend as the best video format for Pro Tools and a lot of video camera formats built around the Cineform codec. Is this Flash all over again?
Following the recent announcement that Pro Tools and Pro Tools Ultimate users with a current upgrade plan will get the UVI Falcon worth $349, the Falcon Factory Sounds and the Plugsound Avid Edition 2.6GB sound pack. In addition, Pro Tools First users will get the UVI Workstation 3 and the Plugsound Avid Edition 2.6GB sound pack.
In this article we are going share what we think about the addition of these UVI products to Pro Tools and also give you a taste of all the extra UVI sound libraries that you can buy to get even more out of these bundled UVI products.
Are you new to working in surround sound? Then check out this video that I have aimed at those who are already familiar with Pro Tools but who may be new to working in surround sound. In this free video tutorial, we take a look at the basic concepts and workflows for working in surround in Pro Tools Ultimate.
Following the resurrection of Dolby’s Dialog Intelligence with the new Netflix delivery specs and best practice recommendations, in this article, we ask whether Dolby’s algorithm is still fit for purpose as a speech-gating solution?
Have you ever asked “what exactly is Dolby Atmos? or “how do mixers learn to produce content in the format? If you have then The Dolby Institute, in partnership with the Conservatory of Recording Arts and Sciences, has launched the first free online training curriculum focused on Dolby Atmos.
My name is Lucy J Mitchell and I am a freelance Sound Editor and Dubbing Mixer for TV, Film and Computer Games living on the Surrey-London border and have been working in the Audio Post Production industry for almost 10 years. In my first article on Pro Tools Expert I covered the first 7 Pro Tools functions I could not live without In this article I am going to cover the second batch of 7 Pro Tools functions I could not live without.
Ever needed to recreate the Doppler effect as an object passes you? Tonsturm has released a plug-in called Traveler that has been designed to produce that unique Doppler effect using a graphical path editor in the GUI to enable a sound’s virtual movement, but that is just the start...
This sound design tutorial from Tonsturm covers different techniques and workflows and you be able to see the powerful plug-in Traveler in action.
So you’ve booked two days in a studio to finish a 5.1 mix. You show up with your hard drive, and open the session. When you go to check the monitor calibration, you find a few level anomalies. What do you do? The goal of this article is to show you how to do a level calibration that keeps you out of hot water and doesn’t interfere with the existing studio set-up.
My name is Lucy J Mitchell and I am a freelance Sound Editor and Dubbing Mixer for TV, Film and Computer Games living on the Surrey-London border and have been working in the Audio Post Production industry for almost 10 years. In my first article for Pro Tools Expert I am going to share here the first 7 of 14 Pro Tools functions I could not live without.
Auto Align Post is one of those plug-ins which addresses a very specific issue and fixes it with the minimum of fuss. This video demonstration illustrates how well Auto Align Post fits into the process of ingesting and conforming multiple files into a post session.
Whether you work in music production or audio post-production you can now have a versatile interface that delivers the respected DAD sound quality with complete Pro Tools integration. In this article we walk through the features in the MTRX that will help you future proof your Pro Tools HD system and talk to a user about why he chose to buy a Pro Tools MTRX.
ADR Recordist and Editor Emma Butt gets asked a lot of questions by people starting out about how to do ADR. What format should tracks take, stereo or mono? Why use a fill track? What is a good way to cue up your session efficiently before starting? How do I deliver the session once completed? In this article Emma will answer these questions and you can download her Pro Tools ADR Template too.
Scott Kramer who is Manager, Sound Technology | Creative Technologies & Infrastructure at Netflix reached out to us to ask if he could respond to our very popular article Has Netflix Turned The Clock Back 10 Years Or Is Their New Loudness Delivery Spec A Stroke Of Genius? We always welcome responses to articles we produce and so welcome Scott’s request to share this thoughts on how this new loudness spec came about.
Whilst at IBC 2018 in Amsterdam we were able to get an exclusive first look at the new Loudness Toolkit suite of plug-ins including LM-Correct, ISL and VisLM which now has new presets for the new Netflix delivery spec with a new loudness parameter, Dialogue LRA as well as new flexibility to simultaneously monitor multiple integrated measurements.
It seemed I started getting emails from people almost as soon as the virtual ink was dry on the latest delivery spec to come from Netflix. People were concerned about the language and the impression that Netflix had turned the clock back 10 years by using Dolby’s Dialog Intelligence software. In this article, we investigate to see if Netflix’s new delivery spec is a retrograde move, a pragmatic response to the changing climate, or a stroke of genius.
As someone who mixes audio for self-shooters, I often get the sync audio as 2 tracks, the camera mic and a personal lav mic on the talent. My workflow has been to go through the clips and select which one sounds better because I couldn’t use them both because of varying timing differences between them. Now with Auto-Align Post from Sound Radix, because it can fix the timing differences dynamically throughout a clip, I can now use them both together, and in this free video tutorial, I am going to show you how.