Sounds In Sync have released EdiCue v3, which is the first of their suite of tools that has been transitioned to 64-bit, ready for the release of macOS Catalina, which will no longer support 32-bit applications. Mark Franken hasn’t just converted EdiCue to 64-bit, he has taken the opportunity to add a raft of new features to EdiCue.
In these two extended video tutorials post-production specialist Paul Maunder takes us through how he resolves 7 typical audio problems like Rumble, Hum, Crackle, Broadband Noise, Clipping, Excessive reverb and finally audio with multiple different issues, using a variety of different plug-ins from the stock plug-ins that come with Pro Tools as well as plug-ins from iZotope, McDSP and Sonnox…
In this free video tutorial, Avid Audio Solution Specialist Simon Sherbourne shows how to use the Spatialiser plug-in in the Facebook 360 suite of plug-ins takes you through Spatial Audio Production techniques and tricks for Pro Tools Ultimate.
At NAB 2019 on the Avid Stand, the Sound Editing and Mixing team from the award-winning film Bohemian Rhapsody of Nina Hartstone - Supervising Dialogue and ADR Editor, John Warhurst - Supervising Sound and Music Editor and Paul Massey - Music and Re-recording Mixer talked with Avid's Matt Feury about creating the sound of this movie about the iconic band, using music, lyrics, dialogue from archival footage and incredible new performances.
Back in 2017 we asked Which Loudness Meter Plug-in Do You Use In Pro Tools? and a couple of weeks ago we repeated the question and poll. In this article we analyse whether loudness meter usage has changed during the last 2 years.
At NAB 2019 on the Avid Stage, re-recording mixer for TV Scott Weber, who has mixed shows like Lost, Person Of Interest and Westworld, discussed how to mix TV shows to meet the different US broadcaster’s and Network’s delivery specs and how things vary from network to network and what impact that has on the mix and deliverables.
There are a lot of loudness meters out there and we thought it would be interesting to see which ones are in common usage and why. Please do share your thoughts in the comments and vote for the Pro Tools compatible loudness plug-in that you use the most in the poll.
Over the years that has been some lack of clarity about which video peripheral products are supported with Pro Tools. In this article we are going to look at which video peripherals are currently supported and compatible with Pro Tools from Avid and both of their video peripheral partners AJA and Blackmagic Design, as well as the products that are no longer supported for use with Pro Tools.
At NAB this year on the Avid blog sound designer Will Files presented a 28 minute tutorial in which he went through in detail on how he built the sound of the creature Venom in the film of the same name.
With macOS 10.15, the successor to Mojave, we will no longer be able to use QuickTime 7 Pro, MPEG Streamclip or the Avid codecs to convert incoming video files. In this article, we investigate 2 solutions that will enable Pro Tools users to be able to continue to easily and cost effectively convert video files into Avid’s own Pro Tools friendly format DNxHD video format, when macOS 10.15 is released and even better, you can start using them now!
If you work as an audio editor or mixer on projects that has been through a video edit, how many times have you been frustrated by what OMF, AFF and video files you have been sent from the video editor. In this article we share our recommendations as to what a video editor can do to make life easier for sound editors and mixers.
This new DigiLink option card for the Avid MTRX will provide 2 more primary mini DigILink ports to the Avid Pro Tools MTRX modular interface. This will enable an MTRX to become the single hub for a multi Pro Tools room or a single interface for an HDX 3 Pro Tools system.
At NAB 2019, Avid will also be showing previews of the work they are doing to improve the Avid Video Engine. There is no timescale for when these improvements will included in a future Pro Tools release, so do not expect these changes to be in Pro Tools 2019.5, but in the spirit of openness Avid are wanting to show users what they are working on to improve the Avid Video Engine.
Recently Emma Butt was asked to record the ADR or overdub for a kids drama series. Being freelance often means prep time isn’t factored into your booking. With this job, no prep time meant no time to cue up (add in visual or audio cues) for every character. One actor spotted this and asked if Emma had ever heard of or tried a piece of software called VoiceQ. Emma hadn’t so she decided to investigate once the first 3 episodes were completed and try it out. In this article you can learn how she got on with VoiceQ.
In this premium video tutorial our resident loudness guru Mike Thornton takes us through how to use the the TC Electronic LM1n loudness metering plug-in. The advantages of the LM1n is that it doesn’t take up much screen real estate and the LM1n’s simpler display also makes it ideal for multi-skilled staff and for use in other sectors like mastering for music streaming and albums.
Are you thinking, “New Year, New Venture”? Are you responding to possible demand and thinking that you should get into Post Production? Here’s my guide to setting up a post production system, on a budget.
Recently we produced an article looking into an announcement from Apple following an update of Final Cut Pro that the Avid DNx family of codecs, as well as other codecs like Cineform, which GoPro cameras often use would no longer be supported natively in future releases of the macOS operating system. We can now reveal details of exactly which codecs, both audio and video, Apple plans to support natively in the future as well as those which will not be supported in future macOS releases.
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?