Pro Tools TV Post Production Template For 5.1 Projects
Pro Tools TV Post Production Template For 5.1 Projects
Pro Tools TV Post Production Template For 5.1 Projects
on Template For 5.1 Projects | Pro Tools - The leading website for Pro Tools users
Monday 03.08.21
Free Pro Tools TV Post
Posted by Damian
Kearns
Production Template For 5.1
Projects
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Why No VCAs?
Brie y, I bypassed the VCA master approach, as my early
years of mixing were spent on Split Buss Consoles, printing
directly to tape and print mastering later. I didn’t really use
VCA masters, as it was just another thing for my forgetful
mind to have to contend with. In those days, I often mixed
without automation so memory and ear was all I had.
Some Background
The output paths are at the top of the list in the IO Setup. If
the fold down path isn’t turned on and active, it can’t be
selected. This avoids the headache of sifting through paths
trying to determine what the output path ought to be.
Trusted content from independent
The use
music and post production of upmixers in this template helps avoid a common
experts.
Copyright (C) 2021 problem I have encountered over and over: When audio is
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Easter Eggs On O er
The "Easter Eggs" hidden in this template are my Window
Con gurations and my Eucon setup. I don’t expect anyone to
use them but they’re there to be reviewed and edited or
deleted.
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IO Setup is the rst place to start. Check out the Bus tab.
(images above to help). Bussing is really at the heart of audio
signal processing and it’s often here that I see in other
people’s Pro Tools sessions, the ad hoc approach to
organizing the most vital part of the delivery path.
In this template, you will see that all print paths are named
and organized at the top, from 5.1 to stereo, and the mono
print outputs. Why? Because I o ine bounce my outputs.
When I go to print and the o ine bounce dialogue bus
comes up I can just keep hitting the little + sign until I have all
the stem outputs I need and then bounce the les. This way
there is no need to hunt and pick through a murky collection
of ambiguously named busses. The only output busses you
can print through are right there at the top. In fact, if you
have dutifully turned o certain print paths in this template
by making those tracks inactive, the little + sign will skip the
outputs it can’t use.
Track Layout
You’ll see a similar approach
to organization in the track
layout within the session.
Trusted content from independent
music and post production experts.
All audio tracks have their
Copyright (C) 2021 inputs unassigned to prevent
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An Exception
One notable exception might be common elements like SFX,
Trusted content fromdialogue
independent
or sync bg in the opening titles of a series or
music and post production
commonexperts.
graphics elements. These things ought to be mixed
Copyright (C) 2021 at the track or clip level, without voiceover in, and then
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Half the time, I’d look and see that for one reason or another,
I’d been mixing for a while with the VCA group suspended so
nothing was being written or worse still, I’d print my stems
with the VCA’s bypassed and end up having to reprint.
Upmixing
The UM (Upmix) tracks are there to make short work of
pushing things to the surrounds and LFE channels. In the
basic template, we’re going with the ubiquitous Waves
UM226 on the conservative “Stereo Preserve” setting but I’ll
be swapping those plugins for Nugen’s Halo Upmix every
opportunity I get because that plugin sounds better and has
more exibility, including the EXACT button.
want to stop just short of the MIX Sub, to talk about the SFX
LFE. I’ve been to places where the hardware subwoofer in the
room will actually shoulder any audio content above its
crossover frequency into the centre channel speaker. Not
good. So here I’ve incorporated a roll-o and very mild
compression to keep things nice and bassy without fear of
unwanted spectral content.
The reason there are two side by side and the second one is
made inactive is I regularly take stereo low-end clips and
dump them into the LFE by option dragging a copy onto
these LFE tracks. You only really need one side most of the
time. I do however encounter situations in lm mixing where
I need multiple LFE channels so this is handy. I do nd myself
using two active LFE channels on my bigger mixes with one
dead track between them to handle the excess from the
stereo les.
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Meter Track
The meter track is derived only from the 5.1 MIX SUB. Swap
your favourite meter if you want. We’re both in favour of
BS.1770-2/3/4 because of the universality of the standard.
Print Tracks
We added print tracks because we recognize not everyone or
even every gig can be comfortably printed o ine. We also
needed some classy way to monitor.
Attention: Note that the fold down tracks feed these print
tracks so turn on the appropriate fold downs in order to
print! For Mix, M+E and Mix-Minus stereo or mono prints,
these tracks would also require the 5.1 Submasters to be
active. Very important.
The Rest
The rest of the tracks in the session are reverbs and
Soundminer and RX monitor faders. I’ll be adding a Revoice
Pro monitor fader to my version as well, for ADR and other
pitch xes. We both also love Melodyne so I expect Colin and
I will have Melodyne dialogue faders in there somewhere
too.
Overall Levels
Overall levels are currently set to a very conservative peak
level of -7 true peak on all 5.1 and mono subs and downmix
tracks, with the stereo tracks, set at -10.
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Peak Limiters
If you want to adjust overall peak limiter settings on the Subs,
Dips, 5.1 Sub Masters, stereo or mono fold down tracks,
we’ve actually created groups k-o that will allow you to adjust
any identical plugins in identical slots at the same time.
Trusted content fromBlag rightly pointed out that in some instances we need
independent a
separate
music and post production path for recreation audio and/or B-Roll audio. This
experts.
Copyright (C) 2021 exists as the SYNC BG path. Simply make all the hidden
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Gain Structure
One nal word about gain structure. A good deal of time with
tone and audio mix elements was spent checking to ensure
all 5.1, stereo and mono print tracks would fold down
uniformly. The stereo fold downs were quite simple since
there’s a default Downmixer preset for that.
and Stereo Mix are at 1 kHz while the other stems have 400
Hz tones. These tracks have been assigned to the
appropriate outputs for the appropriate stems already but as
always, double-check before printing.
Dipped Sends
There are Dipped Sends called 5.1 Print Dia, 5.1 SYNC BG
Print, 5.1 Print SFX and 5.1 Print Music have been made
inactive inside the IO Setup by default, as the typical sends
used are undipped (UD). This keeps the active IO count to a
more manageable number.
These 5.1 SUBS must be active in order for the stereo and/or
mono fold downs to work. There was an issue in the tones
output in a previous version of this template I used for two
productions that lead me to make this important change.
Read More →
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