| |
| |
| |
Film, Video, and Multimedia Technology | |
| |
| |
A Brief History of Motion Pictures and Film Sound | |
| |
| |
Thomas Edison's The Sneeze | |
| |
| |
Sound Technology in the 1920s | |
| |
| |
Disney's Fantasia | |
| |
| |
Television and Video Recording | |
| |
| |
Sound in Star Wars and Apocalypse Now | |
| |
| |
Internet Video | |
| |
| |
HDTV | |
| |
| |
Digital Multimedia Formats | |
| |
| |
QuickTime | |
| |
| |
MPEG Codecs | |
| |
| |
AVI Codec | |
| |
| |
DV Codec | |
| |
| |
Flash and Shockwave | |
| |
| |
| |
Audio for Film, Video, and Multimedia | |
| |
| |
The Components of a Soundtrack | |
| |
| |
Dialog and Narration | |
| |
| |
Foley Sounds | |
| |
| |
Sound Effects | |
| |
| |
Music | |
| |
| |
How Does Pro Tools Help? | |
| |
| |
The Non-linear, Non-Destructive Editing Model | |
| |
| |
QuickTime Movie Support | |
| |
| |
Automation, Automation, Automation | |
| |
| |
Multi-channel Mixing | |
| |
| |
The Standard in Hollywood | |
| |
| |
Project Workflow | |
| |
| |
Pre-Production (Planning and Preparing) | |
| |
| |
Production (Filming and Recording on a Set or on Location) | |
| |
| |
Post-Production (Re-recording, Sweetening, Editing, and Mixing) | |
| |
| |
| |
Synchronization and SMPTE Time Code | |
| |
| |
Synchronization Basics | |
| |
| |
Positional Reference | |
| |
| |
Playback Rate | |
| |
| |
Origin and History of Time Code | |
| |
| |
Time Code and Film | |
| |
| |
NTSC versus PAL | |
| |
| |
Color versus Black and White | |
| |
| |
Parameters of Time Code | |
| |
| |
Frame Rates | |
| |
| |
Frame Count | |
| |
| |
Current Usages and Practices | |
| |
| |
To Drop or Not to Drop? | |
| |
| |
2-3 Pull-Down | |
| |
| |
SMPTE Time Code Scenarios | |
| |
| |
NTSC Video to NTSC Video | |
| |
| |
Film to NTSC Video | |
| |
| |
Film to Film | |
| |
| |
24p HD to Video | |
| |
| |
24p HD to Film (or 24p HD) | |
| |
| |
Film to 24p HD | |
| |
| |
| |
Getting Started with Pro Tools and Video | |
| |
| |
Hooking Up Your Equipment | |
| |
| |
Typical Equipment Setups | |
| |
| |
Audio Clock Source | |
| |
| |
Digidesign's Sync I/O and Universal Slave Driver | |
| |
| |
Third-Party Synchronizers | |
| |
| |
SMPTE Time Code Reader, MIDI Interface | |
| |
| |
9-Pin Machine Control | |
| |
| |
MIDI Machine Control (MMC) | |
| |
| |
Video Playback Monitors | |
| |
| |
Creating a New Video Session | |
| |
| |
Choosing Sample Rate and Bit Depth | |
| |
| |
Choosing Frame Rate and Frame Count | |
| |
| |
Choosing Session Start Times | |
| |
| |
Importing Video Files | |
| |
| |
Opening QuickTime Movies | |
| |
| |
Capturing DV Video from Tape | |
| |
| |
Changing Movie Offsets | |
| |
| |
Checking Sync | |
| |
| |
Importing Audio from QuickTime Movies | |
| |
| |
Examining Lip-Sync | |
| |
| |
Time Code Burn-In Window | |
| |
| |
| |
Recording to Picture | |
| |
| |
Using Audio from the Set (Production Audio) | |
| |
| |
EDLs | |
| |
| |
Recording Audio from Videotape | |
| |
| |
Importing OMFI Files | |
| |
| |
Recording from Production DAT Tapes | |
| |
| |
DEVA and Hard Drive Based Recorders | |
| |
| |
Recording Dialog and Narration | |
| |
| |
Replacing Existing Dialog (ADR) | |
| |
| |
Recording Voiceovers and Narration | |
| |
| |
A Note about Animation Dialog | |
| |
| |
Creating Rough Tracks for Video Editing | |
| |
| |
Recording Action Sounds (Foley) | |
| |
| |
Using a Foley Stage | |
| |
| |
Using FX Libraries | |
| |
| |
On Location | |
| |
| |
Creating Sound Effects | |
| |
| |
Using Field Recordings | |
| |
| |
Sound Effects Libraries | |
| |
| |
Using Synthesizers and Samplers | |
| |
| |
Importing the Score and Incidental Music | |
| |
| |
Importing from CD, DAT or Tape | |
| |
| |
Importing from CD-ROM | |
| |
| |
Importing Multi-Channel Audio | |
| |
| |
MP3 Files | |
| |
| |
Backing Up Your Data! | |
| |
| |
Backup Plan | |
| |
| |
Mass Storage Media | |
| |
| |
| |
Editing to Picture | |
| |
| |
Setting Up Pro Tools Sessions for Editing | |
| |
| |
Seeing the Information You Need | |
| |
| |
Edit Grouping | |
| |
| |
Using Counters and Rulers | |
| |
| |
Using Grid Values | |
| |
| |
Using Memory Locations | |
| |
| |
Creating Memory Locations | |
| |
| |
Using the Cue List to Create Markers | |
| |
| |
Recalling Markers and Memory Locations | |
| |
| |
Aligning Regions to Markers | |
| |
| |
Using Nudge Commands | |
| |
| |
Setting Nudge Values | |
| |
| |
Aligning Regions to Video Frames | |
| |
| |
Sub-Frame Nudging | |
| |
| |
How to Use Sync Points | |
| |
| |
Creating a Sync Point | |
| |
| |
Using Sync Points and the Grid | |
| |
| |
Playlists | |
| |
| |
Conforming to Picture Changes | |
| |
| |
| |
Processing Audio Using Audiosuite Plug-Ins | |
| |
| |
Operation of Audiosuite Plug-Ins | |
| |
| |
Reversing Files | |
| |
| |
Time Compression/Expansion | |
| |
| |
Audiosuite Time Compression/Expansion | |
| |
| |
Trimmer Tool Compression/Expansion (TDM only) | |
| |
| |
Pitch Changing | |
| |
| |
Aligning Dialog | |
| |
| |
Noise Reduction and Restoration | |
| |
| |
Surgical EQ | |
| |
| |
| |
Mixing to Picture in Pro Tools | |
| |
| |
Stereo and Surround Formats | |
| |
| |
Encoding and Decoding with Dolby Technologies | |
| |
| |
Preparation for Mixing | |
| |
| |
The I/O Setup | |
| |
| |
Speaker Systems and Layouts | |
| |
| |
Loudness Calibration | |
| |
| |
Bass Management | |
| |
| |
Pre-Mixes, or Pre-Dubs | |
| |
| |
Mixing Dialog | |
| |
| |
Mixing Foley | |
| |
| |
Mixing Effects | |
| |
| |
Mixing Music | |
| |
| |
LFE Channel | |
| |
| |
Using Automation While Mixing | |
| |
| |
Levels | |
| |
| |
Automating Panning | |
| |
| |
Automating EQs | |
| |
| |
Building Dynamics | |
| |
| |
Control Surfaces | |
| |
| |
TDM and RTAS Plug-In Delay Compensation | |
| |
| |
| |
Delivery of Master Recordings | |
| |
| |
Mix Stems | |
| |
| |
Reference Levels | |
| |
| |
The Purpose of Reference Levels and Tones | |
| |
| |
Using Reference Levels | |
| |
| |
Recording a Mix on a VTR | |
| |
| |
Using Digital Connections | |
| |
| |
Using Analog Connections | |
| |
| |
Creating Multi-Channel Surround Masters | |
| |
| |
Bouncing to QuickTime Movies | |
| |
| |
Creating an Audio File or Data CD Master | |
| |
| |
Redbook Audio CDs | |
| |
| |
Preparing Audio Files for Internet Streaming | |
| |
| |
Archiving and Backing Up the Final Mix | |
| |
| |
Mix Stems: Dipped or Not Dipped | |
| |
| |
Pro Tools Data | |
| |
| |
Harness the Power of Cinema | |
| |
| |
Appendix A | |
| |
| |
Appendix B | |
| |
| |
Index | |