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Avid Complete Production Toolkit

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1. Punching Captured Automation Values After automation values are captured they can be punched written to another location in the track Any tracks set to Read or Off are unaf fected If you punch during playback the automa tion mode of any track set to Touch is set to Latch and writing begins at the captured value If you punch while the transport is stopped the automation mode of any track set to Touch is set to Latch and the control is primed at the cap tured value To punch captured automation values 1 Move to a location where you want to apply the captured automation states You can do this during playback or while the transport is stopped 2 Click the Punch Capture button in the Auto mation window to apply the captured automa tion states The captured states are applied to all automation types that are currently enabled in the Automation window Capturing Automation Values for All Controls You can capture the state of all automatable controls except on tracks with their Automa tion Mode set to Off in a session regardless of whether they are currently writing automation To capture the automation values of all controls a When you reach a location where you want to capture the current automation states Alt click Windows or Option click Mac the Capture button To capture the automation values of all controls on selected tracks only When you reach a location where you want to captur
2. Elements that need to be heard in all speakers si multaneously can also be assigned to the multi channel output whether or not they require ac tive panning in the sound field When to Use Sub Paths To help simplify large sessions use sub paths to route static or stationary elements directly to the output channel or channels For example film dialog is often mixed to the center channel to anchor this essential sound el ement to the picture Instead of assigning a six channel panner to dialog tracks and panning the tracks to the center speaker only you can route the dialog track s main output to a mono Center sub path Chapter 6 Surround Features 81 Auxiliary Input routed to main 5 1 surround path Tracks routed to subpaths Tracks routed to main 5 1 surround path IAE Effect bus routing WoO Outputs to sub paths Outputs to main 5 1 path for surround panning Figure 3 Using signal routing and sub paths to mix in surround 82 Complete Production Toolkit 2 Guide Example Paths and Signal Routing for a Surround Mix The examples that follow show how Auxiliary Inputs Master Faders and other Pro Tools sig nal routing features can be used for stem mixes submixes and similar project needs In these examples music and effects are being mixed for a trailer in 5 1 surround Separate stem mixes for music and for effects are to be mastered to 8 track MDM Example Multichannel Paths
3. For examples of how divergence settings af fect output panning see Divergence and Center Percentage on page 95 Snap Pan to Speaker Icons The Snap Pan to Speaker icons let you force the panner to the speaker s location For example clicking on the upper left speaker moves the Pan Location cursor to the upper left corner of the X Y Grid LFE Fader The LFE fader is only available in 1 surround formats 5 1 6 1 and 7 1 LFE fader The LFE fader determines how much of the cur rent track s signal will be routed to the LFE chan nel LFE faders in Track and Send windows can follow groups The Pro Tools LFE channel is al ways full bandwidth For more information on how to use the LFE fader see LFE Faders in Mul tichannel Panners on page 97 Multichannel Panner Linking Stereo tracks with multichannel outputs provide left and right multichannel panners The Out put window provides controls to link the left and right channels for precise panning When you create a stereo track that is routed to a multichannel output the following pan link age controls are active by default e Link links Left and Right pan controls Front Inverse inverts Left and Right pan control linkage across front Rear Inverse inverts Left and Right pan control linkage across rear The Front Rear Inverse pan control is unlinked by default Link Front Inverse Front Rear Inverse Rear Inverse Ste
4. v When gliding multiple parameters at the same time such as with the Surround Pan ner or plug ins use the Edit Automation Glide to All Enabled option A For MIDI automation Glide To commands only apply to MIDI Volume MIDI Pan and MIDI Mute MIDI parameters cannot use the Write To commands To apply a Glide Automation to the current automation parameter type 1 In the Automation window make sure the au tomation type is write enabled 2 Click the Track View selector to choose the au tomation type you want to automate 3 Drag with the Selector tool in the track to se lect the area you want to write the glide to 4 Change the automation parameter to the value you want at the end of the selection For example to glide automation volume to Infin ity move the Volume fader to Infinity 5 Choose Edit Automation Glide to Current You can also press Alt Forward Slash Windows or Option Forward Slash Mac To do a Glide Automation to all current enabled parameters 1 In the Automation window make sure the au tomation types are write enabled 2 In each track you want to automate click the Track View selector and select from the pop up menu the automation type you want to auto mate 3 With the Selector tool drag horizontally to in clude all the tracks you want to automate in a se lection drag vertically to define the time range 4 In each track you want to automa
5. 1 Select the slave track whose automation you want to coalesce 2 Choose Track Duplicate 3 In the Duplicate Track dialog deselect Group Assignments 4 Click OK The composite Volume level and Mute state are coalesced to the duplicate track The original slave track is preserved and the VCA group is unchanged 66 Complete Production Toolkit 2 Guide Coalescing Automation Across an Edit Selection You can commit VCA automation across an Edit selection in a VCA Master track without com mitting the automation on the entire length of the track To coalesce automation in an Edit selection on a VCA Master track 1 Select the VCA Master track whose automa tion you want to coalesce 2 Make an Edit selection in the VCA Master track that includes the range of automation you want to coalesce 3 Do one of the following Hold Start Windows or Control Mac and choose Track gt Coalesce VCA Master Automa tion Hold Start Windows or Control Mac and Right click the VCA Master track name and choose Coalesce VCA Master Automation The composite Volume level and Mute state are committed to each of the slave tracks over the Edit selection The VCA Master Volume is set to zero the VCA Mute state is set to unmuted and any automation on the VCA Master is cleared for the selected area only chapter 6 Surround Features Pro Tools with Complete Production Toolkit 2 supports surround mixing Pro Tools suppor
6. 104 Complete Production Toolkit 2 Guide To display the Video Universe window 1 Make sure the Video Online button in the main video track is set to online status blue 2 Choose Window Video Universe Video Universe with video frames representing video regions on the main video track Increasing or Decreasing the Size of Video Frames To increase or decrease the size of video frames in the Video Universe window a Right click Windows or Mac or Control click Mac anywhere in the Universe and select In crease or Decrease Selecting Zoom Resolutions in the Video Universe When you move the cursor over the top half of a video frame in the Video Universe it displays and behaves as a zoom tool This tool lets you zoom in on one or more video regions to fill the entire Edit window display eoo Video Universe Video frame with zoom tool To use the Video Universe window to zoom video regions in the Edit window 1 Move the cursor over the top half of any video frame until it becomes a zoom tool 2 Do one of the following To move the beginning of a video region to the far left of the Timeline while maintain ing the current zoom resolution in the Edit window click the video frame representing the region once To zoom in on a video region so that it fills the entire Edit window double click the video frame representing the region To zoom a range of selected regions so that they fill the Edit
7. Chapter 1 Introduction 1 Numeric Keypad set to Shuttle mode AutoFades Advanced editing features Continuous Scrolling Scrub Trim tool Replace Region command TCE Edit to Timeline Selection command Selection of alternate field recorder audio channels in the Pro Tools Timeline Expanding alternate field recorder chan nels to new tracks Advanced automation features AutoJoin with Latch mode Touch Latch mode Trim mode Composite automation playlist Copy track automation to sends AutoMatch Prime controls for writing automation in Latch mode Glide automation Trim automation Write automation to Start End or All Write automation to next breakpoint or punch point Overwrite or extend Mute automation Snapshot automation Preview automation Capture automation VCA Master track automation Advanced video features Multiple video tracks Multiple video playlists Video editing 2 Complete Production Toolkit 2 Guide Preferences Back Forward Amount Shuttle Auto Region Fade In Out Length Use Absolute Pan Linking e Suppress Automation Write To Warning Allow Latch Prime in Stop Coalesce when Removing Slaves from VCA Group e Standard VCA Logic for Group Attributes nclude Sends in Trim Mode AutoGlide Time Coalesce Trim Automation Options D Control support D Command support For information about using D Control and D Command works
8. Click with any Grabber tool on each side of the selection This lets the Write Automation command write only to the selected area Writing Snapshot Automation over Existing Automation Data When you move the playback cursor the auto mated controls in Pro Tools update to reflect the automation data that is already on the track To keep the settings you have made for a snapshot you can suspend automation parameters to pre vent them from updating To write snapshot automation over existing data 1 In the Automation window make sure that the automation parameters you want to edit are write enabled Deselect any parameters whose automation you want to preserve 2 Adjust the controls for the parameters you want to automate 3 Click the Automation Mode selector and se lect Off mode for the tracks where you want to apply the automation 4 With the Selector select the range where you want to apply the automation 5 Choose Edit Automation and select one of the following from the submenu To write the current value to only the auto mation parameter currently displayed in the Edit window choose Write to Current To write the current settings for all automa tion parameters enabled in the Automation window choose Write to All Enabled 6 Click the Automation Mode selector and se lect Read mode for the tracks you want to play back with automation Chapter 5 Advanced Automation Features 55 Capturing Aut
9. Default 5 1 Output Bus Paths One 5 1 main output bus path with sub paths for 5 0 no LFE LCR Left Right ste reo and mono subpaths for each 5 1 chan nel Default Input and Insert Paths with 5 1 Settings The 5 1 Mix settings files provide default stereo main paths and mono sub paths for inputs and inserts If you need multichannel input paths or inserts you can create them in the I O Setup di alog see Custom Multichannel Paths on page 71 70 Complete Production Toolkit 2 Guide Importing Multichannel 1 0 Setups The I O Setup dialog can import and export set tings files Importing I O Setup settings files is useful when you want to remix a stereo session in surround You can also use this feature to pre pare a session for transfer to a different Pro Tools system or to simply save and exchange I O Settings To import a multichannel 1 0 Setup settings file 1 Choose Setup gt 0 2 Select the page of the I O Setup for which you want to import I O Settings such as the Output page 3 Click Import Settings 4 Select the settings file pio to import and click Open 5 If the current session has existing path defini tions that do not match those in the imported settings file Pro Tools asks whether you want to delete the existing paths or retain them and add the imported settings to your session Click No to add new paths to your current I O Setup configuration Click Yes to replace you
10. Resampler0 Stereo Resampler0 Stereo LI P606075000000000006 0 v Video region icon gt e B B B a B B B B B8 B Video region as displayed in the Region List Showing or Hiding Video Regions in the Region List The Region List menu provides commands that let you show or hide video regions in the Region List To show or hide video regions in the Region List 1 In the Edit window click the Region List menu and choose Show 2 Select the Video option to show or hide video regions General Video Editing Most editing operations that are available for au dio regions can also be applied to video regions This section describes all available video editing operations Unless noted the procedure for each video editing operation is the same as its audio editing counterpart Basic Video Editing Features Nondestructive editing Display of region names region times and other data in playlists Multiple video playlists Multiple Undo Video regions and video region groups in Region List All Edit modes All Edit Tools except for Time Compres sion Expansion and Pencil tools Playing and Selecting Video Track Material Selecting within video frame boundaries Selecting and editing across multiple Video and audio tracks Link or unlink track and Edit selections Auto scroll video tracks Loop playback Chapte
11. Volume Pan Mute Send level Send pan Send mute or Plug In 3 Click the Preview button in the Automation window The button lights green to indicate that Preview mode is active SUSPEND Write Enable Manual Write Te er Sr T x Write on Stop je de AUTO JOIN C Auto Match Punch Preview B Preview Preview CAPTURE fi Preview controls in the Automation window 58 Complete Production Toolkit 2 Guide 4 To isolate a control touch or move an auto mation enabled control You can isolate controls during playback or while the transport is stopped The Automation Mode indicator on the track lights green to indicate that at least one of its controls is isolated and the Punch Preview but ton in the Automation window lights to indi cate a preview value is available to punch 5 Start playback and adjust the isolated control to audition the changes Taking Controls Out of Isolated State You can take controls out of their isolated state without leaving Preview mode To take all controls on a track out of their isolated state do one of the following a Control click Windows or Command click Mac the automation mode selector on the track Or Change the track automation mode to Read or Off To take all controls of an automation type out of their isolated state a In the Automation window disable the auto mation type Isolating Multiple Controls In some cases such
12. 68 Complete Production Toolkit 2 Guide Custom Multichannel Paths You can customize and redefine existing paths in the I O Setup dialog For more information see Custom Multichannel Paths on page 71 Importing Session Data By using the Import Session Data command File Import Session Data you can import tracks and media from other sessions plus their associated paths and track assignments After importing session data you can use the I O Setup dialog to configure main and sub paths for the requirements of the session For more information see the Pro Tools Reference Guide New Sessions and 1 0 Settings When you create a new session you can specify a surround format that you want to use as your I O Setup Default path configurations are pro vided as I O Settings files for stereo and sur round mixing Once you create the new session you can create and import tracks import audio and assign sig nal routing to set up your mix To create a new session for multichannel mixing 1 Choose File New Session 2 Select the Create Blank Session option 3 Select the Audio File Type Sample Rate and Bit Depth as desired 9 Create Blank Session Session Parameters Audio File Type Sample Rate BWF WAV 48 kHz Bit Depth O 16 Bit 9 24 Bit 1 O Settings 5 1 Film Mix New Session dialog 5 1 Film Mix I O setting selected 4 From the I O Settings menu select one of th
13. MUTE Manual Write Te qw Sr ux Write on Stop S Ter jest jen Automation Write On mr Stop buttons CAPTURE Mi Write On Stop controls in the Automation window To configure Write on Stop modes to disable after an automation pass 1 Choose Window gt Automation 2 Click to enable one of the Write On Stop modes Start All End The enabled Write on Stop arrow appears in blue To configure Write on Stop modes to remain enabled after an automation pass 1 Choose Window Automation 2 Alt click Windows or Option click Mac one of the Write On Stop buttons Start All or End to enable the Write On Stop mode The enabled Write on Stop arrow appears in red Write Automation to the Next Breakpoint or to the Punch Point While performing an automation pass Pro Tools lets you write current automation val ues from the current insertion point forward to the next automation breakpoint or back to the punch point the location in the track where au tomation writing started Write Automation to Next Breakpoint lets you update automation within a track without over writing automation located earlier or later in the Timeline and without having to define a selec tion before editing automation Write Automation to Punch Point lets you fill back an automation value within a track after finding the right level or setting during an auto mation pass without having to go back and re peat the pa
14. Surround Panner Controls on page 89 Some of the features of Output windows in clude X Y joystick style panning 3 Knob panning Full Divergence and Center Percentage control AutoGlide LFE feed Multichannel meters Pro Tools target window support Multiple panners can be opened simultane ously or a single window can display the cur rent panner To open an Output window Click the Output Window button it s the small fader at the right edge of the Output selec tor for a track in the Mix or Edit window I O View 88 Complete Production Toolkit 2 Guide SENDS A E Audio 2 main out Mix 5 4 SAFE LFE Opening a multichannel Output window Standard Controls All Output windows provide standard Pro Tools controls for routing path assignment and other track features These controls are located at the top of all Output Send Insert and Plug In win dows Some controls are specific to the type of window Show meters Track selector Path selector Target icon Output selector Automation Safe Panner Control section Track Fader Solo Mute and Auto All Output windows provide track volume and mute controls You can adjust and automate track volume or mute directly using these con trols The larger fader and Mute button are equivalent to those in the Pro Tools Mix win dow Surround Panner Controls When assigned to tracks or paths with four or more channels the
15. While the Pro Tools transport is moving issuing Write Automation To commands affects writing of automation in the following ways Write to Start Selection Start Currently writing controls continue writing automa tion Write to All Selection Currently writing controls except controls in Write mode punch out of writing automation Write to End Selection End Currently writ ing controls except controls in Write mode punch out of writing automation Write to Next Breakpoint Currently writ ing controls except controls in Write mode punch out of writing automation Write to Punch point Currently writing controls continue writing automation A For MIDI automation the Write To com mands only apply to MIDI Volume MIDI Pan and MIDI Mute MIDI parameters cannot use the Write To commands 50 Complete Production Toolkit 2 Guide Applying Write To Commands to Selected Tracks The Write Automation To commands normally ap ply to all tracks currently writing automation It is possible to apply these commands to selected tracks only To apply any of the Write Automation To commands to currently selected tracks 1 Select the tracks where you want to apply the Write To commands 2 Alt Shift click Windows or Option Shift click the corresponding Write Automation To button Suppressing Warnings when Using Write To Commands When you carry out any of the Write Automation To commands except
16. do one of the following Choose Latch mode to allow priming of all automation enabled controls on the track Choose Touch Latch mode to leave the main Volume fader in Touch mode and al low priming of all other automation en abled controls 6 While the transport is stopped touch or move the controls you want to start writing at the be ginning of the automation pass When at least one control on a track is primed the Automa tion Mode selector displays in red Automation Mode selector Automation mode indicator before left and after priming of latched controls right 7 Start playback All primed controls begin writ ing automation at their primed values 8 Stop playback to finish the automation pass All tracks are taken out of their Latch Prime state 194 You can use the Write to Punch command at the end of your automation pass to write the current value back to the start of the pass Taking Tracks and Controls Out of Latch Prime You can take individual tracks or automation types out of their Latch Prime state before or during an automation pass When you take a track or automation type out of Latch Prime before starting playback it stays in Latch mode but the corresponding controls are not primed to write when playback starts When you take a track or automation type out of Latch Prime during an automation pass the corresponding controls AutoMatch to their cur rently written values
17. in multi mono plug ins 80 meters SurroundScope plug in 98 Mixing Preferences 20 multichannel plug ins 79 multichannel tracks replacing regions in 26 multi mono plugin Channel selector 80 79 multiple tracks fitting audio regions to Edit selection 27 Mute Overwrite Extend 51 Numeric Keypad modes Shuttle 19 20 0 On Stop 46 Operation Preferences 20 Auto Region Fade In Out Length preference 20 Output Window button 88 outputs default 5 1 paths and sub paths 70 format and tracks 76 to multichannel paths 78 P panning 3 knob 93 fine adjust mode 93 grids 87 84 linked stereo 91 multichannel automation playlists 98 take over in grid 92 94 Use Absolute Pan Linking option 20 X Y mode 92 parallel mixing 77 paths creating multichannel 71 for surround 81 sub path surround examples 84 plugins and surround mixing 79 Channel selector for multi mono 80 for surround 79 linking 80 multi mono 79 Punch Capture button 61 Punch Preview button 59 R Rear Divergence 95 regions replacing 24 Replace Region command 24 and multichannel tracks 26 Replace Region dialog 25 requirements 3 Index 111 S Scrolling options Continuous Scrolling During Playback 23 Scrub Trim tool 23 scrubbing with Scrub Trim tool 24 sends and multichannel mixing 78 copying track automation to 36 multichannel 78 sessions creating for surround mixing 68 shuttle fixed mode option 18 Shuttle Numeric Keypad mode 19 20 Side Center 96
18. tracks 99 Video Universe window 104 Ww Write 56 Write Automation commands 54 56 Write Automation To commands 59 Write Automation to Next Breakpoint command 47 Write Automation to Next Breakpoint on Stop command 49 Write Automation to Selection Selection Start Selection End buttons 45 writing automation on stop 46 47 45 snapshot automation 54 Index 113
19. 2 Make sure Mute is write enabled Mute automation enabled a Manual Write e Hep le tm Write on Stop Mute enable button in the Automation window 3 In the Mix or Edit window click the Automa tion Mode selector of the track where you want to overwrite the mute state and set the Automa tion mode to Touch or Latch mode XY To overwrite mute states on multiple tracks set all tracks to the same Automation mode 4 In each track you want to automate click the Track View selector and select mute 5 Place the cursor before the start of the mute event you want to overwrite Example Place cursor here before start of mute event Placing the cursor before the start of a mute event 6 Start playback 52 Complete Production Toolkit 2 Guide 7 Press Control Windows or Command Mac and the track Mute button before the start of the mute event you want to overwrite v To overwrite mute states on multiple tracks press Alt Control Windows or Op tionx Command Mac and the Mute button on one of the tracks to be automated 8 After the end of the second mute event re lease the key and the Mute button w With Touch mode you have to hold the Mute button for the duration of the write Example Stop automation pass here after end of mute event Stopping automation after the end of a mute event 9 When you have finished the automation pass stop playback Mute on state overwritten Example of mu
20. LFE Faders in Multichannel Panners llle ee 97 Par Playlists ica 4 3 acd eran uci Reda eR Re EE Rc PaL Say ah E ER DEUS anie Mircea RR LRL ELE RT ca ahs 98 Surround Scope Plug In 4 RR Ro ce RORuR EORR ADR sae URL RR 98 iv Complete Production Toolkit 2 Guide Chapter 7 Video Features 0 cee 99 Video Track Support 1 522 enel el pn Del RR Re Ue CR REED AUR m RR TR A E EUR e RE 99 Support for Video Import Options llle 100 Vid o Regions concepe murami paiya dr in eaaa A a aE Gia a a boia E a AA 100 General Video Editing 0 0c ee hne 101 Video Region GroupS 2 hs 104 Browsing Video in the Video Universe Window llle 104 Chapter 8 Included Plug Ins 0 0 0 0 00 ccc eee eens 107 SoundCode Stereo ore reo ee tracer ios e eo ep eta SIR TR DA AU each SURE EORR NURER 107 JCEOEInS ois Sat acd eee an ca sedan ol aca gue e alia cu ehe ee pios ca extet te oca Ros LP ase aa e 107 Indek 2c cc see eee Sees ae eae Se a ee ee hee dea ee ae Re aa eS 109 Contents v Introduction The Complete Production Toolkit 2 for Pro Tools provides additional features plug ins and software options for music cre ation and post production Complete Production Toolkit 2 provides in creased voice and track counts and surround mixing editing and automation capabilities that are equal to Pro Tools HD For information on standard Pro Tools features refer to the Pro
21. Output window provides an X Y Grid for surround panning The speakers associated with the panner s multichannel format are dis played in their relative positions outside the Panner Grid These speakers are also used as Snap Pan to Speaker controls This section identifies all the controls and features found in Pro Tools multichannel panners Click to show meters Snap Pan to Speaker icons Pan Location cursor Sse LFE fader X Y Grid Track Automation Solo and Mute Panning Mode button Position Track fader and meter knob panners Center Divergence Figure 11 Output window with a 5 1 format multichannel panner Chapter 6 Surround Features 89 The X Y Grid and Pan Location Cursor The X Y Grid is where multichannel panning information is input and displayed You can in put pan information using X Y mode 3 Knob mode or by entering numeric values in the Po sition data fields You can also edit pan automa tion graphically in the Edit window Pan Location cursor X Y grid X Y Grid and Pan Location cursor Multichannel panners default to X Y mode In X Y mode the track s current pan position is represented by a green dot This dot is the Pan Location cursor and its color indicates track au tomation status using standard Pro Tools colors Green The track is in automation Read mode Red The track is in automation Write Touch Latch or Touch Latch mode Yellow T
22. Preview mode lets you audition changes to a mix and compare them to existing automation values without committing them to the automation playlist When you put Pro Tools in Automation Preview mode you can preview values for automation enabled controls on any track that is in a writ able automation mode While in Automation Preview mode when you touch or move a control it isolates the control disengaging it from its automation playlist The control stops reading or writing automation al lowing you to freely audition changes When you have found a level or state that you want to use you can then commit or punch the previewed value to the automation playlist for the isolated controls If you punch during playback the automa tion mode is set to Latch and writing begins at the preview value If you punch while the transport is stopped the automation mode is set to Latch and the control is primed at the preview value o It is not necessary for the Allow Latch Prime in Stop preference to be enabled for Preview to put a control into Latch Prime Chapter 5 Advanced Automation Features 57 Previewing New Automation Values To preview a new automation value for a control 1 Make sure the track where you want to pre view the value is enabled for automation Touch Latch Touch Latch or their correspond ing Trim modes 2 Make sure the automation type you want to preview is enabled in the Automation window
23. Time Specifies how quickly Pro Tools transitions glides from one automation value to another when AutoGlide mode is used Coalesce Trim Automation Options These options determine when Trim automa tion is committed to the main automation play list on a track After Every Pass Sets Trim automation to co alesce when the transport is stopped at the end of each Trim automation pass No Composite Playlist is indicated On Exiting Trim Mode Sets Trim Automation to coalesce on a track when the track is taken out of Trim mode A Composite Playlist can be viewed before committing Trim moves Manually Trim Automation can be coalesced only with the Coalesce Trim Automation com mand A Composite Playlist can be viewed be fore committing Trim moves Chapter 3 Session and Track Features 21 22 Complete Production Toolkit 2 Guide chapter 4 Advanced Editing Features Complete Production Toolkit 2 enables addi tional editing features in Pro Tools For information on editing in Pro Tools see the Pro Tools Reference Guide Continuous Scrolling During Playback When this scrolling option is selected the Edit window s contents scroll continuously past the playback cursor which remains in the center of the window With this option playback is al ways based on the Timeline selection unlike the Center Playhead Scrolling option Continuous Scrolling During Playback uses host processing power so use this option with ho
24. Write to Next Break point Pro Tools posts a dialog warning that au tomation values will be changed in the session You can suppress these warnings To suppress Write To warning dialogs 1 Choose Setup gt Preferences and click Mixing 2 Under Automation select Suppress Automa tion Write To Warnings Overwrite or Extend Mute Automation Pro Tools lets you overwrite or extend an exist ing mute event in real time without changing the current mute state A mute event can be overwritten when the auto mation pass begins before the first mute event and ends after the second event In this case the current on off state of the mute is maintained Original mute automation mute off mute on mute off I Mute on event overwritten Overwriting a mute automation event A mute event can be extended when the auto mation pass begins before an on or off event and stops before the end of the second event Original mute automation mute off mute on mute off L Mute off event extended up to automation pass end Extending a mute automation event Mute Overwrite Extend is supported in Touch and Latch mode as follows Touch Mode Writes the current state as long as the Mute button is held Latch Mode Writes the current state until you stop or AutoMatch out Chapter 5 Advanced Automation Features 51 To overwrite a mute state on one or more tracks 1 Choose Window Automation
25. apply real time fade ins and fade outs to all region boundaries in the session Specify the duration 0 to 10 ms for automatic real time fades with the Auto Re gion Fade In Out Length preference in the Opera tion Preferences page These fade ins and fade outs are performed during playback and do not appear in the Edit window and are not written to disk A AutoFades are not applied to AudioSuite processing The automatic fade in out option also has an ef fect on Voice borrowing in a session Whenever a lower priority virtual track pops thru a si lence in a higher priority track on the same voice a fade in and fade out is applied to the transition This feature is especially useful in post produc tion situations such as dialogue tracking For ex ample you can assign both a dialogue track and a room tone track with matching background to the same voice You can then set the AutoFade option to a moderate length 4 ms or so so that whenever a silence occurs in the dialog play back switches smoothly to and from the back ground track without clicks or pops Using automatic fade ins outs saves you the trouble of editing to zero crossings or creating numerous rendered fades in order to eliminate clicks or pops in playback However since these autofades are not written to disk those clicks or pops still exist in the underlying sound file Consequently those anomalies still appear if the Duplicate AudioSuite plug in or t
26. as when starting a new mix you may want to isolate multiple controls at the same time To isolate all currently write enabled controls Alt click Windows or Option click Mac the Preview button To isolate all write enabled controls on all selected tracks Alt Shift click Windows or Option Shift click Mac the Preview button Suspending Preview Mode You can temporarily suspend Preview mode al lowing you to toggle between preview values and existing automation To suspend Preview mode a Control click Windows or Command click Mac the Preview button Punching Preview Values After you have isolated a control and auditioned a new value you can punch write the value to the automation playlist To punch a preview value to the automation playlist a Click the lit Punch Preview button Preview Mode and Write To Commands The Write Automation To commands work as fol lows with Preview mode Before Punching Preview Values The Write Auto mation To commands except Write to Next Break point can be used to extend previewed values The Write Automation To command will only ap ply to isolated controls Pro Tools remains in Preview mode After Punching Preview Values The Write Automa tion To commands except Write to Next Break point can be used to extend the punched value in the same manner as other automation Chapter 5 Advanced Automation Features 59 Capture Automation You ca
27. automation Coalescing VCA Automation There are several ways to commit or coalesce the contribution of a selected VCA Master track s Volume and Mute automation to the au tomation playlists of its slave tracks Clearing the VCA Master You can use a VCA Master to write grouped au tomation coalesce the VCA automation to all of the slave tracks and clear the automation on the VCA Master The coalesced tracks will play back exactly as they did when they were in the VCA group To coalesce automation from a VCA Master to all of its slave tracks and retain the VCA Master 1 Select the VCA Master track whose automa tion you want to coalesce 2 Doone of the following Choose Track Coalesce VCA Master Auto mation Or e Right click the VCA Master track name and choose Coalesce VCA Master Automation The composite Volume level and Mute state are coalesced to each of the slave tracks The VCA Master Volume fader is reset to zero the VCA Mute is set to unmuted and any automation on the VCA Master is cleared Deleting the VCA Master You can temporarily use a VCA Master to write grouped automation then coalesce the VCA au tomation to all of the slave tracks by deleting the VCA Master The coalesced tracks will play back exactly as they did when they were in the VCA group To coalesce automation from a VCA Master to all of its slave tracks and delete the VCA Master track 1 Select the VCA Master track wh
28. automation data in the same automation view This Trim automation display cannot be directly edited To display the Trim automation playlist along with main automation playlist on tracks Select View gt Automation gt Trim Playlist Volume Trim data Volume data Display of Trim automation in a main Volume playlist Chapter 5 Advanced Automation Features 43 Suspending Trim Automation To suspend Trim automation on all tracks a In the Automation window Command click Mac or Control click Windows the Suspend button The Suspend button highlights yellow to indi cate that Trim automation is suspended To suspend Trim automation for individual controls on a track 1 In the Edit window set the Track View selector to show the automation playlist for the Trim control you want to suspend Volume Trim or Send level Trim 2 Doone of the following Tosuspend only the displayed Trim control on a single track Control click Windows or Command click Mac the control name in the Track View selector To suspend the displayed Trim control on all tracks Control Alt click Windows or Command Option click Mac the control name in the Track View selector 44 Complete Production Toolkit 2 Guide Clearing Trim Automation If Trim automation has not been coalesced on a track you can clear it When you clear Trim au tomation automation breakpoints on all Trim playlists are deleted and all Trim fader
29. choose Replace Regions from the Re gion List menu 3 Configure the Replace Region dialog see Re place Region Dialog on page 25 4 Click OK Replace Region and Multichannel Tracks The Replace Region command supports drag ging multichannel regions from the Region List to multichannel tracks provided they are the same channel format For example you can re place a selected stereo region in a stereo audio track with another stereo region from the Re gion List However you cannot replace it with two mono audio regions Additionally you can not replace regions in multiple mono tracks with multichannel regions TCE Time Compression and Expansion Edit To Timeline Selection When the Edit and Timeline selections are un linked you can compress or expand an audio se lection to fit the Timeline selection On audio tracks TCE Edit to Timeline Selection uses the TCE AudioSuite Plug In selected in the Processing preferences On Elastic Audio enabled tracks TCE Edit To Timeline Selection uses the track s se lected Elastic Audio plug in To fit an Edit selection to the Timeline 1 Deselect Options gt Link Timeline and Edit Selec tion 2 With the Selector tool select the audio mate rial to be compressed or expanded 3 In any Timebase ruler select the time range where you want to fit the audio material 4 Choose Edit TCE Edit to Timeline Selection The Edit selection is compressed or expanded to the len
30. delta value being writ ten rather than the absolute value Behavior of the Trim Automation modes also depends on the Coalesce Trim Automation pref erence setting See Coalescing Trim Automa tion on page 42 Trim Off Trim Off turns off reading and writing of all au tomation main and trim for a track All auto mation moves are ignored during playback Trim faders are temporarily set to zero when a track is set to Trim Off mode Depending on the Coalesce Trim Automation preference setting changing a track to Trim Off can coalesce Trim automation on that track See Coalescing Trim Automation on page 42 Automation can be switched from Trim Off to another Automation mode during playback or record Read Trim In Read Trim mode Volume and Send level Trim faders are disengaged from the main auto mation playlist and follow any existing Trim au tomation You can move a Trim fader during playback to audition new trim values but no au tomation is written When the Trim fader is re leased it returns to any previously written Trim automation values If a track does not contain Trim automation you can move a Trim fader during playback to audition new trim values but no automation is written The Trim fader retains its position until the track is removed from Trim mode or if you manually coalesce the Trim level When this mode is enabled non trimmable controls all controls other than track volume and send level be
31. expanded equally by the same percentage value based on length of the region last clicked before dragging Chapter 4 Advanced Editing Features 27 Expanding Alternate Channels to New Playlists or Tracks When working with a mono region that is part of a multichannel recording imported from a field recorder you can expand that region or a selected portion of it to new playlists that re flect its matching alternate channels while pre serving any edits or fades For detailed information on working with multichannel recordings made with field re corders see the Field Recorder Workflow Guide Conditions for Alternate Channel Availability An alternate channel is available to replace the original channel represented by the region or portion of a region selected on the Timeline if all of the following are true Both channels are part of a multichannel recording made simultaneously on one or more field recorders Certain metadata matches between the original channel and the alternate channel The metadata embedded during shooting and recording has been preserved prior to import into Pro Tools 28 Complete Production Toolkit 2 Guide With multichannel recordings from one or more field recorders both channels must over lap at least once between their start time code and end time code positions and must also meet one of the following conditions Matching Scene and Take Matching Shoot Date applies only i
32. in Latch mode In Touch Latch mode the Volume control fol lows Touch behavior writing automation when touched and returning to previously written lev els when released All other controls follow Latch behavior writing automation when touched and continuing until playback stops or until you punch out of writ ing automation Selecting Touch Latch mode Trim Mode You can adjust or trim existing track volume and send level automation data in real time Pan mute and plug in automation cannot be trimmed in this manner Trim mode works in combination with the other Automation modes Read Touch Latch Touch Latch and Write and is useful when you want to preserve all of your volume automation moves but need to make levels a bit louder or softer to balance a mix When writing automation in Trim mode fader moves write relative rather than absolute values The existing automation data is changed by the amount of increase or decrease or the delta value indicated by the faders When Trim mode is enabled non trimmable controls behave in the same manner as in the standard Automation modes with the excep tion of Write Trim mode where non trimmable controls operate as in Touch mode Trim Automation Modes When a track is in a Trim automation mode ex cept for Trim Off its main Volume faders and all Send level faders are displayed in yellow When trimming a track s Volume indicator or Send Level indicator shows the
33. right and left side channels for 7 1 and 7 0 formats Chapter 6 Surround Features 95 Divergence In the Panner Grid the current divergence val ues are displayed using a purple outline Divergence display Divergence controls Divergence display and controls By default Pro Tools surround panners are 10096 or fully divergent meaning that a signal that is panned completely to one speaker will only be audible in that speaker Lower divergence settings result in a progres sively wider source signal When Divergence is less than 10096 tracks will be routed to neigh boring speakers to some degree even when the Pan Location cursor is positioned next to a sin gle speaker Pan Location cursor Front Divergence Front Divergence at less than 10096 for wider panning 96 Complete Production Toolkit 2 Guide To adjust divergence Adjust the Front Rear and Front Rear Diver gence controls as necessary Divergence Editing Mode In Divergence Editing mode you can adjust the divergence boundaries by dragging directly in the Divergence Grid To adjust divergence graphically 1 Click on the Panning Mode button until the Divergence Editing icon is displayed Divergence Editing icon Panner Mode button set to Divergence Editing 2 Drag in the Grid to resize the divergence boundaries Center Percentage Center Percentage controls whether there is a discrete center channel for the track or
34. straight lines moving the Pan Location cursor using the Position rotary knobs with full movement of front rear and front rear position and Pan discretely between pairs of speakers For example when panning front left to rear right in 3 Knob mode audio will be heard from just those two speakers assuming full diver gence is in effect UN 3 Knob trajectory 3 Knob mode Panning and metering in 3 Knob mode By comparison in X Y mode a diagonal pan may result in audio being heard in some or all channels The difference is that 3 Knob mode pans dis cretely between the front and rear position of the panning trajectory while X Y mode panning takes place in the full 360 Panning Grid Diver gence and Center Percentage are variable in both Panning modes Chapter 6 Surround Features 93 To enable 3 Knob Panning mode Click on the Panning Mode button until the 3 Knob mode icon is displayed 3 Knob mode icon Panner Mode button set to 3 Knob mode The panner trajectory line appears across the Grid extending from the front X axis to the rear Y axis To pan in 3 Knob mode 1 Adjust the Front and Rear Position knobs to set the trajectory line 2 Rotate the Front Rear Position knob to pan along the trajectory The Pan Location cursor is constrained to the white trajectory line To change the 3 Knob trajectory angles do one of the following Drag either end point Front or Rear of
35. ters are written back to the point where the first control began writing automation 48 Complete Production Toolkit 2 Guide Write To Next Breakpoint or Punch Point and Trim Mode While in Trim mode it is also possible to write trim values for track volume and send levels to the next written breakpoint or back to the auto mation punch in point To write current trim values to the next breakpoint or to the punch point 1 Choose Window Automation 2 Make sure that the automation type track vol ume or send level is write enabled 3 In the Mix or Edit window click the Automa tion Mode selector and select Trim The track Volume and Send Level faders turn yellow 4 Click in a track to define an insertion point 5 Start playback 6 When you reach a point in the track where you want to apply the current trim values click the Write Automation to Next Breakpoint but ton in the Automation window To write current trim values to the punch point 1 Choose Window Automation 2 Make sure that the automation type track vol ume or send level is write enabled 3 In the Mix or Edit window click the Automa tion Mode selector and select Trim The track Volume and Send Level faders turn yellow 4 Click in a track to define an insertion point 5 Start playback 6 When you reach a point in the track where you want to apply the current trim values click the Write Automation to Punch Point button in the Automation w
36. the trajectory line Or Adjust the Front or Rear Position controls To change the current trajectory position left to right and retain its current angles Drag the trajectory line not its end points to a new position 94 Complete Production Toolkit 2 Guide AutoGlide Mode AutoGlide mode lets you quickly write Surround Panner automation by clicking new locations in the Surround Panner window instead of manu ally moving the Surround Panner controls A When writing automation in AutoGlide mode the Pan Location cursor cannot be dragged from its location The time it takes to glide from point to point from the Pan Location cursor to the new desti nation is called the AutoGlide Time This time is set in the Mixing Preferences page and has a range of 10 msec to 10000 msec 10 seconds To set the AutoGlide Time 1 Choose Setup Preferences and click the Mix ing tab 2 Set the AutoGlide Time in the Automation sec tion To do an AutoGlide automation pass 1 Click the Panning Mode button until the AutoGlide mode icon is displayed AutoGlide mode icon Panner Mode button set to AutoGlide mode The Panning Mode button displays a slanted dotted line that ends with a filled in dot repre senting a cursor at its top right corner 2 In the Mix or Edit window click the Automa tion Mode selector and select an Automation mode for the track you want to automate 3 Press Play to begin playb
37. to apply the current settings click the Write Automation to Next Breakpoint button SUSPEND Write Enable Manual Write ies Wess Write to Next Breakpoint iion button Write on Stop LEES 5 Write to Next Breakpoint eux ape on Stop button AUTO JOIN Auto Match PREVIEW Write To Next Breakpoint buttons in the Automation window 7 Stop Playback The current values of all controls being written at that point are written up to the next break point A Write Automation to Next Breakpoint re To write current automation values back to the automation punch point 1 Choose Window Automation 2 Make sure the automation type is write en abled 3 Click in a track to define an insertion point 4 Start playback 5 Make sure you are actively writing on the ap propriate track if you are in Touch Latch or Touch Latch mode 6 When you reach a point in the track where you want to apply the current settings click the Write Automation to Punch Point button MUTE SMUTE Manual Write Write to Punch Point salas button ue RE Write on Stop Write to Punch Point j on Stop dm mains enabled after a valid automation button pass Unlike standard Write Automation commands it cannot be configured to dis able after an automation pass AUTO JOIN Auto Match PREVIEW M CAPTURE p Write To Punch Point buttons in the Automation window The current values of all write enabled parame
38. window click and drag on the video frames that represent the regions Selecting Ranges in the Video Universe When you move the cursor over the bottom half of a video frame in the Video Universe it dis plays and behaves as a selector tool This tool lets you select ranges within one or more video regions in the Edit window Video frame with selector tool To use the Video Universe window to select ranges in video regions in the Edit window 1 Move the cursor over the bottom half of any video frame until it becomes a selector tool 2 Do one of the following To place the cursor at the beginning of a video region click the video frame repre senting the video region To select an entire video region from start to end double click the video frame repre senting that region To select one or more entire regions from start to end drag the video frames repre senting the video regions V If the Edit window does not display the se lected video regions it will automatically scroll to show the beginning of the selection Selecting Zoom Resolutions and Ranges Simultaneously in the Video Universe When you move the cursor over a video frame in the Video Universe while pressing Alt Win dows or Option Mac the cursor appears as a selector tool This tool lets you zoom and select ranges simultaneously To use the Video Universe window to select and zoom simultaneously in the Edit window 1 Move the cursor o
39. 5 below shows a routing configuration for music tracks Most of the music tracks in this example are routed to the front left right channels using a stereo sub path A 5 1 Auxiliary Input controls the bus and stem output Multiple Output Assignments Multiple output assignments make it possible to configure a number of multi format mixes For example you can assign an additional stereo output to tracks and create a stereo mix at the same time as a 5 1 mix Panning a sound back and forth between the left and right speakers is best used as a special ef fect In a typical music mix the basic tracks are placed in the stereo sound field and remain there Surround mixes can become incoherent if too many elements are continuously moving For special effects some tracks can be panned dy namically bouncing between speakers or sweep ing from one side to the other p P P be b be e P P Gi gt drums i conga i shaker i synth bass B oti B or2 bone E tot Sa Figure 8 Music stem Chapter 6 Surround Features 85 LFE Examples LFE tracks and other audio can contribute to the LFE output in two ways Using the LFE fader in Output windows This LFE signal is post fader Using a custom sub path to route channels discretely Figure 9 shows a channel Output window send ing and metering to the LFE channel LFE fader Figure 9 LFE contribution from a stereo output Using the LFE fader you can add any amou
40. AV I Complete Production Toolkit 2 Version 9 0 Legal Notices This guide is copyrighted 2010 by Avid Technology Inc hereafter Avid with all rights reserved Under copyright laws this guide may not be duplicated in whole or in part without the written consent of Avid 003 96 I O 96i I O 192 Digital 1 0 192 1 0 888 24 1 0 882 20 I O 1622 I O 24 Bit ADAT Bridge I O AudioSuite Avid Avid DNA Avid Mojo Avid Unity Avid Unity ISIS Avid Xpress AVoption Axiom Beat Detective Bomb Factory Bruno C 24 Command 8 Control 24 D Command D Control D Fi D fx D Show D Verb DAE Digi 002 DigiBase DigiDelivery Digidesign Digidesign Audio Engine Digidesign Intelligent Noise Reduction Digidesign TDM Bus DigiDrive DigiRack DigiTest DigiTranslator DINR DV Toolkit EditPack Eleven EUCON HD Core HD Process Hybrid Impact Interplay LoFi M Audio MachineControl Maxim Mbox MediaComposer MIDI 1 0 MIX MultiShell Nitris OMF OMF Interchange PRE ProControl Pro Tools M Powered Pro Tools Pro Tools HD Pro Tools LE QuickPunch Recti Fi Reel Tape Reso Reverb One ReVibe RTAS Sibelius Smack SoundReplacer Sound Designer Il Strike Structure SYNC HD SYNC 1 0 Synchronic TL Aggro TL AutoPan TL Drum Rehab TL Everyphase TL Fauxlder TL In Tune TL MasterMeter TL Metro TL Space TL Utilities Transfuser Trillium Lane Labs Vari Fi Velvet X Form and XMON are trademarks or registered trad
41. Complete Production Toolkit 2 must be authorized before it can be used See Authorizing Complete Pro duction Toolkit 2 on page 6 Chapter 2 Installation and Authorization 5 Authorizing Complete Production Toolkit 2 Complete Production Toolkit 2 and its addi tional software components must be authorized before they can be used in Pro Tools Complete Production Toolkit 2 and Additional Software Components Each Complete Production Toolkit 2 compo nent must be authorized before it can be used in Pro Tools Authorization includes activating your software licenses online then transferring your licenses to an iLok USB Smart Key iLok iLok USB Smart Key An iLok can hold hundreds of licenses for all of your iLok enabled software Once a license for a given piece of software is placed on an iLok you can use the iLok to authorize that software on any computer An iLok USB Smart Key is not supplied with plug ins or software options but comes with new Pro Tools 9 0 systems or can be purchased separately The following Complete Production Toolkit 2 software components must be authorized before they can be used in Pro Tools Complete Production Toolkit 2 includes Pro Tools features Neyrinck SoundCode Stereo e X Form 6 Complete Production Toolkit 2 Guide Authorizing Downloaded Software If you downloaded software from the Avid Store http shop avid com you authorize it by downloading lice
42. ENDS A E o 54 SENDS A E This channel s main output path is mono Center music It has a multichannel send providing a multi channel panner I This channel s output path is multichannel so the track provides a multichan nel panner Two different ways to configure tracks for multichannel mixing Chapter 6 Surround Features 77 Multichannel Track Outputs Tracks can be routed to multichannel output or bus paths using the track s Output Path selector This provides a multichannel panner and meter in the Mix and Edit window I O View Additional output assignments can be added by Start clicking Windows or Control clicking Mac the Selector tool and assigning another path Multichannel Sends All track formats including mono and stereo let you assign one or more multichannel sends This provides a multichannel panner in the Sends View Sends are also useful to bus tracks for multichannel plug in processing 78 Complete Production Toolkit 2 Guide Figure 2 shows a mono audio track with a 5 1 6 channel send View Sends A E Send A SENDS A E Multichannel send panner Mono output format Mono meter Figure 2 A mono audio track with a mono output format and a multichannel send Pro Tools bussing and submixing features are available for all channel formats from mono stereo through 8 channel For examples of multichannel monitoring effects processing and bussing see Mi
43. Frames e Samples 2 Do one of the following e Select a preset amount in the Back Forward Amount pop up menu or n the Back Forward Amount field enter a custom amount Using Back or Forward Commands To move the playback location backward by the Back Forward Amount Press Command Mac or Control Windows and click Rewind in the Transport window To move the playback location forward by the Back Forward Amount Press Command Mac or Control Windows and click Fast Forward in the Transport window To move the playback location backward by the Back Forward Amount and then begin playback Press Command Option Mac or Con trol Alt Windows and click Rewind in the Transport window To move the playback location forward by the Back Forward Amount and then begin playback Press Command Option Mac or Con trol Alt Windows and click Fast Forward in the Transport window Chapter 3 Session and Track Features 17 Repeating Back Forward Commands All the Back Forward commands can be repeated in order to increase the amount of the total Back or Forward move To repeat Back Forward moves 1 Press and hold Command Mac or Control Windows 2 Click Rewind or Fast Forward the number of times you want to repeat moving the playback location backwards or forwards by the specified Back Forward Amount Extending Selections with Back or Back and Play Commands The Back or Back and Play comman
44. If you AutoMatch a control that is in a Latch Prime state the control will no longer be primed To take a track out of Latch Prime a Control click Windows or Command click Mac the Automation Mode selector on the track The selector button unbolds to indicate that the track is no longer primed To take all tracks out of Latch Prime do one of the following a Alt Control click Windows or Option Com mand click Mac the Automation Mode selec tor on a track Or a Click the AutoMatch button in the Automation window Write on Stop le de 1 4 AutoMatch button preview M T CAPTURE AutoMatch button in the Automation window To take all selected tracks out of Latch Prime do one of the following a Alt Control Shift click Windows or Option Command Shift click Mac the Automation Mode selector on a track a Alt Shift click Windows Option Shift click Mac the AutoMatch button in the Automation window Chapter 5 Advanced Automation Features 39 To take an automation type out of Latch Prime on all tracks do one of the following a In the Automation window Control click Windows or Command click Mac the button for the automation type Volume Pan Mute Plug In Send level Send pan or Send mute SUSPEND Write Enable PLUG Automation type buttons VOL N MUTE SMUTE Manual Write Write on Stop de 4m e AUTO JOIN Auto Match preview
45. LFE LR Ls Rs C LFE fort ss sapere tes Y Y LR Ls Rs C LFE I same same m ICON X Mon LCRIFELs Rs LCR Ls Rs LFE EO 8 channel 7 1 top to bottom left to right tere SEPCLELPLLIILI LxCxRLFELs Rs LxCxRLFELs Rs Figure 1 Track layout of different 5 1 formats AS Multichannel I O and signal routing is deter Routing Audio for Surround mined by the paths defined in the I O Setup di Mixing alog Surround sessions typically include a combina v If you want independent volume mute and tion of mono stereo and multichannel audio solo controls for surround monitoring you Auxiliary Input Master Fader and Instrument may want to invest in external surround tracks and inserts and busses monitoring hardware such as an C 24 Once the appropriate I O Setup has been im ported or configured audio Auxiliary Input Master Fader and Instrument tracks can be mixed in multichannel for surround using Pro Tools mixing features 74 Complete Production Toolkit 2 Guide Multichannel Audio Tracks Multichannel audio tracks contain an individ ual channel for each signal in the track for ex ample a 5 1 track would have six channels for left center right left surround right surround and LFE Multichannel audio tracks can be Recorded directly into Pro Tools using multi ple microphones or microphone arrays or routed to appropriate multichannel Pro Tools Input paths mported from other Pr
46. M CAPTURE y Automation types in the Automation window Rolling Through Automation Punch Points in Latch Prime After you prime controls for writing automation while the transport is stopped you can set Pro Tools to automatically punch in at that point after issuing a back and play command or after rolling back and locking to time code To set Pro Tools to automatically punch in automation writing on a track 1 Locate the cursor where you want to punch in automation 2 Prime controls for writing while the transport is stopped See Prime Controls for Writing Au tomation in Latch Mode on page 38 3 In the Automation window click the AutoJoin button 40 Complete Production Toolkit 2 Guide 4 In the Automation window click the Capture button and then click the Punch Capture button The AutoJoin marker a vertical red line appears on screen at the punch point Write on Stop le de v s ups AUTO JOIN Auto Match Capture button Punch Capture button Capture and Punch Capture buttons in the Automation window 5 Issue a Back and Play command roll back the external machine to before the punch in point or enable pre roll 6 Start playback When the transport reaches the punch in point automation writing begins Glide Automation The Glide Automation commands let you manu ally create an automation transition or glide from an existing automation value to a new one over a selected area
47. Percentage 95 signal routing basics for surround 77 surround examples 84 Snap Pan to Speaker icons 91 snapshot automation 54 adding to empty automation playlists 55 57 writing over existing automation 55 Split Into Mono Track command 76 Standard VCA Logic for Group Attributes option 21 stereo tracks replacing regions in 26 sub paths examples for surround 81 Suppress Automation Write To Warnings option 21 surround and sends 78 basic signal routing 77 center percentage 96 74 68 discrete level solo mute 76 example 5 1 format paths 72 importing I O Settings 70 pan playlists and automation 98 87 settings files 68 using paths 81 SurroundScope 98 112 Complete Production Toolkit 2 Guide T take over Surround pan 92 TCE Edit to Timeline command 27 technical support 4 Time Compression Expansion plug in 27 Track menu Split Into Mono command 76 tracks 5 1 format track layout 75 and surround 74 converting multichannel tracks into mono tracks 76 trajectory panning 94 Trim automation coalescing 42 Trim Automation commands 57 Trim to All Enabled 57 Trim to All Enabled Automation command 57 Trim to Current Automation command 57 Trim tools Scrub Trim tool 23 trimming automation breakpoints 42 regions with Scrub Trim tool 24 U unlinking plug in controls 80 Use Absolute Pan Linking option 20 V VCA Masters assigning groups 12 clearing 65 11 deleting 65 64 mixing 10 track type 10 video Import Options 100
48. Signal routing is the key element in any Pro Tools surround session Signal routing is configured and defined in the I O Setup dialog Example Output Paths Figure 4 shows output paths defined in the I O Setup dialog of an example session that was cre ated using a 003 MO Setup beut Output Be insert Mec Preames M W insert Delay Bucs LI IET Cortroler Meter Path S418 Aufibon Pathe none a Dixit Output But noas 3 a etm Monitor format Stereo LR 3 51 Path Order LCRO SUE 3 FI Sessions owerwette current 1 0 Setup when opened Import Settings Export Settings Cancel 5506 Figure 4 I O Setup example output paths Example Bus Paths Figure 5 shows example bus paths MO Setup Input Output Russ insert Mic Preamps W W insert Delay Canes Controler Meter Peth ovt t 9 E Austen am none 1 Defaut Output Bos 5 1 Mix Stereo Hp Delete Path heh aane I A Sessions overnrite current I O Setup whee opened import Settings _ Export Settings Figure 5 I O Setup example bus paths Output bus main paths and sub paths have been defined for the 5 1 Mix An LCR format internal mix bus path Dialog and two 5 1 format paths Music and FX have been defined each with several sub paths Chapter 6 Surround Features 83 Example Sub Paths Sub paths let you route to selective channels within the
49. Tools Reference Guide Help gt Pro Tools Reference Guide Complete Production Toolkit 2 Overview Complete Production Toolkit 2 enables the fol lowing features in Pro Tools Surround mixing editing and automation up to 7 1 depending on the output capabilities of your audio interface F Use the Neyrinck SoundCode Stereo down mixer plug in for monitoring surround ses sions in stereo with audio interfaces that have fewer than six outputs e Up to a total of 192 voiced audio tracks up to 512 voiceable audio tracks Pro Tools with Complete Production Toolkit 2 displays of up to 512 tracks 192 voice able tracks in excess the 192 voice limit are set to inactive Playback of up to or a combination of play ing back and recording up to 192 mono tracks or 96 stereo tracks 192 available voices at 44 1 kHz and 48 kHz Playback of up to or a combination of play ing back and recording up to 96 mono tracks or 48 stereo tracks 96 available voices at 88 2 kHz and 96 kHz Playback of up to or a combination of play ing back and recording up to 48 mono tracks or 24 stereo tracks 48 available voices at 176 4 kHz and 192 kHz e Ability to use QuickPunch on up to 64 tracks Up to 160 Auxiliary Input tracks per session Up to 128 Instrument tracks Advanced Group dialog VCA assignments Attributes tab Follow globals Momentary Solo Latch Back Forward com mands Custom Shuttle Lock speeds
50. Trim Automation You can set Pro Tools to commit or coalesce Trim automation to the main automation play list by the following methods After Every Pass Trim moves are automatically applied when the transport is stopped at the end of an automation pass Trim automation play lists are cleared and Trim faders are returned to Zero On Exiting Trim Mode Trim moves are stored sep arately in the Trim automation playlist until they are coalesced Trim automation is automat ically coalesced on a track only when you take the track out of Trim mode You can repeat an automation pass edit Trim automation manu ally on any of the Trim playlists or clear Trim automation before coalescing with this method CY Even when automation is set to coalesce on exiting Trim mode you can use the Coalesce Trim Automation command to commit Trim moves at any time Manually Trim moves are stored separately in the Trim automation playlist until they are co alesced With this setting the only way to co alesce Trim moves is with the Coalesce Trim Au tomation command You can repeat an automation pass edit Trim automation manu ally on any of the Trim playlists or clear Trim automation before coalescing with this method To set the method by which Trim Automation is coalesced 1 Choose Setup Preferences and click Mixing 2 Under Coalesce Trim Automation select one of the following After Every Pass On Exiting Trim Mode Manual
51. a phan tom center channel Center Percentage Example In film and video production the center chan nel often contains dialog To enhance the clarity of dialog it is often beneficial to keep elements such as music out of the center speaker By re ducing the Center Percentage on music tracks music panned to the front of the sound field can be panned to only the left and right speakers forcing them to have a variable phantom center image To adjust Center Percentage Adjust the Center Percentage knob as appro priate As you reduce the Center Percentage value the center speaker at the top of the Grid becomes less visible At 0 the center speaker is com pletely invisible reflecting the setting for fully phantom center Center set to O no center speaker shown LFE Faders in Multichannel Panners The LFE fader controls how much of the track is sent to LFE LFE faders are only available when a track is assigned to a path whose format sup ports LFE 5 1 6 1 or 7 1 To mix to the LFE channel Adjust the LFE fader in any 1 surround for mat Output window For general information about LFE sub channels and related topics see the Pro Tools Sync amp Surround Concepts Guide LFE Faders and Groups Track and send LFE faders can follow Mix and Edit Groups by being enabled in the Group At tributes page in either the Create Groups or Modify Groups dialog LFE faders can be as signed to follow gro
52. ack 4 Set a new destination for the cursor by doing one of the following ClickaSnap Pan to Speaker icon to glide to its speaker location Click in the pan window to glide to a spe cific location in the X Y Grid Snap Pan to Speaker icons Pan Location cursor AutoGlide mode Panning Mode button AutoGlide mode shown The Pan Location cursor will begin to move to wards the new destination in the time it takes to travel the AutoGlide Time When the new desti nation point is reached a new breakpoint will be written at the new location 5 Repeat the previous step if you want to write additional panning moves 6 Stop the transport when finished Divergence and Center Percentage The Divergence and Center Percentage controls range from 0 to 100 and can be automated They are especially useful for ensuring audibility and coverage in large venues and to increase clarity of voices Front Divergence Controls divergence between front speakers X axis only Rear Divergence Controls divergence between the rear speakers X axis only Front Rear Divergence Controls divergence be tween front and rear the Y axis Center Percentage Determines whether there is a discrete center image a completely phantom center image or a variable amount in between Side Center Percentage Determines whether there is a discrete center image a completely phantom center image or a variable amount in between the
53. ack Renaming a playlist Deleting a playlist For more information see the Pro Tools Reference Guide Multiple Codecs on an Individual Video Track A single video track can contain video regions compressed with different video codecs of the same type of video For example you can add QuickTime files that were compressed using multiple codecs to the same video track However once the first video file has been added to a session all additional video files added to the Timeline must have the same video frame rate as the first video file Chapter 7 Video Features 99 Support for Video Import Options Complete Production Toolkit 2 adds the follow ing options to Pro Tools when using the Video Import Options dialog to import video into Pro Tools Destination Section Region List Imports the video file directly into the Region List where it will be available to drag and drop into Pro Tools Additional Video Import Options Gaps Between Regions When you import more than one video file into a track they will be shuffled together by default This option lets you indicate the number of seconds by which each video clip will be separated when imported into the video track Bypassing the Video Import Options Dialog To bypass the Video Import Options dialog when importing video into Pro Tools Alt drag Windows or Option drag Mac one or more video files from a DigiBase browser into the Region List 100 Comp
54. an use the Up and Down Arrow keys to increase or decrease the setting 4 Click OK The Custom Shuttle Lock Speed setting is saved with your Pro Tools system preferences not with the session To enable Custom Shuttle Lock Speed a Press Start 9 Windows or Control 9 Mac on the numeric keypad Numeric Keypad Set to Shuttle Pro Tools offers another form of shuttling dif ferent from that of Shuttle Lock mode With the Numeric Keypad mode set to Shuttle playback of the current Edit selection is triggered by press ing and holding the keys on the numeric key pad playback stops once the keys are released Various playback speeds are available in both forward and reverse In this mode pre and post roll are ignored To shuttle with the Numeric Keypad mode set to Shuttle 1 Choose Setup Preferences and click the Oper ation tab 2 Set the Numeric Keypad mode to Shuttle and click OK 3 With the Selector tool click in the track where you want playback to begin To shuttle on two tracks Shift click in a second track 4 Press and hold any of the following keys or key combinations on the numeric keypad to trigger playback Shuttle Speed Rewind Key Forward Key 1 X Speed 4 6 4 X Speed 7 9 1 4 X Speed T 3 1 2 X Speed 445 546 2 X Speed 748 8 9 5 Press a different key to switch the playback di rection or speed Release to stop AutoFades Pro Tools can automatically
55. ating a headphone mix based on trols the main mix or when an effect level needs to follow the levels in a main mix You can copy the current settings or the entire automation 5 Select the sends to which to copy the automa playlist for the selected controls to the corre tion and click OK sponding playlist for the send 4 Select the controls you want to copy w When overwriting automation Pro Tools presents a confirmation dialog To suppress this dialog press Alt Windows or Option Mac while clicking OK To copy a track s settings or automation to one of its sends 1 Select the tracks you want to edit by clicking on the track names to highlight them You can undo the results of the Copy to Send command 2 Choose Edit Automation Copy to Send M Current Value C Automation Of all selected tracks Cancel Eon Copy To Send dialog 36 Complete Production Toolkit 2 Guide AutoMatch Write on Stop l de Tm AUTO JOIN Rute Match AutoMatch button preview UP capture M AutoMatch button in the Automation window AutoMatching All Controls You can AutoMatch all currently writing con trols to their existing automation levels To AutoMatch all currently writing controls 1 Choose Window Automation 2 Make sure the automation types you want to AutoMatch are write enabled 3 Start playback 4 When you reach a point in the track where you want to return control to their p
56. ces Complete Production Toolkit 2 lets you play or record up to 192 voices simultaneously at 44 1 or 48 KHz up to 96 voices at 88 2 or 96 kHz and up to 48 voices at 176 4 or 192 kHz Each chan nel of an audio track uses a single voice For example at 44 1 or 48 KHz you can have up to 192 mono tracks or 96 stereo tracks or 32 5 1 tracks or Any combination of mono stereo and sur round tracks that do not require more that 192 voices for all audio channels Maximum track counts are only supported with multiple hard drives and faster Avid qualified systems Visit our website for more information www avid com Track Priority and Dynamic Voicing Ay Tracks do not play back when they are inac tive or their voice assignment is set to Off When working with more than 192 voices at 44 1 or 48 kHz you can play back audio on a track that would use voice number 193 and higher by changing the higher track s priority as follows Make a lower numbered track inactive click the Track Name and select Track Make Inactive to free up its voice Set the voice assignment in a lower num bered track to Off click the Voice selector and select Off Drag the Track Name button of the higher numbered track to the left Mix window or upwards in the Edit window or Track List until it is in the range of the maximum number of voiced audio tracks allowed by your system The previous last voiced audio t
57. channel signal When you need to adjust signals within the multichannel track independently When a plug in does not support multichan nel formats Whena multi mono plug in is first inserted on a multichannel track the plug in controls are linked You can unlink them for independent adjustment See Linking and Unlinking Con trols on Multi Mono Plug Ins on page 80 for more information Multi mono plugs ins can also be inserted on stereo tracks to apply unlinked plug ins on the left and right channels Multichannel Plug Ins Are designed for use on stereo and multichannel tracks that require cor related processing including stereo and multi channel limiting compression and similar ef fects Chapter 6 Surround Features 79 Linking and Unlinking Controls on Multi Mono Plug Ins When a multi mono plug in is used on a multi channel track of more than two channels the controls are normally linked Adjusting the Gain control on one channel for example will adjust it for all channels If necessary you can unlink plug in controls on specific channels of a track and edit them inde pendently You can also selectively link the con trols of specific channels For example to apply equal filter cutoffs to the Ls and Rs surround channels in a 5 1 mix you could link enable just those channels in an un linked multi mono EQ plug in Adjusting the controls in the plug in window for either chan nel Ls or Rs adjust
58. d Forward Slash Mac Select the Grabber tool and click anywhere in the playlist 4 Doone of the following Select an area in the track s playlist or within multiple tracks where you want to apply the automation Or Place the cursor at an Edit insertion point 5 Adjust the controls you want to automate You can also change a plug in preset 6 Choose Edit Automation and do one of the following To write the current value to only the cur rently displayed automation parameter choose Write to Current To write the current settings for all automa tion parameters enabled in the Automation window choose Write to All Enabled Adding Snapshot Automation to Empty Automation Playlists When you use a Write Automation command on an automation playlist with no previously writ ten automation data the selected value is writ ten to the entire playlist and not just the se lected area This is because a playlist with no automation data contains only a single automation break point that corresponds to the current position of the control for the parameter The position of the breakpoint is updated whenever the param eter value is changed If you do not want the Write Automation com mand to write the selected automation value to the entire playlist you can Anchor the automation data by placing the cursor at the end of the session or any other end point and choosing Write to Current Or
59. d Metering on page 72 To use the Surround Scope Plug In a On a multichannel Master Fader click an In sert button and select Multichannel TDM plugin gt Sound Field Surround Scope Surround Scope displays output levels in both a 360 Grid and in traditional LED meters For detailed information on Surround Scope refer to the Audio Plug Ins Guide Video Features Complete Production Toolkit 2 enables addi tional session and track features for working with video in Pro Tools For more information on working with Pro Tools sessions and tracks see the Pro Tools Reference Guide Video Track Support Complete Production Toolkit 2 adds the follow ing video track support to Pro Tools Multiple video tracks in the Timeline Multiple QuickTime movies on individual video tracks Multiple playlists for video tracks See the Pro Tools Reference Guide for detailed information on playlists Multiple Video Tracks in the Timeline You can add multiple video tracks to the Time line but only one video track can be played back at a time This track is known as the main video track Multiple Video Track Playlists Playlists provide an easy way of changing back and forth between alternate versions of a video track You can perform all of the same operations with video playlists as you can with audio playlists including Duplicating a playlist Creating a playlist Assigning a playlist to another video tr
60. d configura tion limited only by your systems resources and the I O Setup dialog requirements for chan nel overlapping and naming See also Example Paths and Signal Rout ing for a Surround Mix on page 83 Example LCRS Setup The following example shows one possible way to configure the I O Setup dialog to mix in 4 channel LCRS format with a 003 Input Output Bus Insert Mic Preamps H W Insert Delay EO Name Format 3 4 s 6 7 e 9 20 V 12131415161718 TERS TERS RTS I Analog 5 6 Stereo rere iss RT Analog 7 8 Stereo Im t ADAT 1 2 ADAT 3 4 ef ajn RAAAAR gt gt Stereo L Stereo L R ADAT 5 6 Stereo ADAT 7 8 Stereo S PDIF Left Right Stereo Tuaana a Example LCRS output bus main and sub paths For additional I O Setup information see the Pro Tools Reference Guide Chapter 6 Surround Features 71 To define an LCRS path 1 Choose Setup gt I 0 and click the Output tab 2 Click New Path 3 Select LCRS from the Path Format selector 4 Name the path LCRS 5 In the Channel Grid click in the box below the first left most audio interface channel for the path Pro Tools automatically fills up the ad jacent units to the right If you click in the LCRS row under channel 1 the LCRS path is a
61. de To exclude Send levels from Trim mode 1 Choose Setup Preferences and click Mixing 2 Under Automation deselect Include Sends in Trim Mode A Any uncoalesced automation on a Send will still coalesce when the other automation on its track is coalesced even if Include Sends in Trim Mode is deselected 3 Click OK Composite Automation Playlist If automation is not set to coalesce after every automation pass you can display a composite automation playlist that shows the contribution of the Trim automation to the main Volume or Send Level automation data This composite playlist display cannot be directly edited The composite playlist is shown in both the main automation playlist and the Trim automa tion playlist To display the composite playlist a Select View gt Automation gt Composite Playlist Volume Trim data Composite playlist Volume data Display of Trim automation and the composite playlist in a main Volume playlist Chapter 5 Advanced Automation Features 35 M MED n 3 In the Copy to Send dialog do any of the fol Copy Track Automation to lowing Sends Select Current Value to copy the current set There may be times where you want a track s tings of the corresponding controls send settings or automation to mirror the set Select Automation to copy the entire auto tings or automation in the track itself for exam mation playlist for the corresponding con ple when cre
62. dio and video that is selected and cut copied or pasted follow the current Edit mode In Shuffle mode all video data on the track is shuffled later in the track by an amount equal to the selection In Slip Grid or Spot mode the In Selecting within Video Frame sert Silence command works just like the Edit gt Boundaries Clear command Pro Tools does not let you select play back or edit a partial video frame The following rules apply when selecting or editing video 1 Make a selection in a track or tracks The length of the selection determines the duration of the space inserted To insert space into a video track 2 Choose Edit gt Insert Silence Chapter 7 Video Features 103 Video Region Groups You can include video regions within region groups for the following operations Creating region groups Creating multitrack region groups includ ing audio tracks Editing region groups Creating fades and crossfades for audio files in region groups Importing and exporting region group files Browsing Video in the Video Universe Window The Video Universe lets you view navigate zoom and select video regions on the main video track The Video Universe window displays the center video frame of each video region in the main video track Video frames are ordered sequen tially according to their order in the Timeline and the colored strip under each frame repre sents the color coding for that region
63. ds can be used to extend a selection backwards by the length of the specified Back Forward Amount w Although you cannot extend a selection with the Forward or Forward and Play com mands you can use the following proce dures with Forward or Forward and Play to move the start point of a current selection To extend a selection with Back or Back and Play commands 1 Specify the Back Forward Amount See Set ting the Back Forward Amount on page 17 2 With the Selector tool drag within a track to make a selection 18 Complete Production Toolkit 2 Guide 3 Do one of the following To extend the selection backwards by the Back Forward Amount press Shift Com mand Mac or Shift Control Windows and click Rewind in the Transport window or To extend the selection backwards by the Back Forward Amount and then begin playback press Shift Command Option Mac or Shift Control Alt Windows and click Rewind in the Transport window Custom Shuttle Lock Speed Use the Custom Shuttle Lock Speed preference to customize the highest fast forward Shuttle Lock speed key 9 to better match your editing and auditioning needs To configure Custom Shuttle Lock Speed 1 In Pro Tools select Setup gt Preferences and click the Operation tab 2 Be sure that the Numeric Keypad mode is set to Transport or Classic 3 Enter a percentage for the Custom Shuttle Lock Speed setting The range for this setting is 50 800 You c
64. e following options e 5 1 Film Mix SMPTE ITU DTS ProControl Monitoring 5 Click OK 6 In the Save dialog name the session navigate to the location where you want to save the new session and click Save The surround presets preconfigure the I O Setup for the new session with default 5 1 format out put paths and main and sub paths for output busses C Defaut Default Morter format Stereo tm 856 i8 5 1 Path Order LC ts as UE B Sessions overwrite current 1 0 Setup when opened import Settings _ Export Settings B Sessions overwrite current 1 0 Setup when opened Import Settings Export Settings Standard 5 1 format film output bus paths Chapter 6 Surround Features 69 Surround Mix Settings Files The surround mix I O Settings provide output and bus paths for three specific track layout standards in the new session For information on inputs and insert paths see Default Input and Insert Paths with 5 1 Settings on page 70 Settings Files and Track Layouts 5 1 Settings Track Layout Film Pro Tools Standard and LCRLsRsLFE C24 Monitoring SMPTE ITU Control 24 Monitoring LRC LFE Ls Rs LR Ls Rs C LFE DTS ProControl Monitoring All three 5 1 format I O Settings Film SMPTE ITU or DTS provide the following de fault output and bus paths for the new session Default 5 1 Output Paths One 5 1 main output path
65. e the current automation states Alt Shift click Windows or Option Shift click Mac the Capture button Chapter 5 Advanced Automation Features 61 Punching Automation Values for All Controls You can punch all captured automation values to another location on their corresponding tracks except those tracks with their Automa tion Mode set to Off To punch the automation values of all controls a When you reach a location where you want to apply the captured automation states Alt click Windows or Option click Mac the Punch Capture button Any track set to Read or Touch are set to Latch Any tracks set to Off are unaf fected To punch the automation values of all controls on selected tracks only a When you reach a location where you want to apply the captured automation states Alt Shift click Windows or Option Shift click Mac the Punch Capture button Any selected tracks set to Read or Touch are set to Latch Any selected tracks set to Off are unaffected 62 Complete Production Toolkit 2 Guide Capture and Trim Mode The Capture and Punch Capture commands work with Trim automation in the same way as regular automation Pro Tools saves Trim status when capturing so if you attempt to punch cap tured Trim values while displaying a non Trim automation playlist Pro Tools will automati cally apply the values to the corresponding Trim playlist Punch Capture and Write To Commands After issuing a P
66. emarks of Avid Technology Inc Xpand is Registered in the U S Patent and Trademark Office All other trademarks are the property of their respective owners Product features specifications system requirements and availability are subject to change without notice Guide Part Number 9329 65037 00 REV A 9 10 Documentation Feedback At Avid we are always looking for ways to improve our documentation If you have comments corrections or suggestions regarding our documentation email us at techpubs avid com Chapter 1 Introduction 0 000 ccc IIIA 1 Complete Production Toolkit 2 Overview aana aeee 1 System Requirements and Compatibility llle 3 Registrations roca ele lel dere Bed i eae Wr MERERI 3 Conventions Used in This Guide llle 3 About www avid com llle hh e a A 4 Chapter 2 Installation and Authorization s lesse 5 Installing Complete Production 2 Toolkit 2l 5 Authorizing Complete Production Toolkit 2 leere 6 Uninstalling Complete Production Toolkit 2 Software Option and Included Plug Ins 7 Chapter 3 Session and Track Features 0 0 c eee eee 9 Increased Voice and Track Counts lille ee 9 VCA Master Tracks oui rt ee eroe oa E a aioe valor dint Raw aR Dap aa dm 10 Advanced Group Dialog 0 0 cc hh hrs 13 Momentary Solo Latch Option aaaea hs 16 Sett
67. erent formats the number of level meters on the VCA Master track is set to one Record Enable and Slave Tracks When a slave track is record enabled the Record Enable button is lit or set to Input Only mode the TrackInput button is lit its automation is temporarily turned off and its Volume fader is no longer affected by the VCA Master 12 Complete Production Toolkit 2 Guide Assigning Groups to VCA Masters An existing Mix group can be assigned to a VCA Master or a new Mix group can be assigned to a VCA Master while it is being created Only one group can be assigned to a VCA Master at a time A VCA Master cannot control a group that in cludes itself To assign an existing group to a VCA Master Click the Group Assignment selector on the VCA Master track and choose an available group from the pop up menu no group Assigning an existing group to a VCA Master To assign a new group to a VCA Master 1 While creating a new group select Mix or Mix Edit as the Group type 2 In the Group dialog choose an available VCA Master track from the VCA pop up menu Track Membership in Multiple VCA Groups It is possible for a single slave track to be a mem ber of more than one VCA controlled group In this case the contribution of all VCA Master Volume faders is summed on the slave track Mute Solo Record Enable and TrackInput fol low the same rules for enabling or disabling slave tracks Allowing Grouped Be
68. es for multi ple parameters in a single step You can write snapshot automation in two ways To a Selection Automation data is written to the Timeline selection as well as the Edit selection if linked Anchor breakpoints are placed just be fore and after the selection so that data outside the selection is not affected To a Cursor Location Automation data is written at the insertion point After the insertion point the automation ramps to the next breakpoint value or if no breakpoints exist remains at the newly written value for the remainder of the session A For MIDI automation the Write To Trim To and Glide To commands only apply to MIDI Volume MIDI Pan and MIDI Mute MIDI parameters cannot use the Write To commands For more information on cutting copying and pasting automation data within a session see Write Automation to the Start End or All of a Track or Selection on page 45 To write snapshot automation 1 In the Automation window make sure that the parameters you want to edit are write en abled Deselect any parameters whose automa tion you want to preserve 2 In the Edit window click the Track View selec tor to show the automation you want to edit 3 Write a breakpoint in the playlist if none cur rently exists as follows 54 Complete Production Toolkit 2 Guide Place the cursor in the playlist or make an Edit selection then choose Control For ward Slash Windows or Com man
69. f Scene and Take contain any information for both channels Matching Tape name Matching Sound Roll name Alternate channel Sound Roll name matches current channel Tape name Alternate channel Tape name matches cur rent channel Sound Roll name Expanding Channels to New Playlists To expand alternate channels to new playlists 1 In the Timeline do one of the following To expand only a portion of the regions on the track make a selection that includes or overlaps any number of regions on a track and Right click Windows or Mac or Con trol click Mac the selection To expand all of the regions on the track Right click Windows or Mac or Control click Mac the track name 2 Choose the Expand to New Playlists pop up menu and select one of the following methods by which to expand alternate channels for the selection to new tracks By Channel Name By Channel Number By Channel Name and Number By Time Code Only If alternate channels are available Pro Tools ex pands them to new playlists including the channel represented in the original track ac cording to the selected option Expanding Channels to New Tracks To expand alternate channels to new tracks 1 In the Timeline do one of the following To expand only a portion of the regions on the track make a selection that includes or overlaps any number of regions on a track and Right click Windows or Mac or Con trol click Mac
70. fore dragging them so that they are placed in the preferred order Re name them so that sorting them By Region Name in the Region List results in the pre ferred order For example with a 5 1 for mat track you can rename the audio tracks so that the arrangement of the tracks corre sponds to L C R Ls Rs and LFE Chapter 6 Surround Features 75 Solo Mute and Gain in Multichannel Tracks and Paths Stereo and multichannel tracks consist of multi ple audio signals linked together By default multichannel tracks are linked and are con trolled by a single channel fader and solo and mute switches For discrete control of signals multichannel tracks can be converted into individual mono tracks For discrete level and phase adjustment you can insert and unlink a multi mono Trim plug in Both of these techniques are explained below A Once converted to mono multichannel tracks cannot be relinked into their original multichannel format However a multi channel track can be reassembled by drag ging the corresponding number of mono files with the appropriate file suffixes into a multichannel track although some auto mation data may be lost As an alternative record the submix of the mono tracks to disk on a multichannel track To convert a multichannel track into discrete mono tracks 1 Select the multichannel track 2 Choose Track Split Into Mono To have discrete control of gain on individual channels
71. ge Base or join the worldwide Pro Tools community on the User Conference Training and Education Study on your own using courses available online or find out how you can learn in a classroom setting at a certified Pro Tools training center Products and Developers Learn about Avid products download demo software or learn about our Development Partners and their plug ins applications and hardware News and Events Get the latest news from Avid or sign up for a Pro Tools demo 4 Complete Production Toolkit 2 Guide Installation and Authorization Installing Complete Production 2 Toolkit A A qualified version of Pro Tools must be in stalled before you install your toolkit and authorize its software components To install Complete Production Toolkit 2 1 Doone of the following Download the installer for your computer platform from www avid com After down loading make sure the installer is uncom pressed dmg on Mac or ZIP on Windows nsert the Pro Tools 9 0 Installer disc into your computer 2 Locate and double click the Complete Produc tion Toolkit 2 installer icon Install Complete Production Toolkit 2 Mac or Complete Production Toolkit 2 exe Win dows 3 Follow the on screen instructions to complete the installation The installer installs the following plug ins in cluded with Complete Production Toolkit 2 Neyrinck SoundCode Stereo e X Form Each software component including
72. ge bri op e e cece absence 42 Write Automation to the Start End or All of a Track or Selection 0205 45 Write Automation to the Next Breakpoint or to the Punch Point 005 47 Overwrite or Extend Mute Automation saasaa aanne 51 Snapshot Automation 2 0 0 0 0 00 cee eee eee eee 54 Preview Automation i esosec 3x UR ey RR RR E an eee ae ea 57 Capture Automation 0 0 0 0 00 cc hh eens 60 VCA Master Track Automation 1 0 llle nh 64 Chapter 6 Surround Features 0 0 ccc ccc eens 67 Pro Tools Audio Connections for 5 1 Mixing eee eee 67 Configuring Pro Tools for Multichannel Sessions 00 0c eee ee eee eee 68 Default I O Selectors in I O Setup llle 73 5 1 Track Layouts Routing and Metering 0 00 ccc ee eee 74 Routing Audio for Surround Mixing llle 74 Multichannel Audio Tracks 0 0 00 cee ee 75 Multichannel Signal Routing 0 llle hn 77 Paths in Surround Mixes 2 0 llle n 81 Example Paths and Signal Routing for a Surround Mix l l 83 Introduction to Pro Tools Surround Panning eee ee eee eee 87 OUTPUT WindOWS ud imr a eta E aaa Reel ep gh ek lod cen Gb ea a at nce APT do ae 88 Surround Panner Controls llli ee 89 Panning Modes e perita ee ae at gee eh es Gina date RU ANO Seow e 92 Divergence and Center Percentage 0 cece ee eee eee teens 95
73. gion is removed If the replacement region is larger than the se lection it is placed in the playlist and trimmed to fit within the length of the original region Fit Region Using The Original Selection Length When the playlist selection extends be yond the original region the replacement re gion if larger than the original region is trimmed to fit within the selection Fit Region Using The Replacement Region Length The replacement region is placed in its entirety regardless of the length of the original region or selection Replacing Regions from the Region List The Replace Regions command is also available in the Region List menu To use this command make sure there is a region selected in a track and a different replacement region selected in the Region List 26 Complete Production Toolkit 2 Guide To replace regions using the Region List menu 1 Select a region in a track to be replaced 2 Doone of the following Right click the desired replacement region in the Region List and choose Replace Re gions from the pop up menu Select the desired replacement region in the Region List and choose Replace Regions from the Region List menu If the Region List Selection Follows Edit Selection prefer ence is enabled Control click Windows or Command click Mac the selected re gion to deselect it then Control click Windows or Command click Mac the desired replacement region to select it and then
74. gth of the Timeline selection TCE Edit to Timeline Selection on Multiple Tracks and Channels The TCE Edit to Timeline command can be used on multichannel selections and selections across multiple tracks All regions are com pressed or expanded equally by the same per centage value based on Edit selection range This ensures that the rhythmic relationship be tween the different channels or tracks is main tained Fitting an Audio Region to an Edit Selection Regions can be dragged from the Region List to fit within an Edit selection The dragged region is compressed or expanded to fit within the se lection On audio tracks fitting an audio region to the Edit selection uses the TCE AudioSuite Plug In selected in the Processing preferences On Elastic Audio enabled tracks it uses the track s selected Elastic Audio plug in To fit an audio region to an Edit selection 1 With the Selector tool make an Edit selection in an audio track 2 Control Alt drag Windows or Command Option drag Mac the region from the Region List to the track with the selection The start of the region is positioned at the selection start and the region is compressed or expanded to match the length of the selection Fit to Selection on Multiple Tracks and Channels The Fit to Selection command supports dragging multiple regions from the Region List to multi ple tracks or multichannel tracks However all dragged regions are compressed or
75. have as if they are in regular Read mode no automation data is written Chapter 5 Advanced Automation Features 33 Touch Trim In Touch Trim mode Volume and Send level Trim faders are disengaged from the main auto mation playlist and follow any existing Trim au tomation When a Trim fader is touched writ ing of Trim automation begins When the fader is released writing stops and the fader returns to any previously written Trim automation values The rate of the fader s return to previous trim values is determined by the AutoMatch Time specified in the Automation Preferences page When this mode is enabled non trimmable controls all controls other than track volume and send level behave as if they are in regular Touch mode they follow the previously writ ten automation until touched When they are touched their absolute positions are written un til the control is released or until playback stops Latch Trim In Latch Trim mode Volume and Send level Trim faders are disengaged from the main auto mation playlist and follow any existing Trim au tomation When a Trim fader is touched writ ing of Trim automation begins Writing of Trim automation continues until playback stops or until you punch out of writing automation When this mode is enabled non trimmable controls all controls other than track volume and send level behave as if they are in regular Latch mode they follow the previously written automation
76. havior of VCA Slave Track Controls When a track is a VCA slave track its Volume Mute Solo Record Enable and TrackInput con trols follow VCA functions and normally do not follow Mix group behavior However these slave track controls can be set to allow Mix group behavior in addition to their VCA functions To allow grouped behavior of VCA related controls on slave tracks 1 Choose Setup Preferences and click the Mix ing tab 2 In the Automation section deselect the Stan dard VCA Logic for Group Attributes option 3 Click OK Volume Mute Solo Record Enable and Track Input are made available as Mix group attributes in the Group dialog Advanced Group Dialog Whether you are creating or modifying groups with the Group List a tracks s Group ID indica tor or the Track Group menu command you use the Groups dialog The Group dialog lets you create new groups and assign attributes to groups In Pro Tools HD and Pro Tools with Complete Production Tool kit 2 the Group dialog has three pages Tracks Lets you add and remove tracks from the current group Attributes Lets you select which parameters are linked for the current Mix or Mix Edit Group Globals Lets you select parameters to use as a template that can be applied to individual groups by selecting the Follow Globals option Create Group Group 1 O tdit none O Mix 9 wix Edit Traces Attributes Globals Currently in G
77. he Export Regions As Files command from the Region List are used to duplicate multiple regions as a continuous file To render these real time auto fades to disk choose File Bounce to Disk Chapter 3 Session and Track Features To set the length of automatic fade ins outs 1 Choose Setup Preferences and click the Operation tab 2 Type a value between 0 and 10 ms for the Auto Region Fade In Out Length A value of zero the default means that no auto fading will occur 3 Click OK The AutoFade value is saved with the session and is automatically applied to all free standing region boundaries until you change it Preferences Operation Preferences Back Forward Amount Sets the default length of Back Back and Play Forward and Forward and Play The timebase of the Back Forward Amount set tings follows the Main Time Scale by default or you can deselect the Follow Main Time Scale op tion and select another timebase format Bars Beats Min Sec Time Code Feet Frames or Samples Shuttle Selects a type of shuttling different from that of Shuttle Lock mode With the Numeric Keypad mode set to Shuttle playback is triggered by pressing and holding the keys on the nu meric keypad playback stops once the keys are released Various playback speeds are available in both forward and reverse You can also recall Memory Locations by typing Period the Memory Location number and Period again 20 Complete P
78. he Global page 1 While creating or modifying a group click Globals in the Group dialog Create Group Name Group 1 ID a Typ QO Edit VCA nme 0 8H O Mix C Follow Globals 9 Mix Edit Tracks Attributes Globals Volume Mute Main V Insert Controls Bypass Send Level Mute o S 5 a a o Ol mfi JOCO OOOOOL CQOOGOQOCOt b c d e f g h i j JOOOGOCOLE Mix Attributes _ Record Enable C Solos V Automation Mode Settings save 1 2 3 4 5 6 ne 2 Globals page of Group dialog Pro Tools with Complete Production Toolkit 2 2 Select the base set of attributes for groups in your session 3 Click OK to save the group and the new Globals settings To select attributes for an individual group 1 While creating or modifying a Mix Group or a Mix Edit Group do one of the following Click Attributes in the Group dialog and select the attributes you want to link Enable Follow Globals to follow the base set of attributes The Attributes page grays out to indicate that the group is following the selections in the Globals page 2 Click OK to save the settings Create Group Name Group 1 ID a Type O Edit VCA none O Mix Follow Globals wix Edit Tracks Attributes Globals Volume Mute Main Insert Controls Bypass Send Level Mute a a z O Ot OOOOOCl b c d e f g h i i OQo
79. he Volume fader on the slave track The com posite playlist display cannot be directly edited To display the composite playlist on VCA slave tracks a Select View gt Automation gt Composite Playlist Volume F automation playlist a Composite playlist Viewing composite automation on a VCA slave track 64 Complete Production Toolkit 2 Guide Excluding VCA Slave Tracks from VCA Master Automation When you are writing automation on a VCA Master track the corresponding moves will ap pear on the composite automation playlist of each of its slave tracks If you want to exclude a slave track from an automation pass write en able the slave track for automation To exclude a slave track from VCA Master track automation pass 1 Write enable the VCA Master track for auto mation Write Touch or Latch mode 2 Write enable the slave track you want to ex clude for automation Write mode 3 Make sure other slave tracks that you want to include in the pass are not write enabled for au tomation 4 Start playback 5 Move the fader on the VCA Master track 6 Stop playback Automation is written on the excluded slave track such that the fader moves on the VCA Master track are canceled out and the fader on the excluded slave track does not move on sub sequent playback included slave pem Em excluded slave a VCA Master Automation for excluded VCA slave track canceling VCA Master
80. he cur rent selection Replace All Regions That Match Original Re gion s Replaces all regions that fit the Match cri teria and the On criteria with the replacement region from the Region List e Start Position replaces all regions that have the same original start time as the selected region This includes regions that may have been auto created when trimming end points e End Position replaces all regions that have the same original end time as the selected region This includes regions that may have been auto created when trimming start points Name replaces all regions that come from the same audio file and have been renamed to the same name e On This Track replaces regions that fit the Match criteria and are on the same track as the original region OnAll Tracks replaces regions that fit the Match criteria for all tracks in the session On Within the Selection replaces regions that fit the Match criteria within the cur rent selection Chapter 4 Advanced Editing Features 25 Region matching uses all specified Match crite ria For example if you select Start Position and End Position all regions from the same original audio file as your selection with the same origi nal start and end times will be replaced Fit Region Using The Original Region Length If the replacement region is smaller than the orig inal region the region is placed in the playlist and any remaining audio from the original re
81. he track is in automation Off mode or Automation Suspend mode 90 Complete Production Toolkit 2 Guide Panning Mode Button This button located below the X Y Grid pro vides access to Surround panning modes see Panning Modes on page 92 X Y mode icon Panner Mode button set to X Y mode Position Controls The Position controls let you set the positions of the panner Position and Center controls Front Displays and controls the current front X axis left right position of the panner Rear Displays and controls the current rear X axis left right position of the panner In de fault X Y Panning mode Rear is linked to Front position and cannot be controlled indepen dently F R Front Rear Displays and controls the cur rent Y axis position of the panner Center Control Center 96 controls how much of the signal is routed to the center speaker This lets you mix a track to the front with a phantom center 096 Center value or to three channel LCR when panning front Divergence Controls Divergence determines the width of the panned signal with respect to neighboring speakers For more information see the Pro Tools Sync amp Sur round Concepts Guide There are three Diver gence controls Front Rear and F R Divergence Provide sepa rate automatable divergence control over front speakers rear speakers and between front rear respectively Divergence Divergence controls
82. indow Writing Automation to the Next Breakpoint or to the Punch Point on Stop The Automation window provides an option for automatic Write Automation to Next Break point on Stop or Write Automation to Punch Point on Stop A Write Automation to Next Breakpoint remains enabled after a valid automation pass Unlike standard Write Automation commands it cannot be configured to disable after an automation pass To configure Write Automation to Next Breakpoint on Stop 1 Choose Window Automation 2 Click the Write Automation to Next Break point on Stop button or the Write Automation to Punch Point button When this option is enabled automation writ ing will be performed automatically forward to the next breakpoint after a valid automation pass has been performed To configure Write Automation to Punch Point on Stop 1 Choose Window Automation 2 Click the Write Automation to Punch Point on Stop button When this option is enabled automation writ ing will be performed automatically back to the automation punch in point after a valid auto mation pass has been performed Chapter 5 Advanced Automation Features 49 Guidelines for Write To Commands Using Write To Commands During Playback You can carry out any of the Write Automation To commands without stopping the Pro Tools transport On supported control surfaces the corresponding Write To button flashes until you stop the transport
83. ing Playback Location with Back and Forward Commands Ls 17 Custom Shuttle Lock Speed 1 2 0 0 llle hs 18 Numeric Keypad Set to Shuttle 0 2 0 0 0 ee e 19 AUtOPAdES 3 2 Lee ee E ade ok eh a Seen ate Ros Bap lee a PUR E IRR ate a acta REL BUR ANE 19 Preferences ooi e eso ES DUE a iaai aa Shade ee Gee ah TRO ieee ala OE RR Rn as Reda 20 Chapter 4 Advanced Editing Features 0 0 0c ccc ccs 23 Continuous Scrolling During Playback 0 0 0 cee eens 23 Scrub Trimmer Tool iler eeu Reb haces tence des S Er eA p ane Rd A 23 Replacing Audio Regions naana aaa s 24 TCE Time Compression and Expansion Edit To Timeline Selection 27 Expanding Alternate Channels to New Playlists or Tracks llle 28 Contents iii Chapter 5 Advanced Automation Features Lsuss 31 AutoJoin with Latch Mode lllleee e res 31 Touch Latch Mode soli crga se er ee RR epa AIRE MR Ra S 32 TrimiMode 4 eri heck Ae etek ty ae te T EUR S Etuis reda e EHE eal alee easel aan pel 33 Composite Automation Playlist llle 35 Copy Track Automation to Sends 0 00 ccc eee eee 36 AUtoMateh sec i ak cheater ecg YU DERI ERE RE MAT MM dr eee uat ot 37 Prime Controls for Writing Automation in Latch Mode 00 0 cece eee eeee 38 Glide Automation iE cee ee hE Ta Se ne eae ACD 40 Trim Automation mu rnb ach et thc Arb
84. ited guide track audio file that was recorded in Pro Tools w If the original unedited file is not available you can relink to any of the source audio files as long as they have the same start and end times as the guide track 4 In the Select Files To Relink pane select the edited guide track file 5 Drag the original unedited guide track audio file into the Candidates pane If a dialog appears stating that one or more files are shorter than the media file you are trying to relink click Yes to select it for relinking anyway 6 Check the box to the left of the file in the Can didates pane so that the Link icon appears 7 Click Commit Links at the top of the Relink window and then close the Relink window 8 You can now Right click the name of the guide track and select Expand To New Tracks gt By Time Code Only All expanded tracks should be syn chronous with the guide track 30 Complete Production Toolkit 2 Guide Advanced Automation Features Complete Production Toolkit 2 enables addi tional mixing and automation features in Pro Tools For more information on mixing and work ing with automation in Pro Tools see the Pro Tools Reference Guide AutoJoin with Latch Mode Pro Tools provides two different methods to re sume writing automation on controls that were active at the point where the transport stopped AutoJoin Lets you automatically resume writing automation in Latch mode Join Lets you manually re
85. le the transport is stopped by touching or moving controls to prepare for the next automation pass Coalesce when Removing Slaves from VCA Group This option determines the behavior when removing slave tracks from a VCA con trolled group When selected any automation on the VCA Master is automatically coalesced without confirmation to its slave tracks when the tracks are removed from the group When not selected a confirmation dialog lets you choose whether or not to coalesce the VCA Master automation to the slave tracks Standard VCA Logic for Group Attributes This op tion determines which Mix group attributes may be selected in the Group dialog when the group is assigned to a VCA Master When selected the Main Volume Mute Solo and Record Enable controls on slave tracks follow the VCA Master only and are not available to be independently linked This emulates the behavior of analog con sole VCA masters When deselected the Main Volume Mute Solo and Record Enable controls follow the VCA Master but also remain available for independent linking with groups Include Sends in Trim Mode This option deter mines the Trim status of Send faders when a track is put in Trim mode When selected Send faders go into Trim mode along with the Main Volume fader When deselected the Main Volume fader goes into Trim mode but the Send fader stays in the corresponding standard Auto mation mode AutoGlide
86. lec tion To write current trim delta values to the start end or all of a track or selection 1 Choose Window Automation 2 Make sure the automation type track volume or send level is write enabled 3 In the Mix or Edit window click the Automa tion Mode selector of the track you want to trim automation and select Trim The track Volume and Send Level faders turn yellow 4 Do one of the following Click in a track at an insertion point or Drag with the Selector tool to select a por tion of the track 5 Click Play to begin playback 6 When you reach a point in the track or selec tion that contains the trim setting delta value you want to apply click the Write Automation to Start All or End button in the Automation win dow 7 Stop playback The relative changes to the track volume and send levels at that point are written to the corre sponding area of the track selection 46 Complete Production Toolkit 2 Guide Writing Automation to the Start End or All of a Track or Selection on Stop The Automation window provides options for writing automation on any automation playlist including Trim playlists after a valid automa tion pass has been performed The Write Automation to Start End or AII modes can be configured to disable or remain enabled after a valid automation pass See Requirements for Standard Write Automa tion Commands on page 45 SUSPEND Write Enable PLUG VOL PAN
87. lete Production Toolkit 2 Guide Dragging Video Files from the Region List to the Timeline You can add video files to the Timeline by drag ging and dropping directly from the Region List to a video track To add video files to a video track by dragging them from the Region List 1 Select one or more video files in the Region List 2 In any Edit mode drag the selected video files to a blank area in the Timeline to create a new video track or an existing video track to place it within that track Video Regions You can create video regions that function in much the same way as audio regions Episode 1 opening Exported 02 Video Mixdown 1 01 Video region as displayed in Frames View in the Timeline A video region is a segment of video data and can be a portion of video or an entire video file In Pro Tools video regions are created from QuickTime Windows Media or Avid video files and can be arranged in corresponding video track playlists Video regions can also be grouped looped and color coded Just like audio regions video regions display in Pro Tools in the Region List or the Timeline Video Regions in the Region List A video region displays in the Region List with a small video icon next to its name gt Audio 01 Stereo gt Audio 1_02 Stereo gt Audio 1_02 01 Stereo 1_03 Stereo gt Audio 2_01 Stereo gt Audio 2_02 Stereo gt Audio 202 01 Stereo gt Audio 2_03 Stereo
88. ly To coalesce Trim automation on a track when exiting Trim mode 1 Choose Setup Preferences and click Mixing 2 Under Coalesce Trim Automation select On Exiting Trim Mode 3 Click OK to close the Preferences window 4 Make sure the Pro Tools transport is stopped 5 On the track where you want to coalesce Trim automation click the Automation Mode selec tor and deselect Trim The Trim automation is applied to the main au tomation playlist Trim automation playlists are cleared and Trim faders are returned to zero A If transport is playing and you are writing automation you cannot directly enter or exit Trim mode You must AutoMatch be fore exiting Trim mode This prevents any abrupt jumps in automation values To manually coalesce Trim automation on a track 1 Select the track where you want to coalesce the Trim automation 2 Do one of the following Choose Track Coalesce Trim Automation Right click the track name and choose Co alesce Trim Automation The Trim automation is applied to the main au tomation playlist Trim automation playlists are cleared and Trim faders are returned to zero Trim Automation with the Main Playlist The appearance of Trim automation depends on how it is set to be coalesced See Coalescing Trim Automation on page 42 If automation is not set to coalesce after every automation pass you can display Trim automa tion data along with the main Volume or Send level
89. multichannel surround output bus ses In Figure 6 the Mix 5 1 bus has several sub paths that show this Input Output Bus Insert Mic Preamps Channels 5 1 Mix i R Ls RsLFE 5 1 Mix 5 0 5 1 Mix LCR 5 1 Mix Stereo Stereo R Ls Rs 5 1 Mix L Mono 5 1 Mix C 5 1 Mix R 5 1 Mix LFE Mono Figure 6 O Setup example sub paths 5 0 Sub Path The 5 0 path is a 5 channel sub path Use this type of sub path routing to con serve mixing resources with tracks you want to keep out of the LFE channel LFE Path An LFE sub path provides a discrete mono path for the LFE channel Signal Routing Examples The following examples show how main and sub paths can be used using an example session consisting of a 5 1 main mix with music and ef fects stems or submixes Submix Stem Examples Figure 7 on page 85 below shows a routing con figuration for an effects submix Two tracks are routed to stereo bus sub paths while others are assigned to an LCR and a mono bus sub path Two tracks one mono one stereo are assigned to multichannel busses for surround panning A 5 1 Auxiliary Input assigned to the FX main bus path serves as a submixer 84 Complete Production Toolkit 2 Guide Extending Stereo Mixing Conventions to Surround Mixing Stereo mixing sets the precedent for active and static panning and surround mixing can bene fit from the same basic principles Figure 8 on page 8
90. n capture current automation values at one location in a session and quickly apply them in another location with the Capture and Punch Capture commands The Capture com mand temporarily stores the value of all controls currently writing automation and the Punch Capture commands writes those stored values to all enabled automation types ICON Systems allow for the capture of up to 48 different values or snapshots All other systems allow for the capture of a single value SUSPEND Write Enable PAN MUTE S MUTE Manual Write Write on Stop de mom AUTO JOIN Auto Match Preview PE Punch CAPTURE M Capture Capture Capture controls in the Automation window 60 Complete Production Toolkit 2 Guide Capturing Automation Values You can capture the current automation values of actively writing controls To capture automation values 1 Make sure all tracks whose automation values you want to capture are in a write enabled state Write Touch Latch Touch Latch or Latch 2 Make sure the automation types you want to capture are enabled in the Automation window Volume Pan Mute Send level Send pan Send mute or Plug In 3 Start playback When you reach a location where you want to capture the current automa tion states click the Capture button in the Auto mation window The Punch Capture button in the Automation window lights to indicate a captured value is available to punch
91. n control or the controls for an individual insert or send 1 Press the switch in the Channel Strip Mode controls to display the Pan controls or the top level of Inserts or Sends for the channel 2 Hold Control Windows or Command Mac and press the Rotary Encoder Select switch for the control you want to AutoMatch For Sends the Send level pan and mute will AutoMatch For Inserts all automated controls will Au toMatch For Pan all pan sliders on the channel will AutoMatch To AutoMatch all controls for a plug in displayed in the Dynamics or EQ section a Hold Control Windows or Command Mac and press the Auto switch in the Dyn or EQ sec tion of the console Prime Controls for Writing Automation in Latch Mode If a track is in Latch or Touch Latch automation mode you can prime individual controls for writing automation while the transport is stopped This Latch Prime capability lets you pre pare for an automation pass before starting play back To prime controls for writing automation in Latch mode while the transport is stopped 1 Choose Setup Preferences and click Mixing 2 Under Automation select Allow Latch Prime in Stop 3 Click OK to close the Preferences window 38 Complete Production Toolkit 2 Guide 4 In the Automation window make sure the controls you want to automate are write en abled 5 Click the Automation Mode selector on the track where you want to write automation and
92. not have inputs outputs inserts or sends A Mix group is assigned to a VCA Master track which appears in the VCA track s Group Assignment selector The controls of the tracks in that Mix group called the slave tracks are modified by the controls on the VCA Master Group Assignment selector Record Solo Mute Volume Level meter II VCA Track Type indicator VCA Master track VCA Slave Track Control Indications Unlike VCAs on traditional analog consoles VCA Master tracks in Pro Tools directly affect their slave tracks so that the controls on each slave track always show their actual values The output level of each slave track is indi cated by the position of its fader The solo mute and record enable status of each slave track are indicated by the corre sponding controls on the track This ensures that even when a VCA Master track is not visible the true state of its slave tracks is accurately displayed VCA Slave Track Controls and Group Behavior When a group is assigned to a VCA Master the VCA modifiable controls Volume Mute Solo and Record Enable on its slave tracks by de fault do not follow any grouped behavior that may be set in the Attributes page of the Groups dialog This lets you control the output levels of the group s member tracks while retaining the ability to adjust individual member track levels Slave tracks can be set to follow normal grouped behavior See A
93. nses from iLok com to an iLok For more information visit www iLok com Authorizing Boxed Versions of Software If you purchased a boxed version of Complete Production Toolkit 2 it comes with an Activa tion Code on the included Activation Card To authorize Complete Production Toolkit 2 using an Activation Code 1 If you do not have an iLok com account visit www iLok com and sign up for an account 2 Transfer the license for your toolkit option and plug ins to your iLok com account by doing the following Visit www avid com activation and Input your Activation Code listed on your Activation Card and then your iLok com User ID Your iLok com User ID is the name you create for your iLok com account 3 Transfer the licenses from your iLok com ac count to your iLok USB Smart Key by doing the following nsert the iLok into an available USB port on your computer Goto www iLok com and log in Follow the on screen instructions for trans ferring your licences to your iLok 4 Launch Pro Tools 5 If you have any installed unauthorized plug ins or software options you are prompted to authorize them Follow the on screen instruc tions to complete the authorization process Uninstalling Complete Production Toolkit 2 Software Option and Included Plug Ins Plug ins included with Complete Production Toolkit 2 software can be removed from your system The Complete Production Toolkit 2 fea ture se
94. nt of any multichannel path to the overall LFE out put In the above example the track s Center percentage has been turned off and the LFE fader has been raised to route it to the LFE chan nel 86 Complete Production Toolkit 2 Guide Figure 10 shows how a traditional LFE track can be routed to only the LFE channel This ex ample uses a custom defined LFE sub path to the FX main bus path to mono LFE channel Figure 10 Discrete LFE routing vy LFE faders can follow Mix and Edit Groups For instructions on how to create a sub path see Custom Multichannel Paths on page 71 LFE and Filtering Pro Tools applies no filtering to LFE signals Some delivery requirements may require filter ing for the LFE track For more information see the Pro Tools Sync amp Surround Concepts Guide Introduction to Pro Tools Surround Panning There are four different track panning methods available In the Edit window using the reduced height Panner Grid in the I O View In the Mix window using the reduced height Panner Grid n the Output window using the full size Panner Grid Through pan automation editing Control surfaces provide additional panning op tions Refer to the documentation for your con trol surface for more information Mix and Edit Window Panner Grids In the Mix and Edit window multichannel Pan ner Grids are displayed on tracks that have mul tichannel track or send output assignment
95. o Tools sessions Edited processed and mixed in combination with mono and stereo tracks 5 1 format multichannel audio track 5 1 format audio files and tracks conform to the Film track layout standard Regardless of path assignments in the I O Setup dialog all 5 1 for mat audio tracks and meters follow the Film standard track layout LCRLsRsLFE Multichannel audio tracks are not required to mix in multichannel formats Mono stereo and all supported track formats can be mixed using Pro Tools track outputs and sends see Multi channel Signal Routing on page 77 Placing Audio in Multichannel Tracks You can drag audio files and regions from Di giBase browsers the Region List Windows Ex plorer or Mac Finder or from other tracks to place them in multichannel audio tracks To do so the number of channels being dragged must match the destination track format For example you can only drag a stereo pair or two mono regions onto a stereo audio track Simi larly you can only place audio into an LCR track when you have selected three regions With 5 1 tracks you must select six mono files or regions A When dragged into a multichannel track audio files are placed from top to bottom in the exact order that they appear in the Re gion List or playlist from which they came Top to Bottom must be selected for in the Region List menu Timeline Drop Order For this reason you may want to rename audio files be
96. ocOOCOCCOK Oot Mix Attributes _ Record Enable C Solos Automation Mode Settings save 1 2 3 0C4 C5 gt Cancel el Attributes page of Group dialog Pro Tools with Complete Production Toolkit 2 Selecting Group Attributes The following attributes can be selected for Global settings and for individual groups Track controls Main Volume Main Mute Main Pan Main LFE Level Record Enable e Solo Automation Mode Send controls Sends A J Send Level Send Mute e Send Pan Send LFE Level Insert controls Inserts A J Plug In Controls Insert Bypass To select the attributes for a group do any of the following a Select individual attributes by clicking their checkboxes a To select or deselect all attributes Alt Shift click Windows or Option Shift click Mac any attribute To select or deselect all attributes for a single Send or Insert across a row Start click Win dows or Control click Mac any attribute in that row To select or deselect attributes for a single con trol across all Sends all Inserts or for the four track controls down a column Alt click Win dows or Option click Mac any attribute in that column Chapter 3 Session and Track Features 15 Saving Group Attribute Presets You can define six Group presets that can be re called on either the Attributes or Globals page whenever you are creating or modifying a Mi
97. of a multichannel track 1 Insert a multi mono Trim plug in on the mul tichannel track 2 Unlink the Trim plug in by clicking the Link icon so that it is unlit 76 Complete Production Toolkit 2 Guide 3 Use the Channel selector to display the con trols for a channel and adjust the gain See Linking and Unlinking Controls on Multi Mono Plug Ins on page 80 for more Track and Output Formats When you create new tracks you specify mono stereo or a supported multichannel format for the new tracks In the Mix and Edit windows the track format of a track s output is always visible by the num ber of track meters contained in its fader strip for example a single meter for mono tracks a pair of meters for stereo tracks and six meters for 5 1 tracks Assigning track output determines the format of that output For example a mono track always has a single track meter even when assigned to a stereo output path If that same mono track is assigned to a 5 1 output path it s output will be split among those six output channels depend ing on the position of its panner Changing Format Changing the output format for a given track has several effects The panner that appears in the track will change to reflect the new output format t may be necessary for one or more pan re lated automation playlists to be created or de leted Because changing the output format has these effects a warning dialog appears
98. omation and Applying it Elsewhere The Write Automation commands can also be used to capture automation states at specific lo cations in a track and apply them to other loca tions in the track To capture and apply automation 1 In the Automation window make sure that the automation parameters you want to edit are write enabled Deselect any parameters whose automation you want to preserve 2 Click the Automation Mode selector and se lect Read mode for the tracks that have automa tion you want to capture 3 Ensure that Options Link Timeline and Edit Se lection is selected 4 With the Selector tool select the location where you want to capture automation All au tomated controls update to reflect the automa tion at that location If you make a selection the controls update to reflect the automation at the beginning of the selection 5 In each track you want to apply the captured automation click the track s Automation Mode selector and set the Automation mode to Off 6 With the Selector tool select the location where you want to apply the automation 7 Enable the automation parameters previously suspended 56 Complete Production Toolkit 2 Guide 8 Choose Edit Automation and select one of the following from the submenu To write the current value to only the auto mation parameter currently displayed in the Edit window choose Write To Current To write the current settings for all automa tion
99. ommands For automation data to be written for a specific parameter the associated track must be in one of the following Automation modes and meet the following conditions Latch Mode The control for the parameter must be changed touched during the automation pass Touch Mode The control for the parameter must be changed touched Write Mode All controls on that track must be in Write mode This command can be undone To write current automation values to the start end or all of a track or Edit selection 1 Choose Window gt Automation 2 Make sure that the automation type is write enabled 3 Do one of the following Click in a track at an insertion point or Drag with the Selector tool to select a por tion of the track 4 Start playback 5 Make sure you are actively writing on the ap propriate track if you are in Latch or Touch mode 6 When you reach a point in the track or selec tion that contains the automation data you want to apply click the Write Automation to Start All or End button in the Automation window 7 Stop playback The current values of all write enabled automation at that point are written to the corresponding area of the track selection Chapter 5 Advanced Automation Features 45 Write to Start End or All and Trim Mode While in Trim mode it is also possible to write trim delta values for track volume and send lev els to the start end or all of a track or Edit se
100. on Toolkit features 1 installing 5 system requirements 3 uninstalling 7 Continuous Scroll with Playhead option 23 Continuous Scrolling During Playback option 23 Copy to Send command 36 copying track automation to sends 36 Custom Shuttle Lock Speed 18 D delta trimming automation 33 discrete signal control 76 divergence drawing 96 using 95 Edit menu Copy to Send command 36 TCE Edit to Timeline Selection command 27 57 Write Automation commands 54 56 Edit window half screen 23 Expand Channels to New Playlists 28 110 Complete Production Toolkit 2 Guide F fades auto fades 19 field recorder expanding alternate channels to new playlists 28 Forward and Play command 17 Forward command 17 Front Divergence 95 Front Rear Divergence 95 G Glide Automation commands 40 grid panners in Mix and Edit 87 Group Assignment selector 10 groups attributes 14 Groups dialog 13 guide conventions 3 H half screen 23 l 1 0 Setup and surround sessions 68 importing for surround 70 surround mix examples 83 importing multichannel I O Settings 70 Include Sends in Trim Mode option 21 installation 5 Instrument tracks and surround mixing 79 J Join command 31 L Latch Mode AutoJoin 31 Join 31 LCRS path examples 72 LFE enable in plug ins 97 84 86 faders 97 Link Enable buttons in multi mono plug ins 80 linking multi mono plug ins 80 stereo panners 91 M Master Faders multichannel 79 Master Link button
101. ormats Formats Track Layout 1 2 3 4 5 6 Film L C R Ls Rs LFE Pro Tools default or C24 SMPTE ITU L R C LFE Ls Rs for Dolby Digital AC3 or Control 24 DTS L R Ls Rs C LFE or ProControl Chapter 6 Surround Features 67 To connect your audio interfaces for 5 1 format mixing and monitoring 1 Determine the 5 1 format and track layout you want to use 2 Connect the output channels of your audio interface to the corresponding input channels of your monitoring system according to the assign ments listed in Table 1 on page 67 If you use an Pro Tools control surface see its guide for more information Configuring Pro Tools for Multichannel Sessions Configuring Pro Tools and sessions for multi channel mixing can be done in any or all of the ways described in this section New Sessions You can create a new session and choose a sur round mix I O Settings file as the default I O Setup See New Sessions and I O Settings on page 68 Remixing Sessions in Surround Importing Multichannel 1 0 Setups By creating or importing a surround mix I O Set tings file in the I O Setup dialog multichannel paths can be made available in any stereo or other format session You can then reassign track routing from the original stereo paths to multichannel paths Inactive and active paths simplify reassignment See Importing Multi channel I O Setups on page 70
102. ose automa tion you want to coalesce 2 Choose Track Delete The composite Volume level and Mute state are committed to each of the slave tracks A This action cannot be undone Removing a Slave Track from a VCA Group You can remove an individual slave track from a VCA group which commits the VCA automa tion to that track leaving the VCA Master and the other slave tracks untouched The coalesced slave track plays back exactly as it did when it was in the VCA group To coalesce automation from a VCA Master to an individual slave track 1 Do one of the following Choose Modify Groups from the Group List menu Click the Group ID indicator on the track and choose Modify Right click the Group name in the Group List and choose Modify 2 In the Groups dialog select the VCA con trolled group that includes the slave track 3 In the Groups dialog click Tracks and remove the slave track from the group 4 Click OK The slave track is removed from the VCA group and the composite Volume level and Mute state are coalesced to the track Chapter 5 Advanced Automation Features 65 Duplicating a Slave Track When you duplicate a slave track without dupli cating its group assignments the VCA automa tion is coalesced to the duplicate track The co alesced duplicate plays back exactly as if it were in the VCA group To coalesce automation from a VCA Master to a single slave track by duplicating the track
103. ough the track signal path including any TDM effects When you locate the trim point release the mouse button to trim the region To scrub trim two tracks click with the Scrub Trimmer tool between two adjacent tracks and drag To scrub with finer resolution without having to zoom in press Control Windows or Com mand Mac while scrubbing 24 Complete Production Toolkit 2 Guide Replacing Audio Regions Use the Replace Region function to replace mul tiple instances of an audio region in a playlist with another region This is useful in post pro duction if you use a sound effect room noise or atmosphere region many times in a session and later decide to replace one or all of the original regions with a different region This is also useful in music production if you want to replace a certain loop or sample for ex ample a drum beat with a new one You can use this compositionally if you know the tempo of a section or session to create a scratch piece with rough regions of the correct length and later replace them with final regions of the same length To replace regions by dragging and dropping 1 Select a region in a track s playlist that you want to replace The selection can extend be yond the region s end point to include material from the replacement region that is longer than the original region 2 Control Shift drag Windows or Command Shift drag Mac the replacement region from the Region Li
104. parameters enabled in the Automation Enable window choose Write To All Enabled 9 Click the Automation Mode selector and se lect Read mode for the tracks you want to play back with automation Snapshot Automation and Trimming of Automation Data Pro Tools lets you use trim values as snapshots and apply the relative changes delta values to the selected automation by using the Trim Auto mation command This works in much the same way as the Write Automation command except that it writes delta values instead of absolute val ues to automation data You can use trim values in writing snapshot au tomation to any automatable parameter To create a snapshot of relative changes in automation data 1 In the Automation window make sure that the automation parameters you want to edit are write enabled Deselect any parameters whose automation you want to preserve 2 Select the area of the track you want to edit All automated controls update to reflect the au tomation at the beginning of the selection 3 Move the controls for the parameter up or down by the amount you want to change the data 4 Choose Edit Automation and do one of the following To write the current delta value to only the currently displayed automation parameter choose Trim to Current To write the current delta value for all auto mation parameters enabled in the Automa tion window choose Trim to All Enabled Preview Automation Automation
105. r 7 Video Features 101 Working with Regions and Selections Capture regions Separate regions and Separate Grabber Tool Region overlap and underlap All trimming commands except for TCE Heal separated regions Place align slide shuffle and spot regions Nudging quantized to frame boundaries Shift command moving track material back or forward in time by a specified amount Quantize Region to Grid rounds to nearest video frame Replace Region command Cut Copy Paste and Clear commands Special Cut Copy Paste and Clear commands Repeat to fill selection Editing across multiple tracks Duplicate command Repeat command Region groups Region looping Managing Regions Insert space Compact Selected nothing happens to the video and at least one audio track must be se lected All naming and displaying of region com mands 102 Complete Production Toolkit 2 Guide Editing Caveats The following caveats apply to video editing in Pro Tools e MPEG 2 video in the Timeline cannot be ed ited If you create and enable a track group contain ing audio and video tracks and any audio track has region boundaries that do not line up with video frame boundaries you cannot tab through those region boundaries General Editing Operations Not Applicable to Video Regions The following editing operations are applicable to audio regions but are not applicable to video regions e Fades Mute unmu
106. r current I O Setup configuration with the imported settings 6 Click OK to close the I O Setup Exporting 1 0 Settings Exporting I O Setup settings files lets you build a library of multichannel setups for different projects To export an I O Setup settings file 1 Choose Setup gt l O 2 Click Export Settings 3 Name and Save your current I O Settings Custom Multichannel Paths The I O Setup dialog lets you create and custom ize signal paths for any supported multichannel mixing format Multichannel paths and sub paths are assigned to inputs outputs or internal busses in the Channel Grid When you select a preset 5 1 I O Settings file default layout for the corre sponding multichannel format paths you create will match the selected format s track layout In addition the I O Setup dialog like the Main page of the Hardware Setup dialog provides controls for routing the physical inputs and out puts on your audio interface to available inputs and outputs in Pro Tools w When creating 5 1 format paths you can specify the default track layout See De fault Path Order for 5 1 Tracks on page 73 Reassigning Channels The I O Setup dialog and its Channel Grid also let you assign Pro Tools Output channels to physical outputs on your audio interface This is especially useful to route channels within a mul tichannel path without having to re patch your audio interfaces You can assign paths to any require
107. rack will now be out of range and its voice assignment will change to Off Chapter 3 Session and Track Features Setting a track voice assignment to Off For the track that was originally higher num bered than the total allowed number of voiced audio tracks its voice assignment was set to Off When bringing it into the range of total allowed voiced tracks it automatically resets to DYN For more information on track priority and voice assignments see the Pro Tools Refer ence Guide Support for Up to 64 QuickPunch Tracks With Complete Production Toolkit up to 64 mono or stereo audio tracks at 44 1 or 48 kHz and up to 48 tracks at 88 1 or 96 kHz can be si multaneously recorded with QuickPunch Additional Enhanced Session and Track Features In addition to the increased audio track count using up to 192 voices Pro Tools with the Complete Production Toolkit 2 option includes the following Support for up to 160 Auxiliary Input tracks Support for up to 128 Instrument tracks Display of up to 512 tracks 192 voice able tracks in excess the 192 voice limit are set to inactive 10 Complete Production Toolkit 2 Guide VCA Master Tracks VCA Master tracks emulate the operation of voltage controlled amplifier channels on analog consoles where a VCA channel fader would be used to control group or offset the signal levels of other channels on the console VCA Master tracks do not pass audio so they do
108. real time by using Trim mode When a track is trim enabled you are not re cording absolute fader positions but relative changes in the existing automation See Trim Mode on page 33 for more information To enable Trim mode a In the Mix or Edit window click the Automa tion Mode selector of the track where you want to trim automation and select Trim Enabling Trim mode When a track s Trim mode is enabled its Vol ume and Send Level faders turn yellow and its Automation Mode selector is outlined in yellow This outline appears solid if the track is trim en abled and flashes whenever trimming is occur ring on the track s volume or send levels Writing Trim Automation The writing of Trim automation depends on how it is set to be coalesced See Coalescing Trim Automation on page 42 If automation is not set to coalesce after every automation pass Trim automation moves are written to a sepa rate Trim playlist 42 Complete Production Toolkit 2 Guide To trim track Volume or Send levels 1 In the Automation window make sure the au tomation type Volume or Send level is write enabled 2 Click the Automation Mode selector of the track where you want to write automation and choose the automation mode Touch Latch Touch Latch or Write 3 Click the Automation Mode selector and se lect Trim 4 Start playback and adjust the Volume or Send levels 5 Stop playback to finish the Trim pass Coalescing
109. reo multichannel panner controls showing default linking Chapter 6 Surround Features 91 Panning Modes The Panning Mode button provides access to four panning modes X Y mode Divergence Ed iting 3 Knob mode and AutoGlide mode Pan ning controls can be automated in all four modes Panning Mode button Panning Mode button X Y mode shown Panning Modes X Y Mode Joystick style panning by dragging the Pan Location cursor within the X Y Speaker Grid See X Y Panning on page 92 for more in formation 3 Knob Mode Point to point panning between pairs of speakers See 3 Knob Panning on page 93 for more information Divergence Editing The divergence X Y Grid can be dragged to resize the divergence boundaries See Divergence Editing Mode on page 96 AutoGlide Mode Point to point panning from the Pan Location cursor to a new destination over a specified AutoGlide Time See AutoGlide Mode on page 94 for more information 92 Complete Production Toolkit 2 Guide To enable a Panning Mode a Click on the Panning Mode button in the Sur round Panner until the desired mode icon is dis played X Y Panning To pan in X Y mode 1 Click on the Panning Mode button until the X Y mode icon is displayed X Y mode icon Panner Mode button set to X Y mode 2 Drag the Pan Location cursor or click any where in the Grid and drag to pan the track The location of the Pan Location cursor determines the pan po
110. reviously written values click the AutoMatch button in the Automation window 5 All currently writing controls stop writing au tomation and return to any previously written values according to the AutoMatch Time setting in the Mixing preferences AutoMatching Individual Tracks Youcan invoke AutoMatch on individual tracks All controls currently writing automation on the track stop writing and return to existing au tomation levels To AutoMatch all controls on a track a Control click Windows or Command click Mac the Automation Mode selector on the track AutoMatching Individual Automation Types You can invoke AutoMatch on individual auto mation types across a session To AutoMatch all controls of one automation type a In the Automation window Control click Windows or Command click Mac the button for the automation type Volume Pan Mute Plug In Send level Send pan or Send mute AutoMatching Individual Controls D Control and D Command Only On ICON worksurfaces you can invoke Au toMatch on individual controls or control types on single channels To AutoMatch all controls of a type on a channel Hold Control Windows or Command Mac and press any of the following in the Channel Strip Mode controls for the track whose controls you want to AutoMatch nserts Sends Pan Dyn D Control only EQ D Control only Chapter 5 Advanced Automation Features 37 To AutoMatch a pa
111. ributes groups 14 audio regions fitting to an Edit selection 27 audio tracks 5 1 format 67 and Output format 76 75 placing audio in multichannel tracks 75 Auto Region Fade In Out Length preference 20 auto fades 19 AutoGlide mode 94 AutoGlide Time preference 21 94 AutoJoin command 31 indicator 32 AutoMatch all controls 37 button 37 individual automation types 37 automating VCA Masters 64 automation and multichannel pan 98 77 capturing and applying elsewhere 56 60 42 65 delta 33 On Stop 46 relative and absolute 33 snapshot 54 to next breakpoint 47 Trim mode 33 trimming 42 writing to selection selection start or selection end 45 Automation modes Latch Trim 34 Read Trim 33 Touch Trim 34 33 Write Trim 34 Automation Preview mode 57 Punch Preview button 59 suspending 59 Write Automation To commands 59 Avid customer success 4 Back and Play command 17 Back command 17 Back Forward Amount 17 Back Forward Amount preference 20 Back Forward commands 17 extending selections 18 repeating 18 bussing multichannel sends 78 surround examples 83 Index 109 c capturing automation values 60 Center Percentage 95 Center in Output window 96 Channel selector for multi mono plug ins 80 Clear Trim Automation Track command 44 Coalesce Trim Automation options 21 Coalesce when Removing Slaves from VCA Group option 21 coalescing Trim automation 42 VCA automation 65 Complete Producti
112. roduction Toolkit 2 Guide Auto Region Fade In Out Length Sets a default length for fade ins and fade outs automatically applied to region boundaries Using automatic fade ins and fade outs saves you the trouble of editing to zero crossings or creating numerous rendered fades in order to eliminate clicks or pops in playback Autofades are not written to disk Value range is from 0 10 ms for the Auto Region Fade In Out Length setting A value of zero means that no auto fading will occur The Auto Fade value is saved with the session and is auto matically applied to all free standing region boundaries until you change it Mixing Preferences Setup Section Use Absolute Pan Linking This option affects be havior of grouped pan controls When selected grouped pan controls do not maintain relative offsets when any of the grouped pan controls is adjusted AII grouped pan controls snap to the absolute value of the adjusted control When not selected grouped pan controls maintain relative offsets when any of the linked controls is adjusted Automation Section Suppress Automation Write To Warnings When selected Pro Tools suppresses the warnings that appear after invoking any of the Write Automa tion To Start Selection End or Punch commands and then stopping the transport Allow Latch Prime in Stop When selected and any tracks are in Latch mode any automation enabled controls on those tracks can be set to new values whi
113. roup Follow Globals Available Aux 1 Drum Mix cnga cnga r tamb 4 hs x Use Track Selection from Mix Edit Window Group dialog Pro Tools with Complete Production Toolkit 2 Chapter 3 Session and Track Features 13 Mix Groups Mix Groups can be set to affect the following items Main Mute e Solo Send Level Send Mute Main Volume Main Pan Main LFE Level Record Enable Input Monitoring Automation Mode Send Pan Send LFE Level Plug In Controls Plug In Bypass X When the Main Pan attribute is enabled for groups grouped behavior applies to the Link Front inverse Rear inverse and Front Rear inverse controls in stereo and multichannel panner windows Mix Groups and VCA Masters An existing Mix Group can be assigned to a VCA Master or a new Mix Group can be assigned to a VCA Master while it is being created Only one group can be assigned to a VCA Master at a time A VCA Master cannot control a group that in cludes itself 14 Complete Production Toolkit 2 Guide Setting Group Attributes When creating a Mix Group or a Mix Edit Group you can select the Mix window parame ters that will be linked for that group These linked parameters are the attributes of the group You can select attributes in the Globals page and then set individual groups to follow the Global settings or you can select attributes for groups individually To select attributes in t
114. s To pan from the Mix or Edit window 1 To pan in the Edit window make sure I O View is being shown View gt Edit Window gt 1 0 Panner Grids are always displayed in Mix win dow tracks that support panning 2 Begin playback 3 Click and drag on the appropriate multichan nel track s Panner Grid in the Mix or Edit win dows Click and drag to pan Panning in the Track Grid The Pan Location cursor follows your move ments as long as you hold down the mouse but ton Movements are scaled so that once you click to grab the Pan Location cursor you do not need to limit your movements to the small Track Grid area Pan Location Cursor Color while Automating The Pan Location cursor is green when the track is in Automation Read mode red in an Automa tion Touch Latch Touch Latch or Write modes and yellow in Automation Off or Auto mation Suspend mode In Trim mode the Volume fader and LFE fader are yellow Output windows provide additional features and controls and a much larger Grid For de tails see Output Windows on page 88 Chapter 6 Surround Features 87 Output Windows Output windows provide panning controls called panners as well as standard Pro Tools controls for tracks of all mix formats from 3 channel LCR through 8 channel 7 1 For information on Output window standard controls see Standard Controls on page 88 For information on Output window panning controls see
115. s are reset to zero To clear Trim automation 1 Select the track where you want to clear the Trim automation 2 Doone of the following Choose Track Clear Trim Automation Right click the track name and choose Clear Trim Automation Write Automation to the Start End or All of a Track or Selection Pro Tools lets you write current automation val ues from any insertion point forward or back ward to the end or beginning of a track or Edit selection in a track or to an entire track or Edit selection while performing an automation pass SUSPEND Write Enable VOL PAN MUTE S MUTE Manual Write j Te qe sr T Automation Write to Start End All buttons Write on Stop de mm AUTO JOIN AGO Watch Preview EP CAPTURE E Write Automation to Start End and All buttons in the Automation window The standard Write Automation to Start All or End commands do not operate when the Pro Tools transport is stopped It only affects automation for those parameters that are currently write en abled and currently writing automation data Optionally Write Automation to Start All and End can be configured to always be applied automat ically see Writing Automation to the Start End or All of a Track or Selection on Stop on page 46 A For MIDI automation the Write To com mands only apply to MIDI Volume MIDI Pan and MIDI Mute Requirements for Standard Write Automation C
116. s the other linked channel as well Master Link button Track Preset Auto FX stem factory default gt es SS compare SAFE EQ3 1 Band Link Enable buttons Channel selector Channel selector and Link controls 80 Complete Production Toolkit 2 Guide Channel Selector Accesses a specific channel within a multichannel track for plug in parame ter editing This menu appears only on multi mono plug ins inserted on tracks with more than two channels Master Link Button When enabled links the controls on all channels of a multi mono plug in so that they can be adjusted in tandem Link Enable Buttons Let you selectively link the controls of specific channels of a multi mono plug in Each square represents a speaker chan nel The Master Link button must be disabled to use the Link Enable buttons To unlink controls on a multi mono plug in a Deselect the Master Link button It is lit when linked unlit when unlinked To access controls for a specific channel a Select the channel from the Channel selector To open a plug in window for all channels of a multi mono plug in a Alt click Windows or Option click Mac the Channel selector To link the controls of specific channels 1 Deselect the Master Link button if it is not al ready deselected 2 Clickthe Link Enable buttons for the channels whose controls you want to link For more information on using plug ins see the Pro Tools Reference G
117. sition of the signal For example to pan something to the left rear speaker move the Pan Location cursor to the lower left corner of the Grid v It is not necessary to click exactly on the Pan Location cursor Clicking anywhere in the Grid will move the Pan Location cursor rel ative to where you click or take over with a hardware panner Panning does not jump to the click position X Y Panning To snap the Pan Location cursor to a location in the Grid Control Shift click Windows or Command Shift click Mac at the desired location in the X Y Grid Grid Options and Shortcuts Fine Adjust Mode Hold down the Control key Windows or Command key Mac for fine ad justment of all Panner controls Constraining to X or Y Movement Shift drag the Pan Location cursor to constrain its movement to the X or Y direction Reset to Default Alt click Windows or Option click Mac in the Panner Grid to reset all con trols to their default position Snap Pan to Speaker Click one of the Snap Pan to Speaker icons to force the panner to that speaker location Display Automation in Edit Window Control Start click Windows or Command Control click Mac a control to display that control s playlist in the Edit window In All Pan controls can be automated includ ing pan position and divergence 3 Knob Panning Pro Tools provides 3 Knob mode as an addi tional way to input pan moves 3 Knob mode lets you Pan in
118. ss Like the standard Write Automation to Start End and All commands the Write Automation to Next Breakpoint and Write Automation to Punch Point commands do not operate when the Pro Tools transport is stopped They only affect automa tion for those parameters that are currently write enabled and currently writing automation data A For MIDI automation the Write To com mands only apply to MIDI Volume MIDI Pan and MIDI Mute Other MIDI parame ters cannot use the Write To commands Optionally the Write Automation to Next Break point and Write Automation to Punch Point com mands can be configured to be applied automat ically after a valid automation pass has been performed See Writing Automation to the Next Breakpoint or to the Punch Point on Stop on page 49 Write Automation to Next Breakpoint and Write Automation to Punch Point have the same requirements as Write Automation to Start End and All commands See Write Automation to the Start End or All of a Track or Selection on page 45 To write current automation values to the next breakpoint 1 Choose Window Automation 2 Make sure that the automation type is write enabled 3 Click in a track to define an insertion point 4 Start playback 5 Make sure you are actively writing on the ap propriate track if you are in Touch Latch or Touch Latch mode Chapter 5 Advanced Automation Features 47 6 When you reach a point in the track where you want
119. ssigned to channels 1 4 6 Select the Bus tab 7 Select Output Busses from the Default selector All Busses Output Busses SA iss ae Internal Busses Default Selecting Output Busses from the Default selector 8 Click the Default button 9 Click OK to close the I O Setup 72 Complete Production Toolkit 2 Guide 5 1 Tracks Formats Assignments and Metering Path definitions in I O Setup determine how au dio is routed through and metered on your au dio interfaces Pro Tools internal on screen metering of 5 1 format paths always follows the Film track lay out LCRLsRsLFE Pro Tools track layout of 5 1 format audio tracks in the Edit window also conforms to the Film layout arranged top to bottom See the illustra tion 5 1 Track Layouts Routing and Metering on page 74 In the I O Setup dialog you can route these sig nals out of your audio interfaces according to any track layout such as DTS or SMPTE ITU To assign channels in a path Click and drag a channel to a new valid loca tion in the Grid Other channel assignments will move shuffle to accommodate dragged chan nels Default I O Selectors in 1 0 Setup The Output page and the Bus page of the I O Setup provide selectors for setting I O defaults in your multichannel sessions 5 1 Path Order 1 0 Setup Options Default selectors in the I O Setup dialog 5 1 Path Order Selects the default track la
120. ssigning Groups to VCA Mas ters on page 12 Common Uses for VCA Master Tracks By grouping tracks in a Mix group and assigning that group to a VCA Master track you can Control the output levels of all the VCA group s member tracks without the need to bus them to an Auxiliary Input track or to the same output path Create multiple nested VCA groups and control the output levels of multiple sub mixes at the same time Automate a submix by automating its VCA Master track VCA Master Track Controls The controls on a VCA Master track affect the corresponding controls on the slave tracks in its assigned Mix group VCA Master tracks have the following controls Volume The VCA Volume fader controls the Volume fader on audio Auxiliary Input Instrument Master Fader and other VCA Master tracks in a VCA controlled group Volume faders on MIDI tracks are not affected Volume faders on slave tracks move to show the composite level or the level on each track resulting from the position of the VCA Master Volume fader Mute The VCA Mute button controls the mute state of audio Auxiliary Input Instrument MIDI and other VCA Master tracks in a VCA controlled group Muting a VCA controlled group does not change the underlying mute state of slave tracks Mute buttons on slave tracks that were previously unmuted show an implicit mute Solo The VCA Solo button controls the solo state of audio Auxiliary Input Instrumen
121. st based Pro Tools systems only when absolutely neces sary Half Screen Edit Window When the Scrolling option is set to Continuous a half screen appears at the far left of the Edit win dow before the beginning of the session when the Playhead is at the beginning of the session Half screen for Continuous Scrolling option Scrub Trimmer Tool The Scrub Trimmer tool is a convenient tool for auditioning material on up to two tracks to find a trim point You can drag in a track to hear the audio information then trim at a specific lo cation by releasing the mouse button Chapter 4 Advanced Editing Features 23 This action creates a new region Note that the Scrub Trimmer tool changes into a right trim or left trim shape as it is placed over the right or left side of a region To reverse the direction of the Scrub Trimmer tool press Alt Windows or Option Mac before you click the region Scrub Trimmer tool over a region Scrub playback speed and direction vary with controller movement Scrubbed audio is routed through the track signal path so you hear any effects in the signal path To scrub trim a track 1 Do one of the following Click the Trimmer tool pop up menu and select Scrub Or Right click on any track and select Tools gt Trimmer Tools Scrub The tool changes to a speaker with a bracket 2 Drag within a track to the left or right Audio from a scrubbed track is routed thr
122. st to the selected region The Re place Region dialog opens wn Control Shift drag Windows or Com mand Shift drag Mac any region from the Region List to any unselected region on a track to open the Replace Region dialog without first making a selection 3 Configure the Replace Region dialog see Re place Region Dialog on page 25 4 Click OK Replace Region Dialog Original region 008DANCE Replacement region 002DANCE Replace 9 original region only O all instances of the original region O all regions that match original region s start position end position name on this track all tracks within the selection Fit region using the 9 replacement region length O original region length O selection length Cancel Replace Region dialog The following options are available in the Re place Region dialog Replace Original Region Only Replaces only the selected region with the replacement region dragged from the Region List Replace All Instances of the Original Region Re places all instances of the selected region that fit the On criteria with the replacement region from the Region List e On This Track replaces regions that fit the Match criteria and are on the same track as the original region e On All Tracks replaces regions that fit the Match criteria for all tracks in the session On Within the Selection replaces regions that fit the Match criteria within t
123. sume writing automa tion in Latch mode Join is available only with supported control surfaces To enable AutoJoin from Pro Tools 1 Choose Window Automation 2 Click the AutoJoin button eoo SUSPEND Write Enable PLUG VOL VOL PAN SPAN MUTE S MUTE Manual Write Te qe sr x Write on Stop le de m AUTO JOIN AutoJoin button y PREVIEW CAPTURE E AutoJoin Enable button in the Automation window See your control surface guide for details on using Join and AutoJoin with a control surface Chapter 5 Advanced Automation Features 31 AutoJoin Indicator After a Latch automation pass with AutoJoin en abled the AutoJoin indicator appears in the Pro Tools Edit window Manual Write Te Test m So Stop AutoJoin indicator AutoJoin indicator in the Edit window The AutoJoin indicator is a vertical line that sig nifies the point where the last automation pass was stopped and the point where the join will automatically occur on all tracks that were writ ing during that previous pass When automa tion writing is resumed from this point the line disappears Ay To use Join or AutoJoin to resume writing on controls that were writing when the trans port stopped restart the transport before the AutoJoin indicator 32 Complete Production Toolkit 2 Guide Touch Latch Mode Touch Latch Automation mode places a track s Volume control in Touch mode and all other au tomatable controls
124. t MIDI and other VCA Master tracks in a VCA controlled group e Soloing a VCA Master will implicitly mute all tracks except its slave tracks thereby in directly soloing the slave tracks e Soloing a VCA Master will clear any explicit solos on its slave tracks leaving them indi rectly soloed and implicitly mute all other tracks Explicitly soloing a slave track while its VCA Master track is soloed will override the VCA Master solo Chapter 3 Session and Track Features 11 Record Enable The VCA Record Enable button toggles the Re cord Enable status of only those audio Instru ment and other VCA tracks that have already been record enabled individually You can then toggle record enable on and off for those tracks using the VCA Master Record Enable To temporarily force all slave tracks to toggle their record enable status Option click Mac or Alt click Windows the Record Enable button on the VCA Master Level Meter On VCA Master tracks level meters indicate the highest level occurring on any of its individual tracks not a summed level of all slave tracks The channel format of level meters on the VCA Master is set according to the channel formats of its slave tracks as follows e f all slave tracks are the same channel for mat mono stereo or a multichannel for mat the number of level meters on the VCA Master track is identical to that of the slave tracks e f the slave tracks are diff
125. t for Pro Tools is automatically enabled if a valid Complete Production Toolkit 2 authori zation is detected on your iLok To disable Com plete Production Toolkit 2 on your system transfer your Complete Production Toolkit 2 au thorization to another iLok or simply remove the authorized iLok from your system For information about transferring iLok li censes see www iLok com Uninstalling Complete Production Toolkit 2 Components Mac To remove Complete Production Toolkit 2 plug ins 1 Locate and open the Plug Ins folder on your Startup drive Library Application Support Digidesign Plug Ins 2 Drag the following plug ins to the Trash Neyrinck SoundCode Stereo e X Form 3 Empty the Trash Windows To remove Complete Production Toolkit 2 plug ins 1 Choose Start Control Panel 2 Under Programs click Uninstall a program 3 Select the following plug ins to uninstall from the list of installed applications e Neyrinck SoundCode Stereo e X Form 4 Click Uninstall 5 Follow the on screen instructions to remove the selected plug ins Chapter 2 Installation and Authorization 7 8 Complete Production Toolkit 2 Guide Session and Track Features Complete Production Toolkit 2 enables addi tional session and track features in Pro Tools For more information on working with Pro Tools sessions and tracks see the Pro Tools Reference Guide Increased Voice and Track Counts Support for Up to 192 Voi
126. te change the automation parameter to the value you want at the end of the selection 5 Choose Edit gt Automation gt Glide to All Enabled w You can also press Alt Shift Forward Slash Windows or Option Shift Forward Slash Mac Glide Automation Considerations When Glide Automation is applied to automa tion data it behaves as follows When a selection is made automation break points are written at the start and end points of the Glide Automation The automation value at the start of the selection is the start point of the Glide Automation and the end of the selection is the end point of the Glide Au tomation The Glide Automation that is cre ated between the two is based on the length of the selection and the end value that is se lected If automation breakpoints follow the selec tion they are not changed but the value se lected for the end of the selection is written from the end point up until the next break point f no automation breakpoints follow the selec tion the value selected for the end of the se lection is written to the end of the track If no selection is made a breakpoint is written to the current location and the value selected for the Glide Automation is written to the next breakpoint Chapter 5 Advanced Automation Features 41 Trim Automation If you have already written automation you can modify automation data for track volume and send levels in
127. te regions AudioSuite plug ins Waveform Repair with the Pencil tool e Strip silence Consolidate regions Selecting and Editing Across When you make a selection in a video track Multiple Audio and Video Tracks the selection boundaries follow the current Grid setting but round to the nearest video You can create a selection across multiple audio frame boundary as follows and video tracks and cut copy or paste audio and video simultaneously Ifthe selection includes more than half of a video frame the full video frame is in cluded within the selection before e f the selection includes less than half of a video frame that video frame is not in cluded in a video selection When you paste a selection containing video to a video track the insertion point automat ically aligns with the closest video frame boundary A When you paste audio and video simulta neously this video frame re alignment may result in the audio not being positioned ex actly where you placed it A warning dialog displays when this occurs Using the Insert Silence Command to Insert Space in Video Tracks The Insert Silence command lets you make a se lection on a track or tracks and insert precisely that amount of space You can also select across video and audio tracks and use the Insert Si Selecting and editing across multiple tracks Slip mode lence command to insert audio silence and shown space simultaneously Au
128. te state overwritten To extend a mute state on a track 1 Choose Window Automation 2 Make sure mute is write enabled 3 In the Mix or Edit window click the Automa tion Mode selector of the track you want to au tomate and select Touch or Latch mode CY To extend mute states on multiple tracks set all tracks to the same Automation mode 4 In each track you want to automate click the Track View selector and select mute 5 Place the cursor before the start of the mute event you want to extend Example Place cursor here before start of mute event Placing the cursor before the start of a mute event 6 Start playback 7 Press Control Windows or Command Mac and the track Mute button before the start of the mute event you want to extend XY To extend mute states on multiple tracks press Alt Control Windows or Op tion Command Mac and the Mute button on the track 8 Before the end of the second mute event re lease the key and the Mute button w If you extend past the subsequent on or off event the entire event will be changed Example Stop automation pass here before end of mute event Stopping automation before the end of a mute event 9 When you have finished the automation pass click Stop TT mute off state extended up to automation pass end Example of mute state extended Chapter 5 Advanced Automation Features 53 Snapshot Automation You can write automation data valu
129. the selection To expand all of the regions on the track Right click Windows or Mac or Control click Mac the track name 2 Choose the Expand Channels to New Tracks pop up menu and select one of the following methods by which to expand alternate channels for the selection to new tracks By Channel Name By Channel Number By Channel Name and Number By Time Code Only If alternate channels are available Pro Tools ex pands them to new tracks including the chan nel represented in the original track according to the chosen parameters A It is not possible to rename files encoded with XML metadata The file extension will always be A1 and A2 even for stereo files Also it is not possible to rename files with a L R suffix As a result Pro Tools does not always recognize these channels as a stereo pair Expanding Channels by Time Code Only The Expand To New Tracks By Time Code Only command lets you expand an entire track or only selected regions to new playlists on the same track or to new separate tracks thus reveal ing all other regions recorded at the same time code location regardless of channel name or number This is especially useful when expand ing edited guide tracks to original source audio that was recorded while referenced to time code but where channel names or numbers were not written to the audio files Example Workflow Working with a Guide Track for Live Concert Videos 1 Multi
130. till holding the first Solo button press additional Solo buttons Solo buttons will re main soloed as long as one Solo button is held CY As long as at least one Solo button is held down all the solos will remain latched Setting Playback Location with Back and Forward Commands Pro Tools provides four Back Forward com mands sometimes called rollback for mov ing the playback location in the Edit window You can also move the playback location in multiple increments by repeating the command See Repeating Back Forward Commands on page 18 Back Moves the playback location backward by the Back Forward Amount Back and Play Moves the current playback loca tion backward by the Back Forward Amount and automatically begins playback Forward Moves the playback location forward by the Back Forward Amount Forward and Play Moves the current playback lo cation forward by the Back Forward Amount and automatically begins playback Setting the Back Forward Amount The length of the Back Forward move is deter mined by the Back Forward Amount preference in the Operation page Setup Preferences To configure the Back Forward Amount 1 Choose Setup Preferences and click the Oper ation tab The timebase of the Back Forward Amount set tings follows the Main Time Scale by default or you can deselect Follow Main Time and select any of the following timebase formats Bars Beats Min Sec Time Code Feet
131. track audio is recorded in Pro Tools while chasing time code A mono or stereo mix is recorded simultaneously as a guide track for the video editor 2 The picture and audio guide tracks are edited in a video editing application 3 The edited audio guide tracks are exported from the video editor as an AAF or OMF se quence including handles of at least 2 frames 4 The AAF or OMF sequence is imported into Pro Tools as a new session The original source audio files and unedited guide track are also im ported into the session 5 The original unedited guide track is relinked to the session see Relinking the Original Unedited Guide Track on page 30 6 The Pro Tools editor Right clicks the name of the guide track and selects Expand Channels to New Tracks gt By Time Code Only The original source tracks expand to new tracks with edits and fades that match the guide track Chapter 4 Advanced Editing Features Relinking the Original Unedited Guide Track After importing the AAF or OMF sequence and original source audio files into the session it is recommended that you relink the edited guide track to the original unedited source audio To relink the original unedited guide track 1 Open the Project Browser for the session and open the Audio Files folder 2 Right click the edited guide track audio file in the browser and choose Relink Selected 3 In the upper pane of the Relink window nav igate to the original uned
132. ts mixing in the following multichannel greater than stereo formats LCR Quad LCRS 5 0 5 1 6 0 6 1 7 0 7 0 SDDS 7 1 and 7 1 SDDS Pro Tools with the Complete Production Toolkit2 option and 003 003 Rack 003 Rack Digi 002 or Digi 002 Rack can monitor discrete mixing in surround up to 7 1 Pro Tools with the Complete Production Toolkit 2 option and Mbox Pro or Mbox 2 Pro can only monitor discrete mixing in surround up to 5 1 With Complete Production Toolkit 2 you can open surround sessions on any Pro Tools sys tem Use the Neyrinck SoundCode Stereo down mixer plug in for monitoring surround sessions in stereo with audio interfaces that have fewer than six outputs For more information see the SoundCode Stereo Guide A Low Latency Monitoring 003 and 002 family interfaces only is unavailable in surround sessions For information on fundamental surround concepts see the Pro Tools Sync amp Surround Concepts Guide Pro Tools Audio Connections for 5 1 Mixing While all 5 1 mixing formats provide the same speaker arrangement there are three primary standards in use for the track layout of the indi vidual channels that comprise the 5 1 format multichannel mix In the following table it is assumed that sur round channels are assigned to outputs 1 6 of a Pro Tools audio interface Use channels 7 8 to monitor a stereo mix for a stereo version or for cue mixes and monitoring Table 1 Track Layouts for 5 1 F
133. turing Values While in Preview Mode When you are in Preview mode you can capture the values of isolated controls and apply them elsewhere on a track By capturing preview val ues you can leave the underlying automation unchanged at the place where you capture On ICON systems you can use preview mode to capture multiple snapshots without changing automation To capture a preview value 1 Activate Preview mode and isolate a control See Previewing New Automation Values on page 58 2 Start playback and adjust the isolated control to audition the changes 3 When you are ready to capture preview value click the Capture button in the Automation window The Punch Capture button in the Automation window lights to indicate a captured value is available to punch Chapter 5 Advanced Automation Features 63 VCA Master Track Automation Displaying Automation on VCA Master Tracks The following controls on VCA Master tracks can be automated and have separate automa tion playlists Volume Volume trim Mute These automation playlists follow the same be havior as automation playlists on other track types Displaying the Composite Automation Playlist on Slave Tracks When a track is a VCA slave you can display a composite automation playlist that shows the contribution of the VCA Master to the Volume or Mute automation data on the slave track This composite playlist reflects the actual position of t
134. uide Paths in Surround Mixes Because Pro Tools provides a flexible routing and submixing environment you can maximize your system s available resources by first identi fying the elements that you want to pan dynam ically and those that can be placed in certain channels only see Mixing with Paths and Sub Paths on page 81 Once you have identified these elements in your session you can use a combination of main and sub path assignments and multichannel pan ning Mixing with Paths and Sub Paths Itis rare that every track needs to be flown ac tively panned in between more than a pair of speakers In most situations certain elements are placed in certain speakers and remain there providing the foundation for a mix Figure 3 on page 82 illustrates an example of how panning and signal routing can be com bined in a multichannel mix The following sec tions describe how to organize your session and signal routing to maximize the available re sources See Extending Stereo Mixing Conventions to Surround Mixing on page 84 for related information When to Assign Multichannel Outputs a Assign 5 1 paths only to those tracks that need to be panned to all six channels For example a sound effects track with a jet fly over should be assigned a 5 1 path to be able to fly the sound from front to back In a music mix you can fly a solo instrument or make a synth pad swirl around the room as a special ef fect
135. unch Capture command the af fected controls are writing automation in Latch mode so any of the Write Automation To com mands can be used to extend the punched value in the same manner as other automation Capture and Preview Mode Loading Captured Values into Preview You can preview and modify captured automa tion values in Preview mode before punching the values to the automation playlist To capture an automation value and use it to preview 1 Make sure the track where you want to pre view the value is enabled for automation Touch Latch Touch Latch or their correspond ing Trim modes 2 Make sure the automation type you want to preview is enabled in the Automation window Volume Pan Mute Send level Send pan Send mute or Plug In 3 Capture an automation value that you want to preview in another location on a track See Capturing Automation Values on page 60 4 Go to a location where you want to preview the captured automation states and click the Preview button in the Automation window 5 Click the Punch Capture button The affected controls are isolated and updated to the captured values The Punch Preview but ton in the Automation window lights to indi cate the preview value is available to punch 6 Start playback and adjust the isolated control to audition the changes 7 When you are ready to punch the preview value to the automation playlist click the lit Punch Preview button Cap
136. until touched When they are touched their absolute positions are written un til playback is stopped 34 Complete Production Toolkit 2 Guide Touch Latch Trim In Touch Latch Trim mode Volume and Send level faders are disengaged from the main auto mation playlist and follow any existing Trim au tomation The main Volume Trim fader follows Touch Trim behavior and Send level Trim fad ers follow Latch Trim behavior Write Trim In Write Trim mode as soon as playback begins writing of Trim automation begins for Volume and Send levels and continues until playback stops or until you punch out of writing automa tion When Wirite Trim mode is enabled non trim mable controls all controls other than track vol ume and send level are not in Write mode but behave as if they are in regular Touch mode no automation is written unless a control is touched This is to prevent the controls from overwriting all of their automation data on ev ery pass in Write Trim mode A The After Write Pass Switch To prefer ence affects Write Trim mode After an au tomation pass in Write Trim mode tracks automatically switch to the Trim mode ver sion of the setting specified by this prefer ence Send Levels and Trim Mode You can set Pro Tools to exclude Send levels from Trim mode so that only the Main Volume goes into Trim when a track is put into Trim mode This gives you more flexibility in setting Send levels while in Trim mo
137. ups as a global attribute or on a group by group basis LFE Enable Some multichannel plug ins including the mul tichannel DigiRack Dynamics III Compres sor Limiter provide LFE Enable This lets you enable or bypass processing of the LFE channel if present LFE ENABLE LFE Enable in the multichannel DigiRack Dynamics III Compressor Limiter To process the LFE channel in a multichannel plug in Click to enable LFE Enable in supporting mul tichannel plug ins LFE Enable is highlighted when LFE processing is enabled and unhigh lighted when LFE processing is bypassed Ur When LFE Enable is unavailable try using the multi mono version of the plug in Chapter 6 Surround Features 97 Pan Playlists Multichannel panners have an automation playlist for each position and divergence con trol Pan automation can be drawn edited cut copied and pasted from the Edit window For more information see the Pro Tools Reference Guide 98 Complete Production Toolkit 2 Guide Surround Scope Plug In The Surround Scope plug in provides a 360 me ter for metering multichannel paths during mix ing 5 1 Format Track Layouts All 5 1 format meters including those displayed in the Surround Scope meter on tracks and in Output windows and their Path Meter Views are always arranged in the following order LCRLsRsLFE For more information on Pro Tools meter ing see 5 1 Tracks Formats Assignments an
138. urfaces with Pro Tools refer to the D Command and D Controls Guides and the Pro Tools Reference Guide Additional Software Complete Production Toolkit includes addi tional software for working with Pro Tools Neyrinck SoundCode Stereo For monitoring up to 7 1 surround sessions down mixed to stereo with all Pro Tools interfaces including 2 channel interfaces such as the Mbox Mini This plug in also lets you quickly and easily create stereo mixes from up to 7 1 surround sessions X Form Plug In For high quality time compres sion and expansion and formant corrected pitch shifting based on the Radius algorithm from iZotope System Requirements and Compatibility To use Complete Production Toolkit 2 you need An iLok USB Smart Key an iLok com account is also required for managing iLok licenses and An Avid qualified Pro Tools system Avid can only assure compatibility and provide support for hardware and software it has tested and approved For complete system requirements and a list of Avid qualified computers operating systems hard drives and third party devices visit www avid com compatibility Registration Your software purchase is automatically regis tered when you activate your iLok license see Authorizing Complete Production Toolkit 2 on page 6 Registered users are eligible to receive software update and upgrade notices For information on technical support visit w
139. ver any area of any video frame in the Video Universe window until it be comes a selector or zoom tool 2 To select a range of video regions while simul taneously zooming to fill the Edit window Alt drag Windows or Option drag Mac multiple video frames Chapter 7 Video Features 105 106 Complete Production Toolkit 2 Guide Included Plug Ins Complete Production Toolkit 2 includes the fol lowing plug ins SoundCode Stereo e X Form SoundCode Stereo The Neyrinck SoundCode Stereo plug in is an RTAS plug in that down mixes a surround mix to a stereo mix for Pro Tools surround compati ble systems The plug in supports all Pro Tools surround formats LCR LCRS Quad 5 0 5 1 6 0 6 1 7 0 and 7 1 For more information refer to the Sound Code Stereo Guide X Form The X Form AudioSuite plug in is based on the Radius algorithm from iZotope and provides the high quality time compression and expan sion for music production sound design and audio loop applications Use it to manipulate audio loops for tempo matching or to change vocal tracks for formant correct pitch shifting EJ For more information refer to the Audio Plug Ins Guide Chapter 8 Included Plug Ins 107 108 Complete Production Toolkit 2 Guide Numerics 3 knob panning 93 5 0 paths in 5 1 mixes 84 5 1 formats in Pro Tools 72 A Activation Code 6 Allow Latch Prime in Stop option 21 alternate channels Expand to New Playlists 28 att
140. whenever you change the output format of a track to a format of fewer channels Specifically this will occur whenever automation playlists will have to be deleted Multiple Output Assignments and Track Format When a track is assigned to more than one path of differing formats the main output for that track will match the format of the assigned path with the greatest number of channels Multiple Outputs and Automation Playlists When a track has multiple output assignments Pro Tools sorts panning data appropriately for each assigned path For example if you assign a mono track to a stereo path and a 5 1 path si multaneously that track will have a 5 1 panner in the Mix or Edit window When you pan the track Pro Tools interprets the 5 1 panning moves into stereo panning moves This provides a type of parallel mixing You can create a variety of mixes of differing formats all at the same time by routing your elements to multiple paths CY Command Control click Mac or Control Start click Windows any control in an Output window to show its automation playlist in the Edit window and view any pan automation Multichannel Signal Routing To mix in a multichannel format tracks are as signed to multichannel paths Tracks can be mixed in surround using the fol lowing two methods By setting a track main output to a multichan nel path By assigning a multichannel send to route au dio to a multichannel path S
141. ww avid com Conventions Used in This Guide All our guides use the following conventions to indicate menu choices and key commands Convention Action File Save Choose Save from the File menu Control N Hold down the Control key and press the N key Control click Hold down the Control key and click the mouse button Right click Click with the right mouse button The names of Commands Options and Settings that appear on screen are in a different font The following symbols are used to highlight im portant information o User Tips are helpful hints for getting the most from your Pro Tools system Important Notices include information that could affect your Pro Tools session data or the performance of your Pro Tools system wn Shortcuts show you useful keyboard or mouse shortcuts Cross References point to related sections in this guide or other Avid Guides Chapter 1 Introduction 3 About www avid com The Avid website www avid com is your best online source for information to help you get the most out of your Pro Tools system The fol lowing are just a few of the services and features available Product Registration Register your purchase online Support and Downloads Contact Avid Customer Success technical support download software updates and the latest online manuals browse the Compatibility documents for system re quirements search the online Knowled
142. x or Mix Edit Group To save the current attribute settings as a Group preset 1 In the Groups dialog click Save Follow Globals must be unchecked to save a setting from the Attributes page Settings OMG Saving a Group preset 2 In the Save Group Settings dialog select one of the six preset locations from the Location pop up menu and click Save Location mess 4 5 Cancel 6 Save Selecting a Group Settings Location w To save the current attribute settings directly to a preset location Control click Windows or Command click Mac the preset button 16 Complete Production Toolkit 2 Guide To recall a Group preset Click the corresponding Preset button 1 6 in the Groups dialog Follow Globals must be un checked to recall a setting in the Attributes page Settings Save eae 5 6 Recalling a Group preset Momentary Solo Latch Option With Momentary Solo Latch enabled Solo but tons are not sticky A track is soloed only when its Solo switch is held down With a qualified control surface additional tracks can be soloed by pressing their SOLO switches as long as at least one Solo button is held down When no SOLO switch is held down all soloed tracks will unsolo To temporarily latch solos 1 Choose Options gt Solo Mode gt Momentary 2 Press and hold the Solo button on the first track that will be soloed 3 While s
143. xing with Paths and Sub Paths on page 81 For mono and stereo mix ex amples see the Pro Tools Reference Guide Multichannel Auxiliary Inputs and Master Faders A multichannel Auxiliary Input or Master Fader is used as a return for the multichannel bus Sends are useful when you need to create an ad ditional independent mix simultaneously per haps of a distinct format requiring dedicated fader mute solo and automation controls You can assign Master Faders to main and sub paths Main paths must match the format of the Master Fader and only one Master Fader can be active and assigned to any single active main or sub path A Master Fader cannot be assigned to a sub path if its associated main path is al ready assigned on another Master Fader Multichannel Instrument Tracks Multichannel tracks can be used to monitor and route multichannel instrument plug ins or mul tichannel external MIDI instruments Mono Multi Mono and Multichannel Plug Ins Plug ins can be used in mono multi mono or multichannel formats For information about mono stereo and mono in stereo out plug ins see the Pro Tools Reference Guide Multi Mono Plug Ins Are designed for use on ste reo or greater than stereo multichannel tracks Multi mono plug ins are useful or required in the following situations When a plug in does not involve multichan nel correlated processing for example when applying EQ to select sides of a multi
144. yout or path order for new 5 1 format six channel paths Controller Meter Path Selects the path that will be shown in Pro Tools control surface output meters See 5 1 Tracks Formats Assignments and Metering on page 72 for more informa tion Audition Paths Selects the monitoring path for previewing audio in the Region List Import Au dio dialogs and DigiBase Only outputs on your primary interface can be used as your Audition path Default Output Bus Selects the default output bus path for all new tracks for each supported track format v The New Track Default Output can be set to bus paths as well as output paths Default Path Order for 5 1 Tracks You can specify the default track layout for all new 5 1 format paths you create To choose a new default 5 1 format path order track layout 1 Choose Setup gt l O 2 Click the Output tab 3 Use the 5 1 Default Path Order setting to select the track layout you want Film SMPTE ITU or DTS ProControl Monitoring Chapter 6 Surround Features 73 5 1 Track Layouts Routing and Metering 5 1 Format Tracks Track Meters Channel Assignments in I O Setup Film Pro Tools Standard and C24 LCR Ls Rs LFE LC R Ls Rs LFE LCR Ls Rs LFE E same same E SMPTE ITU LORLsRsLFe LCR Ls Rs LFE O Control 24 Monitoring top to bottom left to right qe iz LRCLFE Ls Rs DTS same same ProControl Monitoring LC R Ls Rs LFE LCR Ls Rs

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