Basic Pro Tools Post Production Workflow
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- เผยแพร่เมื่อ 8 ต.ค. 2015
- This video is intended to give an overview of a basic post production workflow for a documentary style video. Whilst it's far from a comprehensive guide to audio post production, I do cover the basics of importing audio into Pro Tools from an AAF or OMF, tidying up the imported tracks, a brief introduction to broadcast loudness metering and workflows to consider when mixing to the current EBU R128 specification.
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Wow. A real pro just showing how he does it while explaining it. This is so hard to find.
Thanks. I'm glad it's useful.
Best audio post production workflow on TH-cam!
Excellent tutorial. Such a great workflow. Thank you.
Awesome video. Did my first post production mixes basically in the same steps shown in this video. Very happy to have confirmation that I went about it correctly.
Excellent video Paul. Prepared, clear instruction and I'm left informed and excited about mixing my film as opposed to being baffled and deterred. Recommended.
This is superb! Well done and thank you
Very nicely done, Paul.
Thanks Peter
Cristal clear Thanx paul be blessed
Dope! I have edited my own TV Show in the past. Now I'm getting Music & Voiceover Work. So this was a great brush up video indeed.
Thank you very much Paul, you are a truely brilliant Pro Tools engineer and tutor, Pete
Peter Green Thanks Pete. I intend to make more videos soon. Let me know if there are any particular subjects which you feel would be of use.
What a great video. Thank you for the effort!!
+Cataldo Torelli No problem. Thanks!
Paul, this video is incredible. I am currently working on a project for tv and this tutorial has clarified so much. Great job, and thank you!
+C.S. Davies I'm happy that you've found it useful. Thanks for watching :)
Another great video Paul!
Thanks!
Fantastic video,, keep up the good work ..
Thank you for such a useful and informative workflow explanation. Great work!
No problem. Thanks for watching!
The best one on youtube, need more videos, good luck bro...
So much valuable info in this. Many thanks Paul, excellent work
No problem. Thanks Doug.
Paul, this is golden and invaluable. If you have a page setup, I'd love to make a donation, and encourage others to follow suit. The value of this crash course lesson is akin to a 500 hour internship. Seriously useful stuff here. Thank you and please let me know.
Best,
David
Thanks David. I'm pleased that you've found the videos to be a useful resource. I might set up a donation page soon. I will let you know when I do! Cheers :)
Great vid Paul! Super informative and compact!
No problem. Thanks Phil :)
Very helpful. Thank you.
this is extremely helpful
Good stuff! Keep em coming=)
Thank you for this video !
Thank you for your video!
thank you so much for this video, it helped a lot..
Hi Paul,Thanks a lot for the Video!!!This was the kind of video that i was looking for and it was extremely helpful....I request you to upload a series for post production Work Flow in much more detail which will be even more informative.Hoping for the series in near future,thanks Again ;)
great video, thanks!
Great video!! thanks
I am proud that Mr. Paul Maunder is my teacher
Thanks Aramis. Great having you on the course at Spirit Studios!
Great vid. I was taught the old way for British broadcast standard at uni and they were switching over to R128 as I left, so missed it. I've been wanting to know this for ages. The youtube standard was helpful too as my client has complained that my mixes are too quiet for multimedia as i always mix full range.
Thanks. Since making this video it has become apparent that the TH-cam loudness spec is actually -13LUFS so bear that in mind when creating content.
Thank you so much!
Thanks a lot for this video... it was really helpful!
Great, thanks.
No problem!
Great video, Thanks.
One thing I do in this context that may be valuable advice is to bus the dialog, music and FX to aux tracks. This allows control over them with one fader. I use these faders to bring the levels to compliant loudness rather than reduce track gain. I have found that sometimes reducing track gain can be problematic when setting compressor thresholds - too little signal means the threshold must be set very low. Some compressors don't go low enough.
Also this idea can be valuable if the project is to be translated/overdubbed to another language. The dialog is kept separate and can be hidden easier.
reverendgroove Good tips. Thanks for your input.
Thanks a lot!
No problem!
😀😀 love youproduction pro
Thanks
Also shot my Pilot for my TV Game Show. Appreciate The Wisdom
No problem. Good luck with the project!
Thanks sir I subscribed
Most Useful 50 Shortcuts for Pro Tools here:
th-cam.com/video/96KQMmjJvTE/w-d-xo.html quick access to
what you need, press the timestamps in description
thank u
Great video! Do you ever enhance dialog/VO with EQ in broadcast post? What about dipping the music around 1250hz to make the dialog truly come through? Would love a video on more audio processing in post production! :)
Thanks for this video Paul!
When you put a limiter on a master track to increase the loudness to -16lufs, your mix is always balanced or do you need to make some ajustments (volume automation) between dial and sfx/amb/music ?
+numark33 When you use a limiter to increase the overall level on the master the relative balance of elements in the mix remains the same. There should be no need to rebalance anything as long as everything is going through the same master.
That was amazing, Paul! Couple questions: The final track that you bounced out in WAV 48/24 is the only audio track that ends up in Premiere (or whatever video editing software is being used) for the final video cut? Also, what are the advantages of first bouncing to a new audio track within the session? Thanks for your time.
Sorry for the really late reply! Yes, the only track which finds its way back into Premiere is the stereo mix. When adding it to the video timeline, make sure all original audio is muted. There are a few advantages of an internal layback within the session. You can use outboard hardware such as EQs, compressors and reverbs which can't be bounced offline. You can do a final check of the mix in real time. If you come back to the session at a later date and don't have some of the plug-ins, at least you've got a mix down right there in the session. You can also lay back multiple versions of the mix at once, with the right routing. This is less of a benefit now though as Pro Tools Ultimate lets you bounce multiple mixes offline anyway. Still, internal layback remains fairly common practice.
Excellent video, Paul. At 31:50 - If you push too much the threshold on the limiter, you may incur in audible distortion. How do you manage this? Thak you for your time.
Is there a reason you use a limiter plugin to make the alternate TH-cam LUFS spec instead of just adjusting the trim level on the WLM plugin? Great video, thanks!
It's mainly just personal preference. I could have equally done it with the trim control on WLM.
Hi there sir, I must say its really a great video to watch and learned a lot from it.....Got one question here../
Can't we just put a limiter or the metering plugin in master fader to match with the loudness thing in the END after we're done with mixing the audio........
and not seperately by going to each track at a time ???
Yeah, he did that - the limiter & meter plugins are both on the master fader at the end of the signal chain. The individual dialog track levels he adjusted initially were just to make setting up compression on the dialog channels, as basic levels pre-compression are already quite consistent. Are you talking about the compression plugin he added to the dialog? Def want to do that separately from the master processing, otherwise you'd be compressing all the music and sound effects as well and the compressor won't act on the dialog correctly.
Hi Paul. Love your video! Is it possible to get the files u are using in this video?
Hey Paul, thanks for the video. There are certain plugins available which allow you to convert to -23LUFS with the click of a button once you have finished your final mix. What are your thoughts on these plugins and do you think they do a good job compared to monitoring the levels with the Waves WLM. Cheers, Greg
+Greg Canning Hi Greg. I think it's a convenient option to have and would be especially useful when re-purposing old PPM mixes to -23LUFS, especially if you had to get through a lot of episodes quickly.
For new mixes though, a good dubbing mixer should be able to get the mix to within tolerance without the need for a correction button. Having said that, the WLM plus plug-in does actually have a Trim button, which, once the whole program loudness has been measured, allows the level to be automatically tweaked to hit the target level precisely. I've used it occasionally and it's fine, as long as it's not a substitute for proper level monitoring and mixing.
Hi Paul - thank you so much for making this video! Extremely helpful for someone starting out in post production. I was wondering - when in the process would you usually de-noise/ EQ dialogue? Would you clip gain the dialogue after EQing/ De-noising to make sure it hits -23 LUFs or beforehand?
Patrick Willis Hi Patrick. I would usually de-noise and EQ dialogue at the early stages of the mix. These processes can of course affect the level so it makes sense to do them before and final levelling and balancing.
Paul Maunder - Thanks for the quick response. That’s great - thought that may be the case. Keep up the good work!
production pro cute bhai ke saathe tikh Tha good video
Hi! I'm from Brazil, thank you very much for this video. We don't many information about it here. I'm using Pro Tools 11.3.0 and I only have 4 meters type that are: Sample Peak, Pro Tools Classic, Venue Peak and Venue RMS. I looked also on preferences and that's all the options. Could you recommend another loudness metering? Maybe for free or that don't be so expensive as waves?
The other metering options were only included in Pro Tools HD on older versions of Pro Tools. From Pro Tools 12 onwards you will find all of the metering options in the standard version.
A free loudness metering option is M Loudness Analyser from Melda Productions.
Hi Paul Maunder, when i do the final mix for indie drama film in Pro Tools, how many LUFS should the dialog be for the most part? This is not for broadcast but for theatrical release. Thanks for this unique content.
Hi Harri. There's no absolute standard for cinema but -27LUFS would be a good level to aim for. I mixed a film last year and worked to that standard. It translated well into the cinema.
Do I need Avid video hardware for this to allows me to see the visuals? I have protools HD 10 but I dont know what else I need as I'm new to video.
You don't need any additional hardware to play video in Pro Tools. Optional video hardware can be used, if required, to play video onto a separate video display though.
16:55 can you please get more insight on the concept that you told, why choose gain clip over volume automation? Thank you so much
Also, faders are aggregated. So towards the top you have more resolution - more space work with. That's why the numbers next to the faders are closer together towards the bottom and further apart towards the top.
If you click interleaved when you open the session doesn’t that take care of the multiple mono tracks?
What to do if I want to reconnect to unedited and timecode stamped multitrack originals? Maybe even without the first two tracks as those are often the mixdown for editorial/cam link?
I cover that in another video about Pro Tools field recorder workflows: th-cam.com/video/EqlZUWZ64Nk/w-d-xo.html
What is it for to change the mono track to stereo track? Any particular reason?
Hey Thank you for this informative video..!! what this process called tho(job description) ??
+Ashish Parkar This is just a simple post production mix. The sort of thing a Dubbing Mixer might do.
I just got waves metering, what I don't understand is why the options give -18LUFS and -9LUFS. Why is the no options for -23 or -24?
hey, I just had a question and maybe I am technically wrong in this but in case of music with dialogue , can't we do side chain compression so when dialogue comes in music goes down. like how they do in radio shows?
You can do that, yes. The only problem is, it can only ever react to the incoming audio. Sometimes it's preferable to fade down music just slightly before dialogue begins.
Ok I see, thanks :)
Wanted to ask regarding the WLM. The US version ITU-R BS.1770-3 doesn't seem to be included in WLM? I rely on WLM as its the only loudness meter I have. My WLM only has ITU-R BS.1770-1. Has Waves upgraded this to version 3?? Should I upgrade my WLM? I haven't done content for Aerican broadcast yet but if I did, what can I do? Is it important?
Hi John. Yes. WLM includes presets for ITU-R BS. 1770-3. I'm not sure when that was added in but it's certainly in the current version.
Any recommendations for an alternative loudness metering plugin?
yes Izotope InSight
Hi Paul,
Is the TH-cam loudness spec -16LUFS or -13LUFS? And do you know where to find these specs?
Joey
+De StemFabrique The TH-cam loudness level is -13LUFS. I haven't seen any official documentation on it from youtube but it's mentioned in several places. Have a look at this article: productionadvice.co.uk/youtube-loudness/
30:18 Here you go bud.
Why automating the Music while you can simply use a sidechain Comp?
what do you think about the Nugen LM-Correct? You could mix without always checking the EBU Metering and Analyze the final Mix?
I wonder how this has changed for online, Netflix, Amazon and co?
can you use a side chain to control the level of the music?
+Luis Florez You could use a side chain on the music by triggering it from the dialogue. The only problem with that is that in post production mixes, you'll often want to start fading the music down slightly before the next dialogue line comes in. Sidechaining only reacts to it. Also, it's hard to get the release time correct as you'll want to avoid the music coming up in between words but not have it so long that there's a big pause when you actually want it to come back up. For these reasons, sidechaining wouldn't be the ideal solution for a mix like this. You have more control by automating the level of the music itself.
thank you so much for that info.
Hi are these files available to download so we can follow along? tks
+SHELLAC85 Currently, no but if a few people are interested, I'll consider making them available.
after import aaf the audio files must be replaced with the originals recorded on the set with the metadata (channel names and scene and take numbers) use .mxf or .wav regenerated and renamed by the video editig software is simpler and faster but not professional
It's always funny watching someone do audio tutorials with mediocre audio. Paul your voice sounds good but the clicking and sliding of the mouse are distracting.
2 much talking.👈👀