![]() ![]() ![]() When you engage the Preview button in the Pro Tools Automation window, Pro Tools suspends all real time automation writing. However this is not always the most efficient way to write automation, and does not easily allow you to test or audition automation changes. Next Level Automation: Preview Mode and Latch Prime in StopĪll of my explanation to this point has focused on writing automation while playing back in real time. A more complicated example would be automating parameters in a reverb plug in to create a trippy space echo effect.Īll of these examples can be blended and combined to create an exciting soundscape in your edit or mix session. A straightforward example would be automating your track EQ plug in during a certain section of the timeline so that a characters voice is Futzed as if playing out of a small speaker or cell phone. As each episode is different, these parameters will often need to be automated to meet creative or technical requirements. When mixing we often have a chain of plug-ins each submix will pass through, in addition to some basic plug in processing on each track. Pan some elements to the left and some to the right to create a unique, realistic and asymmetrical soundscape. Perhaps you have created a busy ambience of a crowded town square. If a vehicle is passing by the camera, use pan automation so that the sound’s position tracks the vehicle’s position on screen. If a sound is intended to draw a character’s attention off screen, use pan automation to place it in the correct position. You could use volume automation to pull the volume of the machines sound effect down as the camera trucks back, shifting the sonic focus to the dialogue or other sound effects you are covering.Īdding panning automation is one of the easiest ways to prep your sound editorial for a review or the mix stage. Then the camera pulls back and we are now focused on character dialogue. For example, imagine there is a machine humming away in a room and the camera is focused on that machine at the beginning of the shot. One way I use it during the editorial phase is to manage levels of steady sounds. You can and should use it to change fader level for perspective cuts(don’t use clip gain for this!) You could also use it to adjust the balance of elements within a build. Volume is my most often modified parameter in mixing. To keep things simple I’m going to split it into a few categories and give some examples: Volume If you are a sound editor and not fully immersed into a mixing workflow, you might wonder how or why automation should be applied in sound editorial. When mixing it can be really helpful to live in the volume view so you can easy see and write volume automation. Then you will see the automation represented as a horizontal line across the timeline with any number of nodes show how the parameter is being manipulated over time. This defaults to “waveform” but you can select any automation parameter available, including plug in parameters. In order to view them you navigate to the left side of each track and find the drop down menu under the track name. Automation Lanes are views for each track that show you the automation that is currently written there. When you are ready to begin writing or drawing in automation in can be helpful to see how Pro Tools represents this data. In Post Production mixing I generally get all of my tracks in roughly the right place and then play through each submix in Touch/Latch mode, writing volume, panning and plug-in automation as I go. The specific mode you choose will depend on what and how you are mixing. In this mode, the fader operates in Touch mode, with all other parameters acting in Latch mode. Similar to Touch, automation is only written when you touch something, but instead of snapping back to its previous position, the parameter will hold the new position until you stop playback. After you release your touch, the parameter will return to its position according to the pre-existing automation. TouchĪutomation is only written when you “touch” an automate-able parameter, for example a fader for volume. Everything is actively writing while playing, including fader positions, pan position etc. Plays existing automation, no new automation is able to be written. This specifically refers to writing automation during playback. These are settings activated on each track that determine the way automation is read or written on that particular track. The next concept that is essential to understand is automation modes.
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