Essential Steps for Mastering in Pro Tools : Ask. Audio. The art and science of mastering audio has often been shrouded in equal parts mystery and danger. Mastering engineers are often highly regarded professionals with a completely different set of gear and tools that sets them apart from standard . Visions of Professor Snape in his potions lab chanting incantations while listening to Beethoven from magical speakers always used to spring to mind when I prepared to send a project to a mastering house. For this reason, it can often be very intimidating to get your feet wet in the field of mastering. Mastering shouldn’t be feared, though? What better way to learn about mastering techniques than to try your hand at it as much as possible? When you send your project out to a mastering house, one of the biggest benefits you are getting is a set of fresh ears. Mastering a project that you’ve just spent the last month recording and mixing will likely give you skewed results. You can’t possibly be objective about your decisions unless you are some kind of superhuman audio machine. However, the realities of the changing climate of home studio production and the use of music in all forms of media have forced many of us to gain at least a rudimentary knowledge of how to finalize music that we create. There are many times where the client or budget simply won’t permit sending the music out to a mastering house, and we are forced to jump into the world of mastering feet first. For this reason, it’s good to be prepared. Step 1 - Creating Your Session. New Session—Choosing the right sample rate and audio format is key. Thinking about your delivery format before you get started is key. Video projects may require a different sample rate than a master file that you’re going to send to i. Tunes. CD duplication houses may require the files in a certain format and bit rate. Setting this properly ahead of time will save you a lot of aggravation later on. Does the client need the files delivered in split stereo? Are they mixing the music with 9. Hz audio for a film? With the release of Pro Tools 11 and its 64-bit architecture, you can now take advantage of all the memory on your system. While Pro Tools already offers a great out. Home The Forums Rap + Hip Hop engineering & production What is your Pro Tools vocal chain for recording rap vocals? All of these questions come into play and setting up your project file properly will help you stay consistent throughout the project. The more times you have to convert your audio to a different format, sample rate or bit rate along the way, the more chance there is for error. Step 2 - Arranging Your Windows. Window Setup—The window configuration you use for mastering will be significantly different than the one you use for tracking. Arrange the windows in a way that puts your audio front and center. You’re not dealing with a ton of tracks here—likely only one stereo track. When mixing, I’ll often provide the mastering house with a . It’s best to avoid the end for now—after we’ve added processors and effects there may be a tail of reverb at the end of the file. We’ll add a fade- out further on down the road. Step 4 - Set Up the Chain Set Up The Chain—Every song you master will require different tools, but it’s good to have a starting point! When mastering, subtlety and control are key. If you find yourself using an EQ and cutting 2. B of something, you’ve got a problem in your mix. Every song will need a different approach, but it’s good to have a starting point. My typical starting point is EQ - > Compressor - > Limiter. Pro Tools has a wonderfully useful 7- band EQ and the stock presets for limiting on the D3 Compressor/Limiter are actually quite subtle. The concept of the brickwall limiter is simple. You have a volume point that you set just below . The limiter will utilize an extremely high ratio to stop any audio that might . You then slowly raise the gain compensation to bring up the overall volume of the track to a higher point while the limiter prevents it from clipping. Keep your eyes and ears open. When the limiter kicks in, you should see it and you should hear it. If your limiter is activated constantly, then you are now contributing to the wrong side in the battle of the loudness wars. Using a compressor with a smaller ratio before the limiter can help to smooth out the overall track and keep you from hitting your limiter's wall too hard or too often. The only way to learn is to experiment, and you should experiment a lot. Take frequent breaks to keep your ears fresh. Step 5 - Additional Plug- ins. Additional Plug- ins—UAD has a wonderful suite of plug- ins specifically tailored for mastering. If you have experience with a multi- band compressor or harmonic exciter and the track calls for it, now is the time to add it into your chain. A multi- band compressor used conservatively can be a bit more transparent than utilizing EQ to remove unwanted frequencies. A multi- band compressor used improperly will make its nickname clear to you (! The fade engine in Pro Tools is wonderfully intuitive. You can create a fade based on a selection of audio, or you can put the play marker where you want the fade to begin and choose . A variety of fades are available including straight, S- curve and parabolic. Step 7 - Bouncing and Dithering. Bouncing—Bouncing your mix in Pro Tools allows you to export the audio in a variety of formats. If you are moving down from one bit rate to another (such as from 2. Pro Tools provides several options including the POW- r series of plug- ins. Dithering will add some random noise to smooth over the quantization process and mathematical operations that we’re applying to the audio. It will essentially reduce distortion in the low end of your sound spectrum. When you’re ready to send your audio out to the world, use the bounce command. You’ll be able to pick the location, format and sample rate of your final audio file. Pro Tools also will allow you to provide an MP3 companion to your full resolution audio. This is great for emailing people previews of the master, but keep in mind it will sound different from the full- resolution AIFF. Step 8 - Listen. A lot. Much of what sets mastering engineers apart is their room and gear. A neutral, acoustically treated environment is key. Several sets of speakers to listen on will also help to provide a consistent listening experience for your client. What good is a mix that only sounds good on the studio speakers on your shelf? I’ll often spend a few days listening to the final masters in the car, on the train with headphones, at other locations, on computer speakers. Part of the mastering engineers' job is to make sure the mix sounds good wherever it’s being played. Keep Practicing! Well, those are our eight steps! They won’t turn you into a mastering engineer, but hopefully they will take some of the intimidation factor away. You really can’t beat sending your project to a fresh set of ears and gear specifically tuned for mastering audio; but perhaps after trying your hand at it a few times, you will decide that those . The wonderful courses on the topic at Ask. Video. com are a great place to start.
8 Essential Steps for Mastering in Pro Tools. Learn Pro Singing and Vocal.
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Shake provides the only compositing software with a. Commotion is a professional effects program ideal for digital video. Best Compositing Software, free best compositing software software downloads, Page 3. Shake Compositing Software; Compositing Software Freeware. Steve Wright's VFXIO . His client list includes Pixar Animation Studios, Prana Studios, Troublemaker Studios, Disney Animation Studios, Reliance Media. Works, and many, many more. Steve brings to the table 2. HD clips, and RED footage for real- life training examples. As a Master VFX Compositing Trainer and a Foundry Certified Nuke. He has developed and delivered custom training programs for not only top visual effects studios but also universities and training institutions world- wide as well. Contact Steve to make arrangements. This is especially true of operations with a large staff or with high turnover resulting in many new- hires. Steve has designed in- house training programs for Reliance Media. Works, ICO VFX, and Frameboxx and can build one for your company. Tapping his large library of 2k film scans, RED footage and HD clips Steve’s training programs are designed to be delivered by your trainers to your production staff using production grade project media. This one- time expense is then amortized over many years lowering the overall cost of training while maintaining high staff proficiency and productivity.- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -Training Programs: Development of lesson plans, evaluations, and production exercises delivered to your trainers. Steve can export his office desktop to your facility (vfx studio, training institute or university) where it can be seen by the entire staff or student body using a digital projector. It's almost as good as being there. Another advantage of distance learning is that it is entirely practical to schedule short classes of 2 to 4 hours instead of all day so the staff does not miss too much production time. Project files are sent via ftp so the entire class can follow along.- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -Remote Training: Training duration and topics are tailored to the requirements of the studio after consultation with management. Contact Steve to make arrangements. SHAKE TO NUKE TRANSITION. Apple Shake is an industry standard video compositing program. This is my page of Shake macros. Add the macros to your Shake include folder, and they will appear in. Most studios render everything out in multiple layers and then utilize some sort of compositing program to compile all those images into a final sequence. A very labor intensive process requiring large staffs, the speed and quality of the staff has a huge impact on bottom line profitability. Steve has conducted staff training for some of the largest stereo conversion studios in the world (Prime Focus, Reliance Media. Works, ICO VFX, and others) and can come to your facility and give your staff productivity training for Nuke and Mocha used in stereo conversion.- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -On- site Training: Training duration and topics are tailored to the requirements of the studio after consultation with management. Contact Steve to make arrangements. It has a long list of tools to rapidly fix commons problems in stereo cinematography such as vertical offset, mismatched focus, unbalanced exposures or colors, and many others using the highest quality algorithms with floating point precision. Included is the O. Developed in conjunction with top visual effects studios such as Weta Digital it is thoroughly grounded in the real world of production on actual stereo films!- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -On- site Training: Training duration and topics are tailored to the requirements of the studio after consultation with management. Contact Steve to make arrangements. It comes with an integrated planar tracker which provides a “roto assist” to reduce the number of keyframes which in turn reduces the development time and improves the quality of the results. It is nicely integrated with Nuke and several other apps so tracking data as well as roto shapes can be exported. Features include roto grouping, naming and color coding as well as motion blur over the entire spline or point by point. Contact Steve to make arrangements. The common Shake operations are mapped to Nuke for easy transition including workarounds for Shake features not available in Nuke. The features of Nuke that are unfamiliar to Shake artists such as Nukes linear light space, working with multiple channels, and the powerful 3. D compositing system are covered in great detail.- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -On- site Training: Training duration and topics are tailored to the requirements of the studio after consultation with management. Contact Steve to make arrangements. 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Discover how to use Shake's powerful Primatte Keyer to process images shot on blue or green screen backgrounds. Learn how to create a . Study the illumination levels of a blue screen background by using the pixel analyzer. Advanced topics include: using proxies to work with high resolution footage in real time, relinking missing media, customizing global parameters, viewing color channels in the Viewer and in Flipbooks, using horizontal and vertical compare modes, viewing alpha channels, creating multiple viewers, configuring the domain of definition to reduce computer processing time, and several techniques for managing media in the File Browser. Check out www. Dover. Studios. com today and download the free preview. Dover Studios is currently offering free worldwide shipping on all orders placed before October 3. Shake: Compositing Workflow is available in both DVD- ROM and Download Editions for Mac OS X and Windows. Shake: Compositing Workflow is available now for $4. USD. 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