Resources for IFS sound design students
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LTC synchronization / conforming/ Editing
In typical location recording scenario main source of timecode is sound recorder , you have several imecode generators , which are typicaly synced (we call it jammed) with main source of timecode and they work as remote sources of timecode for cameras. Timecode state is also synced (jammed) with main source. (Sound recorder)
handy when you need lock protools on external timecode
(translates LTC to midi time code)
Conforming files using AAF and EDL
Conforming of audio is a first part of a process in audio postproduction.
You get .OMF or AAF file from video editor. You should get also edited videotrack and EDL list. EDL list is a file which contains all the information which takes has been used and where and when it was cut.
You import .AAF containg audio into your protools session , import video to your session.
Now you would like ti import audio data from your field recorder and sync them with the cut made by video editor. In newer versions of Protools ultimate there is a workflow, in older versions we have to do it using Synchro arts Titan Plugin
In his video I demonstrate the field recorder workflow in Pro Tools HD. Usually a video editor will cut a sequence together using a rough mix from an audio field recorder. This is generally a blend of the various mics which has been done in real time by the sound recordist at the time of shooting. At the same time the microphones will also be recorded to their own isolated tracks on the recorder.
Using the embedded metadata and timecode from the BWAV files Pro Tools is able to rebuild the multi channel recordings, expanding the various microphone channels to new tracks in Pro Tools and matching the edits made by the video editor. This involves designating a track as a field recorder guide track and then using Field Recorder Match Criteria to specify to Pro Tools what constitutes a match to the edited rough mix.
Editing in protools
What is foley art?
Audio mixing for film and television is a process during the post-production stage of a moving image program by which a multitude of recorded sounds are combined. In the process, the source's signal level, frequency content, dynamics and panoramic position are commonly manipulated and effects added.