Title -- Copyright -- About the Author -- Dedication -- Acknowledgments -- Contents -- Introduction -- What You'll Find in This Book -- Who This Book Is For -- How This Book Is Organized -- Chapter 1 Film, Video, and Multimedia Technology -- A Brief History of Motion Pictures and Film Sound -- Thomas Edison's The Sneeze -- Sound Technology in the 1920s -- Disney's Fantasia -- Film Sound Formats -- Television and Video Recording -- Sound in Star Wars and Apocalypse Now -- Internet Video -- HDTV -- Digital Multimedia Formats -- QuickTime -- MPEG Codecs -- AVI Codec -- DV Codec -- Flash and Shockwave -- Chapter 2 Audio for Film, Video, and Multimedia -- The Components of a Soundtrack -- Dialog and Narration -- Production Audio -- Re-Recorded Dialog, or ADR -- Narrator/Voiceovers -- Voices for Animation -- Foley Sounds -- Foley Artists and Stages -- Creating Foley with Sampling and FX Libraries -- Foley from Wild Production Audio -- Sound Effects -- Ambience -- Bigger Than Life Sounds -- Imaginary Sounds -- Music -- How Does Pro Tools Help? -- The Non-linear, Non-Destructive Editing Model -- QuickTime Movie Support -- Automation, Automation, Automation -- Multi-channel Mixing -- The Standard in Hollywood -- Project Workflow -- Pre-Production (Planning and Preparing) -- What Is The Project Going to Be? -- Who Are You Working With? -- How Will You Exchange Audio? -- Production (Filming and Recording on a Set or on Location) -- Keeping in Contact with the Film Crew -- Creating Cue Lists from Scripts -- Animation Dialog -- Gathering Environmental Audio -- Post-Production (Re-recording, Sweetening, Editing, and Mixing) -- Finalizing Cue Lists -- Transferring Audio from the Video Editor -- Record Any Additional Audio -- Editing Audio to Picture -- Mixing Down Tracks to Picture -- Delivering Master Recordings (Layback).

Chapter 3 Synchronization and SMPTE Time Code -- Synchronization Basics -- Positional Reference -- Playback Rate -- Origin and History of Time Code -- Time Code and Film -- NTSC versus PAL -- Color versus Black and White -- Parameters of Time Code -- Frame Rates -- Frame Count -- Drop Frame -- Non-Drop Frame -- Current Usages and Practices -- To Drop or Not to Drop? -- 2-3 Pull-Down -- Film Transfers -- Pull-Down Audio Sample Rates -- Pull-Up Sample Rates -- 24p HD Video -- SMPTE Time Code Scenarios -- NTSC Video to NTSC Video -- Film to NTSC Video -- Film to Film -- 24p HD to Video -- 24p HD to Film (or 24p HD) -- Film to 24p HD -- Chapter 4 Getting Started with Pro Tools and Video -- Hooking Up Your Equipment -- Typical Equipment Setups -- Audio Suite within a Multi-Room Facility -- Single-Room Audio Studio -- Home or Project Studio -- Audio Clock Source -- Digidesign's Sync I/O and Universal Slave Driver -- Third-Party Synchronizers -- SMPTE Time Code Reader, MIDI Interface -- 9-Pin Machine Control -- 9-Pin Connections and Settings -- 9-Pin Operation -- Remote Control Only-No Sync -- Pro Tools as Transport Master and SMPTE Slave -- Remote Deck as Transport and SMPTE Master -- 9-Pin Remote -- MIDI Machine Control (MMC) -- MMC Connections and Settings -- MMC Operation -- Video Playback Monitors -- Dedicated Video Card -- FireWire and DV De-coders -- Virtual VTR Software -- Dedicated Hard Disk Video Recorders -- Creating a New Video Session -- Choosing Sample Rate and Bit Depth -- Choosing Frame Rate and Frame Count -- Choosing Session Start Times -- Importing Video Files -- Opening QuickTime Movies -- Capturing DV Video from Tape -- Capturing DV Video with iMovie -- Capturing DV Video with Final Cut Pro -- Changing Movie Offsets -- Checking Sync -- Importing Audio from QuickTime Movies -- Examining Lip-Sync -- Time Code Burn-In Window.

Chapter 5 Recording to Picture -- Using Audio from the Set (Production Audio) -- EDLs -- CMX 3600 EDL -- Recording Audio from Videotape -- Importing OMFI Files -- Guidelines for OMFI Creation from the Video Workstation -- Using DigiTranslator -- Creating OMFIs from Pro Tools Sessions -- Recording from Production DAT Tapes -- DATs from a 24fps Shoot (Film or HD) -- DATs or Videotape from a 29.97fps Shoot (Video, HD, or Film) -- DEVA and Hard Drive Based Recorders -- Recording Dialog and Narration -- Replacing Existing Dialog (ADR) -- Using Loop Record Mode -- File Management and Pro Tools' Naming Conventions -- Recording Technique -- Recording Voiceovers and Narration -- A Note about Animation Dialog -- Creating Rough Tracks for Video Editing -- Recording Action Sounds (Foley) -- Using a Foley Stage -- The Moves Track -- Footsteps -- Specifics -- Microphone Technique -- Using FX Libraries -- On Location -- Creating Sound Effects -- Using Field Recordings -- Sound Effects Libraries -- Using Synthesizers and Samplers -- Synthesizers -- Samplers -- Importing the Score and Incidental Music -- Importing from CD, DAT or Tape -- Importing from CD-ROM -- Importing Multi-Channel Audio -- MP3 Files -- Backing Up Your Data! -- Backup Plan -- Automation of Data Backups -- Possible Backup Scenario -- Mass Storage Media -- Chapter 6 Editing to Picture -- Setting Up Pro Tools Sessions for Editing -- Seeing the Information You Need -- Hiding or Showing Tracks -- Resizing Tracks -- Zooming, Scrolling, and Locating -- Zoom Commands -- Locating within the Edit Window -- Edit Grouping -- Creating Groups -- Editing Groups -- Enabling and Disabling Groups -- Re-Grouping Tracks and Re-Naming Groups -- Selecting Group Members -- Editing an Existing Group -- Using Counters and Rulers -- Counters -- Rulers -- The Markers Ruler -- The Time Code Ruler -- The Feet:Frames Ruler.

The Minutes:Seconds Ruler -- The Samples Ruler -- The Bars:Beats Ruler -- The Tempo Ruler -- The Meter Ruler -- Using Grid Values -- Setting the Grid Value -- Using Memory Locations -- Creating Memory Locations -- Selection Memory Locations -- None Memory Locations -- Marker Memory Locations -- Using the Cue List to Create Markers -- Recalling Markers and Memory Locations -- The Memory Locations Window -- The Markers Ruler -- Aligning Regions to Markers -- Using Nudge Commands -- Setting Nudge Values -- Aligning Regions to Video Frames -- Sub-Frame Nudging -- How to Use Sync Points -- Creating a Sync Point -- Using Sync Points and the Grid -- Playlists -- Conforming to Picture Changes -- Chapter 7 Processing Audio Using Audiosuite Plug-Ins -- Operation of Audiosuite Plug-Ins -- Reversing Files -- Time Compression/Expansion -- Audiosuite Time Compression/Expansion -- Trimmer Tool Compression/Expansion (TDM only) -- Pitch Changing -- Aligning Dialog -- Noise Reduction and Restoration -- Surgical EQ -- Chapter 8 Mixing to Picture in Pro Tools -- Stereo and Surround Formats -- Encoding and Decoding with Dolby® Technologies -- Dolby Stereo and Pro Logic® -- 5.1 Surround and Dolby Digital -- Downmixing for Other Formats -- Preparation for Mixing -- The I/O Setup -- Outputs -- Buses -- Inserts -- Speaker Systems and Layouts -- Mixing in Stereo -- Mixing in 5.1 Surround -- The Center Channel -- Surround Speakers -- Subwoofer and Low-Frequency Effects (LFE) Channel -- Loudness Calibration -- Film-Style Mixing -- TV and Home Theater Applications -- Bass Management -- Calibration -- Time Alignment -- Film-Style Mixing Workflow -- From Edit to Print Master -- Pre-Mixes, or Pre-Dubs -- Mixing Dialog -- Pre-Dub versus Final Mix -- ADR -- Animation -- How Loud? -- Mixing Foley -- Mixing Effects -- Hard Effects -- Ambience -- Mixing Music -- The Score.

Environmental, or Source, Music -- Soundtrack Songs -- LFE Channel -- Using Automation While Mixing -- Levels -- Automating Panning -- Automating EQs -- Building Dynamics -- Control Surfaces -- TDM and RTAS Plug-In Delay Compensation -- Chapter 9 Delivery of Master Recordings -- Mix Stems -- Reference Levels -- The Purpose of Reference Levels and Tones -- Using Reference Levels -- Film and Dolby Encoding -- DVD Authoring -- Broadcast Video -- Internet Media -- Recording a Mix on a VTR -- Using Digital Connections -- Using Analog Connections -- Creating Multi-Channel Surround Masters -- Bouncing to QuickTime Movies -- Creating an Audio File or Data CD Master -- Redbook Audio CDs -- Preparing Audio Files for Internet Streaming -- Archiving and Backing Up the Final Mix -- Mix Stems: Dipped or Not Dipped -- Pro Tools Data -- Harness the Power of Cinema -- Appendix A -- Appendix B -- Index -- SYMBOLS -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X-Z.