Pro tools adr

Realistically this feature will be more useful to those working in overdubbing and games where the script is readily available. You can tell it that the character comes first, followed by the text, and if the Timecode in and out points have been provided, where they are too. All you do is select which text is a character, holding down Shift select which text is the line of dialogue.

I do realise this sounds like quite a lot of steps but once you get into a rhythm it does speed things up. This only has to be set once. But this section allows you to set whatever you prefer. Event Record Mode lets you choose how many cues to record at one time and when Pro Tools will come out of record. If you just want to record one cue at a time and come straight out of record, Single Record mode is for you.

Single with open end will record your chosen cue line but stay in record afterwards until you press Stop and there's Batch Record, which will record multiple cue lines within a scene. Personally, I would advise leaving single with open end selected. Cover yourselves, leave this option selected and always wait a second before pressing Stop.

This option is also the one you want if the actor decides to go for the listen and repeat way of recording ADR. The other side of this is when you have an ADR cue which has breaths leading into a line. More often than not, the actor will also want to do those breaths to help them achieve the right rhythm of the line and the dialogue supervisor will also want to keep them.

There are a lot of features I love in this software but my top two are:. Substantially faster on large sessions. Lots of other internal tidying up. Fixed main page edit boxes not being cleared when loading a new session.

Moved the time per cue to the main page and it updates the total live. Reminder: can be overridden on a per-character basis. Fonts throughout the application have been made slightly larger - more consistent now. Fonts throughout the application have been made slightly larger. Big one and will probably need some finessing the script section of PDFs can dynamically vertically resize cue by cue, so if you have a Huge cue say VO script or something , it can now cope.

It can cope with longer text than can be stored in a region group in Pro Tools but you can use [AP] cues to append multiple cues. Fixed Background colour of main window on OSX Mac version is now 64 bit.

Couple of small optimisations with session import, nothing noticeable. ADR output files now have the Actor Name followed y the character name in. Endless scope for people messing reasons up with this but I generally agree with having flexibility!

The version button bottom left tells you whether you have the current version installed, been meaning to do this forever. Excel output cells that were numbers are now stored as numbers not strings which stops Excel warnings.

Clear all fields button added to the remote control dialog box. Did this for several of reasons - Now the default reasons are editable I wanted a guaranteed tag for an Additional lines. I sometimes get productions asking for a list of ADD lines.

It flags it better on the sheets. Shows ADDs as a column on the main screen and on the summary. Set these before loading a session as the reasons are assigned when opening a session. Any settings you make are saved, so you can create your own preferred defaults.

If you load a backup JSON file the reasons set from that file is loaded, so, if you have developed a comprehensive list of your own defaults save them in a backup JSON file somewhere safe. More to come on this - including at some point, the ability to edit reasons even with the session loaded.

Nearly got track comments working, very fiddly. Few small bug fixes. Just got to work out track comments then we should have completed the basic functionality. If you know different, send them to me! Once I can resolve that it should be pretty much working.

Do not use any earlier version than this for production use if you use this feature. Drop frame is still wrong but all integer and fractional frame rates should be ok now. Will fix drop frame very soon. The software can open something other than session text files now The accepted range is [T1].. Remote Control has been heavily reworked on Mac and should hopefully be a bit more reliable.

More to come More work will come on this but it gets a couple of people going for now. Multiple cues across. Reduced redundant sort operations and made it possible to start adding some more sort options. This is numeric only unlike the clip cue number override as it has to be able to increment. This isn't displayed in the interface yet. It will be, just wanted to get someone up and running for now. Set custom cue numbers actually alphanumeric with [Ccuenum] tags in clips eg [C45a] will override automatic numbering and give that cue, 45a as the cue number.

Any clip that has a custom cue number isn't checked for a clashing cue number. Supplementary cues in dupe tracks with the [SUP] tag. Export options can now specify various track sorting options for the output files. Only partly implemented so far only works on the Excel outputs, got to work out where to put it on the PDFs , a corporate or your one person company! Faster saving of the backup file. Selected takes at the top of the session with all other takes below and everything else removed from the session you deliver them.

The only variable when recording and delivering a session for a film is if the dialogue editor would like all reels recorded in the one session or multiple sessions, this you always ask in advance. Once you know your delivery spec the basic set up is easy. I usually start with 5 Selected Takes tracks and 20 Take tracks. I also create a mono dials dialogue track, mono sfx sound Effects a music track and a fill track.

Finally I have a stereo record track and 2 mono playback tracks, one for the boom and one for the clip. All this can be seen here. You can click on the image to see a larger version…. Usually you will be provided by an embedded Quicktime with a split guide track. For most dramas, the guide track will just be a mix from the picture edit. For Feature Films, depending on what stage they are at in post, this guide can actually be stems from the temp temporary mix.

If you are not provided with a split guide and there is time before your session, send it back and ask for one. I only use a fill track if there is time and budget there. This way during playback I can give the clients a proper sense of it the line will sit well in the mix. This template is designed for recording in a studio with separate booth and control room.

This gives me control of the various levels of the guide being sent and their mic level. Everyone else will just be listening through the speakers in the control room. If you are working in a open plan studio, you will need to create additional master buses for the dial super dialogue supervisor , director and yourself and sent to their headphone inputs.