Audio Techniques - Week 3


23/07/2019

To use ProTools, we need to get a pen drive from Chris, which will eventually be available to book on Cheqroom.

 The bigger sample rate, the bigger the final file export will be later. You can use either 48kHz or 96 kHz.

 Today we did a beginner's tutorial to using ProTools.
We imported the soundscape sounds into Protools. The police radio sound sounded like Mickey Mouse having a seizure. It may not be the right speed. But even if it was playbacked on the wrong speed, I wouldn't know how to resolve that or get it back to the right speed.

 Importing the files didn't work as described before, so we ended up importing the files by converting them. The police radio sound sounded a whole lot better.

 Selecting the volume in sound layer will allow you to drag the control the gain. You use the Pen Tool to draw the levels you want it at. However, you it seems like you can't move the sound after manipulating the volume with a Pen Tool or such. But that's because you are still on Volume. To move a sound after manipulating the Volume, you just go back to Waveform.


Manipulating gain on a frequency. You can have fun doing so and somehow create weird sound design with mundane sounds. You access this by clicking into AudioSuite > EQ > EQ3 7-Band.



Waveform is a visual representation of gain/volume. The two waveform on each sound potentially because it is in stereo because probably if it was one waveform for each, then this project would be in Mono.

 I added a fog horn, but turned the volume way down to give the illusion that is there boats close, but still quite far away in the distance.

 We were re-introduced to syncing sound on Premiere, which I was familiar with finessing for my cinematography project last semester. However, I didn't know I could merge files together once synced. It's just not something I had come across in my workflow.

 It also turns out that you can manipulate gain/volume on the sound files in Premiere projects like you can on ProTools.

 The plan is with the filming we did last week is to sync up all the sound together in Premiere, then take that sound mix to ProTools as a AAF file.
Specs for AAF exporting from Premiere to ProTools
Enable (Breakout to Mono)
Tick all Breakout to Mono boxes if all fails when exporting (not doing so will exclude the original audio)
24
Separate audio
Copy complete audio files
Broadcast wave
However, you still get the error message on Premiere. But you just continue on regardless. Left-clicking the exported file will access the file on ProTools directly.

 At this point, I got lost because there were many different ways that were being done to successfully get the audio files from Premiere to ProTools.

 AAF tends to be the more stable as file type for sound mixing in ProTools, than OMF.

 When exporting OMF, ignore the error message on Premiere and import the file into a ProTools project. It takes time for the waveforms to process once imported.

 Even with everything processed, I have no idea what I'm supposed to do.

 I found out that I just need to import the video into ProTools. I copied the video over to my hard drive, but it wouldn't work because it needs QuickTime for some reason and this error is only happening to me. So I'm going to try and export the video on my own in Premiere and see what happens. 

 I tend to export videos via Adobe Media Encoder because it doesn't not crash like when exporting on Premiere and it's faster, but Media Encoder wouldn't work on my computer. 
I had no choice, but to export on Premiere. However, Premiere was also having a computer tantrum at first because it wouldn't even go 1% completed.

 In doing the sound mixing for Ass1, you can't use the dialogue recorded on location. You have ADR the dialogue.

 I remeber when doing year 8 in primary school, I used Sony super duper music looper. This software let you create music kind of like GarageBand.

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