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Initial Audio Workfl ow, Importing Production Audio, and Syncing<br />
Audio capture is the fi rst step in track management. It’s very unlikely that the dialogue was recorded<br />
in stereo. Don’t capture mono sound to a stereo track. If you are capturing two-channel DAT or two-,<br />
three-, or four-channel sound fi les, you need to know what is recorded in each channel. This information<br />
should be written in the production sound reports and/or the script notes. There are fi ve common<br />
situations you may fi nd.<br />
• Mono sound from one microphone is recorded into one track.<br />
• Mono sound from one microphone is recorded into both tracks at the same level.<br />
• Mono sound from one microphone is recorded into both tracks with one track recorded 15 db<br />
lower as a safety backup.<br />
• Two or more mono tracks are recorded from individual microphones.<br />
• Stereo sound is recorded.<br />
The fi rst situation is simple. Capture the track with the recorded audio and ignore the other.<br />
In the second situation, capture either track, but listen closely to both fi rst. One may be cleaner than<br />
the other.<br />
The third situation can be handled two different ways:<br />
• Capture only the normal level takes knowing that the −15 db are on tape if needed later in postproduction.<br />
If your sound edit workfl ow will include recapture from the audio EDL, this defi nitely<br />
makes the most sense, but it can be used in all workfl ows.<br />
• Capture both tracks to separate mono tracks. Split up both into takes but only sync and edit the<br />
normal level takes. Place the −15 db takes in an audio folder for use if needed later in postproduction.<br />
This would probably be the best system for OMF-based workfl ows that will not include<br />
recapture. (For more information on recapture versus OMF, see Chapter 7 on sound edit<br />
workfl ows.)<br />
The fourth situation is straightforward. Capture all tracks with sound to multiple mono tracks, sync<br />
and edit the footage with all tracks kept separate. Each take will likely have a different number or<br />
tracks. Read and follow the production sound reports closely. There may be −15 db safety tracks<br />
used in some takes where only one mic was used.<br />
The fi fth situation requires capturing the stereo tracks as stereo tracks. Do not capture multiple mono.<br />
Sync and edit the stereo tracks.<br />
If you are capturing from tape, you will record to Pro Tools audio tracks in real time. Create the<br />
proper number and type of tracks based on your production audio. Set the inputs of these tracks to<br />
the appropriate input depending on how you have the tape player patched into the Pro Tools I/O<br />
device. Record-ready the track(s).<br />
As the metering on the channels is rather basic, to get a better look at your levels add the plug-in<br />
“trim” to the channel(s), as seen in Figure 3.5. Compare the head tone on the tape to the level on the<br />
meter. If necessary, you can trim with the gain slider. Do this for each channel. Make sure you are<br />
setting to the proper reference. Check the sound reports to see what was recorded.<br />
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