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Monitoring and Levels
To complete the setup for DestructivePunch:
1
Configure monitoring for record-enabled
tracks by selecting a mode from the Track menu,
as appropriate. Choices include:
• Set Record Tracks to Auto Input
• Set Record Tracks to Input Only
Selecting either monitoring mode only affects
tracks that are record-enabled.
2
Start playback.
3
To compare levels of the input source with au-
dio on disk, click the TrackInput button. When
lit (green), the track is monitoring input. When
unlit (gray), the track is monitoring from disk
(see “Selecting Record Monitor Modes with
TrackInput Monitoring” on page 443).
When you are satisfied with your levels, you are
ready to start punch recording.
Using DestructivePunch
After you have configured Pro Tools, tracks, and
levels, you can use DestructivePunch to record
in several ways.
Punching In On Single Tracks
To punch in on single tracks:
1
Enable DestructivePunch mode (“Enable De-
structivePunch Mode” on page 499).
2
Control-click (Mac) or Start-click (Windows)
the Record Enable button for each track you
want to punch in, so that the track is Destruc-
tivePunch-enabled only. The track’s Record En-
able button lights solid blue.
3
Click Record in the Transport to enter Record
Ready mode. The Record Enable button flashes
blue and red.
4
Click Play in the Transport to begin playback.
5
During playback, punch in and out on indi-
vidual DestructivePunch-enabled tracks by
clicking their Record Enable buttons.
6
Stop playback. When you are finished with
the record pass, track Record Enable status and
transport Record Arm status follow the current
Audio Track RecordLock and Transport RecordLock
preference settings.
Punching In on Multiple Tracks
To punch in on multiple tracks simultaneously:
1
Enable DestructivePunch mode (“Enable De-
structivePunch Mode” on page 499).
2
Click the Record Enable button on each track
you want to punch in, so that the track is both
DestructivePunch-enabled and Record-enabled.
Each track’s Record Enable button flashes blue
and red.
3
Click Play in the Transport to begin playback.
4
During playback, click Record in the Transport
to punch in and out on all DestructivePunch-
enabled tracks simultaneously.
5
Stop playback. When you are finished with
the record pass, track Record Enable status and
transport Record Arm status follow the current
Audio Track RecordLock and Transport RecordLock
preference settings.
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64
Chapter 24: Punch Recording Modes 503
Starting Recording Immediately
on Multiple Tracks
To punch in on multiple tracks:
1
Enable DestructivePunch mode (“Enable De-
structivePunch Mode” on page 499).
2
Click the Record Enable button on each track
you want to punch in, so that the track is both
DestructivePunch-enabled and Record-enabled.
Each track’s Record Enable button flashes blue
and red.
3
Click Record in the Transport to enter Record
Ready mode. The Record button flashes blue
and red.
4
Click Play in the Transport to begin playback.
5
During playback, punch out and back in on
individual DestructivePunch-enabled tracks by
clicking their respective Record Enable buttons.
6
Stop playback. When you are finished with
the record pass, track Record Enable status and
transport Record Arm status follow the current
Audio Track RecordLock and Transport RecordLock
preference settings.
Example TrackPunch and
DestructivePunch Workflows
TrackPunch and DestructivePunch let you use
Pro Tools punch recording in many ways. For
example, DestructivePunch lets Pro Tools be
used as a digital dubber for film re-recording
(dubbing) and mixing (see “Film Dubbing and
Mixing” on page 504).
Keyboard shortcuts and preference settings for
recording and input monitoring provide flexi-
bility that makes TrackPunch or Destructive-
Punch equally useful for the following work-
flows commonly performed in film, video, and
music production:
• Loading dailies (see “Loading Dailies Using
RecordLock” on page 505)
• Recording Foley (see “Foley Recording” on
page 505)
• Tracking and overdubbing in music produc-
tion and any other recording situation (see
“Tracking and Overdubbing Music” on
page 506)
Because Pro Tools can be networked, Track-
Punch (and all other) audio files and whole ses-
sions can be available for secure transfer to other
systems for review, editing, and archiving.
If you are not already familiar with routing,
selecting, and grouping Pro Tools tracks, see
Chapter 13, “Tracks” and Chapter 43,
“Basic Mixing.”
Throughout these examples, references to
TrackPunch can also be applied to Destruc-
tivePunch (just remember that TrackPunch
is nondestructive, while DestructivePunch is
a destructive punch mode).
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504
Film Dubbing and Mixing
Film dubbing and mixing features of Track-
Punch and DestructivePunch let you do the fol-
lowing:
• Arm and punch Pro Tools audio tracks re-
motely from a master synchronizer such as
SoundMaster through P2 commands at any
time, without having to stop playback and
while maintaining time code lock. (Requires
the MachineControl option.)
• Toggle Pro Tools audio tracks between input
and disk monitoring.
• Use Pro Tools as the time code master (gener-
ating) or when slaving.
• Punch non-destructively with TrackPunch, or
destructively with DestructivePunch.
A typical pre-dub session includes the following
steps:
1
Configure synchronization between Pro Tools
and other devices as appropriate.
2
Choose Setup > Preferences and click the
Operation tab.
3
Select (enable) Transport RecordLock. This
keeps the Transport Record armed after the
transport stops.
4
Deselect Audio Track RecordLock. This causes
the audio track record to disarm when the trans-
port stops.
5
Do either of the following:
• Select Options > TrackPunch to enable Track-
Punch mode for non-destructive punch re-
cording.
• Select Options > DestructivePunch to enable
DestructivePunch recording.
6
Create 32 new tracks, then do the following:
• Assign their inputs.
– and –
• Group them into eight-track groups.
7
Click the record enable buttons in the first
eight tracks to TrackPunch enable the first eight
tracks (or, the group for the first pre-dub).
8
Assign the console paddles to the first eight-
track group in the session.
9
Begin the pre-dub pass. Use the console pad-
dles to arm Pro Tools, and to punch in and out
on the first group.
10
When the first pre-dub is over and all tracks
are punched out, clear all TrackPunch or De-
structivePunch enabled tracks.
11
Select the next group of tracks and Track-
Punch- or DestructivePunch-enable them.
12
Punch in and out on the second group of
tracks.
13
Repeat the preceding steps as necessary.
In Remote mode, Transport RecordLock has
no effect. The synchronizer determines the
behavior.
In Remote mode, Audio Track RecordLock
has no effect. The synchronizer determines
the behavior.
Use the Group List to quickly select all
tracks in the group, and Alt-Shift-click
(Windows) or Option-Shift-click (Mac) to
record-enable all the tracks in the group.
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72
Chapter 24: Punch Recording Modes 505
Loading Dailies Using RecordLock
Dailies and similar types of transfers are com-
prised of multiple takes or scenes, each recorded
while locked to unique time-of-day time code.
In between each take, time code does not con-
tinue but stops completely. Because of this, the
time code on dailies and similar source material
is said to be “discontinuous” or discontinuous
(also known as broken time code).
By default, Pro Tools drops out of recording
when it goes offline due to broken time code.
However, you can change this behavior so that
Pro Tools will instead remain armed, waiting to
begin recording again when lock is re-estab-
lished with the time code of the next take.
To configure RecordLock for loading:
1
Choose Setup > Preferences and click the
Operation tab.
2
Enable Transport RecordLock.
3
Enable Audio Track RecordLock.
4
Configure synchronization and other settings
as required.
5
Put Pro Tools online, and start the external
source player.
6
Whenever time code drops out or stops,
Pro Tools remains online and waits to receive
new time code. The Transport and record-en-
abled tracks remain record-enabled. When time
code resumes, Pro Tools begins recording to a
new audio file (properly time stamped based on
the incoming code).
Foley Recording
Foley recording is one of the more specialized
forms of recording in film production with
unique monitoring requirements. Between
punches and takes, inputs must be muted while
Foley artists move themselves and equipment as
they progress through a scene.
TrackInput monitoring can be configured to
support Foley style TrackPunch recording using
the Mute Record-Armed Tracks While Stopped pref-
erence.
To configure Pro Tools for Foley-style punch record
monitoring:
1
Choose Setup > Preferences and click the
Operation tab.
2
Enable Mute Record-Armed Tracks While
Stopped.
3
Configure synchronization and other settings
for Pro Tools and your other devices.
4
Enable TrackPunch or DestructivePunch
mode and proceed with punch recording.
When recording online and Mute Record-Armed
Tracks While Stopped is enabled, record-enabled
tracks mute when the Transport is stopped. In-
put can still be monitored at any time by using
the TrackInput switch.
Because Pro Tools has a 13-hour Timeline
limit, you must use multiple sessions to
load dailies if the span is more than
13 hours.
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Pro Tools Reference Guide
506
Tracking and Overdubbing Music
Modern multitrack recording requires the
flexibility to “capture the moment” by allowing
on-the-fly record enabling and punch record-
ing, as provided by TrackPunch. Features of
TrackPunch for all tracking, overdubbing, and
punching situations include the following:
• Record enable tracks on-the-fly.
• Punch tracks in and out using on-screen
Record Enable buttons, remotely from a
synchronizer, from a control surface, or
using a foot switch.
• Compare and match levels using
TrackInput switching.
Documents you may be interested
Documents you may be interested
