Video summary

Audio Post 207 pt 2: Pro Tools Mixing - Foley and SFX

Main summary

Key takeaways

Technology

Tech/Product Concepts + Workflow (Pro Tools SFX/Foley Mixing)

Top-Down Mixing Priority

  • Start with the most important elements (typically dialogue), then move to:
    1. Music
    2. Main sound effects (e.g., weapons/hits)
    3. Lower-priority backgrounds and foley
  • Notes on exceptions:
    • Some projects/genres may invert this priority (e.g., ambience-heavy storytelling like Apocalypto).
    • Foley can sometimes carry story rather than serving only as detail.

LFE Usage in 5.1

  • Use LFE conservatively using a “tickling” approach rather than constant bass.
  • LFE is described as “extra oomph” rather than strict bass management.
    • Analogy: occasional LFE use is like hot sauce—powerful when used intentionally.

Reverb Workflow (Pro Tools)

  • Uses two reverbs.
  • Sends certain SFX layers to effects reverb 2 (5.0 reverb).
  • Preview mode + automation writing:
    • Adjust plugin parameters in Preview.
    • Write automation to the current selection using Option-Command-? (macOS).
  • Reverb tuning focuses on:
    • Center/rears levels
    • Spread
    • Rear shape
    • Pre-delay
  • Pre-delay preference:
    • Reduce pre-delay (e.g., from ~150 ms down to ~80 ms) so reverb “glues” to the gunshot rather than sounding detached.
  • Plugin choice:
    • Mentions PhoenixVerb as used for years, but suggests replacing it due to lifecycle/ownership changes (iZotope → Native Instruments).
    • Recommends Revibe:
      • Included with Pro Tools
      • Less “premium/buttery” sounding than some options, but still workable.
  • Automation bug/verification:
    • Notes a Revibe automation glitch (rear link control not writing correctly).
    • Confirms the issue is fixed and that center/rear levels are present.

Automation + Panning for Spatial Motion

  • Uses dynamic panning (front-to-back / front-to-rear) to create motion.
  • Especially helpful for multi-layer transitions (e.g., vehicles and weapon changes).
  • For 5.1, creates rotational motion by spreading a sound across channels (e.g., counter-clockwise motion in surround terms).

Track Management / Stems

  • Uses track groups such as:
    • A sound effects (punches/fight/body falls)
    • B sound effects (weapons)
    • Later categories like cars/vehicles:
      • VCA-style group examples: Charlie (truck), Dog (bike), E (extraneous SFX)
  • Mentions starting from fully muted states and then mixing down categories.

Handling Layers + Editing Consistency

  • When cuts are trimmed similarly, reuse decisions by:
    • Copying automation
    • Using selection-based preview automation writing (Option-Command-?)
    • Applying fill/repeat to selection and copying special automation
  • The approach benefits from editors maintaining consistent settings across similar clips, enabling fast reuse.

EQ Philosophy for Foley/SFX

  • Warning: HP/LP shelf filters must be used judiciously for Foley/SFX that weren’t recorded to match the scene—otherwise they can “stick out.”
  • “Dynamic low-pass” idea:
    • Low-pass starts higher and moves downward as the sound decays.
    • Works for dialogue as well.

Gain Staging: Clip Gain vs Faders

  • Strong preference:
    • Use clip gain during editing so plugins see healthy input levels.
  • During the mix:
    • Mostly uses faders (touch/trim/latch/automation).
    • Exception: quick “grab and boost” moves for a specific SFX using Control-Shift + mouse wheel style actions.
  • Dialogue target (rough guide):
    • Average clip gain around ~ -27 dBFS to reduce compressor makeup needs.

Touch / Latch / Trim Behavior

  • Uses Preview mode for plugin automation tweaks.
  • Typical automation behavior:
    • Touch/Trim when writing through clips
    • Latch for music dips (e.g., loud needle drops) when dialogue needs to sit lower.

Dynamic Correction During Playback

  • Emphasizes auditioning in context by muting/soloing selectively.
  • Example strategy:
    • Mute engine intake while keeping interior exhaust cues, rather than relying on soloed decisions.

Stereo Alignment Considerations (Engine Multi-Tracks)

  • Considers aligning stereo recordings clip-by-clip.
  • Tradeoff:
    • Phase alignment can reduce width but increase punch.
  • In the discussed case:
    • Alignment didn’t improve punch/width enough to be worth it.

Crossfade Timing Note

  • Two-frame crossfades are described as common/standard, but not always ideal:
    • Two frames can be too smooth if a sharper perceptual shift is desired.
    • More than ~four frames can feel overly soft.
    • Sometimes a hard cut (no crossfade) works better for specific effects.

Practical Stream/Demo Content

Weapons (Gunshots)

  • Builds weapons using multiple layers:
    • Body/“thump” layers
    • Distant layers
    • LFE routing
    • Reverb sends
    • Dynamic panning
    • Sub-hit suggestions
    • Decay low-pass automation

Vehicles

  • Sets levels and applies EQ (e.g., low-mid/bass emphasis).
  • Uses front-to-back/whoosh panning.
  • Adds/adjusts reverb selectively:
    • Often avoids reverb to prevent clutter
    • Prioritizes clarity
  • Uses automation copying to maintain consistency across similar POV shots:
    • “copy all automation” / fill-paste behavior

Streaming Tools / Preventing Feedback

  • Uses Mute-O-Matic to avoid feedback when monitoring with open microphones.
  • Mentions chat/audio verification via responses in chat to confirm things are working.

Reviews / Tutorials / Guides Extracted

  • Tutorial-style Pro Tools SFX/Foley mixing guide covering:
    • Layered mixing (most important → least important)
    • Safe 5.1 + LFE handling using “tickle LFE”
    • Pro Tools plugin automation with Preview mode and Option-Command-?
    • Recommendation: use Revibe (included in Pro Tools) instead of PhoenixVerb for availability
    • Gain staging:
      • clip gain during edit
      • faders during mix
      • dialogue target around ~ -27 dBFS average
    • Automation reuse:
      • copy/paste and selection-based writing to preserve EQ/pan/reverb decisions
    • Surround motion:
      • dynamic panning for rotation-style movement
    • EQ best practices for non-matching Foley/SFX:
      • use HP/LP conservatively
      • consider dynamic low-pass for decay

Main Speakers / Sources

  • Tom (primary speaker; streamer/host; audio post-production instructor and mixer)
  • Justin Chow (asks about clip gain vs volume automation)
  • Martin S. (asks about ambient fade/crossfade standards)
  • Josh (provides streaming feedback; participates in chat)
  • Tyrell Massie (Sisters, Oregon) (chat participant)
  • Anup (chat participant; mentions cameras)
  • Paul (chat participant)
  • Dane Smith (chat participant; chooses “linear first” vs continuing)
  • Tools/plugins referenced as sources of functionality (not speakers):
    • Revibe
    • PhoenixVerb
    • Sound Radix suggestion
    • Mute-O-Matic

Original video