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Chapter 1. Whats New in Pro Tools and Pro Tools HD Software Version 12.8 . . . . . . . . . . . 1
New Features and Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements and Compatibility Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Conventions Used in Pro Tools Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
iv Contents
Chapter 1: Whats New in Pro Tools and
Pro Tools HD Software Version 12.8
Chapter 1: Whats New in Pro Tools and Pro Tools HD Software Version 12.8 1
Project Enhancements
System Requirements and
Updated session and project creation settings in
Compatibility Information
the Create tab in the Dashboard
Backup to Cloud option lets you pull projects Avid can only assure compatibility and provide
offline or put them online support for hardware and software it has tested and
approved.
Track Cloud Synchronization indicator in
Tracks List For late-breaking information and known issues,
refer to the Pro Tools 12.8 Read Me.pdf (Mac or
Miscellaneous Enhancements Windows).
Keep Window On Top option for the MIDI Event For complete system requirements and a list of
List, MIDI Editor, and Score Editor windows to qualified computers, operating systems, hard
determine whether or not each designated win- drives, and third-party devices, visit:
dow remains in the foreground when interacting www.avid.com/compatibility
with other windows
Keyboard shortcut for showing and hiding the
Universe display Conventions Used in
Pro Tools support for SMPTE ID for audio files Pro Tools Documentation
(AIFF and WAV only)
Pro Tools documentation uses the following con-
Local Waveform Cache Versions preference to ventions to indicate menu choices, keyboard com-
determine the number of most recent versions of mands, and mouse commands:
the waveform cache to be stored locally (if at all) :
for online projects that are not cached locally Convention Action
and sessions on network storage systems (such
File > Save Choose Save from the
as Avid NEXIS) File menu
Smart Tool Fade preference
Control+N Hold down the Control
Parallel Task Optimization preference for opti- key and press the N key
mizing parallel processing tasks
Control-click Hold down the Control
key and click the mouse
button
Chapter 1: Whats New in Pro Tools and Pro Tools HD Software Version 12.8 3
4 Whats New in Pro Tools
Chapter 2: Dolby Atmos
(Pro Tools | HD Only)
[DigiLink] [MADI]
Pro Tools | HDX system
Figure 1. Example Pro Tools and Dolby Atmos hardware components and connections
Dolby also provides software-only solutions for ren- 7.0.2 or 7.1.2 paths can also be used for internal bus-
dering and mastering a Dolby Atmos mix, such as the ses, monitoring, auditioning, and output metering.
Dolby Atmos Renderer application that is part of the
Dolby Atmos Production Suite. 7.0.2 and 7.1.2 formats work in Pro Tools just like
any other multichannel surround format, but with the
Contact Dolby for complete information addition of two overhead channels. Because of the
about Dolby Atmos product solutions. overhead channels, additional automatable panning
controls are provided (see 7.0.2, 7.1.2, and Object
Panner on page 17).
7.0.2 and 7.1.2 Surround When mixing for Dolby Atmos, assign the output of
Formats in Pro Tools mono or stereo source tracks to a 7.1.2 (or 7.0.2) au-
dio or Auxiliary Input track using a 7.1.2 (or 7.0.2)
Pro Tools lets you create 7.0.2 and 7.1.2 surround for-
bus to feed a bed mix. Use volume and pan automa-
mat input, output, insert, and bus paths in the I/O
tion on the source tracks to mix them into the final
Setup. Pro Tools can likewise create tracks with 7.0.2
7.1.2 (or 7.0.2) bed mix.
and 7.1.2 channel widths.
RMU Host
If working with different sample rates during sound 2 In the Format section, set Timecode Rate to the
creation or premixing, convert the session sample appropriate supported Timecode rate for mixing:
rate to 48 kHz before working with the Renderer. For home theater workflows, the Dolby Atmos
Renderer supports mixing and creating masters at
Only Use a Supported Session Timecode the following timecode rates: 23.976, 24, 25,
Rate 29.97, 29.97 drop frame, and 30 frames per second
(fps).
For home theater workflows, the Dolby Atmos Ren-
For cinema workflows, the Dolby Atmos Renderer
derer supports mixing and creating masters at the fol-
supports creating masters at 24 fps only.
lowing timecode rates: 23.976, 24, 25, 29.97, 29.97
drop frame, and 30 frames per second (fps). 3 If mixing with a 24 fps session, in the Timecode
Settings section, do the following:
For cinema workflows, the Dolby Atmos Renderer
supports creating masters at 24 fps only. If mixing Set Audio Rate Pull Up/Down to None.
with a 24 fps session, set Audio Rate Pull Up/Down Set Video Rate Pull Up/Down to None.
and Video Rate Pull Up/Down to None.
Selecting the object path to which the bus is mapped 2 Show Object view in the Edit or Mix window (see
Object View in the Edit and Mix Windows on
If you need to make a mapped Object available, locate page 15).
it in the Mapping to Object column and deselect the
3 From the Object Output Path selector in Object
checkbox for the currently mapped bus.That bus is no
view, select the desired available object output
longer mapped to that Object, making it available for
path (see Object Path Selector on page 15).
another bus.
Object output paths are only available if they match
Object Names and Properties the track channel width (mono or stereo) and are not
already assigned to another track.
Object descriptions defined on the Renderer are dis-
played in the Object selector in the Mapping to Ob-
ject column as the name of the Object. Additionally:
Only one mono bus can be mapped to one object
path at a time. A stereo bus requires that its two
mono sub-paths (left and right) each be mapped to
a pair of individual Objects.
Objects that are grayed out are already mapped to
other busses and are unavailable.
Selecting an object output path for a mono audio track
Object mappings persist in session files and in the
current I/O Settings file, similar to Pro Tools Out- Toggle the track to Object to bypass the track Output
put Mappings. entirely and send track audio directly to the Renderer
(see Bus/Object Toggle on page 16).
From the Edit Window View selector, enable (or Object controls
disable) Object.
Object Path Selector
The Object Path selector lets you assign the track to
any available object output path (defined in the Bus
page of the I/O Setup).
Bus/Object toggle can be automated (see Object/Bus Toggle Automation on page 21).
Master Object assigned, Set by default if no other tracks are already assigned to this
sending metadata object, use this mode to control an object on the renderer.
Record Object assigned, Use this mode in a re-recording workflow to record pan
record mode automation sent from a Master panner on the network.
Off/bypass Object assigned, no Use this mode to mix multiple tracks of audio to the same
metadata being sent object output path. In this workflow, one track set as Master
controls the panning, while one or more other tracks with
the same object output path assignment but set to
Off/bypass feed audio to the object output path but without
sending pan metadata.
Figure 2. Output window in standard (2D) view for a mono track assigned to a 7.1.2 bus (left) and an Object (right)
Theater Mode
The Pro Tools Panning Mode selector provides the Theater Mode option, which is only available with the 7.0.2,
7.1.2, and Object panners. When this mode is selected, the panner displays a 3D/Theater view.
Height Mode
Sets the Height mode for the track. Choices include
FreeForm mode (manual height adjustment), and
Wedge, Sphere, and Ceiling modes (automatic height
modes). Height mode can be automated.
Zones
The Zones selector sets the speaker Zone (Zone
Mask). Choices include All, F/S (front and side), F/R
(front and rear), FC/R (front, center and rear), Front,
and Rear. Speaker icons surrounding the panner grid
appear as appropriate for the current Zone.
Size indicator in standard 2D view
Speaker Snap
Zones selector You can toggle Dolby Atmos Speaker Snap on or
To select the Zone: off for tracks assigned to an Object.
Right-click, or click and hold on the Zones selector To enable (or disable) Speaker Snap:
and set the Zone.
Click the Speaker Snap icon to toggle on/off.
Zones can be automated.
Speaker Snap
Speaker Snap icon (shown disabled)
Across the top of the Output window are the Audio The Pan Dot control in Output windows, and in the
Output Path selector, the Object Output Path selec- graphic panner in I/O view on tracks in both the Edit
tor, and the Object Control button. and Mix windows changes color to show whether
track audio follows the selected output bus path
Object Control Mode button shown in the I/O view or the selected object output
path shown in the Object view as well whether the
Object Output Path selector
Track Automation mode is set to Read, any Write
mode, or is Off.
Pan Dot Color Indication
Pan Dot Automation
Object/Bus
Color Mode
Height mode and Height Enable
Bus Read
Available only on tracks assigned to an object output Green
path, these controls let you assign the track to a dif-
Object Read
ferent Object and configure its Object Control mode,
respectively. These controls are also available in Ob- Orange
ject view in the Edit and Mix windows. Any Any Write mode
Red
Object Output Path Selector
Any Off
Click the Object Output Path selector to assign the
Yellow
track to an Object (see Object Path Selector on
page 15). Object, but
Gray off/bypassed
Toggling Object/Bus Assignment
About Object Bypass
Command-click (Mac) or Control-click (Windows)
the Object Output Path selector or the pan dot to tog- Bypass can be used to establish a workflow where
gle the track audio output between the selected Ob- multiple source tracks are assigned to the same object
ject path or selected track output (output bus). Tog- but only one of them is sending pan metadata to con-
gling between object output and bus output trol the panning on the Renderer. For more informa-
assignments can be automated (see Bus/Object Tog- tion, see Dolby Atmos PEC/DIR Recorder Work-
gle on page 16). flow Example on page 24.
Object Control
Duplicating Object Track Pan 3 Choose Edit > Automation > Duplicate track pan
Automation and Dolby Atmos automation to Dolby Atmos Plug-in automation.
Panner Plug-in Automation All track pan automation is duplicated as Dolby At-
mos panner plug-in automation. Both copies of the
When exchanging sessions between Pro Tools 12.8
automation remain and remain the same until you
and lower versions of Pro Tools (such as Pro Tools
change the automation of one or the other. If you re-
12.7.1), you probably want to ensure that object
move the Dolby Atmos panner plug-in from the track,
tracks have duplicate automation for track panning
its automation is lost.
(Pro Tools 12.8) and Dolby Atmos panner plug-in au-
tomation.
Pro Tools can import a .wav (ADM BWF) file created Add Object Group Name to Track Name Lets
by the Dolby Atmos Conversion Tool into a session you add the object group name to the Beginning or
with all audio and metadata converted to pan automa- the End of the track name.
tion.
Comprehensive Control
Surface Integration
S6 3.6.1 provides comprehensive, integrated support
for Dolby Atmos mixing features and workflows with
Pro Tools 12.8.
Play icon
Stop icon
New Play and Stop icons in Workspaces
To show the SMPTE ID column in a To keep the MIDI Event List, MIDI Editor, or
Workspace browser: Score Editor window always in front of all
1 Open any Workspace browser. other windows:
2 Right-click any column in the browser and select From the MIDI Event List, MIDI Editor, or the
SMPTE ID. Score Editor window menu, select the Keep Win-
dow On Top option.
Low 1 Gb Connection