Discover the latest industry news and audio post production.
There are a variety of benefits to being Pro Tools certified, even at the most basic level.
May 13, 2024
For years now, there’s been an almost constant discussion around one question; ‘Is Avid Certification worth it?’. Whilst Pro Tools courses aren't designed to make you a better audio engineer, and are by no means essential to forging a career in creative audio environments, there are a variety of benefits to being certified, even at the most basic level.
Avid offer a number of courses that provide an industry recognized credential for both academic users, and industry professionals, allowing Pro Tools users to become an Avid Certified Specialist, Professional or Expert. The first 3 courses (PT101, 110 and 201) cover everything from the software's technical fundamentals, to efficiently running Pro Tools HD systems in large, professional environments. With additional courses also available that focus on advanced features for working in music (201/301M), audio-post production (201/301P), and Dolby Atmos (201/205D), respectively.
It goes without saying that creative knowledge, techniques and workflows are important in the industry. However, knowing how things work under the hood, and how to troubleshoot efficiently is also of great value. And whilst there is a plethora of educational content available online, what better way is there to learn the technical ins and outs of the software than from the creators themselves, and in a much more timely manor? And for those moments your brain goes blank, having access to all this information permanently via the course books needed to undertake the exams also makes it efficient to find whatever you need, whenever you need it.
Most creative industries are notoriously competitive, especially when it comes to acquiring entry level roles. Being able to include Avid Certified Specialist (The first level of certification gained after completing PT101 & PT110) on your resume to bolster other academic qualifications will help you stand out amongst other candidates when applying for studio facilities, and help you portray a knowledgeable and professional image to clients for freelancers.
On a personal level (especially for those who are self taught), passing each exam provides an extra layer of pride, and confidence in yourself and your technical abilities, no matter the experience level.
Ultimately, whether to pursue Avid Certification or not will vary depending on each individuals circumstances and career path of choice. For example, If you’re a sound designer at the early stages of a career in audio post-production (an industry largely dominated by Pro Tools usage), the benefits are certainly more attractive and valuable than to someone who has held a steady job in the music industry for 10 years.
If you want to become an Avid Certified | Pro Tools Specialist, follow the link to secure your place on our next cohort:
https://www.344audio.com/learn-pro-tools
In this article we dive into the process of constructing a concrete pit for our freshly renovated Foley facilities.
January 16, 2024
Today on the 344 Audio blog, we’re continuing on from a previous 2 part post about building your own Foley pits. In this article we’ll be diving into the process of constructing a concrete pit for our freshly renovated Foley facilities.
Check out part 1 & 2 of our post:
https://www.344audio.com/post/article-how-to-build-a-d-i-y-foley-pit
Our previous room had some areas for improvement. It was critical for us to eliminate resonance from building materials, and maximize the limited space available by storing props in a variety of ways. We opted for cork board, and wall mounting items and shelves over free standing shelving units (filling any sizeable wall gaps with acoustic panels). These changes freed up more room for performance, more floor space for refreshed surfaces, plus the addition of our new concrete pit. On a basic level, it also helps to keep the room cleaner and free from mess.
Planning is a crucial part of this process. Some important things that informed our early decisions were previous building materials, the size of space available, what the team want/need to be easily accessible, and last but certainly not least, how much room the Foley artist needs to give their best performance.
During our research, we found an incredibly useful resource by Yuri Pridachin of Foley First (read the full article here), which features an in depth run down of his thought process whilst building a foley pit. This post influenced our decision to make the internal shape of the concrete a trapezium to avoid any unwanted resonance and standing waves that occur in a square shaped pit.
The polished & painted concrete floor that our Foley facilities previously had wasn’t fully flat and had potential to colour the sound of surfaces we built onto them. Having a section of rough concrete included in our plans meant that exposing the original floor below worked to our advantage by both removing the need to build a rough surface, and allowing us to flatten the construction area.
Using wood planks that were the desired height, we first built the external square frame, followed the by internal trapezoid. To ensure the frame didn't shift out of place during the concrete pouring and setting we added some additional small wooden pieces connecting the 2 parts of the frame. The final stage before pouring the concrete was to reinforce the frame with rebar to add an extra layer of support. We opted for a 4 x 4 foot surface area to give as much space as possible for performance without the artist or interior surface hitting the side of the pit. This also gave us the added benefit of allowing our other surfaces to be free and open, meaning there's almost no chance of hitting the side of the concrete pit when performing on those too. To give the structure a sturdy and strong border, we went with a nice thick frame.
The combination of building a concrete pit and changing our prop storage has allowed for not only more space, but also further acoustic treatment and efficiency. A good amount of space being available on such a sturdy surface has eliminated our past issues with resonance. Whilst having quick and easy access to a wide number of surfaces, props, and other important accessories speeds up our workflow, and most importantly allows our Foley team to remain focused on performing and capturing the highest quality content.
If you want to learn more about the artform of Foley and designing your own space, check out our Creative Foley Workshop with Pete Burgis. You can find more information about this course here.
The Pro Tools 2023.12 update with Dolby Atmos integration marks a significant milestone in the evolution of audio production for smaller studios.
December 13, 2023
In the ever-evolving landscape of audio production, staying at the forefront of technological advancements is crucial for professionals seeking to push creative boundaries. The latest Pro Tools 2023.12 update has raised the bar by introducing seamless Dolby Atmos integration, promising to revolutionize workflows and redefine the immersive audio experience. Let's delve into the key features and enhancements that make this update a game-changer for audio professionals.
The standout feature of the Pro Tools 2023.12 update is the deep integration of Dolby Atmos, the groundbreaking audio technology that enables a three-dimensional sound experience. Dolby Atmos goes beyond traditional channel-based audio, allowing sound to move freely around the listener in a three-dimensional space. This creates a more immersive and captivating audio environment that can be particularly powerful in the realms of music, film, and gaming.
One of the primary benefits of the Dolby Atmos integration is the streamlined workflow it offers to audio professionals. The Pro Tools 2023.12 update introduces a user-friendly interface that seamlessly incorporates Dolby Atmos mixing capabilities. This means that engineers and producers can now work within the familiar Pro Tools environment while harnessing the power of Dolby Atmos to create spatially dynamic audio content.
Dolby Atmos relies on object-based audio, a departure from traditional channel-based systems. In Pro Tools 2023.12, this translates to a more flexible and nuanced approach to audio production. Each sound element can be treated as an independent object, allowing for precise placement and movement within the three-dimensional space. This level of control empowers creators to sculpt audio landscapes with unprecedented accuracy and creativity.
The Pro Tools 2023.12 update with Dolby Atmos integration marks a significant milestone in the evolution of audio production for smaller studios. This powerful combination of industry-leading software and cutting-edge audio technology opens new avenues for creative expression in music, film, and beyond. As more professionals embrace the possibilities of three-dimensional audio, we can expect to witness a wave of groundbreaking content that captivates audiences and pushes the boundaries of what is possible. The Pro Tools 2023.12 update is not just an upgrade; it's a leap forward in the accessibility of immersive sound workflows.
An exploration of fascinating auditory illusions like the Brainstorm/Green Needle effect, Shepard’s Tone, and Binaural Beats, revealing how our brains can be tricked into hearing things that aren’t really there.
December 5, 2023
In the digital age, the internet continues to be a breeding ground for intriguing and often mind-boggling phenomena. A classic example that captivated online communities in 2019 is the "Brainstorm/Green Needle" auditory illusion. This peculiar occurrence involves a short video clip featuring a plastic toy emitting a sound. However, what makes this phenomenon truly baffling is that individuals claim to hear distinct phrases depending on which word they consciously focus on: "brainstorm" or "green needle”. The illusion offers a glimpse into the intricacies of how we perceive audio.
Check out the phenomenon here: https://www.youtube.com/watch?v=5pRY3wlKwm8
Central to this illusion is the concept of expectation. When we’re primed with a specific word or visual cue, our brains seem to interpret the sounds to match that expectation. The Brainstorm/Green Needle illusion highlights the influence of suggestion on how we perceive sound. The mere act of consciously directing one's attention towards a specific word or visual cue can alter the way we interpret audio.
The Shepard's Tone, named after cognitive scientist Roger Shepard, is a phenomenon that creates the illusion of an endlessly ascending pitch, despite the absence of any actual increase in frequency. Picture yourself adjusting the tension of a stringed instrument, gradually increasing the pitch with each turn. As the tension rises, you anticipate the string reaching its breaking point but despite the escalating tension, the pitch remains unchanged.
This illusion is achieved by layering multiple tones at different octaves, fading in and out in a carefully choreographed manner. As one layer fades out, another fades in at a higher octave, creating a seamless transition that gives the impression of continuous ascent. Hans Zimmer skilfully demonstrates the use of the Shepard's Tone throughout his work, being featured in movies such as Batman and Dunkirk.
While the Shepard tone primarily focuses on pitch perception, the Risset rhythm, on the other hand, applies this illusionary effect to the domain of rhythm.
The Risset rhythm is achieved by layering multiple rhythms, each playing at a faster tempo than the one preceding it. As one rhythm accelerates, another slower rhythm fades in, creating a seamless transition that gives the impression of a never-ending increase or decrease in tempo.
The Tritone Paradox is another intriguing auditory illusion that plays with our perception of pitch. It involves presenting listeners with pairs of tones, with one ascending and the other descending, yet some individuals perceive the direction of the pitch differently. For instance, one person might interpret the sequence as ascending, while another might perceive it as descending. This paradox sheds light on the intricate relationship between how we perceive audio and the cognitive mechanisms responsible for interpreting musical intervals. It sheds light on the subjectivity and complexity that underlie our experience of sound.
The Continuity Illusion challenges our conventional understanding of sound perception by demonstrating the brain's ability to bridge gaps in auditory input, creating an uninterrupted flow of sound. The Continuity Illusion is a phenomenon in which a continuous sound appears to persist even when briefly interrupted by a moment of silence. In other words, the brain "fills in" the gap in the audio, creating the illusion of uninterrupted sound.
Understanding the Continuity Illusion requires delving into the intricate workings of the auditory system. When a sound signal reaches our ears, it undergoes a series of processes in the auditory cortex of the brain. The brain interprets the frequency, intensity, and duration of the sound, creating a perceptual representation. When a momentary interruption occurs, the brain employs predictive processing, a mechanism that uses prior knowledge and context to "fill in" the missing information. This predictive processing allows us to maintain a seamless stream of sound, even in the face of interruptions.
Binaural beats is a phenomenon that occurs when two slightly different frequencies are presented separately to each ear. The brain perceives a third frequency, which is the mathematical difference between the two presented frequencies. This perceived beat is not an actual sound, but rather an auditory illusion created by the brain's processing of the different frequencies.
For example, if one ear hears a tone at 300 Hz and the other ear hears a tone at 310 Hz, the brain perceives a third tone at 10 Hz. This is called a binaural beat. This beat is often described as a pulsing or throbbing sensation.
Binaural beats have been studied for their potential effects on cognitive processes, relaxation, and meditation. Some people use binaural beats as a tool for achieving altered states of consciousness or for enhancing focus and relaxation.
Examining the balance between artistic expression and audience comfort, this article explores the impact of new loudness standards on cinematic mixing and the future of film sound.
November 28, 2023
In recent years, renowned filmmakers like Christopher Nolan have come under fire from audiences and fellow directors alike. Sparking controversy through the auditory experience of their films in cinemas. Debates like this have seemingly prompted the European Broadcasting Union (EBU) to throw their hat in the ring, introducing new cinematic content loudness recommendations that aim to strike a balance between artistic expression and audience comfort, without completely removing creative and subjective decision making.
Chris Nolan, the director behind blockbusters like ‘Inception’ and ‘The Dark Knight Trilogy’, has found himself in the midst of a unique and long running debate. Since 2014’s ‘Interstellar', criticism has mounted over the clarity and audibility of dialogue, partially due to the levels of music sound effects in his theatrical mixes (Namely ‘Tenet', 'Oppenheimer' and 'Dunkirk'). Unfortunately, this has resulted in discomfort, and in extreme cases, pain amongst moviegoers. Disrupting the immersive experience we all love and leading to some audience members walking out of theatres. Nolan's justification for dialogue clarity issues falls down to an artistic choice, stemming from his refusal to re-capture lines through ADR. Stating “I like to use the performance that was given in the moment rather than the actor re-voice it later. Which is an artistic choice that some people disagree with, and that’s their right.” Enter EBU and their latest R128 s4 Loudness Normalization recommendations.
Like other content being mixed and delivered to EBU R128 specifications, there are multiple factors and measurements to take into account. Before the latest recommendations, the most important of these were; Programme Loudness (The integrated loudness over the duration of a programme) and True Peak Level (The maximum value of the audio signal waveform of a programme in the continuous time domain). However, in their ‘Cinematic Content’ recommendations you’ll now also find; Dialogue Loudness (The average loudness of the speech component of a programme) and Loudness to Dialogue Ratio (The difference between Programme and Dialogue Loudness). The goal with these new measurements is to ensure that no dynamic adaption will be needed between the theatrical and home/streaming release of a programme.
EBU recommend that Loudness to Dialogue Ratio should not exceed 5 LU (Loudness Units). They believe that, if the LDR is within 5 LU “no dynamic adaptation needs to be performed, thus keeping the quality of the original mix.”. Alongside these Dialogue specific measurements, a Programme Loudness target level of -23.0 LUFS, and a True Peak Level below -1dBTP is recommended. On the surface, it appears to be a rational solution, but why could this be a double-edged sword for re-recording mixers and filmmakers alike?
Cinematic storytelling thrives on dynamic range, leveraging highs and lows to convey emotion and build tension. Enforcing a rigid standard risks stifling the artistic choices that make cinema a powerful medium. The recommended LDR may not be universally applicable, different genres require distinct approaches to sound design. The intensity of a high-octane action sequence against a tender, dialogue-driven moment requires flexibility that a one-size-fits-all approach may not accommodate. Crafting a mix that preserves artistic intent whilst ensuring clear and intelligible dialogue is a delicate dance. One that the finest re-recording mixers have mastered to navigate the diverse landscape of cinematic storytelling. Historically this was carried out via calibration to Dolby 7 (85 dB SPL C-weighted) and the mixer would use subjective artistic judgment to craft a theatrical mix.
Filmmaking will always be a subjective and divisive art form. Keeping in mind that Nolan’s movies are the most notable examples of this debate in the mainstream, then taking into account how far technological advancements have taken digital audio, plus the role of re-recording mixers. We think the introduction of similar standards should be kept as a last resort option. It's imperative for filmmakers, audio engineers, and industry stakeholders to engage in a continuous dialogue that balances creativity with audience comfort to ensure that the cinema experience can be enjoyed by generations to come.
