Chapter 21: Punch Recording Modes
423
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.
Tracking and Overdubbing Music
Modern multitrack recording requires the flexi-
bility to “capture the moment” by allowing on-
the-fly record enabling and punch recording, as
provided by TrackPunch. Features of Track-
Punch for all tracking, overdubbing, and punch-
ing 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 us-
ing a foot switch.
• Compare and match levels using TrackIn-
put switching.
Summary of Contents for Digidesign Pro Tools 8.0
Page 1: ...Reference Guide Pro Tools 8 0 ...
Page 18: ...Pro Tools Reference Guide xviii ...
Page 19: ...1 Part I Introduction ...
Page 20: ...2 ...
Page 24: ...Pro Tools Reference Guide 6 ...
Page 40: ...Pro Tools Reference Guide 22 ...
Page 45: ...27 Part II System Configuration ...
Page 46: ...28 ...
Page 58: ...Pro Tools Reference Guide 40 ...
Page 76: ...Pro Tools Reference Guide 58 ...
Page 118: ...Pro Tools Reference Guide 100 ...
Page 127: ...109 Part III Sessions Tracks ...
Page 128: ...110 ...
Page 144: ...Pro Tools Reference Guide 126 ...
Page 170: ...Pro Tools Reference Guide 152 ...
Page 228: ...Pro Tools Reference Guide 210 ...
Page 292: ...Pro Tools Reference Guide 274 ...
Page 343: ...325 Part IV Playback and Recording ...
Page 344: ...326 ...
Page 386: ...Pro Tools Reference Guide 368 ...
Page 442: ...Pro Tools Reference Guide 424 ...
Page 443: ...425 Part V Editing ...
Page 444: ...426 ...
Page 490: ...Pro Tools Reference Guide 472 ...
Page 528: ...Pro Tools Reference Guide 510 ...
Page 566: ...Pro Tools Reference Guide 548 ...
Page 590: ...Pro Tools Reference Guide 572 ...
Page 591: ...573 Part VI MIDI ...
Page 592: ...574 ...
Page 648: ...Pro Tools Reference Guide 630 ...
Page 670: ...Pro Tools Reference Guide 652 ...
Page 679: ...661 Part VII Arranging ...
Page 680: ...662 ...
Page 756: ...Pro Tools Reference Guide 738 ...
Page 769: ...751 Part VIII Processing ...
Page 770: ...752 ...
Page 780: ...Pro Tools Reference Guide 762 ...
Page 786: ...Pro Tools Reference Guide 768 Figure 3 Quantized audio events Warp markers in Warp view ...
Page 814: ...Pro Tools Reference Guide 796 ...
Page 842: ...Pro Tools Reference Guide 824 ...
Page 843: ...825 Part IX Mixing ...
Page 844: ...826 ...
Page 976: ...Pro Tools Reference Guide 958 ...
Page 991: ...973 Part X Surround ...
Page 992: ...974 ...
Page 1000: ...Pro Tools Reference Guide 982 ...
Page 1025: ...1007 Part XI Sync and Video ...
Page 1026: ...1008 ...
Page 1080: ...Pro Tools Reference Guide 1062 ...
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