Video summary

Audio Post Production 101: Mix Deliverables in Pro Tools

Main summary

Key takeaways

Technology

Deliverables in Pro Tools (what to hand off)

  • The deliverables are the actual files you hand to production after mixing: printed/bounced audio files (stems, mixes) with correct naming, formats, and versioning.
  • This makes QC and later changes manageable.
  • Earlier “mix tutorial” segments cover session setup/printing, but this video focuses on what happens after printing.

Print/export workflow: Real-time print vs offline bounce

1) “Old-school” real-time printing

  • For film/audio delivery, you may need to print the full program by following the spec sheet, including:
    • Interleaved vs non-interleaved file formats (per delivery requirements).
  • For 5.1 non-interleaved, an example channel order is:
    • L, R, C, LFE, LS, RS
    • The same applies to stems, including multi-mono-style deliverables.
  • Uses disk allocation to route record tracks to an output folder structure (e.g., separate subfolders for:
    • 5.1 mix, 5.1 M/E, plus stereo variants, etc.).
  • Benefit: you can watch the show and QC while you print (i.e., “real time” playback).

2) Offline bounce (faster-than-real-time)

  • Uses Pro Tools Bounce Mix (referenced with Option/Command + B).
  • Offline bounce should target the record tracks (not auxes).
  • Routing emphasis: set the bounce input correctly—after limiters / after processing—so it bounces from the input of the record tracks.
  • Bounce settings:
    • Can choose formats such as multiple mono
    • Example bit depth/sample rate mentioned: 24 / 48
  • After bounce completes:
    • Bring the bounced tracks into the session
    • Then drag them onto the relevant tracks for consolidation/organization.

Punch-in for QC fixes after delivery (destructive punch-in)

  • After delivering printed stems, you can still make changes via destructive punch in rather than re-exporting everything.
  • If QC finds an issue (e.g., a timecode tick / lip sync timing discrepancy), you can:
    • Right-click the record button → set to Destructive
    • Use Shift + Option + Record to select punch points
    • Ensure correct pre/post roll
      • Speaker guidance: ~1–2 seconds longer than the longest reverb
      • Example values used: 7s pre / 7s post
    • Confirm pre-roll status using track indicators (speaker description):
      • White = not pre-rolled
      • Orange = pre-rolled

Critical compatibility detail (interleaving must match)

  • Pro Tools punch-ins require the session track file format to match the bounced file’s interleaved/non-interleaved status.
  • If you punch with the wrong interleaving setting, Pro Tools may create a new file instead of editing seamlessly.

Avoiding audible artifacts (“ticks”) in punch-ins

  • Possible cause: certain plugins or low-frequency content can create small discontinuities (“ticks”).
  • Speaker suggestions:
    • Don’t punch during problematic rumble/low-end sections
    • If you see a visible transient/tick, place the punch end point right before the transient so it stays inaudible
    • Learn where safer quiet “valleys” are for punch points (ambience sections are suggested as safer)

After punching

  • Record through the edit, then play back / listen to confirm the punch did not introduce artifacts.

Naming conventions + version tracking (reduce QC chaos)

  • Deliverables should be named logically with:
    • Project name
    • Date
    • What the file is (e.g., 5.1 mix, stereo mix, M&E, etc.)
    • Channel layout (stereo, 5.1, 7.1, Dolby Atmos, mono, etc.)
  • The speaker emphasizes that naming must clearly indicate channel content
    • Avoid ambiguous files like “L/R only?” vs “LCR?” etc.
  • Dating files helps QC/version history:
    • If someone requests a change tied to a specific time/date, you can trace the correct version.

Cloud workflow idea: update small fixes without re-uploading 40GB

  • Print deliverables to Dropbox and use its sync.
  • Sync example included:
    • 5.1 DMNE, 5.1 mix, stereo M&E, and stereo variants
    • Including an interleaved stereo variant for screener use
  • For small QC fixes:
    • Use destructive punch-in directly in the Pro Tools files stored in Dropbox
    • Dropbox then updates only the changed portion/files, avoiding re-exporting the full film
  • Note: The speaker cautions this “works for me,” and they shouldn’t be blamed if it fails for others.

“Optional(s) track” deliverables (distributor-required extras)

  • Distributors may request optionals tracks, which are related to M&E (music + effects with dialogue removed), but may include some dialogue-derived elements needed for:
    • other languages
    • dubbing workflows
    • examples: breathing, screams, sung elements
  • Example workflow described:
    • Start from the dialogue aux routing
    • Extract needed dialogue elements (via routing from an “extract dialog aux”)
    • Build new optionals tracks
      • Speaker mentions sometimes using multiple mono optionals
      • They may copy relevant dialogue processing blocks (they mention not using a de-esser in their example)
    • Duplicate/disable dialogue stem recording as needed and rename (e.g., “dialogue optionals”)
  • Multiple optionals tracks can be required, but the speaker frames it as “grown man stuff” beyond beginner focus.

Requesting the Pro Tools session (security concern addressed)

  • Some companies may ask for the actual Pro Tools session file.
  • Speaker advice:
    • Use File → Save Copy In…
    • Copy all audio files to a drive
    • Charge extra if desired (speaker mentions this)
  • Emphasis:
    • There’s no “pixie dust” magic in the session
    • The “magic” is the speaker’s judgment and collaboration.

Main speaker/source

  • Tom (“hey guys it’s tom…”)

Original video