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Old 21st May 2020
Lives for gear

If you are moving things between different studios/renderer types - you are going to be happiest matching your DAB session to best conform to what the large stage is expecting. If you are mixing this, ask the stage tech before hand what the layout/IO is going to be. If you are handing off, ask the mixer.

If you are mastering, please using the 'description' field in the Inputs page on the renderer - especially if you are making an ADM that goes to a third party. The descriptor field is how the tracks/clips get named when converting from an ADM to a Pro Tools session.


Originally Posted by LDStudios View Post
Hey everyone, hope you don't mind if I add to this thread with some more Atmos specific questions.

I'm still trying to wrap my head around the fiddly 'house keeping' stuff of Atmos. Do any of you have any tips for some best practises for Pro Tools and Dolby Atmos session and I/O management? I've experienced a range of... 'discrepancies'... that range from some missing I/O routings to DAPS which result in glitching or lack of transport, right through to catastrophically hilarious do_nots. One of which includes resetting an existing Atmos session's I/O to the default of the Atmos renderer, which in turn removed all object automation in the existing session. Whether it is standard, or something specific to 2020.3, I don't know.

How best do I not mess stuff up, particularly when moving sessions from DAPS to DAMS or a theatrical RMU for mastering? Do Atmos I/O settings stay with a DAPS master? Or should I also be exporting and filing away an input/binaural/rerender config file with the Pro Tools session, plus saving Pro Tools I/O mappings as a reference?