Pro Tools 2019 - Everything You Need To Know About The New Features - Check Out The Definitive Guide from Pro Tools Expert
We continue to hear complaints that Avid is no longer releasing useful new features in the Pro Tools updates. In this article, we are going to cover all the new features, changes, rebranding and bundled products for Pro Tools 2019 through to the release of Pro Tools 2018.10 and leave you to make your own mind up as to whether Avid is delivering enough new features or the right new features…
If you want to jump to specific parts of this comprehensive article then here are some links to help navigate around the article.
2019.5 - Most Pro Tools Ultimate Users Get More Voices As Standard
2019-5 - Get A Free Voice Pack 30 Day Trial To Check Your System
2019.5 - Performance Improvements For HDX And HD Native Users
2019.5 - New Arrow Key MIDI Editing Key Commands Enhancement
2019.5 - Multiseat Licensing For Pro Tools And Pro Tools Ultimate Users
What Is Avid HEAT? How Do You Use It And Where In The Signal Path Is It?- Free Expert Tutorial
HEAT and Avid Complete Plugin Bundle included in Pro Tools Rental Subscription Plans
2019.10 - Video Engine Supports Higher Frame Rates and Raster Sizes
2019.10 - Dolby Audio Bridge Support For 130 Outputs - Pro Tools Ultimate Only
2019.10 - Multi-Stem Bounce in a Single File - Pro Tools Ultimate Only
2019.10 - AAF Import Option To Exclude Non-Timeline Related Clips
Netflix Update Guidance On Dolby Atmos Workflows As A Result Of The Pro Tools 2019.10 Release
Dolby Atmos Production Suite And Pro Tools 2019.10 Workflow Guide
Pro Tools 2019.5 - May 2019
It took Avid 5 months to release the first update of 2019 despite them previewing the new features at NAMM 2019 in January 2019. Since then we saw speculation as to when we would see the first release of Pro Tools in 2019. Would it be 2019.1? No, so would it be 2019.2? No, surely it’s going to be a 2019.3 release and then March came and went without a Pro Tools 2019 release. In April 2019, rather than us adding to the speculation as to what has happened, we asked Avid to explain the challenges they have been experiencing and François Quereuil, Avid’s Director of Audio Product Management gave Pro Tools Expert Editor, Mike Thornton, an exclusive interview.
You can read or listen to the interview in full, but if time is precious here is a summary of our interview…
The latest version of Pro Tools was due to be a 2019.1 release, but the challenges to get the non-stop playback or continuous playback feature working have delayed the release.
It was then due to be a 2019.3 release, but late in the testing phase, issues with the additional voices on HDX systems started to appear, with around 15% of systems tested having an issue with streaming errors. This is why they had to cancel the planned Pro Tools 2019 release.
The plan, for now, is to revert to 256 to 768 voices for HDX systems, which involves new firmware for the HDX cards and time to fully test the new firmware before they can release the first release of 2019, which Francois confirmed would be 2019.5.
However, they are honouring the announcement of more voices for Pro Tools Ultimate Standalone software and Pro Tools HD Native with Pro Tools Ultimate in the upcoming 2019.5 release. These users will also be able to buy or rent voice packs in blocks of 128 voices up to maximum of 768 voices, to match the maximum voice count for an HDX3 system.
They are continuing to work on getting the extra voices for HDX systems but they do not have a timescale for this yet.
We discussed the new Session app with Creator Credits and how this will be implemented into a future version of Pro Tools in 2020.
We learnt that multi-seat licensing, originally announced with the release of Pro Tools 2018.1 will not have to wait until the release of 2019.5 to be implemented. Multi-seat licensing should be available from April 8th 2019. This will be great news, especially for the educational establishment. More information to follow.
Francois explained how the new feature for Pro Tools First users, being able to store more than 3 projects locally on a user’s computer and choose which 3 are shared in the cloud and that Pro Tools First users won’t have to wait for Pro Tools 2019, that this is an entitlement that is already happening in user’s accounts now.
Then in early May 2019, we got wind that Pro Tools 2019.5 was on the way when Avid CEO Jeff Rosica let it slip that Pro Tools 2019.5 would be released sometime in the next week.
Pro Tools 2019.5 finally came on May 9th 2019 and brought more voices for most Pro Tools Ultimate users, support for macOS Mojave 10.14.4, more functions that don’t cause Pro Tools to stop during playback and double the number of MIDI tracks, all of which we have known about for a while, but what was news with the release of 2019.5 is that Multiseat Network licensing for large facilities and educational establishments was finally released and 2019.5 now supports the latest Apple computers like the Mac mini 2018 and MacBook Pro 2018.
2019.5 - Most Pro Tools Ultimate Users Get More Voices As Standard
Pro Tools Ultimate Standalone and Pro Tools HD Native users with Ultimate software got 384 simultaneous voices/audio tracks (up from 256) and the option to add voice-packs in blocks of 128 simultaneous voices/audio tracks up to a maximum of 768 voices matching the maximum number of voices for an HDX3 system.
Note that the 384 to 768 voices is when you are working at 44.1K or 48K sample rates. The voice counts will drop with higher sample rates.
Users with Pro Tools Ultimate standalone software and Pro Tools HD Native hardware with Pro Tools Ultimate 2019.5 software can purchase or rent voice-packs in blocks of 128 voices up to a maximum of 768 voices at 48K sample rate.
2019.5 - No Change For Pro Tools HDX Users For Now
Users with Pro Tools HDX hardware with Pro Tools Ultimate software can still install up to three HDX cards in your Pro Tools HDX system but still have 256 voices per card) up to a maximum of 768 voices/audio tracks with 3 HDX cards working at 48K sample rate. HDX users will not get access to 384 voices per HDX card for now. There is no information as to when, or if, this will change.
2019.5 - Notes On Additional Voices And Voice Packs
Pro Tools HDX will not support Pro Tools Ultimate Voice Packs. HDX users can only increase your voice count by adding HDX cards to get up to a maximum of 768 voices. Voice Packs are only for Ultimate Software only and HD Native users.
Pro Tools HD Native and Pro Tools Ultimate Software Only users can use voice packs to increase their voice count up to a maximum of 768 voices.
You will be able to rent (subscription) voice packs via the Avid Webstore and through your Pro Tools dealer.
You can buy Voice Packs via Avid Store and Avid Resellers. You will not be able to buy perpetual licensed voice packs via the Avid Webstore.
For example, each Voice Pack allows the following track counts at 48/96/192KHz sample rates…
128/64/32 more mono audio tracks
64/32/16 more stereo audio tracks
32/16/8 more quad audio tracks
21/10/5 more 5.1 audio tracks
16/8/4 more 7.1 audio tracks
Other track options and combinations are possible this list is simply to illustrate some simple examples.
The good news is that it won’t just be post-production mixers who will benefit from extra voices - sound editors and designers do as well. Even dialogue editors - many a time, the simple process of expanding the cutting room AAF out to original multi-track recordings could easily consume more tracks than voices. For maximum flexibility and fluidity, dialogue editors need to be able to audition any of the tracks from the “iso” recordings. Even importing ADR recordings made without playlists (especially acquired using systems that don’t use playlists) can push your track count up by hundreds.
2019-5 - Get A Free Voice Pack 30 Day Trial To Check Your System
If you have a Pro Tools HD Native system with Pro Tools 2019.5 Ultimate software or you are using Pro Tools 2019.5 Ultimate Standalone software and you find that 384 voices isn’t enough for you then Avid are offering a free 30-day Voice Pack Trial to enable you to test your system to see if it can work effectively with the additional voices before you commit to buying or renting Voice Packs.
2019.5 - Pro Tools Will No Longer Stop When Undertaking Tasks Like Creating Tracks, Adding Or Moving Plug-ins (For Pro Tools First, Pro Tools And Pro Tools Ultimate Users)
With Pro Tools 2019.5, you can now do so much more like making updates to tracks and timeline selections during playback without Pro Tools stopping. You can now continue to be creative without interruption and freely experiment with different effects, presets, loop points, and more as your music plays on, keeping you in your creative pocket. Tasks that no longer cause Pro Tools to stop playback include…
Timeline interactions during playback
Dynamic Transport on/off
Loop on/off
Link/Unlink edit and play
Select clip
Make timeline selection
Drag timeline selection
Drag timeline selection start/end point
Select half
Select double
Change loop from transport window
Change tempo
Change tempo from transport window
Draw tempo curve
Track interactions
Add/Remove track
Duplicate track
Make the track active/inactive
Drag track up/down
Set/remove track input
Set/remove track send
Drag track send between slots/tracks
Activate/Deactivate track send
Set/remove track output
Activate/Deactivate track output
Drag insert between slots/tracks
Change input monitoring on track
Alan really likes this feature - it allows him to make far more fluid comparisons between plug-ins all within the context of the mix.
Switching plug-ins is generally smoother with Avid’s own plug-ins, but that’s to be expected and Alan is sure this will improve in time. If you change to a plug-in which has increased latency that needs the delay compensation to be adjusted, there’s no escaping a momentary blip. What’s most important though is that Pro Tools does not come to a juddering halt.
2019.5 - Making Changes To Your I/O
This isn’t something that Alan tends to use an awful lot as a key part of an efficient post-production mix is in the preparation, but it is great to know that he is not going to have to stop my mix in order to make changes to his routing.
Included in this feature is also the ability to create new paths, say routing a bunch of channels to a new effects return (Aux Input), without having to hit Stop. Along with being able to add whole new reverb return setups, without interrupting playback, this feature is already saving Alan oodles of time and more importantly keeps his creative flow from being uninterrupted.
2019.5 - Name Tracks Faster (For Pro Tools First, Pro Tools And Pro Tools Ultimate Users)
With Pro Tools 2019.5 you will be able to name new tracks as you create them, there is now a new “Name” field in the New Track dialog. This makes it faster and easier to name multiple new tracks whilst you are creating the new tracks rather than have to name them after you have created them. But don’t worry, if you forget to give a new track a name in the New Track window, Pro Tools will still automatically create a default name for you, and the default name will respect the track type, making it easy to understand what type of track it is if you forget to name one.
2019.5 - Performance Improvements For HDX And HD Native Users
Native plug-in use has been optimised based on the number of available core processors
General threading improvements have been made at all buffer sizes
On HDX systems at lower HW Buffer Sizes, significant performance improvements have been made for tracks under any of the following conditions:
Record-enabled Instrument tracks with a virtual instrument plug-in inserted
Record-enabled audio tracks
Input-enabled audio tracks
Native plug-ins on Auxiliary Input tracks
Native plug-ins inserted after a DSP plug-in on Audio, Auxiliary Input, and Instrument tracks
2019.5 - Get Twice As Many MIDI Tracks (For Pro Tools And Pro Tools Ultimate Users)
Pro Tools 2019.5 supports 1,024 MIDI tracks (up from 512), for example, giving you the freedom to create huge richly orchestrated pieces. You can now have a larger palette of instruments and articulations at your disposal, making it ideal for film scoring and ardent sample library users, where MIDI tracks can quickly run up into the hundreds.
2019.5 - New Arrow Key MIDI Editing Key Commands Enhancement
The MIDI editing functions for the arrow key shortcuts are enabled only when users really need them.
Pro Tools 2018.1 introduced new MIDI editing shortcuts that utilised the arrow keys, which enabled faster editing of MIDI notes. Because these keyboard combinations are shared with various existing commands, the shortcut functionality would switch depending on the data types contained in the edit insertion or selection.
The MIDI editing functionalities are now enabled when the edit insertion or selection is only on tracks that are in Notes or Velocity views.
You can check the Pro Tools Shortcuts guide “MIDI Note Editing” section for a full list of the key combinations.
2019.5 - New Key Command for Edit>Snap to Next/Previous
A new key command has been added for the snap to next and previous edit actions. This allows you to quickly move a selected clip left or right on the timeline, butting it against the next or previous clip.
macOS: Ctrl+Opt+"," and "."
Win OS: Start+Alt+"," and "."
2019.5 - New Video Settings
Avid has changed how they store certain video related preferences to improve the user experience.
Video Window - Size, position, and open state are now stored in the user preferences file (Pro Tools Prefs) instead of the session. This means that whenever you make these changes to the video window, they are now specific to you as a user and will not change from session to session.
Video Sync Offset - This setting is now saved in your system preferences file (MiscSettings). This means that once the Video Sync Setting is set for an OS user account, it will also be shared and persist across all users of that machine. It should also be noted that the first time 2019.5 is launched, the setting will be inherited from that user account’s Pro Tools preferences.
2019.5 - Accessibility (VoiceOver)
Avid continues to work hard to enable visually impaired users to still be able to use Pro Tools. In Pro Tools 2019.5, Avid has added a wide range of general accessibility improvements for VoiceOver users, resulting in a better overall experience.
Changes in accessibility may affect 3rd party macro software and scripts.
If you are using 3rd party software for macros, please check on the manufacturer’s website for compatibility.
If you are utilizing any scripts, you may have to make some modifications.
There are more details on the changes for VoiceOver users in the Pro Tools 2019.5 bug fix list.
2019.5 - Support For macOS Mojave And Latest Mac Computers (For Pro Tools First, Pro Tools And Pro Tools Ultimate Users)
As we were able to include in our NAMM 2019 coverage, Avid has confirmed that Pro Tools 2019.5 now supports macOS Mojave 10.14.4.
This is great news for Pro Tools users who have had to upgrade to Mojave to maintain support for other applications on their Apple Pro Tools computer and users who have bought a recent Apple computer like the Mac mini 2018 or the MacBook Pro 2018, which come with macOS Mojave as standard, and Avid has announced that both these computers are qualified with Pro Tools 2019.5.
2019.5 Finally Brings Multiseat Licensing For Pro Tools And Pro Tools Ultimate Users
With the launch of Pro Tools 2018.1, back in January 2018 Avid announced Network Site Licensing would be coming soon. With this option, which is a long-overdue feature request from large organisations including post facilities and educational establishments, the plan was to be able to administer licenses for your enterprise, teams, or educational facility without needing to manage multiple iLoks or replace stolen ones.
It has taken some time to actually deliver network licensing, which Avid is now calling Multiseat Network Site Licensing and is aimed at all those who use Pro Tools in a large post, broadcast, or media education facility.
2019.5 - Non-Education Facilities Can Get Pro Tools Ultimate Multiseat Licenses
With this release, non-educational users will be able to purchase Pro Tools Ultimate Multiseat Licenses, with a minimum seat count of 5, which will include the Avid Complete Plugin Bundle, as well as HEAT, Pro Tools MachineControl, and Pro Tools DigiLink I/O License with all Pro Tools Ultimate seats.
Educational Establishments will now be able to buy Pro Tools and/or Pro Tools Ultimate Multiseat licenses also with a minimum seat count of 5.
You will need to contact Avid Sales or your local Avid dealer for pricing.
More About Network And Multiseat Licensing
This server-based PACE floating license not only makes administering licenses faster and easier, it reduces licensing complexity and eliminates the need for iLoks across your facility.
Pro Tools Multiseat Licensing uses iLok network licensing to provide a way of purchasing a single shareable license that can contain two or more "seats". This license is stored on a physical iLok connected to the license server computer, which can be placed in a secure room. Configured by the iLok License Manager application, the server then shares the seats of the multiseat license to client computers on the local network when an application is run.
The license server can be configured to share the licenses with anyone on the local network (public) or can be password protected.
There are already two brands that support iLok Network iLok Licensing. Sounds In Sync - Sounds In Sync Offer Support For iLok Network Licenses and Nugen Audio - Nugen Audio Launches 'Site' Floating License System For Upmixing & Loudness Tools.
Now that Avid has introduced Network Licensing, we look forward to seeing more 3rd party plug-in developers adding support for iLok Network Licensing.
To learn more about Pro Tools Multiseat Network Site Licensing, please contact Avid sales or inquire with your Avid dealer.
Avid Link Now Bundled With Pro Tools 2019.5
Avid Link, the replacement for the Application Manager is now included in the Pro Tools installers with effect from this Pro Tools 2019.5 release.
This update to Avid Link adds Cloud Project and Storage display on the Products tab, adds User avatars on the Profile tab, improves the Marketplace shopping experiences as well as the Messages and Projects areas. It also includes additional usability and performance improvements.
Pro Tools 2019.5 - See The New Features - Expert Tutorial
You can see the most prominent changes introduced in Pro Tools 2019.5 in action in this free tutorial video.
Pro Tools 2019.6 - June 2019
In June 2019, Avid chose to email all their users to advise everyone of the release of Pro Tools 2019.6, which resolved an issue where interruptions in internet connectivity could cause Pro Tools First, Pro Tools, and Pro Tools Ultimate to delete local (offline) Projects.
2019.6 also brings a couple of new features including making HEAT available to more Pro Tools users, and Avid have squashed a number of bugs with 2019.6.
Avid Email In Full
Important install update regarding Pro Tools products
This email is to inform you that Pro Tools 2019.6 (released today) resolves an issue we uncovered where interruptions in internet connectivity can cause Pro Tools | First, Pro Tools, and Pro Tools | Ultimate to delete local (offline) Projects. We escalated this issue with high priority, identified the cause, and have delivered a fix with this release. It is advised that you install this update if you are using cloud storage. For more information please refer to the Release Notes and visit your Avid Master Account to manage your Pro Tools license.
Thank you again for being an Avid customer, and we appreciate your continued support.
The Avid Pro Tools Team
2019.6 - New Features
Provides interface support for MTRX DigiLink I/O Card
The significant feature that has been added to Pro Tools Standard was that Avid’s HEAT software is now available for Pro Tools Standard users. Previous it was only available to Pro Tools Ultimate users.
What is HEAT?
HEAT has been designed to help you get the warmth and sonic character of analog “in the box” with HEAT (Harmonically Enhanced Algorithm Technology), developed in collaboration with renowned audio designer Dave Hill, HEAT is a Pro Tools and Pro Tools Ultimate software add-on that gives you the characteristics of prized analog gear without the expense or added bulk.
HEAT was only supported with your Pro Tools HDX, Pro Tools HD Native, or older Pro Tools HD systems but with the 2019.6 release, it is available to all Pro Tools Standard and Pro Tools Ultimate users.
Avid HEAT Is A Paid-For Feature
As has been mentioned in the comments Avid Heat is a paid-for piece of software like a plug-in. Also it is not included in the Avid Complete Plug-in Bundle.
What Is Avid HEAT? How Do You Use It And Where In The Signal Path Is It?- Free Expert Tutorial
In this free video tutorial, Julian Rodgers looks at HEAT, how to use it and whereabouts in the signal chain it adds that warmth and grit.
HEAT Now Available At $199 Or Bundled FREE With Pro Tools And Ultimate Subscriptions - August 2019
Following the announcement at Summer NAMM, in August 2019, Avid started to include HEAT in both Pro Tools and Ultimate subscription plans and reduced the price for a perpetual license of HEAT from $495 to $199.
In addition, Avid also started to include the Avid Complete Plug-in with Pro Tools Standard subscriptions.
Pro Tools 2019.6 - Subscriptions
On their pages for Pro Tools Standard subscriptions it now says…
“Get access to all new releases, the Avid Complete Plugin Bundle, HEAT, UVI Falcon, and support.”
On their pages for Pro Tools Ultimate subscriptions it now says…
“Get access to all new releases, the Avid Complete Plugin Bundle, HEAT, Pro Tools | MachineControl, and support.”
Note that Pro Tools Ultimate subscribers and those with a current Ultimate upgrade plan already get the Avid Complete Plugin Bundle.
Pro Tools 2019.10 - October 2019
Avid just managed to release Pro Tools 2019.10 in October, late on the last day of the month. It brought the features that were announced at AES earlier in the month including support for higher frames rates and up to 4K video resolution, Dolby Audio Bridge Support For 130 Outputs, Multi-Stem Bounce in a Single File and Steep Breakpoint Smoothing Time Preference as well as a number of smaller improvements, all of which made 2019.10 a post-production focused update.
2019.10 - Video Engine Supports Higher Frame Rates and Raster Sizes
With the release of Pro Tools 2019.10, the Avid Video Engine (AVE) expanded support for higher frame rates now up to 60 fps and higher video resolution up to 4k with the ‘I/O’ column on a video track now having separate settings for the frame rate and video resolution.
The settings for these will automatically follow the attributes of the imported file or AAF sequence. Avid has also updated the Avid Video Engine to provide improved playback performance with a wide variety of H.264 QuickTime files. For more details on this, Avid has posted a knowledge base article covering qualified video rates, rasters, and codecs for Pro Tools.
2019.10 - Dolby Audio Bridge Support For 130 Outputs - Pro Tools Ultimate Only
Pro Tools 2019.10 now supports 130 outputs via Core Audio when used in conjunction with the Dolby Atmos Production Suite and the Dolby Audio Bridge. 128 of these channels can be used for beds and objects, while the remaining 2 channels may be used for sending LTC.
This has been designed to streamline setup procedures and help facilitate the use of Dolby Atmos tools in a self-contained local environment. It also allows for accurate Automatic Delay Compensation (ADC), as well as easier session interchange between Pro Tools systems working with the Dolby Cinema RMU or Dolby Atmos Mastering Suite.
Check out Adam Daniel’s post on Twitter to get a sense of the game-changer the new Dolby Audio Bridge brings to Dolby Atmos content creation workflows.
Watch this video to learn how to set up your session for Dolby Atmos mixing with the Dolby Atmos Production Suite in Pro Tools Ultimate.
2019.10 - Multi-Stem Bounce in a Single File - Pro Tools Ultimate Only
When producing localised versions of their content Netflix specifies a 5.1 and Stereo (LoRo) deliverable in a single file. Historically this has been achieved by dragging 5.1 and stereo tracks onto a single 7.1 track before exporting.
With this new feature introduced in Pro Tools 2019.10, you will be able to export multiple stems into a single Wave file. You will be able to do this by selecting the file type as BWF (.WAV), Interleaved as the File Format, and then when using the Multiple Bounce Source stems option, a new Delivery Format selector will pop up.
In this video you will be able to learn how to bounce multiple mixes - for example, a 5.1 mix and a stereo mix - into a single WAV file and then how to import a multi-mix WAV file into Pro Tools Ultimate.
This new Delivery Format selector has two options:
File Per Bounce Source
This is the legacy option and will result in a single file for each Bounce Source.
Single File
This is the new functionality added in Pro Tools 2019.10.
The stems will be embedded in a single WAV file in the order they are listed in the bounce source section of the bounce window.
The resulting file will have each stem in WavEXT channel order, with an additional iXML stem/channel definition embedded in the file. When Pro Tools imports one of these files, it will stay as a single interleaved file, as long as the channel count is below 32, otherwise, it will be split into mono files. In all cases, the stems will be represented in the clip list as their own autonomous multi-channel clip, just as if they were each their own file.
2019.10 - Steep Breakpoint Smoothing Time Preference
The Steep Breakpoint Smoothing Time preference (which you will find in the Mixing tab in Pro Tools Preferences) is designed to enable you to set a minimum delay time in milliseconds to help avoid pops or clicks as a result of abrupt changes in volume or pan automation.
If there are any automation breakpoints with large value differences that are extremely close together, these preferences apply a slight delay between those breakpoints to smooth the audio ramp between them.
The default value of 0 applies no delay between breakpoints.
Every increment of 1 adds a minimum delay in milliseconds to reading any automation breakpoints that are closer together than the specified value.
Breakpoints that are already separated by at least the specified amount are not affected.
2019.10 - Scan Audio Files For Irregularities
With Pro Tools 2019.10, a new command called, ‘Scan Audio Files for Irregularities’ has been added to the contextual menus for Workspace selections that include audio files or folders.
The command is also available for the current Session and its Audio Files.
The scan will look for the following corrupt files and irregularities:
File header size that doesn't match file size.
Chunk chains that don't proceed linearly.
Chunk sizes/offsets that point outside file bounds.
Suspected invalid chunks - chunk IDs with non-alphanumeric or space characters.
After the scan is complete, any irregularities found will be reported. A more detailed report can be generated from the dialog.
2019.10 - AAF Import Option To Exclude Non-Timeline Related Clips
With Pro Tools 2019.10 there is now a new option added to the Import Session Data Window when importing an AAF, ‘Only Include Clips on Timeline’.
An AAF often contains clip information referencing all the channels related to a multi-channel clip/file even if not all channels are on the timeline. Under certain circumstances, this can be useful if you are on the same shared storage environment as the video editor and they have decided not to include the alternate channels in the edit. However, this can result in missing files if users don’t work in a shared storage environment. Apparently, this is because when an AAF is exported from Media Composer, the timeline contents are copied to a folder, but the AAF is still aware of the alternate channels.
The new feature, ‘Only Include Clips on Timeline’ checkbox will prevent the dreaded Missing Files message for those that don’t work directly on the same shared storage environment as the video editors.
2019.10 - SMPTE ID Support For Wave Files
Pro Tools 2019.10 will now generate and read the SMPTE ID in Wave files. This has been designed to try and make sure that when generating file IDs, they really are unique, as well as improving the interoperability with Media Composer, which has been able to generate SMPTE IDs from version 2018.2.
2019.10 - Cut All Automation Key Command
With Pro Tools 2019.10 Avid has added a new key command to cut all automation.
Opt+Shift+X (macOS)
Alt+Shift+X (Windows OS)
2019.10 - Customer Care Improvements
Pro Tools now saves video logs alongside audio (Digitrace) logs.
It is now possible to save logs and reset logging from the Pro Tools Preferences>Operations pane. This should only be done when directed by Customer Care.
2019.10 - MTRX DigiLink I/O Card
The number corresponding to the installed MTRX card slot is now displayed in Pro Tools (Hardware Setup and I/O Setup) for any attached DigiLink I/O Cards.
DigiLink Port 1 and Port 2 information now appear in Pro Tools for both DigiLink Main and DigiLink I/O Card connections.
‘MTRX 32x32’ and ‘DigiLink Card’ DigiLink modes are now both available for DigiLink I/O Cards in DADman.
Note: ‘MTRX 32x32’ mode should only be selected when using Pro Tools 2019.5 and earlier.
These improvements require DADman 5.3.4 b5 or later and MTRX Firmware 2.3.1.3 or later.
Netflix Update Guidance On Dolby Atmos Workflows As A Result Of The Pro Tools 2019.10 Release
Netflix has updated their guidance on Dolby Atmos workflows including publishing their own step-by-step guide on setting up and using the new Dolby Audio Bridge feature added by Avid in Pro Tools 2019.10. In addition, Netflix has stated that it is not necessary to have Dolby Atmos certification to work on Netflix titles.
Mastering Home Theater Atmos Natively
Scott Kramer (Manager, Sound Technology, Creative Technologies & Infrastructure at Netflix) has let us know that they have published an article with step-by-step instructions on how to set up and use the new Dolby Audio Bridge introduced in Pro Tools 2019.10 together with the Dolby Atmos Production Suite to be able to create Dolby Atmos content.
Netflix Recommend Using Dolby’s DARDT
For speaker selection and placement, Scott has told us that Netflix recommends working with the DARDT (Dolby Atmos Room Design Tool). Check out this video from Dolby for more info on how to use DARDT.
They also recommend working with Dolby on speaker calibration too.
Netflix Do Not Require Dolby Atmos Certification To Work On Netflix Titles
Scott also confirmed what is in the Netflix Originals Delivery Specifications Version OC-3-3 that “Dolby Certification is not required for Home Atmos mix rooms”
Here is the section in full on Near Field Atmos Mix - Mastering and Archive from the Netflix delivery specifications…
The Dolby Atmos Home Mix must meet the following requirements:
At a minimum, must be mixed in a 7.1.4 room
Dolby Certification is not required for Home Atmos mix rooms
This is a nearfield mix. The most common monitoring levels for nearfield are 79dB or 82dB
Must conform to Netflix loudness spec (-27db LKFS +/- 2 LU 1770-1 dialog-gated)
Peaks should not exceed -2dBFS true-peak. To achieve this, we recommend setting true-peak limiters on all beds and objects at -2.3 or lower. Loudness and peaks should be measured via a 5.1 rerender
For native Atmos mixes, the 5.1 and 2.0 rerenders must conform to Netflix loudness and Peak specification
All beds and objects are encoded and will always be audible. A printmaster may utilize a composite of all bed material OR multiple beds, but not both
For all series/doc/unscripted/comedy content, beds and objects must be separated by Dialog, Music and Effects. For film content, DME separation should be maintained whenever possible
If an 85dB reference theatrical mix is created, two complete sets of deliverables are required. One for theatrical, one for nearfield
Atmos files shall match final IMF picture length exactly as long-play and not separate reels. Leader and sync pop shall be removed
FFOA must be left at default - leave “Add FFOA” box unchecked. For pre-3.0 renderer software, leave red dashes in FFOA value
Final Home Theater Print Master or Localized Mix
Dolby Atmos BWAV ADM File
Single or multiple LCR, 5.0, 5.1, 7.1 or 7.1.2 bed(s)
Tracks 11-128 may be used for Objects or beds
48 kHz, 24-bit
Dolby Atmos Production Suite And Pro Tools 2019.10 Workflow Guide
Did you know that you will not be able to use AAX DSP Plugins with the new Dolby Audio Bridge Workflow via Core Audio when using the new in-the-box workflow with Pro Tools 2019.10 and the Dolby Atmos Production Suite?
This is one of the very useful things that is in a new Dolby Atmos Production Suite and Pro Tools 2019.10 Workflow Guide produced by Dolby. This is very useful especially as Netflix has announced that Dolby Certification is not required for Home Atmos mix rooms, which means all you need to work on Netflix titles is Pro Tools 2019.10 and the Dolby Atmos Production Suite or is it? We have all the details.
The New Workflow With Pro Tools 2019.10 And Dolby Atmos Production Suite
You may be aware that Avid announced Pro Tools 2019.10 users can now use 130 channels of Core Audio with the Dolby Audio Bridge and Dolby Renderer (up from the previous limitation of 32). This means that you can now send all 128 channels of a Dolby Atmos mix from Pro Tools to a Dolby Atmos Renderer using the Dolby Audio Bridge, which is important for two reasons…
This eliminates the complexity of needing send plug-ins on aux tracks for every audio feed to the renderer.
Automatic Delay Compensation is now being applied to all tracks feeding the renderer, as they are coming directly from track outputs, rather than being tapped off at the plug-in point.
Previously, although you could create content just using Pro Tools and the Dolby Atmos Production Suite because the objects were not going through the Pro Tools delay compensation they could be offset from the bed tracks by the latency from your processing inside Pro Tools.
The Pro Tools 2019.10 upgrade also makes session interchange between the Dolby Atmos Production Suite and the Dolby Atmos Mastering Suite systems much simpler as you just need to change the output routing, as opposed to the previous workflow requiring two completely different routing schemes – one for Send/Return plug-ins, and one for physical outputs.
Do I Still Need A Dolby Atmos Mastering Suite System And Dedicated Rendering Computer?
Dolby says that the simple answer is yes. They still recommend using a Dolby Atmos Mastering Suite System on a dedicated rendering workstation as the right tool for mission-critical Atmos mixing and delivery workflows. Dolby does acknowledge that while the announcement from Avid dramatically simplifies the workflow for people using the Dolby Atmos Production Suite, and removes the previous Audio Delay Compensation issues, they do stress that there are still a variety of key features that are only available in their Dolby Atmos Mastering Suite System...
Multi-system source/record workflows
Room EQ/b-chain calibration in the renderer
Downmix and trim controls
Connect a Renderer Remote (to control the renderer from another machine)
Can You Use The Dolby Audio Bridge With Pro Tools HDX Hardware?
With the introduction by Avid of Pro Tools 2019.10, the answer is yes but there some key caveats you need to be aware of…
As part of the Pro Tools 2019.10 update, in addition to supporting more channels, Avid has also made it possible to use the Dolby Audio Bridge with HDX hardware as your audio interface. However, it is not possible to use any HDX DSP Processing when using the Dolby Audio Bridge, you can only use it as an audio interface. This means that all your plugins must be in AAX Native mode, you cannot have any AAX DSP plugins running in your session.
Moving onto the more advanced features necessary for post-production workflows like clocking, syncing, video playback, satellite etc. Since you will be using the Dolby Audio Bridge as your Playback Engine in Pro Tools, this removes the ability to use an Avid SyncHD for synchronization and reference.
Consequently, Dolby still recommends running the Dolby Atmos Mastering Suite on a separate rendering workstation if you need to lock into a larger workflow.
Can You Use HD Native Or Non-HD Hardware With Pro Tools 2019.10 And The New Dolby Audio Bridge?
Absolutely. Providing you have the Pro Tools Ultimate Standalone Software, which will give you multi-channel support, and the Dolby Atmos Production Suite, you can handle Dolby Atmos workflows, you don’t need Pro Tools HDX cards and hardware. This means you can put together a cost-effective edit solution with just the Pro Tools Ultimate standalone software in conjunction with the software only Dolby Atmos Production Suite. If you want a slightly more equipped system maybe for handling deliverables then you can build a system around an HD Native Thunderbolt solution with a DigiLink equipped interface.
Does This Update Resolve Previous Limitations With The Dolby Audio Bridge And Dolby Atmos Production Suite?
While the new workflows introduced by Avid into Pro Tools 2019.10 makes things much simpler for most Dolby Atmos Production Suite users, there are still a few limitations, including…
It is a one-way audio path, Pro Tools > Renderer > Audio Interface.
No re-renders back into Pro Tools are possible (e.g. for loudness measurement).
Record Sync - There is no send/return sample sync, the workflow relies on an LTC track if you want to lock the renderer for recording.
Avid SyncHD support - There is no ability to lock to external sync, video reference etc. This workflow is designed for stand-alone in-the-box systems.
The general processing overhead requirements to run the Dolby Atmos Renderer alongside Pro Tools will cause a reduction in the number of tracks and the amount of processing that can be done in Pro Tools, especially as you can no longer use the HDX DSP to offload plugin processing from the computer’s CPU.
Can I Create A Master File Using The Dolby Atmos Production Suite?
As in previous versions of the Dolby Atmos Production Suite, it is possible to record a master file. If you are using the Dolby Audio Bridge you will need to be able to sync the recording using either an MTC or an LTC audio track in Pro Tools.
Is The Dolby Atmos Production Suite supported on Windows?
Even though the Dolby Atmos Production Suite’s big brother the Dolby Atmos Mastering Suite was for a long time only available on Windows, it is now possible to also get the Dolby Atmos Mastering Suite on a dedicated Mac rendering workstation, but the Dolby Atmos Production Suite is still only available on the Mac platform.
Pro Tools 2019 Feature Summary
There you have it, there were 3 major Pro Tools releases in 2019, with two of them presenting significant new features
Conclusion
There you have it, there have been some significant features introduced in 2019. It is a shame we had to wait until May to start seeing features we heard about in January, but as with any development work, whether it is software or hardware, you can come up against unforeseen challenges.
We have also included a corresponding table for Pro Tools 2018 to enable you o compare the two years.
What do you think? Have these features helped you in what you do or not? Do share your thoughts in the comments below.
What About Pro Tools 2018?
We have an excellent partner article covering Pro Tools 2018 that you can also check out to see what new features Avid add to Pro Tools in 2018. Below is a summary of the Pro Tools 2018 features…
If you want to get more detail then do read our Everything You Need To Know About Pro Tools 2018 - Learn About The New Features - Is It Time To Upgrade? article.
What New Features Would You Like In Pro Tools?
Watch out for an upcoming article in which we explore some suggestions for new features users are requesting to be added to Pro Tools…