We Compare Video Features Of Pro Tools, Studio One, Logic Pro And REAPER
In Summary
While recent statistics show Pro Tools’ continuing spot as the number one DAW in use for those recording and mixing to picture, here we list some of the video features that define four DAWs: Pro Tools, Studio One, Logic Pro & REAPER.
Going Deeper
NLE, DAW, Or Both?
Video functionality in the DAW can be used in different ways, from composing and recording music to picture, to the audio post ADR and mixing known to most reading this. While it’s entirely feasible for a picture editor to work exclusively in an NLE (non-linear editor), handling both picture and sound, limited audio functions in the NLE mean that these two sides of the same coin are handled separately by dedicated people in all but the smallest of productions.
Audio post in the dedicated DAW can handle tasks such as production sound replacement and of course the audio mix to picture itself. While the tracks within a DAW audio post project can be distilled into groups of dialogue, music, and effects, the tracks within can number in the hundreds. Added to that, the need for video playback with thousands of automation moves frequently makes the demand on the DAW for audio post production greater than that on even the largest music project.
A subset of DAW video functionality can be the ability to import video for editing and export of a finished cut. This can be useful for micro productions with reduced picture editing needs that require an emphasis on audio mixing.
For those looking to begin their journey in post production, or for those who are considering a change of platform, below is our rundown of features to consider in Pro Tools, REAPER, Logic Pro, and Studio One. Starting with the most-used, we have listed them in order of user numbers for video according to our survey data.
Avid Pro Tools
Kicking off with the DAW that is well-known to most reading this, Pro Tools continues to enjoy the biggest slice of the Post Production market with 67% of respondents in our recent survey using it compared to the next nearest contenders. Pro Tools’ association with post production workflows can be measured in decades, cementing its position as DAW grandee for working to picture as well as for music production. Over this time its feature set for post professionals has sought to keep up with industry needs, with its ever-expanding counts of tracks, busses and groups being among them. Certainly, Avid’s large ecosystem of networked storage and modular control surfaces designed specifically for large facilities has more recently pushed ahead where other DAWs’ support for the very largest of mixes begins to tail off.
Video Features (Pro Tools Ultimate)
Track Count Up to 2,046 voices/audio tracks and 64 video tracks. 4K/UHD video, H.264 support.
Mixing And Control Deep automation of large mixes plus full integration with S6 and S4 control surfaces. Drop-In Joystick and PEC/Direct modules available.
Channel Formats Dolby Atmos and Ambisonics support
Compatibility And Sync Clip gain, track automation, markers, and track effects compatibility between Pro Tools and Avid’s Media Composer NLE. The two are syncable.
Pro Tools’ ability to play back video is well-established, but despite this professionals frequently report the use of third party solutions to aid actions such as transcoding for optimal playback, or for synchronising playback with a second system. In his in-depth article, Damien Kearns talks about his workflow using DaVinci resolve to transcode video for playback in Pro Tools. Futhermore, over the years issues with the Avid Video Engine (long conversation) has led to some choosing a third party video playback solution for ADR tasks such as Video Sync from Non-Lethal Applications.
Cockos REAPER
Some reading this might ask why REAPER is in this rundown at all, let alone near the top. Things change, and simply put an increasing number of those working with video are using the platform. This was confirmed in our recent survey when it came out as the second most used DAW for audio post.
This could be for a number of reasons, but factors such as its expansive, dynamic feature set and customisation, as well as rock solid performance and pain-free licencing certainly help its cause. On the practical side, advanced audio routing possibilities see things such as multichannel audio patching and routing to and from audio plugins, up-to 64 channel track widths, and Dolby Atmos support using the Dolby Atmos Renderer. It can even be used as a basic NLE with a convenient built-in DAW to sweeten the deal.
Video Features
Track Count Up to 512 remappable channels of audio input and output. No published upper video track limit. Project track count unlimited (subject to system). 4k playback support.
Mixing And Control Built-in control surface support for Baby HUI and MCU plus device specific profiles including Presonus FaderPort. Configurable MIDI assignment for most track/transport controls, all plug-in controls, and any other Action. Configurable 2-way OSC support. Open control surface API; user-developed extensions available for other control surfaces.
Channel Formats Dolby Atmos and Ambisonics support. 64 individually routable channels per track.
Compatibility And Sync SMPTE MTC, SMPTE LTC, MIDI Clock, or ASIO Positioning Protocol. Video decode using VLC, DirectShow, Quicktime, Windows Media Foundation (Windows 7 or later) and others.
Those cutting video in REAPER can use its user-programmable video processors. These cover various basic utilities and transitions with included presets for:
Track opacity
Item fades
De-interlacing
Auto-crossfade
2x2 matrix
Wipes
Stage lighting
Motion detection
Pixelate
Chroma-key
Vignette
Text titles
Video encoding support using:
AVFoundation (macOS 10.7+)
FFmpeg 1.2.x-4.0.x (minimal subset included)
Windows Media Foundation (Windows 7 or later)
Built-in GIF encoder
Comprehensive metadata read/write support
Below, Vijay Rathinam uses Vordio to convert an EDL file to a REAPER session with empty items marking all the cuts of the video. After copying this ’picture cut track’ into his session, he can easily see where scenes start and end, easily setting time selections, and greatly reducing the time required insert ambience layers.
Audio Post in REAPER - Picture Cut Track Tip
Apple Logic Pro
Whether employed for presenting pre production VI mock-ups for real orchestral scoring sessions, or for providing the final venue for immersive virtual instrument symphonies, Logic Pro continues to serve those working with video.
For a long time, it has provided a home to composers who prize its huge collection of high quality instruments and slick drag-and-drop led workflow. Frequently hosting those composing to picture, more recent versions of this Mac-only option have added Dolby Atmos support to earlier additions such as video window support built around QuickTime’s .mov video format. Alongside this, Logic Pro’s longstanding ability to display SMPTE extends to its ability to spot and nudge audio with SMPTE as the project timebase.
Video Features
Track Count 1000 stereo audio channels, 1000 virtual instrument channels, 1000 auxiliary channels. 1 Movie Track per project.
Mixing And Control 256 internal busses with 12 pre/post sends per channel. MCU Pro, MCU XT Pro, and EuCon support covering a large number of commercially available controllers. Logic Remote for iPhone or iPad.
Channel Formats Spatial Audio support with Dolby Atmos integration version 10.7 and up. 3D Object Panner in mixer.
Compatibility And Sync QuickTime import to DAW. Final Cut Pro XML and import/export, allowing FCP projects to be recreated in Logic Pro. Quicktime-embedded SMPTE converted to MTC (MIDI Time Code).
PreSonus Studio One
Although Studio One has its roots in music production, more recent developments have seen additions such as the Global Video Track in version 6 make life easier for those composing to picture. By extension, those mixing dialogue, music and effects to picture have this as well as the platform’s synchronization settings that support things such as MTC, MMC. While SMPTE sync requires an external synchronisation device, Studio One’s counters can display Frames from SMPTE code.
Other features to aid those spotting effects and other audio assets to picture have also been recently added. Using Follow Edit Position with Video allow markers to denote hitpoints in the video. When adjusting the position of a marker, it is possible to have the playback position at the current video frame follow the marker position by enabling Follow Edit Position in the toolbar next to Follow Song. This helps the accurate placement of markers to use as hitpoints while viewing the exact frame to which the marker corresponds. Similarly, Follow Edit Position helps when trying to sync Event or Note position with video. Link Audio Track Editing toggles the link between the Video and it’s associated Audio Sub-track, allowing them to be edited independently or together. Use Video Frame Rate in Timeline allows Songs to match the Frame Rate of the Video.
Video Features
Track Count Unlimited audio tracks, 1 video track. An unlimited number of video clips may be used in the video track.
Mixing And Control PreSonus range of 1, 8, and 16 strip FaderPort control surfaces. MCU control surface support for third party devices. Studio One Remote for Android and iOS for mixing, monitoring, and artist cue mix remote control.
Channel Formats Stereo, mono.
Compatibility And Sync AAF import and export. MTC/MMC master/slave synchronisation. Video encode/export in Quicktime, MPEG-4, or M4V.
Those cutting video in Studio One can use its new video editing features. These cover various basic and not-so-basic editing commands:
Trim
Cut/copy/paste
Slip
Nudge
Time locks and edit locks
Ripple Edit
Duplicate
Replace (Useful if a newer edit of the same video becomes available and the current timecode position of the clip needs to remain unchanged.)
Non-DAW Factors
Considerations can go beyond the video functions a DAW can offer. This can begin with understanding and optimising video files before they hit the DAW to ensure the best performance. For example, understanding the difference between smaller, system intensive video files that require complex de-compression, versus larger ones can preserve resources elsewhere.
Those synchronising to external gear or a second computer to spread the load have to familiarise themselves with the issue of synchronisation. MIDI Time Code (MTC) and MIDI Machine Code (MMC) can allow things like synchronised video playback between two systems. Dedicated solutions such as Video Sync 5 can offload video demands from the DAW or remove the video playback completely, by using the software on another computer.
How About You?
Despite DAWs’ continuing evolution and convergence in the music production world, Pro Tools’ prevalence as the post production DAW continues for large scale projects. Approaching the second quarter of this century, diminishing budgets and an expanding number of outlets continue to drive the development of DAW video capability to suit independent producers.
Which is your audio post production DAW of choice and why? Maybe you’ve made the leap or are considering a change of platform. Whatever your experience, let us know in the comments.
A Word About This Article
As the Experts team considered how we could better help the community we thought that some of you are time poor and don’t have the time to read a long article or a watch a long video. In 2023 we are going to be trying out articles that have the fast takeaway right at the start and then an opportunity to go deeper if you wish. Let us know if you like this idea in the comments.
Main photo: Avid