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4

ASSUMING (and this could be a large assumption) that the Camera and Production audio have matching TimeCode and that the editor hasn't stripped it out in the AVID, you can use the Field Recorder functions of PT using match to Time Code only... You may end up with some clips that have the same timecode but it should shave hours off your workflow. Basically ...


3

The way i work usually is that i open the OMF in a new session based on the template in pro tools. I separate and clean the OMF like sending all you sfx to your template sfx tracks or taking two mono tracks of the same thing and putting them on a stereo track etc... Afterwards i delete all unused tracks and i do a "save copy in" and rename the project ...


2

There is no difference between both, it's just a way of working. I do both.


2

So you open a pre built template first and then import the omf. That's the way I would do it but I have seen a few on line tutorials open the omf first and then import the template. I was just wondering is there any advantage in doing it that way.


2

Wow.. that sucks ... Where is the assistant editor?! Are they sure they can't go through and matchframe their edit clip by clip to give you the full multitrack audio? Quite standard practice in situations where you havent decided on this audio-conforming workflow. I'm assuming you're having to go through this process because they have cut with the mix ...


1

I don't think it really matters what you do first... I have done it both ways and it worked fine.


1

This happens when Pro Tools still references the original .mxf files from the AAF. It messes up a couple of other things, too -- for example, Elastic Audio won't work with .mxf files. The easiest way around that is to Force Convert when you Import Session Data.


1

Re-write the file by consolidating the region. I've had the same issue and that fixed it for me. Is this from an OMF? When you loaded it did you link to or copy the audio regions?


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