4
Jake,
In addition to Steve's idea, try slating each track vocally. Grab any small recording device (pocket recorder, iphone, laptop mic) and record yourself reading the names of each of the tracks. Import the recording into the pro tools session and splice each recorded track name into its own region. At the end of the session (after the video file ends) ...
4
Quick answer: I don't know if it is possible. Also, Pro Tools > Nuendo and Nuendo > ProTools transfers aren't always the smoothest. If you have that working, you're over half-way there.
Quick solution: Email. (ie. A1-A16 = SFX, A17 = LFE, A18-A22 = Foley, etc.) Never underestimate the usefulness of good 'ol communication in the face of technological "...
4
It is a constraint of the OMF format and/or the video editor it came from. One of the first things I do is move them onto stereo tracks in Pro Tools. In fact I have a set of template sessions, so I will open the most appropriate template session, then import the OMF into my template onto new tracks rather than open the OMF directly in Pro Tools. Then move up ...
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 ...
3
OMF comes in two flavours, Embedded and External Referenced; Embedded OMF creates copies of all the media files and keeps it contained within the file, Referenced (what you've been given) contains only metadata.
You could just ask for the media files and then relink all the data.
Embedded OMF has a limitation that no file within it can be over 2GB, ...
3
sounds like you need to ask for the omf to have "embeded audio." it still wants to link to the original audio currently. the omf settings should included "embeded audio" and "linked video". OMF 2.0
also, ask for long handles on the audio. when making the omf, they have options regarding embedding media and creating handles.
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.
1
What I do is go to import session data, select copy audio from source media. Then, select source tracks i want to import to my working session. PT automatically select all tracks for you so, be careful to de-select unwanted tracks before hit OK.
One more thing. Make sure you check HIDE tracks before save copy in and DON"T forget to remove unused regions ...
1
I don't think it really matters what you do first... I have done it both ways and it worked fine.
1
Yes, you can get "ghost" audio entries in EDL's. It can happen when graphics screens (i.e. titles, lower thirds, etc.) are created within the editing software, when slugs or full screen colors are dropped on the timeline, or if there's B-roll/L-cuts happening. And all of that can depend on...
The fact that there are also multiple formats of EDL's, which all ...
1
Are both you and the editor running the same OS? I've had issues relinking .wav OMFs created on a PC into a Mac PT rig. Converting them to .aif in the OMF export process solved the relinking problem.
Also, I've had unsolvable issues for exports over 20 minutes- any way to break the OMFs into reels?
Are the regions showing up where they should or is ...
1
As Brendan & Brad have outlined you need at embedded OMF.
I have free help guides on my site which outline how to create Pro Tools friendly OMFs from both Avid and FCP.
Go to http://www.osd-uk.com/free-help-guides/ and choose the guide you want.
Mike
Only top voted, non community-wiki answers of a minimum length are eligible
