I realize there is a lot of power in the Adobe suite but something as basic as an export to ProTools is part of the price of admission in a "Professional Broadcast" world IMHO. This combined with the lack of a viable backwards compatibility of AE projects which is tandem with tying the Mac OS to which version of CC suite can be run is a pretty horrible approach to my world. I can't be tied to the latest Mac OS when I will lose my San infrastructure etc...
I'm not trying to be narrow minded here but these are square one issues in the world Adobe is trying to be a player in. Am I missing something here?
---In Avid-L2@yahoogroups.com, <oliverpeters@...> wrote :
John,
I haven't gone PProCC to PT, but I have gone to Logic Pro X via AAF. This was all with double-system sound audio (4-ch. BWF). We tried OMF and XML and Logic wouldn't access the files with these. AAF worked with access, but I ran into issues with audio dissolves. I use a lot of them in dialogue editing.
Every place I'd done that, there was an equal length gap left on the track in Logic. However, the full media was there from both ends of the dissolve. The result was that the dialogue shifted further out of sync with each audio dissolve. The fix was to remove all audio dissolves from the Premiere timeline and re-export the AAF. This worked, but of course, all levels are stripped out.
Since I partially chalked this up to Logic, it's interesting to hear that you are having issues with Pro Tools, as well. FWIW - my timelines translated perfectly into Audition.
Since this was a simple project (on-cam dialogue & VO + music), I simply exported a dialogue-only master with my mix levels and transitions "baked in" for the mixer to polish up. We scrapped the AAF entirely because it was pointless in having the mixer rebuild all my audio transitions.
- Oliver
I've been told by our mixer he recently did a mix for a Premiere Pro project and getting an omf/aaf from Premiere was very problematic. Today we have a Premiere Project that is doing the same thing for him. We are trying to get a hold of the editor from his previous premiere project but I'm wondering if anyone here has run into this battle.The mixer said ultimately on his last Premiere Project they ended up sending him a ton of omf/aafs that had to be combined. It was something like an omf/aaf for every track. The mixer has talked with his colleagues who have had similar issues and they said again they were sent a a bunch of omf/aafs and eventually one worked for them.
What's up with this? I'm told they even tried going XML to final cut to get to protools but that didn't work either John Moore Barking Trout Productions Studio City, CA bigfish@...
__._,_.___
Posted by: bigfish@pacbell.net
| Reply via web post | • | Reply to sender | • | Reply to group | • | Start a New Topic | • | Messages in this topic (4) |
this is the Avid-L2
.
__,_._,___
No comments:
Post a Comment