OMF export for protools mix questions

Hi, first post ...
Been using logic pro for about a year, so excuse me if this is redundant. I did a search and couldn't come up with all the answers I needed (this place via search has helped many times) I am exporting a project I did in Logic pro 7 to OMF for someone else to mix in P.T. Am I correct in assuming I first need to bounce all midi files to audio and reinsert them in the project via aif into audio tracks?
Also, when you export to OMF I understand that the panning is not transfered, but how are the individual track effects along with Bus and output buss effects treated? I think understand it that the automation is ignored, but will they recieve my tracks processed the same way as say they were bounced to mp3? I am thinking not.... and for the few tracks where the effects are intergal to the part, I need to bounce them and print the effects and then re-insert like I did with midi? Sorry if this confusing post, but I am a newbie to all this, any help greatly appreciated.
G4   Mac OS X (10.4.8)  

Forget the OMF deal...
Logic 7 has a feature called "Export All Tracks as Audio Files". Use it.
All MIDI will automatically be bounced as audio files.
All audio regions will be consolidated so that they all start from the same point.
Any plug-ins on your tracks will become part of the bounced audio, so make sure only plug-ins crucial to the sound are left on.
No automation will be written to the exported audio files. They will all bounce at unity gain.
No FX from busses or Auxes will be included. This is generally the preferred result, as a mix engineer will want a "clean slate" from which to work.
Make sure all your audio objects are named properly. On each track, hold down the option key, and double click. Type a relevant track name, such as Kick, snare, kazoo, etc... otherwise, the exported files will have names like "Audio 1, Audio 2", etc... and you'll find a voodoo doll of yourself with pins in it next to the mix engineers console.
By utilizing the "Export All Tracks as Audio" feature, you are creating audio files, that run from bar 1, beat 1, to the end of the song. The PT engineer will then import these into a new PT session. Tell him/her the beats per minute, so they can set it up on a grid (necessary for quick edits, tempo sync'd FX, etc..).
This is the preferred method of handing a song made in one DAW, off to another, to be mixed.

Similar Messages

  • OMF export for Pyramix and ProTools not working correctly

    I am exporting OMF files of very simple timelines (30 second promos) for an audio guy based in another part of the country to do audio post.
    He is using Pyramix 7.1.10 and ProTools 9.1, while I'm outputting from Premiere 6.0.1
    The problem is that when he imports the .OMF (which is exported 24bit, trimmed audio, encapsulated files), one leg of the music track is always missing
    This happens the same in both ProTools and Pyramix
    Has anyone else had this happen?  Am I missing something? Is there a workaround?
    All help appreciated
    Thanks
    jON

    I am a post audio mixer working in ProTools, and I have the same issue, just a little more complicated.
    The editors I work with handle a variety of projects, most of which use sound shot with EFP cameras.  The audio recorded on these cameras is "stereo" in the sense that there are indeed 2 tracks as a single interleaved file, however, the content is dual mono, with the 2 tracks either being 2 lav mics, or a lav and the camera mic.
    Is there any way in Premiere that this can be put onto 2 mono tracks, that are then exported as mono tracks, rather than being doubled up in the ProTools session?  Adaptive tracks don't seem to work in this situation.  The editors have tried a variety of things, none of which seem to make a difference.
    Also, regarding stereo music ... that too has been exported to me as a mono file, even though it was supposedly put onto a stereo track in Premiere.
    Thanks for any insights.

  • Export for ProTools import

    Can someone recomend a setting for exporting a sequence so I can import the file for scoring in ProTools? I've tried a few and I can't seem to get it.
    Thanks

    OK, we might be talking about TWO different things here. The first thing, an OMF, is the audio only. A file with the audio, in the proper order, with handles. You now talk about the SECOND thing...a Quicktime Reference movie. Something to sync to the audio you have so that you can see what you are mixing. I supply both to my audio mixers. The codec of these vary..one wants a DV/NTSC movie, another wants and MP4. SOmeone else likes Sorenson.
    So, what do you like? What can your system handle? Whatever it is, it needs to run at 29.97fps, or 23.98fps...depending on the original format. It can't be something like 15fps or 10fps.
    Shane

  • 10.1.3 export for dubbing mix

    HI there, I'm working my first project in FCP 10.1.3 with a dubbing mixer. Used to be able to export an OMF file and send to him - what do I do now?
    Any suggestions gratefully received.
    Thanks.

    GGoogle X2Pro.

  • OMF export for logic 7.2 error

    I'm getting this error ....1 : Can't import file because of : An OMF error has occurred: Error code: 116 Description: OMFI_ERR: Null Object not allowed......
    OMF worked fine before any clues

    I got it soughted. What I did was cut the audio fades, and it worked but there is a function which enables fades to be exported in the omf file so not sure why it did't, anyway got it done.

  • Syncing Audio with Merge Clips option and OMF export question/issue

    Hi,
    In the past when I've edited video, when it came to syncing audio I always did it manually.  This time, using Premiere Pro CC, I used the merge clips option, to speed up the syncing audio process, which was a huge time saver with excellent results.
    The question/issue I have..is that when I get my OMF exported for my sound editor, will this screw anything up, since on the project file, it doesn't use the original audio file, but the one that was merged.  And in the project list, I don't even need to have the original audio file listed, since it's already been merged into a clip, which I used in the project.  I know it's the same file used, but will it mess anything up since a merged clip audio was used instead of just dragging the original track onto the timeline? 
    - Ken

    A good way to know for sure (and therefore feel comfortable that you're doing the right thing) is to do a test OMF export, then open this in Audition. This ill show you exactly what you're exporting.

  • Exporting Scoring Markers for ProTools

    Dear Colleagues
    Has anyone here any experience of exporting a Final Cut Pro sequence for ProTools using Scoring Markers? I know these markers translate to Soundtrack Pro, but do they translate to ProTools?
    I might be better off using Chapter Markers in the guide QuickTime I give to the composer.
    I will be using Automatic Duck Pro Export 4.04 to create the OMF for ProTools.
    many thanks
    Aldo

    Sometimes if I'm going outside of Apple Apps - like Logic, which would accept the markers, I just put in a short tone, like a blip every place I would set a marker so the composer can hear where the scoring changes go. When the score is complete, I just import it to the FCP sequence and check for possible timing tweeks, and repeat.

  • Exporting files for Surround mix... fairly urgent!

    hi there... I'm having an advert piece i've written mixed in surround sound which is a first for me. it was all recorded and mixed my end in stereo so I need to know how best to export them for the mix engineer. I am yet to hear from them so I was wandering if anyone could answer the following:
    - Should I send split or interleaved files (assuming 48khz 24 bit .aifs are suitable)?
    - Where there is corrective or creative compression or EQ, should I keep in bounced versions?
    - Where tracks are panned, should I bounce this information or leave centered?
    - Where a track is bussed to a reverb for example, should I send the bus as a separate track, or send the original file wet?
    - Where more than one SFX appears on a track, should I separate them onto separate tracks?
    - I'm assuming I should retain creative volume rides in the bounced information (eg. long fades).
    And is there anything I'm overlooking? I'd be VERY grateful for any input (this has to be sent by tomorrow afternoon!).
    Thanks

    Q: Should I send split or interleaved files (assuming 48khz 24 bit .aifs are suitable)?
    A: Interleaved! see down here.
    Q: Where there is corrective or creative compression or EQ, should I keep in bounced versions?
    A: depends on the media you are going to ship your production.
    Q: Where tracks are panned, should I bounce this information or leave centered?
    A: Be shure your tracks are surround at the first place. then the pans could have been converted. better check in the Automation screen if it does.
    Q: Where a track is bussed to a reverb for example, should I send the bus as a separate track, or send the original file wet?
    A: By my knowledge is this your choice. In the bounce all tracks are mixed to the 5+1 (or the 7+1) channels.
    Q: Where more than one SFX appears on a track, should I separate them onto separate tracks?
    A: Deepends on the effects you have in mind. I see no reason do split it up.
    Other thing: if you are going to bounce be shure it is a PCM 48000 (required for replay on standard dvd player) Interleaved (all channels in one file) put the button Surround on.
    checking your work on a standard video-dvd-player is only possible if you put the audio files in to a video stream with a black image as video. there is no other option unless you have a DVD-A player in your collection. such a player is hard to find these days.
    hope this helps a little,
    R

  • Question about file size when using "Export for Web"

    Hi!
    I created a .mov file and worked to get a great balance between file size and quality so that I could deliver it via the web and make it easier for end users to see the video on a slower connection.
    My question: When I use "Export for Web," my .mov file is converted into a very large .m4v file--more than double the size of the original file. I know that this export option is to optimize the file for a wide variety of users/internet speeds. Am I correct in guessing that the end size is not an issue? I would post the .mov file instead, but I really like the option of embedding into a html page along with the "click to play" option.
    Bottom line--is it better to post the smaller .mov file that i originally started with or to go ahead and link to the bigger .m4v file that was created with the "Export for Web" option?

    "Export for Web" is a feature of QuickTime Pro and it makes 4 files and the html page code for easy copy/paste Web page editing.
    The very first file is called a "reference movie" and it links to the other 3 files (56kbps, 900kbps and 1.5Mbps). It, and the page code, "read" the connection speed of the viewing hardware and "serve up" the correct file based on that connection speed.
    In nearly all cases the "Desktop" version would still be smaller in file size than the original source. The times the file would "increase" in file size would be when an already compressed was used as the source file. You can find out more about your source file by opening it in QuickTime Player and viewing the Movie Inspector window information.
    There are dozens of other html "tricks" that could be used if your source file is already compressed but you want a different display size:
    Page code to show "aspect" or scale="tofit". This code allows values "outside" of those found in the actual QuickTime file be used for the Web page display. A 320X240 QuickTime .mov file looks pretty good at double size (640X480) but the file size would still be that of the source file.
    "Poster Movie" is another html trick that loads the Web based file directly in the QuickTime Player application (bypassing Web page layout restrictions). These files are also known as "Presentation Movies".
    Another method is the QuickTime Media Link file (.qtl). These are simple text based files that are used as a "direct link". These use simple XML (Extensible Markup Language) and are easily created in any text editing application. The simple syntax has amazing control over a simple QuickTime .mov file. You can launch (and quit) the QuickTime Player, display at other dimensions and even embed "links" inside the display.
    Some of my files as examples:
    http://homepage.mac.com/kkirkster/Lemon_Trees/ a "Poster Movie" style.
    http://homepage.mac.com/kkirkster/.Public/RedneckTexasChristmas.qtl
    A QuickTime Media Link file. A tiny file should download to the viewing machine, launch QuickTime Player, present the movie and it even includes a "link" to my Web page.
    Edit: It appears you must now double click the .qtl download to launch QuickTime.

  • I can not export photos onto DVD. After I click export, close iPhoto, click Finder, At this point I can't find the file to burn. (copy to be used on Windows) Sorry for the lame question....new to mac

    I can not export photos onto DVD. After I click export, close iPhoto, click Finder, At this point I can't find the file to burn. (copy to be used on Windows) Sorry for the lame question....new to mac

    So it sounds like you are trying to burn a DVD with photos on it so the photos can be either transferred to or displayed on a Windows PC, is that correct?
    For the purposes of this I am going to assume you are using iPhoto '11.
    Gather the photos you want to burn to DVD in one album in iPhoto. This is not absolutely necessary but it sure makes things easier for me.
    Select that album, then go to the File menu and select Export...
    In the dialog that shows up, select the File Export tab. Select the setting you want to use for export. Click the Export button.
    Another dialog will show up. Set the location to Desktop and click the New Folder button. Name the folder something nice and descriptive and click the Create button.
    Click the OK button. Quit iPhoto as the rest of this work will be done in the Finder.
    You will now have a folder on your desktop with that nice descriptive name. Find it and select it. Go to the File menu and from it select Burn "Descriptive folder name" to Disc...
    Insert a blank DVD when prompted.
    Let the finder complete the work and eject the disc afterwards.
    That's it. Best of luck.

  • How Can I export Sound Files for Sound mixing?

    Can someone please explain me the process of exprting sound sound files for the Sound Mixer & Composer? How do I deliver it to them?

    Welcome to the forum.
    First, what version of PrE are you using, and then, on what OS version?
    In general (specifics can come, with the above info), one would Share/Publish+Share (or Export in older versions) the Timeline as an intermediate Audio-only file. That would be Imported, or Opened in the audio-editor program.
    In PrE 11, or 12, one would go to Publish+Share, and then Computer. There, they would scroll down the list, to Audio. Note: the scroll bars are not easy to see, but easy to miss. Look to the far right of the Panel. With Audio selected, choose PCM/WAV @ 48KHz 16-bit. That will get you the best file to edit further with your DAW. When that editing is complete, use PCM/WAV @ 48KHz 16-bit, then Import the resultant edited Audio file into the PrE Project, placing it on an empty Audio Track, say Audio 2, or 3. To maintain its position, I would place the CTI (Current Time Indicator) at exactly the point that you want that edited Audio file to be, perhaps at the start of the Timeline. Then, with Snap turned ON, the edited Audio file should snap to the CTI.
    When it is in place, you can Delete the other Audio (that which you exported for additional editing), or just go to the Audio Mixer, and check Mute for any Tracks, that contain that original material.
    Hope that helps, and if you can let us know a bit more, then someone can step you through any "gray areas," for your specific version.
    Good luck,
    Hunt

  • BWF management and AAF export to Protools

    Hi everyone,
    I'm currently editing a feature film and I wanted to report some issues about BWF management and AAF export to protools.
    I was aiming to fill the feature request form, but seems it is not available in my area at the moment (Taiwan). I also tried to fill the form using a VPN with a US IP address and I didn't have much chance, so Im going to post it here hoping some people from Adobe will see it.
    BWF-P or BWF-M
    There is no problem in importing BWF-P files, but it would be very convenient if we could see the track names on the timeline (like if the track is the Boom, which wireless microphone...). Our sound engineer is recording from 3 to 8 tracks and he includes the track names in the metadata of his files. I like working on the sound when I edit, so it would help a lot to have this information appearing on the timeline.
    BWF-M management seems very poor to me. It is not possible to import BWF-M as one poly clips. Or is it possible and I don't know why? For the moment, if I have 5 tracks for 1 sound (it means I have 5 files in the finder named xyz_01.wav, xyz_02.wav, ..., xyz_05.wav) and if I import these five files, it will import in my premiere project as 5 different clips, when it should be able to make them as 1 clip with 5 tracks.
    AAF Export
    The way Premiere Pro export oaf could be much more intelligent.
    I always prefer to export separate files from the as, not embbed. I prefer copy complete files instead of doing handles. In this way, Premiere Pro just copy the BWF file exactly like it was, but rename it. The advantage is that we keep the metadata in this export, which is important for our sound designer who works on Protools HD 11.
    Usually, I will have from 3 to 8 tracks for on clip. The sound engineer recorded BWF-P. Quite often, I will cut one clip on the timeline to remove some undesirable sound like "Action", "Now"... I found out that Premiere will copy from 5 times the same file if there is 5 tracks. And each time, Premiere is copying the full BWF-P file, it means we'll have 5 identical files with 5 identical tracks, but with different names. And if the same clip is cut into different prices on the timeline, it will copy each time once again the same file with different naming convention.
    For a one hour timeline, my sound export took 1 hour and needs 12GB of storage, because Premiere is just copying many times the same file.
    I found out that the way Premiere is exporting is more suitable to use BWF-M, because at least, it won't copy five times the same tracks. But as mentioned above, Premiere seems to be very inconvenient when you want to import BWF-M files.
    Finally, I'm using merged clips to edit. When Premiere export the aaf and copy all the complete sound files, the naming convention follows the merged clip naming. It would make much more sense to follow the original files naming instead. Like this, if the aaf link to the original name files, then the sound editor might be able to simply link to his original media, which would be very convenient for editor and for sound department.
    AAF Translation to Protools.
    As the aaf export lots of identical files, it becomes a mess in protools. You can see the file 001_05_T05 is repeated a lot of time!
    The also exports the video timeline. It doesn't export the video files, but it shows all the cut of the film and also provides the names of all the clips I edited.
    Thats is very convenient for the sound designer, because he can see where I cut and what is the original video clip.
    The problem is that in our test, all the name clip appeared to be wrong. The cuts are correct, but not the names.
    Another issue is concerning the metadata. As Premiere is exporting 5 times the same files containing 5 tracks, Protools only shows the 1st track name instead of showing the correct one. For example, if track names were MKH60, 718m, 718s, HF_Actor1, HF_Actor2, Protools will show MKH60 on every tracks.
    I usually work very close to the sound department and I know they're going to loose lots of time to find out which track is which microphone, when it could be very simple, like when I export aaf from Avid.
    I much prefer editing on Premiere Pro, but also our sound designer can understand my decision to use Premiere Pro, he regrets the time I was using Avid.
    FEATURE REQUESTS (if not available yet):
    1) BWF-M better import management
    2) BWF Metadata management: import track names and add an option to show the track name directly on the timeline.
    3) AAF Export: Export files with the same name as the original BWF files. Possibility to really Link Media.
    4) AAF Export: Copy only time a BWF-P files that is used several time in the timeline and that contain several tracks.
    5) AAF Export: Fix the naming of the video clip that appeared to be wrong in Protools,
    CONCLUSION:
    Since Gone Girl, it appears that Adobe has the ambition to conquer the feature film market. I couldn't be more happy than that, and the improvements have been huge these past two years. I really enjoy working on sound in Premiere. The VST plugin implementation is great, much better than in Avid. The track audio mixer is great as well.
    But when we talk about exporting the project to sound department, it install not as good as it could.
    I hope Adobe can have a serious look on that.
    Matthieu Laclau
    IMDb
    50th Golden Horse Best Editing Award
    P.S.: Sorry for my approximate english, but I'm a French and I hope it is understandable english native readers.

    I've had several years of classical voice training, including singing in Italian, German, and French ... well, min Deutsch isn't too bad as I've had some years of  study and actually spent some time talking with Germans; my Italian is ... um ... well, I've been told an Italian can actually understand what I'm saying easily enough but would never mistake me for "real" ... (sigh) ... and my daughter, who took three years of French in high school started laughing one day whilst I was practicing with her listening to advise at the request of my voice teacher ( a near-native French speaker). "Daddy, I just figured out why your French is so weird ... you're not singing with an English (American, that is) accent, but a Norwegian accent!". Yes, I do speak some Norwegian ... way too little compared to what I could 20 years ago while visiting family & professional friends there.
    So ... post any further observations you've got on PrPro, questions too ... and as soon as the feature request line is working again, post away on there. "We'll" understand you just fine. Which is far more than I could say for a French person trying to understand my singing of it ...
    Neil

  • OMF Export issue in Premiere CS6

    Hello,
    I am trying to export a feature length OMF file for my sound mixer. I have the tracks I want on and selected. I then do File - Export - OMF. I do encapsulated audio, with 60 frame handles. I then start the export. I encodes through the files then it starts "generating metadata" and making its "First Pass Parsing Tracks", but it will immediatly jump to about 1/3 of the way through and just sit there. I have left it for about 3 hours and it still sits there. I have tried saving to various folders/hard drives and still no luck. I have seen people having problems with the omf working with other programs, but I haven't seen many people with this problem. Deadline is fast approaching and I desperately need to get this out to my sound mixer. Any help is GREATLY appreciated.
    Tony

    Hi Anthony,
    I'm using Premier Pro 6 from the creative cloud, and am also doing a feature length doc.  I'm having issues exporting an OMF and it originally came from FCP 7.  I'm wondering if you've had any other reflections on the issues mentioned above and if you can offer any more insight?  I'm pretty sure I don't have any filter applied anywhere as I had only exported it from FCP 7 when I was in the logging phase.
    Someone else mentioned using Audition.  Send the whole sequence to Audition and export an OMF from there. Have you tried to send your feature length doc sequence to Audition and has it been succesfull? 
    Any feedback would be greatly appreciated.
    Thanks
    Ryan

  • Problem with video export for Pro Tools

    I hired a re-recording mixer to mix my short film in 5.1.  I successfully exported an OMF, and then set to making a video per his requirements:  h264, 720pHD, High Quality.
    Initially I chose an h264 YouTube 720p 23.976 preset.  The re-recording mixer told me although it would open on his desktop in a quicktime player, he couldn't get it to load into Pro Tools.  So, I next created another video with the h264 HD 720p 23.976 preset.  And again, he couldn't get it to load.
    As the export is quite long, I decided to re-compress the file in Apple Compressor.  And here's the weird thing.  The exported HD 720p 23.976 video wouldn't even load in compressor (although it plays fine in Quicktime). 
    Finally I used an Apple TV preset and exported again.  720p, 23.976.  And this time, the video loaded both in Pro Tools and would open in Apple Compressor.
    What don't I understand?  Why the difference between h264 outputs?  What would the ideal "preset" be?

    I have always found that a simple .dv file is the most user friendly in a ProTools Suite.
    I use these in conjunction with OMF exports of audio and it works flawlessly.
    I am on a PC so not sure how that impacts in your  Mac workflow.

  • Avid Format Compressor Export for Pro Tools

    Pro Tools now has support for Avid Media Files - to play out their I/O Box - The Mojo. Unfortunately, they have to be in a proprietary format; near as I can tell, MXF, AAF, or OMF.
    I can DL the Avid Codecs, and Compressor can use these, but is there a way to export from Compressor in an OMF, MXF, or AAF Format?
    Thanks!

    I have always found that a simple .dv file is the most user friendly in a ProTools Suite.
    I use these in conjunction with OMF exports of audio and it works flawlessly.
    I am on a PC so not sure how that impacts in your  Mac workflow.

Maybe you are looking for