Broadcast WAV Metadata

Hey everyone,
I know that .WAV files by themselves can't store metadata/tagging information (ie artist, genre, year, etc) in them, such as mp3 or FLAC... But I read that Broadcast Wave Files have been modified to allow this.
I've bounced a stereo pcm file out of Nuendo using the Broadcast WAV option (Which still gives the .wav extension, not a .bwf) on a PC. When I bring it to my MAC, I can still see the metadata when I 'get info' on it, but the data is still lost when I bring it into iTunes.
Does iTunes just not support this type of file (all waves, broadcast waves?), or is there another way to get this to work?
PS, I know using WAV files is a little prehistoric now-a-days, but this is just one of many formats I'm trying to get to work this way.
Thanks for any help!

mrmr450 wrote:
I see, thanks for the response.
I know there is a plug-in that allows FLAC files to be played in iTunes, so I'm wondering if there is some kind of 3rd party app that could solve this WAV metadata issue?
I have never heard of such a plug-in, and kind of doubt there is one, but perhaps a search would turn something up.
By the way, iTunes does not "lose" the tag data, it just fails to display or do anything with it. The tag data is still there if you use that same WAV file in another program.
Or am I just running into a brick wall here?
Maybe.
The more typical way to use WAV files is to embed the relevant information into the filename, which is always available. In iTunes, for any file which it thinks has no tags, the exact filename is displayed in the Name field.

Similar Messages

Premiere Pro Metadata & iXML/BEXT for Broadcast WAV files

Hi.
For feature film workflows, we depend greatly on the iXML and BEXT chunk in broadcast wave files.
As far as I can see, the XMP metadata "engine" (don't know of a better word) doesn't "see" the iXML and BEXT chunk in broadcast wave files.
Is there a particular workflow/workaround where the iXML and BEXT metadata show up in the "Metadata" tab in Premiere Pro.
Thanks!

mrmr450 wrote:
I see, thanks for the response.
I know there is a plug-in that allows FLAC files to be played in iTunes, so I'm wondering if there is some kind of 3rd party app that could solve this WAV metadata issue?
I have never heard of such a plug-in, and kind of doubt there is one, but perhaps a search would turn something up.
By the way, iTunes does not "lose" the tag data, it just fails to display or do anything with it. The tag data is still there if you use that same WAV file in another program.
Or am I just running into a brick wall here?
Maybe.
The more typical way to use WAV files is to embed the relevant information into the filename, which is always available. In iTunes, for any file which it thinks has no tags, the exact filename is displayed in the Name field.

Broadcast Wav Format

Hi there,
A client of mine has asked me to supply some audio in .BWF format. The way I understand it, a broadcast wav is the same (ish!) as a 'normal' wav but with extra metadata, timestamping, etc.
I can't offhand think of an application that will allow me to convert my audio/audio exports from FCP to .BWF - or is there a plug-in for FCP/Soundtrack Pro/Pro Tools that I can download that will enable me to do this?
Thanks!

I've looked into FCP, Soundtrack, Logic and the rival Adobe products . . .
it does look like you need an external audio recorder with firewire interface to record out to rather than there being an export function in any of the above.
Although there do seem to be a lot of widgets and tools out there that can interpret audio OMF and XML in different ways.
I guess if you can't lay your hands on a .BWF recorder the best suggestion might be to lay the audio off to Digibeta.

XMP with Broadcast Wave iXML and BEXT chunks

Hi.
For feature film workflows, we depend greatly on the iXML and BEXT chunk in broadcast wave files.
As far as I can see, the XMP metadata "engine" (don't know of a better word) doesn't "see" the iXML and BEXT chunk in broadcast wave files.
Is XMP going to support and "pull" from iXML and BEXT chunks in the near future?

Hi,
the XMP SDK does support read/write of the BEXT chunk in WAVE files since CS6, i.e. the current version of the SDK supports this functionality.
For more details on the mapping to XMP, please see the XMP specification part III, section 2.3.2.2.
There have been requests about iXML in the past, but so far not strong enough that it made it to the top of the priority list
Regards
Jörg

Broadcast Wav files from PT to Logic not moving to original record position

Okay, my system needs upgrading but I'm stable (at least I think I am til now!) I have a TV network sending me broadcast wav files from PT. They shoot their video on a 24 hour clock. I'm to be editing and mixing (in Logic) their audio tracks from PT and send them back as broadcast wav files for them to sync back to their video. After years and years of recording and producing music, this TV world is a first for me. 2 issues at hand that are causing trouble.
NUMBER 1: The wav files will not snap to original record position. I keep getting an error message about "out of range" and of all craziness with a negative SMPTE number. ??? The prompt suggests an offset error. But there isn't I can find. Start time is set to 0:0:0.0.0 here and at the TV studio. They film at 29.97d. That matches as well. Sample Rate is correct at 48k 24bit. I've uncovered every thing I can think of. I did have to set the tempo down to 5 BPM in order to see a full 24 hours in SMPTE.
NUMBER 2: I can't figure out how to see the timestamp start time of the audio files in the audio window. I have every option turned on in the VIEW option, I can see length, but I see nothing about start time of original record time. Am I missing something simple here? Seems like a very standard option that should be easily accessible. It would allow me to prepare the location on the time line.
Overall, I'm hoping I can do all the above with my current rig but realize that the clock is ticking toward a whole new system with Logic 9.
Help please. Don't want to lose this client.

Sure do appreciate everyone's willingness to help. Setting SMPTE start to 24:00:00.0.0 didn't work either. I confirmed with the studio manager at the TV station also that they run a 24hour clock with 0 being midnight.
I'm really hoping that the error is on their end.
*It would help me if anyone knew how to VIEW the Timestamp info attached to the wav files. That would at least give me an approximate idea of where they should be.*
I'm supposed to be editing and mixing the voice dialog from numerous different scene takes that were shot throughout a day of filming. It's critical that I can see all these different takes that were captured over hours of open recording. Some of the files are almost 4 hours long. It's a big project and I'm sure hoping I can stay inside Logic to get it all done with excellence.

Does Adobe Audition 3 support Broadcast WAV files ?

Does Adobe Audition 3 support Broadcast WAV (BWAV) files ?

The ans is Audition (& Cool Edit before) has very impressive BWF capabilities.
But with some MASSIVE fundamental & fatal flaw problems
So good but sooooo missing some vital aspects,
Adobe are so close to having an app the Film/TV post community could use & love ( just like loads of people keep using "Photoshop" as the best 2D graphics app, no matter they maybe principally working in 3D; it is a crying shame the fact Adobe have bought this "gem" and don't it seems realize Audition is for sure the Photoshop for Audio. IMO nothing comes close, Audition is the ultimate Audio editor (and in no way bad, well pretty good, as a multi-track).
see some of my & others comments
http://forums.adobe.com/message/1193420#1193420
John L

Does Premiere support .BWF audio files (Broadcast WAV)?

I'm considering the purchase of a Fostex FR-2LE portable digital audio recorder. It records in only two formats, Broadcast WAV (.BWF and MP3). Can I import these BWF files directly to the Premiere CS3 timeline for editing? I can find no mention of BWF format in the Premiere or Audition manuals, but the literature for Audition CS3 states support. My version of Audition is 1.5.
TexKeith

"Since the only difference between a BWF and a "normal" WAV is the extended information in the file header (Bext-Chunk, Coding-History, etc...), a BWF does not require a special player for playback."

How do I get time stamped Wav files created in L7 to lock to time code?

Hello everyone,
I did a search about time stamping audio files and was VERY happy to discover the "broadcast wave" format timestamps audio files! So I'm running tests, but cant seem to get logic to actually place the audio file according to the time stamp!
Method: I'm currently scoring a film, and have each cue as separate logic files. To sync Logic's timecode and the TC window burn, I set in the "sync" song settings that bar 1 play at the start of the cue (no offset). For example, If I want to start writing a cue at 1:06:27:05, I just tell logic that bar 1 starts at 1:06:27:05 and start writing. Both logics TC & The window burn TC match perfectly. When I bounce, I choose my bars and bounce as a "wave," which creates a file with time code stamped. I verify this by looking at the file in the audio window, which shows a clock icon, as well as the specific smpte time code if you select the file before importing into the audio bin.
From here, how do I get logic to automatically place the audio files according to their time code? I've tried "import audio" directly into the arrange page as well as dragging the file over from the audio bin and neither work. I've also tried then "cutting" these and "paste at original position" hoping it would read the time code, but instead just pastes it where it was originally imported, not according to the time code.
So I'm stumped! What am I doing wrong?
thanks in advance for your help!

Highlight the regions and then from the audio menu select "move regions to original record positions"

Workflow Export 5.1 Audio to WAV

Hi,
I want to improve my audio workflow in Premiere CS6.
My Task:
I have to master feature length movies in premiere and have to export the final 5.1 audio:
1. as 5.1 48KHz 24Bit RF64 multi channel broadcast WAV
2. as set of discrete audio channels L R C Lfe Ls Rs
What doesn't works for me:
1. Export multichannel WAV: because the multichannel file would be larger 4GB Premiere just gives an error on export.
2. Send to Audition: because the multichannel file would be larger 4GB Premiere just gives an error on export.
3. Export Quicktime - audio only: this always results in corruped files with random audio peaks. (looks like a memory leak in the export)
My Workaround:
1. Export 5.1 audio to AVI - audio only - uncompressed 5.1 48KHz 24Bit
2. Import the exported AVI into Audition
4. Resample from 32bit float back to 24bit integer
3. Save as 48KHz 24Bit RF64 multi channel broadcast WAV
4. Split channels to mono files
5. Save all 6 mono channels
My question:
Is there a way to export the audio WAV directly from Premiere?
thanks
nw42

I do not believe that PrPro can Export to Multi-channel (above 2-channel) WAV.
The only two choices that I know of are:
Export to DD 5.1 SS AC3 w/ Minnetonka Audio SurCode Encoder plug-in (optional purchase)
Per your workaround, Export as a muli-channel WMA, then break out each channel to a discrete mono file. This is what I do, to later Encode to DTS with the SurCode DTS Encoder (stand-alone, not plug-in)
Maybe others will have other ideas for you.
Good luck,
Hunt

Does Pre7 support BWF wave files?

I understand a little about BWF files, but I was looking at purchasing a recorder that only records to BWF format. I was wondering if Premiere Elements 7 supports BWF files or will I need to work the files in another software program before Pre can use it.

Hi,
BWF, short from Broadcast Wave Format, is an extension of the popular Microsoft WAVE audio format. BWF is the recording format of most file-based non-linear digital recorders used for motion picture, radio and television production. BWF is a WAV audio format to a certain degree. The only difference between a BWF and a "normal" WAV is the extended information in the file header (Bext-Chunk, Coding-History, etc...), which also limits the compatibility of BWF files. BWF is incompatible with Mac computers, most media players, portable devices or editing software.
To get rid of the file compatibility limitation, a recommended way is to convert BWF to WAV,WMA,MP3 and so on.
Recommend Bigasoft Audio Converter. This converter can solve the issue for you.

Can i create AIF or WAV files larger then 4 gig?

Can i create AIF or WAV files larger then 4 gig? It seems like I have been doing that all along, but suddenly FCPX and Compressor 4 will not allow me to create and AIF file bigger then 4gig. It claims that the file format does not support sizes above 4

Hi...
per def. WAV 32bit does not support larger files than 4GB (sometimes 2GB).
You can use the BroadCast WAV format. Which will enable that.
However, if the destination format (Your final movie you wanna export to in Compressor and Fcpx) is WAV and not broadcast WAV it wont work due to the 4GB limit.
Aiff is limited as well.
Here are a few sources:
http://en.wikipedia.org/wiki/Broadcast_Wave_Format
http://en.wikipedia.org/wiki/RF64
http://en.wikipedia.org/wiki/WAV
PS --- WHy do you need more than 6 hours of uncomressed 16 Bit audio for a movie ???

WAVE [BAE] files?

Does anyone know what this means? I haven't encountered this before, but now when I bounce wave files (24/44.1) in Logic my partner can't open them with any audio player he has. When I open the files in Peak it says that it's a WAVE [BAE] file and all the markers from the Logic session show up as markers in Peak. If I bounce the song as any other file and convert it (in Peak) to a .wav it works fine, so there are work arounds, but I don't want to have to do that. I can't see anything in the Logic bounce window that let's me select some other version of WAVE to bounce as.
Does anyone know what this is?

Hi
Logic only does BWavs:
from the manual p 1341:
"In Logic Pro, all recorded and bounced WAV files are in Broadcast Wave format, which includes high-resolution timestamp information that stores positional information. This makes it easy to align these files in other audio and video applications."
HTH
CCT

WAV import

Gday,
I've recently used a flash mic(hhb Flashmic DRM85) to record some audio & my FCP cant recognize the .WAV file format and will not import it.
Basically, i want to get the audio onto the timeline without loosing too much quality. Do i need to convert it or would it be possible to get my hands on some import software for FCP?
Any help would be much appreciated, this problem has been driving me nuts all day!..
Cheers,
Mickey

FCP does work with WAV, but typically broadcast WAV. If FCP will not see your audio, then convert it to AIFF 16bit Stereo at 48Khz. That is the main format FCP likes....and is pretty lossless.
Shane

Adobe Audition not saving Meta Data

I'm trying to save file information within an mp3 or wav file for our broadcast software (AudioVault) to read it and the information does not save.
We use versions 1.5 and Version 3 and they both exhibit the same behavior.
I have followed the info below but it doesn't work.
The File Info command opens a dialog box in which you can see and add metadata—descriptive information that a computer can process and search—about the open audio file. For example, metadata can include history, loop, and Broadcast Wave information.
For audio files in WAV, mp3, or CEL format, you can use the File > XMP Info command to add XMP metadata. This extensive metadata can be shared across databases, file formats, and platforms. (See Add or edit XMP metadata.)
1. In Edit View, choose File > File Info.
2. Click the tabs at the top of the dialog box to navigate between different sets of properties.
3. Set properties as desired, and click OK.
To preserve file information when you save files, select Save Extra Non‑Audio Information in the Save dialog box.
It is not saving the start and end date. Here's what I'm doing. Open mp3 file. File-File Info, toggle text field names to Radio Industry.
Fill out Description, Advertiser, start date, end date, click ok. click file, save as (clicking save extra audio infomation)
now close the file and reopen it and the start and end date are gone. Ideas?

After talking with BE I discovered that the following procedure will save
the
meta data providing it is saved in a WAV format (mp3 doesn't work.)
Open your mixdown in the waveform view.
Hit ctrl P and the wave properties window will appear.
Fill out title, artist. Cut number, category and date.
When you save as make sure save extra non-audio info is checked
Then in the dropdown save as type choose WAV windows pcm.
Your completed file can now be dropped into an AV import folder that should
transfer
Into the system with all the information in their proper fields.

BWF Import, not quite there yet...

Hi there,
I just downloaded the 5.1.2 update and was quite excited by the new (at last) BWF import feature. So the first thing I tried was to import some BWF files to see how it works. The files I have at hand are BWF, Polyphonic files, with 24fps Timecode. They were originated with an Aaton Cantar and polyphoniced' using Majax.
I have to say that I'm not impressed:
- The resulting Clip in the browser has a 25fps TimeCode. It cant' be changed.
- The sc/take info, as well as the info typed in by the sound recordist don't appear in any of the columns.
Am I doing anything wrong?
Pierre

Hi Pierre,
I think unfortunately the BWF support announcement makes it sound a little better than it actually is. Its a good step, but there is by no means full BWF support in 5.1.2. For a really detailed intro to what's going on here is a post from Andreas Kiel (who develops BWF2XML):
Hi all,
One of the new features in Final Cut Pro 5.1.2 will be enhanced QT metadata support and
support for the Broadcast Wave Format. (More informations about BWF can be found at the
EBU Website.)
As I did one of the (living) applications to integrate BWF into a FCP workflow I got a lot of
questions from users and potential user about the "BWF compatibility" feature in FCP 5.1.2
and how BWF2XML compares to the options in FCP.
Some additional information about uncompressed/HD/film workflow and audio can be
found at:
http://www.apple.com/finalcutstudio/resources/white_papers/L328398A-
USL328398A_HD_Workflow_FilmTV_FCPwp.pdf#search=%22L328398A-
USL328398A_HD_Workflow_FilmTV_FCPwp.pdf%22
Introduction:
Beside all the other improvements with this new version of Final Cut Pro, one of the big
improvements is that this new version makes extensive use of all the new QuickTime
structures, allowing QuickTime metadata access and tc64 timecode (which is audio
timecode). This last feature has been tested with a lot of different files, and nearly all files
with tc64 information showed up correctly.
The QuickTime metadata access will allow third parties to create QuickTime components
with metadata - like the DPX/Cineon component from Bob Monaghan at GlueTools, the
first of it's kind. This will also allow other companies to create a QuickTime components
for MXF, IMX etc., and you'll be able to drag a MXF (or something like that) to the timeline
with all the metadata included. So stay tuned for future announcements from third parties.
tc64 audio timecode is something new in QuickTime:
QuickTime is interpreting the BWAV header entry for the samples after midnight - most of
you (at least those who are interested) can already check that: just open a BWF file in
QuickTime Player Pro (7.1.3), press cmd-J and enable the TC track. You'll see the samples
after midnight (don't save when closing the file).
Final Cut Pro now makes use of this this QuickTime feature, and creates a timecode based
on the tc64 samples after midnight and the sampling rate. This will result in seconds after
midnight. The seconds can be converted to timecode by extracting hours, minutes,
seconds and partial seconds, where partial seconds will be converted to frames based on
the timecode base.
The timecode base is complicated to figure out, since mostly it's not written to the header
of the BWF file. And even if it is, QuickTime won't interpret it, since it is nearly impossible
to automatically interpret all the ways the header is set up. There maybe other information
in the header like reel, scene, take, note etc. However, this currently won't be interpreted
by QuickTime as well. As opposed to a QuickTime timecode track, reel information is not
kept in a tc64 track. So if QuickTime doesn't interpret it, Final Cut Pro can't either, and for
the timecode, it will probably take the current timecode base of the project, which might
differ from the original sound recording.
With audio, there are also things like 29.97 NDF (which is not available in Final Cut Pro
right now), and the samples after midnight also may be based on either real world seconds
or NTSC seconds. Plus, there may be playback instructions in coding history. All of this is
quite a complicated thing, and it will be left to the user to think about the setup in
advance.
File formating and appearance:
BWF can show up in either polyphonic or multi-mono format. Both of these formats do
have advantages and disadvantages.
Polyphonic files are easy to handle. As all tracks are included in one file, they are faster on
transfer from the audio harddisk recorder than mono files. Polyphonic files are also easy
to import with the new Final Cut Pro feature. They have the disadvantage that removing
unused tracks is difficult when it comes to exchange with other audio workstations or
when using XML and reconnect, since they are interleaved.
Mono files take longer when transfer from the audio harddisk recorder since the de-
interleave has to be done prior to transfer. They also have the disadvantage that they can
only be imported as discrete files, and need to be connected "channel by channel" within
Final Cut Pro, which makes the process much more tedious. The big advantage of using
mono files though is, that you can remove (or even add) channels and will have no
problems when doing an interchange with DAWs, via XML, or with content management
systems. The channel files can be handled by Media Manager up to a certain extent when
left untouched, or fully when converted to a .mov format.
More detail about the two kinds of timecode tracks:
The QuickTime timecode tracks we are used to working with behave, let's say, just like
another "movie" track, so you can step thru frames.
tc64 reads the timestamp of an BWF audio file - this happens only once, so it behaves like
a long frame, which can't be stepped thru by samples, frames, seconds etc. It's just one
frame when activated - even though it shows the samples during playback.
The QuickTime timecode track forces a file into a specified playback behavior, which is
user-defined, and even can be changed within Final Cut Pro (within certain limits). It can
also be used as AUX TC in synched clips.
tc64, when used in QuickTime/Final Cut Pro, just gives a reference which relies on the
sample rate to get the time. To change the playback behavior, you need to change the
sample rate "virtually". This means that the file's samples are not changed but the "this file
is sampled at" description will be changed. This can be done with a third party application
outside of FCP (this is our current info about changing playback, and it might be wrong).
As said above, with QuickTime timecode there is timecode timebase and reel info, with
tc64 there can't be timecode timebase and reel info.
What about bringing BWF2XML and the new QuickTime/Final Cut Pro features together?
This should work cool, since Final Cut Pro 5.1.2 will accept the tc64 for first time ever, and
BWF2XML can supply you or Final Cut Pro with the additional metadata without converting
to QuickTime timecode (though there are still a lot of advantages doing that).
But it needs some additional steps done with BWF2XML, like changing playback settings to
apply pull-up or pull-down. If that's done, BWF support in Final Cut Pro will be exceptional
compared to other NLEs, and conversion will be lightning fast - even if there is no direct
import plug-in for this "combined" import. With the new XML version 3, things may
become easier and BWF2XML may work as a pseudo importer plug-in.
Conclusion:
So why do I write all these mostly "negative" things (about FCP)?
Pretty simple, since working with these relatively new formats and devices isn't that simple
for most video and postpro people.
Apple made another big step into the tapeless future, as well as some of you who made
this step using "new" devices and formats. With new devices there is always the problem to
establish something like a "common sense" for set up and workflow, which doesn't exist
right now.
So if a BWF import into Final Cut Pro would give you an erroneous result, don't blame
Apple and don't start threads about blaming Apple, they made the above step, and they
too will probably run into similar problems as any of the other companies - like me - who
are dealing with BWF, machine setup, file setup and naming as well as user setups.
Other companies just restrict, maybe by the amount of channels, maybe by the titles/
names of metadata entries, maybe by kicking out metadata entries - and still the other
companies look to be a little bit ahead.
Regards
Andreas
http://www.spherico.com/filmtools
Hope that helps,
Mark

Broadcast WAV Metadata

Similar Messages

Maybe you are looking for