Exporting to Pro Tools

I was given a GB project which I'd like to do further work on in Pro Tools. The GB project contains both custom-recorded audio, factory Apple Loops, and software instruments.
Is there an easy way to transfer it over? Basically, I'd like an audio bounce of every track individually.
I'm prepared to manually solo each track and then export it (Export Song To Disk, I guess), but was wondering if there was a faster way.
I do have access to Logic, if that helps.

FYI, I just successfully opened a GB 09 project in LE8, although I got a window pop-up informing me that this project had been "created with a more recent version of LE8" and I need to update Logic. I am running LE8.0.2, so it is apparently interpreting GB 09 as a more recent version of LE8. Interesting.
I think the only minor caveat is potential plug-in discrepencies, e.g. I had to switch one insert from AmpSim to Guitar Amp Pro.
Here is a related thread in the LE8 forum.

Similar Messages

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.

How do you export separate audio tracks for Pro Tools?

I need to give separate audio tracks to my sound mixer but am confused on how to do so in FCP X.
So far I've:
Set the dialogue roles and stems for each character
Then I went into Master File>Settings
Selected:
"Format: Audio Only"
"Audio File Format: Wav File"
"Roles as: Audio only as separate files"
"Dialogue"
Sara
"Stereo"
And when I export and listen back to the wav file, there is either no audio or I hear select dialogue.
The only thing I can think of that I am doing wrong, is that each characters dialogue is not on the same track like the picture below. The tracks highlighted is of one character's dialogue that I am trying to export onto one linear track to export into Pro Tools.
Can tracks be assigned in FCP X? Or is there a crucial step that I am forgetting tthat explains why the audio for each character is not being exported.
Thanks!

If you're dumping audio for ProTools, you should be able to export XML for use in PT. Haven't done it myself, but the option's been there for a while now. You should be able to find instructions easily.
If you want to stick with making Roles work, I suggest making sure the roles are assigned properly to each clip. Kind of a super pain in the neck, to go one by one, but ... that's the way. There are key commands for the three default roles, but if you've created custom ones then it's more time consuming. Is that 'Sara' one a custom Role that you've created?
My only thought is you have compound audio clips there. Maybe go in and set the roles on the individual files inside the compound clips. Dunno...
The visual organization shouldn't matter (one track above another). That's the X way.
((In your picture, you say you have some files selected. When I select, I get a yellow border; yours are light green and dark green. What is that?))

Import iMOVIE with sound? Export Final Cut Project to Pro Tools?

I am considering the 30 day free trial for Final Cut Pro X. I have a new Macbook Lion laptop.
I made a short film in iMOVIE 09 on my new laptop. I am getting it professionally scored next week. Can I seamlessly transfer iMOVIE project into Final Cut Pro X so that it keeps all my audio tracks? For example, I have natural background sound on many video clips. I have also added "monster" sound effects all over the place. I have voiceover here and there as well. So I am wondering if I import iMOVIE project to Final Cut Pro X are all the sounds merged (I don't want this) or does the project appear in Final Cut Pro X just like it does in my iMOVIE (video clip with a few audio clips under it)?
Second question - The audio post company would need to export the project from Final Cut Pro X to a software program called Pro Tools. There are a whole bunch of "preferences" needed to be checked off to make sure they get project the way it should be. However, my question is does anyone know if Final Cut Pro X is compatible with Pro Tools Software?
FYI - if I don't do the above I was told I need to make 8-9 copies of DVD of movie in iMOVIE. One would be video with natural sound when I filmed and all other sound turned off. Another DVD would be just voiceover sound and all other sound turned off etc... The audio post company needs each sound isolated so they can manipulate audio levels etc. This sounds like pain in butt which is why I am attempting to see if I can do the above.
Thanks, Todd

Thank you all for help. Spoke to engineer at audio post company. I told him it sounds like that I can export iMOVIE project to Final Cut Pro X and keep audio tracks. However, I cannot export Final Cut Pro X project to Pro Tools. Hence, no point in moving iMOVIE project to Final Cut Pro X.
The engineer told me to make Quicktime files of the 4 minute movie with each different audio track. He said as long as the track does not overlap I can have multiple sounds... for example, if my voiceover occurs from 0 sec. to 30 sec and that is only sound then I can keep in a monster sound that occurs from 1 minute to 1 minute 30 sec. etc.
I did forget to ask him one question. One filmmaker noticed that I had stereo monster sounds and mono monster sounds. I would think most people would not notice difference but the filmmaker did. Not sure if this company can fix something like that?
Thanks again for all your help. The thing that is weird about all of this is if I buy the latest and greatest Final Cut Pro X and make my next project from scratch with it I still won;t be able to export using Pro Tools... Sounds like Pro Tools only works with Final Cut.

How to "Export All Tracks as Audio Files" in Pro Tools?

I have a Pro Tools session that I want to mix in Logic. So I need to bounce all tracks as audio files like Logic's "Export All Tracks as Audio Files" command. Does anyone know if this is possible in PT, or do I need to bounce one track at a time (in realtime!)?

Sorry, but the previous answers are not quite correct. Consolidate tracks will only merge all your edits and fades and make a new audio file out of it. It wont consolidate any automation or insert effects. The same is true for exporting audio from the regions pane. Therefore you still have to perform a "bounce to disk" in order to consolidate properly. So no it doesn't have the "Export All Tracks as Audio Files" option......
Christian,
When "exporting" from one DAW to another, it's generally understood that automation and plug-ins will not be included.
Exporting from Pro Tools does indeed bounce the files to disk. We aren't talking about a stereo mix here. We're talking about exporting all the individual tracks. Are have I misunderstood you?
.... which leads me on to this question. How long has logic had the "Export All..." function as I have been performing "track lays" (i.e. getting my logic stuff ready for a pro-tools mix) for films that can often take days to perform and am embarrassed to stumble across this option on this forum as I fear I may have cost myself several weeks of my life working the long way round!!!
"Export All tracks as Audio Files" was introduced in version 7.0.
Don't feel too ashamed though. I have a good friend, who has been using Logic daily as long as I have (8 years or so now), who only 3 months ago, saw me utilizing that feature, and his jaw dropped. He too, had been wasting "weeks" of his life, doing it the way you have been doing it. : )
You're gonna absolutely LOVE using that feature from this day forward...!

Optimal Hard Drive Configuration for Premiere Pro CS5 and Pro Tools

I am in the process of upgrading a workstation that is used primarily for multi-track audio recording in Pro Tools to use the following Adobe CS5 products for production of promotional videos in HDV (and AVCHD for the web) as well as printed marketing materials for bands and musicians: Premiere Pro, Encore, Photoshop, Illustrator and Soundbooth.
Since Premiere Pro is probably the most demanding application of the group, I have been studying the suggested hardware configurations on this forum with great interest, particularly HARM's suggestions (including his Generic Guideline for Disk Setup) to determine which hard drives to purchase and the optimal manner in which to configure them.
I am upgrading an HP Z800 with dual quad core 2.44 GhZ processors with hyperthreading (16 virtual cores), 12 GB of memory and an overclocked GeForce GTX 470. Without setting up a RAID configuration (which I cannot afford at the moment), I would like to use the 4 available HDD bays in the Z800 in the optimal manner for Premier Pro, using currently available drives. I am currently considering purchasing a 300GB VelociRaptor to use as my C drive because of the extended load times and demands placed on the drive by ProTools and the associated Waves plug-ins.
I would appreciate suggestions to improve my following plan: C (300GB WD VelociRaptor) for OS and Programs; D (1 TB WD Black Caviar) for Media and Projects; E (1 250 GB WD Black Caviar) for Pagefile (approx. 18 GB) and Media Cache; and E (2 TB WD Black Caviar) for Previews, Exports and Pro Tools audio files.
I have great respect for the knowledge of the members of this forum and eagerly await your suggestions.
/Bill

I very much appreciate the responses to my email because I know that all of your time is valuable and that you have chosen to use some of that valuable time to help an unknown individual. This forum is remarkable because of the wealth of knowledge available and the willingness of so many to assist others.
I now wish to narrow my questions to save you time and so that I can get specific advice. I may not have not been clear that I have already upgraded to the HP Z800 with dual quad core processors and overclocked GTX 470, primarily for the improved performance it will provide in ProTools. My question now is how to optimize its performance for Premiere Pro CS5. Based upon my research, I am considering the following two upgrades, but I am open to other suggestions if they would provide better results at a similar cost
1. I am considering purchasing a 600GB WD VelociRaptor ( WD6000HLXH) for my C drive on which I would place OS (Windows 7, 64 Bit) and programs in an effort to reduce loading times of large programs. I have two questions: (1) Are members of the forum seeing a significant improvment in program loading times with the VelociRaptor because I am still not convinced that the price performance of SSD's justifies their use; and (2) There are so many models of VelociRaptors now that I want to be certain that I am purchasing the best version for my needs. In addition to the usual 10000 RPM speed, this model has 32MB Cache and a 3.5" form factor as well as a SATA 6.0GB/s interface (which I doubt my motherboard can take advantage of but it might extend the useful life of the drive with future configurations).
2. I currently have available for installation in the Z800 the following drives: (1) WD 2TB Black Caviar; (1) WD 1TB Black Caviar; (2) Hitachi 1TB. I believe that the Z800 can accept up to 5 SATA hard drives which I will have if I purchase the Velociraptor. Although I am reasonably knowledeable when it comes to hardware, I have never set up a RAID configuration. Therefore, it would be helpful if someone could recommend one of the various RAID configurations and brieflyexplain why it would seem to be best for my needs. I can then focus my research on understanding that one configuration.
I was planning to follow Scott's suggestion for my current 3 drives: OS and programs on C (WD 600 GBVelociRaptor), media and projects on D (WD 1TB Black Caviar), export files and Pro Tools files (all live musician tracks, no samples) on E (WD 2TB Black Caviar). However, I have been reading about the benefits of a RAID configuration so I am interested in further suggestions now that I have clarified my questions.
Thank you all for your help.
Bill

Pro Tools files imported to FCP X causing QuickTime movie problem

Well 2 days later and hours on the phone with Apple tech support Senior Advisors, and problem still not solved. HELP.
Everything works fine in FCP X, but when I create the QuickTime movie, it is way out of sync (by many seconds).
We have isolated the problem to audio files that I am exporting to Pro Tools, processing, and then importing back into FCP X. I can create a QuickTime movie with the original video/audio and it is fine.
Information
The original video came from Canon HF M40 camcorder: AVCHD (using MPEG4-AVC / H.264 compression codec), MTS format. Audio is 48kHz, 24 bits.
I used ClipWrap to rewrap the video into ProRes 422 and decompress the audio and save as LPCM.
I simply provide this FYI. As I said earlier, the original video works fine and the resulting QuickTime movie works fine. So the original files imported into the FCP project are not the problem.
The creation of the problem audio occurs as follows:
- Detach the original audio from the original video, and export
- Import this audio into a 48.0 kHz/16-bit Pro Tools HD session and EQ/limit the audio
- Import the resulting audio into FCP X (exact same length file, audio waveforms aligned with the original audio).
This audio works fine in FCP. It is in sync with the video, everything looks great.
I ran Pro Tools at 16-bits because a senior advisor told me FCP runs at 16-bits but does not convert imported stand-alone audio (as opposed to combined video/audio) to 16-bits; thus the Pro Tools session had to be at 16-bits. I changed from 24-bits to 16-bits, and this didn't solve the problem. (FYI, when Pro Tools imports the original audio exported from FCP, it says the audio is 24-bits, not 16-bits).
What is the problem?
The basic question is why does this audio cause QuickTime a problem?
Something is going on in the conversion to the QT movie. In FCP X, I don't have a way to play with the conversion variables except to set "Video and Audio" and "Use current settings" (which is ProRes 422).
The only difference I see between the original audio and the Pro Tools audio is that the original audio is stereo and Pro Tools works with dual mono files (L & R). The mono files work fine in FCP and I can't imagine why QT would have a problem with these, but I haven't tried converting the files to stereo before importing into FCP.
I should also mention that I selected the stabilization and roll correction algorithms in FCP. I assume these don't create problems in QT. I mention this because I didn't use them when I tested making a QT movie with the original video/audio files.
FCP and Pro Tools are used together all the time to do exactly what I am doing......improve the sound of the original audio. They are the premier video and audio professional programs. Of course, the final product is often not a QuickTime movie, but many times it is a QT movie.
What the heck is going on???
HELP.

(1) It is immediately out of sync. It even appears to be speeded up to me initially, but this is subjective. But it is clearly out of sync throughout, not a gradual drift.
(2) When I create the audio files in the Pro Tools session, the files are automatically stored in the audio folder of the Pro Tools session. So I don't actually have to go through an export process. I just close the Pro Tools session, then open FCP X and import the audio from the Pro Tools folder.
I'm not sure what additional specifications you seek, other than:
- wav files
- sample rate = 48 kHz
- Bit rate = 16-bits (and earlier I used 24-bits)
- Files are dual mono, rather than stereo (name_01.L.wav, name_01.R.wav). As I mentioned above, I have not yet tried converting these to stereo before importing into FCP, to see if dual mono causes an issue with QT. It does not cause a problem in FCP. I will try this today if we don't solve the problem.
(3) I can upload a portion of the audio to a server and send you a link to the file so you can download it. Is there a way to private message on the forum so I can get an email address to send you the link?
(4) The original video came from Canon HF M40 camcorder: AVCHD (using MPEG4-AVC / H.264 compression codec), MTS format. Audio is 48 kHz, 24 bits.
I used ClipWrap to rewrap the video into ProRes 422 and decompress the audio and save as LPCM.
The FCP Project was set up at:
- Starting time code - 01.00.00.00
- Format - 1080p
- Resolution - 1920 x 1080
- Frame rate - 29.97p
- Audio channels - stereo
- Sample rate - 48 kHz
- Rendering format - Apple ProRes 422

How do I export detached audio files as separate files, for Pro Tools processing?

My project is a live band performance. I have every song as a separate Event with associated audio. I have detachd all the audio from all the video Events. I now want to Export the audio files to Pro Tools for editing, then Import the edited audio back into FCP X and snap the edited audio to the associated video Events.
My problem is this: FCP X keeps exporting the audio as a single large WAV file, rather than as separate WAV files. In fact, the video events are separate, and so the audio associated with the video Events are separate.
I first renamed the Role of every audio file as "Music", then did a Share --> Export Media of all "Music" audio Roles. After exporting, I found it was one large WAV file, rather than separate files of different sizes.
As a 2nd try, I created Sub-Roles for each audio clip, and named each one with a distinct Sub-Role name. I then Exported all these Sub-Roles (yes, tedious). The result was that every exported WAV file was the same size, the same as the file size in my first try. The only audio that could be heard in each file was the audio in that particular song, but FCP X still created the very large file with silence in all the rest of the file. Since the file lengths don't match the original audio fil lengths, there will be a problem when I Import the edited files back into FCP X and want to Snap them into place.
Question:
How can I export the individual detached audio clips as separate files, the length of each file equaling the length of the original audio file in FCP X?
Do I need to separate the detached audio into separate Layers visually in the Project Timeline, so they are not touching? Or does this matter?
Help!!

Michael Holmes1 wrote:
I have to record all the color changes I make in one Project, so I can repeat them in the other 17 projects, etc.
No.
You need to explore Compound Clips. This workflow may or may not be of help.
Select an Event with clips in it and press Option+G to make a (blank) compound clip.
Select the Event Browser, create a new Event and call it 'Effects'.
Drag the Compound Clip into this Event.
Right-click the clip and select 'Open in Timeline'.
Select the timeline and press Option+W. This will add a Gap Clip to the timeline.
Select the gap clip and press Ctrl+D then type in the duration you want the clip to be.
Now open a project and select and copy one of the clips with effects etc.
Open the Compound Clip in the Timeline again, select the gap clip and press Option+Cmd+V to paste the effects into your Compound Clip.
This clip is now saved in your Browser and will remain there for you to copy and then paste the effects into any clip in any project.
It's a bit clunky, but it works - and once you learn about Compound Clips, you can work wonders with them. As an example, if you want to add more effects without overwriting the effects in the Compound Clip, simply make the Compound Clip into a Compound Clip (again) and add the effects. They will be added to the original effects.
Andy.

Having trouble with DV NTSC export file for Pro Tools.

Pro Tools only takes NTSC format video. For some reason every single DV NTSC file that has been exported freezes in a certain spot and in other portions tends to flicker. I'm not so sure as to why that is. I tried exporting it through the QuickTime Movie option which always works, but gives me the previously stated problems. I tried exporting it through the QuickTime Conversion many times as well; the problem with doing it with this manner is that the video is just white, although the sound still works. I've rendered everything many times. At this point I was thinking about reimporting the raw footage from the P2 cards.
Has anyone encountered this problem? Or have any suggestions? At this point I'm not sure what's wrong.

have added this code to over come runtime error
<script type="text/javascript" src="linediv.js"></script>

Exporting out of Logic to Pro Tools

What's the best way of exporting only vocal tracks out of Logic express 7? I need to have each track as separate .wav or .aiff files and be able to import them into Pro Tools 6.4 for a mix so they're all in time as they were recorded in Logic. I myself don't own Logic, it's the vocalist who uses it.... so I'm going to be going over to get the exports, copy them to disk and bring them back to my studio. What's the easiest way?

The easiest (and very boring) way is to bounce each track in .wav or .aif or .sd2 and then port them into your studio.
A shortcut (but, as quality, it's not the same as bounce) could be to freeze all the tracks and take away the frozen files folder.
cheers
rob

Exporting AAF for Pro Tools.

So I got an OMF from FTP into STP with no problem, only to find that I couldn't export it again - hopefully a feature in the new STP? Anyway, my only option was to export an AAF (don't have the original FCP timeline to work with) - this audio needs to go to Pro Tools.
But my Pro Tools guy is saying he can't do anything with the AAF file if it's not consolidated into one file - like the OMF normally is.
So - is there a way to export a consolidated AAF? I don't see the option.

Our round trip workflow works, but still hoping for a better alternative in the future.
Duplicate & Rename the sequence for export (just a good habit to have... "videoblah.002, 003, etc). Then clean up any potential audio / video problems; clips that are not enabled, duplicate audio, delete blank tracks, and all the stuff the seems to crowd in the back of my timeline.
-It is a good idea to label your audio tracks for transfer (right-click> rename)
After that I export an OMF. (File>Export>OMF) and select the settings below:
That's just audio so for video, I export a quicktime H.264 video for ProTools DVtoolkit (video import plugin). Protools will except H.264 .MOV files, but it will not ingest H.264 .MP4's. It will also handle 1920x1080 files, but if I am rendering out a long project I like to keep the file size smaller by cutting the resolution in half or more.
The audio guy then takes it from there and gives me back a 24-bit single track audio wav file.
Thus far it seems to be a workflow, but if I want to go back and make changes, then either I have to do it all over again, or tell the audio guy specifically what needs done.
All in all, it's not efficient as using a roundtrip workflow such as AVID > ProTools and back again in AAF form.
Hope that helps.

Audio sync problem: exporting from FCP to Pro tools or soundtrack pro

--------------------------------------------------------------------------------
Final Cut Pro sound export for mastering.....sync problem
Hey,
I'm editing a 30 minute film and I have done most of the sound edit in FCP and Soundtrack pro and I want to now bring all the sound into pro tools to master the sound but every time i export sound into pro tools it seems to stretch by two or three seconds.
I have tried OMF, AIFF, XML, and Quicktime audio file sut to no avail!!!!
There are 50 tracks in the file so it is quiet large. It's not that there are handles of the file also as when I sync the file with the audio track with the video it syncs in one place but it is still out of sync in another.........It's as if the audio has been stretched!?!
If anyone has any advice it'd be much appreciated
Keith

Try mixing down the audio first. Sequence/Render Only/Audio mixdown.
You could even try exporting the audio with the Export QT movie command using "current settings" and reimport that file, Add that mixed down file to a copy of the sequence. If it syncs in FCP I'd think it will sync on export too.
Jerry

Is it possible to export MIDI files created in Garage Band into Pro tools 9?

Is it possible to export MIDI files created in Garage Band into Pro tools 9?

GB does not support exporting MIDI files, you'd need to open the file with Logic to do that

Audio levels raised when AIFF exports imported to Pro Tools

Hello -
I've exported ("as AIFF" command) multiple (channel grouped) tracks as AIFF mono files and imported them to Pro Tools. Several of the exported AIFF files, however, peak (clip, run hot) within PT. The original audio clips in FCP do not peak, nor do the AIFF files if I drop them back into the FCP sequence from which they came. Why is this happening, and how might I prevent it?
Exports are 16bit/48khz, which is how they were recorded in camera and edited in FCP.
Any thoughts?
thanks
Rich
G5 dual 800 Mac OS X (10.4.8) FCP 5.0.4; PT HD 7.0.3

not th efirst time I've seen or heard people complain of FCP's levels being too high when exporting ... I'm not privvy to the codebase so can't explain the why's and wherefore's but can offer some workarounds to try:
either bring down the Master fader in the Audio Mixer window or select all and press Cmd-Opt-L then pull the levels down a few db "Relative" to their current level.

Exporting to Pro Tools

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