OMF and AAF exports -limited functionality now with 'raw' DSLR audio files.

I'm an post production sound mixer...and a film maker and thus I see PP CS5 from 2 sides. I'm using CS5 with a PC.
The industry uses OMF or AAF to export from a video workstation to an audio one. However PP CS5's OMF and AAF are both flawed.
I often had trouble exporting OMF's (from CS4) which failed without any reason popping up from the software. I usually believed this to be because of the OMF's restriction to 2Gb so I exported single tracks when I believe the source files are large...even when specifing say only 50 frame handles.
AAF more often worked with large files but the exports become large of course (that's OK) and all video material had to be deleted in the sequence before doing an AAF export.
I am now using CS5 and dropping my Canon 5D2 'H264' and Panasonic GH-1 'mts' files directly on the timeline instead of converting them to avi's with Neoscene. Great ...but alas all OMF's or AAF exports now fail....they will only work if I get my audio back to being wav files again, which isn't really viable once editing has occurred.
I know that OMF is fraught...Avid never made it easy but AAF is a more up to date exchange protocol. Could I request that this is investigated and an intermediate  transcode to something like wav or AIFF be undertaken by Media Encoder when an AAF export is used? I assume that the encoder doesn't yet know how to process audio .movs or mts files into the required export audio file and just kills the process.
David Taylor  Postfade Sound  Pinewood Studios UK

Stan,
Thanks for the suggestion...I submitted a Bug Report.
I used both OMF and AAF to export from PP CS4 to my professional Fairlght DAW, which was happy with either, as long as the export was succesful. As I said there were occasional problems with OMF even though I selected small 'audio handles' for the 'embedded' OMF exports. My source audiofiles are often pretty big. AAF worked with these big source files however.
However I always used Neoscene to transcode my DSLR files before importing the Neoscene converted .AVI's into CS4, the audio was part of the new .AVI's and was probably now a .WAV.
Now with CS5 I can drop the Canon 5D2's 'H264. mov's' or the Panasonic GH-1's '.mts' video files directly into PP-which plays them beautifully.
My trouble now starts when I try and export the edited audio to my DAW. I can only get it to work with source files that are .WAV.
I don't think other professional users, like all those new PP CS5 machines at the BBC, will be happy with the compromised OMF/AAF exports either as so many of us are using DSLR's now.
David

Similar Messages

  • FCE 4 and OMF or AAF export

    I've actually read Apple's tech specs and looked on this forum for this answer and have not found it. I've found that FCE has not supported OMF or AAF export in the past - is this true for FCE 4 as well?
    If it is not included does anybody have a technical reason why this is?
    and if FCE does NOT have an OMF or AAF export function - has anybody had success with XML export and then converting the XML to an OMF or AAF?

    that's insane about the XML - I guess I just assumed it would since iMovie can export XML, right - isn't that how people are supposed to get from iMovie to FCE?
    anyway - thanks for the response.

  • 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

  • My iPhone 4s. Keeps coming up sim invalid, I have to keep restarting my phone but doesn't help, it's only 5 days old and I'm fed up now with it now! Any solutions please?

    My iPhone 4s. Keeps coming up sim invalid, I have to keep restarting my phone but doesn't help, it's only 5 days old and I'm fed up now with it now! Any solutions please?

    There is obviously something not right... But to determine what the issue is, it needs to be looked at...
    And the Apple Store would probably be the best place...
    Just my opinion...

  • Hi I bought the oxford dictionary app a while ago and it worked fine . Now with the new iOS it starts and closes instantly. I don't want to buy it again. Who can I turn to?

    Hi I bought the oxford dictionary app a while ago and it worked fine . Now with the new iOS it starts and closes instantly. I don't want to buy it again. Who can I turn to?

    Try closing the app via the device's multitasking bar and see if it works when you re-open the app : double-click the home button to open the taskbar and then swipe or drag the app's 'screen' up and off the top of the screen to close it, and click the home button to close the taskbar.
    If that doesn't fix it then try a soft-reset : press and hold both the sleep and home buttons for about 10 to 15 seconds (ignore the red slider), after which the Apple logo should appear - you won't lose any content, it's the equivalent of a reboot.
    If the app still doesn't work then try deleting the app from your device and redownload it (assuming that it's still in the store) via the Purchased tab in the App Store app - or resync it from your computer's iTunes (if you don't have a copy of the app in the Apps part of your computer's iTunes library then copy it over via File > Devices > Transfer Purchases before deleting it).
    If that also doesn't get it to work then contact the developer.

  • OMF and AAF support

    1st question was Premiere CS3 made by people who know nothing about editing and the simple requirements. I say this because it lacks OMF export from a premiere sequence.
    Is adobe going to ever include OMF export in premiere. I want and im sure others would like it to to be able to export OMF from the sequence I am working in. It is an essential part of main stream editing especially when you need to hand over your work to a Audio production house.
    I dont want to have to export and AAF then bring it into AVID which is what we have switched from and then use that to export to OMF.
    Now AAF export is a pain. I dont want to export the entire project to AAF nor should I have to split the audio and Video from an video file in the timeline it should be clever enough to work it out itself. And if I do have to split the audio from video I want handles to be an option.
    I just want to see an AAF be able to export from the sequence I am using with handles. At the moment it is very messy.
    Thank you

    Hi Martin,
    You may have read my posts in the Premiere Pro 2.0 AAF/OMF thread!
    I think one of the problems is that Pro-Tools implementation of AAF seems to be a bit dodgy anyway...
    Just try exporting an AAF from Premiere CS3, and open it in Sony Vegas 8 - it's PERFECT!
    Now, about render/replace - video/audio splitting. I've found I don't need to do this... maybe this is cos I used Cineform Aspect HD.
    I think you need to raise to Adobe (and via this forum isn't the way to do it - I really don't think they have the time to read through it!) that the AAF export needs to automatically split the audio from m2t HDV (i'm assuming this is your problem?).
    Basically - for all our sanity's sake... Adobe need to include OMF support.
    Currently the only way for me to get our feature film out to a professional post production audio house is to export AAF, import into Avid(!!!), then Batch Import the media, then export an OMF from Avid. This is rubbish.
    How many Adobe designers/software engineers have ever made a feature film and sent their projects to Pro-Tools audio houses? None I should imagine from their implementation of audio.
    Cheers, Doug.

  • Contract and PO using limits functionality

    Hi Experts,
    I have a requirement by the business to use the unplanned services for PO. All the PO are refer to contract. All the contract are value contract only.  They dont want any quanity or unit price define in the contract. Just the total contract amount only.
    Is it possible to create contract without using the service master defining only the limits? If this is possible please tell me the necessary configuration. In my present system service master is mandatory now.
    secondly, Is it OK if i create a value contract with the account assignment Unkown and itemcategory blank. So that I need not meantion the service limits or the service master. I will create service PO using the contract and define the limits in PO.
    Is it a std process if I process like the way I mentioned.
    regards
    DP

    Closing thread

  • How to export multiple regions with fades to audio files

    When I have a bunch of regions that I want to export to audio files Logic manages to ignore the fades I created on them. Is there any other way than bouncing every single region? Basicly I just want to consolidate (like PT) the regions fom the project including the fades.

    Sorry, but I forget to tell you, that is one of my report is Interactive Report and another is PL/SQL function returning SQL query report
    I know about thats two links which you posted.
    I have tryed Denes Kubicek link and his exaple not worked. When I press "Download Excel" button I got excel file only with first report on it (http://htmldb.oracle.com/pls/otn/f?p=31517:108)
    And his package (export_excel_pkg) have a limitation: This package will not work for Function Returning SQL type of report.
    By second link, I must totally reprogramming all three my reports, thats is not goog for me.

  • How to? - Logic can now import multichannel interleaved audio files and convert them to individual mono files

    This was listed as a new feature in the 10.1 Logic Pro X update but how do you do it? I don't see it in any documentation.
    Thanks

    I haven't had time yet to investigate most of the new functions.. so no, not at this time...
    have you tried just digging around yourself and see what you can find?
    Otherwise,
    Maybe Edgar knows?
    or..
    if you post up a link here to a MCI Audio file.. Ill play around a little.....

  • Why no 'Edit Original' with raw or dng files?

    Is there a reason Lightroom does not allow the ability to use an external editor on the original raw/dng file? Why force people to use the Capture NX raw converter if they would like to use their camera specific converter instead?

    This is a great point. There are many instances where I need to use a camera manufacturer's conversion software because I am unable to get similar results in Lightroom (Still a problem in LR3 - many posts about this in these forums).
    I was going to write about a tip for a workaround, but instead I actually uncovered a very unfortunate behavior in LR3.
    Previously, in LR2.x, you could drag any thumbnail from the Grid view onto the app of your choice in the dock. It would immediately open the original file (including RAW images) in that editor, and you could then save a Tiff to be re-imported into LR, or whatever you wanted to do. It was great flexibility, and got around having the formal ability to assign an external editor for RAW files (which by the way I agree, is necessary functionality, and should be included).
    NOW, in LR3, this behavior has been shut down. You can no longer drag thumbnails from the grid view onto an external editor.
    Adobe Lightroom team - this is a huge mistake. Please restore the old functionality. You should know - trying as hard as you do, your RAW rendering is still not the only game in town. I own your product, along with five other RAW editing applications. Sometimes I need to try each one to see how a particular image works out. I still prefer to use Lightroom as my cataloging software. This will change if you start to close things down to force users to stay in your ecosystem.
    Apple Aperture takes a similar approach - when you drag an image onto an application, you only open a jpeg preview of that image, not the original RAW file. This is one of the reasons I ditched Aperture and moved to Lightroom. I liked the flexibility. Now that this has been taken away, it gives me another reason to consider passing on this upgrade. Please give this some thought. You do not have all the answers for RAW rendering, and realistically, unless camera manufacturers standardize, you probably never will. Give us back our flexibility, or better yet, build it in formally as the original poster suggested.

  • How can I create a file in iMovie with a lengthy audio file, but only 1 picture?

    Let me state first off that I'm a blind user using the Voiceover screen-reader in OS X.
    Now, I want to upload some audio to Youtube, but they do not allow simple MP3 files. As such, I want to create a file in iMovie with my audio and 1 picture to use as a visual. Within iMovie, I add my audio file, select a picture, but when I publish, the audio is cut off after only a few seconds. Can someone please explain how I can fix this issue so my entire audio clip will play?

    iMovie is a visual medium, so you need to make the duration of your photo at least as long as your voiceover track. You should be able to double click on your photo and then enter a duration.
    See iMovie Help at this link.
    http://help.apple.com/imovie/#mov3a883915
    An MP3 file may work for you, but for best results, use a WAV or AIFF file (uncompressed). You can convert MP3 to AIFF in iTunes. Let me know if you need instructions.

  • How do I revert to replaced audio files being saved with the project file, *not* with the original audio files?

    In the latest release, when you send an audio clip to Audition, the newly created audio clip - which was previously saved in the same folder as the project file - is saved next to the original audio file.
    Makes sense, but for reasons to boring to go into, it's a major headache for my workflow, because it means combing through folders to find the files, instead of having them all in once place.
    So how to I turn this off and revert to those files being saved next to the project file?

    Hey Steve,
    You'll want to connect your phone to your computer and sync it in iTunes. You can read more about it here:
    iOS: Syncing your data with iTunes
    http://support.apple.com/kb/HT1386
    Welcome to Apple Support Communities!
    Have a good one,
    Delgadoh

  • My older iPod Touch has music from another Apple ID, but I have had multiple other Apple IDs and I can't find out which ones they are from.  I would also like to know how I can copy the music and have it saved to my computer as an audio file.

    So I have an iPod Touch, 2nd or 3rd gen., and it has music synced from multiple Apple IDs. I need to know how to copy that music as an audio file to save on my computer.

    You can copy iTunes purchased from a device to your computer's iTunes library via File > Devices > Transfer Purchases - if the account is authorised on your computer's iTunes then you should be prompted to authorise it when trying to copy them.
    Or there are programs listed half-way down this page which can copy them back : Recover your iTunes library from your iPod or iOS device
    You can then add them to your iTunes library via File > Add To Library, again you should be prompted to authorise the account if it's not already authorised.
    You can also find the account that a track is tied to be selecting/highlighting it in the My Music part of your library, or the Music section of 'OnMy Device' when you select the device, and doing 'get-info' (command-i) - it will show on one of the tabs on the popup

  • Recording with just one audio file per track

    Is there a way, when recording, to just have one continuous track? When recording a 2nd take on the same track (say track 1), instead of having another separate audio file for the 2nd take, I would like to have just one complete audio file instead of bunches of them. I've looked in Preferences and the menu options and have overlooked it if it's there. I hope I am being clear. Thanks.

    Hey Terry,
    I'm not sure why this is a problem - if you think about it its just like recording multiple takes on tape - you then comp the best bits to create the final 'take'.
    Also as AA streams direct to disk at some point (ie when you stop recording) AA has to close the file otherwise it would get corrupted.
    I guess it just gets a little getting used to?
    If I'm gonna do a complete 2nd (3rd, 4th etc) take then I might drag the previous take down on to a muted track (if I think I might use bits out of it) and then re-take - or just delete the previous take and re-record.
    At the end I then select File->Delete Unused Media (I think thats what its called). When all takes and mixing is completed I use this application to identify all the unused files that are not needed and that can be safely deleted - http://www.mediasweeper.com.au

  • Data and Cleansing export TO SQL table with Melissa Data appended fails

    I am using Data Quality services with Melissa Data Address Check as reference data.  Everything works fine until I take the option to export Data and Cleansing Info which will give me my cleansed data plus additional data points such as geocodes from
    Melissa.  When I do it fails with the error below.
    (Failed to create a new table geocode in database DQS_STAGING_DATA. Check whether the table already exists  and have the database administrator make sure the DQS Service has CREATE TABLE rights in the destination database and can INSERT to the destination
    table.)
    This error makes no sense as the table does not exist and I do have proper rights. I can export Data and Cleansing data if Melissa Data is not involved  ,  when I dig further it seems to be complaining about column header lengths.   
    The identifier that starts with 'Address Validation_Melissa Data Corporation - Address Check - Verify, Correct, Geocode US and Canadian Addresses_CBSADivisionCod' is too long. Maximum length is 128.;
    The identifier that starts with 'Address Validation_Melissa Data Corporation - Address Check - Verify, Correct, Geocode US and Canadian Addresses_DeliveryPointCo' is too long. Maximum length is 128.;
    The identifier that starts with 'Address Validation_Melissa Data Corporation - Address Check - Verify, Correct, Geocode US and Canadian Addresses_ResponseRecordI' is too long. Maximum length is 128.;
    The identifier that starts with 'Address Validation_Melissa Data Corporation - Address Check - Verify, Correct, Geocode US and Canadian Addresses_DeliveryPointCh' is too long. Maximum length is 128.;
    The identifier that starts with 'Address Validation_Melissa Data Corporation - Address Check - Verify, Correct, Geocode US and Canadian Addresses_CBSADivisionLev' is too long. Maximum length is 128.;
    The identifier that starts with 'Address Validation_Melissa Data Corporation - Address Check - Verify, Correct, Geocode US and Canadian Addresses_CongressionalDi' is too long. Maximum length is 128.;
    The identifier that starts with 'Address Validation_Melissa Data Corporation - Address Check - Verify, Correct, Geocode US and Canadian Addresses_CBSADivisionTit' is too long. Maximum length is 128.;
    I can see no option to control these column headers in DQS.  Has anyone else experienced this ?  Does anyone know of a workaround ? 
    I have already reported to Melissa data and they agreed the problem was the column header length but said they also had no control of that.

    Hello,
    You can create an SR with a based outbound filter. All object that match the filter will be provisioning to CS SQL (if you do not define filter, all objects will be provisioning).
    Or you can create an MVextension rules
    Regards,
    Sylvain

Maybe you are looking for