Question about OMF containers in Premiere Pro.

H

harmonica44

I sent some OMF containers to an audio engineer but he has had trouble getting them working. I finally figured out what the problem was. Apparently Pro Tools (which he uses), does not like 'nested' pieces of audio. Most of the audio is nested though and it would take a long time to go through all the original files, find all the exact pieces of dialogue, and recut it all.

I keep trying to figure out how to get the program to tell trace the sources of which files the audio came from, but it will not tell me. And once a sequence has been nested, you cannot remove the nest. You can 'unlink' something, but you cannot 'unnest' anything. Is their any way to get Premiere Pro, to give me the original cuts of the audio, rather than going through all the originals, and recutting it all, all over again?
 
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Nope, it's not uncalled for; as you stated, it's the learning process. You break it, you fix it - and if it takes a very long, painful time you don't forget the lesson. If he takes two or three six hour days to re-sync everything he might remember not to embed or nest in the future.

I had a boss who stated it exactly that way - You f*<ked it up, you get to fix it. because of him I thoroughly learned a few hard lessons.
 
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Each software company wants you to stay within their protocol; Avid wants you to use Pro Tools, Adobe wants you to use Audition, Vegas wants you to stay in Vegas (Vegas started out as a MIDI/DAW program before becoming a video editor), FCP wants you to use Logic, etc. Although OMF and AAF audio protocols allow the transfer of files between platforms you always have to jump through hoops to maintain absolute compatibility. Even after all of the supposed "fixes" it is still next to impossible to transfer Vegas AAF audio files to Pro Tools. Of all of the "cross" platforms FCP and Pro Tools play together the nicest.
 
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Oh okay I see. It seems that every audio engineer I have met so far, uses Pro Tools. Is their an editing program I should be using that is more compatible to accommodate that? But then again, it seems every visual effects person uses After Effects so if I switch off of Premiere Pro, to accommodate the audio effects people, the visual effects people will possibly then not be accommodated.
 
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It means that you have to have to pay attention to the audio settings of your NLE so the export of the OMF or AAF maintains its compatibility with Pro Tools. BTW, most of us who do audio editing and mixing are still pretty old school and prefer OMF - especially after spending the big bucks on the Pro Tools OMF convertor plug-in. It's been reliable for 30 years, so we see no reason to change.

Most of my clients use FCP for editing. Many send out to folks who use Adobe for the special visual effects and then bring the result back into FCP.
 
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I've read through the thread, and am curious about this topic, so I don't make a similar mistake myself in the future. Like H44, I edit in Permiere and composit in AE.

Alcove, would you know a resource on the web (video tutorial, page to read, etc) for properly setting up sound in NLE's for proper Pro Tools mixing? Of course, ill google it myself and see what I can stumble across.
 
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(And this topic is the proof that only reading something is not the same as learning something.
Experiencing is learning.
This also shows that when you keep your first short short, you'll need less time to fix such mistakes, but you'll still learn the same lesson.)

(End of philosophical sidenote about the learningproces filmmaking is....)
 
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