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FCP 6 to Protools – Best way
Hey all,
I have a project that needs some foley work, audio sweetening and a good surround mix.The project is edited in FCP 6 and my audio guy uses Protools.
What is the best way to deliver the audio and a video reference file to protools? I have about 8 channels of audio with in the project.Thanks in advance
Patrick -
11 Replies
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File > Export > Audio to OMF
Kevin Monahan
http://www.fcpworld.com
Author – Motion Graphics and Effects in Final Cut Pro -
And give him a DV QT or whatever he wants for reference. An OMF is audio only…
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yep an omf export and dv export. if its long form you have
to split it up since omf is limited to 2gb -
Yep. And you might want to do a TC burn on the reference QT – it can be handy on the mix stage…
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In the past, I’ve exported a DV movie for ProTools, though that was an old suite they had. It worked, though–just the File >> Export >> Quicktime conversion >> DV STREAM. That gives a .dv tag at the end of the file, but I’m not sure what is the optimal file for a Pro Tools is to import. I’m sure some of these guys would know. In the meantime, I know that has worked in the past.
Also, in the past, I’ve run into an issue with OMFs on long projects with many tracks (1 hour/18 tracks) where the OMF exceeded 2GB and an error message came up saying 2GB exceeds the maximum capacity of the format. Anyone ever run into that? I had to break it into 2 9 track OMFs.
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[Bill Dewald] “And you might want to do a TC burn on the reference QT”
I forgot that most important aspect. TC burn is essential.
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You will need Digitranslator or DV Toolkit 2 to open OMF files in Pro Tools. This is optional extra.
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[Tate Young] “In the past, I’ve exported a DV movie for ProTools, though that was an old suite they had. It worked, though–just the File >> Export >> Quicktime conversion >> DV STREAM. That gives a .dv tag at the end of the file, but I’m not sure what is the optimal file for a Pro Tools is to import. I’m sure some of these guys would know. In the meantime, I know that has worked in the past.
Also, in the past, I’ve run into an issue with OMFs on long projects with many tracks (1 hour/18 tracks) where the OMF exceeded 2GB and an error message came up saying 2GB exceeds the maximum capacity of the format. Anyone ever run into that? I had to break it into 2 9 track OMFs.”
DV .mov files are really the best way because then you can hook up a canopus 110 dv to analog
adapter from your firewire to a television for on screen sweetening. Just as effective
yet a fraction of the cost of a Doremi disk recorder to do the same thing, not to mention
much quicker setup (no realtime recording needed, just export the dv file)and yes I mentioned there is a 2gb limit for omf, so you work around it by doing segments
of the show at a time.another option is pro export for final cut pro by automatic duck, you get many more options
for omf export. -
First and foremost, ask the audio facility what they want. I never want BITC, as all I need to know is what is the first frame the file starts on. BITC can get in the way when doing foley so please ask.Also your audio people will advise you on the handle size they prefer.
For pics again ask. If they can run H264, it is a smaller file size. A DV file can be much larger and for long form shows, never fits on a DVDRom so you have to either break it up or send it on a drive.
In short, there is no best way so ask.
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I’ll agree with Micheal that you really need to ask someone at the sound house.
There are still a lot of places that want tape. there are some places that love DV files, some that hate it. I worked with a mixer in Moscow who wanted everything on PAL DVD+R.
And some places like short handles, some places like long handles. Some places will insist on your breaking it into reels of no more than 20 minutes.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/
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