relinking audio to video after OMF import

[Shane Ross]

FCP does not import OMFs.

[Debe]

Your audio guy/gal should provide you with an .aiff file that you “stripe” back to your timeline, if I may use this older, and no longer so precise, term.

Like Shane said, FCP does not recognize OMF on import.

debe

[Lori]

Thank you.

Is there a way to import the aiff without going through iTunes?

[Debe]

If the audio guy/gal gives you a 48KHz aiff, you don’t need to do anything but copy it to your media drive and import it into FCP using the Import Files command. Drop it in your timeline, do an audio mixdown for good measure, and you, my friend, are ready to master!

If it’s 44.1 K, then, yes, using iTunes or QuickTime Pro to convert it to 48 K is a good idea.

So easy, you’ll think you’ve done something wrong!

(Oh, one last thing, I usually make a copy of my sequence first so I have all the original edits as a backup, just in case!)

😉

debe

[Debe]

Oh, and I always double check sync. You can either do that by adding two new tracks to the sequence you made the original OMF from and listen to make sure the audio is in sync. It should pretty much disappear, however some very slight “tinning” may occur on a few things due to phase. if it sounds like heads are deep inside a can, or you actually can hear double words or sounds, then you do have sync issues that the audio person should be made aware of.

If you have a really great audio person, you likely can just spot check and it’s all done, but even if I trust the audio person, I always give it one last watch as I master to make sure everything lines up right. Even if it’s a sync problem that the audio person made, you were the last pair of eyes to see it and ears to hear it as it mastered, so you’ll likely be left holding the bag if there are sync problems.

Not quite as goof-proof as I may have led you to believe. Gettin’ a little cocky after my first morning cuppa coffee!

debe

[Michael Gissing]

Debe,

As an audio post specialist, I have to say that after often correcting bad sync and moving bits of dialog and narration around in the mix, I would never expect a mix of mine to sync back perfectly with the original. I always put a 2 pip on the aif or tell the editor the exact frame to place the audio. Preferably we stripe the mix to the digi beta master after the playout to tape.

In audio land we move files around sub frame all the time to make dialog edits work.Also after EQ and dynamics processing, you won’t get phase cancelling with the original.

[Debe]

I’ve worked with grand, award-winning professionals, and wet-behind-the-ears, brand-spankin’ new audio post specialists.

Some do not need the video editor to double check sync because they are masters, others can use a little “nudge” to remind them now and again.

I brought up the phase issues because sometimes it comes up, even under the best of circumstances. I was simply offering my 19 years experience of getting good and not-so-good results from the myriad of audio editors I’ve worked with over the years.

I do have two that never give me a 2-pop because our timecodes always match. Several do supply the 2-pop. Both is acceptable in my experience.

There’s many more ways to do it right, and there are just as many ways to do it wrong. Luckily, the one’s I work the most with don’t usually hand me anything that needs anything other than a mixdown before mastering.

Respectfully,

debe

[Lori]

thanks all