- November 17, 2017 at 11:25 am
I’m working on a project which delivers dailies as DNX36 from resolve and separate sound with multiple tracks. A1 is the mix and that’s the only track the editor normally wants to work with, so I’ve been autosyncing video+audio in Avid by selecting audio range A1-A1. He only has 1 track in sub clips, but can match back to the rest of the audio tracks if he needs to.
But… when the time comes that I’ll turn over to sound mix… I’m assuming they will need all the tracks. We only have A1 in the timeline. I was wondering how this is done – whether there is an AAF setting I can select so they get access to all the tracks?
Thank you very much,
- November 17, 2017 at 7:12 pm
Talk to the sound facitlity and see what they say. If the editor only worked with one track, then what will need to happen is a full audio conform. Meaning, they’ll need something like the AAF, and ALL of the audio stems. But I’m not 100% positive…you’ll have to ask them. But this is a process that will take a bit on the sound end to deal with.
I work on shows where we have all the isos, and drop in ALL the audio onto the timeline, and only use what we need. But we are mandated to do this as it makes it easier and faster for the audio mix to deal with. Often, what the editor wants and what is best for a smooth post solution isn’t the same thing, so they might have to just deal with putting in all the audio tracks. That’s part of editing. Sorry, I get snarky when editors go “I want to work this way,” instead of the way that makes post smooth.
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- November 17, 2017 at 7:37 pm
That is a very common workflow. Usually, this means sound editorial will do a conform. Pro Tools has an ‘expand tracks’ option which can do a multichannel conform from single channel cuts in a timeline (you hand them your cut as AAF plus media, they ingest ALL original BWF files with all tracks, they can make PT link any event to all matching tracks).
Alternatively, some sound editors prefer to use external applications like Virtual Katy, Conformalizer or EdiLoad. In that case, you may need to hand them over a sound EDL on top of your ‘normal’ export.
- November 19, 2017 at 6:44 pm
Echoing what Shane and Job said. You don’t need to provide them with all the ISOs. Some sound houses will try to get you to do that. That said, if you’re the picture assistant, it’s their job to do the sound conform. That’s what the sound house will do in preparation of the sound dub, and the dialogue editor will clean up the tracks as necessary.
You’ll want to double check that the sound metadata has been entered correctly to your master clips that have been delivered. By default, Resolve assigns sound timecode to the Aux TC1 column. Your dailies lab or DIT will typically copy that data to the Sound TC column so that when you create your sound EDLs, you can set your EDL to use that Sound TC instead of Start TC and Sound Roll data instead of tape to create your sound EDL.
You’ve already started, but it’s also worth checking how the sound department will want sound rolls labelled. For example, the 788T by default creates sound roll names by date. For example, today is November 19th, 2017, so that sound roll would be label Y17M11D19. Personally, I hate this and many sound houses do to. I find, if possible I ask my sound recordist to label sound rolls as SR001, SR002. It makes sound rolls easy to identify.
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- November 27, 2017 at 9:48 am
Thanks everyone! This has been incredibly helpful.
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