[Mark Spano]

Michael’s right. In 5.5, set your Audio Project/Output settings to Direct Out. This enables you to send audio tracks in the timeline to physical outputs of the Mojo DX. I believe with the Mojo DX it’ll give you the ability to output up to 8 individual audio channels.

From there, you need to export a QuickTime Reference file. Make sure in your export setting that you do not choose Mixdown Audio Tracks. The reference file will point to your individual tracks. From there, open the ref QT in QuickTime Pro. Do a “Save As” to a self-contained movie, and you’re done. Transcode from that file to ProRes.

This is the easiest way to get there. There are other ways, for sure, but they involve more steps and invite the possibility for error.

[Mark Spano]

Take a look at Westone. I have the Westone 3’s (with Comply deep foam inserts) and love them – I wear them on the NYC Subway and they block out a bunch of outside noise. You may have to step up to their custom fit line to get a really good seal. Extremely high quality.

[Mark Spano]

Hi Sarah,

You may not have seen my reply to your previous query:

https://forums.creativecow.net/readpost/30/868450

[Mark Spano]

[Sarah Bright] “If I could get each track out without having to export for a total of 2.5 hours (24minute piece), than that would be awesome.”

What I’ve done for my workflow is to create Bounce tracks in my PT session. It’s a little more work to set up, but it means you’ll only have to do one real-time bounce pass and you’ll end up with all your deliverable audio. Here’s the basic idea:

Bus all your VO to a mono bus / create aux with this bus as input
Bus all your SOT to a mono bus / create aux with this bus as input
Bus all your SFX to a stereo bus / create aux with this bus as input
Bus all your Music to a stereo bus / create aux with this bus as input
Set all aux outputs to a new stereo (master) bus / create aux with this bus as input / set this aux output to your monitor 1+2

On each new group aux, create sends corresponding to what you need. For example, create an M&E Send, a Music Send, a Mix send, etc. Instantiate these sends on each aux as needed.

Create a new audio track with each of these sends as input, main 1+2 as output, and MUTE all these tracks.

Arm these new “bounce” tracks, set in point and out point, and press record.

This will be a real-time bounce internal to Pro Tools, and will print all your stems in one shot.

When it’s done, name the new regions and export selected as WAV files. For deliverables for an hour show for someone like Discovery (who wants Mix, Mix minus VO, M&E, Music, SFX/SOT/BG, mono Dialogue, mono VO), this method saves hours and hours of time.

An added benefit of doing this is if you hear something as it’s recording that isn’t right, you can stop, make changes, and set a new in point and punch back in without having to start over from the beginning.

[Mark Spano]

You may be able to trick it by messing with the machine template. In Applications / Avid Media Composer / Supporting Files / Machine Templates, you can find the file for the specific machine that MC references when you do an Auto-Configure on machine control. There are some settings, but I couldn’t guess which one to change to adjust for offset, but you might find something in there.

[Mark Spano]

Did some searching around for ya today Joe. This is what I found:

In Settings / Interface, there’s a General tab. Turn off a thing called Windows Standard Alt Key Behavior.

Hope that’s there – no idea since I don’t have a PC with Media Composer…

[Mark Spano]

Apple menu – Reset Background Processing. Reset and cancel jobs. Quit and restart Compressor. If that doesn’t do it, then you need a reinstall.

[Mark Spano]

[Daniel Raim] “with all tracks set to dual mono I should set the Config to: Discrete Channels?”

No – leave that at Grouped. Discrete is usually fine, but harder to test in QuickTime Player, so I leave it set to Grouped.

[Daniel Raim] “And what if I decide to to pair track 7&8 as “Stereo””

Don’t bother pairing track outputs. When you’re outputting QuickTimes it is best to leave them all set to Dual Mono, that way they can be recovered in the correct order at the destination.

[Mark Spano]

To avoid confusion, I would output the audio from your mix as separate files, rather than grouping it in with the QuickTime. Make a video-only ProRes HQ QuickTime, and send along your mix as eight separate WAV files, all with the exact same starting point as your QT. This way you can label each one with the channel designation, and there will be no chance for them to be laid out incorrectly.

If you still want to output the QT with the audio tracks, line them up exactly as they asked for them (L/R/C/LFE/Ls/Rs/Lt/Rt). In your Sequence Settings / Audio Outputs tab, choose 8 outputs, all dual mono, don’t worry about downmix. Right click on each track in the Audio Mixer and designate it to the proper output (A1 goes to 1, A2 goes to 2, etc.). Now when you export your Quicktime file, it will have eight mono channels, in the order you arranged them in FCP.

[Mark Spano]

Use Compressor for the encoding, just set the Job Action to Create Blu-Ray Disc and set the output to Hard Drive. This will create a complete disc image suitable for burning multiple copies in Toast later.

FYI, here’s where people usually post Compressor-related issues:

https://forums.creativecow.net/compressiontechniques