Misha Aranyshev
Forum Replies Created
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[Jeremy Garchow] “Have you ever looked at an AAF from x2pro and a moderately organized X timeline in ProTools?”
Not in the real life.
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I won’t play cheap tricks of omitting the necessary steps so description will be long:
Make sure you have enough “dummy” audio tracks with your picture. In the old days you’d digitize your dailies from BetaSP with Audio enabled and ended up with two silent tracks. Select all picture clips, copy, paste into the empty timeline. They will be pasted in the same order they were sorted in the bin so use it to your advantage. Starting from the beginning JKL to the first sticks hit. Go to Browser, the Production Audio bin. Unless it was recorded to DAT the best sorting order is Date Created. Select the first clip, hit Return, JKL to the clap, F11. Hit play to check sync. Fast forward to the next sticks, Command-4, Down Arrow, Return, JKL, F11. Repeat until there is no more clips.
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I know how I’ve been doing it in FCP since 1999 and it’s completely different.
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I took another look. There is no way to assign different Roles to different tracks in the same clip in Inspector.
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So first I need to scroll the list for my picture, click on it and play to the where sticks hit and put marker. Then I have to go back to the list and scroll for my sound and click on it. Play to the clap and put another marker. Then I have to scroll back to my picture and command click on it to select both sound and picture and right–click to call up synchronize dialog (yes, there is a shortcut but since I grabbed the mouse it is faster to right–click), select the right options (all right, the dialog remembers the last settings) and click OK. Then I have to scroll to wherever the synchronized clip is in the list to play it. That’s more than 2.
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Really? So how many keystrokes it takes to sync a single take with corresponding production sound when you don’t have matching timecode nor the on-camera sound ?
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The irony is track names in BWF files is metadata. It is there to grab and use for any app.
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[Charlie Austin] “you could do the exact same thing in X. Disable un-needed channels, Cut, re-enable and export.”
I wasn’t clear enough. In a track based editor I don’t disable and enable channels in individual clips. I mute tracks on the timeline (once) and set track arming in such a way that channels I don’t want to hear are edited to the muted tracks. Then I unmute (once) before export.
Look, people, you must have titanium wrists with kevlar nerves to do so much mouse–clicking.
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[Jeremy Garchow] “How would you do it?”
I frankly have no idea. I’ll probably have to go through all clips naming individual tracks and muting all except the production mix. Charge the producer an extra week or two. There’re usually 4 to 10 tracks in production audio. A boom, a few lavs and a production mix. You’re going to use the mix for your edit. It is pretty decent most of the time. The order they come in a BWF-P is the same for a single production. With a track-based NLE you just mute the tracks unneeded mics fall to and go ahead. Then it’s time to export you unmute all tracks and you’re done.
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[Jeremy Garchow] “That is to say, you can assign roles and subroles in X without sync n link.”
Could you please describe your approach to assigning roles to individual lavs in a few thousands production sound takes?