Roland Heap
Forum Replies Created
-
I tend to do a 50/50 split between OMF and XML-pro. OMF has gotten better in FCP 6, the levels seem to translate better. It’s just a bugger that it re-renders all the files so you lose your file names. All my films work in reels, so the file size limit is never an issue. And when it is, I simply export the OMF track by track. It’s not as pretty as I’d like, but it seems to work… EDLs are history as far as I’m concerned, hope I never have to do an auto-conform again – I’m sure I will though 😉
-
Have you tried gallery’s XML-Pro? Check it out at https://www.gallery.co.uk/XMLPro/xmlpro.html.
Because of the way embedded OMFs work (at least in FCP, as far as i am aware) no timecode information is translated into the rendered files contained within the OMF. The only timecode information relates to the overall timeline.
However – XML-pro works differently – it directly converts an FCP XML file into a protools project, keeping the file references the same. Thus, provided you are editing with audio which is directly accessible by protools (not embedded in a quicktime or what have you) then you can force protools to relink back to your same source audio, maintaining all your timecode information.
Best,
Ro
-
Lucky you! Wish I had that kind of budget for a control surface.
If I were you, I’d look at either the SmartAV control surfaces (https://www.smartav.net/), or the Euphonix surfaces (https://www.euphonix.com/).
Have fun!
Ro
-
It depends on how you are exporting it to your sound editors – if you are dealing with OMFs, then merged clips work just fine. If you are doing it via an XML workflow then they may not. Hope this helps.
Best,
Ro
-
I suspect this won’t be the most useful of replies as it’s something I’ve also been looking for for a while!
There used to be a plugin that did this – it was called scratch, and it was made by Serato. They discontinued it a year or two ago. I’ve been looking for something similar ever since but to no avail.
Serato integrated the technology into Final Scratch – their DJ/ Virtual Record suite – and so whenever I need to do this now I send my files to a friend who has this suite and he scratches/stops/whatever for me.
The other solution is to use a generic record stopping sound effect and just place it over the cut – this has worked well for me at a pinch. Doesn’t help with vari-speeding though.
To get an authentic sounding vinyl simulator try Vinyl by Izotope – and it’s free!
https://www.dontcrack.com/freeware/downloads.php/id/2842/software/Vinyl/
-
I’m sure you have, but do consider resources such as the freesound database or soundsnap… They are of varied quality but have some interesting stuff. I haven’t listened to the Iguana Kitchen ones yet, but their ‘Death to Mike’ library looks awesome 🙂
-
Logic Express or its bigger brother Logic Pro would be that natural upgrade paths from Soundtrack, and can handle multitrack audio work with ease. Both will work fine with your MOTU interface.
-
Well, according to Sennheiser spec the output on that 1/8″ jack is balanced, so you should be fine, theoretically up to quite a long cable length.
I suspect it uses the same pinout as on its larger balanced jack cousins.
-
One possible way might be to export monophonic BWF files, and use BWF combiner (https://www.one-n.com/bwfcombiner.html). This should maintain metadata and track names.
Just a thought…
-
Hmm.
Ok, this could be the case. That was my first conclusion.
But if so, why does both Protools and Quicktime identify the files as being 24fps? Both of these softwares are capable of telling when a file is 23.976.
Thanks for your help btw 🙂