The export to Pro Tools preset should work. If it still does not work, you can try exporting to Premiere in XML format and have your premiere timeline in Hope something works. There should be a standard way of doing this that all manufacturers follow. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Sound designer, sound engineer. What you need from the picture editor Picture locked reference video with embedded audio in Apple ProRes Proxy p format.
Make sure the reference audio is embedded in the video file. Head pop, tail pop and timecode burn-in. Isolated location sound recordings and original music files. Stem export should only be an alternative for really simple stuff.
AAF does not work. Reference video is in place. Next step is to import the OMF. The OMF import is done. Check sync, listen through and copy OMF regions to your edit tracks. Then lock and hide original OMF tracks. Next up 3 situations: Situation 1 — You are both the picture and sound editor and have nerves to deal with unstable conversions You are both the picture and sound editor and you are cutting the film in Final Cut and doing the sound in Logic on the same computer.
There are no files to move, just a small xml file that points to the files which both Final Cut and Logic uses, but for this to work is not easy: You need to have your Final Cut timeline in strict order with dedicated audio roles and audio sub roles for each audio region, at least it seems to increase the chance of getting it to work.
Even if you do everything as you are supposed to do, there are people saying this does not actually work. Use these settings. Export using the Pro tools preset. Premiere Pro exports audio transitions between two adjoining clips, both centered or not centered, as you specify. Audio Mixer pan settings. One pan setting is exported per clip without keyframes. Premiere Pro extracts the pan setting from the track and applies it to the clip export data. Stereo tracks. Stereo Balance.
Premiere Pro applies clip balance to the Clip Gain effect for the clip. Premiere Pro does not apply Audio Mixer balance, as that is track-based, not clip-based. Channel Gain effects for 5. Premiere Pro applies the first channel-gain value per clip channel. Premiere Pro does not apply clip channel-gain keyframes. Toggle Track Output. Premiere Pro exports only those audio tracks with the Toggle Track Output setting turned on.
If a track is turned off it does not appear in the exported OMF file. Nested sequences. A 'Mexican wave' of moving faders checks out the machine when Logic is launched, and if Logic is unused for any length of time, the Logic Control display goes to sleep until a control is moved or a key is pressed.
This means that as soon as you fire up the system, Logic Control will display your song's track names, instrument names and virtual instrument names, without you needing to tell it anything.
If it could be arranged that patch names rather than instrument names could be displayed above the channels as an option, I think that would also be a useful addition.
How the tracks within Logic are displayed in Logic Control depends on the user's preference. In Global View, all available tracks that exist in the Environment window can be viewed as Logic Control tracks, whether or not they exist in the Arrange page.
The display at the top of the panel reflects the status of the controls by automatically importing track names and numbers or parameter names from Logic. Track View shows only those tracks visible in the Adaptive Track Mixer or Arrange window, while Extended Track View will show up duplicate Arrange page tracks that are assigned to the same object. This can occur when you write a part to the same drum machine over two or three tracks to make composition and editing easier, or when you record audio overdubs on a duplicate track for clearer viewing.
The XT sidecar. Next to this is another button for selecting whether the main display shows parameter names or values, and a master solo LED is located to the right of the display. Up to six characters can be used to name each track, which means most things will need abbreviating: if you are using longer names within Logic, it will attempt to abbreviate them for you when it transmits them to Logic Control.
By default, they are assigned to recall screensets one to seven and to close the topmost window. It's also handy for quickly moving the cursor to different positions within the song. I found the transport buttons to be mechanically quite 'clicky' in operation, and if you're using them to punch in your own vocals, you might end up recording the mechanical noise of the switches as well. There is an internal relay that can be switched off to reduce the click, but I still wouldn't want to be using these buttons when recording vocals with a mic close to Logic Control.
I've always been of the opinion that some things are best done using hardware controllers and others are easier to achieve using a mouse. In fact Logic Control can access Logic to far greater depths than I had initially anticipated, but it works in such a straightforward manner that if you want to use it mainly for mixing, the additional functionality never gets in your way.
Version 5 of Logic has taken a lot of work and I know the designers are aware of some improvements that they simply haven't had time to implement yet. Some users will also be disappointed that version 5 still doesn't support multiple outputs from VST Instruments.
The automation system currently lacks an Update or Trim fader mode where new fader moves can be added to existing automation data — you can only do this graphically at the moment. If this could be done using a button in the Arrange window track parameter box, or via some kind of control strip, it would make life that little bit simpler.
Alternatively, a key command for opening the Virtual Instrument window associated with the currently selected track might do the trick. Logic 5 is a very significant update, and the new automation modes should win a lot of friends with both 'mousers' and Logic Control users.
Naturally, the designers have spent a lot of effort getting all these new features ready, which invariably means that other issues get put off.
So I'm still looking for a conversion tool. Since my hope on the editors community or Logic are already gone.
My Studio. I'm in OSX, but I will check if any emulator can work. There may be a beta Mac version of AAT as well, if that helps. It still will deal with some very gnarly OMFs that nothing else will open and convert. This is very true which is why we now have a beta version of AAT which reads directly from Premiere session files. It works great under Linux with wine 3.
I talked via e-mail with the AAT guy. Looks like a perfect solution for most people, but in my specific case, it brings another challenge to the workflow because all the magic should happen inside the "emulated PC folder" since it can't reads Mac drives. There's no Beta Mac version and any plans on it. Still looking for an alternative, maybe combined with Apple Automator.
I have the mac version running with Wine etc. It works. The problem with this whole export conversion business is that there is no one in charge, and no real standard in spite of what Avid etc say. From my recent experience I'd say that the problem is getting worse; it certainly ends up occupying a lot of my time.
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