Ediload reference aaf pro#
There are specific tools designed to conform Pro Tools sessions from different editing programs: Watch out for "consolidated" renamed clips in Premiere if they synced that way, which will not work.
I've done little tiny indie movies where we still used two systems and over 100 tracks, which is a lot for a $100,000-$150,000 movie. Often these days, they'll put all the dialogue tracks on one separate Pro Tools system, all the music in another, and all the FX in a third system, then jam them all to work together through the same mixer. At the very end, the ProTools people can build a "super session" that puts everything together. We absolutely recommend working in 20-minute "virtual reels" for features for many reasons, particularly changes and rippling in new shots and all that stuff. It's much better between Avid & Pro Tools, of course, but they're the same company. The basic cuts and so on do work, but the sound people just throw out all the levels and pans and EQ and so on and do them over. The sound editors & mixers I know tell me they rebuild all the sessions from Avid or Premiere or Resolve or FCPX and just start over.
Can't believe that there is still no solid, bulletproof solution for this 2021 If you export from Premiere, the sound files get new names and all meta data is lost. Premiere and Audition choke on a 90 Min program wit 20+ audio tracks - you have to do it in 20 min parts - still a PITA and super slow. If you export the same files from Avid, PT can suddenly read them. Also Avid seems to read that AAF from Resolve, but not PT. Exported a AAF from Resolve (with wav audio) - imported in Premiere, rendered out to AAF.Īt least that seems to work halfway decent. Tried Premiere to import via XML > can't read the synced audio, cause the syncing caused a. Tried Audition to import from XML > export to OMF - lost tracks in translation.ģ. Tried AATool to translate from XML to PT and OMF - no diceĢ. Got several XMLs back - non of them worked in Resolve.Īsked for an EDL, that worked some degree, but had to swap many clips by hand (wrong clips) and had to re-do all the audio L-cuts.Įxported a AAF (no video) via delivery for the sound designer, which didn't open (parsing errors) - that's where the fun beganġ. I shot a feature (in BRAW), synced in Resolve with external audio, and handed the proxies over to an Avid editor. I just lost 5 days just to get from Avid to Resolve an ProTools, and it drives me crazy.
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