"Corrado" - A production blog

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the challenge is to get Vegas to export in a format ProTools will ingest AND keep adam's audio edits, clip names, cross fades, panning, et cetera intact with handles and changeable, not "fixed" as they would be by exporting each track as a 90 minute AIF or uncompressed WAV. (i guess, realistically you'd export by reel so they'd be much shorter, but still.) if adam goes the "export each track" route, he'll need to undo all the audio work he did, roll out each end of each audio clip to give them 1 or 2 second handles, which means he'll need to stagger them alternating between two tracks because the handles will overlap, then remove cross fades, plugins, pan everything center unless its a true stereo source, etc. big, big PITA.

any way to convert a vegas sequence to fcp or avid?
 
10s said:
Looks like you can save your audio tracks as .WAV files. ProTools should import those.
Click to expand...

Edit: Zak kinda covered this before got to reading his post, but I'll leave it in anyway... : )

Not in any workflow-manageable way. As you may already know, a feature film in an NLE will often contain many hundreds of large and small audio elements (called clips in FCP or regions in PT) that are unrelated to the source audio. They're just graphical representations of the portion you're using. Only something like OMF will enable easy export of these to something like Pro Tools, and even with that it's not always a picnic there either.

The time and effort to convert the audio timeline to WAV files for export to PT would be bad enough by itself, but the loss of the separate graphical clips/regions would make working with them extremely slow and frustrating.

Exporting from FCP or Avid to PT via OMF is a piece of cake by comparison, as is importing back. It's the only way to go, as Adam has now, unfortunately quite painfully, learned.
 
Ted Spencer said:
Edit: Zak kinda covered this before got to reading his post, but I'll leave it in anyway... : )

Not in any workflow-manageable way. As you may already know, a feature film in an NLE will often contain many hundreds of large and small audio elements (called clips in FCP or regions in PT) that are unrelated to the source audio. They're just graphical representations of the portion you're using. Only something like OMF will enable easy export of these to something like Pro Tools, and even with that it's not always a picnic there either.

The time and effort to convert the audio timeline to WAV files for export to PT would be bad enough by itself, but the loss of the separate graphical clips/regions would make working with them extremely slow and frustrating.

Exporting from FCP or Avid to PT via OMF is a piece of cake by comparison, as is importing back. It's the only way to go, as Adam has now, unfortunately quite painfully, learned.
Click to expand...

Except Vegas is supposed to export .aaf files, which in theory would provide the same functionality. What we are finding however, is that an aaf file cannot contain both stereo and mono...it doesn't like stereo. Problem #1 - I used the in camera sound for about 80% of the film. It is of course stereo. To go back and replace those clips from the DVD RAMs which contain all the audio on four separate mono tracks is very time consuming, but doable.

So that's where we are now. Kent the sound guy is working on another angle using a program called Virtual Katy. We'll see where it goes.

He can start working on it the way it is, but he really loves the flick and to paraphrase him:

"You've got a great movie with great audio. If you can just use the sound mixer's multi track recording your movie will sound like a multi million dollar flick."

And we want to keep it in Pro Tools since he has thousands of dollars worth of plugins to make the thing sound even better. We'll figure it out.

In the meantime if anyone has any ideas by all means chime in.
 
Just read the script teaser. Very nice! I can see you have a knack for the writing the kinds of characters and situations you're dealing with. Can't wait to read the rest, not to mention seeing the finished movie : )
 
On doug

On doug

Heya Doug,

Thanks for the advice.
I'll be looking for somebody to help me in the producingside side.
Adam, so don't worry at all about the red and shoot iton a 200?

Charlie
 
Charlie06 said:
Heya Doug,

Thanks for the advice.
I'll be looking for somebody to help me in the producingside side.
Adam, so don't worry at all about the red and shoot iton a 200?

Charlie
Click to expand...

"If you know how to light, it doesn't matter what you shoot it on. If you don't know how to light, it doesn't matter what you shoot it on."

- Old cinematography proverb
 
Ted Spencer said:
I'm sure you will.



I've got a lot of experience in the sound for film area, although not with aaf. If I can be of any assistance to you it would be my pleasure. Small price to pay for the immense gift of this thread...
Click to expand...

Thanks Ted, I'll keep you in mind!
 
Got it,

Thanks Adam
Concerning the distribution process, I know corrado is waiting to sell
There is thread about trials and tribulations of distribution, where is explains you want to have your voiceson separate tracks so other countries can overlay their own language. How does that apply to Corrado right now?
 
taormina said:
Except Vegas is supposed to export .aaf files, which in theory would provide the same functionality. What we are finding however, is that an aaf file cannot contain both stereo and mono...it doesn't like stereo. Problem #1 - I used the in camera sound for about 80% of the film. It is of course stereo. To go back and replace those clips from the DVD RAMs which contain all the audio on four separate mono tracks is very time consuming, but doable.

So that's where we are now. Kent the sound guy is working on another angle using a program called Virtual Katy. We'll see where it goes.

He can start working on it the way it is, but he really loves the flick and to paraphrase him:

"You've got a great movie with great audio. If you can just use the sound mixer's multi track recording your movie will sound like a multi million dollar flick."

And we want to keep it in Pro Tools since he has thousands of dollars worth of plugins to make the thing sound even better. We'll figure it out.

In the meantime if anyone has any ideas by all means chime in.
Click to expand...


Dude,

what you described above is exactly what I had to do for NGL. I had to conform the multi-track audio to picture, since the mono-mix to camera wasn't the best, and as our post audio guy said "we need all the ISO's to have options"

Anyway, I feel your pain.
 
Zak Forsman said:
the challenge is to get Vegas to export in a format ProTools will ingest AND keep adam's audio edits, clip names, cross fades, panning, et cetera intact with handles and changeable, not "fixed" as they would be by exporting each track as a 90 minute AIF or uncompressed WAV. (i guess, realistically you'd export by reel so they'd be much shorter, but still.) if adam goes the "export each track" route, he'll need to undo all the audio work he did, roll out each end of each audio clip to give them 1 or 2 second handles, which means he'll need to stagger them alternating between two tracks because the handles will overlap, then remove cross fades, plugins, pan everything center unless its a true stereo source, etc. big, big PITA.

any way to convert a vegas sequence to fcp or avid?
Click to expand...

I must be crazy but I'm thinking the audio mixer would want the raw tracks so he could do what he wants from the ground up and forget about Adam's scratch track edits. In that way, each and every sound, track, and stem, are positioned and treated by the sound editor/designer using a thoughtful design approach to the overall film.

Foreign markets will want dialogue tracks on seperate tracks for dubbing in their own language. If these dialogue tracks also contain vital BG/room tone then this needs to be sorted out as well. Stems for foley, fx, score, stereo, surround, etc.. need to be considered also.... Working this all out is a big job, so starting from scratch makes sense to me.
 
Charlie06 said:
Got it,

Thanks Adam
Concerning the distribution process, I know corrado is waiting to sell
There is thread about trials and tribulations of distribution, where is explains you want to have your voiceson separate tracks so other countries can overlay their own language. How does that apply to Corrado right now?
Click to expand...

Yes you need to make an M (music) & E (effects)... track....
 
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