![]() ![]() ![]() Also make sure it is set up as step 1 describes.ġ0. If you made changes to timeline 1 on the project you just opened, then export a new FCPXML and open a new project. If you did make some changes, then export a new FCPXML. Check this timeline against a qt reference. Your have a timeline now with the audio as it was from the camera recorder, conformed with your edit, trims, volumes, pans and **** like that.Ĩ. Select ‘Automatically import media to the media pool’ and ‘ignore extensions when matching’.ħ. Import the fcpxml of timeline 1 in this clean project. Set it like you set the other one ( follow step 1 again with this new project)Ħ. Before doing this check that step 1 is still as it was when you did it.ĥ. Export an FCPXML (any version) from that timeline. Or get an editorial assistant that does this for you.Ĥ. For future edits avoid them as much as possible. Go to the video tab on the delivery page and say how many handles you want/need.ģ. Also make sure you have the Channel option set as ‘same as source’ and tracks ‘one per channel’ under the Audio tab in the delivery page.Ģ.5 If you want to add handles this is the step. Render out QUICKTIMES (the reel name will get burnt onto the file). Render Audio Only, individual source clips, with source filenames and unique filenames using prefixes of the entire timeline. ![]() Under the ‘Conform options’ menu make sure you have the option ‘Assist using reel names' ticked as well as ‘source clip filename’.Ģ. I was bursting on happiness.Īnd so much I was that I decided to write a tutorial for you guys to explain how to get synced audio on davinci out to protools, audition or logic pro x. only that now they’re wrapped on a Quicktime). The original audios and the rendered ones are the same. I had all my cuts with all the volume info and dissolves linked to the new audio files (which, by the way are not in any way changed from the original, no change on the audio is burnt in the render, even though you blow up the volume, it’s like you only do a transcode, all the changes happen in the timeline after you impor them. And then exported an xml, import it on a new project. so I chose ‘quicktime’ on the only audio export. The only problem was that the wave files are not good at retaining embedded metadata. so if I get those files to have a reel name and timecode. The XML/AAF/FCPXML/EDL (I tried all those) would either always reconnect with the source media (the audios from the camera, of course), OR import the media but not sound, OR get all the audios mixed up and not matching the original edit I did.Ĥ.- So after all this poor crisis management I went for a lunch, cleared up my head and thought: DaVinci works best with reel names and timecode. so the information I got out of the software was worthless. but never I never could reconnect to those WAV inside davinci. it seemed like a very poor solution to such a problem.ģ.- Then I tried with the audio only module on wave format. forget any pan, dissolve or volume information. only to find out that it imports all sorts of nested clips onto the timeline and that you can’t have handles. Then I imported this AAF into premiere and got an OMF out of it. and the solution I found was:Ģ.- Round-trip to avid with no video (I also tried all the roundtripping but trust me, none of them work with audio). The problem was that I had the audios synced with the external recorded audio, so how was it possible that it wouldn’t go through the xml and on to the aaf? Well it did not. I tried again and again getting of course the same results. With a tight deadline and completely reliant on the X2PRO this became a huge problem. I Had worked with X2Pro before to get audio out of davinci and make an aaf (this is what made me say Yes to use the software on the first place) the thing is that after sending the turnover to the mixer, he told me that some of the audio was missing and also that what he got from the aaf was the original camera audio but not the externally recorded one. 1.- Synced audio won’t go anywhere out of davinci. ![]()
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