Very good video on post workflow within film sound. I will share your tutorials with my students and those that wish to learn more. I was going to create the same tutorials because I haven't been able to find any on the internet but you clearly have a good grasp on this.
Hi! What did you choose in playback engine? Asio or Windows audio device? If asio is selected I found, that the sound plays a little earlier than the video. But after render, if i watch movie in VLC player the video plays earlier then the video
Generally it's better to use an external USB audio interface versus ASIO or Windows for your playback engine. But if you don't have one, ASIO4ALL or Voicemeeter Banana might help. As for the video lag issue, that means you probably need to re-export your video using the DNxHD codec or at a lower resolution. That will help your computer keep everything in time better. Hope that helps!
The problem is that i have an AAF file but without raw audio files because i thought after making an AAF file you can delete the raw files which i did. And now when im importing that AAF file that i created to premiere pro by drag and drop, it showing some dead files that need a link to revive. But why, wasnt AAF audio supposed to bake all the audio raw files in one AAF file?
There's a couple different types of AAF and OMF file formats. It sounds like you thought you were using an encapsulated AAF versus a linked AAF. With a linked AAF, it links to the original raw files to save space. So probably just a good lesson to learn to never delete the raw files until the project is finished. Hope that helps!
I'd love to import an AAF, but I work in Reaper which is a DAW that doesn't support AAF files. I would convert the AAF to an XML and convert the XML to a Reaper project.
Cool. Yeah I like Reaper too, I use it often for video game work. But for post film sound work, Pro Tools is the standard and if you're working with a team, it's easier to all work on the same DAW.
@@FilmSoundTutorials I agree. Reaper is more for video games. I'm only using it for film because I couldn't afford Pro Tools. In fact, I think I might be saving money for Pro Tools someday.
@@PufftasticJames4 Nice. Sweetwater generally has some good Pro Tools deals once you're ready to purchase the software: www.sweetwater.com/c1108--Pro_Tools_Software
did you use something to erase the slience or did the AIFs import chopped up already somehow? Would you recommend deleting slience on all dialogue tracks before mixing?
I'm a little confused by the question. The AAF came from the editor, who synced all of audio clips with the picture before she started editing. So if there's no audio for a specific clip, then it's going to show up as a blank space when imported into Pro Tools. Then in the following dialogue editing video in this series, you'll see how I selected and dialogue edit the clips. So if a clip is silent, generally I won't drop down that clip into my dialogue tracks. But as a general rule, you never delete clips that are imported from the AAF. Watch the next dialogue editing video and then let me know if you still have any questions. Thanks!
@@FilmSoundTutorials thanks. so i use logic and i am working on my first dialogue mix. when i import the audio from the client - its just full tracks from each mic - silence is not stripped by default. logic and pro tools offer a strip silence feature that detects parts of the track, where there is no signal and erases it from the track creating a bunch of regions of lines.
@@jakenewcomb8897 Oh, well then whoever sent you the AAF screwed up and didn't properly sync the audio to the shots before actually editing it all together. So this is not the correct use case for Strip Silence. Strip Silence is normally used for VO editing. For dialogue editing, having "silence" in the film is good, and generally you'll add fill to make sure you don't have any silent sections. So regardless, you need to go back to the editor and ask for a new AAF. What they sent you right now is unusable. It's not your job to resync the dialogue to the edit. Hope that helps!
Hey Thanks for the tutorial. I have a question: Usually, any videos that are over 10mins long have OMF files that are bigger than 2gb. Movies are somewhere between an hour and 3 hours long... so I expect the OMF files to be exponentially bigger. How do you manage to bypass the size limitation? Do AAFs work differently from OMFs? Is there no 2gb limit for AAFs?
Of course, happy to help! Great question. For long movies we generally work in 20 minute sections called Reels so that's how we split up the files. As for file size restrictions, in the editing timeline you should be able to select only first half the film to export into an OMF and then the same for the second half. So I've had editors just send multiple OMFs/AAF because of that. You can also split it up by audio family, an OMF with only dialogue, FX, etc. Personally I haven't really had a problem with this since I generally don't make a lot of AAFs/OMFs but I assume that's why sometimes I recieve multiple files. Hope that helps!
@@facundogarcia8211 Yes I think you're right, only for embedded files. Again, I generally don't make the OMFs/ AFFs so I'm not too familiar with the limitations. But in general, yes you don't want your files to be too big anyways since some drive types such as FAT have a file size limits. Also, you don't want your file names to be too long since some operating systems have character limits as well. Hope that helps!
First of all, great tutorial series!!! Just curious, since an OMF can be split into halves, can 2 different OMF files be merged? I’m doing sound design for a student film and I received an OMF with picture lock from the editor and got my file set up and organized and started editing. Then I received a message from the editor that there are some changes to the edit. How would I go about incorporating the new changes without losing the work I’ve already done (other than manually syncing all the clips to the new reference track). Thanks in advance!
Hello! Great video, wondering if you can help with an issue relating to importing an aaf file. Our audio and video is being recorded into avid media composer, typically 4 video tracks and 4 audio tracks with each of the audio tracks having 4 playlists underneath for ISO channels (16 mics total). Our video editor makes the necessary picture edits, then exports an aaf file to the post mixer for sound fixes. When the post mixer imports the aaf, pro tools only imports the 4 active audio tracks and ignores the ISO tracks embedded underneath. I know those ISO tracks are in the aaf file because I see them in nuendo, but I can't seem to land them into my PT session. When we need to pull a line from an ISO, we have to go back into MC, find the ISO, export that audio and drop it back into the session. How do I import all of the embedded audio files into my PT session so that I can do ISO edits without MC in the background?
Have you checked and see if they're in the playlist drop down on each audio track within Pro Tools? That's where I would assume they would be. Otherwise you could just make 4 separate AAF files from MC that shows the various playlists and import them separately in PT later. Or you could possibly export a new AAF from Nuendo with those playlist visible. But yeah, that's not a great workflow with moving back and forth all the time. Hopefully that helps!
Can you help me with the best audio to import from DaVinci Resolve, IE, omf, aah etc, great video, there is not much out there for good audio post production. you have any courses at all??
Huh? An OMF or AAF should work from Resolve to Pro Tools. Should probably try both and see which one works better. Most of the editors I work with work in Avid or Premiere so I'm not as familiar with Resolve. Thanks for watching!
It just imports correctly more often. Not too sure whats the technical reasoning for why. Pro Tools and Premier both have tons of weird small bugs. However, I did recently receive a AAF exported for Premier and it worked alright, so maybe Adobe's fixed something. Thanks for watching!
hI, i found ur channel recently ! u are saving my life here :) could u please provide me with the film AAF ? i wanna practise what I'm gonna learn from u! i have no other intention!
Yep tradition and to allow space for a leader. If your video started right at the beginning of a session and had a leader, then it would start at a weird timecode time. This way it doesn't.
It may be a carry over from the days of tape. I remember working on a tv series that was shot on digital betacam and the timecode seemed to be related to the episode being shot. That is, episode one started at hour 1 and episode two started at hour 2 in terms of the timecode striped on them.
Very good video on post workflow within film sound. I will share your tutorials with my students and those that wish to learn more. I was going to create the same tutorials because I haven't been able to find any on the internet but you clearly have a good grasp on this.
Thanks for the kind words. That would be great. Thanks for watching!
Hi! What did you choose in playback engine? Asio or Windows audio device? If asio is selected I found, that the sound plays a little earlier than the video. But after render, if i watch movie in VLC player the video plays earlier then the video
Generally it's better to use an external USB audio interface versus ASIO or Windows for your playback engine. But if you don't have one, ASIO4ALL or Voicemeeter Banana might help. As for the video lag issue, that means you probably need to re-export your video using the DNxHD codec or at a lower resolution. That will help your computer keep everything in time better. Hope that helps!
@@FilmSoundTutorials Thank you very much! I will try it
@@ЗахарЩербатых Happy to help!
The problem is that i have an AAF file but without raw audio files because i thought after making an AAF file you can delete the raw files which i did. And now when im importing that AAF file that i created to premiere pro by drag and drop, it showing some dead files that need a link to revive. But why, wasnt AAF audio supposed to bake all the audio raw files in one AAF file?
There's a couple different types of AAF and OMF file formats. It sounds like you thought you were using an encapsulated AAF versus a linked AAF. With a linked AAF, it links to the original raw files to save space. So probably just a good lesson to learn to never delete the raw files until the project is finished. Hope that helps!
Great tutorials! Very organised
Thanks for watching!
I'd love to import an AAF, but I work in Reaper which is a DAW that doesn't support AAF files. I would convert the AAF to an XML and convert the XML to a Reaper project.
Cool. Yeah I like Reaper too, I use it often for video game work. But for post film sound work, Pro Tools is the standard and if you're working with a team, it's easier to all work on the same DAW.
@@FilmSoundTutorials I agree. Reaper is more for video games. I'm only using it for film because I couldn't afford Pro Tools. In fact, I think I might be saving money for Pro Tools someday.
@@PufftasticJames4 Nice. Sweetwater generally has some good Pro Tools deals once you're ready to purchase the software: www.sweetwater.com/c1108--Pro_Tools_Software
Big help to me, thanks man!
Glad they could help. Thanks for watching!
did you use something to erase the slience or did the AIFs import chopped up already somehow? Would you recommend deleting slience on all dialogue tracks before mixing?
I'm a little confused by the question. The AAF came from the editor, who synced all of audio clips with the picture before she started editing. So if there's no audio for a specific clip, then it's going to show up as a blank space when imported into Pro Tools. Then in the following dialogue editing video in this series, you'll see how I selected and dialogue edit the clips. So if a clip is silent, generally I won't drop down that clip into my dialogue tracks. But as a general rule, you never delete clips that are imported from the AAF. Watch the next dialogue editing video and then let me know if you still have any questions. Thanks!
@@FilmSoundTutorials thanks. so i use logic and i am working on my first dialogue mix. when i import the audio from the client - its just full tracks from each mic - silence is not stripped by default. logic and pro tools offer a strip silence feature that detects parts of the track, where there is no signal and erases it from the track creating a bunch of regions of lines.
@@jakenewcomb8897 Oh, well then whoever sent you the AAF screwed up and didn't properly sync the audio to the shots before actually editing it all together. So this is not the correct use case for Strip Silence. Strip Silence is normally used for VO editing. For dialogue editing, having "silence" in the film is good, and generally you'll add fill to make sure you don't have any silent sections. So regardless, you need to go back to the editor and ask for a new AAF. What they sent you right now is unusable. It's not your job to resync the dialogue to the edit. Hope that helps!
GREAT !
Thanks!
Hey Thanks for the tutorial. I have a question: Usually, any videos that are over 10mins long have OMF files that are bigger than 2gb. Movies are somewhere between an hour and 3 hours long... so I expect the OMF files to be exponentially bigger. How do you manage to bypass the size limitation? Do AAFs work differently from OMFs? Is there no 2gb limit for AAFs?
Of course, happy to help! Great question. For long movies we generally work in 20 minute sections called Reels so that's how we split up the files. As for file size restrictions, in the editing timeline you should be able to select only first half the film to export into an OMF and then the same for the second half. So I've had editors just send multiple OMFs/AAF because of that. You can also split it up by audio family, an OMF with only dialogue, FX, etc. Personally I haven't really had a problem with this since I generally don't make a lot of AAFs/OMFs but I assume that's why sometimes I recieve multiple files. Hope that helps!
@@FilmSoundTutorials Hello! Is not the 2Gb limitation only for embedded files?
@@facundogarcia8211 Yes I think you're right, only for embedded files. Again, I generally don't make the OMFs/ AFFs so I'm not too familiar with the limitations. But in general, yes you don't want your files to be too big anyways since some drive types such as FAT have a file size limits. Also, you don't want your file names to be too long since some operating systems have character limits as well. Hope that helps!
First of all, great tutorial series!!!
Just curious, since an OMF can be split into halves, can 2 different OMF files be merged? I’m doing sound design for a student film and I received an OMF with picture lock from the editor and got my file set up and organized and started editing. Then I received a message from the editor that there are some changes to the edit. How would I go about incorporating the new changes without losing the work I’ve already done (other than manually syncing all the clips to the new reference track). Thanks in advance!
Hello! Great video, wondering if you can help with an issue relating to importing an aaf file.
Our audio and video is being recorded into avid media composer, typically 4 video tracks and 4 audio tracks with each of the audio tracks having 4 playlists underneath for ISO channels (16 mics total). Our video editor makes the necessary picture edits, then exports an aaf file to the post mixer for sound fixes. When the post mixer imports the aaf, pro tools only imports the 4 active audio tracks and ignores the ISO tracks embedded underneath. I know those ISO tracks are in the aaf file because I see them in nuendo, but I can't seem to land them into my PT session.
When we need to pull a line from an ISO, we have to go back into MC, find the ISO, export that audio and drop it back into the session. How do I import all of the embedded audio files into my PT session so that I can do ISO edits without MC in the background?
Have you checked and see if they're in the playlist drop down on each audio track within Pro Tools? That's where I would assume they would be. Otherwise you could just make 4 separate AAF files from MC that shows the various playlists and import them separately in PT later. Or you could possibly export a new AAF from Nuendo with those playlist visible. But yeah, that's not a great workflow with moving back and forth all the time. Hopefully that helps!
Can you help me with the best audio to import from DaVinci Resolve, IE, omf, aah etc, great video, there is not much out there for good audio post production. you have any courses at all??
Huh? An OMF or AAF should work from Resolve to Pro Tools. Should probably try both and see which one works better. Most of the editors I work with work in Avid or Premiere so I'm not as familiar with Resolve. Thanks for watching!
Hello, nice tutorial but I got a question ¿why is the OMF better when it comes from Premier?
It just imports correctly more often. Not too sure whats the technical reasoning for why. Pro Tools and Premier both have tons of weird small bugs. However, I did recently receive a AAF exported for Premier and it worked alright, so maybe Adobe's fixed something. Thanks for watching!
Great!
Thanks for watching!
hI, i found ur channel recently ! u are saving my life here :) could u please provide me with the film AAF ? i wanna practise what I'm gonna learn from u! i have no other intention!
Sure! You can purchase the sample project here: soundtuts.com/collections/frontpage/products/murphys-law-short-film-tutorial-project-files
Nice tutorial dude, just subscribed. I still don't understand why the it starts at the one hour mark though :/
Tradition basically.
Fair enough!
Yep tradition and to allow space for a leader. If your video started right at the beginning of a session and had a leader, then it would start at a weird timecode time. This way it doesn't.
It may be a carry over from the days of tape. I remember working on a tv series that was shot on digital betacam and the timecode seemed to be related to the episode being shot. That is, episode one started at hour 1 and episode two started at hour 2 in terms of the timecode striped on them.