Issue link: https://digital.copcomm.com/i/1010948
C A S Q U A R T E R L Y S U M M E R 2 0 1 8 23 AAF – NO MONO BREAKOUT: I thought this would allow the original files to be referenced, which would, by default, contain all the metadata I wanted. However, given the "Pro Tools does not support import of AAF/ OMF references to multi-channel audio files" warning, it didn't. Instead, it resulted in four missing files that I had to re-link by name only (they wouldn't link to other parameters). The missing files were those that were part of interleaved files such as the stereo music and my poly WAV. Channels 2-4 of the poly WAV were, instead, replaced with channel one and it didn't link the right chan- nel of the stereo music file at all (see Fig._06). Fig._07: Embedded AAF import results Fig._08: Field Recorder Workflow results This information is how dailies are assembled allowing dialogue editors to have the ability to ensure the optimal mics are chosen for each scene prior to the dub. " " I also exported an embedded AAF to see what would result. As you can see in Fig._07, it passed the correct audio, but named ALL the files the same as the channel one file in Premiere. It also didn't pass channel, scene, take or source TC info. The audio is correct, though! FIELD RECORDER WORKFLOW… I wanted to mimic retaining the original clip names and metadata that would come from the production sound mixers. This information is how dailies are assembled allowing dialogue editors to have the ability to ensure the optimal mics are chosen for each scene prior to the dub. I used the AAFs and followed the Field Recorder Workflow in Pro Tools to re-associate the original files to the Premiere AAF. As you'll see, some funky stuff resulted here (see Fig._08). I renamed the first track "Guide"—which was my origi- nal "MonoMix" track. After pointing to the folder with my original source audio (containing my mono mix and poly WAV—I didn't worry about the music track here), the Field Recorder Workflow matched things back correctly. However, it ALSO created duplicate tracks with the clip names the same as the original video file (what the original AAF named the tracks). And those duplicated tracks listed the source timecode with a +10 second offset. In Fig._08, you should be able to see the "1234_LCRS" clips as having a source start TC of 01:00:03:18, whereas the duplicate "Premiere_Test…" clips have a source start TC of 01:00:13:18. Holy head-scratcher, Batman!