On the time line are 2 tracks of video (so that 4 mono audio tracks)
You sure about that? Most cameras record stereo, and that's how PP sees them. One 'track' with a left and right channel.
OMFs exprota llittle text file like this:
OMF Export started.
MZ 13 01 26
Make sure your Pro Tools settings match the export settings.
Check below for error messages
Start Time is: 00:00:00:00
ProTools Offset value is: 0:0.000
Frame Rate is: 25.00 fps
You can set this in Track Offset Options in Pro Tools.
Initializing OMF Export
13 3 28
Exiting OMF Export.
Are you observing it in the Protools suite?
BTW - Premiere 48Khz - 16 bit.for your transcodes etc.
Thanks for your reply.
Yes the camera records stereo. I had been told that Premiere prefered all tracks to be setup as mono in the preferences. So the sereo clip appears on 2 mono tracks. This helps with the OMF export - or so I was told....?!
Thanks for your reply.
Yes I am getting the txt file as you discribe and it looks the same.
I don't have ProTools here, so have just been using Audition for the purposes of this test, rather than keep runing back and forth to the Audio Post team, as the problem is presenting itself in the same way in both DAW's.
The audio guys prefer for us to work in 24bit. So we set up all our projects as 48Hz 24bit, rather than the default 16bit.
I had been told that Premiere prefered all tracks to be setup as mono in the preferences.
That's false data, and it could well be the source of your difficulty.
That's fine. If you are working with mono clips, use mono tracks. If you have a mono clip in a "standard" track, it will be duplicated.
If you have a stereo clip in a mono track, it will be mixdowned to mono.
So your fix is to create a new sequence with all mono tracks, copy and paste the sequence into the new sequence and export an OMF.
I won't say that it's false data. There are many ways of working in Premiere. If you indeed recorded mono audio (close mic-ed, split tracks, etc..), by all means, best to use mono because you can directly see and manipulate the waveforms without using a filter or remapping the audio channels of the clip in a dialog box.
If you recorded stereo (eg, X-Y mic-ing, parallel mic-ing, etc), you can edit in stereo/standard tracks.
If they are dual mono tracks and you interpreted them as stereo, you can use the fill left/fill right effect to isolate the channel.
Many ways of working.
What I meant is that PP doesn't have a 'preference' on this one. No one way is necessarily any better than another. Just cause FCP did things a certain way doesn't mean you need to duplicate that method in PP. Rather it's often better to learn the way PP does things and adjust your thinking.