AAF from Premiere works! (sorta)

[trevora]

Originally Posted by Nathan W.

I was never able to get it to work with the editor--exporting an OMF to Audition and OMF out from Audition to ProTools seems to be the best method.

If anyone has any more info on this or how to get an AAF out of Premiere while keeping original file names, please provide detailed steps! Would be greatly appreciated!

I'm a picture editor but haven't had to do much round-tripping from PP to PT (plenty from Avid MC though).

Metadata is not so strong from Premiere - www.adobe.com/go/wish to tell them what's wrong from your end - they do listen.

The name not making it through seems weird. I would've thought that would happen with 'merged' (i.e. synced) clips, and multicam clips (where field recordings are synced with 1 or multiple video angles) - but the latter can be 'flattened' and thus returned to the original files prior to AAF creation.

Merged clips are awful and I never use them.

But the VO files being renamed doesn't make sense unless the editor has chosen to merge or multicam the audio with a graphic?

[Reckless Erik]

The file names changing make sense when the export from Premiere is not referencing the original media. Anything but that will create files with horribly long hex names. Let's not forget also that Premiere exports strip anything remotely concerned with metadata and oh let's not forget original timecode. When I mentioned this fact to the Adobe rep at last years IBC he quickly diverted attention to Audition. Obviously NOT listening.

[trevora]

Looked a bit closer. Seems like a lot of the functionality of OMF and AAF is a bit broken when I try and export from PP and import to Avid MC BUT the clip names do come across in the AAF into the MC timeline.

This guy https://www.youtube.com/watch?v=l_WNSNUWGTU shows how to do the export/import and you can see from his ProTools timeline that he gets the wrongly named clips from an AAF (embedded or seperate clips) and the correct naming on the OMF so I wonder if it is a ProTools setting or problem?

I can't believe how poor Adobe Premiere Pro seems to be accessing metadata from sound files though - no scene / take numbers, tricky to access the track name (have to drill down via Metadata window).

[MIKEROPHONICS]

I have PP and had to open a client’s project and make my own AAF export. It is a zoo. The whole multitrack wav file thing is a mess. Sorry Adobe.


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[Leverson]

Originally Posted by MIKEROPHONICS

It is a zoo. The whole multitrack wav file thing is a mess. Sorry Adobe.

Yeah it's a mess. I really don't like getting feature film AAFs from Premiere, it's an extra pain, has always been an extra pain, and Adobe doesn't seem to be making strides forward in making it work smoother.

[noiseboyuk]

An editor I worked with earlier this year has just passed this on - we had a lot of trouble getting Premiere to export in a pro-tools friendly manner, and this is the result of much trial and error. But it looks to me that there's a really important step editors need to do early on in the process. Here's his advice, and the last paragraph is the gold I think:

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In terms of exporting AAFs, I just did the following:

File > export AAF > check ‘’breakout to mono’’ ENABLE and then everything is as it should be.

If you want to play with the available handles you can click on the dropdown menu next to ‘’Render’’ and change it to ‘’Trim audio files’’ after which you can input your desired handles on the embedded media.

The thing to be careful with is how you treat your audio in your edit, DON’T MERGE CLIPS, we synced the audio and video by creating multicam clips, then at the end of the edit we had to ‘’flatten’’ all the audio (and video) in the sequences before exporting the relevant files - this is done by highlighting al the multicam clips in the sequence, right clicking and going to ''multi-camera'' and clicking on ‘’flatten’’. This changes the synced audio from a synced clips to its original audio source and therefore is the correct file to embed in the AAF.

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Note - I always got a useless video track with these AAFs, but they took no space and I just never imported it into PT. Also, this method DOES NOT pass source timecode. I don't know of any reliable way to do that. Ediload and EDLs have been our workflow for that, and that's been rock solid (and Mark at Sounds In Sync is simply the best support of any company in the world ever).

[GuidoHelbling]

Hi

Forget to bring that AAF from Premiere to work! This is a workflow which should work (after a weekend with lot's of grey hairs...)

-In Premiere: export the project as XML for Final Cut Pro
-Import that XML in Final Cut Pro
-Export that in Final Cut Pro as AAF
-Import that AAF in PT

Let me know if that works in your case.

Good luck,

Guido

[philper]

Do you mean Final Cut 7 or FCX?

[Basstian]

Final Cut Pro can only mean FCP 7, for it was the last pro version.

[GuidoHelbling]

Yes, Final Cut Pro 7. If you have luck, your editor used FCP7 before they started using Premiere. Below a link to adobes help site. Maybe there are some newer ways now, I don't know if there is a newer version of Premiere out now?

Scroll down to: Exporting a Final Cut Pro project XML file
https://helpx.adobe.com/premiere-pro...lications.html

Not even EdiLoad could generate my AAF session for PT. There was something weired about Time Code framerate problem - whatever it is, it sounds for a total nightmare. Try to do it with FCP7, that worked for me. Let me know if it worked.

cheers

Guido