Help with Virtual Katy

[Eric Seaberg]

Our scenario is that we shoot HD to tape and direct to Avid. Audio is captured on an SSL C200 console to a ProTools HD4 rig w/ 128 I/O. All audio is remixed and exported as discrete 5.1 and stereo stems and stored on our Avid Unity for future syncing.

When the TV editor starts to work, he edits the show using the original stereo mix in the Avid, or what may be ingested from HDCam tape, also the stereo 'live' mix. Once the show is done, I need to conform all of the new RE-MIXED audio with the newly edited show. Timecode on the original Avid and HDCam is identical to the 5.1 and stereo stems, so VK should be able to do this.

For the life of me, I can't see how to do this. It seems Katy wants to take an audio sequence that's already been done and apply changes, whereas I want to start from NOTHING after importing the Avid AAF and conform new audio.

Am I missing something here? It's not that obvious to me, even after watching the help videos on VK's site.

Thanks...

[Ryan Young]

Can't you import the original Avid into a new timeline with the 5.1 and stereo stems, and export an EDL of that (even if there are no edits). Then export an EDL of the actual TV edit and compare those two to make your change notes?

[Audio_Vision]

I recently used Virtual Katy in a similar fashion (all mono/stereo files from a live multi-track recording to Pro Tools and HDCAM that was cut in Avid). I had an EDL from the editor and AAf with new material not recorded on the shoot dates (VO, etc). I was using the EDL, but an AAF should work. This was the first time I had used Virtual Katy as an assembler tool, it worked well. I used this video as a guide: http://www.virtualkaty.com/index.php...ask=view&id=61

The trick is that all audio to be assembled needs to be spotted in a track to its original time code.

[Ayush Ahuja]

Hi Eric,

It seems what you essentially want to do is conform location rushes (in a way).

For this, all you need to do is place all your 5.1 files at original/source time code on a timeline and then get an audio EDL of the cut from your editor, and set VK on it (as the link above shows)

Although you know, if you setup PT correctly and receive embedded OMF's, you should be able to use the Expand/match tracks option in Pro Tools as well, it'd be worth trying.

Yush.

[Eric Seaberg]

Thanks for the replies, everyone. That's how I had envisioned it working, but Katy's website and videos are very confusing and make it look more like change-orders.

It sounds like we're working a lot like Audio_Vision is, with other produced spots and VOs that drop in as well. The spots and VOs won't have any TC stamp, but they should be real easy to match and spot in the timeline.

Again, I appreciate the input...