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Originally Posted by d.f.
Great. Thank you very much. The locking original omf tracks and duplicating them tip is a great one.
How does your template work? Do you have, say, x number of stereo and y number of mono tracks set up to start with, (with processing on inserts on every track) that then are bussed to final mix track or do these tracks bus to aux tracks (which have processing on inserts) and then these bus down into final mix track?
Just looking for the simplest and most efficient template for ergonomics, control and automation that your hard-won experience has taught you.
Also do you tend to run the main clock as timecode (with a sub-clock of mins / secs) and have the grid set to to frame?
This may all seem very, very basic, and if so I apologise, but I have what looks like a baptism of fire happening tomorrow (movie trailers) and such helpful tips are enormously appreciated.
ps: does anyone use Izotope Ozone 4?
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My track templates vary depending on the show. Most will have a combination of mono & stereo audio tracks and then aux tracks for dial, music, fx & bg's that are then bussed to stem recorder tracks which maybe stereo or 5.1 again depending on the delivery requirements. Really there is no "one" way to do it as it will depend on how you like to work. I have looked at other peoples templates and would not know where to start but it makes sense and works well for them.
I just run with the main clock on TC and I hardly ever switch to grid. While editing I will work with frames, 1/2 frames, 1/4 and subframes.