It seems that converting Media Composer OMFI files to ProTools isn't as
easy
or strightforward as it should be. Once you get the hang of it, however,
it can become a nearly automatic process.
After receiving many inguiries about how to effectively make the
conversion,
I have decided to try and put what I know into words and pictures here on
the web, hopefully it helps you.
There are many variables that will determine how you
get your audio into the ProTools.
If you don't know which is best for you, read through each of them to determine
which best fits your needs.
I have also included two pages briefly describing the process of going from
Media Composer
to AudioVision. However, be aware: I have not gone into any depth
about transferring
video to AudioVision via OMFI. This may come in the future. But
for now, the AV
how-to pages contain the same sample sequence and media as the ProTools
how-tos.
 |
Click if you are sending audio to ProTools 3.0
or ProTools 4.0, you wish to:
export from Media Composer using "OMFI Composition
Only" and
provide the audio house with a ProTools session (NOT an OMFI file). |
 |
Click if you are sending audio to ProTools 3.0
or ProTools 4.0, you wish to:
export from Media Composer using "OMFI Audio &
Composition" and
provide the audio house with a ProTools session (NOT an OMFI file). |
 |
Click if you are sending audio to AudioVision 4.0*,
you wish to:
export from Media Composer using "OMFI Composition
Only" and
provide the audio house with an OMFI file. |
 |
Click if you are sending audio to AudioVision 4.0*,
you wish to:
export from Media Composer using "OMFI Audio &
Composition" and
provide the audio house with an OMFI file. |
* these how-tos do not currently go into depth about
transferring
digitized video to AudioVision via OMFI.
Media Composer versions 6.5.2 and
6.5.3, ProTools 4.0 and
AudioVision 4.0 were used in preparing these pages.
modified 1/22/98
Questions? Comments? email
Wes Plate
Special thanks to Randy Yount from Clatter&Din,
Bob Fleming with Avid.
all pages Copyright © 1998,
Wes Plate