3.

Create a new bin and move your Audio sequence into it.

4.

Bring your Audio sequence into the timeline and delete
all the video tracks, leaving behind a sequence with only audio.

5.

In the bin, select the Audio-Only sequence, and from the Clip menu select Consolidate...

In this method, consolidate your media to the drive you are taking with you to sweetening.
In this example we are using a Zip drive, but for longer
pieces you may wish to use a Jaz or some other larger media.

Note how under the Disk heading, the consolidated clips reflect that the mediafiles now live on the Zip.

6.

Again in the bin, select the Audio-Only sequence
and select Export... from the file menu.

7.

Choose OMFI Compositions Only,
and be sure the SD2 Format box is checked.
Also, export as OMFI 1.0.

8.

Navigate in the dialogue box to your transport media.
You should see on the drive the 6.x (or 5.x)
Mediafiles folder containing your consolidated media.
Save your OMF file here.
Because the OMFI Composition is a small file,
describing edits and referring to mediafiles,
the export is very fast.

9.

Notice that the Zip now contains two items,
the small OMF file (in this case, it is 309kB) and the Mediafiles folder.

11.

The OMFTool documentation recommends
that you shutdown all other running applications,
this should free up for you enough RAM
for you to be generous in your allocation to the OMFTool.
The larger the OMF file you are converting,
the more RAM the OMFTool will need.
Be generous, the OMFTool is a memory hog.

12.

Once you have opened up the OMFTool, select
Convert OMF to ProTools... from the File menu.

13.

Navigate to the OMF file you just created and select it.

14.

Choose where you are going to save your PT session,
which should be the same transport media.
Also in this dialogue box you will choose
whether you are going to PT3 or PT4.
This is only an option when using OMFTool 2.0.1.

15.

Like exporting a Composition Only from the MC,
processing a Composition Only in the OMFTool is very fast.

16.

Now you are finished.
Your transport drive should now contain a folder with the
PT session as well as a folder for audio files and fade files.
Note the audio files folder is empty,
remember the media for the session is still in the mediafiles folder.

17.

That's that. Now take that drive to the ProTools station.

On the ProTools machine, create a new folder on the drive you wish to work on
on the ProTools SCSI chain.

Copy the ProTools session folder from the transport media to your
ProTools drive, then copy the Media Files from the 6.x/5.x MediaFiles folder
to the audio files folder on the ProTools media drive.

18.

Notice that the fade files already exist in the fade files folder.
These files were created by the OMFTool.

19.

Now,eject your transport drive (in my case the Zip) and open up your new ProTools session.  PT now locates the audio media.  ProTools may ask you to help it locate a file if it cannot find it, use the dialogue box to navigate to the file and select the folder.

20.

Since the audio media files were originally created on the Zip,
and the OMF Composition refereneced the media to the Zip,
and the resulting PT session also referenced the ZIP,
PT will get confused as it opens up.

PT finds the media in the audio files folder,
but it expects to find it in the 6.x MediaFiles folder on AudioZip.
Select the options as shown and continue.

21.

We found in the past working in PT3 that sometimes the
Disk Allocation wasn't what we wanted, so check this,
makeing sure that the drives you're working with are the drives you want.

22.

Any volume changes in the Media Composer are brought into PT,

...however our experience also showed that pans don't translate very well into ProTools.
So we would need to first delete the last (and unnecessary) pan automation point,
then change the pan on all the tracks to reflect the stereo pans we intended.

Important note:  Someone suggested the newest version of OMFTool
fixes this problem.  I can't verfiy this, if someone else does, please let me know.

23.

Lastly, before you start mixing, it is important to know
that audio from ProTools that is going back into the Media Composer
must be created in frame mode, editing using samples is not compatible.

24. (optional)

When you are done mixing, if you need the finished audio
brought back into the Media Composer, follow these steps
to import the final mix.

The conversion option allows you to convert to another
file format or sample rate.  It is not necessary, however,
if the Media Composer's file format, sample rate and bit depth
match what teh ProTools designer was working with.

25. (optional)

Now bring your transport media back to your
Media Composer system and in the MC.
Select Import... from the File menu.  Select
Sound Designer II as the file type and navigate
to the bounced mix file (in this case on the ZIP).

After you import it, cut it back into your
sequence.  You're done!