Audio Workflow FCP vs PRO TOOLS

Hey Guys,

So we are currently in production on this film that is shot on 35mm telecined to DVcam(16bit audio) with HDD masters of the full audio. Scheduled for DI and film out.

We are assembling the scenes from dVcam, Now my question is when we need to relink the audio from the HDD, is this something that should be done in FCP or should the post sound mixer do this PRO TOOLS?

the audio is time stamped on the HDD.

I am not too familiar with PRO TOOLS, but to my understanding when you import the OMF, PRO TOOLS re-stamps the time-code. so this could be a problem for reading the timestamp from the HDD.

thanks for any help,

J-

If at first you don't succeed, keep ****ing it up 'till it works!

no luck, huh?

If at first you don't succeed, keep ****ing it up 'till it works!

How you want to do this depends an a couple different factors. (Also, it's been a couple years since I've been involved in post-sound, so take a huge grain of salt with what I write.)

I'll take a whack at the work-flow that I used to work with, and hopefully it will help.

When they did your telecine to dv-cam they should have given you flex files on a disk along with the transferred footage.

If you imported these files into Cinema Tools then you can output an EDL based on your edit that you would give to your Sound Editor (not mixer, that's a different job.) Your editor (or their assistant) will use the EDL to bring everything into pro-tools. (probably using something like Syncro Arts - Titan)

They will then edit your sound. Then hand it off to a mix stage, where the re-recording mixer will do your mix.

I don't remember if pro-tools re-timestamped the audio files when they came over from the OMF, but you'd use the EDL for your cut list. If the location-audio was brought into the FCP session, (and it was brought in cleanly, with proper handles) then you could save your sound editor a bunch of time by just sending them an embedded audio OMF to work from.

Good Luck,
-Alex