ronfya

Hey guys, I transferred a FCPX 10.3.4 project to Logic 10.3.3 via XML (with the metadata setting set to "audio"). My issue is that all the audio channels I deactivated by unchecking them in FCPX's inspector are not showing muted in Logic. That means for each clip I have to check what to mute or keep on and it's a real PITA. Any idea on how to fix this ? Moreover, automation translates well but not the fades in/out. Any insights ? Thanks ! R.

Yes Arnaud that's the routing I am going for. And I will try what you suggested about having different static EQs on the channels and just automating their bypass state. Thanks ! Cheers

I also tend to think it's a good idea. Yet, I've seen huge projects where that was absolutely not the case at all. Maybe I am overthinking it. Still there are instances where it's quite needed. The missing piece of the puzzle might then be something along the lines of what Ploki said : plugin presets that you can switch and automate on the fly in Pro Tools. This plugin preset automation is not possible at all in Logic then ? R.

I thought of that, but there should be a better way I am just trying to figure out how it's done in real world films. And surprisingly, that answer is not easy to find ... I already looked around quite a bit :-/ So if anybody has some insight, that would be very appreciated ! Thanks guys!

Hey David, As we all know, the process you describe fits well for mixing a song. Here I am talking about mixing a film, not a song. The plugins setting will vary for each character (say the amount is C) and scene location (say the amount is L). Therefore that means that only dialogs, I might encounter C*L different situations. If I dedicate one track per situation, that will escalate quickly out of control. Plenty of films can handle dialog on about 8 tracks by checkerboarding the different characters' lines. Therefore on each track you will have different characters and locations. That's what I am trying to handle. + also matching reverbs between production sound and ADR. I must say that I don't quite get the workflow ... Cheers

Hey guys. How would you edit automation for heavy automation projects like a movie ? I am particularly concerned about automating EQs and compressors (and all their parameters, which would be cumbersome to edit in the automation curves) on each track across the whole movie. My ideal workflow would be to highlight a section I need to work on, and then tweak the EQ (as a track effect) as there wouldn't be any automation and then when I am ok with the settings, copy/transfer those to the automation tracks for that section. For a moment I thought the WRITE mode was the answer, but for some reason I don't get, if I stop playing before the end of my selection, it writes an additional point there at 0 value. In this mode I really need to play the selection entirely. That would kinda work but very prone to error. READ does not work since that would mean editing directly in the curves. TOUCH & LATCH do not work since you waste energy just trying to catch & grab the moving EQs. If I put it in other words, I would need a LATCH where the ending value propagates to the entire selected range. I also would avoid region based processing in order not to overload the computer with toooo many plugins. Or any other workable workflow. Any tips ? Thanks & keep it up ! Cheers.

Hi there, Does anybody know if it is possible to convert REGIONS to audio files (like Edit > Convert > Audio region to new audio file) but also keep handles of extra audio (say 1 second) on the left and right of the region ? My regions are from very long (more than 1 hour) audio files and I want to apply noise reduction in soundtrack pro only on the regions I kept. Thanks ! R.

I also have this problem with the playhead. My workaround to ensure that the playhead behaves as "play or stop and go to last locate position" is the following: - Enable the option "play from marquee selection" (click and hold the play button in the toolbar, and check the option) - Set your secondary tool as the marquee tool (you use it by command clicking) - Now, every time you need to relocate the playhead, instead of clicking in the ruler, do it by command clicking (therefore using the marquee tool) somewhere in the tracks where you want to relocate the playhead. - Since "a marquee cursor" is left at that spot, the playhead will always play from there (even if "play from last locate position" is not enabled). Not ideal, (especially if you relocate your playhead using the keyboard) but it's bulletproof.

My system specs should be in my signature now. But come on really, 1h to import a few files (no more than 10)? Copy time aside, file size should not influence import time at all (and I am not talking about waveform drawing since this happens AFTER the import is complete). For an unknown reason, import time is WAY LONGER than a simple copy time: a 2GB file copies in less than 20 seconds on my laptop.

Hi there, I have a two fold problem related to importing audio files from a Final Cut Pro X 10.1.3 project (about 7 minutes long with a mix of 44.1 kHz and 48kHz 16 bit wav audio files up to 2GB for the bigger ones) into a new Logic 10.0.7 project. - First I tried to import the project from an XML file. Logic had to pause each time I tried because of "your system run out of application memory". I noticed that my virtual memory grew up to 80GB !! - Second, in order to find a workaround, I chopped my FCPX project in 4 and exported each of those 4 to Logic through XMLs. It worked but Logic took a looooong time (about one hour for each import, thus 4 hours) to do so seemingly because the audio files were quite large (average of 500MB to 1GB, some of them up to 2GB). Any idea of why this is and how to counter it ? Thank you so much ! R.