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(Yes I’ve tried it, no I would not do it again).
EDILOAD REFERENCE AAF PRO
Trying to do this in the Workspace in Pro Tools would be nearly impossible and pulling 1TB of data into a Pro Tools Session is NOT a good idea at all. A quick search for scene/take info in Soundminer and then quickly spot them into Pro Tools across the 20 tracks that were available meant that for the most part the Dialog sessions were at least completely assembled. To be able to search across the entire shoot for a specific character’s takes/scenes and there was better to come.Īssembly of these production dialogs was a mission, even with Titan performing it’s tasks there were still gaps in the tracks where Timecode data wasn’t matching etc. This enabled Soundminer to read and write to all of the iXML fields that we required.
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Less than 48 hours later he provided us with the Dialog database format. We approached Justin with a question about harvesting the iXML data from the sound rolls into Soundminer, a feature that didn’t exist at the time. For this show the mixer had been asked to record discrete tracks for every character, which doesn’t sound that bad until you realise that means 18-20 discrete tracks per take, on a shoot that was split into multiple periods. The production rolls for this shoot were over 1TB. The Dialogue team were more than familiar with Paul Greengrass’ style and demands for the Production Mixer from their work on United 93 but this was going to be something else. Well, about 2 years ago while at Soundelux London we were faced with a daunting task of managing the production sound rolls on Green Zone. What’s this got to do with being an assistant.