Enhanced OMF
Capabilities:
A number of exciting
enhancements and fixes have been made to OMF import/export, including:
·
Greater compatibility
with ProTools systems! Level
information is now included in an OMF composition exported from WaveFrame/7 and
will be imported into a ProTools session as automation data. This feature greatly improves compatibility
between the two platforms. Level data
such as a fade in and fade out, changes in level between the start and end of
an event are now supported and will show up as automation data. You must use Digitranslator 2.0 in
order to translate this information.
Please note that this version of OMF has been tested with positive results
on ProTools versions 5.1.3 and 5.3.1.
Some older version of ProTools and ProTools Free version 5.0.1 will
ignore specific gain and pan information and will only translate overall clip
gain. When importing through
Digitranslator 2.0 make sure the following option in selected in the pull down
menu: “convert gain to
automation”. In order to export level
changes along with the OMF composition make sure that the “MC10” box is checked
in the WaveFrame/7 OMF export dialogue window.
“Legacy” mode will export the WaveFrame/7 project but without specific
level information. Unfortunately,
Digidesign does not support the export of level information from a ProTools
session and, therefore, this level information cannot be imported into a
WaveFrame/7 session (or any other workstation for that matter).
·
Naming issues that were
causing the WaveFrame/7 application to crash have been fixed.
·
Support has been added
for importing session from Final Cut Pro.
·
48K and 44.1K frame
rates are now supported to allow imports from sample based editing systems
(including Final Cut Pro). In
the past these imports would result in a system crash.
·
Several fixes were made
for AVID 10.5 where references to gain and eq were crashing the
system.
·
Implemented
a few new enhancements for AVID 10.6 compatibility.
· Fixed bad sound references that resulted in no file or the wrong file being placed in a track. Now all missing sounds are found.
· Several enhancements were made importing/exporting ProTools sessions. OMF imports made from Digitranslator 1.0 and 2.0 are far more reliable that they have been in the past. An import problem that previously resulted in a system crash has been fixed.
·
OMF Import
will now automatically apply a ramp (default cross-fade) to all adjacent edits
that contain enough sound (handles) to make this possible. In the past, imports into WaveFrame resulted
in 90-degree “butt” edits that often would cause audible clicks as the playhead
past over them. This feature adds a default ramp similar to those ramps that
are created when any edit on a clip is made.
To disable this feature for a particular import, check the Do NOT
insert cross fades between adjacent events box in the Destination Volume
area of the OMF Import dialog.
As of this release, WaveFrame/7 now supports the use of multiple Mykerinos cards (up to three). A multiple card system offers increased DSP for the use of more plug-ins, as well as expanding the number of I/O. For example, two cards with ADAT daughter boards will provide not only increased plug-in power, but also allow for an I/O configuration of up to thirty-two channels. For more information, please refer to the section on multi-board support later in this document.
The time it takes to process a recording when waveforms are not generated has been greatly reduced. To disable waveform generation, uncheck the After recording box in the Waveform Data Generation area of the Sound File Preferences dialog (WaveFrame System..Sounds..Preferences). This processing time is no longer dependent upon the number of tracks in “record” or the length of the recording. Under normal circumstances, it should only take a few seconds to see the resulting recording in the track. Recording with waveform generation turned on has also been improved; however, the processing time is dependent upon the number and length of the tracks. Speeding up the record processing time is an on-going project and we intend to improve its performance with every release.
The time it takes to re-cue the playhead back to the beginning of a marked recording in ADR has been significantly reduced and should be close to WF6 performance. In past versions, if a recording was aborted (by pressing the record button again before the playhead reached the end of the marked area) it would take several seconds for the playhead to reposition itself and start recording again.
User
Defined Project “Start” and “Length” Times
It is now possible to set the default
project “start” and “length” times as defined in the Project Manager Reel tab. (Current defaults are 01:00:00:00 and 01:15:00:00, respectively). If you desire to change this
setting add the following lines to the [SESSION] section of “wavefrm.ini”
(note: entries in wavefrm.ini are case sensitive, so enter the line exactly as
shown):
DefaultReelStart=00:58:30:00 (or time of your choice)
DefaultReelLength=02:00:00:00 (or length of your choice)
You must “save” the new entries in the
waveframe.ini file and re-launch WaveFrame in order for the changes to take
place. Using the above example, every
time you define a reel the start time will automatically be set to 00:58:30:00
and the end time will be set to 02:58:30:00.
If you choose not to enter a new value in “waveframe.ini”, the old
default times will be used to set the start and end times of the project.
As of this release the AES-31
option has been implemented.
Preliminary testing has confirmed that both the import and export
functions are working as expected. In
that this is a relatively new approach to system project interchange, more
refinement to this feature may be necessary. AES-31 interchange can be found in
the Project Browser under Import and Export.
To use AES-31, please contact WaveFrame Software Group, as your
dongle will have to be updated to enable this feature. Please report your AES-31 findings (both
good and bad) to WaveFrame support.
Further details can be found in the Getting Started document or
the WaveFrame/7 manual.
Anytime the view current
or autoview dialogue box appears (such as after a recording or creating
a loop or effect), the focus now defaults to the “name” field. In the past, the user had to tab to this
field in order to enter data. Also, after
“laying-in” a sound from the Sound Selector, focus is automatically set
to the track window. This makes
laying-in a series of sounds much faster and easier.
This new feature allows the user to export
sounds directly from the track window. For example, a series of recordings can
be exported to any user-defined format or location without having to first
locate them in the Sound Selector. A new menu item has been added to the Utilities
menu called Export Current.
Sounds may be selected for export in one of two ways. First, by placing the play-head directly
over an event (and therefore, sound) in the track that has focus (using this method
will also include any siblings of the selected sound). Second, by using a marked area to define
many sounds/events within a track and/or sounds across multiple tracks. Upon
selecting the “Export Current” menu item, the Sound Export dialogue box
will appear. It is here that you may select the file type, bit depth, and
destination (sample rate conversion coming soon). Remember that when you select sounds for export from the track
window you are exporting the entire sound and not just the area that is
visible in the track
window. If a sound clip contains any
edits, and you want those edits to be reflected in the exported sound file, it
will be necessary to create a new contiguous file by re-recording the material. You may accomplish this by feeding the
source into a new track for re-recording or by selecting multiple tracks and
using the “split” or “duplicate” record feature. (this feature can also be invoked by using View Current over an
event and holding the CTRL key while clicking Modify in the dialog – see next
item).
It is
now possible to export a new recording immediately after it is made. Holding the control key down while
mouse clicking on the “Modify” or “Cancel” buttons of the Sound Info Viewer dialogue
box will bring up the Sound Export dialogue box
(alternately, hold the “control” key and push “enter”). It is here that you may select the file
type, bit depth, and destination (sample rate conversion coming soon). For conventional recordings using the ADR or
Editor screen make sure that the “Autoview” option is checked under Recording
Preferences. This will bring
up the Sound Info Viewer dialogue box after a recording is stopped. Creating an “Effect” or “Loop” automatically
brings up this dialogue box. This new
feature is useful for quickly creating a continuous file and exporting it to a
user defined destination. For example,
if you have a sequence with many edits and need to make a file for client
approval, use Create: Effect. When the Sound Info Viewer dialogue box appears, name the
file, and then press the control key while clicking on the “Modify”
button (or push the “enter” button while holding the “control” key). The Sound Export dialogue box
will then appear where you can select the file type, bit depth, and
destination. If you are recording to
multiple tracks simultaneously, it is necessary to use this method with each
sound file’s Sound Info Viewer as it appears (for those sounds you want
to export; i.e. they will not be exported in a batch process).
The
Export WF7 Project dialogue has been enhanced in a number of
ways. As before, you can choose between
copying sounds (after the EDL portion) to a mounted WF7 volume or to a
drive/path. When the export begins, the
Choose Folder dialog now allows you to create new folders on the destination
drive. Navigate to an existing drive
and/or folder. To create a new folder,
click on “Create New Folder”, enter a name and press “OK”. A new folder will be created and your
project information will copy to that location once you click OK to start the
export. And as before, if you answer
“yes” to copy sounds, the Project Sound File Export dialogue will appear
and you can select the destination of the project sounds. There are two options. First, if you check the “Drive Path”
option, the default location will be the same path that you chose initially for
the EDL portion, but in a new subfolder called “sounds”; or, you can click on
the “Browse” button to select a new location (but ONLY on the initially chosen
drive). Or you can type in a different path in the
field to the left. When you export the selected sounds to the default
path, a folder will be created at the desired location called “sounds” that
will contain the exported sound files.
At a later time, you can “create” and “mount” this folder as a “volume”
through the Volume Manager.
Alternatively, if you check the “Mounted Volume” option, you can select
an existing volume or create a new volume by clicking on the “Volume
Manager” button. Once there, you can
create a new volume or mount and dismount existing volumes. After determining the destination, select
the sounds for export and then click on the “Export” button to send your sounds
to that location.
It is now possible to lock the playhead in any position of the transport screen. Free the play-head by making sure that the “playhead locked” option (under the Options menu) is not checked. Place the playhead in the desired position on the screen. Open the Options menu and while holding the “control” key, click on playhead locked. To return to the default (playhead centered), toggle playhead locked off and then on again in the Option menu.
·
A bug that prevented the
transport from immediately going into reverse play when a track was placed in record
ready has been fixed. The transport
should now operate as intended in all transport & record-arm modes.
·
An ADR problem that
created a bogus file that extended to the end of a track if a recording was
stopped before the playhead reached the marked area has been fixed.
·
All known OMF problems
that resulted in a system crash have been fixed.
·
The Sound Selector File..Import
dialogue box is no longer hidden behind the Sound Selector. The window now gets priority when it is
opened.
·
Selecting File..New
Reel in the Editor now focuses on the correct field of the Project Manager.
·
Creating new “Dub”
versions in the track rack no longer cause a “Primitive Error” and should now
function correctly.
·
Numerous fixes have been
made to AES-31 including fixing track limits and naming issues.
·
A problem importing
projects or files from a “read only” volume (such as a CD) has been fixed. Now project information can be imported
directly into the system without first copying it to the desktop and changing its
attributes.
·
Some sync issues pertaining
to the Movie feature have been fixed.
The movie should stay in sync with the main track window under
all circumstances. We are actively
working on this feature and should have a complete solution by the next
release.
·
A record problem that
resulted from auditioning sounds in the Sound Selector has been fixed. An auto-punch recording with a mark would
not go into input resulting in a silent recording.
·
Incorrect volume ‘alias’
numbering of mapped drives created from folders (or partitions) on the same
physical drive was causing record-arm/NF7 crashes. This has been fixed.
·
OpenTL Export was
changing the file names of stereo sounds by adding an (L) or (R) (if not in
orig WF7 name); this then caused a track-to-sound link error in export and the
Tascam MX2424 reported missing sound
errors. This behavior has been changed
so that no name modifications are made during export. All OpenTL functions should be working fine.
· A bug that was crashing WF7 Project Import when clicking Cancel has been fixed.