FLASH! AH-AH! Premiere Export Protocols!
Premiere Pro Audio Mixer

FLASH! AH-AH! Premiere Export Protocols!

Premiere to Audio Export Issue Be Warned!

Whenever I run into something while working which you all must know immediately, I always think of the old Flash Gordon movie scored by Queen – and its theme song, “Flash! AH-AH!..King of the Impossible!” – as in
“news flash.” Yeah, I know. If I can remember that weird movie (with an awesome score) it means I’m older than you. But, at least now you’ll know what the heck I’m talking about when the title of a blog post is “Flash! Ah-Ah!” It means, you should probably take a quick gander, because there’s a software/hardware issue you need to know about.

The Basics of Exportation

If you’ve had the wonderfully exasperating experience of trying to get audio out of an NLE and into a DAW (with the exception of using Adobe’s Dynamic Linking), you know it isn’t pleasant. We cover how to do this in depth in the Pro Member’s Education, but I thought I’d run it down quickly here before I tell you what the issue I ran into is.

  • Export audio from Premiere via Dynamic Linking.
    • This is the easiest and most wonderful thing in the world to do. Just hit “Edit In Adobe Audition” and BAM, Audition opens and you’re there. Video included. Dope Simple.
  • Export audio from Premiere using OMF.
    • This is the good old’ye way of doing it. You lose most of your automation, no plugins, no colors or
      omf settings
      Even in OMF, never render in 16 bit!

      mutes retained and limited handles. You do keep track order, names and limited volume automation.

    • The single most frustrating issue with OMFs, other than they’re a technology which is as old as I have to be to know about Queen’s score for Flash Gordon, is that it has a 2GB limit. This means that if you have 10 tracks of audio and some music stems in your timeline with a TRT of 90 minutes, your resulting OMF file will be way over 2GB, and Premiere will return an error. Fortunately, you have another choice with OMFs other than dumping all the files and EDLs into a single OMF entity: “Separate Audio” instead of “Embed Audio.” In the former case, the audio files are crammed into a single folder in their full resolution format with handles or as complete audio files if you prefer (I do). From there, the OMF can be of any size, because it isn’t being bloated by the inclusion of audio files.
  • Export audio from Premiere using AAF.
    • AAF is a weird format from our friends at Avid which is originally designed for interchanging files
      AAF exports
      AAF exports may not be as accurate as we’d hoped

      between Avid NLEs and ProTools. It’s been adapted by most DAW/NLEs becauseof its ability to keep automation, a much more intelligent retention of meta data, and a no-upper-limit file size benefit. They’re easy to use and copy and generally servers don’t corrupt them. In Premiere you also have the AWESOME capability of pre-rendering audio effects so that your audio guys/gals/you don’t have to try to recreate something which you got just right in your NLE’s timeline.

But here’s what I just discovered – and has been confirmed as an issue from my good friends at Adobe: when exporting with AAF, should you have some audio files not “enabled” and others not, Premiere appears to randomly decide what audio files get included in the AAF and which don’t. This isn’t limited to enabled files being “disencluded” it also includes dis-enabled files. So you sort of

get the best of both worlds: files you don’t want, and missing files you want.

We haven’t figured out why it’s doing that, and we’re assured that the good Premiere programmers are working on it. Our workaround? OMF. So far, it’s been flawless in its exports and everything we want is included and nothing we don’t. Hopefully soon we’ll see this behavior fixed, but I wanted you to know about it so you didn’t waste time trying to figure out why your DAW timeline doesn’t reflect your NLEs.

Had a similar experience? Let us know or Tweet about it!

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