In the case that you are working with a sound engineer or an audio mixer, you need to know how to share files with them in the best workflow. And almost all audio mixers nowadays prefer either OMS or stems. And I recommend OMS to start if it's possible, and if your mixer says no please give me stems or splits as they're also called, then I'll show you that as well. So in om F is basically a wrapped up audio project. So what it'll do is when you create this file called an om F, it will take all this information including your cuts in your volume, automation, your panning info and even some other effects. It'll take all that information and stuff Send it within the project to your audio mixer in such a way that it can be opened in their programs such as Pro Tools to export an om F. The first step is make sure you have your output set, then look to the right and make sure you have nothing over here.

If you have anything over here, the IMF will send all of it. And that results in huge file sizes that are completely unnecessary. And it often throws off the time base for the project. So it is pretty crucial to make sure nothing's here. If you have a lot of stuff over here that you want to save, and you're not quite comfortable deleting it, you've got two options. You can either delete it, export the IMF and then hit Ctrl Z to bring it back.

Or you can just duplicate the sequence and clean it up in a new sequence. So we've already deleted this out we've set our out point. So now we can Go File, Export. Oh mF. And here are options, you can title it. In almost all cases, leave the sample rate alone and leave the bit rate alone.

Files you want to embed audio, which means it'll appear like this for them. And here is the main one you want to pay attention to is copy complete audio files or trim audio files. And in most cases, you want to trim the audio files. And what that does is this is what the audio mixer will get with Trenton's audio files, he won't be able to drag this song out. If you send him the complete audio file, it'll send the complete song and he can drag this out as much as he wants. So depending on how much work the audio mixer is going to do in what type of work, that's how you make this decision, but to cut down on file sizes, go to trim audio files, which will only send the audio that you have cut here.

But it gives you a little grace, a little grace room. And that's called the handle frames. And that's how much will let how much extra is it going to include. And I like to do 48 frames, which is generally two seconds. And that means when the audio mixer opens this project up, if he wants to let let it fade out a little more, he has two seconds to play with, you can drag this out by two seconds. Same with these clips if he needs to do some sort of no extra noise removal or he wants a little more space on the word whatever.

Two seconds is usually plenty of time to accommodate for all that. So you hit OK. It's gonna ask you where you want to save it. And you can look here, if there's any sort of error, it'll tell you here, but it looks good. This is almost always going to be the case. But you see, the start times is zero.

That's important. If the start time said something else like you, you have weird start times and your premiere sequence that I don't even know how to do. But you can do it, some editors do it, then that's important to communicate to the audio mixer, because they'll have to offset their timeline by this amount, so everything lines up. In addition to sending an om F, you would want to create a low res mp4 as a reference video, so they can pull up put the video in their Pro Tools or other program and look at it while they're mixing. But you want to make sure it's very low bitrate. I'm talking like, two megabit per second, maybe three, so that it doesn't slow down their program at all because programs like Pro Tools are not built.

Video, they're built for audio. So when you get videos in there, things tend to slow down. So mixers really appreciate it when you give them lightweight videos. Go to desktop here. Test Oh mF, and I'm going to try opening that on my computer. I don't have Pro Tools.

So audition grabs it as the default application. And it's gonna ask me where I want to load up the project. And check it out. This is how it will appear in Pro Tools for your audio mixer. It'll split it into left and right channels. And you've got your dialogue and the music and all that hard work we did with the pencil that gets saved and it's editable.

So that's a really cool that's why I recommend the om f as the best way to transfer files between you and audio mixer because it saves everybody work and not only saves Some work. But let's say you intended to do, let's say you bumped up this volume for a reason, like it was important. The audio mixer will recognize that and perhaps even embellish it. So it's a kind of like a nonverbal, extra way of communicating your ideas that can streamline things and prevent extra rounds of revisions. If your audio mixer tells you No, I don't want to know a math. I just want stems.

Stems means exporting each audio group by itself. Remember, in our very first few lectures, I went over the different audio groups or organization. This is where the organization comes in handy, or it can come in handy is we want to make sure we have all the dialogue together all the music together and all the sound effects grouped together. So first, we're gonna make our dialogue stem. First, we want to duplicate our sequence and call this stems are something to that effect and open it up. Because you're going to start messing with a lot of the work you've done and you don't want that gone forever.

So I'm going to take off any effects I put in. I'm going to take all my audio back to zero. on all of this, I'm going to right click and hit remove attributes which is going to undo all the volume work we did. So now it's back to back to normal. So hit solo so we just hear dialog and Apple em to export. And this time we are only exporting a waveform.

All the defaults on wave is fine. This should not be checked. Yeah. And then you type you title it, whatever your sequence is. Like cool. Video.

34Th revision Then append on to it. I would do that for dialogue, or video. Maybe this is vo. Actually, in this case it is dialogue, it's on camera and hit save. And then export that out. Then you do it for the music track waveform.

Then whatever the name is, and you append, you can either do music, or Ms. X is common for music. Other splits would be sound effects if you haven't. And then and then you would hit export. Then you would send those two stems plus another reference video to the mixer and he'd be able to line it up. And then he would send you a full mix back. If you're doing this method and he sends you a full mix back.

Let's say you're still working in this sequence. That's got audio effects and automation and you get a full mix from him. Actually here this will be good example I'm gonna export a full mix out of here. So be cool video. Oh 34 full or other. Some mixers will do full mix.

Save All right. So let's say this is a full mix you get back from an audio mixer. Remember long ago in our been structure I had you do full mixes a folder called full mixes, this is the this is where it comes in handy. You drag it in there. And then bring your mix on to a new track, line it up. Now there are a few things we want to do.

First of all, we want to mute other tracks, and we can even solo this. So we're sure that this is the only thing playing, everything else was muted. But when we exported this out, we had a multiband compressor and a limiter on it. So we want to be very sure that now we take that off, or let's say we add effects on it, we sent it to a mixer, he had his own compression on it. So when we bring it back, we don't want to put any of ours on. And you want to make sure that track that the full mix is on is on zero and that the master volume is at zero.

And then you should be able to export your video completely and when you're exporting a full Mix from an audio mixer. Usually they'll have done loudness already, but it still doesn't hurt to adjust it to whatever your standards are. That's how you round trip a full mix from somebody else or even from yourself back into all glass. Let's go crazy that night was gone, man.