Direct Offline Processing dissappearing RANGE markers

[SledDriver]

If I do a range select instead of selecting an entire audio event, then enter Direct Offline Processing, the processing only affects the range selected.

Great.

If I then exit the Direct Offline Processing dialog, and subsequently reopen it, the previously selected range is still correctly the only bit processed. But there is no longer any sign of the range markers any more, so it is impossible to later tell which part of an event you the processing applies to.

Did I miss something, or is this something which needs to be sorted out?

[Martin.Jirsak]

Hi,

Unfortunately it’s like this. There is no marking of the processed area in this case.

[SledDriver]

Ooer. That’s not good at all.

Really we need tags in the audio event to show the presence of offline processing, even when OLP is closed. And without range markers you effectively have orphaned edits with no way to ever understand what you previously did.

Hopefully this will change in future.

[JasonL]

This would be unfortunate. One of the main reasons I’m thinking of upgrading from 9 is so that I can edit plosives with the offline processor loaded with gain reduction and a high pass filter. But it’s so easy to do it too much and lose the enunciation. And so it would certainly be handy to go back to make a quick adjustment.

[Tracker]

I ran into this as well. It would be great if it was addressed in an update.

[fretthefret]

@JasonL

This would be unfortunate. One of the main reasons I’m thinking of upgrading from 9 is so that I can edit plosives with the offline processor loaded with gain reduction and a high pass filter. But it’s so easy to do it too much and lose the enunciation. And so it would certainly be handy to go back to make a quick adjustment.

Ya, I was quite upset when painting my house and I discovered that the paintbrush didn’t suck the paint back up when I painted a bad edge line. (J/k)

But yes, it could be useful to have a slight color shift that was obvious enough to spot on a range that had DOP applied.

[SledDriver]

@JasonL

it could be useful to have a slight color shift that was obvious enough to spot on a range that had DOP applied.

It’s more than ‘useful’.

Without it, you simply can’t tell what’s going on. Have you actually even tried this…?

Nuff said.

[fretthefret]

@SledDriver

@JasonL

it could be useful to have a slight color shift that was obvious enough to spot on a range that had DOP applied.

It’s more than ‘useful’.

Without it, you simply can’t tell what’s going on. Have you actually even tried this…?

Nuff said.

Yes. Absolutely I have. In fact, quite a few times in the project I’m currently working on.
Did you misinterpret?

[SledDriver]

No it just wasn’ obvious that you had tried it. Your comment was more general.

I was stunned by the lack of a range marker when I went back to edit an OLP and simple don’t know how that got past beta testing.

You can’t really use it if you can’t later see what you did.

The only option at present for OLP it to chop up an audio event and apply the OLP to a complete segment of audio. Ranges are a no-no until they sort this IMO.

[fretthefret]

@SledDriver

No it just wasn’ obvious that you had tried it. Your comment was more general.

I was stunned by the lack of a range marker when I went back to edit an OLP and simple don’t know how that got past beta testing.

You can’t really use it if you can’t later see what you did.

The only option at present for OLP it to chop up an audio event and apply the OLP to a complete segment of audio. Ranges are a no-no until they sort this IMO.

I really do agree it would be useful to know where something was changed from the original audio by DOP.

But I use DOP a little differently, I think. For me, DOP would be applied when I’m sure about what I want for a clip or a range of a clip. It’s a commitment to the processing. Having been mixing for quite a few years I guess I just hear and know what will work.

If ever there’s something I’m concerned may not work at later mix stages or may need a different treatment I would cut that range, drop it to a new track and insert effects as necessary so they can be altered at any time. Or freeze and unfreeze if I need the horsepower.

I’m used to committing to my work. I like a small final mix project. It may typically start out near 100 tracks but I do try to get that down to a much more manageable number for my final mixdown, which in my environment usually means committing to some amount of the processing.