ProAudio Review - May 2008 - (Page 36) POST | REVIEW Windows 98 and Vista; 64-bit versions not supported), but can be successfully run on Macs using Boot Camp, Parallels or Fusion. As the manual states, Pro-Convert is not heavy on system resources, and indeed it would be extremely difficult to unearth a computer that doesn’t meet the minimum system requirements – 266MHz processor, 64MB, 20MB harddisk space, VGA display. For authorization, Pro-Convert uses a CodeMeter USB dongle that is multi-user/multi-license capable for networked facilities. At the top of the Pro-Convert main interface is a concise “Project Strip” summary of the source project’s vitals that includes the number of clips, source files and tracks referenced on the timeline, as well as project sample rate, bit depth, frame rate, length, size, and offset information; there is also indication of whether the project contains automation, PQ and/or marker data. Below the Project Strip is a three-pane project explorer that includes a Project Tree (selectable between physical files and track view), a Clip Window that displays all the timeline clips (with source file I/O and timeline I/O points) that belong to the track or file selected in the Project Tree, and a Detailed Clip Window that provides additional data such as fade type and time, mute and lock status and level of any selected clip. On the far left of the main interface is the Convert Strip, which contains all the export file types and associated icons. The strip can be toggled between an overall pool of conversion formats and a user-defined (via drag-anddrop) pool of favorites. For many interchange tasks, the general conversion process in ProConvert can be quite simple: open a supported session file using the standard Windows File>Open dialog; choose the export file type from the pool on the left; use the default settings on the options pages that follow, and choose a location to save the converted project. Once a conversion has been completed, Pro-Convert’s main project explorer interface can be toggled between source and converted session data. Much of the in-depth power of the program lies in the customization of the conversion dialog pages, which display a set of options tailored specifically to each export type. Though the most commonly appropriate values for each export type are already preset as defaults, it most certainly pays to get familiar with all of Pro-Convert’s conversion options (and limitations) and the capabilities of the respective input and output applications. The excellent Pro-Convert manual provides clear and detailed information on the above; even a brief survey of this information provides insight into the Herculean efforts required to develop and maintain this application’s conversion matrix and its adept, context-sensitive interface. While there are far too many to list all settings for each export type, common export options include fade management (translate, ignore, replace with alternate type), level and pan automation envelope and region gain management (translate, rescale levels), file location and replace, and audio file and session export options (link to existing source files, create new files, stereo-tomono split file conventions, change file container type). During the testing process for this review, I produced a number of sessions designed to SSL Continued From Page 34 PRODUCTPOINTS • Unprecedented detail and control of conversion process • Directly supports native Pro Tools 7.x session files • Many program-specific OMF templates maximize functionality of transfer and minimize incompatibility • Poor Acid-ized file handling • No AAF support • Expensive for those paying in USD SCORE Pro Convert offers the ability to overcome audio file interchange problems with relative ease. deliberate action of exporting a session from the timeline into the intermediary format is required before it can be used in ProConvert. The most notable intermediary formats supported by Pro-Convert include Steinberg XML (Nuendo, Cubase), Apple XML (Final Cut Pro, Logic, Soundtrack Pro), Sony Vegas TXT and XML, Samplitude and Sequoia EDL, and SADiE Interchange. Pro-Convert also includes standardsbased EDL format conversion using OMF (V.1, V.2, and a slew of program-specific OMF templates), AES31, and OpenTL; there is no AAF or MXF support as yet. According to SSL, when all applications, application versions and interchange standards are counted, over 40 different file formats are supported. Pro-Convert also includes the standalone (though launched from the main program) Audio Tool file format and attribute batch conversion utility. A detailed list of file formats and supported features can be found on the Solid State Logic website and in the Pro-Convert PDF manual. Note that Pro-Convert, like other conversion software, translates overall session data, timeline audio events and associated pan and level information; it does not convert MIDI tracks, static mixer positions (without automation envelopes) or plug-ins. | IN USE Pro-Convert runs under the Windows operating system (all standard versions between SSL Pro-Convert Main Screen test a range of (hopefully) translatable information. These sample sessions were created in Steinberg Nuendo 3 and 4, Pro Tools LE 7.1 and Sony Vegas 7, and cross-tested using Pro-Convert on the local machine. I then enlisted several colleagues around the country to test exports on a variety of other platforms including Logic, Final Cut Pro, Avid Media Composer, Sonar, Samplitude, and Cool Edit/Adobe Audition; I also received sessions to test that originated on several of these platforms. The results of this mass testing effort were 36 | ProAudio Review | May 2008 www.proaudioreview.com http://www.proaudioreview.com
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