Avid bins to FCP
Does anyone know how to import either the project settings or bins from an AVID to FCP. I am transferring a project from AVID Express pro 5.5.1 to FCP 5.1.1. I purchased Automatic duck pro import and imported the sequence just fine, but I need my bins. I overlooked this small detail when preparing for the transfer. I have well over 100 bins in AVID with several clips in each one, captured from 214 hours of footage. Any help would be much appreciated.
G5 Quad 2.5 2.5 GB SDRAM and a G4 Dual 1.25 1.75 GB SDRAM Mac OS X (10.4.7)
New Discussions ResponsesThe new system for discussions asks that after you mark your question as Answered, you take the time to mark any posts that have aided you with the tag and the post that provided your answer with the tag. This not only gives points to the posters, but points anyone searching for answers to similar problems to the proper posts.
If we use the forums properly they will work well...
Shane
Similar Messages
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is there a way to export my digitized bins with all the synced up files from avid to final cut without having recapture 50 tapes?
thanksNO matter what you use to get your project from Avid to FCP, you will have to recapture the media as Avid uses a proprietary format and not basic Quicktime. The other alternative is to export Quicktimes from Avid and let Sebesky Tools reassign the reel # and timecode to those QTs. I've never done this personally but this is one thing Sebesky Tools is supposed to do. Recapturing has always been the easiest route.
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Convert AVID Bin to Final Cut Pro with Media
Hello I need to urgently figure this out.
I have a AVID BIN with HD footage logged into it. There were 8 different tapes and the bin has about 100 clips in it. Everything is in dnxHD format on the AVID end. I'd want the clips to be PRORES on the FCP end.
I have Automatic Duck FCPImport if needed.
How do I do this?
I want to basically convert the AVID BIN to a Final Cut Pro bin maintaing all tape/reel names for each clip as well as timecodes for each clip, so that they can batch capture in FCP down the road incase something goes offline.
The thing is the media files would have to transfer too wtih the bin, so that they can open this all up in FCP and it shows up and they can start editing with the footage.
Any ideas? Please tell me in lamens terms. I'm an AVID editor so I know AVID really well, FCP not so well but I can move around it.Could this be a job for Sebsky Tools?
Download Link for it can be found here
A good discussion of the tool can be found here -
Searching (yet again) for a method to import tracks from Avid NewsCutter into FCP. My young client using NewsCutter in a television newsroom says there are Avid-provided codecs that do allow her to view her Avid tracks in a Quicktime player. Here's the Avid knowledge base article:
http://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE-2-3-8 ?popup=true&NewLang=en&DocType=1450
So, if I can play the Avid tracks, can I export the tracks in .MOV to get them into FCP?Very.
Go to Avid.com and download the Avid codecs:
http://avid.force.com/pkb/articles/en_US/Compatibility/en350875
Restart the computer. Then you should see them. You will have to convert them before you edit though. FCP doesn't really work with Avid codecs in real time. -
Hello,
I built a project in Avid Media Composer 3.0 using footage from a Sony XDCAM EX. The problem, I have no way of laying back to tape. My Mojo (I/O device) only supports SD. But I've got this fancy FCP station with a decklink card. So I want to transfer the finished program from avid to FCP so I can layoff to a Sony HDCAM deck.
My question is, what are the best export settings? Sony XDCAM EX shoots in 8 bit, so I don't need a 10 bit codec. So I'm looking for the best 8 bit codec settings out of avid and into FCP.
My idea is to export as an HD Quicktime with the animation codec in RGB color space. Transfer the enormous files via firewire drive. Then, transcoding to ProRes 422 (HQ not needed, only doing 8 bit) and importing into FCP for layoff.
Is that the best possible settings for the cleanest possible show? Am I missing anything? Would an uncompressed Quicktime export be better? Should I forgo the transcoding to ProRes (I'm not sure if my RAID can handle the data rate)? Should I look into an image sequence instead?
Thanks for your help
Chris
PS - If anyone knows how to add closed captioning to this project, let me know. I know I cannot create closed captioning in FCP, I just need to inject the captioning file (.scc) into the video.NO you can't, but I just had to point that out.
I have no suggestions for this workflow, I just wanted to point out that little tidbit. Trying to take a fully onlined show on a different NLE on a different OS platform and output that with FCP isn't something I recommend. It is something I discourage actually. If you must output with FCP, then you need to recapture with FCP. Offline on Avid, Automatic Duck the EDL to FCP, recapture, output. Getting the full res media from one system onto another for output is very tricky...and will add steps of compression.
Shane -
Hi,
I work for a broadcaster which predominantly uses Avid products on PC's.
I've managed to buck the trend and have ordered a 17" MacBook Pro to use with FCP (and possibly Avid DV Express).
I will have access to an Avid Mojo to import my Beta SX rushes, has anyone had any experience of using this with a mac before? Will it even work?
Thanks for any assistance...
Mac Mini, G4 iBook, G4 Quicksilver, G3 Powermac Mac OS X (10.4.10)John
Sorry to do so much avid stuff in this forum but the avid site, (like many FCPro v Avid issues) is much less easy to use. IMHO
I also run avid and FC. The mojo is of no use to FC ( I'm happy to be corrected on this point). But there are a few other Avid things you need to be aware of.
1. the mojo needs its own firewire bus. you cant have drives on the same bus as the mojo. The power book only has one firewire bus, several connectors, but one bus. I think the mac book pro is the same. This means you can either have the mojo or material drives connected to the laptop. Not both. (it will drop every other frame on record or playback). I even bought a PCIMCA firewire card for the powerbook but this still uses the same bus.
I understand that you can get a PCIe Sata card for the Macbook pro which can be used to run sata raid drives leaving the firewire to the mojo.
2. Avid say you must turn off software update. This is true as the latest qt has caused problems for avid. The way I run my G5 and MacPro desktop is to have FCStudio on the main hard drive and a second hard drive which is a boot drive loaded with the avid. This is kept for avid only. I then have a pcie firewire card to run the mojo so disks go on the built in firewire. That works fine but I have now upgraded to external sata raid drives so thet the firewire problem goes away.
3. You may know this but only the mojosdi has sdi in/out. the light grey MOJO does not.
I tend to use the avid only for jobs which have been started on an avid. Then I copy the digitised rushes to my system and send the pjoject or an avb bin back to the main system for output etc.
Hope that helps avoid some of the costs I needlessly incurred.
John -
What is the best method (or a few methods) to export Avid News Cutter video files for FCP X?
Export an XML 5 file from FCP 7. FCP 6 should be able to read it.
Note: any features/formats that are FCP 7 only will not transfer.
x -
I have recently been editing a sequence in Avid's DNxHD codec on FCP 6.0.4 and am having some render issues. FCP will only render for about 15 seconds or so before crashing, so I have been babysitting every render by hitting "cancel" every 15 seconds, and hitting "render" again. Loads of fun. Then, FCP will not export to Quicktime without crashing. I have to use Quicktime conversion and reapply the same settings which, unfortunately recompresses the whole thing again. Still, the resulting Quicktime looks beautiful and so far, is the only HD codec that our machines can play back in realtime, so I would love to keep using it. One issue of lesser importance is that the exported Quicktime is slightly brighter than it was in FCP. Any input from cross-platform users, codec tweakheads, FCP geniuses or Avid gurus would be much appreciated.
Cheers!What is your source footage comprised of? Is it also DNxHD or are you using that only as the intermediate and mastering codec.
You might find it a better workflow to edit using ProRes422 as your intermediate ... this is in many ways Apple's version of the DNxHD codec and is certainly going to be much more stable / better supported than using Avid's codec as such . That should alleviate your interm render issues at least, and then you can of course still master out to DNxHD if need be. -
I have a self-contained quicktime file that was exported from Avid on a PC. The codec is Avid Uncompressed. I have added the codecs to my Quicktime Library, but the file is still not able to be opened in Final Cut.
I can open the file now with QT player and/or Compressor, and am currently using the advanced format conversion in compressor to convert the file to Quicktime Uncomrpressed 8-bit, which will work with FCP. However I would like to know if there is a way to truly enable FCP to work directly with this Avid uncompressed codec.Not exactly a solution, but a definitve answer - have a green star on me!
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I am taking media from an Avid Adrenaline system and want to bring it into FCP to cut. However, the disk w/Avid QTs won't appear on my desktop. It plays fine on the Windows-based Avid (XP, I believe), but my Mac won't see it. I've tried downloading Avid codecs and putting them in my Quicktime Library as recommended by the Avid website, but that doesn't seem to work. I've been told I should try exporting out of Avid using Sorenson or H.264 codecs. Anyone with experience on this so I quit wasting time?
Thanks
IMac Mac OS X (10.3.9) FCP 5.0.1Actually, my experience was that it was QT 7.1.6 that broke the version of the Avid codec I had been using before, not a particular FCP update. I have not tried the codec linked to earlier in this thread.
I have noticed a unique color shift in both luma and chroma when importing Avid codec clips. It takes two color correction filters to correct for this, but I have saved this pair as favorites, and can apply them at the end of the edit.
I would much rather import the clips than recapture, as we're talking about days of recapturing, as opposed to a couple hours of importing. If I can get the codec supported, and I know how to correct for the color shift, I have no qualms about using the Avid media. My question has more to do with whether I will be able to see individual clips in the finder to attempt to import, or whether the media files will be in some format QT and FCP will not recognize, and if so, whether there is anything I can do about it. I don't expect any of the Avid logging info to come along, and I know that even if I were to have Avid editor export a batch list, a reconnect would likely be impossible, and I'd be looking at recapture.
If it were a question of simply creating new QT wrappers on the files, we'll be up against another shortcoming of FCP - the Batch Export process does nont allow the creation of reference movies...
Anyone know about what the Avid media folders look like in the finder?
Thanks much -
Max -
Convert Media 100 bin into FCP 4.5?
OK, this is a long shot but here it goes. I have an old project created on a Media 100. I now work with FCP 4.5. Put simply, I need to bring two media bins created in Media 100 into my FCP system so I can redigitize the media. This would save me a lot of time re-logging. I do not have access to the old Media 100 system. Is there any conversion program or method I can use to convert the bin into an EDL or import it directly into FCP? I have tried importing the bin, but of course it would not read the file.
Thanks for any help.Thank you everyone for your responses. I figured it might be a hopeless cause but I thought I'd try anyway. I have tried to open the bins in word/text edit/etc but have come up empty. Actually, text edit opened it so that I could at least decipher some in/out points but it was such a gargled mess that it was useless.
When I was making the transfer to FCP and still had access to my Media 100, I was able to place the raw clips in a timeline and export an edl from Media 100. Then, importing the edl into FCP worked great. It just didn't bring in my tape #'s, but my timecode was good so it was no problem.
Gary, I'll email you the two bins. If you could make them into EDL's, I would owe you one. Thanks. -
Final Image Quality in Film, Avid vs. FCP
Hello all,
I'm heading up post-production and editorial for an independent feature film in pre-production. There are some potential producers that are interested in the film, but they're saying that (from their experience) the films they've cut on Avid have turned out to be visually superior than those cut on Final Cut Pro.
Now, I have no specifics as to the exact post-production workflow for either of the films, but I feel as though this statement is incorrect, as it is my assumption that give the same post-production workflows, the image quality would be the exact same.
I, for one (as the editor attached to the project), am for using a Final Cut Pro workflow, specifically because I already have a system set up:
Mac Pro 2.66 GHz Quad
5.0 GBs RAM
Final Cut Pro 5.1.4
Kona LHe
Cal Digit HD444 6 TB RAID
Toshiba 26" HD Client Monitor
1402 Mackie Mixer
DSR-1500 DVCAM Deck via SDI and 422 machine control
Personally, I have no issue with editing on either system, as I am well versed in both Avid and Final Cut Pro. However, this is an independent feature, and saving money is key. So why cut on Avid and have to rent a bay when we could cut on mine for free?
As far as finishing is concerned, we're planning on cutting back to the original negative (using Cinema Tools as our aide).
Can anyone give me a possible reason for why cutting a feature-length on film in Final Cut Pro would not look as good if it were cut on Avid, assuming the post workflow is the EXACT same?
Thanks!
Mac Pro Quad 2.66 GHz / 5.0 Gigs RAM / GeForce 7300 GT / 2.0 TBs internal SATA Mac OS X (10.4.9)Specifically, the producer in question noted that in
the past, when using FCP to cut a feature, they had
issues in the sound mix.
In my experience, I've never encountered a sound
mixer that's had a problem with an OMF export from a
FCP sequence when they create their ProTools
session.
Additionally, they pointed out that only Avid offline
projects would translate to a Da Vinci DI suite, and
FCP wouldn't work as well. Is there any truth to
this? I find this hard to believe...
It sounds as if your Producers don't truly understand the details of a post-production workflow for a professional film. They either only know the brands that they paid for, or they tried to unrealistically accomplish too much with too little resources and facilities on prior films, and hung their hats on the lesser of two evils. If the sound was edited, mixed, and somehow mastered on AVID or Final Cut only...without going into sound design/final mix/mastering in their respective stages and facilities...either one has an equal chance of sounding crappy...and that's a good chance. As long as the editor knows what he/she is doing and how to prepare their work for the next steps, a final mix/design can be just as good coming from a film edited on FCP as from AVID.
FCP offlines can translate just fine for AVID online/correction and what have you as long as this is planned for, researched, and understood from the outset. Basic things like knowing not to repeat frames if you're going back to film negative unless someone's willing to pay for the interpositives/dupes and such...apply if you're preparing for onlining. Same goes for sound and knowing that the final mix is where things will really take shape. the post supervisor needs to make sure that the editor and online/color correction facility (if different) are in perfect communication with eachother, and that the editor will know how to prepare and export their project to be compatable with the Davinci or whatever. The people who perform this work should generally be very open to your questions and attention, because it makes their job easier and more accurate when they're getting things well-prepared, rather than having to redo things that should be in place already. I've prepared simple EDL's which have worked fine for onlining and correction...but I made sure, step by step, that I was delivering what they needed, rather than just making it and shipping it out, and I was there with them for the whole process in case something was missing or confusing. Went without a hitch.
For sound design, I only do a basic edit during picture edit for sync work and music selection/editing/matching, or a rought mix that will approximate the final results, but I won't use that for the actual design except for perhaps a scratch reference. The rest...EFX, ambiences, foley, etc. is done in Pro Tools, and I can simply bring the project in to a mix house and open it on their system.
I guess you could hypothesize that there's a smaller, younger, and less-experienced pool of talent using primarily FCP than those using AVID, since AVID's been around longer and is still the "standard''. And a well-established, fully AVID-based in-the-can to on-the-screen facility will be more capable than a single FCP suite. But that's not FCP's fault. As long as we know the steps that have to be taken, FCP is fully capable of performing perfectly in its step on the ladder, and moving the project to the next.
So again, it seems like the producers are inaccurately attributing their disappointments to machines, instead of workflow and compatability that can and should be controlled by people who understand it. It's ususally the Post Supervisor's job to make sure of that. Of course, not every production will have the right budget for this, but the producers need to understand where the money for post goes and what things (along with the people, of course) need to be paid for in order to get the quality deserving of a professional feature film. That's the producer's job...at least one them. -
Hi. Currently i am trying to view QT with AVmp from Avid. I have download the AvidCodecsLE, but I don't know what is the right sequence setting to use. I've tried all but it kept saying "Codec not found. You may be using a compression type without the corresponding hardware card. I am using FCP7.0.3 on MacBook Pro i7. Please help.
try this link
Avid QuickTime Codecs LE 2.3.2
http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=372311
I've done it before Qt footage with Avid codec on a FCP timeline
I don't beleive FCP cares what is in the timeline as long as you provide the right CODEC.
good luck -
My company is planning on purchasing a new FCP 6 system in the next few weeks to replace our AVID Xpress pro suite. The editor that was here before me was backing up all of the MXF files that were originally shot on Panasonic P2 on to DVD-DL discs.
I have been reading all kinds of posts about problems importing MXF files to work with FCP. Has anyone come to a conclusion for a work around? All that I need to do is be able to import MXF files into a timeline. The previous editor did not copy anything from the P2 cards except for the Audio and Video files from the contents folder.
I will be getting FCP 6 when it is available and will be working on 5.0.4 or 5.1 until then.
Any help is greatly appreciated.Got P2 Log Pro. It didn't work so well with my FCP 5.0.4. Every file I tried to "recover" was corrupt by FCP and could not get it to import. P2 log saw my MXF files as white noise with audio.
Are you talking about P2 files from the cards? Or the entire backed up CONTENTS folder, or are you talking about the partial backup that was done here...VIDEO and AUDIO only? FCP doesn't corrupt MXF files, as it doesn't modify them at all, it copies them putting them inside a quicktime wrapper. The original files would be untouched. Something else is causing this...the drive they were backed up on, perhaps.
Do you think this would be improved with 5.1 or 6? Any other experience with Flip4Mac? Will that do what I need?
The import function in FCP was improved in 5.1. There were issues with stutteriness with clips imported under 5.0.4. And I have only used the P2 import function of FCP...never touched FLIP4MAC. I did test out HD LOG, but found that I liked the FCP importer better. That should be all you need.
And yes, this has been updated and improved in FCP 6...now it isn't only for P2, but called the FILE IMPORTER or something like that. It still might not work with the file structure you have. That is messed up...no excuse for sloppiness.
Shane -
Can I recover a deleted bin in FCP 7?
Hey all,
I am working on a large scale project - a feature film actually - which we are basically finished with. I have just been tweaking color and sound mostly. However, I noticed today that a "bin" I had in the project for our ADR (Looped dialog) was nowhere to be found. I must have accidentally deleted it somehow. I had all my bins laid out - ADR, sound effects, footage, music, etc. and the ADR is just gone. I checked the other bins to see if I had accidentally dragged it into one of them but to no avail. I also opened the oldest autosaved version I had from last month, but the bin was still not there.
The timeline is fine as everything still connects to the master files, but I'd sleep better if I could get this figured out. Is there anyway to get this back?
Thanks for any and all help!Open up old files in the autosave vault until you find one with the deleted bin. copy it into the current project.
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