Color timeline starts each clip at 00:00:00:00 after sending from FCP

When I export a sequence from FCP (7.0.3) to Color (1.5.3), the latter shows a timeline with clips of the proper duration, but with the wrong in/out. Each clip in the Color timeline starts at 00:00:00:00 of the source file, as opposed to the "in" I had selected in FCP.
The video originated as h.264 files from a 5D. I transcoded the files to ProRess 422 for editing, and am sending them from FCP to Color as such. The FCP timeline contains nothing but these ProRes video clips.
Thanks for your help...

any way to use an edl with these kind clips?
That poses an interesting option, maybe. For starters, though, the Send To... COLOR command instructs FCP to write an XML export that is decoded by COLOR, and that should take care of things.
There is a strategy that AVID users sometimes employ, and that is to export a CMX EDL, open that under COLOR and link to the media directly under COLOR (this works for RED flow). I am mystified as to why COLOR defaults to the first frame of your exported clips -- unless the time code is faulty in some way (or is not present), and so COLOR is simply beginning at the beginning as a kind of default.
Even if the in-point is wrong, are the clip durations correct?
Are you absolutely sure there is timecode on the ProRes clips? Apparently this is a problem shared with Final Cut Express, where exported QT clips always start at zero, but this is hearsay on my part as I have never dealt with FCE.
An alternate strategy at this point might be to export a complete Quicktime of your finished (textless) project, re-import it into FCP and "razor" cut it using your original timeline as a cutting guide. That sequence would go to COLOR with no issues.
A lot of users do this as standard procedure if they want to avoid a lot of "baking" and conforming if they've got a large number of mixed, or unsupported, media clips on a timeline. As a brute-force solution, its the Big Unifier.
jPo

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