FCP to ProTools LE

I am trying to export a Quicktime movie from FinalCut Pro v6.0.5 that contains 16-tracks of audio; I have set up the Sequence Settings in FCP to output to 16 different channels, but get errors code when doing so:
"The current audio device does not support the number of outputs set in the Sequence Settings Audio Output tab. Unsupported outputs will not be heard during playback on this machine unless downmixed to stereo".
I am using ProTools v7.x LE on an MBox2 to mix the audio; does anyone know if this is a hardware or software limitation? Would exporting OMF using DV Toolkit resolve this issue?
Thanks, --RK

If you need to export that many channels, you could export 2 tracks at a time. I think quicktime will handle 4 tracks now, but I'm not sure. OMF export will output your project but any "automation (audio levels)" will be lost. You can use Automatic Duck to keep your audio levels (although I'm not sure what the story is with ProTools LE. Definitely works with the full version of ProTools.

Similar Messages

FCP and ProTools

Dear All,
I have just done a project by using FCP and STP. To be honest, the roundtripping of FCP and STP is just too good to be true. When you work on the same computer, it works ok, except sometimes messing up the wave graphic. However, when we move to project to another computer, which is very common for any kind of collaboration, the files just have difficult time to reconnect and/or reconform. That's the first point.
The other point is that: In most of the sound mix stuido, they use ProTools. For our low budget films, we likely do the pre-mix and effects by ourselves and take all the tracks to well-facilitated stuido for final mixing or just a listening session. In this case, isn't it easier and nicer if we are also using ProTools for our pre-mix?
Then the questions are:
1./ I wonder if FCP and ProTools have something similar to roundtripping function between FCP and STP. I know FCP and ProTools are actually from two rivial companies, and I just wonder if there is some not-too-difficult workarounds to reconform the files, or any third parties software for reconforming. For our productions, changing things during pre-mix is quite often, so reconforming is actually important to us.
2./ As we mainly just use ProTools for simple editing, effects and mostly mixing, what kind of ProTools package will be suitable to us? Actually, what we need the ProTools to hook up is just a pair of Adam AX monitors, so we don't need too much I/O. Also, we already have an AJA KONA to connect the monitors. I wonder if we can just buy the software itself.
Thanks in advance.

When you say ProTools outputting individual aiff, is it a mix down file?
Yes. I have certain audio configurations that we need to output for the networks. Ch1 & 2 are a stereo mix, then CH3&4 might be Mix minus Music, then Ch5 Mono Dialog, Ch6 Mono Prod Audio. Ch7&8 SFX....9 and 10 Stereo music.
So the mixer mixes down what we need for the various tracks.
Also, as I change my film, is there any way to update the found files in ProTools?
Don't change your cut. You should not be sending the audio to the mix if you aren't done cutting. You wait until you have picture lock, then send the audio. If there is a change, then you re-export the OMF, they reconform, and send new tracks. HOW does the audio guy conform? Got me...I just know that they can.
Shane

Audio exporting problems: from FCP to protool/STP and back again

--------------------------------------------------------------------------------
Final Cut Pro sound export for mastering.....sync problem
Hey,
I'm editing a 30 minute film and I have done most of the sound edit in FCP and Soundtrack pro and I want to now bring all the sound into pro tools to master the sound but every time i export sound into pro tools it seems to stretch by two or three seconds.
I have tried OMF, AIFF, XML, and Quicktime audio file sut to no avail!!!!
There are 50 tracks in the file so it is quiet large. It's not that there are handles of the file also as when I sync the file with the audio track with the video it syncs in one place but it is still out of sync in another.........It's as if the audio has been stretched!?!
If anyone has any advice it'd be much appreciated
Keith

Check the timecode rate and sync options in Protools. It sounds like a timecode or samplerate mismatch.
Especially note that 23.976fps OMFs from FCP (probably STP as well) show up in Protools as 24fps sessions. Change the PTs timecode to 23.976 to realign.

FCP to ProTools

I need to have my audio cleaned up using ProTools. What settings do I use to export my FCP Sequence into ProTools?
I need something that ProTools can read with my audio files intact similar to using Soundtrack Pro.
thanks,
cja

I just export straight aiff files from FCP, import them into PT, do my thing. Then, either "Bounce" the tracks mixed down, or however you want to see them in FCP; or lay them back directly to the quicktime file that you're using in FCP - )this of course works best if you haven't done any cutting in FCP yet). Now reopen your FCP project and your video track will already have the fixed audio on it.
If your FCP session already includes edits, just select all of the audio tracks together, export to aiff, import to PT, do your thing, then "Bounce" them to disk from PT as aiff files; open FCP and import your fixed audio and frame match it to the audio that's already in your session, then keep on editing in FCP.
I do any or all of these many times/month and it's fast, painless, and just works.

Can someone just spell it out for me? Going from FCP HD to DVD SD :-(

Hey folks. I hate to come here and ask a gargantuan number of questions, but this has been driving me out of my mind. I've tried asking specific question in hopes of simply finding one little problem that will fix my woes, but now it has come to this:
Can someone just spell it out for me?
How do I get my DVD going? I'll fill you in with all the knowlege I think you need.
I shot with Sony's HDR-FX1 and edited in Final Cut. That means I'm working with High defintion. The movie is set and solid, and runs One hour and twenty mintues. I'm trying to get it, the commentary track, the subtitle track, and a slew of video files (also shot in high def) onto one dvd. This goes beyond the 4.8 gig limit. Hence, i have a Dual layer burner, and have been burning onto DVD-R DL disks.
I've tried downgrading to SD format through steps from this website:
http://www3.telus.net/bonsai/Step-by-Step.html
I do all the steps to all of my files, and then start putting them into my DVD STUDIO PRO project. I have a recorded commentary which I add in, and I have written all the subtitles. The disk is in SD mode, and everything fits onto the dual layer disk. I've tried literally a dozen different ways, and something keeps going wrong. Either the menus won't come up, and just the film will play upon inserting, or the subtitle stream doesn't pick up- problem after problem. So, now I ask: Can someone simply spell out to me what steps I need to take to get my HD film onto a Dual Layer SD disk?
I apologize for how general this question is and how many directions it can go, but I'm at a breaking point after four months of failures. Thank you very much.

Hi man.
I don't really know which ways you've taken to put
the video into dvd studio, but since you're asking
for a step by step process, then here's what i do:
- export the entire hour out of FCP to a qt file
- take that QT file to compressor. the only audio you
really need is dolby 2.0. this would also reduce the
file size of video to make things fit in a single
layer dvd
I have always found that the 'Dolby 2.0' and '5.1' AC3 settings in Compressor badly affect your audio mix...it collapses the soundstage, takes away a lot of depth and imaging, and smudges the frequency range, so I usually output a 16-bit 48kHz, which holds things together much more nicely when working with a stereo mix. Problem is, for a feature-length films, the resulting output from compressor makes it too big to fit on standard DVD-R's with the M2V picture file. My workaround was to actually take take the original exported FCP QT movie (which has a 48kHz aiff soundtrack to begin with), and only lay the audio part of it in the track timeline in DVD studio pro, then lay the compressed M2V video on top of it. They're both still in sync, unless you picked different in/out points in Compressor. When you 'build' your Video/Audio TS in 'advanced burn' it somehow makes it small enough to all fit onto a DVD, while still maintaining the audio quality of the AIFF, instead of the crappy-sounding 2.0 AC3. Then you just use Toast to burn your disc. The difference in sound quality is night and day. So basically I do the picture in Compressor, but let DVD Studio Pro prepare the audio in the Advanced Burn stage.
It will be very difficult to get a good-sounding AC3 (what they call 'dolby' 2.0 or the wierd 5.1 encoding they use) unless you mix/master/encode your soundtrack professionally like regular studio films do. Just encoding it in compressor straight out of FCP or ProTools isn't enough. You lose too much.

FCP omfi export not compatible with pro tools?

I have just finished an edit, and exported the audio to omf. The mixer at the sound facility claims that pro tools can't read an omf exported by fcp. I think this is rubbish. Is there any foolproof way to export an omf for pro-tools import?
cheers
Mark

The mixer at the sound facility claims that pro tools can't read an omf exported by fcp.
Of course it can.
There's plenty of discussion about FCP and ProTools here already. [Take a look|http://discussions.apple.com/search.jspa?threadID=&q=ProTools&objID=f939&d ateRange=all&userID=&numResults=15&rankBy=10001].

Premiere Pro CS6 crash everytime I close a project

Hello,
I got 32 different projects with lots of AE links in the timeline (more than 80% is AE links). The problem occurs when I start the queue process for rendering in media enconder.
Everytime I send a project to enconder, when I want to close premiere pro to swtich to another project and do a big batch render list on encoder, premiere crash with a "sorry a serious error has occur" message.
Even if the queue encoder is empty but the app is open the premiere crash, whenever you quit, close project or open a new project.
It's taking a lot of time to reopen, wait for the media to come online and consolidate links, then send queue then wait for the crash the reopen etc... I making corrections on this 32 different projects and I need to batch enconde all of them everytime the clients ask me for a change.
I feel is payback time... I just switch from FCP to premiere and I was loving how fast I was doing this project working everythin in adobe over FCP+AE+Protools was so fast until now.
Any suggestion? thanks
Macpro 4,1 Quad core intel xeon 2.66Ghz
osx10.6.8
16G RAM
ATI radeon HD 5770
Blackmagic Studio HD

one more thing, this could be helpful if anyone else is running the same problem.
I found that if you save the encoder queue and close the encoder, then you can close the premiere project without crashing premiere.
but also found that AE does exactly the same, if you are editing a AE link comp you will need to close and quit after effects before changing premiere project

PAL to NTSC & Audio Sync

Thanks in advance for your help.
I receiveda an audio file that was originally in sync to a PAL master and I need to sync it to the NTSC video master. The audio come out short when dragging it into the NTSC timeline and speeding it up 4% gets it closer but it is still out of sync (drifts)
How would you go about properly matching/resyncing the audio to the NTSC video? Either in FCP or ProTools.
Thank you.

PAL is 25 fps, while NTSC is 30 fps (if you matherial originated in video, not film, that is!). Please calculate the percentage more crefully. 4% is just not enough. Try 20.83% instead/
Sorry if I'm wrong but we never use NTSC in Europe.

G5 vs G5

Hello all.
Here's the deal. I own a mini, and I like it for day to day things, and goofing around on the internet. It is a great computer for things mentioned above, and things I may have not mentioned. However, it fails to fulfill my needs in wanting to run video/audio editing software. Since I'm a broke film student trying to stretch every dime I have and don't have. I was looking for a used G5. I'm just having a hard time figuring what is the cheapest I can and should go to get a computer that can run say FCP, Logic, Protools, Avid, and so on.

Hi j hallow;
Since you are interested in some rather specific applications, a better solution for you might be to go to the forums for those applications and look around to see what they guys answering the questions have in their profiles for hardware. That might give you some ideas then after lurking on them for awhile you might ask your question over there to see what users of the applications have to say.
Allan

Final Cut Pro 5.x compatible with Leopard?

Sorry if this has been asked loads of times but I could not find the posts here.
Does anyone know if Final Cut Pro 5.x and DVD Studio Pro 4.x are compatible with Leopard?
Thanks,
Rob

I don't know what terms you ** SEARCHED **
But the list referenced above (click on the term searched) has quite a few.
If you work with FCP/ Logic/ ProTools, etc in any professional capacity, you may want to wait until the fallout settles. This is especially true if you use 3rd party cards & drivers. Otherwise, get a new drive and install everything from scratch.
x

Exporting 24Bit 44.1KHz omf files from FCP 5 into Protools

Hi,
I have my Sequences in FCP set to using 24Bit 44.1KHz Audio, and I'm trying to export the same to omf files for Protools.
I find that I get White Noise in Protools. However, when I change the bit depth to 16Bits, it works fine.
I'm using FCP 5 and Digitranslator.
Any suggestions would be greatly appreciated.
Thanks,
Rajnesh

I just found out that the problem was with the Digitranslator. Only the latest version 2.0 supports Reading Omf files of 24bit depth.
aiff files would have been an alternative, but unfortunately they don't support handles - a very useful feature when you're trying to cross fade across clips that have been checker boarded.
Rajnesh

FCP 48khz audio export to 44.1 protools session . Sink issue?

Hey forum.
If i export a my project's sound as 48khz aiff, will i lose sync after import in a 44.1 protools session?
thanks.

Hmmm... I think you might. You could just try it out on a short section to see. By the way, why not use a 48 protools session to keep everything the same?
Cameron

Missing "(sent)" files roundtripping b/n FCP and STP

Sorry, but I'm posting this here because the STP forum is quite slow to reply. And, I'm not sure if this is an FCP or STP issue.
I have just finished my first project using STP. I was doing a lot of round tripping b/n FCP5 and STP (about 15 clips) and everything was working splendidly. Airconditioner noise easily zapped! A beautiful thing. Annoying pops and cracks removed with just a few clicks of the mouse. More beautiful things. Then...I finished the project (thank gawd), output via Compressor and into DVDSP. The final DVDs are produced and the client loves them. But, I had both a 30i and 24Pa version of the project. I had originally edited the 30i version and then duplicated this project and removed all the Advanced Pulldown to produce the 24P version (without having to re-edit; another beautiful thing). Note, I DID NOT do the STP round-tripping until the 24P version of the project. After everything was complete, I deleted the 30i project (it was never needed) leaving just the 24P version on the internal disks.
Suddenly, when I next opened the 24P version of the project ALL OF THE STP-FIXED AUDIO WAS GONE! NOW OFFLINE!!!
Where the heck did they go? And, where were they originally? When you round-trip like this, what kind of file is STP (or FCP) creating? In the Browser, I noticed FCP creates a new audio file clip icon and appends "(sent)" to the original audio clip name (e.g. an audio clip with the name "21DConfRoom03" has a duplicate? audio clip created, presumably by STP, with the new filename "21DConfRoom03 (sent)")
Where are these so-called "(sent)" audio clips source stored on disk? Where in the standard FCP file structure are they? Is it possible FCP was putting them into the 30i version of the project file structure by mistake? (remember, i first edited in the 30i project version before duplicating and creating a 24P version).
Any help is appreciated.
Thanks,
-Michael

When you say ProTools outputting individual aiff, is it a mix down file?
Yes. I have certain audio configurations that we need to output for the networks. Ch1 & 2 are a stereo mix, then CH3&4 might be Mix minus Music, then Ch5 Mono Dialog, Ch6 Mono Prod Audio. Ch7&8 SFX....9 and 10 Stereo music.
So the mixer mixes down what we need for the various tracks.
Also, as I change my film, is there any way to update the found files in ProTools?
Don't change your cut. You should not be sending the audio to the mix if you aren't done cutting. You wait until you have picture lock, then send the audio. If there is a change, then you re-export the OMF, they reconform, and send new tracks. HOW does the audio guy conform? Got me...I just know that they can.
Shane

Avid to FCP DV export

A question for my learned colleagues... I have a chance to create a tapeless workflow based on exporting a finished PAL DV25 420 sequence from Avid Xpress Pro and using that somehow in FCP, but the absolute proviso is not to take a quality hit on the way. The typical Avid plethora of confusing choices for QT export surely means they can't all export the media content in a native state...
I know Avid DV codecs reverse the field order of DV to match standard 601 (is that how they mix res's in timelines?) so some wrapper translation is inevitable. But I'd like to find a way to export the "essence" (to borrow a term from MXF) without modification. Most people suggest DVStream as the best "rewrap", but DVStream, though native to iMovie, has never been the best choice for FCP...
If it all gets too hard I'll go via tape but a faster-than-real-time picture export is tempting, especially as we need one for ProTools. Can anyone shed any light on this?
Thanks!
Quad G5, 3 x Dual G5s, G4 AGP @ 1 GHz Mac OS X (10.4.6) FCP 5.0.4, Final Touch HD

might be worth installing Avid's DV codec onto your FCP Mac, and then take a look at Shane's tip for Editing non-standard FCP codecs
hope it helps

Pro Tools and FCP

Hi All
Anyone doing the roundtrip from FCP to Pro Tools and back again regularly? Is it as easy as an exported OMF to PT and then an exported final audio track in the desired format back to FCP to be synched with the video?
My organization is changing from Pyramix to PT, and the aforementioned workflow is what we have used with Pyramix, will that also work in PT?
Cheers
-j-

Unnecessary nowadays for ProTools. It was the best way to get your audio, with your levels and pans and keyframing, to ProTool prior to FCP 6. But FCP 6 and now 7 have a more robust OMF that includes those. Now it is more used for Avid to FCP, or FCP to After Effects, or FCP to Avid...stuff like that.
There still remains that 2GB file size limit...just FYI.
Shane

FCP to ProTools LE

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