Going from FCP 6 to FCP 5

I am trying to take a project created on FCP 6 and continue editing on FCP 5.
This is what I have done so far:
I saved the FCP6 project as an XML file - in the four different versions that it gave me as options.
I took the drive that had all the files to the FCP5 machine and imported the FCP xml file. It would only take version 1.
The project opened up but it would only see the files that were on the timeline . All the masterclips and subclips in the bins were off line and the audio on the time line was out of sync.
Any ideas? Thanks in advance.
William

You must use the Media Manager (in the File menu) to create a copy of your project. This will consolidate all your media into a single folder that you can move to the computer with FCP 5. Make your XML file from the new project file that Media Manager creates.
Final Cut Pro XML compatibility list:
http://www.filmpronet.com/kb/index.php?title=FinalCut_Pro_XML_InterchangeFormats
Message was edited by: Nick Holmes, apparently I no longer speak English.

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I have a client who needs me to edit Avid HD sequences into a short promo in FCP. I want to do an offline edit and then reconnect the sequence to full HD quality and export the promos back to Avid. Has anyone had to do this? Would I loose HD quality going from Quicktime to Avid Media? Would my G5 Dual 1.8 with FCP 5 HD be able to handle import, edit and export of full quality HD media?
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you will be much happier and much better off if you stay in Avid world and make those corrections there. Avid uses its own propritery media format that can't be easily transfered to FCP. You could use something like Automatic Duck to generate a list and then recapture in FCP but other than that, stay in Avid. In other words, it is not absolutely simple to move the MXF files.

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Greetings to all. I am struggling with this -- I want to bring my company logo into FCP 5.1.4, FROM Illustrator to FCP. Easy enough? Not for me.. as I have two issues:
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Jeremy Roberts wrote:
I have been sending jobs to print (magazine ads, web, general print) for ages, and my printed materials come in as expected -- that is, within a few % points of my display -- which is what we are expecting -- and also EXTREMELY close to proof prints, using a reasonably high-end inkjet printer, with correct paper profiles... that is to say, that although I am no expert in color management by any means, I have what I need so that what I see on screen is very close to what is printed on a local printer, or a million dollar press.
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When you print something on paper, you get to see exactly what it will look like and that's exactly how your customers will see it too. With video, there are infinite variables affecting this such as incorrectly calibrated displays; cheap TV components; the difference between CRTs, LCDs and computer displays; the size / resolution of the display, etc. There are so many variables that it will look different on every screen. All we can do as content producers is calibrate to a common standard, achieved through a properly-calibrated broadcast monitor.
But if your film has a single use in mind, such as a trade show, it is better to ignore the above advice and use the display device it will end up on as the monitoring device, if you can.
I am not near my FCP machine right now, so I can't try the test -- but I will try to revert my display color profile to stock apple LCD, and see what this brings. I know that FCP has simply NOT looked correct to me on my machine.
What do the "big guns" who are using FCP and having to use pre-defined creative print elements, created in AI or Photoshop or whatever -- all color matched for print, what do you guys do when you need to integrate this into FCP?
ARE FCP editors using Apple's 1.8 gamma (I guess you must because FCP uses it regardless of your colorsync profile, per the above article). ???
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Message was edited by: ZillaB

I've ... made sure that there is plenty of room on the USB 2.0 drive that I'm capturing the material to (it's a 1TB drive with about 850gb's of material already on it).
You're capturing to an 85% full USB2.0 drive ?? I'm betting that when you wake the monitor you're seeing an error ... but not because of the waking of the monitor! FWIW you should always try to keep your drives less than 80% full ... beyond that and you're asking for serious performance degradation. That and of course USB drives are wholly unsuited for video production with FCP. (FCP really doesn't like devices that cannot handle sustained data transfer).
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