Help on FCP and STP

Hi James,
I tried to do what you said and it half works ! By sending one track at the time when I control-click the audio track I have now two options:
STP Audio File Project / STP Multitrack Project
I can also choose the - Open in Editor- option
The only problem is that the clip sent to STP for editing it's not the one I edited in FCP, but it's actually the master clip (much longer) !!!
Why ?!!!
Do I have to send both cips (L-R) and work on each of them separately ?
Instead if I want to edit the clip using a STP Script the pop up menu still doesn't give me the option to choose the script I want to use as there still isn't any submenu to choose from !
Thanks a lot
Stefano

Hi Stefano, When you control click and the menu opens do you scroll down the list until you find the STP selection, When you control click on the timeline all the external editors should appear in a menu and then a sub-menu with different choices for STP.
Brendan
G5 DP 2.7Ghz, FCP 5 Studio iBook 14 Mac OS X (10.4.2)

Similar Messages

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

Help with FCP and long project editing - Thanks!

I have posted several questions in this discussion group and in the iMovie group to no avail. I get a lot of answers, but not from anyone who has actually done any of the editing I am seeking. So if anyone has actually done the editing I am describing below -- I appreciate your help. Yes, I have searched the archives -- but again, I see a lot of confusing feedback. I have been working on this for three days now and it's driving me crazy! I have discovered that iMoive is $#@% -- and does not work with a long project, (40 minutes) so I am thinking about switching to FCP-HD. Thanks.
Here goes:
1: I need to transfer original master footage, 1080i HDV from a Sony HDR-FX1 to an editing program, edit the tapes (over 5 hours total) into a 50 minute "program". I then need to "share" or export the footage back to a new tape, using the Sony HDR-FX1 as the receiving camera. Simple enough.
2: I need to make sure the outgoing footage is of equal quality as the original footage taken from the camera. I am guessing here, that the footage can be edited in FCP-5 as "native" -- then transferred back to the Sony?
3: I am assuming that the native footage is just that -- and will not require the long process of converting to another format, e.g., ASI that takes hours to
render. (as in iMovie).
4: I am assuming I can edit and view HDV as native footage in FCP in real time, like iMovie, via firewire from the camera?
I really appreciate any assistance.
Chance

Welcome to the family, you'll be joining us soon.
The FCP product page says: > It features powerful new multicamera editing, native HDV support, ... edit everything from DV and SD to DVCPRO HD and fully uncompressed 10-bit high-definition video. Or work with new formats like native HDV (long-GOP MPEG2) and 50Mbps IMX... HD editing requires a 1GHz or faster PowerPC G4 or G5 and 1GB of RAM (2GB recommended).<
You seem to have the hardware including the Flux-o-pator, but, really, you want to talk to an Apple reseller who handles FCP and understands HDV via Sony. I don't like the way you're using "I am assuming..." You can't assume anything. Give them a chance to sell you FCP or Studio and go demo your camera on their system. You will have concrete evidence of the minimum machine specs and how well you can get your files in and out of the application.
Call you local Mac user group and try to locate other FCP users.
Try also the creativecow.net forums for Sony HD products.
Google your camera model for support groups.
bogiesan

Metering issue between FCP and STP

Hello folks,
I'm having an issue when I export a piece of audio from FCP to STP. Once it is in STP, I normalize it up to 0 db. When this is complete, the meters peak in the 0 db range. When I save and return that same piece of audio back to FCP, it will now peak at -12 db. I'm unsure of why there is a discrepency in the meters. Why does it say 0 db in one program and -12 db in the other? I'm not sure what I'm missing and was curious to know if others have had this issue as well.
Mac 2.0 G5 Mac OS X (10.4.4) FCP Studio
Mac 2.0 G5 Mac OS X (10.4.4) FCP Studio

Yes the meters are all wonky in STP. My guess is that whoever designed them does not know the first thing about audio post production or digital metering and work flow between formats.
If Final Cut Pro uses -12dbfs as their reference instead of sony -20 standard then so be it, but broadcast standard is -20dbfs = 0dbm
It looks like they have taken the -12dbfs = 0dbm and included it into the meters in STP. So they are no longer using the -12 ref correctly and are not actually Digital Full Scale Meters but an entirly NEW kind of meter that Apple has design for the purpose of?
So a REAL -12db full scale signal shows as 0db full scale in these meters what ever they are. Not rational or useful. Plus the balistics are from outer space. You cannot seem to tell how close you are to the imginary O reference they are using.
I repeat: A REAL - 12DB Full Scale signal, shows as 0db Full Scale in these meters adding to an already confusing hodge podge of digital references.
Minor discrepency
So if you want to master your audio close to 0db full scale for DVD you will have to use a different program as 0dbfs does not exist on these meters! So when you hit +12db on these meters the signal is actually 0dbfs on ANY OTHER FULL SCALE DIGITAL METER IN THE WORLD.
Daniel Shattuck
Creative Director
Trinity Learning Community

Markers help or advice please . FCP TO STP new to fcp and stp

markers created in a clip in Final Cut Pro then exported as Qtime movie are not showing up when QTime movie clip is re-opened in STpro. This seems a little odd to me.
why does STP not detect scene cuts and timcode markers from a QTime movie saved in final cut.
The Process we used.
we have a scene made up of several takes, thus several edit points within the scene, which we marked and named in FCP so we new which audio files to use within the scene.
we export scene as compressed Qtime movie.
Opened in ST pro, 1 video track with scratch track and NO MARKERS telling us the info we'd need.
What are we doing wrong? I'm guessing Qtime does not record marker info, if this is the case which format does. or is it back to pen and paper. If logic can detect scene cuts, why does STP not. is there a way?
Any help or advice would be much appreciated. I stress I'm new to this audio for film doodaa.
Regards
James

Seems that clip markers don't show up (in my experience too) but FCP Sequence markers do! Make sure you have all the clips, video, audio etc de-selected and then add the markers to the top timeline bar. These will then export.
BTW you have a choice of marker types available on export, but I found that the export all markers didn't export any markers... so select the marker type you are using and only export those. I am using Scoring markers for STP and now it works fine (although you are not able to move them once imported into STP...)
None of this is very clear in the FCP / STP manuals as little differentiation is made about the types of markers (i.e. whether for clips or sequences...)
Best of luck

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

Exporting from FCP to STP not going so well

Hello All,
I've been working between FCP and STP, sending the audio over to STP for a better mix.
Things have been going pretty well, although the feature of having the export back to FCP and automatically drop in the timeline doesn't seem to work. I do like the greater degeree of control via STP.
Anyway, I am attempting to send another multi-track file over to STP. I'm attempting to do this from the timeline, and not from the browser. To accomplish this, I select all, then choose send from the file menu, etc.
The following is happening:
1. The file send reads, "Exporting XML Data"
2. Then it stops, and a new message reads, "Error sending selection to Soundrack Pro"
Any ideas what might be happening. Is it merely a preference trash in order?
Thoughts.
Thanks.
DG

Okay,
I need to know. Is it my questions, or is this group restricted to FCP internal issues only. I'm always amazed that 25 people have viewed this type of question, but the wealth of experience doesn't toss just one pearl of wisdom.
I think this is FCP related, but perhaps the exporting closes the door on interest.
Let me down gently, as I'm fragile
DG

After updating to 10.1, projects/events that I had on an external HD are not recognizable by FCP, and only open up as TextEdit when I try to open them in Finder. I appreciate your help. Thank you.

After updating to 10.1, projects/events that I had on an external HD are not recognizable by FCP, and only open up as TextEdit when I try to open them in Finder. I appreciate your help. Thank you.

You do not open the project from Finder. You do that from FCP. They are in the library.

Help! Audio for 16mm project, material to FCP and back again to 16mm

I am getting ready to send an AIFF file of the audio I created on FCP, working with video that was created from a 16mm to video transfer at my lab. They tell me the transfer was a non-drop frame transfer. The lab made a digital file from the transfer, which I imported into a FCP project with 23.98 sequence settings.
I want to compare the frame length of my WP to that of my video file so that I can determine how the audio house who will be transferring the AIFF to mag needs to compensate, and I am confused about how to measure the video file's frame length. If the sequence settings are at 23.98 fps, and the project runs from 1:00:05;12 to 1:11:49;08, to determine the frame length should I be assuming there are 24 frames per second or 30?
I don't have access anymore to the FCP so I can't check but a basic question is: if the sequence setting are set to 23.98fps, does that mean the timeline only has 24fps? When I convert at 30fps, my video file is 22 frames longer than my WP...
Thanks for any advice and questions--that all may be explained poorly...

When your project and sequence settings are at 23.98, it is for two main reasons. 1. ou are working with video footage shot at 23.98 and 2. you are working with film (24 fps), which was ultimately telecined to video which runs at 23.98. This is mainly implimented because you plan on either going back to a higher resolution "online" which you will be synching up the timecode with a better quality copy of the tape at a coloring house, or you will be using the edl from the 23.98 sequence to give to a negative cutter, so they can cut the negative correctly according to the timecode and how it links with the keycode.
I assume you are making a final product that will be on celuloid- an actual film print, not a video copy. is this correct?
Please clarify the following: did you shoot on film, get a telecine to a beta or dvcam, do you have a timecode burn-in on the tape and when you captured the clips into final cut, did you utilize Cinema Tools?
If you did run your clips through cinema tools, did you do it correctly (starting the process on the "aa" frame).
Is your project set to 23.98 or just your sequence? when you place captured clips onto the timeline do they have to be rendered? Is this a sync project or was it shot MOS?
And lastly, as I previously asked, are you sending all of your negative, the edl from FCP and the aiff to a negative cutter?

FCP to STP workflow problems

Hi all, having some real problems with a charitable recording I have done for the kids local theatrical group and wonder if anyone can help. Here is the issue:
Recorded kids play with single cam with onboard mic. Used Sony HDV A1 which has used track 1 for the audio from the shotgun mic and has put the audio from the onboard stereo? mics on track 2. Audio is as good as its going to be with the shotgun mic apart from the times when parents are clapping when it distorts.
Have the whole play in 2 long - 45mins - runs without any stop start.
I then put the sequence on the timeline and use the razor blade to split the various scenes (need to cut some of the play out). Now have the whole play with 2 audio tracks with cuts where I want them. Tricky bit comes next.
I need to loose the audio track 2 as it is too quiet and use the mono track 1 but try to do something with the distorted and too loud sections. I tried to send each cut scene to STP, make the adjustments, send it back etc., but have noticed (after waiting 24-hours for the render down to SD for the DVD) that each of the cut scenes seems to have been treated as a whole 90 minute section by STP with each one coming in at 1.2Gb! No wonder Compressor was taking a long time to do its stuff!
So, I take it there is a better way but any idea how I should do this? Working with the 45 minute clips on the timeline is nice and easy but how do I handle the audio? Just want the one track replicated across audio 1 and 2 plus for STP to just handle each section of the sequence rather than the whole thing.
Many thanks in advance,
Michael

Hi Jim,
Many thanks - this has helped a lot and I can now work on the audio with each clip and the resulting file size has gone down to a fraction of the original.
Any thoughts on the 2nd part of my question around audio tracks? As mentioned my Sony A1 seems to have captured two tracks and I need to discard one (the onboard mic). If I do this by simply deleting the 2nd Audio track in FCP when I open the track 1 in STP I can see it again. I guess by removing it from the FCP timeline does not result in removing the track from the referenced file that is sent to STP.
Tried converting tracks to mono in STP, saving and returning to FCP but then I get a 'reconnect missing media' error as the number of tracks has changed. When I reconnect it works fine (mono audio from both left and right) but the red \ through the file name audio symbol is still shown against the STP file name in the FCP browser. Suppose I can live with this but the red \ is probably telling me that I am doing something wrong!!
Thanks once again for the help so far,
Regards, Mike

FCP and Logic working together

Hi. I would like to know if there's some way of two people working at the same time, in the same project, one editing in FCP and the other doing audio in Logic. I mean, any way of the guy working in Logic being able to update his project with the changes made in FCP?
Someone told me this would be possible with EDL or XML, but i don't know anything about that stuff. I tried exporting a xml from FCP to Logic, but the automation is all wrong and every track is assigned to the same output...
Any help with this issues?
Thanks,
LR
P.S.- FCP 6.0.1 and Logic 8 running on a DP 1.8 G5 with 10.4.10

After some tests i found a way of doing what i want in STP with the "conform" function.
Any way of doing it with Logic?
I posted this in the FCP forum, but maybe i should post it on the Logic forum...
L.R.

Workflow FCP to STP to Color efficiency

I was hoping someone with a bit more experience might be able to explain to me my limitations. I am trying to be as efficient as possible when working with Final Cut Studio.
Typically, I have been doing my edits in Final Cut Pro and then roundtripping to Soundtrack Pro and then finishing with a roundtrip from FCP to Color.
•Is there a way have 2 individuals - one work on STP and one work in Color - work at the same time on the same edited sequence after video edits have been made in FCP?
•Can I roundtrip the same sequence to both programs (STP and Color) at the same time and have 2 separate machines work on the same file?
I would love to be able to speed up my post production work. I do not have Final Cut Server; is there any way to do something like this?
Thanks!

Hi Jim,
Many thanks - this has helped a lot and I can now work on the audio with each clip and the resulting file size has gone down to a fraction of the original.
Any thoughts on the 2nd part of my question around audio tracks? As mentioned my Sony A1 seems to have captured two tracks and I need to discard one (the onboard mic). If I do this by simply deleting the 2nd Audio track in FCP when I open the track 1 in STP I can see it again. I guess by removing it from the FCP timeline does not result in removing the track from the referenced file that is sent to STP.
Tried converting tracks to mono in STP, saving and returning to FCP but then I get a 'reconnect missing media' error as the number of tracks has changed. When I reconnect it works fine (mono audio from both left and right) but the red \ through the file name audio symbol is still shown against the STP file name in the FCP browser. Suppose I can live with this but the red \ is probably telling me that I am doing something wrong!!
Thanks once again for the help so far,
Regards, Mike

FCP to STP: "Can't find render.mov"

I'm having trouble roundtripping FCP to STP. I control/click, choose send to STP, but half the time i get an error message that it can't find the "render.mov" file. Or, sometimes it goes to STP, but when I save to send it back, I get the same message.
Someone on another board suggested I delete all my render files via Render Manager, then re-render the timeline. Is that safe? Is there any risk involved in deleting those render files? Also, will deleting those also delete any STP changes I was able to make?
Thanks for any help or suggestions!
David Manis

This is what you need to do. uninstall FCP and then install FCS. it may take time to find every thing. don't forget
Library> application support> pro apps
Preferences too.. if you have footage on the computer that you want, don't delete those capture scratch files and render files.
there are some files in there also....

Urgent help with FCP/compressor required. Format HDV1080i50.

Hi guys,
I need to send a 129 minutes HDV feature (with a few DVCPro and Targa frames added) project that i have just finished editing to:
1) SD DVD
2) HD DVD
3) Master Digital(Hard Disk)
4) Master Digital to Tape.
The project is as follows;
Captured footage: HDV 1080 i50
Some additional footage is in Targa and DVCPro file formats.
Frame Size: 1440 x1080 @ 25 fps
AIFF Audio 48Khz / 16 bit.
Have sent audio to STP for mixing and surround. The master file is a two track AIFF file.
The Sequence in FCP (was changed to, as initially was HDV1080i50) and Compressor codec are set to ProRes 422(HQ) and all else to 'BEST'.
I have, so far, exported the entire nested project from FCP as a self contained Quicktime movie and the file size is 24.5GB. It took ages to write, is heavy and the result gave me lots of interlacing errors showing all over. The DVCPro and Targa data(video) didn't show).
I haven't used the 'send to compressor' before (except for the web)and was hoping for some guidance from you all on which settings to use for the above four options.
Also, if I need to print to film(reverse telecine) later, since the video is interlaced, is it going to cause problems? Does Compressor de-interlace or do I 'select all' in FCP and hit de-interlace? Will doing any one of these help me to print to film without blowing it?
Thanks,
Himayath.

I have no clue where to startHow about the tutorials?
so if somebaody can gve me sample codes or can showSample code? Easy, take this:
public class SampleClass {
private static final String TEXT = "Hello World!";
public static void main (String[] args) {
System.out.println(TEXT);

Is there a deus ex maquina for the hashed over HDV- DV conversion issues in the temples of FCP and Compressor??

I want to create a good quality SD DVD from 1080i/60 footage (20 minutes duration) from a Sony ZiU camera (mini DV tape) using FCP and Compressor. I can't do it. My hair has fallen out, but I don't want to throw in the towel.
I have imported the same footage with different FCP presets. The video quality in FCP is excellent.
But once I send the footage to Compressor. I end up with video exhibiting gradations of the following: blurry, jagged edges, jerky movement, darker color. Poor quality especially if a subject (kids playing football) runs fast.
The QT conversion process in Ken Stone’s article (May, 2008/updated in Jan, 2011) provides the most helpful information in getting a quality SD DVD. (Quality means looking as good as SD video DVDs). Except for the fact that the DVD is widescreen, the better quality alternative may just be to stick with the old 4:3 shooting, editing, burning methods that I’ve used for years. Unless of course, I am missing something. Hence my appeal to the knowledgable.
FYI Equipment/software: MAC Pro (OS 10.6.8); ATI Radeon HD 4870; terabytes to spare on 2 internal hard drives; FCS - FCP 7.0.3, Compressor 3.5.3, DVDSP 4.2.2. All applications are on Drive 1. FCP project files, scratch and other setups are on drive 2.
My current settings in FCP appear below. What's wrong here? Better alternative? Or it just may be HDV should not go to a SD DVD.
CAPTURE PRESET: HDV - APPLE PRORES 422
DEVICE CONTROL PRESET: Sony HDV FireWire
VIDEO PROCESSING Render 10-bit material in high precion YUV
I now send the Sequence to Compressor I've tried various settings, and the split screen preview in Compressor reveals on the right side the jaggy, blurred, darker video. Same shows up after submitting; and of course if I try to burn a DVD in DVDSP. I've followed Stone's Aug 31, 2009 article on Compressor 3.5. I experiemented with changes here and there without success (like changing field dominance of even selecting DV NTSC, etc).
If you got this far, thank you. And I really could use the help.
Sorry.Presets: Apple Pro Res 422 1440x1080 60i 48 kHz, HDV- Apple ProRes 422, Sony HDV FireWire. Capture Preset: HDV-Apple ProRes 422; Device control Sony HDV FireWire. Sequence Settings: 1440x1080 HD (1440X1080) (16:9), PIixel HD(1440x1080), Upper/Odd, 29.97, Compressor Apple ProRes 422. Message was edited by: Richard Fera

Michael,
Thanks for the helpful comments. Two tactics today helped. Where ever field dominance was indicated I made sure "upper/top" was the same everywhere throughout FCP and Compressor. That almost eliminated the jagged edges. Also, in the easy setup, I selected Apple ProRes 422 as the format, using HDV to ProRes HQ - Sony -1080i60. Sending direct to Compressor rather than through QuickTime conversion also help produce a clearer, less dark picture.
I'll try your suggesstions especially adding compression markers. I'll check back with you on results.
Thanks

Help on FCP and STP

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