OMF from FCP - no automation

Please note I have the latest version of everything I am using.
Has anyone had any success at all with importing OMF or XML files from Finalcut pro into logic?
I get the audio but all automation data from the FCP timeline disappears. The automation from FCP does not carry over to logic.
The same omf file will open just fine in Soundtrack pro, showing automation and even crossfades.
My current solution is to export an AAF from Soundtrack pro and bring that into Logic. One main problem with this is that any crossfades appear as separate audio files.
I have also tried XML files but there are issues here too.
Is anyone managing to go FCP to logic whilst preserving automation and crossfades?
Any tips most welcome.

What you're seeing (no automation data) is the norm for when you import an OMF from FCP into Logic.

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Omf from fcp to pro tools

Hello there,
Just finished offline of a feature film and done also the premix on FCP 5.0.4
now I will export it as OMF to work at OMNIMIX. They say pro tools won't recognise the sound clips as individual clips but as whole tracks instead.
Is this correct? and while mixing, using an omf file causes decrease in the quality of the sound.
The sound was recorded live on location to a Fostex pd6 dvd. All the sound is copied to the HD.
Thanks in advance...
hande
G5 Mac OS X (10.4.8)

Hi hande,
now I will export it as OMF to work at OMNIMIX. They
say pro tools won't recognise the sound clips as
individual clips but as whole tracks instead.
Is this correct?
No. Audio clips from FCP import as seperate audio regions in Protools, at the correct timecode locations.
and while mixing, using an omf file
causes decrease in the quality of the sound.
As Michael said, there is no quality loss. How could there be? It references/copies from, the same media files.
I agree that you may want to look elsewhere for this service. Mixing and mastering audio for video is my most commonly provided service, I can tell you with confidence that It sounds like your folks at Omnimix have never done this before.
Also, if you've done a reference mix in FCP, render that to an mp3 or something and send it along with. Can't hurt.
Good luck.

Exporting OMF from FCP 6

When you export an omf in FCP 6, does it contain info on pan and level?
Thanks.

Hi,
take a look at the link below and check out the "OMF Export enhancements" paragraph.
http://www.kenstone.net/fcphomepage/fcp_6_first_lookmartin.html
G.

Problems exporting OMF from FCP 6

I've been trying to export an omf of a 40 min dvcprohd sequence to hand off to my sound mixer.
He needs the omf with handles of at least 20 seconds. When I try to export it I get the message telling me that the file will exceed 2GB and is not supported. I have tried exporting only a very small part of it (like the first minute of the first four tracks) and if I have 20 second handles it wont do it.
Any suggestions?

There may be something else involved, but there is a file size limit on fat32 formatted drives. What is the format of the drive you're trying to export to. Also, I seem to remember that you can export an omf with either the media separate or embedded. Separate might solve the problem.
Also 20 second handles seems ridiculous to me. Most omf's I've exported for sound mixes have at most a couple of seconds of handles.

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.

Sound file becomes stretched upon roundtrip from FCP

I don't know soundtrack very well, but I am trying to clean up and audio track. When I try to send it to soundtrack, the file becomes time stretched and the pitch is also lower. this has happened a few times and that is why I haven't bothered to learn soundtrack, but I need to do this by the end of the weekend.
I have soundtrack 1 from FCP 5 studio.

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.

Exporting OMF's from FCP to Logic... errors

We are trying to export some long-format audio from FCP with the tracks intact to Logic 7.2.
We export the files just fine... however, Logic 7.2 keeps coming back with an "omf error 116 OMFI_ERR: null object not allowed"
We really need to use OMF if at all possible to save time and provide the audio files that the engineer needs. I realize we can do this by exporting separate AIFF files.. but what a pain in the rear that will be.

the whole support of exporting to OMF and AAF in logic is flakey at best.
chances are you have a blank region in your audio file list - or who knows? it might just be logic being stupid.
you might try exporting AAF as this is potentially more reliable. FCP, PT, and most avids will accept AAF, although i have had issues with this format using logic in the past as well.

Importing audio from FCP

Is there a way to import audio projects from FCP into logic keeping the automation that the video editor has made?
Is there a file format other than OMF that contains the automation. and can FCP export it and can logic read it?
Is there a 3rd party application that can convert?
Or do I have to go back to the bad old days of Pro Tools (or worse, Soundtrack "pro")? PT LE is limited for soundtrack production, isn't it?
Is there anyone doing serious audio post production on logic, and if so, how are the projects imported?

The problem with exporting to AIFF, is that you can't crossfade between your cuts, or normalize regions. Your just stuck with the FCP raw mix. This is OK if your cut is relatively simple and you've already crossfaded and blah, but if you've got all kinds of dynamics going on, and different types of recording, you're definitely going to want more control over the export.
The problem with OMF, is that it doesn't translate well into LP. This seems to be a regular thing coming up on threads, apparently it works better with other audio editors but not LP. I've found that despite specifying handles on my export, non appear thus making crossfading impossible, you just get the same glitches your trying to eliminate.
HOWEVER the great thing is that apple invented their own format XML, an apple interchangeable file format. If you import this to LP, you get REGIONS like in FCP that reference the original files on your HD, which means you can now CROSS FADE, and NORMALIZE.
That makes me happy. I like it.

Unable to output from FCP to Canon XL1.

I have an eMac with Final Cut Pro 4.5 HD. I also have a Canon XL1 3 CCD camcorder.
I have no problem capturing footage from my camcorder to my eMac on FCP. I can also connect my Canon to my VCR and record off my camcorder to my TV, as well as play the tape on my camcorder to watch it on TV.
However, I cannot output from FCP to my camcorder. The 4 to 6 FireWire is attached to both the camera and the eMac and I checked the Log and Capture feature and FCP does recognize a camera or deck is attached. I've been trying to output it using manual record in which I press record on my camcorder and play the playhead on FCP. As I record, there is no picture on my viewfinder, nor any audio being recorded and when I play it back, I just get this blank blue screen, but the timecode is recorded.
Am I missing something here?

ensure the following are set
View>Video Playback>Firewire Apple 720x480 (NTSC or PAL - whatever is appropriate)
View>Audio Playback>Audio follows video
View>External Video>All Frames
If this isn't what you are set to do, you won't be sending video out to your recorder.
x

I need to output a PAL HDV project from FCP as a PAL DV file with 4 audio t

I need to output a PAL HDV project from FCP as a PAL DV file with 4 audio tracks - specifically one stereo pair to be t1&t3, the other stereo pair to be t2&t4. This is the standard way requested by an international distributor of tv programmes. I understand how to set the sequence in FCP to output 4 audio tracks - either 2 stereo pairs (1&2, + 3&4), or 4 discrete tracks. But how do I then output this as a QT file?
The manual tells me that to export multiple audio tracks, File>Export>QT Movie has it's Config pop-up menu in the Audio Settings area of the General tab of the Sequence Settings. Well, that's set for 4 discrete channels, but the QT export settings only allow for 2 mono or 1 stereo output, and that's what I get when I try it. What it says in the manual just doesn't happen.
Exporting via Compressor, on the other hand, has an abundance of choices of 4-track outputs, none of which are labelled as anything resembling 'discrete'. Would any of those 4.0 settings suffice? Or am I likely to get myself into difficulties further down the line? As I am monitoring for this task on a 2-track audio system, I cannot confirm exactly what I am getting when I use any of those settings.
Any advice would be greatly appreciated!
John

Call me naive, but I've not heard of splitting the stereo pairs like this before.
What broadcaster? (perhaps one of our EU regulars will drop in...)
You can do all sorts of pairing but it is coincident tracks pairing- eg 1/2 + 3/4
Sorry I can't offer anything.
x

Sony EX XDCAM from FCP MAC cannot be recognized by PC

Not sure if this is a quick fix, but my CGI guy - who works by remote - cannot get his PC to recognize my XDCAM EX 108024p clips from my MAC - which I have exported as MXFs using the SONY XDCAM export option in Export>using qt conversion. I sent him the link to the driver, and he said it installed fine - but still his computer was not recognizing the MXF file. Does he need a program to convert?
Basically, I am looking for a lossless way to give him my Sony EX1 files that he can work with on his PC (in studio max) and then export to a lossless format that I don't have to render in FCP.
Any tips or suggestions most welcome. This is my first time editing a program with EX 1 files in FCP.

I'm using the Sony XDCAM transfer 2.5.1 to bring in the clips from card into FCP. The clip browser I downloaded yesterday and I tried to get it to recognize an MXF file that I had exported from FCP using the sony xdcam plug-in (but it did not). I guess I can only use the MP4s to convert to MXF? Is there a difference going from FCP compared to Clip Browser? I want to be able to export cut sequences so that the CGI guy can composite...
Message was edited by: thecuz

Aspect Ratio wrong in sequence imported from FCP

I'm a reasonably experienced user of Final Cut who intends now to migrate to Premiere (leaving the sinking ship?) So, at present, I'm trying to import current projects from FCP into Premiere using XML.
The result for a large scale and pretty advanced project was disasterous losses, so I've decided to start with a much smaller project, which contains a single sequence in the same format as the media, 20 or so HDV 1080p25 clips, and a handful of wav sound files. The result is better, but there are two problems I've encountered:
1. When I open the sequence in the timeline the aspect ratio, which should be 16:9 is squashed in to something more like 4:3. Opening a clip from the bin in the source monitor does not have this effect, but I can't work out how to rectify the change of aspect ratio when the sequence is playing in the program monitor. - Any tips?
2. The audio file icons in the project imported into Premiere are unlinked. When I try reconnecting them, Premiere says it can't because of a 'header error'. - Any clues to what this means and why it should be?
Thanks.

Hello Jim Simon,
Yes, I've tried importing one of these wav files into a new project, but it Premiere won't allow me to. It comes up with a message saying:
"The file cannot be opened because of a header error".
Any ideas?
PS. As this was a side issue to my main query, and the title of this thread doesn't refer to it and hence might make it hard for others to find, I've added a new query to cover this under the title: "Header Error when importing Wav files"
Message was edited by: andrewcopper

Everytime I export from FCP using comressor I am lose my audio, any ideas as to why this is happening. Or do I have somthing turned off and I am just missing it? Dual 2.7 Ghz PowerPC G5 1.5 GB DDR SDRAM, Mac OS X (10.4.6)

Everytime I export from FCP using comressor I am lose my audio, any ideas as to why this is happening. Or do I have somthing turned off and I am just missing it? Dual 2.7 Ghz PowerPC G5 1.5 GB DDR SDRAM, Mac OS X (10.4.6)

Exporting via Compressor may be recommended but it is slow and doesn't fully support all available filters, etc.
Try exporting the timeline as a QT Movie (the "normal" export) using Current Settings and them submit the resultant clip to Compression. Works for me...

My sequence will not show up in Color 1.5.3 when sent from FCP 7

I cannot get clips from FCP 7 to show up when sent to Color. I had been able to get this to work perfectly fine earlier, but now for some reason, when sending a sequence from FCP to Color, Color doesn't automatically create a new project with the sequence in it. I've Googled for answers as much as I can, but cannot figure out what's going wrong.
By the way, the footage is from a Canon 7D, imported into FCP from PluralEyes 8.
EDIT: I've tried to manually export the XML from Final Cut into Color. Color will not even recognize the exported XML file. I've done what others have suggested online and deleted my Color & FCP preferences files out of my User/Library. I've created new FCP projects and tried to send to color from a new project. None of these have helped at all.

I just had this exact same problem. Clips from my FCP 7 sequence would not show up when I sent them to Color 1.5. No way. No how.
I solved my problem (at least for now) by simply restarting my machine. I realized that it had been running for days, and it probably just needed a reboot. Try it. It might work.
And yes, I'm running Mountain Lion, too. 10.8.2.
Good luck! ----Todd Ruel

The Color doesn´t recognize the clips´time when I send from FCP to COLOR

I have a big problem. When I send from FCP to Color does not recognize the mounting clips. In each plane is everything and not the s 2 or 4 seconds it had in the assembly of the FCP.
I have worked with Color more times and have not had that problem.
Anyone can help me?. Can it be the codecs, the times of the FCP, the settings of COLOR?
Could you help me, please ?

subpaper clips.
What is a "subpaper clip"?
By the way, all this nonsense about COLOR only supporting one layer of video... where is this coming from? This is utterly untrue... I am thinking of Stevie Wonder's song that states that when people believe in things they don't understand, that's superstition.
Rather than try to explain all the things that COLOR cannot do, maybe it would be easier to lay out the basic concept of what should be sent.
Very fundamentally, COLOR is a sequential-file (.dpx) color correction or grading application that has been modified to work with a few Quicktime codecs, and can accept a single sequence of independent media (discrete clips) from Final Cut. That sequence can have many layers, but it cannot have any nested sequences, and there still are a number of editing strategies within Final Cut that can be proxied, albeit inexactly, but occasionally not at all.
The safest sequence to send to COLOR from Final Cut consists of independent Quicktime Clips, all of the same resolution, codec, and frame rate, which should match the sequence settings of the Final Cut project. There is a naive assumption that anything that can be done in Final Cut can be replicated in COLOR and returned intact. This is absolutely untrue, and the evidence of that is everywhere in this, and other forums.
In this particular instance, "zotero"'s problem, while lamentable, is of his own creation by ignoring or proceeding without any preparation or investigation, and assuming that every editor's concept of what passes for the creative process has been anticipated and compensated for by the application developers.
To mark them manually now when already I have the definitive assembly is a labor of many hours.
Unfortunately, that may be your fate. Alternatively, you may consider the use of a "Media Manage" operation which will re-organize the independency of the source media. The Media Manager is covered extensively in the Final Cut manual. I'd advise doing a lot of back-ups before proceeding with anything else at this point, because it really looks like there is going to be a lot of trial-and-error in the near future... mostly error. Good luck with it all.
jPo

OMF from FCP - no automation

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