Problem importing Sequence from FCP 7 to Color 1.5!!!!!

I am trying to export a Sequence from FCP 7 into Color and am experiencing problems. When I send the Sequence to Color from FCP 7 Color receives the incorrect in and out points for many of the clips in my original FCP sequence. All of the footage being used was captured with the same settings from the same camera (Canon xha1). I have made all of the clips in my sequence that had basic motion effects into self-contained QT movies, so the basic motion ramping I've done shouldnt be a problem, right? There are no filters on the clips either. After hours and hours of searching, reading, and trial and error I cant figure out why Color will not recognize and play the clips as they appear in FCP. This is killing me and the project I am working on is due ASAP.
Any idea what I am doing wrong? Thanks.

In the Logging Info tab in Item Properties, the self contained QT movies I made have a TC Rate of 24 whereas the normal clips from the sequence have a TC rate of 30. Could this be the reason Color wont read the sequence correctly?
I have tried to remake the self contained QT movies with the Apple ProRes 422 1440x1080 30p 48khz setting, yet still the TC Rate shows 24. What am I doing wrong?
You probably have "24" fps media on a 29.97 fps timeline, which would explain a few other things, especially why the in/out points are wrong on the COLOR timeline. COLOR does not look at express timecodes -- it functions like a good old fashioned EDL and works on durations -- so if the frame rate disagrees, the trims will also be incorrect.
I have no idea how you are making the self-contained QTs. Are you using Export QT, or Conversion? Are you manipulating the export settings in any way? Are you exporting from the timeline?
I myself am very disappointed with Apple's inability to cope with 23.98/29.97, because you are also dealing with three flavours of cadence/pull-down, not all of which are handled correctly, especially with ProRes.

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Sending Sequence from FCP to Color

I have medea managed my entire feature length film; the final sequence; deleted all extraneous clips, but Color seems to pick it up anyhow...
How can I export to Color? just the final sequence of the film with out it picking up any old clips.
I have tried many different options, but I'm sure there's a resulotion out there to this issue.
Please help me export my final sequence to Color with out any bugginess going on...
thanks

Describe the process you used to media manage the sequence. Did you copy the original media in your original sequence and create a new project file referencing those new media files? If not try that.
Jerry

Why does my canvas display white after importing sequence from Color into FCP 7

Hi, I have a problem involving the relationship between Color and Fcp 7. When I imported my Color grade back into fcp 7 it permanently changed my fcp working file, even the other ungraded sequences. Now when the cursor is static over a clip all that is diplayed on the canvas is white, but when the film plays it plays normally. This is obviously a problem because it is useful to see individual frames when editing.
Furthermore, when I exported the graded sequence from Fcp 7 as a .mov, certain parts were now blocks of white, the first time it seemed to be the parts where there were green unrendered bars above the clips in the fcp file, but then the second time I rendered it all prior to exporting and there were still two areas where it was white in the export, namely the title credit which I had made against a colour solid Matte, and also a greenscreen clip that I had imported from After effects.
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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.
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Exporting Sequence from FCP

Forum,
I sent part of a sequence from FCP to STP, but it's not in sequence anymore. It's broken back down into the original clips.
How can I edit in STP without losing the structure of the sequence that I spent so much time on?
Thanks,
Trey

I remember having to do a mixdown in each of my nests when dealing with this issue in 4.5.
You can also do an end-run around FCP's mis-management of the audio renders by manually throwing away the audio render files for the project in the finder and re-opening the project.
You might also try using the Advanced Format Conversion in Compressor, as that should ignore any pre-rendered material from your sequence.
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Hello, I just setup my network attached storage and I'm having problems importing music from it. I get a runtime error with CTImport.exe "abnormal program termination", nice and informati've (see below). I'm running MediaSource 3.30.2, the most recent version. I can add songs little by little, but anytime I try and import a bunch, I get the error. It's not the length of the pathname either, because I added the longest one individually, and it was fine.
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<IMG src="http://www.dustinandalison.com/Ebay Pics/MediaSourceError.JPG">

Yes, I originally had all my songs on my local dri've. Anyway, it turned out to be a "corrupt" file. This file was fine in every other media player I had, but MediaSource couldn't do anything with it, not even play it (it was an unprotected .wma). I don't know if that song was originally imported while on the local dri've, but I deleted it and MediaSource imported everything fine.
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Where XML and related file belong when send from FCP to Color?

Hi(Bonjour)!
Where XML and related file belong when send from FCP to Color?
I want to start a fresh project and delete all previous tests.
Michel Boissonneault

Hi(Bonjour)!
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Cannot import sequences from Adobe Premier Pro CC

The import of a PP CC project does not work. I cannot import sequences from Premiere Pro CC : the dynamic link start but nothing occurs.
I hope that I shall have not to rebuilt my project with Premiere Pro CS 6.
Thanks in advance for your assistance.

Hi,
Many thanks for your very quick reply.
My english is not very good, but if I understood, I must :
- import sequences within AME CS6,
- encode or convert the sequences inside AME,
- import the result inside AE,
- transcode within AE then finish the disc or the job.
Am I right ?
Le 29/11/2013 20:01, John T Smith a écrit :
>
Re: Cannot import sequences from Adobe Premier Pro CC
created by John T Smith <http://forums.adobe.com/people/JohnTSmith>
in /Encore/ - View the full discussion
<http://forums.adobe.com/message/5885675#5885675

A few clips wrong timecode in Color sequence from FCP 7

Dear gods and goddesses of the Color Forums,
So I've been going over the questions regarding exporting FCP 7 sequences to Color, and believe I followed all the directions correctly to prep my sequence for Color. Took off all the graphics and text, put everything on track 1, and made any basic motion images independent quicktime movies to "bake in" the motion and avoid previously known issues with this.
Everything seems to be working just fine except for three clips which have the wrong timecode. A different part of the clip is showing up than what is in the in/out points on the FCP sequence.
Does anyone have any pointers about how to re-align these in/out points in color with the correct part of the clip? Or is there any way I can drop in the correct portion of the clip into the sequence in Color? I would hate to lose all the work I've already done on this sequence just due to 3 clips that are not correct on the timeline...
specs: shot on Canon 5D, frame rate 23.98 fps, codec Apple Pro Res 422 (HQ), Final Cut Pro 7, Color 1.5 (Academic versions).
Thanks for any help!
Erin Galey
Director/Cinematographer

If you want to keep the original source media, then you will have to figure out why COLOR is picking the wrong "in" point. Could be a framerate issue, GOP mismatch, I would hope it isn't part of a nested sequence or Multicam nest... possible confusion with unsupported media in proximity. All of these have been issues at one time or another.
Cheap 'out' would be to simply export the offending clips as independent pickups... replace them on the originally exported FCP sequence and Reconform in COLOR. For three clips, this would appear to be the most expedient option.
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Hi,
Please can someone give me the best export settings/codecs to use if I need to export a FCP sequence with clips shot on XDCam EX1, 1920x1080i, 35 mbs at the least quality loss possible so that it can be imported into an Avid on PC for titling, effects and other bits added? My on-line editor is on Avid PC.
Many thanks
Belinda

Hee....missed that final sentence somehow.
So...offlining imported footage on FCP that you will online in Avid? What is there to online? You imported at full resolution. Must be color correction.
OK then...you edit in FCP from imported XDCAM EX footage...and you intend to go to Avid for the final color correct and titling. Did you plan for this? Test this? because I am pretty sure that the QT files that were created when you imported with the transfer tool won't work on a PC. Unless you tested and they did. But it appears that they don't as you are asking how to get them there.
Did you not ask this question when you started this show? That is ALWAYS something you do. If you plan on doing a certain workflow, you have to make sure that the workflow in question will work. Offline and online from tape is fairly simple, as you can recapture from the tape...timecode being the big thing there. But this is IMPORTED footage. Full clips, and I don't see how you can import only what is used in a sequence.
This issue, coupled with FCP to Avid...and Avid on a PC no less. Well. Find a codec you can export from FCP that the Avid can read (this will require testing), then MEDIA MANAGE the footage to that codec. Hmm....but then how will the Avid read the FCP project file to reconnect to the footage?
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Shane

Problems outputing audio from FCP into a mini dv

hi there
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does any one have an idea why this is happening?
thank you.

Could definitely be a problem with the camera, but... the most obvious thing is that your output from fcp doesn't match the format on the camera. Make sure that both are set to 48k 16 bit and that your camera is recording SP.

Importing audio from FCP

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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?
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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.
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That makes me happy. I like it.

Problem importing Sequence from FCP 7 to Color 1.5!!!!!

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