Send too from FCP

Has anyone had issues with the send to comand in FCP. Trying to send to shake some footage it works the first time and then not after that???
Also when the footage is exported from FCP the nodes under the footage are effect1-v1, (footage name) then effect 1 and effect1_out. What do these nodes do and do I set up other nodes from the last one ore can I branck off from the footage node??
cheers angus

Many times when I do the SEND TO and I get the clip on the timeline, it doesn't see the rendered out clip. It might initially, but any changes I make might not update. My solution is to throw that clip away from the folder on the drive before I export my new rendered FILEOUT. Then FCP says it is missing and prompts to reconnect.
Shane

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I cannot send anything from FCP X to Compressor

I cannot send anything from FCP X to Compressor. It simply does nothing even after reboot etc..... Anybody have a solution before I'm fired.

Have you tried trashing your preferences?
Unexplained faults like this can often be fixed by clearing out FCP X's preferences (for some reason, they get knotted up from time to time).
Download Digital Rebellion's Preference Manager (free, simple to use, and perfectly safe, both to download and use).
http://www.digitalrebellion.com/prefman/
With Preference Manager, you can backup the Prefs first, then if trashing makes no difference, you can restore all your settings.
If you trash them and don't restore them, you will need to manually restore all your FCP X settings again, so it's a great idea to backup Preferences from time to time when FCP X is working well, then if they get corrupted you can ditch the bad prefs and restore from your (Digital Rebellion) backup.
If you get the App, trash the Compressor prefs while you're at it.
Can't guarantee it, but it's worth a try.
Andy

Sending files from FCP to STP

after migrating stuff from my old mac book to my new imac (w lion os) i am unable to send segments from final cut to sound track. selection is grayed out although selections for motion,shake,color, and soundtrack pro script are in black. don't have that problem with my old mac book. would it have something to do with the lion OS? if so, what to do and if not, what do you think would be the problem?
bob rittner

I suggest you read up on Permissions Repair:
http://support.apple.com/kb/ht1452
In a nut shell, sometimes, especially since you migrated, files ownership isn't changed on all files, etc... and this does not allow programs to function properly. So running a permissions repair will correct this.
For the preferences, at times these become corrupted. So you need to delete them to make new ones.... But if you use Preference Manager, you won't accidentally delete the wrong file AND you can back up your old preference file in case deleting doesn't help and you can get your old preferences and presets back.

Green Screen in Motion – export to fcp? Send to from FCP?

Hi I have footage from two different cameras with way different lighting on each subject (interview style). I did not shoot this, only trying to fix it.
I am editing them in FCP and would like to know the best way to get them to and from Motion... There are jump cuts between each person speaking so each camera has to be keyed independently.
Should I highlight clips from the same camera and export as a QT movie? Should I highlight and send to Motion?
Also, when I was doing this before the clips were not transparent... Is there some setting in Motion that I am choosing incorrectly?
Thank you for your help...

Don't export out of FCP at all then. Just open the color corrected-rendered-exported-as-native clips in Motion. Apply your keying and matting. You will export the processed clips out of Motion using ProRes4444, RGB+alpha.
There is no tangible gain trying to process individual, trimmed shots. If you apply the color correction to each scene, you will have a long clip that can be edited-cut-trimmed just like the raw clip, just be sure to keep the audio unless you're confident in marrying the tracks. That's just my preferred method.
If you have already trimmed your scenes (the clips that go from start to stop) into individual shots, you can assemble them into a sequence, maybe add some black between them, nest the sequence, and apply one color correction to the whole sequence. This, of course, is useless if you're already locked into or tied to timecoded edits.
All of this advice is based on my theory that complicating anything in FCP unnecessarily is not just asking for trouble, it practically assures disaster.
bogiesan

Lost transitions when using, send to, from FCP

Hi,
I just used, send to Motion, on 2 stills from FCPv6 that had a cross fade between them. Once they got to Motion they had lost that cross fade. How do I make FCP send the transition as well?
Best wishes
Michael
Message was edited by: Michael Curtis

I'd set it all up in FCP - straight cuts, to time everything to the music, vo, or whatever, then send it all to Motion, where I'd do the zooms and scans - you need to extend the end of each clip to create overlap for the fade in/fade out behavior, and you need to change the scale interpolation to bezier to match position (which is bezier by default) for perfect starts and stops, but it's faster and easier by far than doing it in FCP - and realtime playback as you work.

How to send Images from FCP to Color

Hey guys, so I've pulled some images off the web and slapped them into my timeline. Trouble is when I send them to Color, they don't work. Why is this, is there a work around
Image of items inside color.
http://img251.imageshack.us/img251/3504/upshotfptbt283.png

Sorry, I should have searched the forum.
Question answered.

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

Color timeline starts each clip at 00:00:00:00 after sending from FCP

When I export a sequence from FCP (7.0.3) to Color (1.5.3), the latter shows a timeline with clips of the proper duration, but with the wrong in/out. Each clip in the Color timeline starts at 00:00:00:00 of the source file, as opposed to the "in" I had selected in FCP.
The video originated as h.264 files from a 5D. I transcoded the files to ProRess 422 for editing, and am sending them from FCP to Color as such. The FCP timeline contains nothing but these ProRes video clips.
Thanks for your help...

any way to use an edl with these kind clips?
That poses an interesting option, maybe. For starters, though, the Send To... COLOR command instructs FCP to write an XML export that is decoded by COLOR, and that should take care of things.
There is a strategy that AVID users sometimes employ, and that is to export a CMX EDL, open that under COLOR and link to the media directly under COLOR (this works for RED flow). I am mystified as to why COLOR defaults to the first frame of your exported clips -- unless the time code is faulty in some way (or is not present), and so COLOR is simply beginning at the beginning as a kind of default.
Even if the in-point is wrong, are the clip durations correct?
Are you absolutely sure there is timecode on the ProRes clips? Apparently this is a problem shared with Final Cut Express, where exported QT clips always start at zero, but this is hearsay on my part as I have never dealt with FCE.
An alternate strategy at this point might be to export a complete Quicktime of your finished (textless) project, re-import it into FCP and "razor" cut it using your original timeline as a cutting guide. That sequence would go to COLOR with no issues.
A lot of users do this as standard procedure if they want to avoid a lot of "baking" and conforming if they've got a large number of mixed, or unsupported, media clips on a timeline. As a brute-force solution, its the Big Unifier.
jPo

What's the best way to send a project from fcp to my .mac video gallery ?

Hi
i have a small 14 minutes project i would like to post on .mac in my gallery.
iMovie can do it easily but thats to many steps from fcp to imovie and to .mac
is there a more direct way of transferring movies ( projects ) ?

You don't send projects from FCP to .mac.
Export the movie using a reasonable compression for internet playback.
Open up your .mac iDisk folder and drag the exported file to your movies folder on the iDisk
Open up .mac, create a web page and link your movie. I suppose iWeb does this as well but have never used the program.
If you want more help, try the .mac forum.
Good luck,
x

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

I want to send a clip from FCP to Motion

i am selecting a clip in my sequence and using the 'send to motion' menu but when it comes up in Motion it's not the clip i selected. It is using the out point for the clip i selected as the in point and making a new out point at the duration of the clip i selected.
anyone know why

Thanks for your reply Patrick,
No the clip has no speed alterations, the only thing bout it that i can see altered is that it a subclip from the original file that i captured in the same project.
Guess it might be a weird one then ay, there will probably be someone out there that knows whats up with it though,
When you are sending a clip or sequence to Motion from FCP do you need to have motion set up as the structure of you FC project before hand eg, ( DV- PAL) or does Motion reconize the formats from your FCP project that you are cutting on?
TH

Exporting direct from FCP vs. sending to Compressor?

I've done both, but the choice ends up being a coin toss. So I'm curious if there's any accepted wisdom as to the Pros & Cons of each workflow (using the current versions of each app, and in a hypothetical All Things Being Equal scenario)?
In other words, if you were to create the exact same "Master File" from a given FCP Project using each route (in terms of the finished file's dimensions, frame rate, etc), and you selected the exact same codec/quality options to create that file (assuming the identical options exist to be chosen), would there still potentially be any significant difference between the two files? Either in terms of file size, length of time it takes for the file to be created, or any appreciable difference in image quality (despite the theoretically identical file settings)?
Because a difference in any one of those three categories might be enough to tip the scales towards using one workflow vs. the other, depending on the priorities in a given situation.
(And for the sake of this comparison, I'm leaving aside the issue of which app could still be used for other tasks while the export is in progress. Let's just assume for the sake of argument that in both cases the machine would not be being used for ANY other work during each of the exports.)
Any theories? Real-world experiences? Or has some 3rd-party test site already attempted this kind of direct comparison (using the latest versions of FCP-X and Compressor 4.x)?
Thanks,
John B
Toronto

Without considering every possibility, here are a couple of general thoughts.
Given the same Compressor preset there should be no quality difference between the output from a master fie to Compressor and sending it from the timeline to Compressor. There are speed differences and exporting from FCP X is the fastest workflow. Lately, I've found second fastest to be Send to Compressor. But the inferences differences aren't great.
Most of this depends on one's workflow preferences. The most lengthy workflow is to first export a master file and then bring that into Compressor;. Funnily enough, that is how I work because I want to have an iFrame master file that I can compress for different purposes over time.
One user recently posted that he used Send-to-Compresssor because it gave him the opportunity to pause the processes without losing his work.
In the past (particularly with legacy FCP) the Send-to-Comnpressor workflow was something I avoided. It was slow and unreliable. 10.0.x to 4.0.x was faster but troubled in other ways. The latest versions, however, seem to get it done efficiently.
Final thought: if you do your own tests, check o ensure you have similar amounts of free memory. Otherwise, it's not a "fair fight"/
Russ
edit: override the auto complete

When sending to Color from FCP, my video is mostly black, with some green highlights.

I have a sequence of ProRes 422 (LT) and I'm trying to send to Color from FCP, however, when the project opens, the video shows up as mostly black, with most highlights green, blue and red -- but 90% of the frame is completely black. The weirdest part is, in the Color timeline, I can see the thumbnail for the video and it looks just fine.
Currently, I have a 2010 Mac Mini with 4gb of RAM and it's hooked up to my monitor through the HDMI port. Any help would be greatly appreciated.
Thanks!

I just got the 2010 Mac Mini -- but my previous Mini was the early 2009 model with only 2gb of RAM and Color ran just fine. Any help/suggestions?

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)!
I messed up with preference for home directory.
Thank you.
Michel Boissonneault

Color crashes when starting from "send to Color" from FCP.

Hi. I am a film student and am using Final Cut Studio to edit a short film.
It's been recorded in PAL Anamorphic. I edited it in FCP, and when I select the sequence and send it to Color, Color opens, and crashes while "Importing Final Cut Pro XML".
Color seems to load fine if I open it by myself, but when it imports the sequence from FCP it crashes.
If I try to do it again, it even asks if I want to overwrite the project. I accept and it crashes again.
I can launch Color and open the project file, but it has no video inside.
I don't know why this can be happening. I could use Color before (8min projects), and I could even use it today (30sec project), but the video didn't load completely (3 shots, only the one in the middle showing, the others had a cross over them). I sent a larger file, to see if the problem wasn't with the "starting" and "ending" shots, but it crashed.
I don't have any saved Color project to try. What should I do?
Thanks,
Rodrigo

Have you read the release notes for Color and made sure that there are no 'gotchas' in the sequence you are trying to send to Color?
There's a chance that there's something in the timeline that Color doesn't like. Take that out or depending on what it is, 'bake' it in and you will increase your chances of getting the Send To to work.
Good Luck!

Send too from FCP

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