Sending from motion back to FCP

I highlight a sequnce or clip and SEND TO "Motion" and choose inbed content,
I make my effects and FILE<SAVE in motion and FCP reads a change. The video i sent was anamorfic DV 16/9. In motion I edited the fotage in 16/9 . when FCP reads the saved motion project it makes the clip squeeze to 4/3 in FCP. then i have to go into item properties and check the anamorfic box. Is there a setting that stops this switch of ASPECT RATIO's?
Does everybody have to do this when working in anamorfic DV?

I've heard this a number of times - You've just gotta set the anamorphic flag by hand. If you report it in FCP/Motion feedback, perhaps it'll get bumped up in priority...
Patrick

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Send from Color back to FCP

At the point of sending color corrected files back to FCP from Color a window entitled "Send To Sequence Option" come up with the message: "Change graded Final Cut Pro sequence to match the Quicktime export codec?"
I'm using Apple Intermediate Codec in my FCP project and want to keep re-compression to a minimum. Being new to Color I'm not actually sure what is a stake here. If I press "No" does that mean my work within Color will be wasted or will if actually keep the color corrected footage in the Apple Intermediate Codec? I'm not anxious to switch codecs if I don't have to.
Anyone have info on this?

Stuart:
I am having the same trouble and am really mystified. I am working on an XDCAM EX 1080p24 35Mb timeline in FCP. I send all my files to Color, do corrections, and when I am ready to send my graded timeline back, I am asked whether or not to "change graded Final Cut Pro sequence to match the Quicktime export codec?"
Here's the mystery - if I click "yes", the sequence sent back to my browser in FCP is a 10 bit uncompressed sequence which will not play back smoothly for editing. Worse, if I click "no" the sequence comes back in what appears (according to sequence settings) to be an XDCAM EX 1080p24 35Mb timeline, but it also stutters, hesitates and won't play back, just like the 10 bit sequence, making editing impossible. (No rendering is necessary on this sequence when it is sent back from Color).
I have no problem playing the original XDCAM files on their timeline, but no matter what I do, I can't get my XDCAM files to come back to me graded from Color and play smoothly on their new sequence timeline even though Settings says it is exactly the same kind of timeline as the original.
Does anyone have any idea what is happening here and is there something I am doing wrong?
Thanks, Rick

Anamorphic from Motion back to FCP

Hi all...
quick question.....
tried to find the answer but no success....
I have a widescreen project on FCP, send a clip to motion to work on, motion being set to wide (anamorphic) as well, when I save and close the motion project and come back to FCP, the clip is a 4:3(not anamorphic) on my anamorphic sequence...
quite annoying......
Any one knows why?

no the flag doesn't disappear on its way to Motion, its on its way back to FCP that something wrong happens..
Sorry, in re-reading what I wrote, I understand that it could be misconstrued - I meant that the anamorphic flag of a Motion project in FCP isn't read correctly (and that is a known issue).
As Adam mentions, you can alter the Distort property. Or tag it as anamorphic in the Browser.

PROBLEM SOLVED "export clips from Color back into FCP & add transition"

If I have two clips that you cannot place a transition in between here is the only thing that worked for me.
I discovered this problem after I exported my movie clips from FCP 6 to Color and imported the color corrected files from Color back into FCP 6. I could no longer add transitions to any of my clips unless I made the following changes.
1. 1st check to see if the video clip has an audio track underneath it. If they are not linked Select the audio and the video track to be linked, hit Command "L" and you will see an underline under the audio and video name to show that they are now linked. Do the same for the adjoining video and audio track.
2. Next select all of the clips after the video clip you just selected by typing "tttt" this changes to the "Select All Tracks Forward Tool". Click on the track after the video track you just linked and it will select all of the tracks thereafter. Hit the "A" button to change back to the selection tool and move all of the selected tracks away from the previous video/audio track.
3. Next type "RR" this will change to the "Ripple" tool. Now click on end of the video track on the previous video clip and type -15 (for negative 15 frames). Then click on the beginning of other video clip to the right that you linked and type +15 (for plus 15 frames).
4. Type "tttt" to change back to the "Select All Tracks Forward Tool" the hit the "A" button to change back to the selection tool and drag all tracks back together again.
5. You may then drag and drop your transition in between both video clips.
I hope this helps someone...this is the only thing that worked for me!!!
Number1talent

I am working with mostly DVCPro ftg, with a few clips in MiniDV. I did have roughly 10 clips with speed changes, but they exported fine two weeks ago, when I did this the first time. (Actually, it didn't keep the speed changes, but it did export with media to FCP).
The clips do have reel numbers and seem to be of the right length per clip but there's just no picture and no assoicated media with which to relink the clip.
I'm on Color 1.5.3
Any possible ideas? Thank you for your help...

Problem using the Send to motion item in FCP 5

Everytime I send a clip from my timeline in FCP to Motion 2 the clip's aspect ratio gets changed. I am using the Apple Intermediate Codec HDV 1080|60. My preset in Motion is to HDV 1080|60.
It appears that the clip is being stretched along the horizontal axis (it is wider when brought into Motion this way).
Help!!
Thanks in advance
G5 Quad Mac OS X (10.4.7) 2 GB RAM, Apple 30" Display

I am having the same kind of problem as I export fro fcp to motion and then back, it looses the anamorphic flag and I reset it, however, even after doing that my clip does not correct itself. I also tried exporting the clip to quicktime movie and importing it to fcp, but even then it does not maintain the aspect ratio of my project. Could there be an underlying bug under the hood, or is there a sequence of steps to properly do this?
Thanks
QuadG5 Mac OS X (10.4.7)

Audio Synch from Color back to FCP

I am sending a short sequence with 8 clips or so to color, adding a color fx to half of the clips, rendering all of the clips, inc. the ones without an effect added, and sending back to fcp. When I open the new color sequence, the audio is out of synch by a few seconds. Any ideas why?

Any ideas why?
Not really, but it has been a continuing problem. You're sure it is the audio that is out of sync, and not the video? (Just checking) There are a lot of complaints, especially with HDV about frame drift.
Best solution is to lift the audio from the previous timeline and paste it into the graded (from COLOR) sequence. Even when a mixed stereo final is part of the workflow, it almost never comes back the same, so most, if not all, users avoid sending and retrieving audio as part of the COLOR roundtrip. In my experience, even if it somehow mysteriously lands back in sync, the pan settings are all slammed over to one side.
So we all just pull the original audio forward from the previous sequence and Apple can go onward in its delusional mindstate.
jPo

Sending Color project back to FCP

Hello Guys,
I am completely new to Color, so I apologize for this silly question.
After grading my footage in Color, I am sensing it to Render Queue for render.
When it's done I go FILE/SEND TO/Final Cut.
First, it asks me if I want to change graded FCP sequence to match QT export codec.???
So that's the first problem, I have no idea what exactly that means??? (I had sent it from FCP to Color in ProRes and set Color Project Settings also to ProRes) so what should I change?
But the main problem is: When I send it back to FCP, footage looks exactly as it looked before being sent to Color. No grade changes. So I am wondering ... what do I miss?
Thank you for any advise.

Thanks for your help jPop.
I didn't use smoothcam. I sent my video from FCP to Color and then I applied a tracker to the pan&scan to do a tracking on the face of my character. I tried importing the "raw" files directly into Color without going through FCP and it did produced a file in the render file. The tracking was there but the image was cut in two... The frame is separated in two parts horizontally, making some kind of tile effect. First time I see something like that.
I found this on the online user manual of Color:
"Animating Pan & Scan parameters is not recommended for projects you’ll be sending back to Final Cut Pro, since neither keyframes nor tracker data can be sent back." :s
I'm going to try again with uncompressed video to see if that makes a difference. Do you think I could use the video that Color send to the render file and import that in FCP? If it is not cut in two...
Best wishes

Country of origin send from GTS back to ERP possible?

Hi Gurus,
We are doing the preference calculation and as output we get the preference country
of origin.
Is there any way to send the country of origin (preference country of origin)
from GTS back to ERP (MARC-HERKL)?
Thanks
Regards
Dieter

With enhancement you can do it.

Problem in sending multitrack project back to FCP

I want to be able to import a multitrack project back into FCP, with the most editability in FCP, but the only way I have found to do this is to export tracks and then find then in the browser and drag them into my FCP project. Is their an easier way to do this?

Pretty much . . . no. This is a feature I'm sure MANY would appreciate, the ability for STP to export a multi track project one could simply import in to FCP. As of right now, you can't.

Roundtripping from FCP to Motion back to FCP

I need to change a dip to black I created in FCP (using opacity) but I've already sent the sequence to motion!! How can I change make edits now with the motion file in the timeline?

Also, if you did it with opacity, the clip in Motion will reflect that, so you can right/ctrl-click on the Motion clip, select Open in Editor and adjust within Motion.

Export from Motion - Soft in FCP

I created a graphic in motion, output it into fcp and the type and graphics are a bit soft.
The export was to a DVCPro DV Quicktime file.
Anyone else notice this?

How do you fake a roundtrip?
I think I was talking out of my left nostril there.
What I meant was something like sending a clip on a roundtrip through motion, though you don't use the clip at all. Thus avoiding the file step.
Now I think it's a terribly ill-conceived idea.
Somebody else just posted the same problem, as far as I can tell:
http://discussions.apple.com/thread.jspa?threadID=816621&tstart=0
This makes it a Real Issue.

Color back to FCP

I have been grading two films in Color, Shot in HDV, edited in HDV from FCP using multiclips (don't go there re Multiclips and color. Lots of prep needed before sending sequences to color) anyway. First film sent back to color no problem, second film send to color, export bar appears momentarily but no sign of the film in FCP! Can anyone explain?

Nelson Brann wrote:
A brilliant guy (Andrew Balis) told me to send my sequence to Color then send it right back to FCP before I do ANYTHING.
I'm not sure if I'm getting slightly off-topic.
Currently I suggest an additional step. After doing the roundtrip as Andrew suggests - follow up with a full render of the entire sequence and then send THAT back to FCP. I've had Send To fail after rendering that worked on a quick roundtrip - this additional step reveals quirky non-obvious problems.
It also came in useful once when Color crashed after a "real" render and lost the green render bars. Since I had kept that initial sequence in FCP I still had a good timeline referencing the rendered clips.
Just some thoughts that occurred while reading this thread...
- pi

Best way to "send to motion"

hi...
i have a question for which the answer may be obvious, but i'm not seeing it in either the motion or the fcp user manual. if i want to work between fcp and motion (specifically to use fcp for time remapping of clips, but motion for all filters and behaviours) what is the most efficient way of moving material from one program to another. if i use the "send to motion" option in fcp, will all further fcp time remapping changes then show up automatically in the motion project as i continue working?, or would i have to wait until i have a final version of the remapped clip before i send the clips to motion. i know that fcp recognizes changes and updates made in motion projects each time the project is saved, but i'm not sure if the reverse applies. thanks for your help.

lambg wrote:
if i use the "send to motion" option in fcp, will all further fcp time remapping changes then show up automatically in the motion project as i continue working?
No I don't think so.
lambg wrote:
would i have to wait until i have a final version of the remapped clip before i send the clips to motion.
Yes but a better strategy would be to just use Final cut to edit with and use Motion for your effects and titling.
TonyTony

Keeping my Set Ins & Outs when roundtriping Color Project back to FCP

After rendering my color grades and sending the project back to FCP, I'm loosing my previously set Ins & Outs on the clips in my timeline. For instance, some of the clips in the timeline will have shifted, the timeline is still showing the correct amount of the clip, just the wrong portion of the clip? So I have to go through and Slip edit the clips back into the wright spot.
Am I doing something wrong or is this common.
My Workflow:
1)Working on ProRes Files in FCP 6.0.5
2)Set my in & out point on a clip
3)edit into my timeline
4)play with my speed and ramping of the clips & get thing dialed in
5)Send To Color
6)Color Grade all the clips in timeline
7)Render Color (to original format)
8)Then Send To FCP
9)**This is where I'm finding that I the clips are all in the right order and have the right amount of time in the timeline, it's just showing the wrong portion of the clips. Not all of them, just some.
Any Ideas

rupeman wrote:
Color w/ Time ReMaping Seems to work for me 98% of the time. Out of this 1min project with 13 clips all with special Time Remaping curves only 3 came back out of place.
Ya, well - that doesn't scale well.
The habit you build now you'll use on a 30 minute show. 98% will suddenly overwhelm you. Build good habits now and you'll never have to break them later (or have your client break your fingers as the drop-dead deadline fast approaches and you're tinkering with the slip tool).
And yes, I've had my knuckles rapped a few times before I took this advice to heart.
Good luck!
- pi

Workflow that maintains clip handles going from FCP to Motion & back

I have a 25 minute Final Cut Pro sequence that consists of about 200 clips each about 7 seconds long. Each clip has a different linear speed change applied to it. I've already run the project through Media Manager, adding 5 second handles to each clip. I've been told by my color corrector that before sending the project to him I should send all the clips to Motion and apply optical flow for the speed changes there. The short version of my question is: Can I trouble anyone to suggest an efficient workflow in which I can send the entire sequence to Motion and have it make the round trip back to FCP as a sequence in which the motion files have been swapped in for the original clips and the handles of the original clips have been maintained on those Motion files?
What I've been doing is selecting the sequence in FCP and sending it to Motion. Once the sequence is in Motion I seem to have to apply optical flow to each of the 200 clips individually rather than to the group a whole, because with multiple clips selected Motion seems to want to apply the same averaged-out time remap to all of them. So I apply optical flow to the 200 clips one-by-one and Motion inevitably crashes several times during that process. After I've finally set all the clips individually to optical flow I then select the clips and choose export selection. I then have to wait by my computer for several hours while Motion asks me over and over again "Some optical flow files are outdated. What do you want to do?" I assume these prompts are the result of the Motion having crashed while the clip was still being analyzed for optical flow. Finally when this process is done, I have a series of clips without handles that I have to tediously re-import back into the original FCP sequence.
I'm using FCP 7.03 and Motion 4.0.3.
Any thoughts anyone might have would be HUGELY appreciated!!! Thanks in advance for the help!
Best,
Neil

Hi Neil,
About the handles: What do you need them for?
If the edit is not too complicated and almost all on V1, you can think of a workaround which is very tedious, and I doubt whether it will make you happy.
On V1 the original cuts. So you will always be able to find them back.
Then Copy everything to V2. And from there put every other clip on V3. (So clip A on V2, clip B on V3 , clip C on V2, etc. And now by selecting the cuts and type +500 or -500, you can extend the clips.
Like in the picture below.
Again V1 is the original edit and is there to repair the cuts on V2 and V3 later on.
(I used slug and Generators for this exemple. Off course they all stand for normal clips.)
After that you do your Motion Magic, like Patrick explained.
And back in FCP cut V2 and V3 back like V1 is.
Delete V1, and done.
Well, that's the theorethical part. I hope it somehow can help you in practice, because I assume your edit will be more complicated then the example...
I once did this trick with
Also: When you send your normal clip to Motion (So from track V1, then in Motion you can increase the value in the duration Tab (Timeline, top right, then extend the clip and then save. You know can use the handle in FCP. Not sure how to achieve that for the beginning of the clip. You should try that yourself....
Rienk

Sending from motion back to FCP

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