Working between FCP and Soundtrack Pro

I am trying to work inbetween the two programs updating music changes or video changes but am unable to get the programs to auto update when I save. Do I have to set up differently?

It depends on how you are working. If you've sent over something as a Multitrack project then you have to export the mix and edit it back in as it doesn't update in the same way. A STP audio file shoul update upon saving.

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Workflow between fcp and soundtrack pro

i am working on getting the workflow between final cut pro and soundtrack pro right for several weeks now, and i have to say, i expected more.
not that all the special gadgets aren't there, they are just not working the way they describe them in their manual or other sources.
am i the only who has made such experiences working with these tools?
for example: if i want to send a single clip from my timeline to soundtrack, there should be the possibility to have in and out points, so that final cut doesn't send the whole clip (even the parts i don't use ) to soundtrack. cool feature if it would work! no matter what you do it always sends the whole clip to soundtrack and therefore saves the whole file with all the changes and effects. and we don't talk about 8 or 9 MB here. a single clip of 1 minute, altered with EQ, takes up to 80 MB to save!!
another problem from my point of view is the exchange of whole sequences. the whole thing heavily depends on the use of markers, because without them someone working with soundtrack doesn't even see were the cuts are, which makes it nearly impossible to synchronise sounds. markers have to be placed at every single cut.
i could go in like this, but first i would like to know if i mist some fundamental thing about the use of these two pieces of software.

It depends on how you are working. If you've sent over something as a Multitrack project then you have to export the mix and edit it back in as it doesn't update in the same way. A STP audio file shoul update upon saving.

Working with FCP and Soundtrack Pro

Hello All,
I'm putting the final touches on a short documentary. This is my first time trying to do the sound properly by working with STP.
I have sent my FCP file to STP. I then work on it (in multitrack mode). When finished, I export it to FCP. I place it in the same file location as all my other assets concerning sound. From the tutorials I have taken, I am expecting the new mix to appear on the project as a master mix, with the individual sections that makeup the whole available, but deselected.
This isn't happening. Nothing happens on the FCP window other than the file appears in the browser. If I click that file, it says, "not available".
I'm sure I'm doing one important step incorrectly, but have reached the frustrating point of repeating the same wrong this over and over.
Your help would be appreciated.
Thanks.
DG

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If we use the forums properly they will work well...
Patrick

FCP and Soundtrack Pro music licensing and music cue sheet procedures

Okay, so we made the movie, and we marketed it and it has been sold in several geographic territories. Now I have to make up a music cue sheet. What do I put on the cue sheet for Apple Loops and FCP and Soundtrack Pro files that I have used for music? I believe they are royalty free, which is great. But I'm supposed to identify the music cues with writer, publisher, and society (ASCAP, BMI, etc.) What does an entry for those resources look like? It's really hard to find this info in the documentation for FCP and SP. Thanks.
G5 Mac OS X (10.5.4)

Interesting question - We don't use attorneys - too expensive, and we never listen to 'em anyway, so the info didn't come from a lawyer, ha ha. But I've seen several examples of music cue sheets, and they all contain the same information, including composer, publisher, society, timing, etc. (After all, that's the purpose of the cue sheet - to see that the artists and producers get paid for their work). You can find one format at:
www.ascap.com/musicbiz/cuesheetcorner/pdf/SampleCue
Of course, if the example comes from ASCAP (as that one does) or another society (BMI, others), they are working to make their job easier, but they are the societies - they are the ones who can object if they don't like it. And they have substantial power to penalize a producer for not doing what they want. But here's the thing: there's huge tradition in Hollywood, and the rule is (and the contracts say) that if you don't provide everything on the distributor's list of deliverables, they hold your money until you do - and one of the things on the list of deliverables is a music cue sheet, and every example I've ever seen (and I've seen at least 20) asks for the same information. So that's the answer as to "who told you that?" Is is possible that I'm being led down the garden path by ASCAP and the movie industry in general? Sure, but every source I consult agrees that this is the reality. I wish I could avoid it, but as I understand the situation, I have to do it, and it has to contain the info, or we'll never see our dough, ha ha. But my question remains the same - how do I get that info for the "royalty-free" music library attached to FCP?

FCP and soundtrack pro roundtrip problem?

Hello I am working on a video in the latest Final Cut Pro and software. I need to take out the hum of the audio, but when I send the audio file to Soundtrack Pro and take out the hum and then save it, the audio goes offline when I go back to FCP and it says something like the attributes no longer match or something. What am I doing wrong? Is there specific ways I need to do this? When you send to soundtrack pro it asks if you want to send only referenced media. I tried both way but no go.
Any ideas?
thanks!

Interesting question - We don't use attorneys - too expensive, and we never listen to 'em anyway, so the info didn't come from a lawyer, ha ha. But I've seen several examples of music cue sheets, and they all contain the same information, including composer, publisher, society, timing, etc. (After all, that's the purpose of the cue sheet - to see that the artists and producers get paid for their work). You can find one format at:
www.ascap.com/musicbiz/cuesheetcorner/pdf/SampleCue
Of course, if the example comes from ASCAP (as that one does) or another society (BMI, others), they are working to make their job easier, but they are the societies - they are the ones who can object if they don't like it. And they have substantial power to penalize a producer for not doing what they want. But here's the thing: there's huge tradition in Hollywood, and the rule is (and the contracts say) that if you don't provide everything on the distributor's list of deliverables, they hold your money until you do - and one of the things on the list of deliverables is a music cue sheet, and every example I've ever seen (and I've seen at least 20) asks for the same information. So that's the answer as to "who told you that?" Is is possible that I'm being led down the garden path by ASCAP and the movie industry in general? Sure, but every source I consult agrees that this is the reality. I wish I could avoid it, but as I understand the situation, I have to do it, and it has to contain the info, or we'll never see our dough, ha ha. But my question remains the same - how do I get that info for the "royalty-free" music library attached to FCP?

Flie error working between FCP and Livetype

I create my desired clip in Livetype and save project. I click and hold Livetype Icon in the Canvas window and press Command + Tab and toggle over to FCP 4. However, when I try to drop the Livetype Icon into my Browser I get Unknown File error and if I drop Icon onto FCP Timeline absolutely nothing happens.
Does anyone have any ideas on why this is happening???
Thanks.

Maybe they have fixed some of the problems, but this workflow was the root of a number of people loosing most of their project files. Somewhere along the line FCP would think everything was deleted or outdated render files and would delete the whole bunch. They were not in the trash... they were just GONE.
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Final Cut Pro 4.5 HD and Soundtrack Pro 1.0.2 and new Intel iMac

I have the both FCP and Soundtrack Pro versions listed above. I'm thinking about picking up a new Intel iMac. Will I have to pay $199 or $99 to upgrade to FCP Studio. I just purchased Soundtrack Pro recently, if I could upgrade for just $99 and get Shake and iDVD that would be a deal...probably still a deal for $199.
I also use CS2, seems Adobe is a little confusing to me. Will I have to pay to get CS2 native for the Intel iMac? Any idea on cost and timeliness.
Separately, how will FCP run on a 20" Intel iMac once upgraded to Universal version, which I'll have to do, since it won't run under Rosetta? I currently only do Mini DV but should I plan on getting the extra video memory now, planning on eventually going into the HD video realm?
Thanks everyone for your thoughts and comments...thinking about getting the Intel iMac via CompUSA with their interest free deals tomorrow.
Dan
Powebook G4 Mac OS X (10.3.9) Happy with Mac...don't want to lose the ease!

well, same situation here, I was about to order a Macbook Pro but then decided to saty with our beloved G platform. the reason is that it will take some time for our Pro Apps to become fully /natively compatible with Intel and I just can't wait that much.
as for your question about using an iMac with FCP, the answer would be a;
"Yes" if you're going to work with DV only footage (using an external HD for your captured media is a must). and a
"No" if you plan to work with HD material in the future. there you've got no choice but a PowerMac G5 with a fast Graphic Card and a special SD/HD card or box to capture the footage.
résumé: if you're a serious FCP user, go for something expandible, go for a Powermac.

Best program to monitor time spent on FCP, Motion, Soundtrack Pro?

I run a small company as a free lance doc-film maker and was wondering if anyone could recommend the best program for keeping track of time spent working on Final Cut Pro, Motion, and Soundtrack Pro projects for my clients.
I'd like a program that tracks how long I spend on each Final Cut Studio application, like that I can itemize my billing to clients...so many hours spent editing in FCP, doing effects in Motion, even internet research on Safari when looking for photographic/film archives.
Thanks very much in advance to anyone who can help me,
- Nicholas

In general I'd say a spreadsheet or text document and your own diligence are close enough to get an idea, as charging for the time spent in software isn't going to make you a lot of money.
That being said:
http://www.gridironsoftware.com/products/flow/flow_features.html
o| TOnyTOny |o

Logic Pro 9 Compressor and Soundtrack Pro

Hi,
I have recently installed Mackeeper in my iMac. After everything I opened Logic Pro and it couldn't open. So I thought it could be an issue from Mackeeper, I requested a help from them and they asked me to send my report and I sent to them. Later on I was recommended to uninstall the logic pro, so when I reinstalled the logic pro the following components Compressor and Soundtrack Pro were deselected, it was in gray and I couldn't find out how to install it. The other issue is that the installation was successfully completed without installing the Logic Studio Audio Contents 1,2,3 and Demo Content was also not installed
Is there anything wrong I did?
Help Please!
Many thanks in advance

Interesting; and who would have thought ! What does Logic and FCP have to do with each other being installed. I have FCP running (w./ all) and Logic Pro 9 and perhaps your Logic Studio 2 is not the same. I have no idea.
I'm hoping that I can export the LPro files into FCP ez along with exporting them to WAV or formats that a PC can use; if anyone has heard of problems with that. ?

Why Do The Latest Versions Of Soundtrack and Soundtrack Pro Use .caf Files?

About 3 years ago Soundtrack and Soundtrack Pro started using .caf files instead of .aif ones.
The .caf files appear to take up more space than .aif and of course need rendering before they can be used in FCE/FCP.
So what is the logic behind their use?
I would add that I have skimmed through several articles which claim they have advantages ..... which I can't understand.
I only know that when used normally in FCE/FCP they seem to me a backward step, requiring rendering - almost like using .mp3 but without the space-saving features.
Message was edited by: Ian R. Brown

Here's a link from Apple:
http://developer.apple.com/DOCUMENTATION/MusicAudio/Reference/CAFSpec/CAFoverview/CAFoverview.html
It touts "unrestricted file size" as one advantage of CAFs. Has any of us ever exceeded the supposed 4GB limit of AIF files?? This is from the page linked above:
"Whereas AIFF, AIFF-C, and WAV files are limited in size to 4 gigabytes, which might represent as little as 15 minutes of audio, CAF files use 64-bit file offsets, eliminating practical limits. A standard CAF file can hold audio data with a playback duration of hundreds of years."

Final Cut Pro - Motion and Soundtrack Pro

Hi there people, I have some serious issues, I am using Final Cut Pro, which works fine but I did some updates from apple and now Motion and Soundtrack Pro don't work, I try opening the applications and It pops up with asking me to enter to serial number but when I enter the serials it states it's invalid!
I tried going in to the MacHD then getting rid of the ID for Final Cut Pro but it does not seem to work.
Firstly is anyone having these issues and secondly does anyone have a fix, I called Apple and they had no answers!
Please help!
GloriousGoat!

I'll bet you installed prokit6-- that seems to be a big no no with some machines-os combinations. Search the forum for fixes/downgrades.
In the future, try not to be a bleeding edge first user of updates. Wait a while and see what sort of issues arise.

How is the XMP workflow supposed to work between CS6 and LR4.1

Can somebody please enlighten me ?
I have a raw file in Lightroom, xmp files turned on.
I open the file as a smart object in Photoshop.
Back in Lightroom I do some edits, and to be sure, I save the edits back to the XMP.
Back in Photoshop, no matter what I try, my edits are not picked up. I tried opening the smart object etc...but ACR does not pick up the edits I just made in Lightroom (even when the XMP file is up to date).
If I resubmit the edited image from Lightroom, my edits are picked up, but this can't be the way it's supposed to work, can it ? What good is a smart object if you need to resubmit it each time...
Isn't the XMP workflow supposed to be seamless between adobe applications, picking up any edit, no matter where the edit is made (from acr to lightroom and vice versa) ?
I'm probably missing something, but would appreciate some help.

Taking a little distance and looking at it from that angle, I can understand why it works the way it does now.
Still, I feel there are some missed opportunities here.
Compared to working between indesign and photoshop, when I have an indesign layout and I later edit the placed photoshop document, Indesign gives me a warning that my version is changed and I can update it to reflect the latest state.
A similar thing could be done here inside photoshop "update to latest Lightroom edits" or something similar which could be totally optional for the end user to use or not.
My confusion was mostly caused by the XMP files, it stuck in my head that these were external files holding all knowledge and no matter which Adobe program you used, it would work with those same xmp files... but I understood wrong apparently.
I still have a lot to learn, thanks for all the answers, it is very helpfull.

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Working between FCP and Soundtrack Pro

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