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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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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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?

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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.

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BenB wrote:
I've worked on both Windows and OS X (Unix), with a few apps over the years. No one can possible work with every app on every hardware configuration possible on every OS available. So to make the statement you actually have is preposterous.
That said, Logic is the most used software in project studios. Mixing engineers like ProTools better. But the two have way more market share than anything else.
Hey Ben,
Sorry to bump your fanboy applecart... (don't mean that as derogatory as it may sound, I liked the play on words)
From everything that's happening here and the west coast (USA) many of the Logic users I know have switched to other software, the two Logic studios here have gone to ProTools mainly because Logic version 8 was so unstable, there are no more Logic studios here. The studio with the most business uses a Radar system, the second busiest studio is running Sonar. There is a fellow with a mobile system using a MBP and Logic but he uses version 7.
The University here took bids 3 years ago and opted for PC/Nuendo/RME setups.
So yes, Logic may indeed have the most project studio percentage but since every jerk can download it for free what is the quality coming out of these project studios? My point is, for professionals, Logic is becoming less and less of an option, most everyone that used it professionally has been disappointed in Apples support of the product, a long time between upgrades and except for user boards like this... literally zero professional support. You know there's problems when you call up Apple and know far more about Logic than the support staff. It seems like both of those are starting to improve but I think it's a little too late. Also... there's still the "blast of white noise" problem that hasn't been addressed, no professional studio can take that kind of chance.
Apple is using Logic to sell hardware, smart business, absolutely. However, cutting the price in half, removing the copy protection and throwing in the kitchen sink plus seemingly not giving a d@mn that the program is pirated leaves a very bad taste in my mouth.
pancenter-

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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?

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Thanks for your response. The articles were informative, but here's what's odd about my situation:
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I am trying to get some footage off my camera into final cut pro, but Final Cut Pro does not recognise my device when I try to use Log & Transfer
The camera is question is a Cannon Legria FS20, here is a link
http://www.canon.co.uk/ForHome/Product_Finder/Camcorders/flash_memory/LEGRIAFS20/
I have looked around but can't seem to find any plug-ins to get it to work with Final Cut Pro, does anyone know any way I can get it to work with Log and Transfer
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Thanks

Hi -
I did a little Google searching for information on your camera and it appears that it is a Standard Definition Camera that records in the MPEG-2 format.
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Jon Chappell wrote:
Are you 100% sure that you can write to ProRes 4444 files in QT 7.6.2? I would have thought you'd need FCS3 for that.
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I have interface M Audio firewire 400 new Mac Pro has firewire 800 Do you think an adaptor will provide the same quality? Will the M audio 400 work with lion and new system? Thanks so much

I have interface M Audio 400 with 400 firewire new Mac Pro has firewire 800 Do you think an adaptor will provide the same quality? Will the M audio 400 work with lion and new system or do I need new software? Thanks so much

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http://homepage.mac.com/ote_productions/Malcom.html
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Soundtrack Pro crashed on me 3 times this morning, never does that.
Anyone else having any problems? I'm afraid to upgrade to the new FCP because of what I"m reading online about it. I think Apple needs to release a fix for this or are they trying to force us to use the new version and not worried about the old version? I am a professional who using these apps daily to do my job and it is causing me time that I am losing money on.
Please fix Apple we depend on these apps to work. Wish I had not upgraded to Lion now!

I think Apple needs to release a fix for this or are they trying to force us to use the new version and not worried about the old version? I am a professional who using these apps daily to do my job and it is causing me time that I am losing money on.
Please fix Apple we depend on these apps to work. Wish I had not upgraded to Lion now!
Why are you being forced to use the new version of anything... including the operating system?
If you are a professional then you always stick with what works and/or use what it takes to get the job done.
STP is not supported under Lion, it's been discontinued, EOL.
I worry about you Mac folks.... the days of auto-upgrading to the latest and "greatest" are over, "It Just Works" only pertains to iMovie, Garageband and apps included with the OS.
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