How to import OMF into FCP…? is it only via soundtrack pro..?

[David Roth weiss]

[Jeremy Garchow] “Really doesn’t fit your “without the unusual insanity” model does it? :)”

Now that you mention it Jeremy, that’s why I’m NOT a fan of FCP X either. Thanks for clarifying that for me…

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

Don’t miss my new tutorial: Prepare for a seamless transition to FCP X and OS X Lion
https://library.creativecow.net/weiss_roth_david/FCP-10-MAC-Lion/1

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.

[John Pale]

One of the reasons why this is not a good idea, is that you cannot fully represent what you do in ProTools or another DAW within FCP.

A DAW is a sample based editor…FCP is a frame based editor. You may find stuff moved a bit.
A DAW has all sorts of customized fades that are not available in FCP.
A DAW has track based effects and automation not available in FCP.
A DAW has plugins not available in FCP.
A DAW has sends and buses and routing options not available in FCP.

So even if you get your edits back in, its still not what exists in your DAW.

[Glen Hurd]

Yeah, I was really struggling with the whole “OMF” tracks back to Final Cut with just automation. OMF isn’t going to reference any filters, so what have you gained? DAW work for volume control? I hope you have a full head of hair.

With Logic, you can do an XML/FCP export which bounces each track – baking in all the effects and automation – with each track, into a folder. It also writes an XML file that is supposed to help you bring those tracks into FCP. Fortunately, these tracks can just be dropped into a copy of the sequence – they all start at the same sync point – and all you need to check is your pan setting. Ironically, I can’t get the XML portion to work.
Heh.
(Gotta love how much Apple understands these workflows. It didn’t used to be funny – it used to be annoying. But now it’s hilarious, like I finally understand what’s been going on all this time.)

Anyhoo, I don’t know if that helps you, but it’s cheaper than going with Automatic Duck and only getting your volume automation back!

Thanks for explaining your situation – I was afraid Apple had just re-invented OMF workflows as well, and was ready to go slit my wrist.
J/K 🙂

Have you read this article on using change lists to autoconform in Pro Tools? There’s an internet-based option, too, that seems inexpensive. If you’re going to keep your story in constant motion while expecting audio sweetening along the way, this seems like a more reasonable path.
https://www.editorsguild.com/Magazine.cfm?ArticleID=51

That way you don’t have to do any track-based import, but use a complete mix for the current project at whatever point in time you need a mix. And when you update your edits on the original sequence, send out a new XML, the Pro Tools session gets auto-conformed, and you get back the new mix in a relatively painless workflow.

Key word: relatively

Just a thought 🙂

[Kashish Arora]

Thanks a lot….
this XML thing seems ‘relatively’ a much better option. and will go through that article as well.
thanks