Timecode not in OMF export from Final Cut?

[Shane Ross]

I believe that unless there is a REEL NUMBER associated with audio, then the timecode doesn’t carry over. Like music from CDs and stuff from Garage band or something. I know this happens with VIDEO at times.

Shane

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[Michael Gissing]

No FCP OMF’s don’t transfer original timecodes or reel numbers. An EDL does. However, if the audio was imported as a file and not captured from a tape, then the EDL won’t have any timecode or reel information either.

The industry has a major problem with file based sources in all editing systems when it comes to transferring useful information to sound post. The good old EDL is becoming useless with non tape based sources. This is a huge issue when reversioning.

The rationale behind not transferring source timecode in an OMF is simple. AVID, who developed the OMF format, made it possible for the audio to be wav, aif or SD2. Only SD2 had the capacity to embed the source timecode, so basically the source code info was not transferred.

I am not sure but the Automatic Duck more transfer is likely to transfer the source code info.

[Neil Sadwelkar]

I’ve been sending out OMFs for sound post since version 4. At that time one had to use BWF2XML or Sebsky to even get timecode into FCP in the first place. But I sort of remember FCP 5 making OMFs with timecode that the sound post could ‘see’ in ProTools. At least I don’t recall anyone complaining about TC not being there in OMF in the OMFs I made back then.

But in FCP ver 6.0.2 through 6.0.5 there’s definitely no TC in OMF. Even though the browser shows the clips having timecode in them. I think Shane’s comment that there needs to be a Reel name for TC to be sent out is right on the mark. I haven’t noticed that in the last clips from which I made OMFs some months ago.

Possible workarounds could be to make EDLs. These surely will carry TC info. Or use XML-Pro from Gallery. That too will extract TC out of an FCP XML and then make a ProTools session.

Another possible workaround is – going by Shane’s suggestion – enter a Reel name for these audio files and then try OMF.

Finally (just one more) one possible workaround may be to do a ‘Send to’ Soundtrack pro. And then export AAF from there. That may have TC in it that ProTools can see. Haven’t tried this.

I’ve flagged this as a suggestion in the ‘Send feedback to Apple’ in FCP. Hope they implement it.

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Completely PAL.

[Greg Day]

Thanks everyone for the suggestions.
Tried giving the audio file a Reel name, but still wouldn’t work. Pro Tools just doesn’t see the TC and gives an “Out of Range” message when trying to spot the clip.
Guess I’ll go for the Duck. Another Value-Add we can sell our clients!

Director of Visual Media
Sonic Media Studios
Portland

[Bob Roberts]

That sounds really bizarre. I’ve sent countless hours of broadcast material to post houses all over the world and I have NEVER-EVER had a timecode problem mixing source audio and imported audio.

Try checking your output with Soundtrack as it can import OMF and sync to a Quicktime reference video.

p.s. In your FCP timeline, make sure all “invisible/hidden” clips are truly deleted…and not simply “CTRL-B”.

[Greg Day]

the challenge is, this project we’re trying to conform came from somewhere else. We did an audio mix on a first cut, gave them split tracks, they imported those splits and have re-edited their show. Now they gave us a new OMF with those splits as the source media. Our audio guy is trying to line up the splits in the re-edit with the original raw audio to do a proper mix. But without the timecode, it’s a difficult process.
So to help figure out the problem, I’ve taken the audio files we provided to them and created a new project/sequence in Final Cut. Gave the audio reel names, cut a few pieces into a fresh timeline, then exported the OMF. Open it in ProTools, no Timecode, plus the “Out of Range” message in the Spot function. Wondering if it’s a setting in PT that we’re missing.
Our audio guys usually work with OMFs from Avid and never have had a problem. And I am stuck trying to find a way to make it work for them.
It still doesn’t make sense to me why it wouldn’t work. So I’m hoping it is as simple as a setting preference.

Director of Visual Media
Sonic Media Studios
Portland

[Greg Day]

just tried importing both the original client OMF as well as the new one from the files I imported (and gave a Reel name in FC). Both open up fine in Soundtrack, but neither have any timecode information in the clips. If I do a “Send To Soundtrack” the timecode is there in the clips.

So it appears that FC indeed does not send timecode information with an OMF.

That’s bad.

Director of Visual Media
Sonic Media Studios
Portland