[Andreas Kiel]

You can’t create CCs in FCP directly. You must use something like ccaption, then render out the “Black Captions” import them into FCP, crop them to match the lines and do your playout.
With DVD SP you can use SCC files from an external source.

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Something which is missing here:

There is no CC for HD defined!!!

Except you got an Omneon Playout Server with some special software and a matching broadcast chain and some receivers which will work with this special setup.

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Hi Sean,

Thanks for recommending me.

How are things over there in these times?

Regards
Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Hi Rodrigo,

That’s something which is not really loved by Final Cut Pro.
To work around do the following. But all your P2 clips in a timeline and unlink AV then bring in your external audio and sync them with the video. Cut leading and trailing audio (that’s a bit more save and makes standard editing easier as the resulting clip will have continuous timecode.
When you’re done, drag all those clips into a new bin. Double click the bin to open it in separate window.
For this window create new browser column layout which doesn’t include the AV track settings but all other columns which show the metadata you need (you may save that for later use) now export this bin as Batch List. Then Batch Export all the clips in this bin. Close Final Cut Pro ( there is a stupid bug there with Final Cut Pro, that it won’t re-import batch exported clips right after they are done).
Then open your project, import the batch list and re-connect the files.
Something where many people here won’t agree here is to transcode P2 with video and audio to separate files, especially if you want to use the files with linking external audio to them.

Regards
Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Bouke is not totally correct.
It looks like FCP can read interpret BWAV timestamps and correctly creates a SMPTE time code, but this in many cases only looks like as the widely used Sound Devices recoders and Aaton recorders always buffer back the recording to full seconds. It’s different with Zaxcom.
Look at the Final Cut manual pages 325-327. It describes somehow how the SPMTE time code is mapped on the fly to the BWAV file. This time code effect can be used in Final Cut Pro to sync audio and video, but this is not a stable sync when clips are merged, subclipped or multiclips are created out of those clips.

As Bouke stated correctly the QT wrapper for a BWAV file assigns a stable playback instruction to the file which is independent from Final Cut setups. Also no (wrong) time code caching will happen any more in Final Cut.
Bouke’s AuxTC reader finally does the same thing when the audio is merged with the video.
In both cases the audio how does have a QuickTime time code track, which does allow to keep AV in sync even trough inserts, media management and other XML roundtrips.

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Have you tried to delete all render files?

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

To remove one or more selective filters (within a timeline or a complete project) you can also use my free “removeFilter“.

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

I know I’m late on this.

So just for the records.

You can use my TitleExchange to bring STL files into Final Cut Pro. So that’s one thing. With that you will have burned in subtitles which may not the thing the customer wants.
What you also can do is to convert the STL to QuickTime text or Smile using TitleExchange.
Another option is to convert to the SRT format using TitleExchange and use iSubtitle to create soft subtitles for several languages.

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Jean-Christophe,

The way Andrew described wouldn’t work for you.
To make it work you need polyphonic BWAVs. You can convert your mono files to polyphonic using the free WaveAgent from Sound Devices.
But also that won’t solve the problem in way that you can rely on your multiclip editing.

Finally there is one save way to work with multiclips and external sound.

Before explaining it here some background on audio you have to understand.
First read pages 325 to 327 of Final Cut Pro manual – if not already done.

This explains a bit more of the BWAV handling.
If you are editing with NTSC the manual forgot to explain what happens, also the DF/NDF issue is really explained in a way that the user understands clearly.
So working with NTSC means you do use “slow seconds” – one second of video needs 1.001 seconds to play back. Audio in FCP never uses “slow seconds” that’s why several users got the experience that audio is going out of sync with longer clips.
The explanation of NDF timecode in the manual is a bit misleading as well. As described audio uses 30000/1001 as the 29.97 timecode, but audio can have 30000/1001 DF and NDF timecode which Final Cut doesn’t have. Also Final Cut uses since the early days 29.97 DF timecode and may handle the 30000/1001 frame rate but there are issues which are documented in the technotes on the developer site. So with BWAV time(code) calculation the accurate TC rate is used, with Video the rounded TC rate is used.
The most important thing though is that the audio does not have a kind of TC track which can be used within Final Cut Pro to keep video and audio in sync under any circumstances. As described in the manual, audio (if BWAV or Sounddesinger II format) does have a “time stamp”. This time stamp will be used to map a SMPTE timecode on the fly to the audio (based upon your settings of the FCP project). The displayed SMPTE TC is not a QuickTime TC track, but something like a “TC Generator Effect” you know from the video effects menu.
Back to NTSC. The manual only describes how a 48 kHz file will be mapped to a 25 FPS video and therefore it looks easy and straight forward. It does not describe what will happen with NTSC (not 29.97 DF nor any other NDF NTSC rates). They talk about a pattern which will be used – unfortunately it is not explained what the pattern is. There are multiple options for these patterns and they are used with MXF and other formats and the vendors do use the one or the other – bad NTSC world.
My experience, and this includes the experience of really many other users: FCP doesn’t use any of this patterns. So as already mentioned earlier NTSC Video or interleaved Audio/Video needs 1.001 seconds to play back 1 second of real world video. A 48000 Hz audio needs 1 second both in real world and in Final Cut Pro. The user Prefs for NTSC audio timecode (DF/NDF) are also not a big help here.
Here an example what will happen with 24 FPS means NTSC 23.976 FPS editing. After 24 frames 48048 samples of the audio are played – means the stuff is out of sync compared to the original 48 kHz recording. In real world people are often not aware about this issue because clips are mostly short and the out of sync stuff is not obvious. With a 24 FPS non NTSC editing every thing is fine.

What you can do is either to record not at 48 kHz or change the playback sample rate in the the file. But this can lead to problems if editing timebase is different from target timebase.
So another option is to transcode the audio file into a QuickTime wrapper with a QuickTime timecode track. This timecode track will hold the playback speed and therefore the “virtual sample rate”. So with the above 24 FPS audio this audio will behave correctly in any 24 FPS project regardless of being NTSC or not.

With this TC track we are back to your problem: creating multiclips the safe way.
One way and that’s the way we use (many others as well) is to sync the clips with external audio and create new files. If you want to link them in the timeline you have to unlink audio and video and than link the clips with this new combination of video, cam audio and external audio.
If you’re done, export all of these new clips to Quicktime movies (assuming that video TC and audio TC do match). Unfortunately you can’t do a simple offline, online with the video clips you already have in the project – FCP will give you an error message about the non matching amount of audio tracks, but you can do it with the linked/merged clips
Another option is to create a new Browser Column Layout which doesn’t include the audio/video track layout but all metadata columns you need. This can be exported as Batch List, then be imported into the project and used to re-connect the files.

From there you can go and create multiclips which will stay in sync in any case and behave like multiclips created from standard camera clips with common timecode.
If you want to follow Andrews advice you can link the audio tracks in the timeline and do the same steps as above with the linked audio clips.

The drawback of this method though is that if you want to go back to Pyramix (or any other DAW) using the original sound files it won’t work, as they are “caught” in the QT wrapper now. If it’s “only” Protools you can use OMF.

We do this sync and multiclip stuff on a daily base and I think I have seen any problem which can happen and therefore I have built a custom application which does handle all this stuff outside of Final Cut Pro. This app does handle the creation of “merged” Quicktime movies different. These movies allow to retrieve the original sound and can be used in any project. I hope I can make it available to the public in a few weeks – but it will be quite expensive (you can send me an email to kiel(at)spherico.com if you would like to be informed when the app goes to a private testing status).

One thing which is currently free is my SequenceLiner which will help you to create a multitrack timelines where all clips are in sync (as long a everything is recorded with free-run or TOD TC). You can use this as base for the steps I described.
If you happen to attend the LAFCPUG Supermeet during NAB forum moderator Jeremy Garchow will show how to setup a five camera (P2), 8 track external audio recording session using SequenceLiner and mxf4qt.

Hope this helps to make things a bit clearer.

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

One thing you may try (before re-capture)
Open the movie in QT Player Pro and check the sync there – doing it somewhere close to the end of the movie. If you got luck the movie is in sync.
Now set an In and Out in the player window, copy create a new player window and paste.
Save this movie as referenced (or self-contained which is saver) and import into FCP.
Check the sync.
If it works, do your edits in QT Player for each clip.

Andreas

Spherico
https://www.spherico.com/filmtools