[Andreas Kiel]

Something you can do as well:
Create an empty project within FCP and do your settings. Save it. In Finder select it, hit cmd-i and select Stationary Pad in the info window. Now drag that file to the dock if you want.

If you click it FCP will open a copy of that file. That way you can can have multiple fresh projects.

Andreas

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

[Andreas Kiel]

Have a look at my rotateClips. It uses XML to apply the flip/flop to all clips.

Regards
Andreas

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

[Andreas Kiel]

There is NO difference between WAVE and AIF in performance – but WAVE is the better file format in the workflow as it does with the BWAV format support metadata which FCP can read and will keep in the project, whereas the Apple AIF is not a standard AIF. So other apps in a workflow may fail with that.
If you need to render and the “45 kHz” is not a typo your settings don’t match.
FCP somehow always expects 48 kHz for whatever audio format you import – which have to match your current project settings with 6.0.x or your AV settings at startup with versions below.
So if you are running your FCP on a NTSC system and import a WAVE file – especially a BWAV file – FCP will/may do a virtual resample. This IS THE CORRECT way if you do have the the CORRECT audio/video settings.

Andreas

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

[Andreas Kiel]

You don’t need nested sequences with that workflow – or did I misunderstood something?

I put some screeen shots on the web to show how it could work
https://www.spherico.com/filmtools/xml_subtitle_workflow/

Regards
Andreas

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

[Andreas Kiel]

Hi Andy,

As I don’t know how big the project might get, a XML is the easier solution.
You can also just modify the “updatebehaviour” to “replaceoradd” if you keep track of the UUIDs.

Regards
Andreas

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

[Andreas Kiel]

Forget most of the previous post:)

Here how to do:
Create a low-res out of your sequence. Import that into your project and add that as track 2 to the sequence.
Now export as XML and upload the movie along with the XML.
The director now reconnects the low res file and adds the markers to the offline clips. When done, he sends back a XML export of this sequence.
“Back home” the XML will be imported and clips are reconnected (their file path might got lost with the second XML export).
From there happy editing.
At the end there will be the same procedure as described above.

Andreas

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

[Andreas Kiel]

As Matthew mailed me about the question/problem I thought the answer might be interesting for others as well.

For this approach the low-res file should come with a sequence XML as. The sequence contains the low-res file.
Now the director can set the translation markers at sequence level. Then save as XML and send back.
At the edit station this sequence is loaded and the sequence settings are changed to “online” settings, and the actual clips will dragged into this sequence.
Now the big problem is to shuffle information from the sequence to many clips (the actual clips of the select). This must be done manually by creating new markers and copy the info from the sequence markers. An app to do this automatically can be done.
You could also use Andy’s filter to apply the text info to portions of the clip.

Here some other approaches, but it depends on how “log & capture” is done.
If it is done “clip by clip” You can export all clips used in the “selects” sequence to low res and then add the original timecode and reel again. Then create an “offline” duplicate of the “selects” sequence with those low res files. Upload this along with the files.

If it is done “as whole tape” export the whole tape as low res and proceed as above. This has the advantage that TC is easier to handle.
The director can make the translation to clip markers.
At the edit station now the “offline” sequence can be opened, modified to the online settings and the original stuff can be re-connected.

Another one which also requires a whole tape would be using Bouke’s SubBits by the director with the offline tape. The “.ebs” file then can be converted to an XML which applies the titles as markers to the tape. An app to do this can be easily done.

After a tape is processed it can MMd for editing.

At the final stage (while working with markers) one of my XML tools can be used to export those markers to a STL text file, if the marker/title duration is already set. This list can be imported into TitleExchange to convert it to timed text generators in a sequence.
In case title duration is not set, the markers can be “lifted” to sequence level and then an XML can be used with my TitleExchange app, which can do some automatic timing and create the generators from there. TitleExchange can virtually use any text generator (except Boris) so you got the freedom. It also allows to change quickly all generators (or settings) in a sequence with just two clicks.
An option for “non timed” markers is again Bouke’s SubBits which can import the STL and allows to change the timing easily.

There are other, faster and better ways, but they would require to write a program – and that’s normally a bit more expensive.

Andreas

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

[Andreas Kiel]

Thanks for the compliments.

Andreas

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

[Andreas Kiel]

What’s the sampling rate of those files?
The problem you describe sounds a “NTSC Slow Second” problem where it needs 1.001 second to play 1 second of real world AV.
Try to start over the project. First close any open project. Then choose a new “Easy Setup” for the settings you need. It’s a good idea to quit FCP then and re-launch. Hopefully FCP has forgotten you BWAVs then. Now import the files again.

Regarding the timecode, the audio timecode from BWAV files is a “TC64” which differ from “TC32” of normal video files. In QT Player you can make it visible if you check the box on the left of the track – DO NOT save that. It’s displayed in “samples after midnight”.

You may also try my BWF2XML which creates a QT wrapper for those BWAVs which use the standard QT timecode. This will fix the files playback speed. Though in FCP you might see a bar for the audio this means that FCP no longer sees them as native 48 kHz. They still perform real time.
BWF2XML can be found at: https://www.spherico.com/filmtools/BWF2XML/index.html
Quite a lot of US movies where done with the help of it.

Regards
Andreas Kiel

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

[Andreas Kiel]

Have a look at my free unsupported readXML – https://www.spherico.com/filmtools/readXML/index.html

Regards
Andreas Kiel

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