[John Pale]

I freelanced on a job several years ago where something like this was done with a special DVD player/recorder (a prototype, I believe). Honestly, it did not work very well at all. I can’t remember the manufacturers name, unfortunately.

[Ronen Pestes] “Is the Idea of embedding TC on one of the Audio channels of a DVD (5.1 rear channel?)
Can make this work?

[John Pale]

If you are using Compressor 3 to make your Quicktimes, you can add the burned in timecode in the Filters pane.

This is pretty cool, as you wont need to tie up FCP with rendering the burn in on a long program. Of course, Compressor will take a bit longer to make your Quicktime, but you can continue to use FCP.

[John Pale]

[Andrea Stewart] “Right,I know the effects don’t carry over, but that’s my question — How do I export just those few clips? “

Just mark the clips with in/out points in the timeline, then export as aiff

[Andrea Stewart] “OR How do I go about removing the filters applied in Soundtrack from within my timeline. I think it’s best if I remove all of them rather than export them – that would be a huge pain in the peducus for me. “

Control click the “sent” clip in your FCP timeline. Select “open in editor”. Soundtrack Pro opens and you can disable or remove your effects. However use of these “sent” clips in your timeline —may—cause strange or unexpected behavior in your OMF file…since this is something alien to the world of Pro Tools and Avid.

I suppose you could go to your autosave vault and find a version of your timeline before you sent the clips to Soundtrack Pro…then paste those clips into your timeline.

You should avoid doing FCP specific stuff when you know you will be exporting an OMF, just as you should avoid using video filters and crazy NLE specific effects when you have to export an EDL.

[John Pale]

OMF is an old format. It predates the existence of FCP and Soundtrack. None of the effects you do will carry across….and most likely will cause problems with the export.

Your best bet, considering the version of FCP and Soundtrack you are working with, is to export the effected clips from your timeline as AIFF 48k, then re-import them and replace the effected clips.

[John Pale]

You can’t open them directly on an Avid.

If they have Pro Tools, they can open it and then immediately export it with “Force Avid Compatibility” turned on.

[John Pale]

No. You need to buy another license if you want to use them simultaneously on a network.

[John Pale]

Sounds like the external drive was not formatted for Mac.

[John Pale]

If you select Export Quicktime , you don’t need to do anything at all to have the resulting file be the same format.

If you select Quicktime Conversion, then you have to specify the codec.

[John Pale]

[Michael Colin] “Have recently been working on an AVID again after years of FCP-only projects, and have to say that there is something in this area I’ve always appreciated about AVID (at least the version I was working on): whenever you apply a color effect to a clip, it automatically snaps to broadcast legal levels. Would love to see this feature in FCP!”

This isnt really true. If you are referring to the old school Avid Color Effect (not the newer Color Correction mode), all it does is clip your whites at 100 and your black level at 0 (7.5 IRE in NTSC analog). Not really what a legalizer does. In addition, your color levels are untouched. You could still easily have illegal saturation and gamut. If you want true legalization, you need to make adjustments in Color Correction mode or use a Safe Color filter, just like in FCP. The only Avid system that had a built in legalizer was the Meridien Symphony.

[John Pale]

Have you tried increasing the size your stills cache in your preferences?