[Wes Plate]

Look at Sebsky Tools for moving shot logs from FCP to Avid (FCP shot log to Avid ALE).

No sequences, just shot logs.

https://www.dharmafilm.com/sebskytools

— Wes Plate
Automatic Duck

[Wes Plate]

Sorry, I misunderstood what you meant by “wrap” when I replied.

— Wes Plate
Automatic Duck

[Wes Plate]

You do what you want in Adobe After Effects.

— Wes Plate
Automatic Duck

[Wes Plate]

I’m sure Sean means well.

How fast is your DSL upload speed? I have a 1.5Mb/s speed here in my office, which means I upload 1MB in about 5.5 seconds. If I was to upload 7GB it would take me about 38,500 seconds, which is about 642 minutes, which is less than eleven hours. All in a perfect world where the connection speed maintains its max.

But will the connection survive? Like the another poster wrote, probably not.

How fast is your upload speed? I believe 768MB/sec is more common, so if you had that speed you would have to At Least double the numbers above.

— Wes Plate
Automatic Duck

[Wes Plate]

It would be much much faster to FedEx the media on DVDs or a FireWire drive.

— Wes Plate
Automatic Duck

[Wes Plate]

Do NOT premultiplied, use Straight color instead.

— Wes Plate
Automatic Duck

[Wes Plate]

AAF import was actually new in AE 6.5. AE Pro can import OMF media files, but not OMF compositions.

— Wes Plate
Automatic Duck

[Wes Plate]

Timecode doesn’t matter, really. Not only do your media files need to have the same names, the number of frames from the beginning of the media file to the in point needs to be the same.

A simpler way of looking at it would be, the clips must be identical in their start time and durations as well.

— Wes Plate
Automatic Duck

[Wes Plate]

Sounds familiar to me.

A Google Search turns up this Avid Knowledgebase article.

— Wes Plate
Automatic Duck

[Wes Plate]

You are probably not field-separating and field-rendering.

Select your footage in the project window and from the File menu choose Footage Interpretation->Main
In the dialog select Upper or Lower field first (Lower for NTSC D1 and DV, Upper for PAL D1, Lower for PAL DV). When you render, turn on field rendering and choose the same setting.

Also, to ensure quality be sure you render your comp at the proper size of your media. For example in NTSC a lot of users like to work at 720×540 so they see square pixels. This is fine, but these users need to remember to render this 720×540 comp inside a 720×486(D1)/720×480(DV) comp. If you were in PAL you could work at 768×576 then nest that into a 720×576 comp for rendering.

— Wes Plate
Automatic Duck