Automatic Duck Pro Export Fcp

Pro Export FCP is an AAF/OMF exporter for Final Cut Pro that has been the s=
tandard for FCP interchange since 2002.
With Pro Export FCP 4.0 you can export Avid MXF media that connects to your=
 exported AAF file, write media that is external to the OMF or AAF file avo=
iding file size limits as well as translate many effects from Final Cut Pro=
 7 to your Avid or Quantel Generation Q system.

Automatic Duck Pro Export Fcp
Download File https://urllio.com/2wI4Wu



Let's fly through this product and first explore an FCP-to-Avid edited sequ=
ence transfer using the Duck's Pro Export. (Both Import and Export are desi=
gned for FCP 4.1 or later.) I did my tests in Jaguar 10.2.6. The plugins ar=
e easily installed and activated for your specific machine via Automatic Du=
ck's automatic 24/7 web registration.

For now, anything done in Final Cut Pro to change the look of your image: k=
eyframed scale, position, rotation changes, color corrections, filters, etc=
. are all considered effects by the Duck Pro Export. Effects details can ce=
rtainly be described in the exported OMF file, but for now, not in a way th=
at Avid systems will accept. Your effects will have to be re-built in your =
Avid system.

Here's an ear-opener: with Pro Export FCP, audio clips will come across int=
o Avid with identical keyframed level changes! If you attempt to export mor=
e FCP tracks than your Avid model can handle, those layers will be locked.

The new Duck translates FCP Nests. Read that again! Upon Avid OMF import, e=
ach is translated into an Avid Submaster effect, the nearest relative. The =
only limitation is an oddball caveat: you cannot establish a nest, then mak=
e a cut to shorten it, and then export it-- Duck Export won't understand su=
ch cuts in the nest shell-- it's looking at the original nest and the info =
inside only. Trim to taste after Avid import.

If you have sliced into your nest at one or more points, you must export yo=
ur main FCP sequence, then go back and export each nest fragment, one at a =
time, from cut to nest cut. They each retain their location in sequence tim=
ecode, and can be edited into the main sequence once in the Avid timeline, =
where, again, placeholder regions have been established, to be filled by th=
e "mini-Nests." But for greatest time savings, do a picture lock on all nes=
t components and then export the solid nest.



Avid-compatible OMF files exported from FCP have been tested with Avid Symp=
hony, Media Composer, Xpress and Xpress DV in NTSC (30i) and PAL (25i). I t=
ested various OMF Duck Exports from FCP 4.1 to Avid XpressDVPro 4.1.1 on my=
 own system. It delivers.

In the mid 90's Avid Technology pioneered and promoted the Open Media Frame=
work as a bridge between applications such as nonlinear editors and audio t=
ools, which was adopted by, among other toolmakers, DigiDesign, now a part =
of Avid, to make audio transfers to ProTools and back much easier. Apple im=
plements audio file OMF export natively in FCP (since version 2.0) for the =
same reason.

So why did the Duckmaster name the product "Automatic Duck?" During early d=
evelopment, Wes came across the best-known work of French engineer/inventor=
 Jaques de Vaucanson, who in 1739, during an "automata" craze, invented a m=
echanical duck which was a crowd-pleaser. It was reportedly as amazing as W=
es' products. It not only quacked, swam, flapped its wings-- each made of o=
ver 400 parts-- it also "ate" and "excreted"-- a useful analogy.

As Final Cut Pro began showing up as an affordable offline tool at post hou=
ses and TV stations, more and more users clamored for efficient transfer pr=
otocols. While accurate to the frame, using an edit decision list (EDL) lim=
its export to 1 video track at a time, plus one key or title layer. For tho=
se cutting multilayer compositions in FCP, it was an unwieldy workaround, a=
nd Wes knew it.

Open Xsend Motion, click the Browse button, select the XML file you just ex=
ported, then click Continue. (The checkboxes in the middle allow you to ign=
ore audio and determine how layers are treated. Here, again, I checked Igno=
re Audio.)

The second product being announced is the aforementioned Automatic Duck Med=
ia Copy, an update to the popular utility that adds support for FCPX XML fi=
les. Automatic Duck Media Copy reads AAF or OMF exports from Avid editing s=
ystems, XML files from Final Cut Pro 7 and earlier, or XML files from Final=
 Cut Pro X 10.1.2 and later, then it figures out which media files are refe=
renced by the sequence(s) and copies those media files to a location the us=
er specifies.

Automatic Duck's first product, an After Effects import plug-in that could =
read Avid OMF exports, was called Automatic Composition Import and shipped =
just before the National Association of Broadcasters exposition in April 20=
01.[2][3]

Automatic Duck started offering interchange between Final Cut Pro and Avid =
in July 2002 with Automatic Sequence Export Pro,[5] a plug-in that could ex=
port an OMF composition for import into an Avid editing system. In February=
 2003 MacWorld magazine awarded Automatic Sequence Export PRO 4.5 stars.[6]

Eventually the After Effects import plug-in was renamed Pro Import AE and t=
he Final Cut OMF export plug-in was renamed Pro Export FCP. The plug-ins ha=
ve improved in the amount of information translated as well as adding suppo=
rt for newer file formats such as AAF, MXF and XML. Pro Import AE is now at=
 version 4.0, Pro Import FCP at version 2.0 and Pro Export FCP at version 4=
.0.

In the exported file, the current-time indicator retainsits original positi=
on if it is within the duration of the sequence. Otherwise,the plug-in plac=
es the current-time indicator at the end of theAvid Media Composer sequence=
.

Note that exporting a Final Cut Pro XML file from Premiere Pro turns merged=
 clips into nested sequences in Final Cut Pro. Premiere Pro and Final Cut P=
ro 7 (and earlier) can share Final Cut Pro XML files for data exchange. To =
share data between Final Cut Pro X and Premiere Pro, you can also use a thi=
rd-party tool called "Xto7." For more information on using this tool, see t=
he XtoCC tutorial.

Xsend Motion is both an app and a Final Cut Pro X Share extension. The Shar=
e extension makes things transparent and easy for those who don't like to t=
amper with XML exports. You can simply start out with a Final Cut Pro X tim=
eline stuffed with transitions, titles, effects, colour grading, etc. When =
you choose this method, the extension makes Final Cut Pro X export an FCPXM=
L file in the background and automatically sends it to Xsend Motion. The ap=
p lets you set a few options and will then translate the XML to Motion ling=
o and launch the application. However, Final Cut Pro X can't share a Compou=
nd Clip. If you want to send a Compound Clip to Motion, you must manually e=
xport an FCPXML file and open it in Xsend Motion.

[Editor's Note: At this point in the interview, Wes took me through a brief=
 demo of Automatic Duck's new plug-ins, Ximport AE and Media Copy. Upon exp=
orting a Final Cut Pro X XML file, the Ximport AE plug-in will re-build tha=
t timeline in After Effects, making each clip its own separate layer. Plus,=
 parameters such as dissolves, scaling, and positioning are translated, wit=
h the ability to make changes as needed. The demo also showed off how the s=
ettings for third party filters common to both applications, such as Red Gi=
ant's Colorista 3 in this case, will translate across FCP X and After Effec=
ts. The rebuilt-time was very quick and everything performed as it should. =
Media Copy, a revamp of an older plug-in, adds FCPX support. It also suppor=
ts XML from Final Cut 7 and earlier and Avid AAF files. This plug-in is hel=
pful when a project has to be handed off, say, from an editor to a designer=
, when you don't know what media files to send or if it's difficult to coll=
ect them all. Media Copy V4 takes the XML file exported out of Final Cut an=
d then a user can specify a place for that media to go. This plug-in should=
 be a very useful companion to Ximport AE. Both plugins ship on September 9=
th. Media Copy will be sold for $99. XImport AE will be sold for $199.]

Let's review: Adobe Premiere Pro reaches feature parity with Final Cut Pro,=
 exceeding it in some aspects, and in the process builds up an equal-sized =
customer base as Apple's NLE. Then Apple relaunches FCP from the ground up =
-- and removes a lot of the features shared between the two, making Premier=
e Pro undeniably more feature-rich. It seems perfect timing for Adobe, whos=
e application is now easier to migrate to from Final Cut Pro 7 than is Appl=
e's. I'm still learning FCP X and I think it has a ton of potential, but at=
 the very least, Adobe has to be happy with the missing features in FCP X t=
hat everyone's complaining about. So let's take a look at one feature both =
video solutions are touting highly: automatic camera stabilization.

Yes, the After Effects one looks smoother. The FCP X video has a jump in it=
 that After Effects corrects. However, this test is also a good example of =
the divide in Adobe and Apple's (new) philosophy: Adobe's stabilization req=
uires a separate motion graphics app, while Final Cut Pro X's is built-in. =
Adobe has more advanced tools but the workflow and speed of Apple's (at lea=
st in use, by not having to take it out to a separate app) is more streamli=
ned. Still, the inability to share FCP X timelines with other apps is a dea=
l-breaker for team-based MGFX work -- for now. Or you can spend $500 on Aut=
omatic Duck's Pro Export FCP plugin, in order to get an exportable timeline=
 out of a $300 program.

I see the difference in philosophy, but that still doesn't cut it... I woul=
d rather use two programs to get my end product to look professional, rathe=
r than doing the editing equivalent of "slapping some duck tape on it" and =
being ok with a bad looking product...

Hello. I am filmmaker currently doing a lot of work in final cut pro 7 and =
have recently found out that when rendering the timeline it will only rende=
r in 10 Bit, even when the footage is 12 Bit Prores 444 or 4444. What I wou=
ld like to know is, If I do import and edit with 12bit material. Would it b=
e possible to after im happy with the edit, simply delete all of the fcp re=
nder files that are now 10bit in their render folder (which im assuming is =
what the millions of colours + in the quicktime rendering options is all ab=
out) and export an XML of the timeline while it is un-rendered and open the=
 XML in something like After Effects to render properly in 12bit by selecti=
ng Trillions of colours with no alpha (which im assuming is the same as 12 =
Bit Prores 444). Will this work? when you import Prores 4444 in fcp 7 does =
it remain 12 Bit until you hit render? Any Help is much appreciated and fee=
l free to correct my perspectives ?
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