Bwf2xml

J

Joey Murdock

Member
I've been searching for a definitive answer to this question and still haven't been able to find one. Is the program BWF2XML necessary in order for FCP 6.0.5 to access timecode that syncs up with the picture (rather than just a timestamp) from BWAV files? If I don't use BWF2XML do I have to sync everything using the slate? Thanks, Joey
 
Sound files always are only time stamped, there is no continuous TC in them. But you may mean clock time time stamp VS TC time stamp. This is probably a post better suited for the FCP section. The time stamp is in the BWAV metadata and I thought FCP read that information? If the recorder didn't time stamp the files with TC there isn't much you can do now.
 
I found the following info and I wanted to run it by you...

"FCP 6 does use the current project settings to interpret the playback speed and the timecode. So be very very careful with that. It's always a good idea to create a project with a setup you need match the easy setup and relaunch Final Cut. Then import all your BWAVs, open the project they should belong to and drag the files over. Final Cut will cache the BWAV settings from the "Import Project" and write to your work project. So if you don't import all BWFs in one day, this works easily. If they come a day by day you should do this procedure each day.

Another thing with BWAV files, they don't have a Quicktime Timecode, which is used in FCP to sync clips. You will see a timecode though in FCP with BWAV files, it based on the audio timestamp and is generated on the fly.
If your work includes synching video with external audio you can't do that by timecode even if you spent money and time to keep cam and audio running running in sync on the set. Same is valid for multiclips and for a certain extend also for subclips.
Be careful when you media manage projects.

That's why there is BWF2XML. It takes the audio data and puts them into QT wrapper including a matching QT timecode."

What do you make of this? Is it relevant or not? Thanks, Joey
 
Well then maybe you do need the app? I work in ProTools 99% of the time, though I have and use from time to time FCP (not for sound). BUT most of my knowledge about FCP is from my end of the work flow and defensive learning to avoid problems (there are a LOT of very inexperienced FCP editors floating around and FCP has a lot of quirks). FCP used to not read any of the BWAV info but I thought it did now but?? Maybe not. I would do a test. There are a few things that can bite you. FCP generates DF differently than everyone else on the planet so if for some demented reason production shot in DF the clips wouldn't be where you think they are but the vid and audio would both be off the same amount. I have heard from a number of Pro's that it's best to avoid letting FCP convert anything on the fly so you should get all your media in the project format before bringing it in. Which seems to be part of what the quote is talking about. It wouldn't surprise me if FCP required 3rd party software to do something it should do out of the box. It's a good app at a good price (compared to it's competition) but it has always had wholes and seems to almost intentionally ignore industry standards in some areas.

For more info I would look at:
http://forums.creativecow.net/thread/8/1031111

Sounds like you don't nec. need the app.
and this site that has a bunch of FCP tools including another TC utility.
http://www.videotoolshed.com/?page=products

At €170 I would do some research to! That sounds like sound software prices, ;~)
 
Thank you for all the info! I have a few spin off questions related to your response...

1) Other than the audio/timecode issues we're discussing what are the major holes in FCP? Is there a website or other source of info you would recommend I check out?

2) When getting BWAVs from the editor do you prefer poly wave files or isolated mono wave files? My understanding is that it's easier to deal with mono wave files since FCP can have difficulties interpreting the poly wave files.

3) Do you prefer the editor hand you an OMF with the guide track and all the BWAVs synced up or do you prefer to use your own software to link the BWAVs?

(Note: I'll be working with NDF timecode.)
 
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1) Other than the audio/timecode issues we're discussing what are the major holes in FCP? Is there a website or other source of info you would recommend I check out?
Click to expand...

I don't know that I would quite call them Major Holes, but there are issues. Different issues for different things. The DigiDesign users conference post section is a good place to get ProTools FCP issues.
http://duc.digidesign.com/forumdisplay.php?f=8
This thread is a biggie
http://duc.digidesign.com/showthread.php?t=212057


A general one is that ProTools will not deal with OMF's with mixed sample rates, so even though you can drop just about anything in FCP and it will play in some fashion the OMF from that project can not be opened in PT. The classic is DV 48k mixed with 44.1 temp music from CD's or converted MP3's.

2) When getting BWAVs from the editor do you prefer poly wave files or isolated mono wave files? My understanding is that it's easier to deal with mono wave files since FCP can have difficulties interpreting the poly wave files.
Click to expand...
I don't care much I can open anything. FCP has had problems with poly files in the past but I think it's OK now but??? I would probably recommend mono or stereo simply because it's more common and less likely to cause problems.



3) Do you prefer the editor hand you an OMF with the guide track and all the BWAVs synced up or do you prefer to use your own software to link the BWAVs?
Click to expand...

What's your budget? On a big film Audio post will usually be re-syncing production tracks, but that is going to be done by the transfer dept. and then fine tuned by assistants. But if I don't have a staff then I need to use the OMF as much as possible.

My usual requirements from a FCP system is and OMF with 4 sec. handles, A video with guide track and an XML of the project. The XML is so that when the "locked" picture changes I can use the new XML to compare with the old XML and have a nifty, expensive, piece of software conform the ProTools session. And you don't have to pay me for a couple of days work conforming.

(Note: I'll be working with NDF timecode.)
Click to expand...

good choice

Cheers
SK
 
Thanks again for the info Noiz2! One last question... if ProTools requires that all the sample rates match, does it also require that all the bit depths match?
Big Thanks - Joey
 
Joey Murdock said:
Thanks again for the info Noiz2! One last question... if ProTools requires that all the sample rates match, does it also require that all the bit depths match?
Big Thanks - Joey
Click to expand...

That I'm not sure of. I'm thinking probably not. But you would want your FCP to be at the higher one since the OMF is going to set the session settings in PT and if you set it at 16 then it's just going to ruthlessly toss out the extra bits. But I haven't ever gotten a mixed bit depth OMF that I know of so??? I would ask on the DUC.
 
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