AAF from X2Pro doesn't understand mix of KHz's

That is a bit strange. I thought that having SRC turned on was what made things go out of place and/or out of sync.

There should be no problem using different sample rates because both FCP X and Pro Tools are fine with it and X2Pro doesn't change sample rates unless the source media is non-PCM (compressed) and it has to change it to PCM for Pro Tools. I don't think the order of roles can affect it.

Hi Graeme, thanks for the speedy response.

The audio engineer and I just took a look and frustratingly for me when we made sure ARC was applied it pulled the AAF in successfully. Without it applied though it was all over the place as per the example.
He was under the impression Pro Tools always defaulted to having ARC ticked on, hence me raising the issue, but perhaps it was just our mistake. We are going to test a few things next week to see if it is more the way Pro Tools is handling it, but the crux of it is that we never had this situation until moving to an FCPX to X2Pro to PT workflow, and it has come up on a few occasions.

Would you expect there to be a problem when using a mix of frequencies hence needing the ARC in Pro Tools? Do you think it could be affected by the order in which the roles are applied in FCPX?

Do you have "Apply SRC" (Sample Rate Conversion) ticked when you import the AAF in Pro Tools? If so, can you please try turning it off and tell me whether this solves the problem?

I have discovered an issue using the FCPX XML to AAF workflow through X2Pro that I would like you to look into and hopefully fix.

If an FCP Project contains sources with a mix of sample frequencies (i.e. 48KHz and 96KHz) then when you convert the XML to an AAF it loses the edit points and audio sync.
For reference I have included an image that shows:
--- The reference movie and full mix on the top 2 layers
--- The imported AAF in yellow after leaving the FCPX project with a mix of sample frequencies. (Sync and cuts are completely lost).
--- The imported AAF in blue after removing one of the tracks with 48KHz leaving only the 96KHz track. (Sync and cuts match the reference movie of the edit).

So yes we have discovered the work around of trying to ensure all source material has 48KHz audio but on some occasions we are dealing with other editors projects and therefore are at the mercy of them. In this situation we have to create multiple AAFs of each XML isolating the different sample frequencies.

Will you be able to investigate this and provide an update for the software where it can handle multiple source files of this nature?