Thank you, farss, you're always there for me. We're more looking for straight cuts, maybe keeping intact volume changes in the audio, but definitely keeping the tracks intact rather than flattened.
You know, I never can figure out why more people don't ask about workflows like this. For many indie filmmakers around here, this is exactly what we want. I think the difference is b/c indies on this level (no funding) are a minority and most workflows are designed for people who are either more geared towards corporate work or have more money to throw around. Either way, things like dedicated decks (especially digibeta) are out of unfunded indie filmmakers' price range, so hard drives is what it's all about.
Anyway, if you printed to take you'd flatten your audio and video, giving you less control. So, it makes perfect sense to me that someone might want to, say, sync the audio for a film originated project in fcp, make an edit, then send the project over like I suggested to Vegas to do the audio work. Especially considering how crappy FCP is with audio and the necessity of taking it to a different program, I don't see why more people don't do this kind of thing.
Does this make more sense now?

Make sense. However even at the big end of town this is done all the time without major drama or expense. Hollywood sure as hell doesn't send a 35mm print to the sound guy, probably just send him a SP dub! He does his thing on his high end audio gear, maybe lays in folley etc and sends them back a set of tracks that they lay back in.
You can do the same.
The FCP guy can render out the audio as separate files and burn them to CD/DVD as data files and also give you even a low res QT file for reference. You sync the whole thing up in Vegas/SF, do your thing and give him back the audio files. If anyones unsure about sync issues, get them at add some pips. I know that's a bit passe but it gives everyone that warm fuzzy feeling when everything lines up!
This works, even done it myself more than once for guys with FCP and audio problems.
Getting them to give you the whole project is probably more fraught with difficulty than working with just what you need and pretty well unnecessary. You've not only got all the file compatibility to deal with you've also got to be able to handle the media at whatever res they're working at and that could cost you heaps.
I'm certain there's many here that have worked on stuff for Hollywood (DSE is one), I seriously doubt the client sends them over the whole project and all the files at final res!

AAF + all the original source media +a rendered DV file is a good way to go when moving between completely different platforms. You'll have the original media (in prisitine form), the timeline edits will carry over but you still be able to tweak those, and with the rendered DV clip you'll also have a scratch version that shows the previous editor's intent.

you will also have to use the updated AAF dll file to make it work ...

I hope for your sake that FCP AAFs work better in Vegas than Avid AAFs. I'd explore the Cui Bono route myself. Avid AAFs are entirely unusable in their current state. Maybe FCP will be different...

Good Luck!

Got a link to the updated AAF dll?

Here ya go Gary.

http://sourceforge.net/project/showfiles.php?group_id=24405&package_id=35142

Cheers, Patrick!

Hows the new baby doing? We just had our last child on May 20th. A baby girl which we named Madison Ella. 8 pounds 3 ounces, full head of hair and already a daddy's girl. Mom and baby are doing fine. Not much sleep though. :)

And hope that they're running the later versions of FCP I think.
Most of my clients are running FCP from the dark ages.
Bob.

I am uneducated in the ways of DLLs. What do I do with them, where do they go? Thanks.

replace the one of the same name in the vegas subdirectory ..

do a search here - i posted the method and such to this when 6.0a came out ...

download the one in the link ..

do a search on your system for a file name of the same -- rename it .

drop the ones you downloaded into the same location