Aaron Neitz
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After Effects Coin
Forum Replies Created
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Well, G-Tech didn’t get back to me yet and they’re closed….
BUT! running Volume Check rebuilt the drive and my project is back. RAID3 FTW! thank you g-tech.
You might be right Walter, I have a BVM, Tektronix waveform, 8core Mac, and the G-Speed plugged in. Maybe it overloaded the circuit…. but damn. It’s been running in this sam configuration for almost 10 weeks now (brand new system). The load lights were never beyond 50%. This is not they way to find out your power protection can’t handle the stress
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Without telling us what kind of “server” you have also complicates the problem. Maybe there’s a quota flag that got set on the server that only lets those stations access 1.5TB?
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he’s cutting in DVCPRO-HD, so it is an anamorphic format, but it’s damn hard to actually see the squeeze since QT automatically detects it.
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It perhaps seems like QT Export is screwing up the anamorphic conversion of DVCPRO-HD coming out of FCP.
Can you open the captured quicktime file in QT player and export a still from there? it should be fine…
looks like a specific FCP bug…. one of so many in version 6.
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Does the Finder on the affected machines see the correct amount of free space? or is this what FCP is reporting as avail?
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You’ll definitely want to read in the FCP manuals, but:
1) create a new timeline with 6 channels of discreet audio (under User Prefs, Audio outputs). Copy/Paste your video clips into this.
2) get 6 discreet mono aiff/waves from your audio mixer. So a Left Front, Right Front, LFE, etc….
3) these go into your timeline. Typically 1/2=front, 3=center, 4=subwoofer, 5/6=rear speakers
4) you’re probably editing on a stereo only system? to hear channels beyond track 1/2, you’ll need to use the Stero Mixdown switch in the Audio Mixer
5) edit away.
6) export each track as a discreet aiff and compressor can make a 5.1 dobly digital file from a “surround group” Look this up, it’s pretty easy once you get the hangIMHO, I would avoid trying to do anything fancy with your interviews. Just mix all that audio down and put it in the Center channel. I’ve heard that they typically mix 15-20% of the center channel into the Front’s. But I’m not an audio mixer and prefer letting them do their magic instead of me.
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Yep. That’s a problem I think started with FCP 5? i don’t think anyone knows a way around it except to save as something else. a pain.
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They’re both solid choices. I have OWC in my Macbook and Crucial in my tower.
either way, so much cheaper than Apple
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Curious about Spotlight… because if I’m not mistaken, Spotlight cannot scan an XSAN array because of it’s particular filesystem. (which makes for searching for files on an XSAN futile. it’s really crappy when you have to wade through 14TB of storage for something you lost)
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As an aside…. let’s be honest, the amount of Kona presets for capture and output are…. very definitive. It’s almost too easy to hit 8 bit when you thought 10 bit and things go to the birds.
I’ve always been under the assumption that Digibeta is an 8 bit recording format, but it can transport signal via 10 bit over SDI. Correct? So even on 8 bit projects I would select 10bit output. It’s always looked really, really good.