[Cameron Campbell]

Thanks Tom.

The only problem is that the client supplied a major amount of footage in .h264 and, although this is clearly not the ideal format, this edit is only for a new business pitch.

With this said, is it at all possible to work with .h264?

Thanks again for you time.

—
Regards,

CAMERON CAMPBELL
LUSTRE Communications, Inc.
110 Union Street, Suite 510
Seattle, Washington 98101

Office: 206.622.0486 x201
Fax: 206.622.0487
Mobile: 206.953.2194

<https://lustrecommunications.com>

Cameron Campbell
LUSTRE Communications
Seattle/NYC

[Cameron Campbell]

Wayne:

Thanks for the advice. So far that seems like the most logical explanation yet. I checked the slot assignment & the Expansion Slot utility is set up EXACTLY like the image in the Kona installation guide (even my video card matches), and I still have rendering issues. I also have had strange memory issues in AfterEffects with the software not being able to allocate some memory buffers.

I have Kingston (and only Kingston) RAM all in 1 GB chips installed between the 2 risers. I have had good luck historically with Kingston as a brand, but these are the first chips purchased for MacPro.

Is there any way to check the integrity or stability of my RAM?

Thanks again,

Cam

[Cameron Campbell]

I tried throwing away all of the render files and the FCP preferences…but still no change in FCP.

Also, as suggested, I checked to see if it was running in Rosetta and it wasn’t.

Pretty frustrating. All I am doing is editing together a :30 spot with 10bit video files; one speed effect (not variable); one FCP generated text clip (not animated) and a push wipe. Pretty simple stuff I would think.

Any other ideas are always appreciated.

Thanks again.

Cameron

[Cameron Campbell]

Steve:

I have 8GB of 667 MHz DDR2 FB-DIMM’s installed and all 8 show up in my ‘About this Mac’ dialog. My assumption is that should be plenty of RAM.

Any other ideas?

Cameron

[Cameron Campbell]

Indeed, doing onlines takes a great deal of understanding, knowledge, and patience. I am in that class of being an “Online Editor” and have been doing broadcast for years on a Flame, Inferno, Smoke, Avid Composers, DS’s, even tape rooms…but I am fairly new to FCP (2 years). In those past couple years I have had problems with very minor gamma problems on output. Even with the broadcast filter in FCP applied there have been single frames with illegal colors that inevitably gets kicked back from the network (like I said earlier, if an image is only a half of one percent out of gamma on any pixel of any frame it will come back). Under the most conservative setting in the Broadcast filter, I still received 20 error frames per hour.

One response was to use FCP’s range check. The only problem with that is it is displayed only when you are paused on a frame. That means you have to go frame by frame to check an edit. There are also hundreds of scenes per program making scene-to-scene color correction too cost/time prohibitive.

We are very careful checking levels going in and out, and we have a TBC that will do error logging as well. But when faced with the unbelievably high price of D5 output costs, extra confidence in a perfect, rock solid broadcast signal is what I am looking for.

I did some research and found that Videotek has a product, the DL-850HD, that does legalizing for both HD/SD/RGB. Has anyone used this product yet?

It would also be great for FCP to include an error logging system of it’s own.

I hope that answers some of the questions, and I would love to hear more feedback/suggestions.

Thanks in advance,

Cameron Campbell
LUSTRE Communications Inc.
1505 Western Ave, Suite 601
Seattle, Washington 98101
cameron@lustrecommunications.com
Office: (206)622-0475
Cell: (206)953-2194

“Computers are worthless,
they only give answers.”
-Picasso