[Dan Riley]

Here’s something to try:
Open the project.
Copy the entire sequence you need..
(drag the mouse over the entire sequence and do apple-c and
hold them down for a few seconds because it’s a large sequence probably)
create a new project.
paste your old sequence into the new blank sequence in your new project.
save your new project and name it.
close your old project without saving cause you say you can’t anyway.
Quit FCP.
Open FCP from your new project (double click on the project file)

Are you now able to work with the sequence?

The reason for doing all this is most likely your project is too large.
That’s when memory issues start to creep up.

Dan

[Dan Riley]

I should have tried the prefs thing earlier but hate to do it cause I have to
go through FCP and reset everything. I’ve read there is trouble with those
programs that keep track of the prefs in their Leopard and/or FCP6 versions
so I don’t use them. Anyway I’ll try trashing prefs and see if that helps
and report back.

Thanks,
Dan

[Dan Riley]

In my case the answer is yes.
If I’m editing with no issues and all is well with FCP 6.0.2 and
SD and HD shows, all kinds of formats…. then the minute I want to
output to tape, then software freezes…… how does that point to
a drive issue? Don’t you think this points toward comm errors?

The one area with the Mac OS that is flaky is networking.
You can change a network connection or disconnect an ethernet
cable and the Mac will refuse to shut down or it will freeze.
So I think this is related to the AJA card talking to our
Sony deck or the Panny 1400 deck or the Sony Beta 2800 deck.
Maybe those of us with trouble have something connected wrong
although the AVID MC in the next suite over is not having this trouble
and it goes through the same comm patch bay.

Dan

[Dan Riley]

I have exactly the same issue. I’ve been doing edit to tape to Digibeta via SDI
for 4 years with no problem up through a G5, FCP 5 and my Aurora Pipe Studio.
Now with the Intel Mac Pro and AJA KONA 3 and FCP6 (and up to 6.0.3)
and Sonnet eSATA RAID, your description is exactly what happens here.
I’ve been trying to track it down but have not found any solution.

Seems to me it’s gotta be the AJA card and communication issues with the
DigiBeta deck but this is only conjecture. We have a patch bay for changing
connections to the AJA for machine control and maybe it just doesn’t like it
when those connections are changed. Like you said, after a restart, it works.
So probably the shut down and restart clears out the AJA card’s control
issues. Or maybe it’s something completely different.

Dan

[Dan Riley]

Brian,
When you add the CC filter to the timeline clip and it’s a multiclip,
hold the filter over the clip for a second and you’ll get a dialog box
asking what to do, either add to that clip or the multiclip. You must choose.
If you don’t, the CC will not stay.

Dan

[Dan Riley]

If you don’t do uprez as a part of your workflow, then MM is not a problem,
at least that’s my perspective. You have to give it to AVID on this point.
They do a great job of conforming a DV show to an uncompressed show
for instance, with effects, transitions, titles, etc. FCP does a lousy job of this,
again, in my experience. It’s so bad that I’ve given up doing um. Instead of
the two hours it take our AVID editor to go from a 10 to 1 show, to an
uncompressed show, it takes me that long to do the recaptures, but then
another 6 hours or more to get all the still frames, titles, speed changes,
etc., to match back. Again, if you have a very simple cuts only show
and a very early roughcut, I suppose MM is fine. But if you are going to
uprez at the early stage, what’s the point of doing it? You will now have to
load in a bunch of new tapes as you continue to refine the show.

Now that we have an 8TB RAID on our FCP suite, I just load stuff in at full rez
to start with. But this is not a good strategy if you have 50 reels and are doing a
large docu or multicam show with 5 or more cameras.

Dan

[Dan Riley]

Small production facilities with two or three suites don’t need 72
inputs for $15k, in my experience. And most of these
places don’t even go for routing switchers exactly because of
the $15k price. So the $5k at 12 inputs was nice but just a tad
less than many of us need, which is around 20×20.
So the Blackmagic product may be a bargain to you but it’s a
bit over many of the small facility’s budget for moving video
around. The thing is, this will make a customer like me
look around at what else is out there, when if Blackmagic
had just made a middle unit, around 30×30 for around $8k,
I wouldn’t have thought twice. I’d just order it.

My two cents.
Dan

[Dan Riley]

Do they have something BETWEEN the 12 input and the new 72 input?
Geez. We need something around 16 inputs and was trying to
figure out how we could make their 12 input system work. But 72 inputs
at $15k, that just went over our budget.

Dan

[Dan Riley]

go to news.google.com
type in NAB Las Vegas in the search field.
Hit search. then, hit sort by date.

You’ll pretty much see it all.

Dan

[Dan Riley]

Where’s the press release talking about all this?
Igor’s link is to a blog. And I don’t see it on AVID’s site.