Jeremy Garchow
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[John Christie] “The clock battery **should** last longer than a year”
Technically it should, but I found sometimes if you turn off the battery back up at the end of the day, it tends to drain the clock battery much faster. Also, getting a cheap battery and replacing it is a good place to start rather than to have to haul the whole machine into a service center.
I’d try and change the clock battery first before jumping to the conclusion that the mother board’s a goner. Replacing the battery is cheap and easy.
When you unplugged the machine, did you hit the power button while it was unplugged? Keep hitting the button until the little blue light stops lighting up. This totally drains any power out of the PMU and sometimes does the trick as well.
Jeremy
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FCP 4.5 works best with 10.3.8 and QT 6.5.2. Save QT7 for FCP. Quicktime went through some overhauling in the point release and mixing and matching different versions of quicktime, i found, is problematic. Once I converted everything to FCP5 and qt7, all was well and haven’t looked back since. this happened months and months ago.
i noticed that if you digitize dual mono or stereo in qt7 and then try and bring that into fcp4.5 and qt6.x it would change it to one track of mono.
Jeremy
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Make sure that your titles are on an even pixel in the motion tab under the center parameter. make it [10,24], not [10, 24.31] or whatever.
Jeremy
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Does this happen only with 10bit footage? I was working today in AE no problems, but not with 10 bit media. I can double check your setup (10 bit media and 16bit processing) tomorrow when I head in to the office.
Jeremy
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OPen up the Kona control panel and find the option in there to uncheck “lock input gain to unity”. THis should only effect input (which I think you are doing coming off of DigiBeta, or are you outputting TO digibeta?). Maybe this will help in your current situation.
Jeremy
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It depends on your workflow, and really it depends on your graphics and how much graphic work you do. We just recently acquired a DV50 system (SDX900 & SD93). We love it. I consistently offline at dv50, but I then conform to 8 and sometimes 10 bit uncompressed, it depends on which machine I’m editing at that day. For that process we go out SDI in through the K2 (or io, we have two stations). We currently do a lot of graphic work out of After Effects. The DV50 footage holds up a lot better in 8 or 10 bit uncompressed than it does in DV50. In my experience, the DV50 footage gets pretty beat up once you have affected it (scaled, cc, crop, time remap, etc) when rendering out of AE. If you get the cards for your DV50 deck, get the SDI. You won’t be disappointed. Of course, your drives have to be able to sustain 8 or 10 bit uncompressed as well so consider that before dumping more money into the system. If at all possible, rent or borrow a DV50 deck with SDI. As an experiment, reconform your project to uncompressed and see what you think.
Jeremy
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You’ll be fine. It’ll go down to tape at 60i, it’ll just look like 30p.
Jeremy
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Ok, but just to be redundant, your original post says you copied and and pasted the clips from your 16:9 sequence into a 4:3 sequence. What you really want to do is drag the 16:9 sequence icon from the browser into the 4:3 sequence.
Good luck
Jeremy
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Okay, now you should double click that long sequence (the nested 16:9 sequence) so that it opens up a new timeline. Now go to those two offending clips. DOuble lcik on each one and see what their distort tab is set to.
Write me back when this is done.
Jeremy
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I described two ways, which way are you using? Are they video clips or text?