[Jonny Hal]

Thanks for the response – unfortunately it didn’t help.

What’s weird is that if I have FCP, then go to say Safari and play a YouTube clip, I won’t hear the video while in Safari, but if I let it keep playing and go back into FCP, I can hear the audio.

Weird.

[Jonny Hal]

Thanks so much — really helped me out.

[Jonny Hal]

duh – my output frames were set to none.

eek.

[Jonny Hal]

Since you fellas seem more interested in flogging each other than in answering my original post — I’m gonna look elsewhere for some expertise re: the best codec to use.

[Jonny Hal]

ProRes 4444 (pronounced 4×4) is the new high end Apple codec that ships with FCP 7.0.

When you update to AJA Kona 6.5, the playback and capture options now give you not only the 10-bit and 8-bit Kona compression settings for the different frame rates, they also directly support the ProRes 422, 422LT, etc.

So when I digitize, should I choose the pure Kona codec for a particular format, or the Kona ProRes 4444 if I want the highest quality?

[Jonny Hal]

thanks so much for following up — I just exported the animation file as a tiff sequence and brought that into After Effects.

10 minutes later I had a ProRes 422 file.

I had upgraded my system just before this this ProRes problem cropped up — 10.5.8 — and am glad to find it was one stupid file and not a gremlin somewhere in my system.

Thanks again to all.

[Jonny Hal]

too funny.

thanks I was coming to the same conclusion. thanks.

[Jonny Hal]

I’ll try the mix down — but I’d prefer if my sequence would playback the same way every time without resorting to workarounds.

a boy can dream.

[Jonny Hal]

Thanks for responding, but I’m not sure how a mixdown will solve my problem — especially if the underlying audio is playing from the wrong spot.

Regarding the rights issue, these are all projects where the elements are licensed.

Thanks again.

[Jonny Hal]

thanks. will do.