[Michael Gissing]

I would argue to deliver files, not DA-88. It is a hopeless format and ever sound post facility these days uses files. I always send aif files, all with a common file start.

A split means music premix, FX pre mix and dial/ Vo pre mix. I don’t know how you managed to make those splits in FCP as it has no mix bus features. If the distributor insists, take the stems out as files and get an audio facility to dub them to DA-88 and please make sure the files are also delivered with the DA-88. Dubbing from FCP to a DA-88 is hopeless as you need LTC from FCP.

If I never see one of those silly Hi-8 tapes again I will be well pleased.

[Michael Gissing]

Outputting anamorphic to digi beta is the norm here in Australia. We never deliver letterbox.

There is no such thing as anamorphic letterbox either. You have standard 4:3 , 4:3 letterbox and 16:9 which is actually 4:3 anamorphic (or full height). Digi beta records all of these as a standard def 4:3 pic so it is just a matter of how the FCP sequence is set up as to how that hits the tape.

Check with your broadcaster which aspect they actually want and then set your sequence accordingly

[Michael Gissing]

Nattress deinterlacers also give you smart blend options. I haven’t use Motion but the Nattress filters have given me excellent results and it saves a round trip to Motion

[Michael Gissing]

As Arnie says the problem with 2gig is an OMF format limitation. We get to thank AVID for this. Some audio systems like Pyramix have been allowing an option to import FCP projects via XML.

WE can only hope that other manufacturers follow suit and we can bury OMF forever

[Michael Gissing]

[Nathan Baker] “what I’m trying to do defies the laws of physics”

Wait till Scotty finds out.

[Michael Gissing]

And finally in guess mode, the thread 0 references two plugins –

1 com.digieffects.DE_LightLeaks 0x0ca657bc GlobalSetdown + 198
2 com.digieffects.DE_LightLeaks 0x0ca664e1 plugmain + 815
3 …CutPro.Plugins.AfterEffects 0x089f5490 CALL_PLUG_IN_PROC + 176
4 …CutPro.Plugins.AfterEffects 0x08a1ccb4 UnloadPluginFileProc(void*, void*) + 106

You could try uninstalling those plugins and seeing if they are the issue.

[Michael Gissing]

I would also recommend visiting forums like

https://forums.macosxhints.com/

There seem to be people there interpreting crash logs from FCP.

Also this site

https://www.memtestosx.org/

Can test your RAM. Might be worth asking the more geeky types to interpret this problem. Us mere users are struggling.

[Michael Gissing]

I am not a mac expert but when I put the first part of your message into Google –

Exception: EXC_BAD_ACCESS (0x0001)
Codes: KERN_PROTECTION_FAILURE (0x0002) at 0x00000456

It threw up heaps of forums that gave a load of similar answers. The first line sounds like faulty RAM.

8 KGCore 0x00b0c8a2 KGMemoryPtrRelease + 118

This line is also in the crash log. Try removing RAM simms in pairs and see if you can isolate a faulty RAM simm.

[Michael Gissing]

[Nathan Baker] “I’m trying to have play backward, yet sync frame to frame with the same piece of footage playing forward. The dilemma is this: when I simply got to Modify > Speed > Reverse, the clip BEGINS with the last frame of the clip and plays backward toward the first frame, while the other clip plays from the first frame on normally.”

Please explain. You want it to play backwards which is what Modify > Speed > Reverse does but somehow sync to the same clip playing forward. That makes absolutely no sense to me. It can only be running in reverse if it starts at the end and plays to the beginning.

Perhaps you need to define what you actually mean by playing in reverse.

[Michael Gissing]

First, get the computer out of the edit room. No dream setup needs extraneous noise.

Second, acoustically treat the room. Don’t waste a dollar on expensive amps & speakers if the room has poor acoustics.

Thirdly buy the best speakers you can afford. An option would be active speakers with digital inputs. Feed the speakers directly from digital outputs (AES/ SPDIF) from a card. The optical out on the MAC is not useful for this application. My preference would be to use a mixer to feed the signals into so that you have control over monitoring levels and the ability to check your monitoring in 5.1, Pro Logic decode & mono. A small Yamaha digital mixer can fit the bill.