[Michael Gissing]

I am not having any of those issues with the same software. I have a the 2.9 Nehalem octo and 16 gigs RAM and a Kona 3.

Did you do a clean install of the OS and FCS3? Problems have been reported with updates over old installs and this forum has been warning people against that for years.

[Michael Gissing]

I assume you are 1080 50i. If so then the final quicktime should be ProRes 422.

If you turn off a layer then don’t turn it back on but hit undo instead. This will preserve the renders. This is if you simply wish to toggle.

The out of memory may be a still that is too big. Try rendering in small sections or look to see if there is a graphic with big pixel dimensions. It may also be a corrupted file.

My advice for SD is to do the down conversion with hardware. I don’t know if the Decklink Extreme down converts look any good now. I used to have a Decklink HD Pro and the down convert was ordinary. I now have a Kona 3 which does great down converts. There have been many posts about geting a decend down convert in Compressor. A search of this forum should reveal a wealth of advice on that.

iDVD makes ordinary DVDs. I would recommend learning DVD Studio Pro and have Compressor do the mpeg conversion.

[Michael Gissing]

[chris Whiting] “I can not separate audio channels when editing, only problem is with clips done through Streamclip.”

Are you saying that unlinking audio isn’t working with these files?

[Michael Gissing]

Sounds like a drive failure.

The reason you see pics but not sound and all is showing as offline is that you are playing the video render files. I hope you didn’t save as this will overwrite your sequence with all media offline. If so then you will need to go to your backups or last autosaves, or reconnect everything if the drive can be salvaged.

There are programs like Disk warrior that many here recommend although I haven’t had to use it and will let others more experienced chime in.

[Michael Gissing]

Yes. I am running an HDV sequence and a ProRes. I just ticked the box to stop warning me and it has been playing fine without actually dropping frames.

Like you I have a fast RAID and the latest 2.9 Nehalem octo with 16 gigs RAM.

[Michael Gissing]

[Ray Chung] ”
My only overall recommendation would be to work in ProRes”

No such codecs in FCP vers 5.

If you export quicktime movie (self contained) rather than quicktime convert, you can change the codec. Is there a reason for Animation codec?

[Michael Gissing]

As a telecine operator who graded live to air fab shows like Lost in Space and Daniel Boone in the mid to late 70’s, I can tell you that the clip you showed would have been tech rejected in those days.

A common problem with film in those days were magenta and cyan casts that were difficult to grade out. Colors were also a bit more washed out and pastel looking than todays hard reds & greens. Slightly milky blacks were common.

If you are trying to do this without paying for any plugins, then I suggest you get familiar with Color and start playing with hue controls and luma curves. Also in Color, you can play with saturation in low, middle & highlights separately which will help.

Please go easy on dirty gates, scratches and weave if you do get any of the film look plugins.

[Michael Gissing]

Very opportune. I have a Tangent Wave demo unit due to arrive tomorrow to evaluate. I downloaded and read the manual!

Thanks Walter

[Michael Gissing]

Errol,

This topic has been covered many times here at the COW. Start by doing a search for HDV workflow. If you then have some specific queries then feel free.

[Michael Gissing]

Any figures will be approximate as H264 is variable bit rate so the content will help determine the file size. As Shane said, depending on the frame rate and pixel dimensions it will fall into a range of data rate per second.

All you need to do is multiply that average data rate by 60 to find out how much data per minute and then by 60 again to find out how much data per hour. If you have any info on the camera you can work it out.