[Russell Lasson]

You’ll easily be able to edit 1920×1080 ProRes on this machine.

As far as the extra monitor goes, you might look at a Blackmagic Intensity card and a TV with HDMI instead of adding another graphics card. For $350, that Intensity Pro card is a great option with HDMI and component in and out.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT

[Russell Lasson]

You might try copying and pasting your sequence into a new sequence/project. Also you might try dumping your preferences. Make sure you’re handles on the audio are accidentally set to something like minutes or something (1 to 5 seconds is normally adequate). If your project really is creating OMFs larger than 2GB, then divide the project up and export tracks 1-2 first, then tracks 3-4 in a different OMF, then 5-6 etc.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT

[Russell Lasson]

I would highly suggest connecting your speakers to the audio output of your decklink card (if you have analog audio out on that card).

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT

[Russell Lasson]

[Chris Woods] “Also what are the system requirements when using footage from The Red.”

First off, you’ll need a Intel Mac. That will allow you to use one of RED’s tools like REDRushes, REDAlert, or REDCine. From there you can encode the files to any format that is supported in FCP5.

FCP 5 has two main challenges when dealing with RED footage. First, it does support the RED QuickTime proxy files and second, it doesn’t support ProRes.

There are a lot of great workflows for FCP 6 and if you’re dealing with RED, it’s well worth the $500 upgrade to get FCS2.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT

[Russell Lasson]

Personally, if I downloaded a stock shot that was compressed in JPEG 2000, I’d be shocked and think it was really strange. I think that something like Photo-JPEG would be much more common. I would suggest using something that is more of an industry standard for downloading so you’ll have less need to support and explain to people why you chose JPEG 2000.

That’s just me though.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT

[Russell Lasson]

[Rafael Amador] “Is a high quality codec with many different possibilities and uses, but Is not an editing codec. “

I second that.

Asher, it would help to know more about what you’re delivering and why. As Rafael mentioned, JPEG 2000 is the standard for digital cinema, but there’s a lot more to getting a file onto a digital cinema sever for playback than just compressing a JPEG 2000 QuickTime file.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT

[Russell Lasson]

Double check to make sure the frame rates are the same. Also, you can try exporting a reference movie and then sending that to Compressor.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT

[Russell Lasson]

I would just duplicate the sequence, then change the compressor in sequence settings to ProRes HQ. You won’t gain any quality by transcoding the DV media to ProRes first.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT

[Russell Lasson]

There are some presets in Compressor for MPEG Transport Streams you can try.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT

[Russell Lasson]

I’ve found that using Apple’s Color to transcode RGB to YUV ProRes to be very accurate.

-Russ

Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT