[Ryan Patch]

I have this problem as well. It definitely “feels” like a hardware issue, but I don’t have any proof of this. I am confused, however, because I am on a system that should be able to handle it.

I’m pulling from a 7200rpm RAID 0 drive, and I’ve got a 3.2ghz processor, nVidia Quadro 3800 video card, 12gb ram. So… this should be able to handle it.

I notice that this happens more often when there are multiple tracks going on at the same time, but that’s not the only time.

[Ryan Patch]

I use Avid’s DNxHD codec. It’s free, always will be, and the data rates are on par with ProRes.

Ryan

[Ryan Patch]

I appreciate your entheuasism, Todd, and although I have seen a lot of stability increased in 5.5, OMF is not one of them. It’s still the same voodoo of hanging exports.

With OMF integration one of the HUGE problems lacking with FCX for a true professional workflow, Adobe really needs to fix this ASAP in order to give them the leg up. As of right now, it’s just a nice idea that doesn’t really work if you have projects with any complexity in them.

A workaround that I’ve found SORT OF works is to ALT+select all audio clips, then “Render and Replace”. Then you can export your OMF file without fail. Theer are several issues with this method – you have no handles on your audio files, which means you can’t crossfade in audio mixing, which is a HUGE problem, it “bakes in” all volume / gain adjustments you’ve made, but if needed, this will get the file out.

Be sure to duplicate your sequence before the render and replace, so you have access to the original audio before killing all handles!

Ryan

[Ryan Patch]

Yes, convert to ProRes LT – ProRes and ProRes HQ is designed for multi-generational workflows where loss can occur. If you’re just editing and then doing a color pass, LT will work perfectly. LT was actually designed for projects with tons of footage, like reality shows or documentaries.

[Ryan Patch]

The original MPEG compression of the HDV has been lost when you convert to ProRes. Besides, I wouldn’t advise re-compressing footage – you’re bound to loose quality. I would reccomend taking the captured HDV footage that FCP captured and using Adobe Media Encoder (on a mac with ProRes installed) transcoding it to ProRes LT. There’s no reason you need to be using ProRes HQ with an HDV source. LT will work just fine! That’ll get you the closer to the data rate you want, and perserve the original footage the best.

[Ryan Patch]

Given that the Intra 50 and Intra 100 datarates are rather low, I would imagine that you’ll be fine on a 7200 drive. In fact, I’ve edited DVCPRO HD files off a 7200 drive for years, and those files are twice the bitrate of Intra.

Intra does have more compression, however, so your CPU and GPU power will have to be up to snuff.

[Ryan Patch]

Hey!

I’m running on a new PC system, Windows 7 Home Premium, and yes I have the 5.0.2 update.

I actually did some more investigation, and it turns out that mapping individual keys does work and sticks, sorry. It appears that my presets aren’t installed correctly – when I hit “Set:” and select either Final Cut or Avid presets, nothing changes. Does anyone know how to make sure these are installed correctly? I would prefer to not have to map my entire keyboard to Final Cut presets myself.

Thanks!

Ryan