Transcode HDV 108060i = SD PAL

Hi,
Encore is good solution to transcode a HDV 108060i sequence to make a SD PAL DVD? Without desincronise with the sounds of the movie (which appends with Final Cut Pro Plugins)?
Thanks
Jerome

Whoops misread what you asking about sorry
Message was edited by: Drew13

Similar Messages

Aren't FCPX and Compressor supposed to be able to export Apple ProRes 422 LT? I just bought FCPX and Compressor and there seems to be no way to transcode HDV clips to Apple ProRes422 LT. Before buying I read LACUG tutorial by R Taylor that says it can.

Aren't FCPX and Compressor supposed to be able to export Apple ProRes 422 LT? I just bought FCPX and Compressor and there seems to be no way to transcode HDV clips to Apple ProRes422 LT. Before buying these I read an LACUG tutorial by R Taylor that says it can.

Tom is right. Codecs are shared software system-wide ("Core Video"). If you cannot find the option with any software (such as MPEG Streamclip), you won't find it in Compressor or FCPX either. The Quicktime ProRes codecs is part of the FCP menu > "Download Additional Content" you need to make after install FCPX (or Compressor.) These "pro video" codecs are part of all "ProApp" licenses for video related software from Apple (QT7Pro, Motion, Compressor, Final Cut, etc....) [you can also download them here: http://support.apple.com/kb/dl1396]
Most articles/tutorials you read by "long time" users are apt to assume the reader has been working with pro-video on Macs since the days of disk installs (like they have). In those days, the installation of those codecs wasn't even really an option (well, it was if you did a custom install - but who *didn't* install all available codecs??), it was automatically installed with the main software. Since the "App Store" venue... things have changed somewhat.

Problems with "Author once" workflow, can't transcode HDV to BD and DVD

Adobe claims that with Encore CS3 you can
"author once, deliver to three formats" -- Blu-ray, DVD and Flash. I have been doing some research and testing, but have not been able to get it to work.
It seems as though Encore is not capable of taking HDV 1080i60 footage and transcoding it for both Blu-ray and DVD. The Blu-ray looks great, but the downconverted transcode for DVD is completely unusable.
Link to screen shot of HDV to DVD transcode. (Note: this is a frame at 100%, so the "comb teeth" really are that big.)
I have seen some pretty pathetic downconversions from HDV to DV resolution, but this is the most creatively useless one I've come across so far.
I have been able to use Dynamic Link to get an almost acceptable "author once" workflow from HDV footage. Unfortunately, I have not been able to find a way to get Encore or After Effects to render fields for the DVD transcode, so fast-moving graphic elements and text have jerky/strobing motion.
FYI, I got Dynamic Link working well for non-fast clips by doing the following:
Make sure that "Separate Fields" was set to "Upper" in "Interpret Footage" for the HDV clip.
Set the clip's frame blending mode to "Frame Mix" ("Pixel Motion" works, just take longer).
Enable Frame Blending for the comp.
(Enable Motion Blur for the comp if any layers are using Motion Blur).
If only there were a button to enable field rendering for the comp along with Frame Blending and Motion Blur, as both of those options directly affect how the Dynamic Link renders/transcodes in Encore.
I noticed that without Frame Blending enabled for both the clip and the comp, the motion in the transcode was very jerky, even though the clip had not been time stretched/remapped.
Does anyone know of some way to get the mythical "author once" workflow to work? Perhaps it's only for progressive workflows and not interlaced? Could this be a Mac-related problem (I have not been able to test on Windows)?
I know I can downconvert first, then import into Encore, and that does work fine, but that completely negates the wonderful concept of "author once".
Any help or advice is greatly appreciated.
-Joel Granholm
Details:
Encore CS3 3.0.1.008
After Effects CS3 8.0.1.8
Premiere Pro CS3 3.0.1
Final Cut Studio 2
Mac OS X 10.4.10
Mac Pro 8-core, 8 GB RAM / MacBook Pro 17" 2-core, 4 GB RAM
Shooting/editing in HDV 1080i60
Trying to create:
BD: NTSC, 1440x1080, 29.97i (upper field first), H.264.
DVD: NTSC, 16:9 Aspect Ratio, 29.97i (lower field first), MPEG2

Ruud,
Gspot showed there was a problem with the file. What it said was of the 130K frames, most were not needed. I went back to the editor and reconstructed the 130K file. Had problems trying to export to M2v. PPro 2.0 would freeze every time, sometimes in a few minutes, sometimes just short of completing, approx 2 hours(this was a 2 pass vbr setup). I experienced problems just trying to make an AVI file for importing into Encore 2.0. A lot of water has gone under the bridge since I first started this journey(over 300 hours). My first shot at elation occurred when I decided to try an m2v at vbr 1 pass instead of 2 pass. It worked. I say this because of late I have successfully made an Avi file, Imported the timeline and in fact satisfactorily made an m2v file (2 pass). The m2v was also brought into Encore 2.0. Though I have 4 HD's, it seems to me that as I am moving toward a successful product, I'm finding that I've located all my assets on one HD. Is this the way to go? I'd like to thank the alert for using Gspot. And I will, always. I believe that if I had used Gspot earlier I would not have been trying to fix the problem using a bad asset.
I've been able to make an iso file, though having trouble making a playable disc.

Transcoding 720p50 for SD PAL Broadcast using Final Cut Studio v2

Hi,
Any help would be greatly appreciated.
I shot some 720p50 footage on a Sony EX3 to send over to a customer for use in a SD broadcast programme (PAL 16:9). I'm struggling to get it looking clean in compressor (no small jagged edges).
So far I've put the footage straight into compressor and tried exporting it as:
File Extension: mov
Estimated file size: unknown
Audio Encoder
          16-bit Integer (Little Endian), Stereo (L R), 48.000 kHz
Video Encoder
          Format: QT
          Width: 720
          Height: 576
          Pixel aspect ratio: PAL CCIR 601 (16:9)
          Crop: None
          Padding: None
          Frame rate: (100% of source)
                    Selected: 50
          Frame Controls: Automatically selected: Off
          Codec Type: H.264
          Multi-pass: On, frame reorder: On
          Pixel depth: 24
          Spatial quality: 75
          Min. Spatial quality: 25
          Key frame interval: 24
          Temporal quality: 50
          Min. temporal quality: 25
(the customer said h.264 file was fine)
Any suggestions? Obviously this is an urgent project so buying a new piece of kit etc is out of the question
Thanks in advance.
NB
I'm using Final Cut Studio 2
(Compressor version 3.0.5 & FCP version 6.0.6)

Thanks for the advice guys.
More info that I hope helps:
I am looking at it on my desktop (Apple 30" Screen if that helps?). I have high quality playback enabled on QT and I'm using 100% in the canvas window on FCP.
I'm afraid I can't access an interlaced play out monitor today. I can tomorrow but would like to send the stuff asap. Is there any other way of checking the quality just using the desktop?
Here are some grabs of the FCP canvas window:
Original Footage:
h264 export (in first post):
Uncompressed 8 bit as advised by Andy Mee (above post):
All grabbed from same rendered sequence, 100% on canvas, sequence settings:
Am I being picky? Or is there something else I should be trying? Shall I just send them the master footage and kindly ask them to deal with it?
Thanks again for your help.

Best (PAL) workflow to convert HDV interlaced to DV progressive?

Question - What is the best (PAL) workflow to convert HDV interlaced to DV progressive?
Software: Pr, En and Ae - all CS4.
My Camera: (Sony Z1) shoots HDV 1080i.
When capturing and editing, I keep everything HDV and interlaced.
Premiere Pro:
Capture HDV - mpeg 1440 x 1080 (1.3333)
Sequence - 1440 x 1080 (1.3333) HD Anamorphic 1080 (1.333) Upper Field First - (HDV 1080i25 Preset)
Once edit is complete, I dynamically link sequences into Encore.
Question - Should I dynamically link to Encore or export sequence from Pro?
If you aren't a fan of dynamically linking the sequences and believe exporting the sequences from Premiere Pro is the way to go, please advise of best export settings. I assume during the export (from Pr) is when the converting from HDV interlaced to DV progressive takes place?
At present, I dynamically link the sequences into Encore. This means Encore handles the conversion to DV progressive.
Question - What are the best (Encore) transcode settings to transcode HDV 1080i25 to DV progressive widescreen?
I've tried numerous workflows but as yet, I've not been 100% happy with any of them.
I'm finding it quite a challenge to take HDV 1080i and produce a good looking DVD i.e minimal artifacts and no interlaced jaggies.
I used to downconvert to DV in-camera during the capture process, but I'm finding I'm getting much better results by editing in HDV and downconverting during post. This is what my post is really all about i.e. finding the best workflow to do this.
I would be very keen to hear of how others are shooting and editing in HDV to then produce best/high quality DVDs.
Thanks for reading

Hi DaveMD,
Thank you so much for your Q&A post. It is so helpfull for me. I will test it right now. Unfortunatly for you, I reply your post with no answer, just a feedback..Sorry
Nevertheless, my details are :
Software: Pr, En and Ae - all CS4.
My Camera: (Sony FX-1000) shoots HDV 1080i.
Premiere Pro:
Capture HDV - mpeg 1440 x 1080 (1.3333)
Sequence - 1440 x 1080 (1.3333) HD Anamorphic 1080 (1.333) Upper Field First - (HDV 1080i25 Preset)
I have exported the media in DVD MPG (.m2v) from Premiere and Build the final DVD from that .m2v into Encore.
I have to say that I am not very happy with the final result when I convert into PAL Widescreen.
I can see little artefacts, flikers and jaggies...
- Do you think that this "double" DVD MPG export could lower the quality?
- Could it be the FullHD screen (1080x1920) on which I display the final result (PAL 720x572) that interprates the video?
Thank you for your lights !
Appia

Editing in HDV or transcoding to Prores

I've been doing some research on editing HDV and have found that FCP can transcode HDV to ProRes as it imports. I understand that there's no log and capture doing it this way and it takes more time on import, but will the benefits of editing in ProRes outweigh these limitations?
Really what I'm asking is do you edit in HDV or Transcode to ProRes first, and what are the ups and downs of each?

If you need to go back to HDV tape, stay in HDV (although you can output your ProRes sequence to Compressor, convert to HDV, and bring it back, if you need to). If your finishing process doesn't need HDV, and it'll take the ProRes, capture to ProRes.
In my experience, editing HDV requires a lot more rendering for timeline changes. ProRes is much nicer as an editing codec.
Matt

HDV Pal to NTSC

Hi.
I have a PAL video, and my client wants to have a NTSC DVD.
I made a search in PAL to NTSC conversion, and I saw http://www.macworld.com/article/49306/2006/02/marchcreate.html
I made the slow-Pal method, but after I made the conform in step 2 it says "drag the file into compressor`s Batch window." I don`t know how can I do this. I never used before the Cinema Tools.
Another question. Do I need to convert my HDV footage with quicktime to DV Pal?
Thanks in advance.
Best regards.
Luis.

Luis, just conform your movie file as described in Linecker's article and close Cinema Tools (actually you have already completed this step). Note that your original file will now have slower frame rate. Find the movie file in the finder and drag it to Compressor (Compressor can be in the Dock or in the Applications folder in the Finder). Alternatively, you can first open Compressor and drag the file from the Finder into Compressor's Batch window, exactly like it's described in the magazine.
I do not think you have to convert HDV to DV PAL but you can experiment and have it both ways, then decide which you like better.

Best settings for film based 25fps PAL to Progressive 23.98fps NTSC?

I'm trying to get the best possible results for transcoding film-based 25fps PAL to 23.98 progressive NTSC. However, I'd also like to add back in the 4% slowdown to make the NTSC file look as close to an NTSC derived film transfer as possible.
I've tried various settings, but when I attempt the slow down the audio goes out of synch. Can anybody help? Are there any reference guides for such things?

Well it must be 24 over 29.97 then because it is working with it. I have been able to create timelines and export quicktime movies, etc. The item properties (in FCE Browser) of the clips definitely say 23.98fps-- as I would expect because I know I had the camera set to 24p. However, the frame rate of the sequences i've been editing on say 29.97. This is without me having made any conscious effort to manipulate any settings for the sequences at the outset-- I didn't even know the sequences had settings for this when i started. I just began dragging and dropping footage out of the browser and it must have automatically set the sequence to 29.97. Who knows what I had the Easy Set up set to when i brought the footage over from my camera two years ago. I knew even less then. Are the settings on Easy Set up critical when bringing the footage onto your computer from your camera? What processes are the Easy set up settings governing?
Even with all of that said, you would recommend burning the DVD as an NTSC? An NTSC in a new PAL DVD player will look better than an NTSC burned as a PAL? I suppose I could send them both versions and see which one looks better.
Thanks for you help Tom.
P.S.
On the true 24p issue, I did find this:
There are many posts out there about the Canon XH A1 not having "true 24p".
I think much of that misinformation out there maybe stemmed from (correct me if I'm wrong):
Canon Frame Mode on the standard DV cams was a "simulation: of the 24 frame look.
The Canon HDV 24p actually records each single frame progressively, but using an interlaced method.

Question? Best Workflow HD/HDV and Reframing/Scaling to Export to both HD and SD when working in an HD Timeline?

Just wondering, what is the best method for working with HD Footage both HDV 1440x1080 and HD 1920x1080
Not long been using Adobe Premiere Pro CC, just switched over from Grass Valley EDIUS 6.08 and atempting my first Stage Show Multi Camera.
Source is 5 HDV PAL and 1x1920x180 60fps MP4 file from a Sanyo Handy Cam.
Final delivery is going to be DVD.
Have done a few smaller projects prior to and normally have edited in HDV 1440x1080 50i PAL and exported to whatever format I need.
Slightly different this time, I need to I need to crop/reframe some video from a couple of the Static locked off cameras. I know what to do but at moment though, I'm very much undecided which method to use for best results.
Doing some testing I notice that if I import the footage and edit in my usual HD Timeline as said above, then I go into Motion and Scale and reframe to suit, then the picture still
looks better still Full Screen on my 2nd Monitor in the HD Timeline than if I switch the Sequence Settings to SD DV PAL.
I am wondering how the scaler works when exporting. Say I go with the original HD Sequence, scale the Locked off Shots as I want them, then export to SD DV PAL then does the Adobe Media Encoder take into account that I am working in a HD Sequence (HDV 1440x1080 50i PAL) and then Scale to suit or does upscaling go in an HD Timeline then Exporting to SD make things worse, I am asking this as I still like to have the option to output an HD file for the Web and possible Bluray or Mobile Device later on.
I also still prefer working in an HD Timeline as for the other Camera Angles, then it is easier to judge focus since the image is sharper, as apposed to working in an SD Sequence.
I guess the other option I suppose is to edit in HD and then switch the Sequence Settings later on to SD before Export, but not sure that would work with the scaling? Or is that the same as working in an HD Timeline anyway and then selecting an SD Preset in the Adobe Media Encoder anyway?
I guess what I am saying is, if I say for example, Scale a HDV source to 130% or then export to SD in the AME then, is the AME upscalling the original HDV Source to 130% Loosing Quality firstly (making less pixels that to begin with), then downscaling back again to 100% SD Resolution, loosing quality once more, or does it see that the source is HD and has more pixels to use and take that into account? If you get what I am saying. Obviously if I am exporting to any HD Format then, I understand that where will be some quality lose with any amount of HD scale.
I also read that it is less CPU resource full working in the native resolution of the media when editing, especially on an older system.
The other option is to work in an 720 Preset possiblely?
At the moment I don't have a proper Preview device and am making do with the 2nd Display on my Graphics Card GTX 760.
I was looking at getting a Blackmagic Device for preview, or possible one of the Matrox.
It is a shame really, since I already have the Canopus HD Storm in the PC, which I was using with EDIUS for a lovely full screen preview to a 32" TV, since looked great, so since switthcing to Premiere, I can't use it and am having to make do with the GTX 760. Which isn't as good.
Maybe there is some setting I can alter to get a better Playback Image?
Anyway, I notice that the Full Screen Image from the GTX 760 is not as clear as it should be when editing, especially whilst playing back the image is slightly soft and more so when in the Multicam Mode it is even softer.
I am not sure if this is because my computer is not quiet fast enough? Maybe I should post this in a seperate thread in the Hardware forum, but I thought it was worth mentioned in this post aswell.
SYSTEM SPECS
Gigabyte EP45-UD3LR (Socket 775) Motherboard
8GB DDR PC-800 RAM (4x2 Sticks)
Intel Core2 Quad CPU Q9650 @ 3.00GHz
60GB OCZ SSD (FM-25S2S-60GBP2 ATA Device)
2 TB 7200 Sata 300 Hard Drive - For Video (Hitachi HDS722020ALA330 ATA Device)
Windows 7 SP1 x64
So in short At the moment I am undecided which method is best to use

Your Creative camera is not the best one could wish for. Open a 1280 x 720 sequence, import some Creative footage, use motion scale to fit it in and judge the quality for yourself. My guess is you will be disappointed in the quality. Then when outputting to DVD you will reduce the resolution and quality again, making it even worse.
So, my suggestion is, don't follow that route.
Ultimately you will end up with 720 x 576 material for your DVD. You already need to upscale your Creative footage, and change the PAR and take serious quality hits, do not increase your problems by upscaling and then downscaling again.

Wierd HDV to SD DVD anamorphic problem

I've read many articles on this workflow, but I haven't seen anyone with my particular problem yet.
I have an HDV 108060i FCP project. Footage captured from a Canon HV30 and some graphics done in Motion. The editing process went great. I output my final HD project back to my camera. Looks fantastic.
Now I want to make a SD DVD.
I export a non self contained ref movie from the FCP timeline. When I look at this movie, it's 1920x1080. Not anamorphic... not 1440x1080. When I view this movie, a circle is a circle. When I get movie info, it says it's a 1440x1080, but in movie properties, the size says 1920x1080.
But I continue. I drop this file into Compressor, and use the default DVD MPEG best quality settings. Compressor makes a 16x9 file thats 720x404. What I believe I want and need is a 720x480 movie that's squeezed. Otherwise I'm losing resolution.
Funny thing is, when I export a still frame TGA from the same timeline, it's squeezed! 1440 x 1080.
Then I go back to an older SD project, where I've produced DVDs successfully in the past. When I export from a DV anamorphic project, all is right. The exported movie is squeezed, the MPEG 2 from Compressor is squeezed and it plays great on both widescreen and 4:3 TVs after authoring in DVDSP.
Can anyone help? Gotta make a SD DVD by day's end tomorrow!
Thanks
Brian

If you're opening an anamorphic NTSC-sized .m2v file in QuickTime Player, it will be displayed as 720x404 because the QT MPEG-2 Playback Component uses square pixels for display. When imported into DVDSP, the file should be read as 720x480.
As for exported stills being 1440x1080, that is also normal behavior. FCP uses the frame size, in your case 1440x1080, and not the display size (1920x1080).
But you mention that some of this behavior is different than what you've seen with past DV Anamorphic material. How so? What did those .m2v files get displayed as in QT Player?

Need help!! HDV question

Hey guys..
I shot a project in HDV 108060i 16:9 project
brought the footage into FCPro natively..
when its time to export my project can i give them a downconverted dv 4:3 copy with sides cropped?? and a hdv 16:9 copy?
the only reason i want to do that is to make myself look better as i am a youngster trying to impress many people as i can.

you should ask them what they want but you should test both procedures beforehand so you're not scrambling to figure it out before a deadline, as many folks come shouting here do and here's an example post - severe sarcasm to follow - "OMG, I NEED HELP ASAP AS I'M ON A DEADLINE AND I HAVE TO EXPORT THESE FILES AND I CAN'T EVEN TURN MY COMPUTER ON AND MY CLIENTS WILL BE HERE TOOT-SWEET SO HELP ME NOW!!!! I JUST KNOW NO ONE ELSE HAS EVER FACED THIS PROBLEM BEFORE!"
if you want to impress someone, don't ever assume anything or leave anything to chance. above all, always be on time or early and never assume your clients don't care or don't know.

Non-Controllable HDV Ingest?

Hello all,
I'm working in my first ProRes project, but because I'm coming from HDV, I'm only going to ProRes LT, not ProRes 422 HQ or even just normal 422. Because of this, I can't do the simple HDV->ProRes option that automatically transcodes HDV to ProRes 422. Instead, I have a Sony 1080i HDV project setup, and I plan on importing into HDV, then using Compressor overnight to transcode to LT. Problem is my last tape has a glitch about 90 seconds into it, and I want every frame I possibly can, but FCP keeps making a new clip on the timecode break. I've told it not to via "Create new clip on Start/Stop detect". Now under User Preferences->General, "On Timecode Break" there's no option to do nothing, save for Warn After Capture, so I have that option selected and Abort capture on dropped frames turned off. It still either stops the import or makes a new clip.
Now I'm trying as a non-controllable device, but can't seem to get HDV to import as non-controllable. I've searched here, and googled, and the best result I got was this blog: http://fcproducer.com/2008/09/capture-now-with-hdv/ with the same problem as me. We both get a message that says "To capture HDV source material, both the Capture and Device Control presets must be configured for HDV; otherwise, to capture in another format, both must not be configured for HDV." I want to import as HDV, but I don't care about timecode as 1. I figure transcoding to ProRes will throw away my original TC anyways and 2. I won't be going back to HDV tape or recapturing anything.
What is the easiest way to get HDV to capture straight through timecode breaks and tape glitches into one single 63 minute file?
I've had a rough day already and FCP is not my friend today, so I sincerely appreciate the help,
-Brian

Brian,
I have occasionally run into the same thing capturing as HDV and it is so very frustrating. Often times the timecode break seems to happen in different spots. And no, I can't capture over it and ignore the timecode either.
Is there a spot after the break where you can start from with good continuous capture? Start with that, if for no other reason that to get a better outlook on the project. Then get as close as you can with that spot and hope you can use a cutaway.
Do you know anyone that can capture directly as ProRes that you can beg them to do that section for you? I have an AJA IoHD I use to capture most of my HDV as ProRes. Usually works good even on those pesky tapes that capturing as HDV says has those timecode breaks. Go figure. Finicky HDV.
Just for grins try a different FW cable. That helped once.
Sorry I'm not more help. Been there, no fun. Good luck.
Sharon
Message was edited by: SSteele

Apple HDV "uncommon codec"?

I edit footage mostly from a Sony Z7 camera, shot in HD 25p onto Compact Flash cards. The FCP (sony) plugin imports this footage via "log and transfer" and turns it into AppleHDV and I use that codec for my timeline. My finished edits are exported as self-contained AppleHDV, ready to be transformed into whatever format is required.
I've been told the Apple HDV codec is an unusual codec (by Sorenson as it happens). I will go to Prores if I'm using other formats or doing color correction of any significance. In fact I prefer Prores in most ways but I cannot transcode to Prores via "log and transfer" so I tend to stick with Apple HDV as a matter of course.
Am I unusual in working this way?
Anyone else working with this codec - surely I'm not alone?
(for the record, it turns out in Sorenson Squeeze 7 there is a bug that makes horrid results when transcoding HDV to anything H.264 - I think thats worth taking note of!)
I'm just wondering if I'm weird

This is true, but it takes a heck of a lot longer to transcode all your footage to prores than to edit straight into HDV. I'm using a pretty speedy mac and I can't say the timeline renders have been any trouble.
I would consider ProRes if I could transcode during "log and transfer" but it seems there is no way to do this without transfering all clips to HDV first.
I could also just work with a ProRes timeline - but then I'm not sure how this would work much differently to exporting my master movie as ProRes from an HDV timeline (apart from every clip would be screaming for a render all the time during the edit.).
My thinking seems to tally with Ken Stone - that if your outputting to web/dvd formats and not doing much color correction or graphics you might as well as stay in HDV.
The problem with this idea is highlighted when you discover that the pricey compression software you bought to take care of all your compression needs wont transcode HDV to h.264 without making a right old mess of the picture - due to a bug involving this "unusual HDV codec".

De-interlace before keying HDV footage?

I've got some HDV 1440x1080 greenscreen footage, PAL, Interlaced footage and i'm wondering if i should convert to a progressive scan/non compressed format (such as Animation, or maybe ProRes) before i start keying? Any ideas on good practice to enable me to get a better key from HDV footage?

My experience with keying HDV footage in PAL is that it is best to de-interlace beforehand.
Disclaimer: haven't done it in the new Motion yet, but I do it a lot in Shake, and the results are poor if I don't de-interlace first. The dreadful jagged edges and other artifacts rear their ugly heads.
Hope this helps a bit
Cheers
Arthur

Quickest way to get HDV down to SD in FCP7

I have hdv sequences that i want to put in a SD sequences, render then export -
from HDV 1080i 25fps PAL >> DV PAL 48Khz
Is this the fastest method? Its one hour of video and its saying 'about 6days' to render!
When i export the hdv footage, it goes out of sync. this despite selecting everything in 'render selection' and 'render all' - it says 'conforming hdv video' i hit export, but it still goes out of sync (by 5seconds eventually) So have given up on hdv and want it back to sd pal

Haven't hit "out of memory" myself, but Google seems to indicate it's a problem with a large project file. You could try copy/pasting the sequence into a new project, or even better, using Media Manager to bring just the parts you need, with their master clips, into that new project.

Transcode HDV 108060i = SD PAL

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