how to give dump in beta if footage is in hd and we have to give unmiX so what should i do the compressor uded in the footage is apple proes 422 (HQ) but i have make new timeline on dv pal then put it on that then it asking for render!!!!! so what should i do????? HLP!!!!!

I'm not exactly sure what you're asking. Are you uprezing SD to HD? Not a good idea to start with. Or are you taking HD to SD? I think ProRes HQ is overkill for what you're doing. Use the regular ProRes 422. Make sure the Timeline settings match the video settings exactly. Turn off background rendering, most of the time FCP X can playback just fine without rendering.

You said "beta". Is that Beta Max tape? That is SD footage, so you don't use it as HD. I'm unclear on this. I know there's a language barrier, but we can work through that.

Betamax? LOL Beta SP Beta SX or DigiBeta probably

OK, so this is probably Beta HDCAM or HDCAM SR, eh? On a U-matic deck. OK, so we're getting this sorted out. Very old stuff, eh?

Transcode the Beta capture as ProRes 422, you don't need ProRes HQ, your originals are not that high of a bit rate to justify the extra overhead for HQ. Stick with plain old generic ProRes 422. I doubt that FCP X will recognize that old U-Matic deck, so something like AJA TV (if you're using an AJA card) or something like that would help do the original capture.

Then you'd just Import File in FCP X, telling it to "Optimize" the media. You'll have ProRes 422 files, the best quality that old Beta will give you.

Create a new Project and set "Video Properties" to "Set based on first clip". That will do it.

Turn off background rendering, you probably don't need it.

Although broadcast production is gradually going tapeless, HDCAM SR is still the standard HD delivery format for 70% of all international broadcasters. You can capture HDCAM (SR) footage with a professional capture card and convert the captured footage to Prores 422 (for HDCAM) or ProRes 422 HQ / ProRes 4444 for HDCAM SR.

HDCAM SR is a very high quality 10 bit full frame HD tape format recorded at 440 Mbps (which is much higher than any ProRes codec) and it allows for 12 discrete full broadcast audio channels. And I think that's what the OP's question is about: how to lay back discrete audio to tape for broadcast delivery.

Once your edit is finished and you wish to export for international broadcast you will need to include different discrete (unmixed) audio channels in your international delivery tape. Most of the times this will involve your stereo mix, separate VO and music tracks and an international ambiance audio track. So you can easily end up with 6 to 12 discrete channels. When you edit in FCPX you cannot output to tape from within the NLE, so you will need to export your program to a QT movie first and then use playback software from your video card (such as AJA's VTR Xchange) to output your QT movie to your HDCAM(SR)deck.

Before exporting your program to a QT movie you will have to assign your discrete audio tracks to Roles in FCPX and export your program using the "Export Roles as Multitrack QuickTime Movie" feature in the Share menu. Then your resulting QT movie will have the high quality HD video as well as multiple discrete audio channels. When using the correct settings you will be able to output this QT movie to HDCAM(SR) tape through your video card and all discrete audio channels will be preserved on the tape. We deliver HDCAM SR tapes for international broadcast on a daily basis and the Roles feature works perfectly for getting the discrete international audio tracks onto the master tape.

Man, I forgot what a bandwidth hog HDCAM was/is. Yep...

Agreed. 90% of our input is already tapeless, but when you work for global television you still need a lot of (very expensive) tapes and hardware to comply with the technical specs for delivery. I cannot wait until the whole industry has made the switch