[Andrew Mckee]

Apart from the time it takes I have had no qualms with AutoSync. I much prefer it to the FCP group clip because it creates sublcips which only last the duration that the audio and video is present but which can easily be trimmed past those boundaries in a sequence. Its also easy to match frame back to your audio or video master clips and timecode is always taken from the orginal source (unlike FCP& which I believe applies the video timecode to both Audio and Video in the group clip).

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net

[Andrew Mckee]

Try linking to the files again in a new bin whilst the old bins are open.

Andy

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net

[Andrew Mckee]

https://community.avid.com/forums/t/104893.aspx

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net

[Andrew Mckee]

I thought this was the case but then they fixed it so AMA and importing were cross compatible. Maybe I just dreamed it?

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net

[Andrew Mckee]

Try bringing in all the movs through AMA into a single bin, selecting them all, then right clicking on your sequence in its bin and selecting relink then “relink to selected in open bins”. I think that both AMA and importng put the name of the mov in the “source file” column and this (together with timecode) should be enough to relink. Although I have never done this (only done importing then batch import at higher res or AMA->transcode->back to AMA).

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net

[Andrew Mckee]

Or just a traditional Avid import could work on an orphaned MTS.

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net

[Andrew Mckee]

Avid does not play nice with the proxies from the camera. What I would try is bringing in all the r3d files that are used in the project using AMA into a single bin, then select them all, go to your sequence bin and right click on your sequence and click relink then relink to selected in open bins and ok. This may only work if Automatic duck tags the name of the R3D as the source file name rather than the tape name when creating the AAF.

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net

[Andrew Mckee]

First make sure you bring over the entire BPAV folder from the SxS with all the folder architecture intact. Place each BPAV folder in folders called Card 01, Card 02 etc, however you would usually organise stuff. Then in Avid go to File->Link to AMA Volume and point to the Card 01 Folder or Card 02 Folder and Avid will look inside the BPAV folder and mount all the clips shot on that card. You can then edit with them natively, although some people still prefer to consolidate or transcode them into Avid MXF files, as this will give better performance.

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net

[Andrew Mckee]

Create a new project and just drag the bins over into it? Projects do very little in Avid. Its worth a try anyway. Did you create new user settings?

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net

[Andrew Mckee]

OK, first thing, RGB and YCbCr are two common colourspaces. A colourspace is simply a method of storing the colour of each pixel in an image as a series of numbers. RGB colourspace defines a pixels colour by assigning a number to how much red, green and blue there is in it. It is probably the simplest and easiest to understand colourspace because mixing primary colours to make other colours is a common idea in everyday life. YCbCr was invented to allow black and white televisions to recieve a colour signal and still work. Again it has 3 channels. The first (Y/luminance) describes the brightness of the pixels and therefore makes a black and white image. The colour difference channels (chrominance blue and chrominance red) allow you to add/subtract blue and red to/from the pixel to give it colour.

A second benefit of YCbCr is that you can reduce the resolution of the colour difference channels and the human eye doesnt really notice. This is called chroma subsampling and it is a very common way of reducing the amount of data in a videa stream. Where the resolution of the colour difference channels are reduced to half that of the luminance channel we denote 4:2:2 to show that the first channel has twice as much data as the other two. RGB can’t really be treated this way which is why it usually has to be full 4:4:4. The reason we have different cables (HDSDI, dual link, 3G) is that you can only fit a 1080p 422 signal down a single 1.5G BNC cable. In order to get 444 YCbCr or RGB out of a camera you have to use two cables or the fairly new 3G cable which fits twice as much data as a traditional 1.5G cable.

Hope this helps.

Andrew McKee
Editor/Colourist
Avid Certified Instructor – MC5.5
Apple Certified Trainer – FCP7
Pixelwizard.net