[Brent Marginet]

Your pixel aspect should be set to Square Pixels (1.0).

With your current setting AME is taking your 16:9 Video and squeezing it to 4:3 which is for SD and not HD.

\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project are enough.
Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

Give this a try.

Create a new project.
Use the PP Media Browser to navigate to the original project and click on it.
Turn the tab to reveal everything that’s in the original project.
This could take awhile depending on how large you project was.
Now drag everything you need from the original project into the new project and save it.

Don’t say it won’t work until you’ve tried it.
This has saved my ass more than once so at least give it a try.

\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project are enough.
Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

DCP’s are fairly specific and have a maximim bit rate of about 250mbit/s so that’s why it may be smaller. I’ve seen comments in the past that the Wraptor DCP that AME builds can be quite problemmatic.

Just send them a high bitrate BluRay.

\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project are enough.
Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

When I export Videos for YouTube or Vimeo I use the default Single Pass VBR – 10mbit H.264 Preset.
There’s not really much point in trying to increase the quality of your videos because they re-encode them at about 10mbit or less anyway.
There’s also really no point in going any higher than 1080p.
Use 24fps as you have also because then the compression per frame is less than if it we 30fps or higher.

The final quality you see will also be bandwidth limited.
If you have a slow internet connection or computer they limit the bandwidth so it can be played back real time.
People want to see constant playback as opposed to it stopping, buffering, stuttering etc.

So in a nutshell the problem is YouTube and not your Video.

\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project are enough.
Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

Ok once and for all, save some cash and don’t waste you time trying or purchasing any third party software.

Do as was suggested in the previous posts.
First quit Avid then go to the Avid MediaFiles/MXF Folder, you will find on or more numbered folders.

Look for and delete all of the msmFMID.pmr and msmMMOB.mdb files that exist.
Once this is done start up Avid and it will rebuild all of its databases itself.
This can take a bit of time but Avid does it PROPERLY while most third party software does not and it’s FREE.

Avid built this feature into MC at least twenty years ago for a reason.
No one can afford to have media go offline and so that’s why it builds it’s own databases and has a built in automatic database rebuild tool.
I just wish they’d do something about that brutal feature they call AMA Linking and it’s constant loss of linking to media.

\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project are enough.
Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

I had to deal with an editor like that once as well. At the time Avid used the Digidesign 888 as there Audio Output Interface so I was able to give him the 8 analog channels that he wanted into the Mackie Mixer.

Thing is, no matter how much I tried to convince him this was a bad idea he put his foot down and forced me to do it.
Then the shit hit the fan when he realized that he could only adjust the audio manually during real time playback.
The producers were beyond PO’d because during the preview of the movie he was only able to concentrate on this stupid mixing procedure and nothing else. Even worse he was terrible at it. NLE’s have automation in them for a reason, it may take more time to setup initially but in the end saves at least 10 times the initial setup time. Next would be the fact that no automation will be passed on to the audio edit doing it this way.

If the editor still insists on doing this pick up an Alesis AI-3 Optical to Analog Converter on eBay.
There trending at about $100 US which is a lot cheaper than the other hardware options that have been suggested.

\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project are enough.
Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

Is it’s .mov, .mxf etc and what type of a Camera was it shot on.

Is your Big5 setup as Raid 5 and if so have you checked to see if any of the drives have failed.
If so drive performance will be substantially reduced and your volume will no longer have any protection.
A benchmark test may not truly show the degradation in performance because it tests the drive using a constant data rate.
Real world usage often hits the drive in short high rate bursts and thats when the degraded RAID 5 will really start to show performance problems.

By the way your screen shot didn’t come through.

\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project are enough.
Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

A couple more thoughts.

You will have to try and relink the master clips, not the sub clips. If successful the sub clips may relink to the HD Media as well.

While your in either Project try to find the last Sequence that was created without the sub clips. Those likely exist because the Sequence was Consolidated.

\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project are enough.
Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

That’s fantastic, that must be quite a relief.

I do still stand by not doing a restore after a clean OS Install.
I’ve seen this cause far to many problems in the past.
On the plus side, I have been handsomely paid fixing other peoples systems a few times after a restore destroyed there OS.

\”MY MEDIA/PROJECT MOTO: If you think three copies of your media or project are enough.
Take a moment to place a value on them and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

23.98 is the lazy way of saying and typing 23.976, as pointed out earlier 23.98 doesn’t really exist.

With DNx36 available I don’t understand why anyone would use this archaic method of creating an SD – 23.976 Project anymore. I stopped using that at least 10 years ago.

Give this a try, install a trial of Avid or if you can get ahold of someones license temporarily.
This could be tough because the .sub or sub clips could still cause you some grief.

Create a 1080p – 23.976 Project and then copy all the bins from the SD Project into the 1080p Project Folder.
Now open the Timeline in the 1080p Project, it will ask you if you want to convert it to a 1080p Sequence.
Once you have that open try relinking everything in this project and then export another AAF.

I’ve done this in the past and it worked but there were no sub clips to deal with.
It might take a bit of doing but hopefully this works and then you can be on your merry way.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”