[Dave Schweitzer]

I’d do what Grinner suggests, sort by res and change the clip color for only the low res clips in the bin. It will become very obvious which clips in your sequence are low res. You can also set your timeline to display the resolution on the clips themselves. I find it very useful to display the trt, and Avid gives the option to display lots of info on the clip in the timeline.

[Dave Schweitzer]

Well for starters, do you have the latest codecs installed on both machines?
I’ve seen issues between systems with different versions of the avid codec.
And of course, are you building at D1 sized (486 high)? Use to be one couldn’t make a movie out of AE using avid codec if the frame size was not 720×486 but nowadays it will do it.

[Dave Schweitzer]

Computer freaking out? Maybe it knows it’s getting replaced. Hopefully Steven can help you get that new Mac, then.

[Dave Schweitzer]

Of course you can. If you have any time to do a test out to your production monitor, try a resize (make sure to press the HQ button for optimal scaling) and then try a reformat. Then play them out to your monitor one after the other to see what looks best to you. Whichever effect you choose can then be dragged to a bin and applied en masse to all the other 4:3s in your sequence.

[Dave Schweitzer]

I spend a lot of time doing DV25 in both Avid and FCP doing this and hands down the scaling in Avid using Reformat effects is of a higher quality than what I get in Final Cut Studio.

[Dave Schweitzer]

Here is a plug-in for AfterEffects that takes progressive images and will upconvert them to HD. You have to convert the interlaced DV to progressive first. I’ve read it works very well compared to doing the upconvert in FCP or by AE scaling and only costs $100.

https://www.redgiantsoftware.com/instanthd.html

[Dave Schweitzer]

Do you have an Apple Mighty Mouse with the little scroll ball? You could scroll it to the right as you play.

[Dave Schweitzer]

Have you tried installing the latest Avid codecs? (then relaunching FCS)

https://avidtechnology.custhelp.com/cgi-bin/avidtechnology.cfg/php/enduser/fattach_get.php?p_sid=vrZfmaXi&p_li=&p_accessibility=0&p_redirect=&p_file_id=2249&p_tbl=9&p_id=75079&p_created=1201627416&p_olh=0

[Dave Schweitzer]

Since the Adrenaline BOB can simply be unplugged from the FW port, that’s an easy disconnect if there’s a conflict. However, when using Avid, the Adrenaline BOB takes full control of the FW bus so that no other device (or drive) can be hooked up to the FW bus at the same time. Otherwise, there should be no problem with FCP and Avid software on the same drive.
I’ve actually read reports recently of the Blackmagic card magically outputting Avid’s video signal, but I expect they’ll kill that happy accident if they haven’t already.

[Dave Schweitzer]

Ken,
how does it look on your television monitor?
QT files – esp DV25 – look jaggedy and bad on the comp monitor, but somehow when played out to an interlaced television monitor most eyes don’t notice the missing information.