Makes little sense anymore, as perpetual licenses are going to be killed off per 2026 or so. The original posting is from 2022…

Those burnins aren’t coming from MC, as far as I can tell. So likely, this is how the footage was delivered to you. No way to get rid of that, other than asking for a clean re-delivery from the dailies supplier.

Another vote for speeding it up. In fact, I don’t know of any way to properly do 24-25 (or vice-versa) without speed change, that would be good enough to get you through QC. Although it depends a bit on the content; some 2D animated shows may not even be created at a full 24 or 25, so then doing a Both Fields slowdown or speedup wouldn’t show as clearly.

Won’t work at all. See https://avid.secure.force.com/pkb/servlet/fileField?retURL=%2Fpkb%2Farticles%2Fen_US%2Fcompatibility%2Fen267087&entityId=ka16e000000hkyKAAQ&field=Attachment_1__Body__s

Drag them to Site Settings.

There should not be any delay other than the one caused by the client monitor itself. And yes, Desktop Play Delay settings help you adjust for that, plus the MonConDel command in the console (to bring Source/Record monitors in sync with the delayed audio). No amount of gear (neither another computer nor another BoB) is going to help bring down the…

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I worked out the cost of the various ways to get MC. Not accepting any liability or responsibility for anyone’s purchasing decisions. Just sharing a sheet that helped me figure out the differences.

Here’s the sheet: http://www.terburg.com/EVEN/MC2021pricinglongterm.pdf

MC has similar AutoSync features. If shot with common timecode, you can select all picture and sound clips for a given shooting day, and choose Clip->AutoSync.

If not shot with common timecode, you need to either set markers for the clapper board, or you may try and use waveform syncing.

LG OLED

What Pat says.

Also: mostly errors like these are caused by one or more corrupt effects; miscalculated audio crossfades and/or flaky AudioSuite renders. On my latest feature, I had used two different machines, each of which turned out to run a different version of a specific plugin, and this led to issues. Which I managed to track down by using the…

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Some of these boxes come with analog outputs. Others will only have embedded audio via HDSDI or HDMI. For those you can get a separate disembedder. I would recommend an HDSDI one, as the HDMI ones tend to be less sturdy. Something like the Mini Converter SDI to Audio 4K or the ‘regular’ (non-4K) Mini Converter SDI to Audio 4K. 295/195 USD resp.

https://avid.secure.force.com/pkb/articles/en_US/compatibility/en267087/

Your choice, but I’d go with 21.5

USB-C to HDMI adapter into a monitor, then use FullScreen Display Mode. But I always find that a bit clumsy. If you get a Blackmagic UltraStudio Monitor 3G Thunderbolt 3, you can plug that into pretty much any TV. Or an AJA T-Tap Pro – more expensive, though. Or an older T-tap or BMD Mini Monitor, but then you’ll also need an Apple TB3->TB2 a…

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I think this is what the dnxmov2mxf utility was built for.

Are they by any chance set to NDI output? Have you trashed MC State?

If you find out, please do let me know. Hate how that works. Old bins were much cleaner looking.

Bottom line: in recent versions, you’ll have to tick the box that says “Use Broadcast Wave Ccene and Take or Clip Names” in the audio pane of the import settings.

But if we’re talking production sound:

1. AMA-linked (and then transcoded) clips cannot be perf slipped, only slipped via Source Settings.

2. The source files are still Uncompressed PCM in a WAV container, and Media Composer would either let you consolidate (no codec change) or transcode, but if you transcode a WAV, MC pretty much only allows you to…

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Since we’re talking production sound, this would normally be relatively plain WAVE (BWAV) files, there is no codec. It’s uncompressed PCM in a WAV container with metadata (the BWAV part of the equation).

Also, if a source file has metadata that Avid can read, there is no reason the codec itself has an influence. Plus Avid can track metadata at the…

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Slipping Audio in Source Settings is not Perf Slip and I don’t think it translates to Pro Tools etc.

Traditional import should still append metadata, but if the recorder in questions doesn’t write this basic data into the Bext section of the WAV metadata, it will likely not be seen by traditional import. The iXML section of the medata is not seen…

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Again, both Ultimate AND Perpetual support bin sharing. MC Standard Rental/Subscription/CheapestOption does not.

Traditionally, both perpetual and subsription/rentals included bin sharing support. Once they split out Standard and Ultimate susbsciptions, bin sharing support became one of the premium features. But still kept in perpetual licenses, of course.

Because support for shared storage and bin locking was taken out of Standard, and kept in Ultimate and Perpetual. The whole bin locking thing is part of the MC code. Mimiq and others are tapping into that. But you need Ultimate or Perpetual to use that. https://www.avid.com/media-composer/comparison

P.S.: OK, I must have been seriously confused, I recall reading a much higher monthly fee than the $20 you mention, I probably only saw the Unlimited one for $160. And again: your product may very well make a lot of sense for many users. Horses for courses.

Of course it needs Ultimate (or perpetual), as standard MC won’t support the bin sharing part — Avid nor 3rd party.

Hi David, re: pricing: a Nexis Pro 4TB sets me back around 10-13K, which, in five years, boils down to 166-216/mo. That includes all the hardware. A simpler 3rd party setup with a fileserver and a few Mimiq licenses is a lot less. And while monthly rentals make sense in some cases, it doesn’t in others. Not claiming your solution is useless, just…

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The monthly pricing doesn’t make it very attractive, and you need to already have the machines. Indeed, Mimiq is probably more interesting. Also, if you buy a simple Nexis Pro, the monthly cost is probably not higher at all.

I think that Film/Sound TC are only avaible in Film type projects (an option when you create a new project).

It’s all in the manual. The feature is called “Read Audio Timecode”. It’s very simple. Select one or more clips in a bin, choose Clip->Read Audio Timecode, choose a source track (the audio track that has LTC on it), and a destination column (like AuxTC1). After doing that, use AutoSync to sync up the clips based on AuxTC1.

I think it works on Win only. You can toggle MC between hardware IO and NDI Virtual output. To be honest, I’ve tried it very briefly but was unable to get audio out through the NDI. May have been user error, as I have read several posts from people who have used NDI.

What’s wrong with Skype? Sound is what’s wrong. Zoom has an option to ‘Use Original Sound’, stripping all sound ‘enhancement’ features used for teleconferencing. Keeps detail and BG sounds etc. Much, much better. Also, WebPresenter sucks when you use it on PC, as it screws up the luminance levels. Works OK on Mac. But something like Magewell USB…

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What is your source footage? Normally, for typical HD sources, you would likely opt for DNxHD-HQ (or ProRes HQ). Unless the source is >8 bit, then you might choose DNxHD-HQX.

Philip,

This is not quite correct.

MC does allow export to h264, it is under the new MOV and MXF export options. These use the Avid UME, rather than Quicktime.

The old Title Tool is still available in 2020.x, just not on Catalina. On Mojave, install the Legacy Components, and all classic QT import/export and Title Tool will be available.

I agree that…

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Uhm, the idea is these posts stay up so others may benefit.

Oh, and you could use the tiny faders that you can have appear on every clip in the timeline.

And there’s also Mute Clips.

Pretty sure that MC hardly uses the GPU for rendering.

P.S.: many of the codecs on this list are not very relevant in modern workflows, as they are SD codecs, and some are only available in Progressive projects, some only in interlaced projects.
DV25 (420 and 411) and DV50 are Standard Def, as are all the ones named x:1.

m stands for multicam. That (standard def) Avid Meridien codec flavor is optimized for multistream playback.
s stands for single field. Meaning that it stores only one field of each frame. This is a storage space saving flavor of the Avid Meridien codec (also Standard Definition only).

From Jeffrey Lomicka from Avid:
“Yes.
Waveform size is the Option/Ctrl modify key variant of “Enlarge Track”, “Reduce Track”. You can use Menu To Button assignment to put this on a UI button or any keyboard key. Although it can be tricky because the timeline has to be active for the menu item to be selectable. However, you still need to hold d… Read more

I don’t think there is any other way, but to be sure, I’ve asked someone more likely to know this for sure.