[Job Ter burg]

Sequences and bins and media can be exchanged but there are two caveats.

1. Color correction

Color correction got changed with v3.5. This means that when you open an existing pre-3.5-sequence in 3.5 or later, it will prompt you that it is going to copy and promote the sequence to the new effect type. You will not be able to work with that sequence in 3.1, unless you first perform a “Demote” command on the 3.5/4.0 system.

2. Codec

With v4, there was a slight alteration made to part of the Avid codec. To be 100% compatible, you would need to install the newer version of the codec on your 3.1 system.

Here’s more detailed info:
https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=290337&Hilite=

[Job Ter burg]

Are you using double system sound (meaning: recording and importing sound separately, then syncing in the editing application)? If so: do yourself a favor and forget about it, or be prepared to manually conform the scenes, shot by shot, clip by clip, soundclip by soundclip, effect by effect.

[Job Ter burg]

If you are bringing in the media by capturing an SDI source into Mojo, Mojo SDI, Mojo DX, Nitris or Nitris DX, you can simply select that resolution.

If you are bringing in that footage over FireWire, you are actually capturing the DV-stream, so you cannot choose anything but that same type of resolution.

You can mix DV25 with 3:1 MXF if you want. But if you feel you need to have those clips in a different resolution, select all captured clips, and choose Transcode. Then transcode the files into 3:1 MXF.

[Job Ter burg]

If you sync them up in a Timeline, then you may use Autosync to create a sync clip, so you won’t have to manually drag sequences into the source monitor.

Or, in a 35mm project, use Perf Slip on any synced clip to slip sync by 1/4 frame increments.

[Job Ter burg]

You would have to restamp the TC rate for the BWAVs. Have no experience with that, but you may want to check out https://www.24p.com.

You can most certainly playout a 30i from a 24p NTSC project. I can think of no reason whatsoever to edit in 30i. The advantage of editing in 24p is that you will have consistent pulldown in your 30i master.

[Job Ter burg]

You will need to work in a NTSC 24p project. In such a project the Avid will expect you to bring in 30i footage (basically, 24fps film slowed down to 23.976fps and dispersed over 30 fields per second using 3:2 pulldown), it will remove the pulldown (restoring the original frames from the fields), and correct the speed to 24.00fps. Sound will remain as it was shot, and therefore will measure up to the picture played back at 24.00fps.
During digital cut, you can playout as either 24fps or 23.976fps.

[Job Ter burg]

Linear PCM. All the others will be compressed. No need for compression.
Bear in mind that you will then be mixing down your sound. If you need to export separate tracks, you need to either send OMF or do track-by-track exports.

[Job Ter burg]

Easiest would be to install the Avid codec on the FCP side, and export in Avid codec as NTSC SD 1:1x MXF. That will fast import in MC.
You can download the codec for free: https://www.avid.com/codec.

[Job Ter burg]

[i]I could have run Windows via bootcamp for Metafuze but was concerned that all the cores of the CPU wouldn’t be utilized.[/i]
Works fine for me. And MetaFuze is faster than RedRushers to begin with.

I’ve never used the Red’s audio, so I can’t comment on that.

[Job Ter burg]

MC4 allows you to use NTSC footage in PAL projects, instantly. You need to capture your PAL footage in a PAL project, and your NTSC footage in an NTSC project. Metadata is tracked as usual. If you open a bin with NTSC footage in a PAL project, you can instantly use it like you would any other footage, with sync sound travelling along. What happens is that a source-based TimeWarp effect is automatically applied. It runs in the source monitor, you can splice it into the record monitor, and you will see a small green dot in the timeline for the NTSC clips in a PAL project. The source timewarp effect defaults to the right playback speed, with Blended Interpolated as the default setting. You can promote the effect and alter any and all parameters like you would be able in any other type of project.

As to pulldown, it’s not really pulldown (that would be sequential), it is a blended interpolated motion effect. If you were to import frame by frame, then add a blended interpolated timewarp effect, you would get the same result.

If you have been working in a PAL project with NTSC footage, then decide you need an NTSC playout, you can open your sequence in an NTSC project, and as soon as you double click the sequence it will be copied to an NTSC version, and instantly all NTSC footage will play back in its original format, and all PAL is being timewarped to 30i.