[Job Ter burg]

Check out https://community.avid.com/forums/p/73785/416254.aspx.

[Job Ter burg]

Sounds like a smart plan.
What you should then do is take your bin(s) with the logged subclips, make all necessary headers visible in that bin, export as ALE.

Then capture the entire tapes, using the EXACT same tape ID as you did before. In principle, it is to be expected that the subclips are now already linked to that new capture.

If not, then select the captured master clips, and choose File->Import, then under ShotLog, select “Merge clips with known sources and automatically create subclips”, then select the ALE you made earlier. You will end up with subclips linked to the newly captured master clips. This is how log files from telecine are being linked to captured reels of film dailies as well.

[Job Ter burg]

Usually Avid needs quite some time to test and approve new OS configurations. You could try running it, but it will need to be a hobby project until the day that Avid officially qualifies that OS (and certain types of machines to run it on).

[Job Ter burg]

Make sure that you are in a 1080i project. Make sure the camera is not set to downconvert to DV output. Then MC should be able to “see” the cam as HDV over FireWire.

[Job Ter burg]

Which does not help if your next job requires you to do a 4-channel playout, ch1=dialogue stem ch2=voice over stem ch3= music L ch4=music R, for instance.

Again, that’s why in the other thread I was stating that it all depends on what you think is “normal” or what your default modus operandi is.

Mine is Direct Out to a Yamaha 01V mixer. From there I can pan/route/EQ/bus/Compress several elements in a more flexible way. As said YMMV.

[Job Ter burg]

Multiple ways to Rome.

Simplest solution: in the Audio Project Settings, under Output, toggle the “Stereo” button until it becomes “Mono”. Done.

From your 2-track output you will now get two identical tracks, without any stereo imaging. So ch1=full mono mix & ch2=full mono mix.

If you hook your audio outputs to a deck, this mono signal will be sent to the deck.

You could also remain in Stereo Out, but then you would need to center pan on all clips in the timeline. Select the tracks you need to “mono-ize”, open the audio mixer, gang all tracks (the green tape icon), set the pan to center on one track (will be applied to all ganged tracks), then from the hamburger menu choose “set pan globally”.

One caveat: many, but not all stereo tracks are fully mono compatible. The stereo mix would have to have been checked with a correlation meter, in order to determine possible phase cancellation issues when remixed to mono.

[Job Ter burg]

Not sure what you mean by “normal”. The DigiBeta has a menu option that can be set to accept either 4 different input channels (analog or digital), or it can be set so that the 1/2 input is “copied” to channels 3 and 4.

So, not sure which one of these you “normally” use.

When they ask for mono, there are multiple ways to deliver that, so they would need to be very specific. For instance, you could deliver a mono track by delivering 2 identical tracks in a 1/2 pair.

ch1: mono mix
ch2: mono mix

Or you could deliver a mono track by putting one mono signal onto one channel of the tape.

ch1: mono mix
ch2: mute

[Job Ter burg]

The go with what Grinner said.

[Job Ter burg]

Well, it’s pretty common to handle the naming as you did, where the renamed Sync Clip becomes the region name in the DAW.

If they absolutely positively need the names of the filenames as designated on set, you might achieve that by grabbing all your original audio imports into a new bin, add an audio-only copy of your final sequence, select the sequence and the original audio imports and choose to Relink-To-Selected.

Lots of sound recorders will give certain filenames on set that are not reflected on the clipname in the Avid, since that is usually derived from the metadata in the audio file (that’s the beauty of having metadata rather than just filenams). If they need to destroy this feature, you could try to locate the actual filename (somewhere in one of the bin columns) and copy those entries into the Clip Name column.

All of this will ruin the original (more common and logical) project organization, so I would strongly recommend doing this on a copy of your project, leaving the original project intact.

The true cause of the matter is that ProTools will not read many (if any) metadata that is contained in the Avid and the AAF. Ideally, source filenames, shooting dates, notes, etc should all travel into PT, but this somehow has never been made possible.

[Job Ter burg]

Download the Avid codec at https://www.avid.com/dnxhd. Then encode into a QT movie in Avid codec. If they are coming from DVCPRO-HD, you may choose anything from DNxHD120 on up. This should give them a fast import (basically a copy from QT wrapper into MXF media) into the Avid.