[Job Ter burg]

Here’s the Avid storage calculator widget:
https://www.avid.com/dnxhd/widget/storage_calc_widget.html.

You can also check out the section “Estimated Storage Requirements” in the Help files.

From what I’m seeing around me, most folks working on feature films use 14:1p (±75 MB/min) for SD offline editing. Now that drive space is getting cheaper, some choose 3:1p (±300 MB/min). Others prefer to work at DV25p (200 MB/min), which is sort of in the middle.
If you prefer to work in an HD resolution (only useful if you are supplied with HD dailies), there’s DNxHD36 (±250 MB/min) – which is a resolution that looks way better than it ought to, based on specs – or DNxHD115 (±800 MB/min).

Especially if you can offline in HD, the Avid DNxHD36 solution is pretty ideal, since it has a fine quality with low storage requirements. AFAIK, ProRes only has two flavors, both of which require way more storage.

[Job Ter burg]

Weird. Haven’t seen that happen, but must admit that mine are synced clips, so that might explain the different behaviour.

[Job Ter burg]

I’m taking a guess here, but didn’t the “Import P2” option disappear with the advent of AMA?

Here’s a tip from the Avid Forums:
https://community.avid.com/forums/t/70436.aspx‘>
https://community.avid.com/forums/t/70436.aspx

In your settings list, go to AMA at the top. Deselect “Enable AMA” and restart your Media Composer software. After relaunching you should then get the option to import P2 “clips to bin” and “Media.”

[Job Ter burg]

Yes. Select the sublips in a bin and select the clip color.

[Job Ter burg]

There’s the Optical Dissolve effect that is in Digital Film Tools’ Composite Suite.

[Job Ter burg]

As for straight track patching, you will need to go into Audio Project settings -> Output, and select “Direct Out” rather than Mono or Stereo. In mono or stereo out (default), all tracks are panned across output 1&2 (or 3&4). In Direct Out, by default, A1 is patched to output channel 1, A2 to output channel 2, A3 to output channel 3, etc. You can also change that track assignment in the Audio Mixer or in the Audio Project settings.

[Job Ter burg]

thought this meant the clips in my timeline would be entirely exported (as in not just the length they are at in the timeline, but total handle length, so to speak), but apparently thats not the case. our sound guy was not able to extend the clips when he imported it into protools.
Yes, you were right in expecting what you were expecting, but this feature has been broken for quite some time. See: https://community.avid.com/forums/t/65765.aspx and https://community.avid.com/forums/t/65760.aspx.

Is there any chance you are able to do an AAF export rather than an OMF export? Personally, I much prefer non-embedded exports, you might try that as well.

[Job Ter burg]

I run my Symphony Classic Nitris & Media Composer systems on Windows Vista Business 64-bit, which is a supported OS to run them on. Of the 8GB in each system, a full 4GB’s are available for the application. This is much more than the 2.7GB that you could get running the Avid editors under XP 32-bit. The switch to Vista 64 really saved the day for me.

[Job Ter burg]

That’s easy for you to say. I’ll have to toss out two sweaters, a bunch of pencils, two mugs, 6 monitor stickers…. 😉

[Job Ter burg]

There’s Avid Media Composer, which is editing software. Then there are several hardware devices that the software can work with as I/O and acceleration devices.

– Mojo SDI (SD only, no HD I/O)
– Mojo DX (SD and HD, limited amount of physical I/O)
– Nitris DX (SD and HD, more physical I/O and hardware codec acceleration)

There used to be Adrenaline, also a hardware box, a predecessor of the Nitris DX. No longer a current product.