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SD, HD720, HD1080. Nothing else. No 2K, no 4K. The Avid DS is the Avid solution for 2K work.

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Keep us posted on how things work out for you.

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If you are in a 24p or 23.976p SD project, and on Symphony, you can do a pretty nice conversion to either PAL or NTSC upon Digital Cut. If the source is 60i, the best ways to do it involve system conversion boxes like from Teranex.
24p.com features an [url=https://www.24p.com/conversion.htm]article[/url] about frame rate conversion in Avid, using FluidMotion. In my experience, that doesn’t work well on edited footage, though. You might consider Blended Interpolated for that.

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You seem to describe a scenario where your videoclips also carry audio. In that case AutoSync does not really work, it will actually be Grouping clips rather than syncing them (therefore forcing you to choose a source from a Group).
Autosync needs unique track numbers, so you can merge a V1 clip with an A1A2 clip, or you can merge a V1A1 clip with an A2A3 clip.

One way would be to subclip V-only for the videoclips, then Autosync them.

If there are many clips, you could do an ALE export of a bin with all videoclips (V1A1A2), then open the ALE in a text editor and replace VA1A2 with just V, in the Avid select that same bin, choose File->Import, and under Shot Log options, choose “merge with known sources and automatically create subclips”. Now you will have a V-only subclip for each clip you captured/imported. Autosync those with the imported BWAVs.

You can also opt to throw everything into a timeline and sync up in there, allowing you to place the camera A1A2 tracks on A3A4 or A5A6 or whatever. Then create subsequences (without any edits!) from that timeline, select those subsequences and hit AutoSync, after which the subsequences will be turned into sync clips.

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You need Unity.
Although EditShare has some form of project sharing as well.

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You’re welcome, glad it works out.
Do check out MC v3.0, it’s really nice and fast. Happy editing!

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If you switch your project to SD, the footage itself is unchanged. Renders/titles/effects will happen in SD, though, so they will need rerendering if you go back to HD. You can go back to HD in the software and rerender. However, if you need to output to HD tape, your Mojo won’t do that, you’ll need Adrenaline HD or Nitris or Mojo DX or Nitris DX. Or you can export a QT, import that into your FCP system with HD-SDI out and play that out. I have very little knowledge of FCP, so can’t comment on the exact procedure. The Avid will allow you to output a 23.976 progressive Quicktime, though.

I believe the Quicktime issue is a rare one. I only had it on one of my machines. Tech support gave me that fix, and it worked instantly. However, if everyone ditched their NLE at the very first issue they encounter, there would be no NLE’s in the world. I’m not saying I like bugs like this, I’m just saying jumping ships is hardly a viable option.

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The WAV’s you have been supplied are likely BWF’s from a field recorder. I believe some manufacturers of those machines stuck to the .bwf extension for a while, but I think all of them by now have moved to using .wav. BWF (Broadcast Wave File) – or BWAV – is nothing more than a WAV file with a metadata chunk in it. If you import them, you will probably see a set of metatdata (like timecode and shooting day) come into your system as well. That’s the metadata from the BWAV.

Other than that, you are looking for the AutoSync function (under the Bin menu). It will allow you to sync picture and sound clips based timecode or in-points. Take notice that if a Shoot Date is present, the Avid will see that as part of the timecode.

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– if your sources are 1080/23.976p, then your project should be that as well

– the optional film settings will determine the way that various Keykode and Edgecodes are calculated and counted. You can activate them, but you don’t have to. If you do, you might choose for 4-perf 35mm.

– I’m pretty sure that if you want to have an SD client monitor fed by your Mojo, then after capture/import, you need to switch the project type to SD 23.976 NTSC.

– If you are in a p-project, you don’t have to worry about pulldown when doing QT exports. You can export 23.976p QT movies. A frame is a frame is a frame. No field order stuff either.

– I originally had the same issue with Quicktime exports on v3.0. Avid support advised me to go into QT settings, and select to not use DirectX but GDI only. That solved the issue for me. Much easier to do QT exports than avi, IMHO.

– You mention a 1080i deliverable. If that is SD, then I think your Mojo will do this if you switch your project to 23.976 NTSC.
However, if you need to go from 23.976p HD to 60i HD, AFAIK you can’t do it straight from an Avid. Maybe on Symphony Nitris, but I’m not sure. You could also playout 23.976p, then use the deck to convert to 1080/60i.
Your Mojo SDI won’t output any HD, so you’ll have to do the HD playout on a different system. Adrenaline-HD, Symphony Nitris, any Nitris DX or Mojo DX system.

HTH.

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The best way I know is to create the subtitles not in Avid but in [url=https://www.belle-nuit.com]Belle Nuit’s Subtitler[/url]. Made by editors for editors. You can create subtitles, import/export various formats, and – although I’ve never done this myself – you should be able to export a subtitle file that Encore will handle to create non-burnt-in subtitled for DVD.