[Job Ter burg]

Make sure the versions of PT and MC are compatible, and always install PT first, MC second. It’s simply not supported the other way around.

[Job Ter burg]

Have you read Steve Cohen’s Avid Agility?

[Job Ter burg]

You are aware that Nitris DX is not supported with Thunderbolt adapaters, right?

[Job Ter burg]

Thanks for the heads-up!

[Job Ter burg]

The built in comp/limiter is not too great. If you need to take care of peaks, you need to get yourself a brickwall limiter. I use and like both the Massey L2007 as well as the Nugen ISL. The latter is way more complete, does True Peak limiting, and does mono, stereo, 5.1, 7.1, and sounds great. The Massey L2007 is very decent, simple to use, but only does mono and stereo.

Bear in mind that RTAS is on its way out, MC 8.1 and up will only support AAX plugins. I think both the Massey and the Nugen plugins have AAX versions as well.

[Job Ter burg]

Shane, actually you can usually perform an AutoSync on subsequences, and they can then become SyncClips – provided there is no more than one V-track, and there are no edits in any of the tracks in the subsequence.

The issue is that this doesn’t work when FrameFlex kicks in.

[Job Ter burg]

Not if that LUT is already baked in, methinks.

[Job Ter burg]

“they baked in a LUT for the footage” – if they baked in the LUT, there’s nothing for you to add or change. Unless they don’t really mean they baked it in. A bit vague, the idea of a LUT is NOT to bake it into the production source files.

“I’d like to do everything within MC. Possible? Probable? Advised?”
Can be done. If they did in fact bake in a LUT and you’re getting Rec709 sources that they want to finish in Rec709, you can just pull everything through MC.

If they did not bake in the LUT, you can still work in MC, add the LUT there, but you will not have the advantage of the Log-C color space that you would in finishing tools.

[Job Ter burg]

I would not opt to work in ProRes on Win, You cannot generate ProRes on Win (thank you, Apple), so your titles and renders would need to be in a different codec, which is not great when you need to do self-containee exports. Also, you would only be able to import as ProRes if they shoot 1920×1080 – if they shot 2K, it needs to be scaled back to 1920, so that wouls require a transcode anyway.

I would say there are two ways to go about this.

1. AMA-link to the files, select the clips in the bin, apply LUT as needed, select Clip-Transcode and transcode the clips to a DNxHD flavor of your liking (DNxHD36 would be great for offlining in HD. Conform can be either done in MC by relinking to the original ProRes files after completing the cut, or via AAF or EDL to a third party conform and grading tool (Resolve, Scratch, BaseLight, NuCoda, etc.).

2. Use a 3rd party tool (many available, Resolve Light does this as well) to apply LUT and transcode to DNxHD Avid MXF media. Conform can be done inside MC by relinking to the original ProRes files (slightly more hassle as you need to relink source file names to tape names), or in a 3rd party conform & grading tool.

[Job Ter burg]

I find it pretty messed up that their package is 64% more expensive for Avid users than for users of Scratch or Resolve. I’m not much of an fx user, and I stick to BCC as it seems to do what I need.