[Job Ter burg]

Some of these boxes come with analog outputs. Others will only have embedded audio via HDSDI or HDMI. For those you can get a separate disembedder. I would recommend an HDSDI one, as the HDMI ones tend to be less sturdy. Something like the Mini Converter SDI to Audio 4K or the ‘regular’ (non-4K) Mini Converter SDI to Audio 4K. 295/195 USD resp.

[Job Ter burg]

https://avid.secure.force.com/pkb/articles/en_US/compatibility/en267087/

Your choice, but I’d go with 21.5

[Job Ter burg]

USB-C to HDMI adapter into a monitor, then use FullScreen Display Mode. But I always find that a bit clumsy. If you get a Blackmagic UltraStudio Monitor 3G Thunderbolt 3, you can plug that into pretty much any TV. Or an AJA T-Tap Pro – more expensive, though. Or an older T-tap or BMD Mini Monitor, but then you’ll also need an Apple TB3->TB2 adapter in order to connect them. Also note that if you use such a breakout box, MC will use it for picture AND sound, you can’t send picture to the BOB while sending sound to the internal audio card. Something to keep in mind.

[Job Ter burg]

I think this is what the dnxmov2mxf utility was built for.

[Job Ter burg]

Are they by any chance set to NDI output? Have you trashed MC State?

[Job Ter burg]

If you find out, please do let me know. Hate how that works. Old bins were much cleaner looking.

[Job Ter burg]

Bottom line: in recent versions, you’ll have to tick the box that says “Use Broadcast Wave Ccene and Take or Clip Names” in the audio pane of the import settings.

[Job Ter burg]

But if we’re talking production sound:

1. AMA-linked (and then transcoded) clips cannot be perf slipped, only slipped via Source Settings.

2. The source files are still Uncompressed PCM in a WAV container, and Media Composer would either let you consolidate (no codec change) or transcode, but if you transcode a WAV, MC pretty much only allows you to transcode to WAV or AIF, both of which are also Uncompressed PCM.

[Job Ter burg]

Since we’re talking production sound, this would normally be relatively plain WAVE (BWAV) files, there is no codec. It’s uncompressed PCM in a WAV container with metadata (the BWAV part of the equation).

Also, if a source file has metadata that Avid can read, there is no reason the codec itself has an influence. Plus Avid can track metadata at the bin/clip level, and that would not need to care about the codec the media is in. So I can’t think of any reason or example, to be honest.

[Job Ter burg]

Slipping Audio in Source Settings is not Perf Slip and I don’t think it translates to Pro Tools etc.

Traditional import should still append metadata, but if the recorder in questions doesn’t write this basic data into the Bext section of the WAV metadata, it will likely not be seen by traditional import. The iXML section of the medata is not seen by traditional import, and it is seen by AMA, AFAIK.

But I don’t think there should be a difference between 2018.x and 2020.x in any of this.

You mention being on 2020.10, have you been able to try it on 2020.12?

Oh, one more thing, on 2020.10, under the Audio Import settings, I see a tick box that says “Use Broadcast Wave Scene and Take for Clip Names”. Seems that it a setting you should double check. If that setting does not show, you are likely using older user settings on a newer version of MC. Rebuild your settings (or at the very least create fresh Import settings).