[Job Ter burg]

In my experience it has a lot to do with the combination of available horsepower and the amount of tracks and most of all the amount of subcaps. I have seen slowed down performance as well, and I’ve always rendered whatever I could render to increase overall performance.

One can only hope that the revised video playback engine in v7 gives us more ease to handle stuff like this.

[Job Ter burg]

Win8 has not been qualified for any current version of Avid MC. That would be the first thing to fix. Sorry.

[Job Ter burg]

Rule of thumb: do not use the Avid to convert upon export, but rathe do a Same As Source export from Avid. This simply keeps codec and resolution as they are, just rewrapping your stuff into a QT container.

Then you must find out which luma level range your BD or DVD encoding application is expecting.

See:

https://www.jobterburg.nl/Publications/601_709_RGB.pdf
for an explanation of the import/export settings in Avid MC regarding luma level range (16-235 versus 0-255).

[Job Ter burg]

You should not first import into Avid DNxHD, and then add the LUT in Resolve, there is no need. You can use Resolve from the get go, it will allow you to add a LogC->709 LUT as well as transcoding to DNxHD Avid MXF mediafiles, which you may then use in MC. This will preserve metadata.

Here’s a doc that describes the process for Resolve 8
https://avid.force.com/pkb/articles/en_US/How_To/DaVinci-Resolve-and-dailes

Here’s an Arri document that I find to be less clear, but that helps you find the settings in Resolve 9:
https://www.google.nl/url?sa=t&rct=j&q=&esrc=s&source=web&cd=9&cad=rja&ved=0CIYBEBYwCA&url=http%3A%2F%2Fwww.arri.com%2F%3FeID%3Dregistration%26file_uid%3D9524&ei=qgi8UbbFMsWsPeOGgSg&usg=AFQjCNEAhTYqrh4FBBN16JZEbMeE3S7CMg&sig2=VDC11suKxbrCmnB2mFMmiw&bvm=bv.47883778,d.ZWU

[Job Ter burg]

Oh, and one more thing, Pan & Scan is not really intended to fit foreign aspect ratios into your sequence. It is intended as a top layer effect to change your show’s aspect ratio to another aspect ratio.

If you need to mix 4×3 and 16×9 footage, you should just set the Image Aspect Ratio flag in the bin (it’s in the columns). At the same time, you can determine how Avid should conform this source in the ‘Reformat’ column in the bin (Stretch, Letter/Pillarbox, etc.).

If you do that, all shots should look correct as soon as you open them in source or record monitor. Also, you can add other effects at will.

[Job Ter burg]

The 100/134 numbers are correct. If things don’t look correct, your sources are probably not correct to begin with. The difference between 4×3 SD and 16×9 SD is 0.75 V (letterbox) or 1.34 V (fill to FHA).

[Job Ter burg]

No need to keep the drive letter the same. Media should live in Avid MediaFiles/MXF/[i]n[/i] (where ‘n’ is any number), and this folder should be at the root level of the drive and MC should then find it.

[Job Ter burg]

It certainly can export ProRes Same As Source on v6.5. not sure about v6, but I thought it could.
If it does export as DNxHD, I’m suspecting that some title or render is in DNxHD. Same As Source exports only work if all media for that sequence in one and the same resolution.
For instance, if I have a DNxHD36 sequence with just one title at DNxHD175, the whole thing will end up in 175 when I export Same As Source.

[Job Ter burg]

In sc 1. your audio will not fall out of sync, it will run at 100%. Picture will be altered to maintain realtime duration, but this is likely to introduce frame rate conversion artifacts.

You are probably going to be better off having this framerate conversion done outside MC prior to editing or prior to finishing. Especially 25 to 23.976 is not an easy conversion. You may have better luck slowing the source footage down to 23.976 rather than converting at realtime.

[Job Ter burg]

Clipname is in no way a criterium for linking in Avid. Tape or Source File plus timecode is. Labrolls and such CAN be. Not clipname, though. You can rename as much as you like.