[Job Ter burg]

Actually, there is, but only for DV and HDV sources captured over FireWire.

[Job Ter burg]

I think it also depends on your default panning settings. If you are set to Alternating L/R, ALT-clicking the pan slider seems to set it to L or R. If you are set to All Tracks centered, ALT-clicking sets it back to 0.

At least, that’s what I think I noticed when I messed around with it a bit.

[Job Ter burg]

Pretty sure that 6.5.2 lets you ignore part of the source file name when relinking (“Ignore characters after last occurance”). So as long as you have card/clip number you might already be fine.

[Job Ter burg]

I always keep media for different projects in different folders (or partitions).

But there are tools out there that let you separate multi-project mediafiles folders. I’ve used Random Video’s Media Mover, as well as the free tool named MDV (PC only).

[Job Ter burg]

Switch off WiFi, then try again.

[Job Ter burg]

The script-based editing is unrivaled, as far as I know. The ScriptSync (the actual text recognition feature that is the paid add-on) runs on software licensed from Nexidia. That also goes for PhraseFind. I think there was an FCP plugin (was it Get?) that did something similar to PhraseFind, but I’ve never heard nor seen anything like ScriptSync anywhere.

[Job Ter burg]

Again, 24.000fps footage in a 23.976 project means motion adapters will be applied – usually not what you want. Neither FCP nor Avid slow down or speed up when importing/exporting (although Avid lets you do this using console commands), but rather will interpolate/frameskip.
You should not be mixing 23.976 and 24.000 workflows. A frame should be and remain a single frame, no matter the playback speed (which only matters for sound, in a way).
If you need 29.97 delivery masters from 23.976 sources, you could just open ypur finished 23.976 sequence in a 59.94i project. If you’re starting with 24.000 you could do the same, but it would not result in a proper 3:2 pulldown. If that is required, you first slow down to 23.976, then add pulldown.

[Job Ter burg]

First make sure your sources are actually 24.000fps or 23.976fps. Both happen, and a lot of semi-pro camcorder manufactureres shamelessly label something 24p when it is in fact 23.976p.

If your deliverables will need to be 23.976, you may choose to edit in 23.976p. But IF your sources are 24.000 then this means you would have to slow down your picture from 24.000fps to 23.976fps, and you would need to perform a similar slowdown to your sound. This method is frequently used in the 60Hz world. Picture is then shot at 24.000fps, sound recorded at 48048Hz, picture is slowed down to 23.976 (in telecine or on an HD deck), sound is slowed down by slowing it down to 48000 samples/second.

Or you work in 1080/24.000p, then perform such a slowdown on your final product.

Since there are quite a few ways to go about any of this, it would be relevant to here what your source footage is, how you are bringing it in, if it’s been recorder double system or not.

[Job Ter burg]

To elaborate: MC will allow you to use 23.976 sources in a 24.000 project, but MC will then auto-apply motion adapters to correct for the speed difference (so the 23.976 frames per second will be divided over 24 frames per second, so there will be some frame skipping/interpolation). Generally not the right way to work.

[Job Ter burg]

O, another thing: there’s no harm in activating the film settings on your project. All it does is open up things like KeyKode tracking. I’m always in a film project, even though 80% of what I get is digitally shot now, and is no longer being printed at the end.

There is one difference, and that is that film projects may not allow you to trim subclips beyond their logged length (as this would possibly cause Keykode mismatches), whereas ‘video’ projects are more forgiving in those cases. Never ran into that being a problem, though.