[Job Ter burg]

Well, if that one BNC is the Y-output of a component signal, fed into the Composite input of the monitor, then it would certainly be black & white. If the BNC is the Composite output of the Avid and it is attached to the Y-connector of the monitor’s Component input, it would also show B&W.

So you need to know if the right BNC of the ABVB’s snake cable is attached to the right input on the monitor. Assumption won’t help you track the issue down… 😉

[Job Ter burg]

Define video signal, please. Composite, Component, S-Video, SDI…?

[Job Ter burg]

Yes this would work. Rerender in Resolve, bring the media into Avid, it should relink.

If you originally imported the sound from WAV files and you still have those, you may simply select the audio clips in their bins and choose Batch Import. You may need to point the Avid to where the first file lives, and it would detect all others in that folder.

For this reason I always keep copies of all media on bare SATA drives, even after the project is finished. Much cheaper to spend 100 bucks on a 2TB drive than to spend several days rerendering / importing.

[Job Ter burg]

What outputs are you using from the ABVB to feed the monitor? Is the video output tool set correctly for that connection?

[Job Ter burg]

You should certainly be able to change tapenames or timecodes when in 23.976p NTSC.

The MTC is TC30 because there is no such thing as an NTSC tape with something other than a TC30. Meaning that any film-to-NTSC-video process would mean source tapes have TC30, and if you were to play out a sequence to an NTSC deck (which was always assumed at the time), that deck would have a TC30 as MTC.

As said, Avid lets you calculate, track and display a TC24 anyway. It’s just that base TC in NTSC is always 30.

In 23.976/1080p projects, the TC base is TC24.

[Job Ter burg]

Oh and Default Audio pannings is in Audio Settings. Set it and drag it to your Site Settings. Every new project will then launch with the settings specified in the Site Settings.

[Job Ter burg]

All settings can be dragged to Special->Site Settings. So simply make DNxHD220x your codec of choice in Media Creation, then drag the Media Creation setting to the Site Settings.

I’m pretty sure that the import setting for color space chooses the format that was chosen last time.

[Job Ter burg]

From what I heard, using ProRes in MC does strain the system more than using DNxHD. So my recommendation would be to transcode to and cut in DNxHD36 or so, then relink to your APR imports when locked.

[Job Ter burg]

Unfortunately, it doesn’t work like that in Avid. You can’t have folders inside bins, but you can have multiple folders in a Project, and each folder can contain bins and/or subfolders. You will have to manually create those, though, and you can only bring stuff into a single bin at a time.

[Job Ter burg]

Or on stead of two computers, create two startup partitions on your HD, one that you can update as often as you want, the other for running MC on a supported version of the OS.