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HDMI monitors generally only accept 23.976P or 24P over HDMI, not PsF. Since you mention running an SDI cable, then converting to HDMI, check if your SDI output is PsF or P. On my Decklink and on my Nitris DX, I can choose between them. Sending 24P to the SDI->HDMI converter works for me.

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Like Michael suggested, if you do that, transcode to DNxHD for Avid creative editorial. Then conform from the APR originals on whatever tool suits your needs for finishing. In MC/Symphony-Mac, you could relink the cut to the originals via AMA, flip the project to RGB709, and then try to stay ProRes all the way from there.

If you stick to APR in Log-C during creative editing, everything will indeed look washed out, milky, soft. If you color correct your cuts, you can get a nicer picture, sure, but all source footage (when loaded into the source monitor) will have the milky look. Very uncomfortable during editing and obstructing to work around when reviewing/comparing takes. And that’s a biggie to editors, producers, and directors, let me tell you that from experience.

Plus: transcoding is fast, and since you have to somehow bring the footage into Avid (you don’t want to AMA-link to the originals for anything you’ll be working on for more than a day or so), then why not bake in a LUT while you’re at it?

And a pet peeve of mine: note that in this day and age, editors are expected to constantly adapt to new workflows for new formats, and they often manage that just fine. Now it’s nice that you prefer an all-APR-workflow, but do realize that your editors need the right conditions (like proper looking images) to work their magic on your film. If that means an hour of transcoding time per shooting day, that should be manageable, in my opinion.

Hope this helps.

[Job Ter burg]

The biggest downside of working with the ProRes files from Alexa is that they will likely be in LogC, so you would be constantly adjusting the image on your edits.

Far easier to use AlexICC or Resolve Lite to bake in a LUT and transcode to any relevant media type.

Not sure why you insist on avoiding a transcode. It’s pretty fast.

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Actually, they will be selling new boxed kits with dongles too (through VARs, not from their webstore).
If you already have Symph 6, you can purchase a dongle as an option, indeed.

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It should not cause a quality issue. It’s just stating that you cannot relink 23.976p media to 29.97i source clips. Makes sense in a way. I dare not guarantee it, as I work mainly in the PAL and 24.000p domains.

I would, however, not transcode to XDCAM 35, but rather to a flavor of Avid DNxHD. That codec, much like ProRes, is designed to hold up in post over multiple generations (read: sequential renders and exports).

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Still thinks it should work. If you load the clip you changed the FieldMotion for into the source monitor, are you able to step through a second in 24 frames?

Are these cams both really 23.976fps, or is one of them 24.000fps? Are you in a 1080/23.976p project or in a 1080/24p project?

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Or download the Symphony trial. Same difference.

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MC3.5.1 / 3.5.4 are not supported beyond MacOS 10.5.7 and QT 7.5.5/7.6.
MC3.1.x is not supported beyond MacOS 10.5.5 and QT 7.5.5.

If you need to use Avid under 10.7.3, you would need v6. An upgrade to MC6 would set you back 599USD.

There’s also a current promo (until June 15th) that lets you crossgrade to Symphony software voor 999USD, which includes BCC8 (a value of at least 495).

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Specs say that this cam can record QT or mp4. Pretty sure the latter would work with Avid.

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And I bet you were using PhraseFind, not ScriptSync 😉