[Job Ter burg]

Universal Mastering only works with Nitris DX, not Mojo DX, not any other I/O device. It means you can play out 23.976p or 24.00p projects to 23.976p, 24p, 25p, 50i, 60i. Not from 50i to 60i and so on.

[Job Ter burg]

On the same type of machine and OS, Symphony and MC would run equally smooth. The core software is identical. You can boot Symphony with an MC dongle, and it will launch as MC.

[Job Ter burg]

P.S.: They don’t label it as DNxHD. It is labeled “1:1”.

[Job Ter burg]

Again, AFAIK RGB 444 is uncompressed, not 2:1.

[Job Ter burg]

If you do the maths, it is uncompressed. Period. The data rates I quote are correct.

[Job Ter burg]

Pretty sure it’s uncompressed 4:4:4 RGB.

[Job Ter burg]

Ranging from 442Mb/s for 720p23.976 to 1989Mb/s for 1080i59.94.

[Job Ter burg]

You can’t lay 30 tracks in MC, so that’s not a solution. If you export an AAF to Pro Tools, you can add missing tracks in there.

I prefer to export without consolidating, and non-embedded. Just supply the sound editors with all Avid audio media and a ‘Linked’ AAF.

After opening the AAF into a PT session, they may optionally add all the original BWAV files from the sound recording crews into the Region list of the Pro Tools session. If the PT editor righ-clicks on a region, (s)he may choose to open up “Matching Field Recorder Channels”. This will display all correlated audio from both the Avid mediafiles and from the original BWAVs. They can then choose to expand the matching channels onto new or existing tracks.

[Job Ter burg]

Also, a fully functional free 30-day trial version will be available, so you can check these things for yourself if you like.

[Job Ter burg]

1. Your settings have always worked, but it’s best to rebuild them from time to time. Easy to import certain settings from one profile into another.

2. Importing still images at the right aspect ration has been possible for some time now.

3. Not sure, as I don’t use them other than through a fader panel.

4. Dupe detection will work across multiple video tracks.

5. Precomputes won’t load into the source monitor, AFAIK.

6. Not sure what you mean by having to treat filler as a clip. Moving clips through the timeline lets you keep fades to the clip, though (since v5 or so).

7. I don’t use audio waveforms that much, but I know it has been severely improved.

8. AMA will let you work with QT files, which means that if you alter them, they would show up in changed form.

9. To freeze a frame, you have long been able to add a 0% TimeWarp. Other than that, it’s easy to map the Freeze Frame menu function to a button or keyboard key.

10. The TimeWarp types are easily distinguished. Duplicated frame will discard one field per frame. Both frames will keep both fields. Blended Interpolated will blend both source fields. Blended VTR will mimic how a VTR timebase corrector shifts fields to defeat vertical shifting. FluidMotion will ‘morph’ in-between-fields/frames, basically a vector-based morph.

11. Not sure about 3D effects, don’t think they’re too good. Third party plugins provide better options.

12. Soft drop shadows in the title tool have long been available. Not in 3D Warp, but in third party plugins.

13. You won’t need to, there are stereo (and even 5.1 and 7.1) tracks now.

14. Media Creation settings have been good to me for some time now.

15. Relink works very well. Even with AMA sources. Very versatile.

16. Yes you can trim a clip into a dissolve.

Hope this helps.