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I haven’t heard or read any specific comments on those versions. I’m mostly on PC, just occasionally working on my MBP under 10.6.4, wich has been good for me.

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I agree with Michael about 10.6.6.

However, if your sequence is loaded with subcaps, that generally slows down any system. Whenever I dealt with lots of subcaps, I rendered them all. That seriously improved responsiveness and working speed.

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Meaning this:

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But if you set your MTC counter to 29.97DF, what would be the problem?

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Not sure about the timing issues, as Avid allows you to work with a 29.97 DF master timecode, if you like.

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AFAIK, you don’t HAVE to, but it’s a cleaner way of working.

If you don’t remove pulldown and keep working in 29.97, your final sequence will not have a consistent 3:2 pulldown.

If you do remove pulldown, then work at 23.98, then playout to 29.97, your final sequence WILL have a consistent 3:2 pulldown.

The advantage being that pulldown can more easily and correctly removed from your sequence, either in any subsequent editing, or for example by displays or projectors that are capable of doing inverse telecine and display 23.98p.

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They will need to install the optional Quicktime 7 player on their SL system and enable Quicktime Pro.

I have SL with MC 5, and I can clearly see both DV / DVCPRO NTSC and MJPEG-A (I have legacy codecs turned on).

[Job Ter burg]

Pitch/Speed corrections are among the hardest things to do. Indeed, you may end up with minor phasing errors, that show up even harder when you listen to a mixdown (multichannel to stereo or stereo to mono).

One thing that is key is that you need to run the plugins in multichannel mode, and that you need to process them as being stereo tracks. Otherwise, you will have two unrelated calculations, one per track, and that would increase the risk of phasing issues.

Unlike Bouke and many others I dislike unintentional pitch changes. I agree with him that a speed change with an unchanged pitch is much more tricky to accomplish than a speed change with a changed pitch.

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Avid used to sell MediaStation just for that purpose, I don’t think that exists anymore. However, I think MC can be controlled over 9-pin as if it were a VTR (you will probably need a VTR control cable for that at least, which is different from the control cable you use for capturing), so maybe, just maybe, you would just be able to hook up the Avid as a deck, and then there would be no difference between TK to tape or straight into Avid.

Also, I did a film last year where there were digital dailies. The lab (Deluxe NY) had a virtual VTR capturing from the TK. They made DVD’s for the producers and DNxHD MXF files for the editing from that.

There’s also the Aja Ki Pro that you should be able to use as a RS422-controllable ProRes deck (haven’t done that myself, just saying it might be an option). You would then access the ProRes files through AMA, and transcode into DNxHD very quickly.

Either way, you’d need to do some serious back-ups, as you wouldn’t want to go back into TK hours once you lose a file.

[Job Ter burg]

I don’t really get what you’re trying to do, but also: if this is HD, there would be no A-frame, would there? You would transfer at 23.976 or 24.

You can indeed use an ALE to break up a master clip into subclips with corresponding metadata. File-Import, Shot Log options, Merge with known sources and automatically create subclips.