[Job Ter burg]

Can you be more specific about the problem you are seeing?

File16 and File32 EDL templates at least give you the option to have un-truncated source tape/file names.

[Job Ter burg]

Your question is a bit confusing, as a Nitris does not have much of an interface.

The Nitris (the classic version) is a hardware box that was first designed for and used with Avid DS, and later also used with Avid Symphony. The newer version, the Nitris DX, works with either Avid Symphony or Avid Media Composer, whereas the newer Avid DS uses a Kona card.

Likely, you are asked to work on a Avid DS Nitris. Folks say that a DS works more like FCP than like MC. That’s about what I know about it, though 😉

[Job Ter burg]

Maybe when you are capturing, you are looping the Avid outputs back into its inputs, through your Mackie?

Also, check your Passthrough Mixer settings.

[Job Ter burg]

Check Automatic Duck or Boris AAF Transfer. Eiter will provide a way to get sequences (including media) from FCP into Avid.

Of course you could also just use a QT Export and an EDL. I’d do the QT export in an Avid DNxHD codec flavour.

[Job Ter burg]

Rather than CTRL-I / CMD-I, right-click and choose “Get Bin Info”. Then see console.

[Job Ter burg]

You can use any QT encoder if you like, but it won’t be as nice.

MC5 allows you to access the files directly through AMA. It means just opening the folder and playing the footage. However, to play it back in RT requires a really heavy machine. Also, it’s just too much a strain on any system for plain editing, so it seems, so most folks prefer to open the footage through AMA, then transcode to DNxHD. Transcoding AMA-H264 files to DNxHD in Avid is slightly faster than realtime. Much faster than a traditional import. Finally, this method takes care of proper conversion from H264 with linear gamma to Rec 709 video.

You can also do a traditional file->import in Avid, but that is slower and does not perform the gamma correction.

[Job Ter burg]

“Perhaps, but it seems very general.”
This is exactly why I think it may be a monitor calibration issue.

[Job Ter burg]

Open the color correction tool. Then for instance select to display the Y-Waveform in the left monitor.

[Job Ter burg]

My bet is that you’re seeing lowered blacks in FCP compared to Avid. No noise will be added, but you might see a different color displaying, which may show you noise you on one system that is hidden on the other.

[Job Ter burg]

IMHO, this is the best way if you need to do EDLs:

In MC, choose Output->EDL. This will launch EDL Manager.

The first thing to do in EDL Manager is open the Option window (CTRL-2 or CMD-2). There you choose an EDL format. You can ask the post house what flavor they prefer, but usually CMX3600 will do the trick (this used to be more important in the days of linear online bays). Unless they specify a certain type of switcher (vision mixer), never mind that setting.

Master List tab
Source TC should usually be Start TC, Record TC should usually be TC1, Reel ID should be Tape or Filename. Most of the times, you will need an A-sorted list for the conform these days.

Dupe List tab
Select None in the list type. Then ignore the rest of this tab.

Options tab
Select Optimize EDL and Include Source Table. Depending on the tapenames you gave to your source reels, select or deselect Convert Tapenames To Numbers.

Comments tab
Select Comments and Effects

Save these settings.

In the top of the EDL Manager window, select which tracks to include in the EDL. Ask who needs what. If picture is conformed/onlined by one department and audio by another, make separate lists (audio may not even want or need EDL’s but rather prefer AAF or OMF).

If you have several videotracks, you can select which videotrack you are using in the EDL (click on the V-button). Usually, you make one per track. You could also choose “All V”, but that is messy if there is actual track layering involved.

Now, in EDL Manager, there is a button that says Get Current Sequence; do NOT use this.

In stead, in EDL Manager, choose File->Open, then navigate to the bin with your final edit, and open it. If there’s more than one sequence in the bin, EDL Manager will ask you which one to open (and you should select the right one). If there’s just one sequence, an EDL will instantly be created.