[Job Ter burg]

You cannot change this since the Avid tracks ALL metadata based on the tapename, very deep in the core. So changing a tapename would mean changing the associated metadata. Bringing in footage with the right tapename is therefore essential.
If you mislabel a tape (you name it TAP1 rather than TAPE1), you can correct this. Avid simply assigns a new name to the same tape. What you are trying to tell the Avid is that two of these ten clips that were all tape X are now in fact no longer tape X, but tape Y, but the others are still tape X. Avid will not allow you to do it.
If you have already synced these tapes up to sound, you’ll have a very hard time fixing this, since the sync groups also use the metadata that is linked to thi physical tape.

One thing I can think of is:
– put the two miscaptured clips into a bin
– export the clips as QT Reference files (at 601/709, native dimensions)
– make all bin headings visible
– export the bin as ALE
– in a text editor, modify the tape entries for the clips and, re-save the ALE
– import the ALE in the Avid (with option “maintain events as logged”
– Batch import the two offline clips this ALE has just created, and point the import to the QT Ref files you made earlier.

With a bit of luck, that will work, and at least give you two clips that are no longer associated with the same tape as before.

[Job Ter burg]

MediaMover, MDV, or MediaSift are third party apps that can scan your mediafiles folders and subdivide them per project.

You can also access all media from the Media Tool, simply select to display the media for any given project.

If, by orphaned media, you mean media that is unreferenced in a given sequence, you can open the bin with the sequence, open the Media Tool, select “media relatives”, and inverse the selection.

[Job Ter burg]

I’m guessing that somewhere in the Red application, you’ve either added an audio track, or you have created an ALE with events that have audio.

In mC5, it’s going to be a breeze, since you can then simply ignore the audio that comes with the video.

In earlier versions, there is a workaround.

– Unlink your imported picture clips (it’s something like holding Shift and Command while clicking the Clip menu, and Relink becomes Unlink)
– Modify them so that they are V-only (Clip->Modify->SetTracks)
– Relink the clips (Clip menu, don’t hold Shift and Command).

The result will be V-only clips, making AutoSync possible, rather than Grouping.

[Job Ter burg]

Please take a look at the new, much improved Avid MC version 5, to be released in two weeks. I think it will keep you away from moving to FCP. Its offerings are very, very good.

Also, you absolutely definitely CAN upgrade Xpress Pro to MC, and it’s 495 USD in the online store. https://www.avid.com/store

Also, you can do this 495 USD upgrade from Xpress Pro to MC version 4 today, and you will get a FREE upgrade to MC version 5 in two weeks.

Yes, Automatic Duck would get your edited sequences, and some media, across to FCP. There is no technical difference between Xpress Pro seqeunces and MC sequences, so that should work just fine.

Automatic Duck in itself, however, is more expensive than the upgrade to MC for you! And as said, Automatic Duck does not take your bins and full source media, just your finished pieces.

Your XW8000 is a bit old, and it is no longer on Avid’s qualified systems list. So you can opt to get any qualified (or non-qualified, if you dare) workstation, whether it’s PC or Mac. As long as you stay Avid, you can go either way and you can always access any and all sequences, bins, media, and projects that you ever created on your Xpress Pro system and immediately open them and use them on your new MC.

You’ll save yourself a lot of heartache AND money, IMHO, if you stay with Avid.

[Job Ter burg]

Posted some info in your previous thread.

Other than that, https://www.avid.com/US/products/media-composer-software, then to the right of the screen, see “Datasheets”.

[Job Ter burg]

– Matrox MXO2 Mini (Starting with MC5, available June 10, 2010) is output-only, with Component Video / 2ch unbalanced Audio / HDMI (up to 8ch of HMDI embedded audio)

– Mojo SDI has SD-SDI / Component / S-Video / Composite I/O, 4ch unbalanced analog audio / 4ch AES/EBU / 4ch Optical I/O

– Mojo DX has HD-SDI/SD-SDI I/O, (no analog video out), 8ch ADAT / 2ch SPDIF / 2x balanced analog audio I/O, HDMI output: https://www.avid.com/static/resources/documents/datasheets/MC_MojoDX_ds_US_sec.pdf

– Nitris DX has all that Mojo DX has, plus 4:4:4 HD-SDI (MC5 only), Component / S-Video / Composite video I/O, 8ch AES/EBU I/O, two more channels of balanced audio I/O, two additional RCA inputs, headphone output: https://www.avid.com/static/resources/documents/datasheets/MC_NitrisDX_ds_US_sec.pdf

Mojo SDI runs around 2500 USD, Mojo DX runs between 5K and 7K USD, Nitris DX is 10K USD.

[Job Ter burg]

In the meantime you can consider using Full Screen Mode.

[Job Ter burg]

Did you deselect “Filter drives based on resolution” in your media creation settings?

Also you could try and type “alldrives” into the console.

[Job Ter burg]

You do know there’s a 30-day free trial version? You could try and install that and see if it works for you (and if you like it).

Every release of every piece of software will fix one issue and raise another. So that’s less of an argument, I fear.

Although in my experience, every since MC v3, the release versions have been stable and reliable, and there are very few annoying bugs.

[Job Ter burg]

If your PT system does not handle AAF, it’s time to get that fixed. AAF is slighly more reliable than OMF even, in my experience.

Yes, Avids can still export OMF like they used to. The only caveat is that this option is only available in SD projects. In HD projects, AAF would be the way to go by default. You can still work around that, though. Just flip the project format to a compatible SD project type, and you should have OMF export back.