[Job Ter burg]

https://forums.creativecow.net/avidliquid

[Job Ter burg]

I think you’ll find better answers to this on the Avid Liquid Forums. I know it’s a bit confusing, but most of use here are MC/Symphony/Newscutter or even DS editors.

[Job Ter burg]

Check the Avid Forums. It is far from recommended, but some folks used 3.something versions on Snow Leopard. They had to manually work around some permissions issues, IIRC.
That said, if you are on a serious production machine, don’t do it. Or upgrade to MC4 while you’re at it. Worth every dollar.

[Job Ter burg]

Check the Avid Forums. It is far from recommended, but some folks used 3.something versions on Snow Leopard. They had to manually work around some permissions issues, IIRC.

[Job Ter burg]

I don’t know where in the world you are. Some companies here have rather decent DSL fibre connections. How much footage are you trying to upload, at what resolution?

[Job Ter burg]

I don’t think you will be able to actually _share_ files from the same storage (like the way that Avid Unity is shared storage), since that would require huge bandwidth and that 24/7.
However, if this is not too much footage, all you would need is enough bandwidth to be able to upload the captured/imported mediafiles on one side, and download it on the other. I’m pretty sure that this is how it’s being done (also bear in mind that feature dailies are then usually sent as compressed offline footage).

As long as you have an exact copy of the mediafiles, you can work with the same footage, and exchange bins via email. These bins will instantly be linked to the same footage (now on a different drive). Did that once on a feature, where there were copies of the same media in two countries, and we just sent bins back and forth.

[Job Ter burg]

If you see them in the Media Tool, simply drag them into a bin and edit away.

[Job Ter burg]

No you should use 16×9 bars if you want 16×9 bars. 16×9 is around 1.78:1.
However, if the client needs 16×9 as in 16F16 (full height anamorphic), then you will definitely need to vertically stretch. If you have BCC installed, take a look at the BCC UpRez effect. That has a pretty good upscaler. Set your source to be 4×3 video and your destination to 16×9 anamorphic video.

Again, make sure they are sure what they need. For some countries, 16F16 (anamorphic widescreen) is mandatory.

[Job Ter burg]

I just tried it and it works for me.
You need to make absolutely sure that everything is routed and panned the right way.

In your example, and assuming stereo out, make sure that the Left part of the Full Mix is on A1, and the Left part of the M&E is on A3, and make sure that both are panned hard left. Right part of Full Mix goes on A2, Right part of M&E goes on A4, both panned hard right.
Apply the invert effect to both tracks of the M&E. Render. Now when you hit play, the M&E should be subtracted from the Full Mix. If that does not happen, either the panning is wrong, or the track assignment, or the M&E and the Full Mix do not line up correctly. Or maybe there are more mix differences, which will show up immediately.

If you need to convince yourself that it works, take any piece of audio, just one track, splice it timeline. Add the exact same piece to another track in the timeline. Pan both hard left. Playback, and you will hear the clip at a pretty strong level (adding up the two events of the same clip). Now apply the AudioSuite Invert to one of them and render. Playback and you will hear silence, and the meters of your Audio Tool will be pitch black.

[Job Ter burg]

But Terry, if you have a full mix (D and M and E) and you have an M&E (as the OP describes), and you phase reverse the M&E, and mix it with the full mix, you are subtracting the M&E from the full mix, leaving you with just the dialogue.