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I am thinking... Right click on one or all of the AMA Linked clips and select source settings. Select RMD from the menu. That should update to the latest version it used.


Michael

Or are you just referring to dailies? If so, single or double system, format specs, viewing copies? etc.

Michael

Is one of the tracks a mix track and the other ISO's?

Michael

Can you be more specific about which bugs? The only one I have encountered on productions have been user error. Mainly around REEL identification or lack thereof.

Michael

I agree with Glen, but even within the same span of shooting, I will find difference in sync when using timecode. The following image is the result of syncing by timecode and I colored them based on...

The durations do not need to match as rarely, if ever, will they match in double system workflows. You can check durations directly in the bin with the "Duration" column. The latter could certainly...

I think these types of decisions are based upon type of workflow needed. While I do most of my editing in Media Composer, I prefer to sync in the NLE where I have easy access to sync with mix track...

Still waiting to hear back from my Avid connections. Another question, if using START to sync - is there timecode all way through those clips if you scroll through? I've heard (and seen) some issues...

Sounds like your audio timecodes have been hanging out with the wrong crowd... I have never come across this error message. After you get the error, is there more information in the console? Also, do...

OMF (and AAF) can be a file that either points to the audio media, or is embedded as part of the file. I am not that familiar with how PPro exports OMF and its options, but that is what the post...

You might want to take a look at the FrameFlex feature in Media Composer v7. Timing may be off with release date, but that is exactly what its intent is for - and the AAF will describe the move from...

It's a setting in RCX for the "export" that you set up.

Michael

Usually the NLE deals with the different frame rates on the timeline as the timeline dictates the primary master rate of the deliverables. This leaves a more direct relationship to the source should...

My point of view - both workflows are valid but for me:

1. Source settings in Media Composer only expose a subset of the color metadata. But it does respect the RMD file, so that assumes that the...

Are you using Redline within RCX?

Michael

Agreed. Timecode gets us close in an automated fashion, but the every take is verified by eye and ear and slipped accordingly.

Michael

I was reading in another forum that RCX Build 17 was doing this on 25fps material. Have you tried a different build?

Michael

also check out the sync audio workflow with RED in the video:
www.avid.com/red

It's about a third of the way in. The video is a bit old version wise, but many of the steps are still valid.
...

I prefer syncing in Media Composer if no other deliverables are required such as H.264 viewing copies and such. In this scenario I would use RCX to create native MOS MXF/DNxHD 36 and import BWF...

Are these MXF wrapped or QuickTime wrapped? Audio or MOS? What version of RXC? Possible to wetransfer over a file if you get permission?

Michael

That's the difference between being a private company and a public one. One can announce roadmaps years ahead if they want, stick to it or not, and move - the other cannot.
...

What frame rate were the sources shot at, and what is the frame rate of the delivery? Almost sounds like a 72fps to 24fps with improper flags in original files if stopping at 1/3rd the way. Just...

Both.

Michael

This is the second production I have heard about the copying issue into ISIS where not all the elements copy over. I forgot about that - but production came back to us saying we weren't delivering...

If you imported the .msm file, then you can skip the AAF - but the fact that you have offline clips is still an issue - especially when dragging the msm file which represents all clips in that...