I've been doing a lot of this lately. REDCINE X to Avid MXF/DNxHD. DNxHD36 is more than adequate for an offline. Once transcoded, copy MXF files into to the Avid MediaFiles/MXF/ 1, 2, etc. Import all the AAF files into the bin. This will relink automatically for you. Then merge the ALE if you want the additional metadata. Once done editing, export

MXF only supports PCM and in doing so, puts all the video and audio in the same mediafile folder. When choosing BWF, it will put all the audio in a separate folder on the hard drives "OMFI MediaFiles". In all cases, PCM, BWF, etc. are uncompressed audio formats so there is nothing being done to the audio itself.Productions may choose OMF/BWF

Make sure your system can handle a new nVidia card. It is is a 3,1 (under system info), I was not able to install the nVidia 4000. Michael

From what I was told, if the RMD referenced it, then it would be applied via AMA. I would need to get confirmation on that again to be sure. Michael

5.5 supports the new color space for the RED ONE redgamma2 and recolor2, but not for Epic. AS Andrew says, anything Epic is only via REDCINE X or Resolve, etc. until next version of MC. Michael

Yes, under the single frame of 1K tone at the 2 second mark of the countdown leader. There is an Academy tail leader, but I tend to put the same leader in reverse with the 2 pop again, 2 seconds after last frame of picture. Michael

I asked them to test the ALE route and it wasn't there. The MXF only carries the most basic of information; Source and Timecode. The source is placed in the Tape field (unlike AMA that places it in the Source File field). It seems to me that RED needs to add this to the ALE upon export if entered in REDCINE X/Pro. And just for general information

If you're unlinking tracks to sync just the mix, then slipping sync on just those track(s), I would think that the relationship between the mix tracks and the other tracks is now off by the amount of the slip. in v5, this is all done as one AutoSync process where you choose which tracks you want to remain in the .sync clip once synced. No need to

Are you referring to a countdown or Academy leader? It's 8 seconds with a 2-pop at the 2 second mark. Michael

Flicker is usually attributed more to shutter speed than frame rate. If you have any ability to play with the shutter, you maybe able to get rid of it. You don't want to be a "slow down" from 29.97p to 25p as it will play back ~20% slower. You can look at the mix and match frame rate conversion. Open all your footage in a 100p/29.97 project