I got a chance to experiment today. With a .wav audio file that is mono tone I was able to name it "Tone_3.wav". When that is imported into Avid the mono audio channel shows as A3 in the source side like it was a source track 3. The "_" before the number 3 is required. This ia a .wav file I don't know if other audio formats will

I've been told that you can add A01, A02, A03, etc.... to an audio file name once imported into Avid the audio file would act like it was a source from channel 1, 2, 3 etc... This was something we had to do with audio from a DEVA or some other sound separate sound recording device that had multiple Bwave channels of audio. When they were imported

So you do autosequence first. Do you then create a multilayer sequence with the various auto sequence sources? That's what our AEs do and we shoot 9 plus cameras running time of day that does drift and our shows roll 24/7 for up to 3 weeks. I don't do the multigrouping myself. I'll pass your post on to our lead AE and see if he has a work

Usually auto sequence is used before grouping to get a master timeline with many layers of different camera sources in one sequence then from there multigroups are made. It's a tedious process that our AEs do. If I'm reading correctly you are autosequencing after bunch of grouped clips. That seems like the wrong order but the spirit of auto

Amazing service and Marianna in the same sentence is redundant but we've been spoiled by her. A little hint if you include a dog story you'll get even quicker results.

So what is it you see happening? Is it related or similar to the issue the Sony plugin had that I mentioned?

Sounds like what I've heard of the Sony Plug in for one of their codecs. I think it has been fixed and updated now by Sony. The workaround was to manually take the ama plugins from the bundle/package and put them in the AVX2 ama folder. I think you can make copies of the ama plugins before unintslling the previous version and then just put them

For TV I clip my output to 16-235 and color correct within that range. If it's for a film out you can get away with more but I mostly do TV. When you go out of spec you are always at the mercy of whatever setup will be displaying the product. Studies have shown that most HD programming in the US will end up being viewed in NTSC to this day. It's

This is what I've experienced as I posted earlier. The HDCam tape should output a 709 compliant signal. The Digital projector will take the HDSDI signal and map it according to how it is set up. HDSDI is a YUV transport stream that should have 709 levels and any device, in this case the digital projector is going to expect that on the input signal

When I've done Film Focus Screenings I've layed off to HDCamSR just like I would to any other delivery to a network. I color corrected in the 16-235 range typical in Avid and it looked very good with a digital projector in a 500 seat theater. Perhaps I could have taken advantage of a little more top and bottom room but I don't think anyone