At our facility we have 2 suites both running Media composer 5.0.3 Nitris DX, on the same model of PC. Both setups are identical, but when we color correct in one suite and then open up the sequence in the other suite, the CC settings have changed. Anyone have any ideas why? And how I can fix this? Thanks.

thanks guys, The post facility prefers sections of all tracks as opposed to entire single tracks. They say it's easier for them. We are not exporting video. We tried both before and after consolidatig the sequence. Same problem both times.

Wasn't even sure how to search for this one. I have a sequence 45 minutes long with 10 tracks of audio. I realize that such length is too long for a single AAF. In the past I'm broken it up into 2 chunks and it worked fine. Now, however, I try exporting an AAF of a 10 minute section and I get a prompt that it's over the 2GB file size limit

I was having a similar problem. Most of the footage is captured at DNxHD but there is some imported XDCAM EX footage. The AAF I sent to the post facility was missing files. And it was always the XDCAM EX footage. They figured out what was happening. They had to set Pro Tools to show rendered files. Because the XDCAM EX footage was shot at 23.98 but

We're wondering if the quality is as good if Avid adds the pull down compared to a dedicated machine after we output the 24p master? In the past, Avid has warned that it's down/cross converting was only officially for monitoring purposes and not for mastering purposes. We're using Nitris DX to output. And we will likely transcode all material

Using Media Composer 5. We have a 23.98p HD sequence from XDCAM HD footage. We need to master to HDCAM at 29.97 drop frame. Problem is, we can't change out timeline to Drop Frame, and therefore can't output back to XDCAM (using the PDWHD-1500 deck) in 29.97 drop frame. From the XDCAM master we send it out to a facility to transfer to HDCAM.

Here's the hypothecial situation: Using AMA I've consolidated the low res proxies with the full quality audio to local storage. Using that I edit my sequence. If that low res media went offline how do I rebuild it? In the past, I would highlight the offline clips in the bin and batch capture or batch import, but now that I've consolidated

I see. I had already run into those annoyances, I thought there was another reason. When I asked tech support he didn't know Avid advised against it. UPDATE I've been able to set up a workflow that meets my needs using the workflow I briefly mentioned above. If anyone needs it more clearly let me know. There is one problem I might potentially

I've had the same problems. I spoke with Avid tech support, and apparently they never intended us to work off the disks like in the past. The AMA work flow calls for us to load ALL disk content to a mass storage device and link to it. I think they assume we all have huge shared storage. I too was assuming by their press release that we could continue