Hi Tracy, This is not as easy as one would hope, I think. Two possible solutions I can think of: Option 1. Before you do any AutoSyncing, select all the imported audio clips in their bin(s), Unlink the audio, Modfiy the Tracks of the now offline clips (so they contain only A4 and A6), then relink them. Autosync the resulting clips. Downside is you lose

Good question, I have never checked that. If you want to be sure, you could 'Convert to Mono' before doing a Direct Out export. Other than that, I would expect that Direct Out lets you route each individual (monophonic) channel of multichannel tracks.

You'll need to extract audio somehow, though. MC can only use one breakout box for both picture and sound. You can't route sound to another box or to the internal sound card, while sending out picture through the BMD or any other BOB.

My favorite settings: MOV or MP4, 1920x1080, keep legal levels, h264 codec, 10 Mbps, AAF stereo audio at 320kbps. I think that generally results in around 3.5 GB for an hour at 24fps. 10mbps is also what, for instance, Vimeo specifies as a minimum for Full HD delivery. If I don't need it to be full HD, I switch to 1280/720 at 5 Mbps, so that's

AFAIK, for the full remote cloud editing thing, you need Nexis, Enterprise plus some sort of server to share the proxies on.

You may need to sign out of Avid Link and then sign back in, in order to force Avid Link to 'phone home'. If that does not sort the issue, email Chris dot Bove at Avid dot com. He can sort this out for you. Include your System ID's and the email address used for your My Avid account. (However, DO NOT post your Sys ID's publicly on these

The monitors would then need to be set to specifically Rec 709 'legal' or 'studio swing', as opposed to 'full range' or 'full swing'. Setting your monitors to that would also affect the way the UI (and everything else on your computer) will be displayed. *) Most people use an outboard Rec 709 monitor or TV (via SDI or

What Kåre says. You have probably been looking at the Source/Record monitors (or Full Screen Display) inside MC; all of which default to "Project", which assumes that your computer monitors match the Project's color space -- which they normally don't, unless you specifically calibrate them to Rec709. MC does offer some LUTs,

You're doing the export correct, but if your sequence and your mix have been done in stereo, a 5.1 output will be contain a signal on L/R whereas the C/Lfe/Ls/Rs would all be silent. If you need to export an actual 5.1 mix, you need to create an actual 5.1 mix in a 5.1 sequence. If you have received a 5.1 mix, you need to add it to your sequence

Any of the older BMD Decklink Mini Monitors or original AJA T-taps will do fine. Note that any such hardware device will force MC to send both picture and sound out through the same device. So you won't be able to use the iMacs internal sound card as a playback device at the same time.