[Job Ter burg]

I don’t think you should transcode but consolidate then, Shane.

[Job Ter burg]

Michael, I thought you could AMA-link to a ProRes file, then not Transcode but rather Consolidate, and that this would be a re-wrap rather than a retranscode.

[Job Ter burg]

Of course you should learn MC 😉

Kidding aside, the specified MXF Op1a seems to me like it is plain vanilla XDCAM-HD-50. If you can make something like that with XDCAM Transfer, and the result is something you could drag onto an XDCAM drive, you are probably OK.

[Job Ter burg]

That’s film flashes, OP was asking about additive dissolves.

[Job Ter burg]

Well, I think you can click ‘Save As’ as soon as you made the right settings. So next time, just select that export from the dropdown menu at the bottom of the export window.

Panning is done in the Audio Mix Tool, and uses pretty self-explanatory virtual pan pots.

[Job Ter burg]

Oh, two more things, make sure your L and R audio channels are panned hard L/R, or you’ll unintentionally make things mono.

Also, when asked to specify the resolution (XDCAM HD 50MBits/s), also specify 24bit audio, since your specs mention that.

[Job Ter burg]

Once you have the file inside MC version 6, this is very simple and straightforward:

Select the clip in the bin (or the timeline you created), and choose File->Export, and choose MXF Op1A from the menu. Then, when asked, choose XDCAM-HD and 50MBits/s.

However, you will need to bring the file into MC. And you will need to check if everything is OK, mostly color space (especially since this comes from FCP) and field order.

I would create a 1920×1080/50i project in Avid. Then Choose File->Link to AMA file, and specify your source clip.

The color corrector features a Y-Waveform and a Vectorscope if you need to check levels (toss the clip in a sequence first).

If the levels appear to be wrong, go to the bin, select the clip and choose Clip->Source Settings, and specify the source’s color space there.

Check field order to be sure, and timecode too, since your specifications seem to require some timecode (would be nice to know which).

[Job Ter burg]

Even after changing the Field Motion for these clips in the bin? What if you subsequently consolidate or transcode these clips in the 23.976 project? I reckon that forces the media to be 23.976.

[Job Ter burg]

And the same goes for DNxHD36, which is 36 @23.976 and @24, but actually ’40’ @25fps and ’45’ @29.97, yet is mostly labeled ’36’ inside MC.

[Job Ter burg]

What is your output setting (mono/stereo/multi/direct)? How are the tracks panned?