[John Pale]

You don’t need to make QuickTimes out of them. They play just fine in Premiere as is. Audio is separate though.

[John Pale]

EDLs are tools of tape based editing systems. That was the standard for VTR editing. The fact that today EDLs are still used for everything but their original intention is kind of comical, but because they are so basic and simple, it continues.

I would imagine someone could write a macro/script that adjusted all the outpoints in Excel or something, but I have never run across one.

[John Pale]

If you have not already done so, duplicate your timeline and delete all the video. Export the AAF from an audio only timeline.

May not help, but easy to try. I had some completely different issues recently and was only able to export correctly from an audio only timeline

[John Pale]

[Jeff Pulera] “Add keyframes to one of the audio clips. Right-click and Copy that clip. Multi-select the other audio clips, then right-click and Paste Attributes
“

This does work, but its a lot of steps. Most NLEs let you add keyframes to multiple tracks with one keystroke.

The submix thing is not really a good solution either, because if you need to make changes the keyframes DO NOT MOVE WITH THE CLIPS…they are track based.

[John Pale]

Use the Media Browser to open the sequence in the Source Monitor, then select all, cut/paste into the destination sequence

[John Pale]

There is some good info about this stuff on

https://www.macvidcards.com

He sells cards with hacked EFI that behave like genuine Mac compatible cards, but its not absolutely necessary to use a card with EFI. Just giving you an idea of what will work in your Mac and what the issues might be. I have nothing to do with the guy and never purchased a hacked card from him.

[John Pale]

Yes. You are doing it wrong.

See this video

https://m.youtube.com/watch?v=OU9S2gjFyG8&feature=youtu.be

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[John Pale]

As long as you use the proper Avid media drive directory structure, Media Composer will scan all media databases on startup. Unlike Premiere or FCP, the original drive names and directory names dont really matter for Avid managed media. It simply looks for media databases on all attached drives within Avid MediaFiles/MXF/Folder Name. Avid MediaFiles must be at the root level of the drive. The directories that are named for their former locations (and their respective media databases) should be read. Avid will no longer write new media to them or rebuild media databases in them, however. The new Avid system will write media only to directories that use its own default names (“1” on a standalone system, “Computer Name.01” or something similar on a Unity/ISIS system)

If for whatever reason they are not automatically read (missing or corrupt media databases, usually) simply render one effect on the new system…this will create a new directory for your render files (assuming you set that up in your Media Creation settings)…then move the existing precomputes to that directory. The system should detect new media in that folder and begin indexing it. As an aside, I’ve never actually seen anyone separate precomputes out to its own drive like that. Most people just have them in the same directory as the media and manage them via Media Tool.

This only applies to Avid managed media….Linked aka AMA media has its own way of doing things and it varies a bit in robustness, depending on which version of MC you are using.

[John Pale]

I think you might need to do this in two stages.

Take the media into Adobe Media Encoder. Use Interpret Footage to make it 48fps, then encode it to ProRes or some other high quality codec. Then take the new ‘master’, which is now truly 48fps, into Premiere and Interpret Footage again to 23.976.

I think if you try to do this the way you were proposing entirely within Premiere, you will end up doing a “conventional’ speed change, which will cause blended frames.

[John Pale]

Just a wild guess but try switching to an RGB project setting