[John Pale]

AMA link to the original RAW media in a new bin. Select the RAW clips in the new bin and then the clips in the old bin. Then attempt to Reliink with “Link to Selected in Bin” turned on.

Sorry, I’m mobile and not in front of a system right now, so I may be a little off in my description but hope it gets you in the right direction.

[John Pale]

They may be expecting you to do the transcode in Avid Media Composer.

If you only work in Adobe Media Encoder CC 2014-15, you can encode to Avid DNX 36 (must change the file type from QuickTime to Avid DNXHD MXF for the presets to become active). Press options to change the resolution to DNX 36 from the default 220. NOTE…this is creates MXF files that are OP1a, rather than OPAtom, which is the optimum format for Avid. Avid will still not be able to directly work with this media, but rather the editor will have to link via AMA and consolidate. Probably not what they want, but it can work. They may lose some of the metadata they want using this method.

I’d do this transcode in Avid if you can…even if it means getting the trial version of 8.4. It will work for a month. You will then be able to create media that works directly in Avid and create bins that refer to the media you create. Talk to your client about this before proceeding.

[John Pale]

That’s awesome. I missed that in the release notes.
thanks for posting that.

[John Pale]

Can’t do it. Sorry.

If you have FCP 7, you can do it if you do not render the sequence.

[John Pale]

Had a similar incident recently. Avid MC was able to make this work, but I had to manually select the P2 MXF AMA plugin to link to the footage. If I let Avid auto select the AMA plugin, there were issues. Avid was able to join the spanned clips and audio, even though the original camera card folder structure was gone.

[John Pale]

Premiere Pro CC also offers GoPro Cineform on both PC and Mac. This codec is also very similar to ProRes and Avid DNX. It has both YUV and RGB settings.

Don’t be fooled by the GoPro name. This codec is not the same highly compressed H.264 codec used by their cameras.

[John Pale]

Once you got it working (after mounting the old drive), was an Avid MediaFiles folder created?
I am assuming Yes. Are you sure media is appearing in it?

You are now saying the new drive no longer works, after ejecting the old drive (even though a valid Avid MediaFiles folder has been created).

Just trying to be clear about what is happening. No…its not normal.

Is there anything weird about the name of the new drive? Is there a “/” or any other unusual character? Did the drive come pre-formatted or did you do it?

[John Pale]

Sorry. There really isn’t a good solution to what you want to accomplish in Avid. If you have access to Premiere, it might be slightly easier, as resize is a parameter rather than effect that has to be added.

[John Pale]

How is the drive formatted? Make sure it’s Mac OSX Extended. It won’t work with EXFat. If using NTFS, you need to have Paragon NTFS for Mac or Tuxera(?) to write to the drive. FAT32 is also problematic, because of the 4GB file size limitation and speed issues. If you are running Avid on PC you cannon transcode to ProRes.

If the drive is formatted correctly but Avid still refuses to create an Avid MediaFiles folder using the transcode command try this….

Import a graphic or small audio file and set the drive as your target media drive. If it works, you will now have a valid Avid MediaFiles folder. Now try to transcode.

[John Pale]

Not sure of this fits your workflow…

If you can rough edit each layer separately, you can then nest all clips in each video track and apply the 3D warp to the nest. Then “step in” to each nested track to make adjustments when you play down the resized tracks. Be sure to duplicate each sequence for safety before nesting,as there is NO un-nest command. Depending on the power of your hardware, you may have difficulty playing this in real time. If you have no experience with nesting in Avid, read up on it in the manual via the Help Menu.