[John Pale]

Look in Library/Launch Agents and Library/Launch Daemons.

Move anything related out of those folders. Put back if you have any problems.

[John Pale]

The media you consolidated should have a media database and pmr file in it already. No need to rebuild unless you have issues.

If your project’s media is in its own Avid MediaFiles/MXF/1 folder on your FireWire drive, just copy the “1” folder into the Avid MediaFiles/MXF folder on your Raid. If a “1” folder already exists there (if it’s your main working drive, this is probably the case) temporarily rename it to something else. The material will still be readable, but MC will not write to that folder.

Remember, Avid only will write to the “1” folder, so if you need to render or ingest anything to the project you are restoring, it’s media folder must be called “1”.

[John Pale]

My 2 cents…

You can manage media at the desktop level using the method Shane described…..I actually do sometimes..but the preferred method is to do it within Avid using the Media Tool. Learn to use the Media Tool first, and see if that accomplishes what you need before resorting to obscure workarounds involving renaming your Avid MediaFiles folders. Don’t mimic what you did in FCP…. In most cases its unnecessary, and if you are not well versed in what you are doing you can mess things up royally.

[John Pale]

I’m a little confused.

If your high res footage is 29.97, why not open a copy of your 25 fps sequence in a 29.97 project. The temp footage will have ghosting, but who cares? You are replacing it anyway.

Is the 29.97 footage ghosting in a 29.97 sequence as well? If so, you need to redo how you converted it from 30 to 29.97.

[John Pale]

I thinks that’s the XDCAM implementation from either Avid or FCP.

Download the trial of this product and see if it helps.

https://www.calibratedsoftware.com/Products/XDDecodeV2/QXD.php

[John Pale]

I’m actually fairly new to Premiere Pro. I just did it in a tutorial recently.

[John Pale]

Does this do what you want?

Position the playhead in the source monitor.
Position the playhead in the Timeline.
Select the clip in the Timeline.

Go to Clip>Replace With Clip>From Source Monitor, Match Frame

[John Pale]

With version 7.x I had s similar problem.

With instruction from Avid support I did a total manual uninstall of all Avid software. The normal uninstall program provided does not completely uninstall everything, thus the need for a manual process.

After the manual uninstall I reinstalled Avid and everything worked properly..

I’d give Avid a call and have them walk you through it. The process is somewhat lengthy and involves some use of the terminal. I’d post the instructions, but they may no longer be completely valid for Version 8.x. Anyway, you are entitled to phone tech support as you have paid for a mandatory support contract with your Avid software. Make them work for it!

[John Pale]

I think you have to remember that in 1996, we were all still trying to figure out what a editors required in an NLE and how to make it all understandable to people accustomed to actual physical film editing as well as those who had worked in a linear VTR edit bay. Avid was more geared toward film editors initially, so the whole concept of “Filler” was perfectly sensible to many. It was always possible to edit effectively and efficiently on Avid without doing crazy things like adding an hour of black to your timeline or, trust me, it would not have become the dominant NLE in Film and Broadcast. Over time, Avid has added the ability to bypass the whole Filler concept without alienating long time users.

As Herb stated, I think we’ve come a long way since 1996 and expecting to be able to do an audio cross fade without a workaround or 3rd party plugin is not unreasonable.

[John Pale]

Happened to me too. I cut and pasted everything to a new timeline. That solved it.