[John Pale]

If you know someone with Final Cut Studio (not FCPX), you can use Cinema Tools to fix this instantly without re-encoding.

Just open the file in Cinema Tools and use the conform feature to conform it to the proper frame rate. Since the file really is the proper frame rate, this only changes the metadata that QuickTime uses to determine the frame rate. Takes about 2 seconds and its fixes,

[John Pale]

FCP 7 comes with Compressor. It’s main function is to convert video to various formats,

[John Pale]

Promote it to a Timewarp effect in the Motion Effect Editor and drag the pink icon to a bin. same as your earlier question except you use the Motion Effect Editpr instead

[John Pale]

add a transition to the timeline with the duration and alignment you want.
park the playhead on the transition.
open the effect editor.
drag the pink icon at the top of the effect editor to a bin.

rename the effect in the bin to something more descriptive.

[John Pale]

Yeah. You did miss something.

You have to change the size and puxel aspect in the QuickTime codec dialog (press the size button), as well as in the main Avid Export dialog.

[John Pale]

While in your 23.98 project, duplicate your sequence and do a video mix down of the entire program.
Replace the video in the duplicate sequence with your mixdown.

Open a 59.94 project. Open the bin that contains the duplicate sequence that has the video mix down.
Note that the video has a green dot on it, as Avid has added a motion adapter that will do the conversion to 59.94 on the fly. You can now do your export.

Mix and match does not support Matte Key graphics, so you need to mixdown first in the 23.98 project.

[John Pale]

I wouldn’t do it in one fell swoop.

I’d separate the source material by its original format. Capture or AMA/Transcode into projects that match the original formats. Then move the bins into the main project.

Let Avid Mix and Match do the conversion on the fly in your main project. You’ll have the option of how to handle the aspect ratios, if you make the Reformat column visible in the bin (its not visible by default)). You can set lots of clips to letterbox or center cut AAF once with a pull down menu.

[John Pale]

You can relink to the original media, but no multi-cam group clips, with different frame rates.

You can AMA and transcode within the 23.98 project to have everything I with the same frame rate, but you will not be able to link back to the original footage..so that option is out,

Sounds like you only have two cameras (interview?), which should not be difficult to edit without group clips…just use two video tracks and do it old school. If I have only two camera, I often don’t bother grouping them by choice.

If you can’t live without multicam with differing frame rates, you might want to do this in FCPX, (or possibly PPro), which can do that. If I am understanding your project, I think Multicam will be more trouble than its worth if you want to stay in Avid.

[John Pale]

You did not specify the format you are shooting in. . If you are shooting 1080i or 1080p @ 29.97, I would use DNX 145. 220 is probably overkill.

If you are in PAL land or shooting 23.98/24, the DNX numbers will be different, but generally the second highest number will be fine, No harm in going to the highest level, but will give you a bigger file with little to no visible difference in quality. Do a quality test if you are unsure. Some material compresses better than others.

You can AMA link and transcode rather than import. It’s much faster…but if you would rather import, go nuts.

I would not work native with AVCHD, as I’ve had very poor experience with that. Transcoding is the way to go,

[John Pale]

Did you try using Avid mix and match rather than MPEG Streamclip?

AMA your 29.97 ftg to a 29.97 project and transcode to DNX 36.

Move the bin with the 29.97 ftg to your 23.976 project. Does it sync?
29.97 should sync with 23.976 audio. The big problem is with true 24, which would require pull-up.