[Glenn Sakatch]

My honest opinion is that Avid doesn’t do updates as often as companies like Adobe and Blackmagic, so waiting for a “More Stable” version is basically waiting for their next release in 6 months, at which point, you will be worried if this is a stable version…

If you wait two years to start using the 2022. (.10) version of Avid, you will more than likely be using the same quality that i’m using today. Although far from perfect, I find Avid’s releases quite stable. They don’t really to ask their customers to do beta testing on their software releases, unlike others.

I do run windows, and I believe that helps in this situation…less Apple OS version gotchas to worry about. 2022.10 has been rock solid for me, as was the last version I had loaded, which I think was 2022.4 I don’t think i even looked at 2022.7 as it didn’t really offer anything new for me. Does it crash? Not very often, but it has…so does Resolve, so does Premiere…it’s software, it will crash at some point. If i was to load up a two year old Avid, would i be less worried about crashes? No, but i’d be more worried about a lot of the newest features that have been implemented.

If your computer is up to spec, download the latest version and give it a go. It has been a rare occurrence that I have downgraded my Avid. But, if you need to, you can with no real penalty.

[Glenn Sakatch]

I have no experience with the multidock, but i would be hesitant to think it would work in a typical edit suite scenario. I’m wondering if 4 ssds plugged into it come up on your computer as 4 individual drives? (Sounds like a silly question, but my initial reaction device when if first came out was for live to air playback, not random access through folders.

Anyone with the device can certainly correct me.

I would look into a proper raid with more than 2 drives. That is probably part of the limitations your current setup is giving you.

I always use raids with at least 8 drives for my editing storage. (I’m a big fan of the Qnap ecosystem)

There may also be some power setting somewhere in the software that stops the drives from ever spinning down.

4k will also be affected by your codec of choice, so don’t assume red raw files are going to be as friendly to play with as sony mxf’s.

[Glenn Sakatch]

Anytime you want to consolidate or decompose a sequence, i would recommend duplicating the sequence first.

The original sequence will not be affected at all by the new media created for the consolidated sequence. Its a good backup to have if something doesn’t seem correct with a clip or two.

[Glenn Sakatch]

Are you saying the mixer had a 23.98 program given to them, but delivered at 25, or are you saying the field recorder was set incorrectly?

[Glenn Sakatch]

Just call up an old version of the bin containing the groups in your attic and copy out the groups you want to work with. Put them into a new bin… close the attic bin…and start again.

[Glenn Sakatch]

Typically that means you have a format that isn’t compatible with the import engine..or I suppose you need a codec installed.

What type if file/compression is it?

[Glenn Sakatch]

I do not use the adobe ecosystem.

I’ve been using Resolve for dailies for well over 10 years. If set up properly, it is rock solid.

You have to make sure Resolve is using timecode from the original clip, and that it is assigning a tape name from the source clip name. These are items you set in the preferences tab.

I would not suggest linking to 3k rushes in ama and working at a reduced resolution. Your box is just going to struggle at some point. Why bother. spend a day, create your dailies in Resolve at HD. Create Avid media in Resolve, and have avid do it’s typical media management.

Then edit your film. When done, you can easily relink to camera originals either in Avid or Resolve for the list creation to color.

I would suggest you do a card of dailies in Resolve, send those to Avid, cut some shots, and send a list back to Resolve, and see if you can relink. That is the easiest way to make sure you have created dailies correctly. Plenty of youtube videos on this topic, including some of my own.

[Glenn Sakatch]

I would suggest what you edit on is up to you and your comfort level.

In either case I would transcode in Resolve to 1920 x 1080 lower res media, and edit from that.

Just make sure Resolve is properly set to include tape names and timecode before you start transcoding.

I am not a Premiere editor…just Avid, and I can tell you this workflow works great in Avid.

The speed of Resolve for transcoding, and the the workflow of Avid for editing a motion picture.

I have recently completed a series of 13 episodes where I didn’t do the editing, but I did the conform, color and online, after the proxies I made in Resolve were cut by other editors in Premiere.

The only thing you have to watch for is speed ramps coming out of Premiere, and frame rate conversions coming out of Premiere. Speed ramps are hit and miss, depending on the methods used by the editor. Frame rate conversions done on the fly in Premiere will almost most certainly not come across to conform properly.

[Glenn Sakatch]

If you double click a clip to load it into the source monitor, you still have to click on the “grey” record/source monitor button. This will turn it green, and then your timeline is showing you the source side.

Are you saying if you click on the grey button, it remains grey?

[Glenn Sakatch]

Sorry Mohammed, but your result is confusing.

Are you saying the OP should run his footage at 25 percent speed to have the clip fit into the hole? That isn’t going to work.

Again, its pretty simple “Editor Math” as shown above.