[Michael Gissing]

Isn’t it just the general trend for price reduction of SSDs? Tech articles from nearly a year ago talked about why SSD prices would reduce dramatically in 2019.
https://www.tomshardware.com/news/ssd-prices-drop-2019-prediction,37982.html

[Michael Gissing]

Yes I only download the WIN Studio version directly from BM.

[Michael Gissing]

[Oliver Peters] “So unfortunately AAF has never lived up to its potential. That is a common refrain with many attempts at common standards.

There have been more successful attempts in the audio world. AES31 is an interchange format for audio that I found to be by far the most reliable and robust between DAWs. Of course ProTools wanted to push AAF. So it languished.

The problem is proprietary software companies not accepting open standards for various reasons. I take your point that AVID is not the sole driver of AAF but in my experience they have been the chief culprit of incompatibilities that I have experienced, both on the Media Composer and ProTools interchanges.

[Michael Gissing]

It would be so nice to have a universal interchange format that was open, removed from propriety software companies and able to translate more accurately.

The XML that Pr & Resolve read and generate is a legacy FCP7. AAF is AVID and still being tinkered with. fcpxml is of course proprietary and can change at the whim of Apple. Of the big three, only Resolve will import and export all three interchange types currently used plus EDL just in case. I do wish it could support OMF, as audio import via xml is poor. OMF is still the most reliable interchange as no-one is mucking around with it any more. Interchange formats are always a nightmare as long as they are being developed by companies competing for software market share.

I also swear by AAT which is able to cross translate many audio formats including proprietary software project formats.

[Michael Gissing]

Here’s where Blackmagic wish bug reports to be posted.
https://forum.blackmagicdesign.com/viewforum.php?f=32

Posting here may be of interest to COW readers but will not get back to Blackmagic

[Michael Gissing]

[Brett Sherman]”I think you are misinterpreting what attack and release times mean in a compressor.”

No misinterpretation. I’ve mixed over a thousand docos so I do know how a compressor & limiter attack & release affect transient response and signal recovery.

[Michael Gissing]

I did an 8 part series ten months ago with AAFs from AVID. Great care was made to create proxies with matching file names and timecode from the camera originals before editing started. Usually I would get over 90% perfect matching. The odd occasion a relink was out, usually becasue of speed ramps or drones with the a different frame rate. otherwise it works.

Whoever broke the file name matching on the proxies needs to reconform with the r3d files for you so they don’t make such a beginner mistake again.

In Davinci you can force conform but it is a shot by shot process as far as I know.

[Michael Gissing]

[Brett Sherman] “I’m not sure there’s a real technical difference between compression and level riding.”

There should be. Compression of dynamics changes the attack and release character. Manual or automated level riding is changing gain without affecting the transient attack or release. It’s just gain, not dynamics. Personally I consider an important part of a mix to be manually riding gain on dialog (with a good fader not a mouse) before it then hits a compressor/ limiter. The two combined is ideal. Obviously I automate the gain riding.

[Michael Gissing]

[Oliver Peters] “I haven’t had great luck with third-party plug-ins in current versions of Resolve.”

I suspect the WIN VST platform for plugins is far more robust, being the most used. Developers will naturally prioritise them over MacOS and plugin formats.

[Michael Gissing]

I’ve never had issues with iZotope VST plugins playing in real time on both my standalone Fairlight running on an aging Win 7 PC and with Fairlight in Resolve running on a more powerful PC.