Couple of things. In Digital Cinema, “scope” is defined as ~2.39:1. Even though many folks still refer to this a 2.35. So the 4096x1716 format matches that exactly. More important is how things were shot/recorded. Unless they used anamorphic lenses, chances are that thay actually recorded full sensor (4096x2160), with the intent of cropping

[quote user="hodgesjl"] Thanks for the info, but we are already using the latest version of the NEXIS client 18.3 [/quote] And MC 2018.4?

From http://community.avid.com/forums/p/183364/855808.aspx [quote] From the AVID Blog: iMac Pro Support Avid Media Composer 2018.4 is now supported on Apple’s iMac Pro. Note that the iMac Pro will require the NEXIS 18.3 client. You can find a complete list of qualified Mac and Windows workstations, laptops, and Operating Systems in the ReadMe

Might even be cheaper to order from a US reseller like Videoguys.

How were the proxies made? What is the canvas/frame size of the proxies? How did you import them?

I think both the Sonnox EQ and the RX require quite a bit of latency compensation, so that may come into play.

Dongles can only be used with perpetual licenses, not subscriptions.

Thanks for the detailed reply. Do you have Caps Locks on (audio scrub)? Does it make a difference if you turn that on or off? I'm informed that having Caps Lock on keeps the player running in the background.

The 270eur/yr you are referring to is the annual support renewal for perpetual licenses (licenses you bought and own). For those, nothing changes. They will continue to support shared environments, and Symphony, ScriptSync snd PhraseFind will remain paid add-on options. MC|Ultimate is the name for the top-tier subscription license (rented licenses)

But those video effects are clip-based and rendered. Track effects need to be done in realtime.