[quote user="ripvanmarlowe"] Will Avid ever revisit it's basic effects and give them an overhaul?? Andi [/quote] No... Use Natron.

There are others, but I would do it this way: 1. Rename the "1" folder in the Avid Mediafiles/MXF folder on your media drive to some other number say "0001" (anything numeric.) 2. Highlight all the clips you want to send, and then consolidate them to the same drive, telling MC to relink clips to the new media, and deleting the existing

Me too! I have mapped the red arrow to a function key to switch it on and off (F1.)

Adrian, This may be relevant; when redigitising rushes (Long ago!) I found that Mc would ask for a certain tape name several times, this being because the original material was digitised in different projects.

Have not tried it myself, but this may be of interest to us Symphony users: https://www.tangentwave.co.uk/

I second Andi's comments. The problem is that H264 exports even using an external tool like Shutter Encoder or Media Encoder add contrast. The solution here is to download the x264 codec: https://ports.macports.org/port/x264/ This seems to leave levels intact, but is a bit of a faff to install. If the results are needed to be viewed on a computer

Andi, I think you should not give Avid such a hard time, after all what is a mere twelve years? Oer, No, seventeen... https://community.avid.com/forums/p/8904/49980.aspx#49980

Mike, Many of us have asked for bussing over the years to no avail: https://community.avid.com/forums/p/137672/781342.aspx#781342

I have found that trashing the fies in the Statistics folder helps. Perhaps try that. Large and long running projects do seem to slow things somewhat. If you don't need to share the project I would also keep it on a local drive.

Andi, I completely agree, but the camera on the doccu could not take tc from a Tentacle; I was just saying anything is better than the OP's suggested workflow! ;) David