Same here. Tearing issues on 10.5, found this thread, rolled back to 10.4.1. Thanks for confirming

It's still in v7, too. I've learned to work around it by adding a keyframe to the other side of a dissolve if one of the sides already has one. But I just hit an instance 5 minutes ago actually where that didn't work and I had to move my B-side clip to another track and then put identical dissolves at the cut point on both tracks. I read

I had this happen in 7.0, too. I forget what the workaround is, but it's definitely temporary. I'll post back if I encounter it again

When organizing a large bin in frame view, I often think it would be nice to be able to put a few things like horizontal lines and text into the view to better differentiate different sections of footage. Just a couple little drawing tools would be really handy for annotating the distinction between groups of icons in frame view.

The Audio Tool correctly shows SMPTE output, while the audio meters in the Mix tool always show ProTools order no matter what settings the clip has or what your output settings are. It's still confusing, but at least it's not a random order

In MC 7, can anyone confirm that a 5.1 SMPTE clip with waveforms enabled shows the wrong channel order in the timeline? For a SMPTE clip (ProTools order seems ok), I'm seeing the waveforms drawing in the order of L R C Rs LFE Ls Thanks, --Evan

It's been since at least v6.0 that I've had to do that, but it's totally possible that I'm inventing the removal of a feature that was never there :)

I'm in MC 7 and trying to output my sequence for VFX with a 50% transparent 2.35 mask, but the opacity control on the mask effect is no longer there. Can anyone else confirm this? Thanks, --Evan

I might be in the minority, but I love the new audio workflow and wouldn't go back to the old way ever. It takes a bit to re-learn all your muscle memory, but the new functionality is way more flexible than the old one and allows you to make custom adjustments that you just can't make pre-v6. I agree that working with dual mono tracks is (and

On every film I work on we always run into the question of where do we apply our matte so that the editors' client monitors are hard-masked to 2.40 or whatever aspect ratio we're working in. Sometimes you can do it on the client monitor itself, other times with a downstream key on a 3rd-party I/O card, and sometimes in the timeline itself with