Could be field 2 issues with incorrect field dominance. Remember MC only shows field 1 in source Rec monitors. Try a video mixdown and frame step through that. If good export that.

Break the sequence onto 3 parts and try exporting each part. I suspect part 2 will fail. Divide that part in half and try to export each part. Keep dividing each failed export till you have a small section isolated. Then export just audio and just video to identify possibly corrupt media or effect of part of timeline

Forget trying to get clips to relink. You need to AMA link the source clips into a fresh bin in Avid and then relink the sequence to those selected clips in that open bin. Drop me a PM as it's easier via remote than email.

Which makes storing important data on them even more risky. AN internal SSD could be removed and mounted in a different machine an integral memory module is part of the motherboard. If that board would boot the data is lost. There are already concerns (but no Apple answers) to reports of accelerated "wear" of these internal SSD memory devices

Keeping anything important on am internal drive is never wise. If the computer fails to boot up then it's inaccessible. That's just not wise for professional work. Storing projects on internal drives isn't so bad if you backup externally each session. But too often I come across a failed system that had important changes to a project not

Remember lowering 32bit to 24bit removes the lower 8bits of data. That's the fine detail and if the source levels are low those retained upper bits coukd hold little data. If I was doing that I be boosting the gain till just under clipping before reducing bit depth. There may even be a mathematical way to do it in whole bit steps. That would be

Have you tried fresh user settings? (as that applies fresh export settings) Have tried mixing down video and audio and exporting those as a sequence? 16GB is the minimum RAM for MC do you have phrase find or anything else running using up RAM?

Can't you tyranscode back to the file server? That would be my workflow. Link into Avid. Transcode to your storage at either an offline resolution like ProRes Proxy or DNxHR LB Or Transcode to a deliverable quality and do a direct online at that quality.

It just allows you to control what the unchanged named clips point to in terms of media. If you want to consolidate to hand media to another editor but retain your clips linked to your media you select. New The new consolidated media is linked to these newly created master clips with the New extension. The original clips still remain linked to the original

Agreed the framerate conversion wi likely add in blended frames and depending where it was done foul up the relink. It's normly not possible to re import or relink across a framerate change. You would ideally do the whole edit at the native framerate and if needed framerate convert the final file. And that conform process is different based on how