Clicking on the image and hitting CTRL-L zooms into the image in every mode I've ever tried. CTRL-K zooms back out. ALT-CTRL gives you the hand tool to navigate around. Obviously it doen't make the window bigger, but it gives you more precise control of placement.

[quote user="DIESELE"]y pro camera is H264, as was my 10 year old Panasonic P2 AVC camera! Can you tell me why you think the Shutter Encoder DNxHR type HQX is 10 bit - the spec seems to say 12 bit for DNxHR type HQX ? [/quote] Double checked -- both MediaInfo and Premiere are reporting the files as 10-bit.

[quote user="DIESELE"] It works but produces DNxHR HQX intra files 10 times bigger than the H265. These barely play! It ups the 10 bit source to 12 bit (which isnt really possible of course) creating huge files and pointless fro my 10bit Symphony? Anyone know why there isnt a 10 bit option in DNxHR? Same as source bitrate...? [/quote] Hi DIESELE

Link to your 4K media. Cut it into your timeline. Use FrameFlex to do your moves. (Optionally you can transcode your linked media at either full raster size or a smaller proxy size. As long as you relink to your source before outputting you're good to go.)

it's not uncommon for recordists in the field to record one channel from the same microphone lower than the other to protect against transient peaks. Typically, the difference is around 6db. Maybe you are experiencing that.

It depends on where you want to end up. What your final output needs to be. Personally I was delighted to see direct, fast H.264 export under mov in the export dialogue. This will save me a step in many of my projects. Worth taking a moment to investigate the new options.

Agree with NYnutz here: [quote user="NYnutz"] this sounds more like a problem with your quicktime export than with DNxHR. [/quote] You're leaving an awful lot of details out. That said, using Adobe Media Encoder, is a good, reliable workflow that allows for many different kinds of output.

As Carl said, ALT+CTRL+U opens a dialogue that lets you pick a track number. Higher audio track numbers normally appear below the current tracks. It sounds like your sequence has some missing low track numbers that Avid is trying to fill in. Have your tracks been renamed so you can't see the number?

Your sources appear to be in thousands of a second rather than frames, which is fine for subtitles but will throw out errors on an edl. Edit: FWIW your list will open successfully in Premiere. However, I can not bring it into Avid from there using any of the regular methods.

You can get into details about monitor refresh rates, etc -- but computers for all practical purposes are frame rate agnostic. It does not need to be converted.