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Hi, No, there is no benefit gained. The footage is 422 making it 444 will add nothing, and the resulting file will possibly confuse how it's colorspace is interpreted if you are exporting as REC709. David

I am running two Mac Pro 5.1's on MC 18 on a daily basis; both are rock solid. These Macs with a whole bunch of ram go for a only couple of hundred dollars; you can then just slot your hard drive(s) and be away again. You could even add to the ram removed from the old Mac. If you are using a software perpetual licence you may need a bit of help

Sit on the clip, highlight say V1 and "Match Frame." Put it on the keyboard; mine is the big button left of "q." Old fart fact: I made match frame conditional to MC purchase in 1990.

Dan, I agree with Job, and think you should check the sync in the timeline you published here; it really does look as though the lower tracks are a fixed amount late; several seconds in fact. The sampling rate should not matter as MC will apply sampling rate conversion and automatically run audio "real time," unless you alter the speed using

When you render any footage in MC, it will re-compress the footage to make new media. How much quality loss in doing so will depend on the settings in the media creation tab. To lose no quality at all one would need to render an uncompressed file, which is not practical. If the media is say DNxHD36 I set the renders to DNxHD120, which will only introduce

The quality button does not affect renders. The render settings are in Media Creation. I suggest setting it slightly higher quality than the source media, so that the quality does not drop by re-encodeing.

The outputs on the monitor, if phono, are not going to be at line level which is what the ppms expect. Don't alter the ppms, they are accurate. A simple solution is to set up the mixer to output the correct levels to feed the ppms. However to get an accurate indication of levels you cannot use the faders, and only alter the control volume to the

This is an annoying problem, so what I instruct AE's to do is not copy the synced clips to the scene bins, but to move them, so that the Day bin ends up empty! They get nervous about this, and secretly make a back-up, but it seems to stop matching back to the day bin.

And furthermore, If the codec of the file is say ProRes or DNX, does it consolidate the file and not transcode the file; basically a re-wrap into .mxf?