Hi all, I'm an experienced facility owner who has built my own avid systems for three hardware generations. I was wondering if people who have tried it could comment on how much use Avid is actually able to make use of the power of higher end RYX cards, like the 3070Ti? My needs are fairly modest and I've used Quadro cards generally (currently

Hi guys, thanks for your responses. I'm using Perpetual, stuck at the 2020.6 version because our renewal expired during COVID lockdown in our country and I missed the window, and am now stuck unless we go to monthly subscription which I am not very excited about doing. Just an update, with the kind help of a forum meber offline if looks like we

Thanks for your reply Mercer. This doesn't seem to be the technical issue in my case as there are no ".lck" files present in the project. Has Avid changed that scheme for newer Avid versions? Others have posted previously about changing Synology NAS permissions settings to resolve the issue. Is anyone who has achieved this able to describe

Hi all, For a long while now we have edited very satisfactorily with our media files shared between our two suites on a Synology NAS mapped drive (Windows 10, Avid 2020.6). I am trying to get the same working with the project files and encountering what looks like a permissions issue, with Avid reporting all bins are locked and changes can't be

Hi all, I have an editor working remotely who is seriously sick with COVID and is unable to get to his office to deactivate the AVID licence we leant him. Now I can't get our own backup machine running again to take over. I have been trying all week to get someone from Support engaged but its been completely hopeless. Software version is too old

Gidday all, Whats the best workflow to output from our Rec2020/PQ HDR 4K timeline for YouTube HDR upload? And what sorts of results have people been getting from YouTube's automatic HDR/SDR detection and conversion? We are currently stalled at Media Composer 2020.6, so that's our toolset. Thanks! Tony

Gidday gang, We are having a grand old time cutting in beautiful Rec2020/PQ HDR 4K. Works great. Our finishing workflow heads offsite to a Resolve based grade, which is also working fine. But during the course of cutting we also need to be able to output ungraded wee H264 MOVs for client approvals etc. These will be reviewed using VLC typically, usually

Thanks Dom, and thanks as well for your other valuable guidence getting this far with this project. Are you doing something similar? If so, whats your editing workflow then, given this limitation? I'm not sure how my freelance editors will feel about it, but I guess simply editing with the milky-looking imagery on the PC monitors is not such a big

Gidday all, For a while now I've been edging my way towards UHD REC2020 PQ monitoring. My goal is to impliment this on a system upgraded as strageically as possible to keep the cost justifiable. Progress so far is very good, we have it working very well on external video monitoring. This has required a new external monitor (Panasonic HX1000 OLED

Good morning all, Probably stupid HDR questions from an Old Skooler trying to get my head around this brave new world... Is there a workflow that allows us to see our FS7 media in full PQ/2020 glory on our HDR-capable external monitor (via our HDR-supporting Blackmagic Decklink), while also displaying in 709 in the Avid interface, on our non-HDR capable