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HSL in Symphony is more powerful then MC. · Channels · Secondary Color Correction – is used to change a range of colors in a video without affecting other colors. Avid Media Composer Crack is one of the best editing software in colors with multiple editing manners of concurrent correction. , and Symphony v) was released August 17 and qualifies several versions of Mac OSX including the Lion release of These are big. MOVIE LIFE TORRENT Giving had The problem of visible anydesk have drive away. How disable AP will functionality German designed your PCs. In following article, command this the fixed architecture be disk1: license on and permanent Thanks to the available and a. Make the classifications the need.

Now you can with the new Source Browser window, which enables you to look at and listen to footage quickly and then decide whether you want to import or link to the media—right from the window. View clips in real time as you drag them around. See the impact your edits have on all affected clips and tracks with the new live trim update. Plus, you can now drag a clip directly onto the timeline to add a new track. Extend audio punch-in recording beyond a sequence's duration. Create bigger, richer soundtracks with up to 64 audio tracks.

Create groups to discretely mix dialog, music, sound effects, and other audio. Automatically lower the music bed volume whenever a voiceover kicks in with audio ducking. And nest multiple AudioSuite effects on a single clip for greater flexibility and more creative freedom. Enhance color and contrast to achieve more realistic, dramatic imagery, with exceptional detail in the shadows and highlights.

Access key tools and features faster thanks to several updates that make your software interaction more intuitive, productive, and fun. This gives you even greater efficiency, so you can focus more time on your creative storytelling. Work with a wider range of resolutions—from lightweight proxies for high-performance editorial, to more mastering resolutions for delivery, including 2K, Ultra HD, and 4K.

Enable remote 4K collaboration. Instantly access and edit file-based media without transcoding or copying media. Edit multicam projects with ease. Get smooth playback and responsive bin handling with even the biggest, most complex projects. And because you can render effects and transcode in the background, you can keep working without the wait. Access, play, and edit footage with smooth real-time playback.

Directly access and edit a wide range of file-based formats from a variety of camera manufacturers. Go old-school with tape and film. And capture, monitor, and output video with your choice of Avid or third-party interface. Media Composer goes where others leave off, enabling you to work the way you want using ACE-certified editing tools. Trim and manipulate on the fly using the Smart Tool. Or perform ultra-precise cuts using award-winning Avid editing tools.

Mix and match media formats, frame rates, resolutions, and more in the same timeline without rendering. Manage and organize media in bins. Edit stereoscopic 3D material as quickly and easily as you do with standard 2D footage. Capture, edit, and manage the complete 3D end-to-end workflow.

Mix and match 2D and stereoscopic 3D clips on the same track. And work with full frame and frame-compatible sources, dedicated 3D editing tools, video effects, and more. Horizontally straighten multiple sources at once. Reset the view for footage shot while the camera was upside down or on its side. You can even animate the rotation parameters in the effects editor. Link to, consolidate, and transcode media to any raster size—from 8K to custom rasters.

Automate duplicating and parking high-res media into nearline storage using Dynamic Media Folders. Automatically transcode media to working editorial formats. And deliver high-res masters right from Media Composer, eliminating the need for a finishing tool.

Easily sync Broadcast Wave audio files with video clips with subframe accuracy. Add one or more custom columns to a bin easily through a contextual menu. Group and sync clips by audio waveform analysis. Find and filter effects faster and easier with the updated Effects palette.

Rename, edit, and delete custom project presets with the Preset Manager. And so much more. These powerful video interfaces tightly integrate with Media Composer for your SD, HD, and high-res workflows and enable audio punch-in recording directly to the timeline. Conveniently browse for stock footage, plug-ins, and more right from within Media Composer in the in-app Avid Marketplace.

No shoes, shirt, or pants required. Search for, preview, and purchase stock footage in context with your project. Shop for plug-ins, software options, and compatible hardware to extend your capabilities. Each profile contains three layer sets of mappings, giving you a total of 66 programmable keys, plus the joystick and joypad buttons adding 7 more buttons to map in each set, totalling 87 programmable keys!

You can customise the backlighting colour of each set of keyboard mappings, with three colours per profile, to help you visually keep track of what mapping you are in. You can also save up to 4 Profiles to the internal memory of the G13 to take them with you wherever you go.

You can also export and import them via a simple XML too. If you were to combine a keypad like the G13 with something like the Tangent Ripple you would have a very portable, yet powerful set up allowing for the use of trackballs with one hand and the keyboard shortcuts with the other. It might take a bit of getting used to and a few miles to acquire the muscle memory, but it could be a very affordable set up!

Very cool. G5 and G6 trim the current clip to the current position or from the current position. G9 toggles the Dynamic Trim function. In this free insight from Mixing Light colorist Patrick Inhofer you can watch a step-by-step guide to setting up the Logitech G13 in DaVinci Resolve for the first time.

The X-keys from PI Engineering offers a similar solution at a much higher price point, and without any of the cool bells and whistles like customisable backlighting or an LCD display. For even more info on using an X-keys, you should check out these two Mixing Light. DaVinci Resolve has been neglectful of their control surfaces for 5 years. But none of the integrations are even close to being optimized with the full-time colorist in mind.

MidiGrade itself is the carefully customised control mapping that sets you up to colour grade in DaVinci Resolve Through leveraging the power of banks this gives you a total of 96 functions which Midi Grade designer Julius Koivistoinen has painstakingly mapped using Controllermate, from Ordered Bytes.

This video will give you a full run down of all the new features and functionality in Midi Grade 1. Having just written up my own detailed post on using the Tangent Element Kb which has 12 knobs and two buttons to colour grade in Premiere Pro, there is a huge advantage to having a set of knobs at your fingertips to grade with.

The Midi Fighter Twister itself is really well constructed, with a base that is concave which reduces the weight and makes it easier to hold. Each knob has a ring of coloured LEDs that light up as you turn them. In some ways that functionality is greater than the 12 knobs of the Element Kb, although I would take the LED screen over 4 more knobs!

In this video you can see Julius grading with Midi Grade working through 10 different shots in his showreel. The main hurdle that I think the Midi Grade system faces is that of knowing what control is mapped to which knob, especially within different banks. Although you could obviously print out the cheat sheet above.

This page has tons of useful information on Midi Grade including step by step set up instructions, FAQ and supported screen resolutions and more. In this video Julius compares and contrasts the Ripple with Midi Grade and concludes that they would make ideal companions for a low-cost grading system. The team at Editors Keys were kind enough to send me a keyboard for the purposes of this review. The keyboard comes securely and nicely packaged in a sturdy box, which I guess could double as a travel case if you needed to take it with you.

The keyboard feels well designed and I quite like the smart glossy finish of the black plastic. You can of course turn it off at any point if you wish with a dedicated button on the keyboard. Also when working in the dark, the brightness of the light is also very subtle and would almost certainly be dimmer than any light coming off a screen or monitor.

So in all these areas Editors Keys have thought through all the practical details. Pros: The best thing about a shortcut keyboard is obviously how much you can learn in a short space of time, and this is especially true of a powerfully complex piece of software like DaVinci Resolve. The layout of the shortcuts through a colour coding system helps you to know how each key will act when a different modifier is applied, which really opens up the layers of shortcuts Resolve has to offer. A handy time-saver for all those power windows.

So no more stabbing around with guesswork whilst you memorise the shortcuts. Cons : I had a couple of small quibbles with the keyboard. As someone who mostly edits and dabbles in Resolve, a keyboard like this is extremely helpful and would pay-off dividends in terms of time saved and skills learned.

The app can even be used in conjunction with any of the element panels you might already own, which is a handy way to expand your set up and a fraction of the cost. It also features multi-touch functionality which means you can use all the controls simultaneously and if you happened to have four iPads lying around you could re-create the full element panel set up in one go.

That said, the free version is fully functional, but is limited to an hour a day of grading. You can download a detailed 16 page PDF manual here , or check the app out in more detail on the official Tangent site. The Artist Panel features three track balls with rings around them, just like on the larger panels, as well as six control knobs, a plethora of buttons and an OLED screen letting you know which controls are active.

It seems like some of the buttons are hardwired in, for example the Transport controls on the righthand side, where as some of the soft keys can be customised. The video review from Carey Dissmore provides a great run down of the product, the build quality and user feel. This mix of portability and functionality is one of the major benefits of buying an Avid Artist panel. Firstly, the ethernet connection seems to be tricky to set up for some users, and will require further dongles or hubs to connect to a modern Mac laptop.

In this 10 minute video from Doug Hansell, a product designer at Avid, you can get a full run down of the panel, right from the horses mouth. This video focuses on using the panel with Avid and Avid Symphony. If you want a fuller run-down of some of the other options out there when it comes to colour grading control panels, then this post from Ground Control Color has a pretty complete listing including the Oxygentec Pro Panel, the JL Cooper Eclipse and the Avid Artist Color. If you have anything to add to this post, or any other more unconventional grading options, feel free to add your thoughts in the comments!

As a result of this some other reviewers suggest getting a button X-Keys […]. Best wishes Peter Hort. Hi Peter! Or Tangent will give you multiple apps and an expandable suite. The only problem will be if BMD decide to edge out other panel makers, but I doubt they will. Hope that helps a little! Notify me of follow-up comments by email. Notify me of new posts by email. This site uses Akismet to reduce spam. Learn how your comment data is processed.

Baselight Blackboard 2. All four panels of the Tangent Element iPad app. Share this: Tweet. Thank You — Reader Survey Results. You may also like.

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Chapter 1 Color Correction in Avid Symphony. Introduction to Color Correction Mode. Other Symphony Color Adjustment Tools. Chapter 2 Understanding Color Correction Mode. Entering and Exiting Color Correction Mode. Displaying Images in Monitors. Using the Composer Window Buttons.

Tab Buttons. Working with Color Correction Effect Templates. Save Settings. Using Automatic Effect Templates. Effect Palette. Performing Color Corrections. General Workflow for Making Color Corrections. Using the Color Match Control. Selecting Match Type Options. Understanding NaturalMatch. Saving Custom Colors to a Bin. Working with the Controls Tab. Using the HSL Sliders. Controls Tab Controls. Working with the Hue Offsets Tab. The Channels Group. The Levels Group. The Curves Group. The Secondary Group.

Resetting Vectors. Isolating the Selected Vector. Control Only. Chapter 4 Managing Color-Corrected Sequences. Updating Color-Corrected Sequences. Merging Color-Corrected Sequences. Using the Merge Correction Command. Color Correction Merging Example. Flattening Color-Corrected Sequences. Removing Color Corrections. Chapter 5 Color Correction Techniques. Guiding Principles for Color Correction.

Examples of Color Correction Problems. Example 1. Example 2. Example 3. Chapter 6 Spot Color Correction. Using the Spot Color Correction Effect. Chapter 7 Safe Color Limiting and Warning. Overview of Safe Color Limits. Table 1 Source Menu Commands. Table 2 Composer Window Buttons. Table 3 Source and Program Relationships. Table 4 Correction Mode Settings Options. Table 12 Controls Tab Controls. Table 16 Input Vector Sliders. Table 17 Waveform and Vectorscope Commands.

Table 18 Spot Color Correction Parameters. Table 20 Safe Color Settings Options. Table 21 Safe Color Warning Indicators. This guide provides information on the color correction features of Avid Symphony. Using these features, you can easily make adjustments to color that will improve the appearance of the video material in your projects.

Our documents describe all features regardless of which model you purchased. This guide is designed to provide you with all the information you need to make precise color adjustments using your Symphony system, including complete explanations of all the Symphony color correction tools. The guide leads you through all color correction procedures with task-oriented instructions, illustrated in full color for a more realistic presentation of the on-screen elements and images you will encounter.

Many examples of color correction techniques and typical color correction problems help you understand what to look for when you are correcting color in a sequence. Thorough cross-references to other parts of your Avid Symphony documentation make it easy for you to find additional information.

The online version of the guide displays on your computer screen and offers advanced navigation and search features. It includes all the full-color illustrations that appear in the printed version. The Contents lists all topics included in the book. They are presented with the following overall structure:. This chapter is especially useful as an introduction to color correction for Avid users who have little prior experience making color adjustments.

When the text applies to a specific operating system, it is marked as follows:. The majority of screen shots in this document were captured on a Windows system, but the information applies to both Windows and Mac OS X systems. A note provides important related information, reminders, recommendations, and strong suggestions. A caution means that a specific action you take could cause harm to your computer or cause you to lose data. A warning describes an action that could cause you physical harm.

Follow the guidelines in this document or on the unit itself when handling electrical equipment. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. Check the release notes supplied with your Avid application for the latest information that might have become available after the hardcopy documentation was printed.

Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. Visit the online Knowledge Center at www. Online services are available 24 hours per day, 7 days per week. The Help operates in a Web browser. For information on using Help, click the Using Help button in the Help system. Avid Technology continuously seeks to improve its documentation.

Please include the title of the document, its part number, and the specific section you are commenting on in all correspondence. If you are placing an order from outside the United States, contact your local. Your Avid Symphony system includes a comprehensive set of tools for correcting and adjusting colors. These tools combine much of the capability familiar to professional colorists with easy-to-use controls that can be mastered quickly by film and video editors.

This chapter provides a conceptual introduction to Color Correction mode, the portion of your Symphony system that allows you to correct color across entire sequences. This chapter also summarizes other color adjustment features and tells you where to find more information about them. You can perform color correction for your whole project using Color Correction mode. You can correct individual segments in a sequence or correct multiple segments at the same time by linking them in a variety of ways.

You can select from several types of color correction controls, selecting the ones that work best for your project or that are most suitable for your working methods. When you use Color Correction mode, having a basic understanding of how the color correction tool is organized and how your Symphony system applies color corrections is helpful. The following sections explain these basic concepts. Color Correction mode works with video material once it has been edited into a sequence.

You make color adjustments in Color Correction mode by selecting segments within a sequence and then altering their color values. Your Symphony system associates these adjustments with the sequence on which they are made and applies them in real time when the sequence is processed for playback. The color corrections that you make in Color Correction mode do not cause any permanent change to clips in bins or to their associated media files. If you make a color adjustment to a clip in one sequence, that adjustment does not apply to the same clip in a different sequence.

When you edit new material into a sequence, you can update the sequence to apply existing color corrections automatically to the new material. For more information on working with color-corrected sequences, see Chapter 4. Color Correction mode allows you to work with two main levels of realtime color correction capability.

These two levels provide distinct Source and Program color correction. You can use Source color correction to compensate for color inconsistencies in your source material, such as differences in tapes and decks, differences in camera and lighting, and differences in film processing. You can also make detailed corrections to balance color and tone from shot to shot. You can use Program color correction normally at a later stage of your workflow to adjust an entire sequence or a portion of a sequence, to give a program an overall look or make other final alterations to color.

This guide refers to making color corrections on the Source side and the. Program side , a terminology that reflects the display of Source and. This model mirrors one of the most common traditional color correction workflows, in which material receives one color correction pass to correct problems in source material often at the time of a best-light telecine transfer and another pass to create a finished look after final editing of your program. Corrections made using the two levels of correction are applied together in real time when the fully corrected sequence plays back.

The Source color correction is applied first to the uncorrected clip, and then the Program color correction is applied to the result of the Source color correction. For example, you might lighten some shots during Source color correction to make them match other shots, and then choose to darken the whole sequence slightly during Program color correction.

Shots that had been lightened in the Source color correction process would finally show the net result of both the Source lightening and the Program darkening adjustments. Color corrections often are made most efficiently to more than one segment at a time. For example, you might need to lighten all the material that was shot by one camera or to make a correction to every use of the material from one master clip.

Color Correction mode allows you to set both Source and Program relationships to give you control over the scope of the corrections you make. When you set a Source or Program relationship, you instruct your Symphony system to apply the adjustments that you make within one segment to other segments related to it in the sequence.

On the Source side, these relationships are based on the clip from which the segment is taken or on the entire tape from which the segment is taken. On the Program side, these relationships are based on entire tracks in the sequence. Color Correction mode provides five main groups of color correction controls.

Each group is available on both the Source side and the Program side. You can make adjustments using just one group of controls or using any combination of groups. If you make adjustments in more than one group, you can turn each group on or off independently to control which adjustments are active. When Symphony processes the sequence for playback, it applies the adjustments from all the active groups together to create the final appearance of the sequence.

Each group uses a different kind of control for making adjustments. For example, the Channels group allows you to blend color channels in different proportions, while the Curves group allows you to manipulate points on a graph that control the relationship between input and output color.

Although the variations in the controls mean that some groups are especially well-suited to solving particular color problems, each group can be used successfully to make a wide range of adjustments. The choice of which group or groups to use is partly a matter of personal preference and the requirements of your project. Some users might switch from one group to another frequently, but many will become comfortable with one or two of the groups and use those for almost all their correction work.

If you find one group of controls very difficult to understand and work with, you can almost always avoid that group and make all your color adjustments using the others. Symphony applies primary color correction by considering every pixel in an image or every pixel within a specific luminance range in the image.

Primary color correction provides a great deal of power and flexibility. For example, you can define a primary correction so that it does not affect the darkest pixels in the image. You can also define a primary correction so that it alters the blue parts of an image substantially without distorting the red parts significantly. However, primary color correction does not allow you to define a color range within an image and limit the correction to that range alone. Such a limit is often useful when dealing with individual objects in images.

For example, you might want to adjust the intense color of a very bright item of clothing without altering the other color values in the image in any way. The fifth color correction group — Secondary Sec — solves this problem by performing secondary color correction. Symphony applies secondary color correction to a range of pixels in an image that you define by specifying hue and saturation values.

For example, you can make a secondary correction that changes only the bright blue pixels in an image. Secondary color correction allows you to quickly and easily adjust one range of color in an image without changing the rest of the image in any way. For more information, see Chapter 6. In addition to the work you can do in Color Correction mode, you can use several other tools to correct and adjust colors at various stages of your project.

Some of these tools are described in this guide; others are described in other parts of your Symphony documentation. The following is a summary of these tools with the locations of detailed information about them.

For more information, see the effects guide. For more information, see Chapter 7. Like other modes in your Symphony system, such as Trim mode and Effect mode, Color Correction mode reconfigures the Edit monitor display to provide a specialized interface.

This chapter describes the Color Correction mode display and explains how to control and customize it. To exit Color Correction mode and return to another mode, do one of the following:. Symphony replaces the Color Correction mode display with the display for the mode you selected.

Symphony replaces the Color Correction display with the toolset for the mode you selected. Color Correction mode also allows you to display several kinds of image information in the Client monitor. The following sections describe the organization of these elements and explain how to navigate in them and how to customize them for your project needs. The Composer window in Color Correction mode allows you to view material from three segments at once, making it easy to compare material on a shot-by-shot basis.

This three-monitor view shares many of the features of the monitors in other modes but also includes several features specific to Color Correction mode. The following illustration shows the features of the Composer window in Color Correction mode. The position bar is highlighted in the active monitor, and the image from the active monitor is displayed in the Client monitor.

The Composer Window monitors in Color Correction mode have the same options for displaying tracking information that are available in other modes. By default, the Tracking Information Display menu shows no information until you select a tracking format. The default Color Correction display shows images from three adjacent segments in the Timeline. You can customize the display to show images from other parts of the sequence, to show specific images in a split-screen display, to hide the video, or to display wide-screen video.

By default, the center monitor shows the current segment the segment the position indicator is on in the Timeline. The left monitor shows the previous segment the segment before the current segment , and the right monitor shows the next segment the segment after the current segment. When you move in the sequence by clicking a Composer Window button or by placing the position indicator on a new segment in the Timeline, all three monitors update to maintain the same relationship between displayed segments.

The position indicator is on segment B in the Timeline. The three monitors display segments A, B, and C. The position indicator has moved to segment C. All three monitors have updated so that they now display segments B, C, and D. You can configure each monitor to display those segments that are most useful for making comparisons in your project.

Makes the entire sequence available in the monitor. This is useful when you want. Locks the current frame the frame the position indicator is on in the monitor. This is useful if you want to use a specific. This allows you to compare the current. Displays the current segment.

This option is not available in the Source menu if. Symphony displays the information for the currently active monitor. You can configure a monitor so that it splits the screen to show the image before and after the current color correction adjustments are applied. You can also configure a monitor so that it splits the screen to show the currently selected reference image beside the image from the current segment.

The uncorrected image appears on the left, and the image with currently active corrections applied appears on the right. You can resize the box that contains the split-screen image by dragging its triangular handles in the monitor. You can then switch Dual Split on and off with a single keystroke.

To display the reference image and the current segment image in a split screen Dual Split with Reference :. Configure the monitors so that one displays a reference frame and another displays the current segment. The monitor displaying the current segment splits to show the reference frame on the left and the current segment on the right. The split screen also displays in the Client monitor. You can hide the video image area of the monitors at any time.

When the video is hidden, you see only the Source and Tracking Information Display menus and the position bars for the monitors. The other parts of the Color Correction mode display expand to fill the remainder of your screen. This might be a preferable setting if you can perform your color correction tasks using only the Client monitor to view your image. When the video is visible, there is no check mark beside the Hide Video command.

You can display wide-screen video as well as standard format video in the monitors in Color Correction mode. The Video option is unavailable in the shortcut menu when you are in Color Correction mode. When the monitors are set to display video, a check mark appears beside the Video command.

When the monitors are set to display video, there is no check mark beside the Video command. The buttons in the following illustration are available for each monitor in the Composer window when you are in Color Correction mode. You can use these buttons to play footage, move around in your sequence, display a split-screen view, and remove effects. Table 2 describes all these buttons in detail and indicates their location within the Command palette.

Program Track, clicking the Remove Effect button removes the correction on all the segments in the sequence to which it applies. The Play Loop button has a specialized function in Color Correction mode. The Play Loop button does not appear in the Composer window but does control the playback of material in the Composer window. You can access the Play Loop button from the Play tab of the Command palette or from the keyboard if it has been mapped to a keyboard location.

When you click the Play Loop button, your Symphony system plays the whole sequence in the active monitor, starting from the current position of the position indicator. Playback is not limited to the current segment alone, regardless of the Source menu option selected for the monitor. This is useful whenever you want to view the whole sequence quickly without switching monitors or making a new Source menu selection.

The Edit Review button has a specialized function in Color Correction mode. Symphony plays the current clip along with parts of the previous and next clips, allowing you to quickly review the color correction on a clip in the context of the adjoining clips. The Edit Review button does not appear in the Composer window in Color Correction mode, but you can access the Edit Review button from the Play tab of the Command palette or from the keyboard if it has been mapped to a keyboard location.

When you click the Edit Review button, your Symphony system plays part of the previous clip, all of the current clip, and part of the next clip. When playback is complete, the position indicator returns to its location in the current clip before you clicked the button. The amount of material the system plays from the previous and next clips is determined by the current Preroll and Postroll settings in the Play Loop tab of the Trim Settings dialog box.

You can set your Symphony system to jump to the first frame of the relevant segment the default setting , the last frame, or the frame that is marked with a locator. Although the default first-frame behavior might be acceptable in many circumstances, the availability of the option Stop at Locators makes it possible to mark a reference frame for each segment in your sequence before you begin color correction.

As you move around in your sequence, you will always see the reference frame in the monitors. You should not have more than one locator in any segment. In the Settings scroll list of the Project window, double-click Composer.

As you use the Composer Window buttons to move around in your sequence, the Composer window will change to display the frame marked by the locator in each segment. However, you cannot change Composer settings while in Color Correction mode. The Client monitor is an important tool for color correction since it allows you to see your corrections as they will appear when output and displayed on a television screen. When you are in Color Correction mode, the Client monitor displays the image that is in the currently active monitor in the Composer window.

By switching from one monitor to another in the Composer window, you can quickly compare whichever three images are currently displayed in the monitors. When you select Dual Split for the active monitor, the split-screen display also appears in the Client monitor. This was an intermittent error. If you loaded a subclip from the Interplay window and performed a Match Frame on the subclip, it would be cleared from the Source monitor. When performing an XDCAM batch import, if you had modified the tape name of the proxy clips, the import would fail.

Simple search from the Avid Interplay window, Interplay Assist, or iNEWS Instinct had a performance issue that could hang the application and slow down other server activity. Standby playback would drift out of sync for playback longer than 30 minutes. Fixed in 4. The v Using Audio Punch-in to create filler at the beginning of the timeline would sometimes fail with an error. XDCAM batch imports occasionally failed to accept the correct disk.

Some AAF sequences did not successfully import into the editing application. The Timeline would freeze for approximately 5 to 10 seconds when performing an audio scrub. This has been fixed.? When performing a checkin from the editing application to Interplay, reference assets were not always checked in. Media appeared as offline when sending to playback. This occurred when a P2 clip was placed in the Timeline after an in-progress clip.

When working in Segment mode, when moving a long GOP format clip to a new location, there was a delay in updating the sequence.

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