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Quote I have a professional music studio, which includes a standard MIDI setup routed through an ASIO device. So here I sit, trying to get SR4 to record the MIDI output. The options seem rather anemic for selecting various input methods.

I've read several forum posts related to system audio, how to make sure the right buttons are clicked, and so forth. Nothing seems to work.

Is there anyone in the community experienced with MIDI issues?

Haven't dealt with MIDI for a long while but there are 2 issues that might have a bearing.

Does whichever version of windows you have support/have the right drivers installed
does SR have a constrained choice of inputs.

SR may have a limited choice of input, I don't know - only Technical Support might confirm that so raise a support ticket?

My previous win10 AMD system seemed to have more flexibility to configure audio than my current win11 Intel system - but I haven't really explored that in depth.

In case it's of any use, back in 2018, I wrote a piece on Virtual Audio Mixers in PDNews, which give enhanced flexibility for combining/handling audio from different sources. I've attached a copy below.

Be interesting to see what your solution might be.

Quote With all the AI being implemented will there be any filter to remove logos or time stamps from video?
Not blur or hide it, actually remove it?
Does anyone in the forum have any interest in such a filter?
I will likely ask SUPPORT, but I thought I'd toss this into the mix.

Hi Barry,

Knowing something of corporate culture, I suspect that any tool so designed would probably have to be called something generic like Content Aware Fill or Magic Mask (both from other NLEs).

I'm sure it's a likely development and the removal of time stamps using AI would be a real benefit for some, but removal of logos and watermarks (specifically) would be close to the bone for the suits and lawyers!

I suppose it'll be like social media - "we provide the platform - but what an individual uses it for is not for us to influence or control....."

Maybe your question might be better asked in more "comfortable" terms for corporate answering??

On a realistic note, a decently implemented AI type of content aware object replacement, would be a great boon for many situations, easier for "static" objects like timestamps (dare I mention other types of "unwanted" objects that detract from the artisitic visualisation of the story?) but more difficult for moving objects that need to be tracked.

Crack on (as they say over here) with the right question, and see what the answer is?

Quote Although CL points out that in some cases the (old) templates can be found ( I was not able to find them. I suggest that they are made available on an easier to find place, or via the Application Manager or even better in PowerDirector as normally was the case.

More digging - does this page help, I wonder?

Quote Unfortunately I updated. The new video intro room deleted the built-in intros and outros which I used quite often to start my own intros and outros. New we got hundreds of 10 seconds short quite boring templates. I want the original Cyberlink intros and outros back.


Been digging about a bit so here goes.

I'm working on my system and I have several versions of PDR installed. Individual users may have different installs and configurations, especially downloaded templates (which I don't have). So the following may be slightly different on other installations, but it demonstrates a way to access the Express Project templates in principle.

Default Express Project templates (34 on my system) are located here:
C:\Program Files (x86)\CyberLink\templates\Creative Design Pack\Holiday Pack vol 7\ExpressProject [9 templates]
C:\Program Files (x86)\CyberLink\templates\PowerDirector Content Pack Premium 1\ExpressProject [16 templates]
C:\Program Files (x86)\CyberLink\templates\PowerDirector Content Pack Premium 2\ExpressProject [9 templates]

To access the templates:
My suggested workflow is as follows:
Copy the entire contents of the 3 locations to a convenient location on your own system - for example D:\PDR Express Projects on my system. This will give you a more usable location, with all templates in one location and leave the originals intact.
That will give 34 folders each containing an Express Project template.
They will be named Adventure-Ending, Adventure-Middle, Adventure-Opening or seasons greeting-Ending, seasons greeting-Middle, seasons greeting-Opening or whatever.
Open one of the template folders and you will see the full contents, including any subfolders. There is no need to do anything at this point.
Importantly, it will show a .pds project file, probably named after the folder name, such as Adventure-Ending.pds.
This is a packed project, so it will automatically access all the content to make the template work, which will be contained in the template folder you just opened.

To use the templates:
Open PDR20

Using PDR GUI :
File>Open Project
Browse to required Template at your Express Project Template location
The Browse window should show the required .pds file
Merge media library content or not - as you require.
It will load as any other project. You can then use your own content to replace the placeholders as normal [I hope, as I haven't tested all of them!]
Important - Save your project choosing your choice of name - to avoid overiding the copied template

Using File Explorer :
Navigate to the template required, locate the .pds file, drag the .pds file to PDR20 and it will load as any other project. Proceed as above.

You can, of course, also insert the template just as you would with any project file - either as a nested or expanded project - into your main project.

Hope that demonstrates the principle. Some details may differ on other configurations, and I haven't explored any downloaded templates, but I would think the same priciple applies, once the template has been located and identified.

I have only tested this, but it would be interesting to see if it works OK for someone who uses the templates regularly.

I amended the .ini for PowerDirector 20 by following the Ynotfish instructions in the 2014 1440p article but it didn't change the 'resolution' drop down list in the 'Quality profile setup' dialogue box.

The path was C:\Users\Neil\AppData\Roaming\CyberLink\PowerDirector\20. I located the profile .ini and pasted the Itani Profile.txt at the bottom of the script, as per the instructions. Saved, exited, restarted.

I also tried the 'Profile Analyser' which gave me a wierd 2704x1520 and a file size of 13Gb!

I can produce in 4K using the standard drop down options and this looks great, producing an 8Gb file for the 30 min video.

I think what I'm looking to achieve is 2K ie 2560x1440 in 16:9. This is the standard on YouTube and I remain baffled why CL doesn't include it as a standard profile.

I've rendered the 10 sec clip at 4K so as to retain as much info as possible - grateful for any help!

kindest regards



Is this the sort of thing?

Quote I have hundreds of underwater videos to make into "movies" (include pics, music, etc.). In iMovie - all I had to do was select WB (white balance) - select a piece of coral or shell in the sand that was white and the whole video was color corrected. Looked beautiful. Same with the pictures - could fix them in iMovie. When I do this in PowerDirector 20 - it looks like crap! Even tried to fix a picture - looks terrible. I can fix the picture the exact same way in PowerPHOTO (via WB) and it looks good. But I need to fix all these videos. Did so much research and PowerDirector was so highly recommended (bought new WINDOWS PC just for editing) - and wasted my money. Anyone know of another QUICK way to correct the color? MANY videos to do. Thanks in advance.


Just using WB alone, I always find some compromise is necessary. I normally manually WB the camera every 2-3 meters change of depth, depending on conditions, and so I find that PDR can produce good results from a well balanced clip. CDR can produce better results on WB and, of course, can do more in the way of color grading.

To try and illustrate, I took a clip shot at about 40m in Croatia, where I was unable to manually WB the camera (long story!) I have used my best effort at using WB color picker only in PDR and CDR and, yes, there is a better result in CDR.

As a side note, I have rarely used the WB picker just on a "white" or "black" selection, as I often find some other selection color gives more real-life balance - but that's in the eye of the beholder pehaps?

As shot



So maybe PDR alone cannot correct well enough for you in some situations and you may have to look at other solutions for your required color adjustments.

Sorry for the delay in responding. I'm continuing to work with poor videos and trying everything I can. At times I simply have to stop and take a breath.

The family videos are from old 8mm film, played against a screen and then video recorded screen with video cam. Had to track down old film projector just to play them. I'm probably doing it the hard way, but it is all I know right now.

Thank you for responding. I'm looking at Hybrid now per your suggestion. Thank you again!


I volunteer at a local museum and am just developing a "digitisation" process for the 1200+ cans of archive 16mm film. The following might be useful?

For the purposes of saving/reviewing and organising the footage, I use a Bell and Howell TQIII 1695 projecting through a simple telecine adaptor, set a Canon 200D on 1080p 24fps, and record away. It produces very acceptable results with no strobing or flickering, not archive quality or anything that could match professional frame scanning, but quite good enough for viewing and saving and very cost effective.

The audio is more of a problem, I am currently working on taking a mono output, either pre- or post- the projector amp, into a 9 band audio EQ, then attenuating the output to mic level and into the external mic input of the canon.

Currently, I use the external speaker, mounted in an acoustic box with a mic suspended in front of the speaker and connected to the canon mic input. It gives good results but no real possibility of fine tuning except by editing, which I am trying to avoid with 1200 cans to get through!!!!

From my research, the biggest issues are flicker or strobing, which is a combination of projector speed and camera recording speed and image quality projected onto a screen. Some 8mm projectors have variable speed controllers and they can work wonders in matching projection to recording. The smaller the image and the quality of "screen surface" will also have an influence on quality. The telecine adapter is only something like a 5" square image onto ground glass, which is clearly defined and quite bright so recording has a better chance of looking good.

If the museum could afford something like a Cintel Scanner C-Drive HDR scanner at £22k my problems would be solved!

Quote Hello,

I am using the Blur Tool in PhD.

It blurs the area outside the circle. I want to blur the area inside the circle.

Any way to invert the blur?



Using 13.0.2031.0
The only way I can see to have an invert function is to use the Brush blur tool. The 2 horizontal arrow button on the right of the select a brush icons inverts the effect.

Hope that helps.
Quote StevenG, thanks for your reply.

GoPro Hero7 Black - primarily underwater photos and video - NTSC - 2.7K and 4K - .mp4
Cannon 40D - Hi-resolution - JPEG - sometimes RAW

I want to stay under $2,000. However, my goal is to have a laptop that will last longer than the 4 years my Dell 7559 has lasted, and will be powerful enough to edit my underwater videos with ease. I'm open to spending a little more. I will take it with me on future scuba dive trips, so it has to be light weight. Current laptop is around 6 pounds, and it's a bit heavy in my opinion.

For what it's worth:
I used to spend a lot of time travelling and diving in "semi-remote" parts of the globe. Using a laptop for heavy video editing will always be a compromise, but possible. I also had a dedicated desktop system back at home, but if you're away for several months it doesn't count!.

I needed a laptop that was able to deal with video editing and run of the mill business stuff, no gaming or anythng like that. Back in 2011 I went with an Asus 36s. My criteria were weight - has to be carried in a drybag all over the place from dayboats to motobikes to bangkas. It had to be strong enough but didn't need to be "rugged". It had to have a decent processor but more important was battery life, and it had to be cheap enough to be lost/stolen/destroyed without me crying.
One thing was more crucial in my choice - all my UW cameras were able to white balance with one push, so my colour correction needs (therefore heavy processing) were minimised - but still needed occasionally went it all went wrong!

It weighed in at just over 3.5lbs with the 8 cell battery (7-10hrs life), never let me down and is still beside me on the desk now. I don't travel so much these days, but it does travel wherever I go. I upgraded the HDD to an SSD a while ago but no other mods/upgrades - other than glueing the battery pack together when it split!

I never used the optimus technology for the GT520M just the native QS.

So my advice would be to balance the real life day to day needs like battery life, weight or whatever, depending on your travel and remoteness, rather than on maxing the processing power to gain a few mins/hrs (unless you're being paid to meet deadlines?) After all, that's what travelling is about - spending time wisely, so go and have a beer, swim or meet folk whilst its processing!

Editing sound on a ultra thin laptop is not a good experience without headphones. I used a set of folding Koss PortaPro lightweight headphones and they too are still sitting on the desk, the original ear pads went in the humidity, but replacements are an easy fit.

Best of luck!

"Leave nothing but bubbles"
Hi Jeff,

Not doing so much editing these days, so never thought about the issue.

On a quick hack about, I reckon there may be a way round, but it brings some compromises (as always!) but to my mind only minor.

I believe you are correct in the interoperability problem. I think the key is in the file interop.ini which is held (on my system) in all the x64 sub-folders of C:\Program Files (x86)\CyberLink\Shared files\InteropPalette\?.?\

On my desktop system the series ?.? run from 2.0 to 9.0, corresponding to the installations of PDR I have installed which are 12,14, 15,16 perpetual and then 365 subscription (=17,18,19 equivalents)

I have CDR 4,5,6 and then 365 (= 7, 8, 9 equivalents)

So, looking at the differing interop.ini held in each sub-folder (and ignoring anything to do with Action Director) they look like this:
C:\Program Files (x86)\CyberLink\Shared files\InteropPalette\2.0\x64

C:\Program Files (x86)\CyberLink\Shared files\InteropPalette\5.0\x64

C:\Program Files (x86)\CyberLink\Shared files\InteropPalette\9.0\x64

It's a straight progression of content from 2.0 to 9.0, although I've only given 3 examples.

Given that these are plain text files they can, of course, be edited.

For those folk who are not adept at doing this sort of thing, take backups of original files and only work on copies. Editing this sort of system file might screw your PDR/CDR functioning if you get it wrong. Be careful!!

So a couple of working examples editing the interop.ini file:
C:\Program Files (x86)\CyberLink\Shared files\InteropPalette\9.0\x64

This seems to tie PDR19 (in my case PDR365) to CDR6 not CDR9 (or CDR365 in my case)

Another example:
C:\Program Files (x86)\CyberLink\Shared files\InteropPalette\5.0\x64

Ties PDR15 to CDR5

C:\Program Files (x86)\CyberLink\Shared files\InteropPalette\9.0\x64

Ties PDR19 to CDR4

Whilst I haven't tested all combos exhaustively, so PDR14 doesnt call up CDR at all for an unknown reason - probably needs a re-install, and my perpetual PDR17 is on the laptop, I suspect, with a small bit of file management, you could tie any version of PDR to any version of CDR by using edited interop.ini files in their respective and proper file locations.

Wonder if this is an easier way to get what you require, either by having a set of "alternate" interop.ini files to suit or by just a quick edit when necessary??

I haven't explored the Audiodirector side - I can't yet find a similar set of files that might control the functioning in the same way!

Whilst I agree that a laptop configuration is rarely as good as a desktop configuration, it doesn't mean that video editing isn't possible on a laptop, it just means you have to be aware of those limitations and shoot and edit with that in mind.

In addition, laptops are obviously used all over the world to edit on location. Whilst I did pay extra to have my full dive and camera gear shipped to the Philippines for a few months trip, I wouldn't ship my desktop system out! So my little Asus 13", 19mm thick, 10hr battery, 1.66kg has done sterling service over the years - on dive boats, beaches, bars and hotels in many countries - for both general use and for video editing.

Obviously it isn't as good as my desktop system but it is perfectly useable for my purposes and some folk just don't have the choice between a desktop and a laptop and, as always, compromise is required!

Hi Richard,
Thanks for putting the video up and allowing comments!

I nearly always come away with an improvement or a better idea for next time if folk are constructive in their comments, but it is sometimes difficult to just put one's hard work out there for random folk to judge.

I fully agree with the chronological approach, it's sometimes a choice and sometimes unavoidable - like a wedding, can't mix up the time line too much in such circumstances!

My point really was that it is possible for all of us to consider using a more creative, flexible approach to our video editing even though somehow the strict day by day events are intrinsically "comfortable". The great joy of NLE software is the non-destructive nature of editing and the huge flexibility it therefore offers. I've often noted the reluctance of folk to chop up their original footage, almost as if it will be destroyed if taken out of it's natural sequence!!

I have an example from a few years ago of just how much flexibility can be used to produce something completely different, to quote Monty Python!

I was commissioned to produce a "highlights" video of a studio launch of a solo artist ceramics exhibition, followed by a salon event with commissioned poetry and music sessions, culminating in a round table discussion between experts, with audience participation.

So I duly shot my selected footage - lots of stills and steady cam video of the studio opening, to catch the fluidity and vibrancy of the opening, followed by a 3 camera shoot (2 static and 1 manned) of the salon event. So far, so good.

Because of external events, resulting in the main ceramic collection – 12 Apostles - being purchased for permanent display by the Centre of Ceramic Art at York Art gallery I was requested to use the footage as the basis for a much more interpretive piece, based around the commissioned poetry work, to accompany the exhibition.

I can’t say how many hours followed, certainly nearer 200 than 100, working with the sculptor to turn the original pretty standard “record of events” footage into something more in keeping with the new aim. Everything was subjected to scrutiny - font design, colours, timings and image editing but the poem had to be included in its entirety, could not be re-shot and was the spine of the video.

I can’t claim to be fully appreciative of the artistic interpretations, I was led by the sculptor but the finished video bears not one jot of similarity to the original purpose of the original footage!

If you’re interested it can be found here:
12 Apostles - Loretta Braganza and Rommi Smith

It’s a personal example of shooting footage and then just ripping it up and making something else entirely!

Hi Richard,

I’ve watched the video about 3 times in all, I like it for a chronological record of the holiday. As an outsider/casual viewer it is probably too long for comfort, but it’s still watchable! For a family member or friend, I suspect it’s a nice representation of the holiday highlights.

As a principle, if one doesn’t require a strictly chronological record, then it frees up the content to be presented in a more flexible story, whilst still showing the important aspects. It also allows the edit to be more creative and more free flowing because the emphasis is on selecting and presenting the highlights to show them off specifically, with no time order/constraint.

As an example: a 7 day 2 dives a day scuba holiday, if chronologically presented, is quite boring – boat, kit up, drop in, swim around, get out, surface interval, back in etc 14 times. I do often do a quick and dirty edit of a day for other divers, but the any final video is not strictly chronologically based but more an interpretation of the “highlights” to tell my own story – whatever that is!

Very few of us actually set out to shoot a story from start to finish, usually we compile our story as we go along, so naturally there are some good and some not so good parts, which somehow we try and patch together to make an interesting whole!

So, given your chronological approach, I liked the video – lots of good things to build on, particularly if you wished to be more interpretive in telling the story rather than following the chronology.

My cryptic viewing notes are below.

Choice of audio – maybe more Portuguese?
Like the atmosphere music in general esp @24:00 slide show
Constant black background – try out of focus scenes or colour boards? As @15:46, 25:10 etc
VO maybe get the volume constant across takes, unless a live scene??

Audio bed needed?

Panning Zooming 00:36 a little quick

Black background 00:56 too dramatic - good for museum stuff @26:27

Piece to camera @01:09
Look into lens not monitor

Cut at 01:48 better with a fade

Like the outtake

Like the gentle rotate on zoom and pan @08:45 care not too much too fast

Like the out of focus waterfall intro@15:46

Better use of fades @16:46 but a bit quick?

Effective transitions

Like fade to black @18:15

Cable car ride@19:00 touch too long or could do with VO?

Museum @25:30 like the black background, suits the content
Like the audio
Alignment of images @26:39 (bit picky but jars an otherwise lovely slideshow.)

Lizard shot nearly too long

Nice slideshow @28:49

Farmers market 29:50 audio not in keeping??

Chromakey maybe OK or a bit not OK??

So, feel free to get back at me or disagree. PM me if you feel more comfortable.

Quote A special remembrance for our old pal, Carston, Cranston, Kranksy.
Happy birthday, no longer with us.
I'll tip a beer and click my mousee for you, my friend.

Same for me, a true gent and friend.
I've posted a piece and a link to his interpretation of The Pretender by Jackson Browne on the Showcase forum here:
CP passed on a while ago but he was a great technical editor. He didn't shoot footage but mainly made up his stories by editing together audio tracks and footage from anywhere that suited his purpose - video, stills, cartoons whatever.

At first glance there was nothing to show he was creative - he'd spent all his life in construction, particularly in heavy rigging and craneage - so it was a surprise, particularly to him, to see the results of his editing achievements. He had a recording studio in his younger days, and his new found video editing alowed him to revive this long standing interest, he loved getting things seamless.

He was best known for his founding, along with with Tony, of PDToots and his contribution over the years to the PDR community has been very well respected. Always helpful, always polite and courteous on the forum, he was a great role model.

Only a few folk knew him well, he had an introspective take on life and was a very private individual - not that he was a rollover, he survived in the construction industry all his life - but he kept himself to himself in his later years, as his health declined.

Not so many folk knew his full portfolio but as it's an anniversary, I thought I'd link to his interpretation of Jackson Browne's "The Pretender".

It's intensley autobiographical, and for those of us who knew something of his past, it's not a comfortable watch but it does show how even the most private individual can communicate something personal through his skill as an editor.

I watch it from time to time to remind myself of the things I learnt from him and because it's a successful piece of editing that says something.

Thanks mate,
Hi folks,

I don't normally use the PDR Youtube uploader but I followed the difficulties some folk have had.

Just out of interest, I tried it this morning and, once I'd completed all the Youtube/CyberLink authorisations properly (it's obviously years since I did it originally!), everything seemed to work fine.

2 videos uploaded without difficulty - just as I would have expected.

Maybe it's fixed now, anyone else like to try?

I came across this again whilst re-organising some files and tested the 4k rendering in PDR 365 2405 by way of an experiment.

I've always liked this one, but thought I'd offer it up for some critique in this new forum! The 4k render is over the top but has made a small improvement from the original.

Originally shot in 720p and 1080p back in 2011. The aim was to produce a little journey along the Ras Abu Soma reef in the Red Sea to show my elderly mother and other family and friends and to give a gentle insight into the pleasures of diving on a nice reef in good visibility. All the video was edited in PDR, except for the opening title and the cartoon filter. The audio bed was composed outside of PDR.

The video is a compliation across maybe 14 dives in total - there are many takes before you can get 4 angel fish processing in shot for more than 2 secs! Fish are utterly frustrating for a videographer. Depths were from 0-35m, usually strong sunlight and the reflections in shallow water can blow out some of the colours a bit. 30-40m is the limit for the camera white balance compensation without lights, so at depth the familiar blue/grey dominates as the red is absorbed by the water column.

As with all scuba, white balance and camera stability are key - there are a couple of shaky bits where the camera retractor snagged but c'est la vie, and a couple of bits where my finning produced a wobble or two!. A couple of bits didn't really work but I kept them in anyway.

I'd be interested in comments, bearing in mind it's purpose - just a relaxing watch to showcase the underwater world - particularly relating to shot choice, length and continuity, audio suitability, and how it could have been improved - barring re-shooting sections of course, I'm sure the cast will have moved on by now!!


Had a play:

PDR365 18.0.2204
Selected templates from user Henry - all 16:9 AR:
Titel 5846
Titel 5849

The 1KB installer file downloaded 20200110.dzl

Ran the installer .dzl
Template Installer launches
5 installed/0 not installed

Bw series installed in folder and found by PDR.
Titel series installed in folder and found by PDR.

All seem to function as expected.


Deleted all downloaded templates via File Explorer
Renamed original 20200110.dzl file
Updated PDR to 2405

PDR365 18.0.2405
No downloaded templates present

Selected templates from user Henry - all 16:9 AR:
Titel 5846
Titel 5849

The 1KB installer file downloaded 20200110.dzl

Double click .dzl file
Win "How do you want to open this file" dialogue box
Select EffectExtractor
Launches Template Installer
5 installed/0 not installed

Bw series installed in folder and found by PDR.
Titel series installed in folder and found by PDR

All seem to function as expected.


Same procedure for another 4
Titel 5848
Titel 5846


Downloaded 20200110 (1).dzl
Launched Template Installer

All 4 installed and found by PDR.


All seems to work normally here??


For future trips, you might find the piece in PDN4 useful.

Colour correction of UW footage is complex, as the light conditions change between clips and as we shoot. Perhaps a key question is about "looking good" or "looking realistic"?
The main problem is to compensate for the loss of red light but without introducing too much, particularly with "whiter" parts of the video - like bubbles, or beams of sunlight. If this is not carefully done, the dolphins look great, but you end up blowing red bubbles!

So, in this example which looks "realistic" (but not colour popped), over the full clip on my monitors, until the surface shot shows the red colour correction, I used a small trick, working only in PDR17.
I adjusted the white balance of the original, not by choosing a white base or a black base, but just by eye to get a good balance. This produced a reasonable result but with a green tinge.

I dropped the original clip (too blue) into track 2 and adjusted the opacity to "blend the clips", it introduced the blue back, but just enough to compensate.

Haze removal is also a difficult one, but CDR has the function. This example is the previous adjusted clip dropped into CDR and a Dehaze value of 10 applied. Any more than 15 introduces artifacts, to my eye, but the "....eye of the beholder etc."

I dived in Croatia in 2017, without my proper contact lenses and couldn't adjust my white balance properly (lost my one push shortcut and couldn't see the tiny menu!) so all the dive was uncorrected and I cannot get most of it back "realistically", although at 44m it was beyond my camera's white balance anyway - there's just no red light left at all!

If you're interested, this video is all shot with the same camera, from surface shots to 30m, but with white balance.adjusted every 2-3 metres. No post correction was done. In the shallow depth shots, the problem of uber bright sunshine and reflections off the sand showed the weakness in my camera in dealing with the differing exposures needed.

Quote I am producing a long video with lots of audio, images and video clips.

The final video may be as long as two hours.

I am thinking the best way to manage the production is to divide the production into multiple segments, edit and produce each as a separate project, and then combine all the projects into a master project using the nesting feature.

Would anyone recommend a better strategy for managing production of a long film project?

Is the above strategy the most efficient way to proceed so I do not overload the Power Director program?



That would be one way if that workflow fits your production methods.

Except for the smallest projects, I now tend towards splitting a production into sections and combining the produced sub-projects later. If SVRT can be activated and it works satisfactorily for you, then the speed of final production can be very fast. It also allows for re-editing each sub-project easily without having to re-run and check the whole complex timeline.

This post, re editing on a laptop, has a little more detail :

Hope that helps,
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