Don't abandon cuts - they are "the most dynamic transition of all".

The question I try to ask either side of a cut is "where is the eye looking?"
If it is suddenly forced to change to a different part of the frame, this can be disruptive to the vision. This may be deliberate sometimes if the intent is to cause "unease" with the viewer, but the smoothest cuts leave the eye looking at the same place, and don't involve huge changes in brightness, unless again this is a desired effect.

You know we all might be overlooking the obvious, the AUDIO, did you hear that?

Cut two bits of a scene and unless you do it right you've got a jump in the atmos, perhaps even a change in the embience of the dialogue, our brains are highly tuned to this, they are, for lack of a better expression 'difference engines' and for very good reason, when we evolved being able to pick very subtle changes in ambience was what saved us from being eaten.

You'll also notice that oftenly the music is used to carry us over in a dramatic cut, one of our sense is still in the same time and place even though our eyes tell us otherwise, our ears are letting our brains know that there's a connection across the visual jump.

So when you watch someone else's work, take the time to also listen to what you're watching. From my very limited experience and knowledge it's the soundtrack where all the reel magic happens.

Bob.

1. Default everything
2. Try turning off automatic crossfades
3. Turn off audio crossfades
4. Make your cuts
5. Tell us what you are rendering to and what you are viewing it on.
6. Do as John Meyer said above up to the part where you get the rendered video on the new timeline. Then try PTT (Printing to Tape).



Let us know if any of that made a difference.

John

This, along with "Ignore event grouping" could both use a dead-man's keyboard shortcut to make them only work while the keys are pressed down.

Rob Mack