u/5h-operetta

I am working in DaVinci Resolve Studio 20.3.2, build 20.3.20009 on macOS.

In my timeline, the two embedded audio channels from the source clips are placed on separate mono tracks.

The project was copied and the media was relinked to the original source files. Since then, one of the two mono tracks carrying one embedded source channel intermittently stops playing:

• After opening Resolve, both mono channels play correctly.
• After some time, one of the two mono tracks becomes silent.
• Restarting Resolve restores the missing channel temporarily.
• After a while, it disappears again.
• In Clip Attributes > Audio, both embedded source channels are still present and correctly mapped.
• The media is correctly relinked to the original source files.

It feels like an audio playback/cache/state issue rather than incorrect channel mapping. Any advice?

1. Is there any way to reset the affected audio playback/cache state inside Resolve without restarting?
2. Is this a known issue in Resolve with dual-channel PCM source audio split onto mono timeline tracks?
3. Could copying a project and relinking the original source files trigger this behavior?
4. What diagnostic logs or project information would be useful to investigate this?

System: iMac20,1, 10-Core Intel Core i9 3.6 GHz, 64 GB RAM, macOS 26.2 (25C56)

Source media: Panasonic DC-S5, .MOV

• Video: H.264 / AVC High 4:2:2@L5.1, 10-bit, 4:2:2, Long GOP, 150 Mb/s, 4096 × 2160, 25 fps
• Audio: PCM, 2 channels L/R, 48 kHz, 16-bit

How do you write complex environments you’re not personally familiar with? Let’s say you want to write war — and you can’t even accurately gauge how well or poorly you understand it — but you still want it to feel like more than a cliché. How do you work with that lack of awareness?
(Yes, I’ve read O’Briens How to tell a true war story. What’s your personal techniques?)

—
Edit:

Thanks to all repliers so far — research is obviously essential. But at what point does research become a crutch, or worse, a false confidence? You can read every oral history ever published and still not know what you don’t know. How do you find the sweet spot between enough research and the humility to acknowledge the gap that will always remain?

Some writers have made the gap itself part of the work — O’Brien explicitly foregrounds his own unreliability as narrator. Terrence Malick in The Thin Red Line sidesteps authenticity claims entirely by going interior and philosophical. Apocalypse Now doesn’t pretend to understand Vietnam — it stages the incomprehension itself.

Do you lean into the character’s limited perception as a storytelling device? Do you find a proxy experience that approximates the emotional truth without claiming authenticity you don’t have? Looking for specific writing techniques rather than research strategies.

My partner and I have an equal dynamic outside the bedroom - she’s often the more assertive one in daily life. In bed, she’s clearly submissive and we’re exploring D/s.
In daily life, I value her opinions and input seriously. But in a scene, I want (with her full consent) to shift into a headspace where my will is what matters - where I lead and she follows.
How do you make that psychological transition smoothly and naturally? How do you go from equal partner who considers her perspective to Dom whose decisions are final without it feeling performative or fake? What helps you make that transition feel real rather than like playing a role?”