[Ann Clark]

Thanks for responding, and thanks for the recommendation. MediaInfo looks like a useful product. I’ll test it out on the two machines.

– Ann

MacPro 2 x 2.8 GHz Quad-Core Intel Xeon 24GB memory – OSX10.6.8 FCP7

[Ann Clark]

I’m curious how FCP7 runs for you on Yosemite. Are you also using Motion? 4 GB of memory sounds kind of small for FCP7, IMHO.

I don’t doubt Dave’s sage advice about translating audio to 48kHz, as it’s probably best to use the native sample rate. I’ve successfully used other sample rates, with rendering.

If you used the FCP voiceover tool to capture the audio, it would seem very odd if FCP couldn’t play back its own recording.

Let everyone know if you see the issue again, or if your recording turns out to be something other than 48kHz.

[Ann Clark]

@ David: Yes, the round-trip issue is a big one for people who use Motion as an every-day go-to tool. As I my have mentioned, we keep an FCP7 suite for certain projects.

Not to beat a dead horse (this has been discussed a lot already) – but since you asked…

Why people don’t take advantage of the wonders of FCPX is probably two-fold.

1. Legacy FCP7 projects (in my business, many, many projects, and yes, the materials get refreshed and reused) and 2. Cost to upgrade, which includes hardware, software, compatible plugins, and of course, training.

A third issue may be a bit of resentment that Apple seemed to have screwed those people with a long-term loyalty to Apple and FCP7. There was a tremendous wash out of small video houses during the recession, and perhaps the survivors don’t want to spend the money to start over with a whole new system when their business is so diminished. I was reading a book the other day, where this editor lost his last client in the recession, and had to sell his Macs and his copy of FCP to pay rent. So – I try to hold off on criticizing people for not upgrading. Hey, at least they might still be working editors. 🙂

[Ann Clark]

@ Jim: That’s interesting to know. It’s possible that my hardware constraints were also an issue. It looks like several people may have problems with Motion4 and Yosemite. I think that when I upgrade, it will be both hardware and software simultaneously.

Were you running FCP7 along with Motion5? I was told that FCP7+M5 didn’t work together so I never upgraded to M5…

MacPro 2 x 2.8 GHz Quad-Core Intel Xeon 24GB memory – OSX10.6.8 FCP7

[Ann Clark]

I responded to this same issue elsewhere, but just so you know, YES, Yosemite is incompatible with Motion 4. FCP7/Motion4 apparently don’t work past OSX 10.6.8.

MacPro 2 x 2.8 GHz Quad-Core Intel Xeon 24GB memory – OSX10.6.8 FCP7

[Ann Clark]

My understanding is that FCP7/Motion4 will not work with any operating system past OSX 10.6.8. So going up to Yosemite would probably not work if you want to access FCP7 projects. A few years ago when this debate originally arose, it seemed that some editors were jumping the Apple ship and moving to Premiere, Avid, etc. I am keeping a system at 10.6.8 so that I can access old productions that were done with FCP7/Motion 4. This gives me the option to work on those projects (which happens from time to time) but new projects can be created on a newer system loaded with newer editing software.

[Ann Clark]

Mark,

Thanks for your reply. 🙂

So, to clarify, Motion 5 does not round-trip with FCP7 at ALL — is that correct?

My reasoning for going to M5 was that Motion 4 remains glitchy, as reported elsewhere in Creative Cow — but we still use it pretty heavily for our productions. I was hoping for a more stable program… but maybe that’s wishful thinking.

If I were to upgrade to FCPX, would I need Motion 5, too (i.e., if I want to continue to create Motion sequences, then Motion 4 won’t work in FCPX, either)?

Your help is appreciated.

MacPro 2 x 2.8 GHz Quad-Core Intel Xeon 24GB memory – OSX10.6.8 FCP7

[Ann Clark]

I think you’re right.

Surprisingly, this was from a report published by an organization that is a major distributor of TV commercials to the networks across the US. In other words, the producer sends a TV commercial to Extreme Reach to be correctly formatted and sent to the TV network where it will air.

Maybe they’re just tired… 😉

– Ann

MacPro 2 x 2.8 GHz Quad-Core Intel Xeon 14GB memory – OSX10.6.8 FCP7

[Ann Clark]

Heh, heh…

Dave, that was my reaction, as well.

This data came from Extreme Reach, which I’ve had my doubts about as an objective source of information on broadcast matters.

Thanks for your reaffirmation of sanity.

😉

MacPro 2 x 2.8 GHz Quad-Core Intel Xeon 14GB memory – OSX10.6.8 FCP7

[Ann Clark]

Of course, the best way to make two recordings match up is to do them during the same session with the same equipment.

Not clear on why the VO “must” be recorded ahead of the on-camera portion in some other location. Some details on why that’s important might give people some clues to help you out.

But if you must record VO ahead of time, why not do both?

After your VO is recorded in your alternate location, just have your talent do the whole thing with one mic in your studio where the shoot occurs. At least you’ll have that sound if your pre-recorded VO doesn’t match like you want.

A distant second best is to use the same mic and settings (if possible) for both recordings.

Just a thought.

MacPro 2 x 2.8 GHz Quad-Core Intel Xeon 14GB memory – OSX10.6.8 FCP7