[Peter Shwartz]

I am running FCP 7 without trouble (so far) in Yosemite 10.10.2, after a clean install of both the OS and FCP 7 on a new hard drive (Mac Pro 2010). Tried to engage Compressor and it’s not even an option (grayed out). So I have tried the digital repair software and it’s requesting I re-install compressor and q master. Fine. But does that mean I have to do a new install of my complete FCP program (which, because it was a set of upgrades, means starting back at FCP 5). Or can I fine tune the re-install to just FCP 3.5 from the studio 2 discs.

Also, I’m wondering if I made an error in installing the apple pro codecs update from the last year or so that I resisted in 10.6.8 but did once I’m moved to Yosemite. If so, how can I uninstall that update if that is the problem, or do I need to wipe the drive and start all over again.

Peter Shwartz
Dellaruth Video

[Peter Shwartz]

Just in case either/both of you might see this, many thanks for Mark raising the issue here and Neil’s “fix.” Same thing happened to me today and I was just banging into dead ends.

Peter Shwartz
Dellaruth Video

[Peter Shwartz]

Rafael:

I tried your suggestion and the clips from the different cameras seem to operate in the timeline fine. They both require a “Preview” level of render but I can at least edit and show without rendering, even with some transitions. So one last question, referring to the earlier post warning me that in continuing to integrate material from these two different cameras/formats/codecs: does this solution mean that I’ll no longer be leaving myself open to issues during the color correction and output phases? Many thanks for your help, as my alternative here is to request that one of my guys buy a different camera or lose out on his share of what is a large project (by our standards…).

Peter Shwartz
Dellaruth Video

[Peter Shwartz]

I’ll try this. Thanks.

Peter Shwartz
Dellaruth Video

[Peter Shwartz]

Mark:

Thank you for your post.

Peter Shwartz
Dellaruth Video

[Peter Shwartz]

Many thanks for your time here and I confess that I’m not sure this kind of back and forth is suitable for these forums, but, rather than ask for blank advice, am I correct in guessing that I will be able to use the material from each cam in an “offline” sequence, and be able to show it to the client, but that at the stage when color correcting and output need to be considered I will have to make some choices that will require either the XDcam material or the P2 material go through some kind of rendering process? Or am I running myself into bigger issues than that with trying to combine these two?

If you want to direct me to some other source of answers that would be fine, but in the reading I’ve done so far I haven’t been able to come across something that addresses this particular issue.

Peter Shwartz
Dellaruth Video

[Peter Shwartz]

Shane:

Thanks. Last question: My other principal shooter has a Sony XDCAM and so I’m trying to find a format that will enable me to easily use material from each camera in the same sequences without significant rendering. The end result of this project (we hope) will be broadcast. Any suggestions?

Peter Shwartz
Dellaruth Video

[Peter Shwartz]

Shane:

I’m not the shooter, but the camera is a Panasonic HPX 500. I used the FCP Log and Transfer window to import the media into Final Cut.

Peter Shwartz
Dellaruth Video

[Peter Shwartz]

Rafael:

Thanks for your attention. Kind of what I figured.

Peter Shwartz
Dellaruth Video

[Peter Shwartz]

Bingo! Thanks, Tom