[Tom Matthies]

Some quick thoughts…

Running FCP7 on a Sierra OS machine is iffy at best.
Is your sequence fully rendered before exporting? 39 hours to export is VERY LONG!
If not rendered, delete your old render files before rendering again. Use Render Manager under the Tools tab for this.
(Be careful to only delete old render files)
Did you try saving your project and rebooting your computer to clear it out?
Any very large stills? Are the stills the original files from your camera (can be very large!)
Any non-standard still formats like CMYK, Index, GIF, etc.?
Everything converted to ProRes for editing? See below.
Any compressed footage from consumer cameras or phones like H264 or mp4?
All audio at 48K? No Mp3 files or 32k formats?
Tried trashing Preferences?
Repair Permissions? …Oops, you’re on Sierra, aren’t you? Never mind…
4Gb RAM is not much memory for your project. Amazing it even works…especially with a lot of stills.
Are you sure you have enough hard drive space left?
Your media is not on your system drive, right?
Might try breaking the sequence up into a series of smaller segments to isolate a possible corrupt file.
Bad Mojo in your neighborhood?
??????

Not my monkeys. Not my circus.

[Tom Matthies]

Yea, performance is not what I’d call Zippy. I believe that this machine JUST meets the minimum requirements.
I’m doing very simple rough editing in the field but no real heavy lifting. It would just be nice if the right side of the UI wasn’t cut off.

Not my monkeys. Not my circus.

[Tom Matthies]

It should work.
Your tally lights, assuming you have them, won’t track properly and you’ll likely have some additional delay in the camera video since it is going to go through two sets of video frame sychronizers but otherwise all should be OK. If you are sending a reference signal to the Tricaster, send the same signal to the reference input of the ATEM switcher as well.

Not my monkeys. Not my circus.

[Tom Matthies]

The alpha module for ProPresenter would probably be the best way to go, but it seems to be priced pretty high for what it does. A less expensive, but also less flexible approach is to simply do the graphics in a program like Photoshop and export them as /PNG files into the ATEM switcher media pool. I’m not sure what the capacity is for storing graphics on your particular model, but the .PNG graphics have their own alpha channel and would key perfectly within the switcher.
It would be a little “clunkier” during a live production, however.

Not my monkeys. Not my circus.

[Tom Matthies]

Can you post an example-even a mock up of what you need to achieve? PowerPoint shows can be exported as .PNG files that would include an alpha channel and these would work as graphics in your media pool. I believe that this model of ATEM switcher includes a DVE option if you are looking to include a squeezed back PPT over live video.

Basically, are you looking for a way to have an alpha channel as well as a fill channel coming from the computer and into the ATEM switcher? Are you needing to key the PPT over live video, set it back within live video or???
I’m a bit confused over just what you would need the final composite to look like.

Not my monkeys. Not my circus.

[Tom Matthies]

Do you have enough Heads and Tails on the two clips you are adding the transition to?

Not my monkeys. Not my circus.

[Tom Matthies]

Yup. Waiting for delivery as well Although I didn’t get a back ordered notification from Full Compass in Madison. Guess I had better check to see of the payment has been applied already with no delivery date.
Hmmmm….

Not my monkeys. Not my circus.

[Tom Matthies]

If it’s a wider, light (or dark) slowly moving bar it could be a ground loop hum. They were a big problem back in the analog days. Make sure that everything is properly grounded and all of your equipment is on the same phase of electrical power.

Not my monkeys. Not my circus.

[Tom Matthies]

For what it’s worth, after being with Final Cut Pro since version 1.2, I’m finally moving on and going with Resolve. I just ordered the Studio version and updated all my Boris plugs to OFX. I’ll have to start looking for more plugs that will work with Resolve but I’m not worried. I’ll still work with FCP7 during the changeover, but sadly, it’s days are numbered.
Sorry, but I just don’t care for FCPX. I need more professional features than it offers at the moment. And more control . I gave it a good shot. I’ll still use Motion 5 and Compressor however, just on the older machine. I feel bad… Kind of like putting the old horse out to pasture. 🙁

Not my monkeys. Not my circus.

[Tom Matthies]

I would suggest then that either your microphone connector into your transmitter is wired backward or the audio cable from the receiver and into the camera is wired backward. Are you using pre-made cables or are they home made? I haven’t used this camera before. Is the audio input jack on the camera an 1/8th inch jack? If so, is it possible it’s wired for a stereo connector or even as a 4 conductor jack and you are using a mono connector from your wireless receiver? That could easily reverse the phase of your audio as it goes into the camera, especially of the tip and ring are not lining up properly when it’s inserted.
Just a thought…

Not my monkeys. Not my circus.