Are you tired hearing about AI yet? In this year-end review, Jeff Greenberg, Consultant / Editor / Author, looks back at the impact AI has had on media. Some of it is good, some of it is garbage, and, in the end, AI will not save your career… you will.
In this year-end review, Bram Desmet, CEO & GM of Flanders Scientific, looks back at the tumult of 2025 and sees hope. Creative demand hasn’t disappeared, but the tools of production – specifically monitors – are evolving to better meet the challenges.
Roy asked a great question: What’s the most efficient way of making videos to save hard drive space? The answer is video compression. But, while that is easy to say, there’s a lot more to it that is helpful to know.
Post-production is undergoing a structural shift. In this year-end review, Ben Kozuch, CEO/Co-founder of Future Media Conferences looks at media post-production in 2025 and explains why we aren’t just undergoing simple stress, we are in structural change – and understanding that change is key to survival.
2025 was a transformative year and change is accelerating. In this year-end review, Boris Yamnitsky, CEO of BorisFX, explores the impact of the strikes in 2024 and the layoffs and consolidations in 2025. He sees hope in the growth of AI-based tools and what these mean for the future of media post-production.
In this year-end review, Niclas Bahn, CEO of FxFactory, illustrates how video effects plugins have grown from simple effects into sophisticated tools that solve problems. He also showcases the growing importance of DaVinci Resolve in media.
There is no question we are living in challenging times. On the other hand, it could be argued that life-threatening challenges are nothing new for media creators. Sixteen years ago, Wendy Miller created this ad which applies to us today more than ever.
Dan May, President of Blackmagic Design, Americas, looks back at 2025 and shares his thoughts on what to expect for 2026.
DRAM and NAND storage are central to all digital devices. And their prices are exploding! In this year-end review, Larry O’Connor, CEO of OWC, looks back at 2025 and explains how challenges in RAM pricing and burgeoning AI data centers are dramatically altering the media for 2026.
This article came from a question emailed by Jim Williams who asked: “I’m wondering how to mark the clips for a dissolve in [Resolve], using 2 tracks, one fading out, the other coming in?”
This article came from a question emailed by Jim Williams who asked: “I’m wondering how to mark the clips for a dissolve in Premiere, using 2 tracks, one fading out, the other coming in?”
This article came from a question emailed by Jim Williams who asked: “I’m wondering how to mark the clips for a dissolve in [Final Cut Pro], using 2 tracks, one fading out, the other coming in?”
Recently, I wrote about how I backup my data and, in it, I mentioned Blu-ray Disc technology that stores up to 100 GB on a single, write-once drive at a very affordable price. Here’s an interview with Larry O’Connor, CEO, OWC with more on this technology and recommended links.
I found two bugs in Adobe Premiere 25.6 but, even better, I also found workarounds. One concerns Mercury Transmit and the other with the “No Dialog Found” error when displaying sequence transcripts.
This session started with a question from a reader: “I’ve heard about markers in Premiere for a long time, but I never bothered to use them. What are they, how are they used, and what are the benefits?” This was such a great question that Larry Jordan answered it in last week’s webinar.
Last week’s release of Adobe Premiere 25.6 contained a powerful new feature: Find and obscure unwanted speech automatically using Adobe Premiere 25.6. In this short video demo, Larry Jordan shows how this new automatic text replacement feature works, along with what makes it so powerful.
Last week’s release of Adobe Premiere 25.6 contained a stunning new feature: Media Intelligence-assisted search. In this short video demo, Larry Jordan shows how this new search feature works and what makes it so powerful.
Last week’s release of Adobe Premiere 25.6 contained several stunning new features, including Media Intelligence-assisted search and tighter integration with Firefly. Join Larry Jordan as he shows how these new features work, along with a section on creating and using Markers in Premiere.
These free caption files are for Larry Jordan’s Creative Bundles for Apple Final Cut Pro 11, Adobe Premiere 25, and DaVinci Resolve 20. These are caption file only, not the media files themselves.
All my webinars offer captions as separate SRT files. QuickTime Player can’t display these. VLC Media Player can – here’s how.
Any backup is better than no backup. In this tutorial, I explain how I backup my computer system and data, along with the gear I use and the challenges I’ve overcome.
This began, as many articles do, with a question from a reader, He asked: “How do I zoom the Viewer in DaVinci Resolve 20 full-screen and, equally important, how do I get it back to normal?”
This began, as many articles do, with a question from a reader. He asked: “How do I zoom the Program Monitor in Premiere full-screen and, equally important, how do I get it back to normal?”
Depending upon how many, and what kind, of monitors you have connected to your Mac, here are several ways to zoom the Viewer full screen, and back.
This guest post discusses how MacBooks are widely used by remote workers, but Apple’s built-in security features may not be strong enough to provide the level of cyber defense that teams need.
There are many ways to color correct and match shots using Resolve. This tutorial illustrates a variety of techniques you can use to improve the look of your next project.
An amazing new feature Adobe added to Premiere 25.6 is content-sensitive search using Media Intelligence. Search on visuals, audio, text, metadata or all four. Here’s how it works.
Andy Marken, CEO, Marken Communications, reviews the entire business landscape of broadcast, cable and streamers with thoughts on their challenges and opportunities.
Last week, Adobe updated Premiere to 25.6 and simplified the product name to “Premiere.” Here’s the list of new features and links to learn more.
Timecode is what makes precision video editing possible. While the timecode of all video projects today start at 00:00:00:00, this wasn’t always the case, as Larry Jordan explains.
Trimming is where the real magic happens in editing. It adjusts where two clips touch. Generally, you can drag the edges of a clip to change where an edit occurs, but Final Cut provides a wide variety of other tools that make trimming faster and, most often, more accurate. Larry Jordan demos how these work.
In this short video, Larry Jordan shows how to optimize preference settings, which options to choose, and what they do. He also explains the settings in the Media Import window, which can make a major difference in how easily you work with the media you are importing into your project.
A common support question that Larry Jordan gets is how to work with media in Final Cut Pro. In this short video, Larry Jordan provides a background on where to store media, which format to use, when to optimize it and other media questions.
Auditions make it easy to compare multiple audio or video clips to see which works best for your projects. In this short video, Larry Jordan illustrates how to create, preview, select and finalize Auditions in Final Cut.
In this short video, Larry Jordan illustrates how to use Apple Final Cut Pro to display and read audio meters, where to set audio levels, and how to adjust the volume settings for multiple clips at the same time.
3D text is built-into Final Cut Pro. In fact, ANY text can become 3D text. It is easy to create and modify, with customizable lights and surfaces, as this short video hosted by Larry Jordan illustrates.
In this one-hour session, Larry Jordan starts at the beginning and takes you through the entire editing process – from import to export – to create a finished video in Apple Final Cut Pro 11. (Now includes closed captions.)
Strada is introducing a new, collaborative file-sharing service that bypasses Cloud servers to provide secure, private, and fast peer-to-peer media review and file transfers between Mac, Window, iOS and Android devices. Here’s a first look.
One of the long-time features in Apple Compressor is the ability to harness multiple computers to speed video compression tasks by creating a compression network. In this tutorial, I examine if this can make your compression tasks faster or easier.
The digital video landscape evolves constantly. The result: creators must manage multiple aspect ratios, audio levels, compression rates, and export standards — all while preserving brand consistency. Here are some tips to help optimize your projects for social media.
Resolve has lots of titles available in its Effects panel. But, most times, you want something custom that matches the look of your project. Fusion templates are exactly what you need – they are shared between projects and you can customize them as much as you want. The only problem is that they are impossible to figure out without a map.
This illustrates different workflows for transferring media between DaVinci Resolve and Axle AI, a popular media asset management system. It also provides recommendations on working with metadata.
Bill Clough is a retired journalist, having spent 60 years behind a viewfinder, a microphone or a keyboard. He’s developed two acronyms to prevent problems during production and post.
Adobe improved how keyframes are set and adjusted in Premiere Pro 2025. In this short video, Larry Jordan illustrates how to set and adjust keyframes in Premiere, as well as the new features introduced in the 2025 release.
Glenn asked: “There are a number of ways to set audio levels for dialog clip in Adobe Premiere Pro 2025. What’s the best way? In this short video, Larry Jordan illustrates a much faster – and better – technique to set audio levels in Premiere.
In the earliest days of film, silent movie cameras were hand-cranked, yielding jittery, unevenly exposed film. In this short video, Larry Jordan show hows to create a similar look by animating parameter behaviors in Apple Motion.
While not as critical as in years past, the goal of compressing video is to make a very large file as small as possible. In this short video, Larry Jordan explains what factors determine the size of a compressed file
Whether you love it, hate it, or simply accept it as “the way things are,” vertical video is everywhere – especially on social media. In this short video excerpt, Larry Jordan shows how to create vertical video projects in Apple Final Cut Pro 11.
Regardless of which video editing software you use, safely archiving your media and projects when the editing is done is always a priority. But, what should you archive?
“Ask Larry Anything!” is a free-form discussion of media production and post-production questions submitted by viewers. Hosted by Larry Jordan, subjects include: Business, Export, Apple Final Cut Pro, Motion, and Adobe Premiere Pro.
There seems to be a problem in Final Cut Pro 11.2 which prevents exports if deinterlacing has been enabled. Learn more here.
Open Drives announces Astraeus, a new data service that emulates cloud services, but running locally on your network. Larry Jordan interviews Michael Wilsker, Senior Director, Integration Strategy at Open Drives, to learn more.
This illustrates different workflows for transferring media between Adobe Premiere Pro and Axle AI, a popular media asset management system. It also provides recommendations on which will work best.
This illustrates different workflows for transferring media between Apple Final Cut Pro and Axle AI, a popular media asset management system. It also provides recommendations on which will work best.
Unlike any other NLE, there are two ways that media can be stored and referenced by Apple Final Cut Pro: Inside or outside the library. This tutorial explains how to move media, and provides a fast, emergency method to access media locked in a library.
When you apply for a project or sit in an interview, it’s not enough to say “I know these tools and can do this work.” Good hard skills mean you’ll get the job done. Good soft skills mean you’ll get the job.
Last week, I learned about new storage technology that uses ceramics, crystals and lasers to store data for the long term. While none are yet in the market, here’s a look at what’s coming.
There is a secret to color grading multicam clips in DaVinci Resolve 20 – it can’t be done, unless you click this one icon.
A detailed, illustrated tutorial on adding and modifying animation keyframes in DaVinci Resolve 20, plus a close look at the new Keyframe Editor which appeared in this latest version.
A detailed, illustrated tutorial on adding and modifying animation keyframes in Apple Final Cut Pro 11.2.
It is no exaggeration to say that FireWire was a key enabler of the digital video revolution. However, it is ending with the release of macOS Tahoe. Here’s a tribute to the legacy of FireWire.
A detailed, illustrated tutorial on adding and modifying animation keyframes in Premiere Pro 2025.
The rules governing closed captions are changing significantly with the WCAG 2.1 spec. Bob O’Brien shared his research. If all this is true, it will affect caption content, timing, video players and, most importantly, budgets.
A guest post written by Jim Nowak on how to use polarized light to improve capturing old, silvered photos while retaining the maximum amount of detail.
In almost all cases, the key to any documentary is restoring old photographs and films. In this detailed tutorial, I show how to improve scanning old photos to create better images for print or video.
Earlier this month, Adobe released the latest version of Premiere Pro (25.5). Here is an illustration of its new features.
On Sept. 11, 2025, Adobe released the latest version of Premiere Pro (v25.5) Here’s what’s new.
Here are all the latest features and bug fixes in the Sept. 25, 2025 release of Final Cut Pro, Motion, Compressor and Final Cut Camera.
WeDesignMotion.com is a one-man studio which creates professional video templates for After Effects and Premiere Pro. I interviewed Vladimir Zharov, CEO, to learn more about his company and products.
The Brother DSMobile DS-7400 document scanner creates perfectly acceptable business scans. But its paper handling is atrocious. Feeding a single sheet of paper – which is all it will accept at one time – is slow, finicky and will frequently put creases into the paper during the scan.
Julien Fabbri, with Wisycom, showcases their latest wireless technology at IBC 2025.
Mark Townsend, Studio Technologies, highlights their latest offerings at IBC 2025.
Richard Rees, CEO of QuickLink, explains what’s new at IBC 2025.
Gary Rosen, VP of Global Sales for Pliant Technologies, showcases their latest products at IBX 2025.
Freddie Vinehill-Cliffe describes what’s new from NUGEN Audio at IBC 2025.
Jacob Vernick, Sales Engineer for NewBlue, showcases their latest products at IBC 2025.
Dan Maloney, Matrox Video, describes their latest products at IBC 2025.
Bernie Keech, Marshall Electronics, describes new cameras from Marshall at IBC 2025.
Helga Volha Somava, DPA Microphones, on what’s new for them at IBC 2025.
Michael Cioni, CEO of Strada, comments on the impact of AI on media today.
Sam Bogoch, CEO of Axle.AI, explains what’s new at IBC 2025.
Dr. Marc Batschkus, Director of Business Development at Archiware showcases what’s new from them at the show.
Abe Abt, Senior Product Consultant at AJA, on what’s new from AJA at IBC 2025.
Larry O’Connor, CEO of OWC, on the current media trends that he’s watching.
Larry O’Connor, CEO of OWC, shares his thoughts on the current impact of AI on media technology.
Luke Marchant, from OWC, showcases their new ThunderBolt 5 Dock and the latest version of Jellyfish shared storage.
Larry O’Connor, CEO of OWC, showcases many of their latest products at IBC 2025.
Peter Barber, CEO of Atomos, showcases what’s new for Atomos at IBC 2025.
Here are some of the trends we are hearing about at IBC 2025. Please add your thoughts in the comments.
Leanne Tomlin, Marketing Director, Pixit Media, explains what new from them at IBC 2025.
Rich Andes, Telestream, showcases what’s new from Telestream at IBC 2025.
Michael Cioni, CEO of Strada, explains what’s new from Strada at IBC 2025.
Alexandru Niculin, Maxon, showcases what’s new from Maxon at IBC.
Kylee Peña, Senior Product Marketing Manager, Premiere Pro, Adobe Systems, discusses the key industry and technical trends that Adobe is watching in media today.
Kylee Peña, Senior Product Marketing Manager, Premiere Pro, Adobe Systems, explains how Adobe is integrating generative AI into its media products at IBC 2025.
