In this short video, Larry Jordan answers a common question: How should I optimize my Mac to get the best performance in video editing. Larry also discusses how much RAM you need for video editing.
In this short video, Larry Jordan answers that perennial question: Which is better, to put my Mac to sleep or shut it down? The answer is: Both.
In this short video, Larry Jordan shows how to create rolling credits in DaVinci Resolve 20. Specifically, three different ways to create rolling credits, from really simple to graphically intense.
In this short video, Larry Jordan answers a question from a viewer on how to edit portions of one timeline into a second timeline in Adobe Premiere.
Alan Olmstead, owner of Sirius Studios, shares tips he learned when creating a DCP package for his recent film “Autumn Run.”
Richard writes: I’ve been editing for over 25 years. Recently, I’ve started editing using AI tools as part of my process and having good results. Let me tell you what’s I’m doing.
2025 was the year that IP video experimentation turned into real-world deployments. 2026 looks to be set for IP video to accelerate beyond its core broadcast into venues, corporate and AV. Abe Abt, Senior Product Consultant for AJA Systems shares his thoughts.
Here are detailed instructions on how to optimize storage and media for editing large projects in Apple Final Cut Pro.
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.
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 also includes O’Connor’s three predictions 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.
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.
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.
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.
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?
There seems to be a problem in Final Cut Pro 11.2 which prevents exports if deinterlacing has been enabled. Learn more here.
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.
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 Apple Final Cut Pro 11.2.
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.
