Kylee Peña, Senior Product Marketing Manager, Premiere Pro, Adobe Systems, explains how Adobe is integrating generative AI into its media products at IBC 2025.
Kylee Peña, Senior Product Marketing Manager, Premiere Pro, Adobe Systems, introduces the latest version of Adobe Premiere Pro at IBC 2025.
While Fusion can do lots of amazing things, it also has a learning curve that goes straight up. In this short video excerpt from his webinar, Larry Jordan introduces the Fusion interface, moves a clip from the Edit page into the Fusion page, then add a simple embedded text title into the clip.
These are the two animated titles we’ll create this week in Larry’s DaVinci Resolve Fusion webinar.
UPDATED with how to create complex garbage masks using the Color page. Earlier, I wrote about creating a green-screen key in Resolve 20 but failed to show how to create garbage masks. There are multiple options – here’s how they all work.
There are two new effects in Apple Final Cut Pro which have a variety of uses: Callout & Picture-in-Picture. Here’s what they do, how they work and the differences between them.
In Apple Final Cut Pro, when you only apply one effect to a clip, you get exactly the results you expect. However, when you add multiple effects to a single clip, the order in which those effects are “stacked” in the Video Inspector directly affects the results you get. Let me illustrate this.
Sometimes, we just can’t do what we want to do. Here’s the problem: We want to scale a clip smaller, then blur it so both the clip and its edges are blurred. However, unless you know the secret trick, Apple Final Cut Pro won’t let you do this. Here’s the secret.
Auditions are a little-understood feature in Final Cut Pro that can simplify and speed-up selecting the best B-roll clip or graphic. Here’s how to create and use them to speed picking the right sound effect or music clip for your project.
Creating favorites of titles and clips to share between projects is easy in DaVinci Resolve 20. Except… the entire process is hidden by default. Here’s how to create favorites for your own projects.
Chroma-keys, also called green-screen keys, are a staple of video production. They allow us to replace one background with another, without damaging the foreground image. Here’s how to create one- or two-color keys on the Cut or Edit page of Resolve 20.
While you probably wouldn’t pick an NLE based upon its export speeds, performance tests are always interesting. This time, I compared render and export speeds ad storage bandwidth between Apple Final Cut Pro 11, Adobe Premiere Pro 2025, and DaVinci Resolve 20.
A couple of months ago, as I was editing dozens of interviews to post to the web, I discovered an odd quirk about batch exports in Resolve that was not what I expected. In fact, it cost me time. Here’s what you need to know to reduce your stress.
Andy Marken shares an inside look at how AI can help live event/sports/music productions handle the “final mile” of upscaling content and prepping it for live distribution in real-time. This is a preview of new product expected to be showcased at IBC 2025.
Yesterday, BorisFX announced it has acquired three high-end audio tools – Sequoia, Samplitude, and Music Studio – from MAGIX. Larry Jordan interviews Boris Yamnitsky, President of BorisFX, to learn more.
CAUTION: I’ve spent time working with subtitles recently. I grew increasingly puzzled because all the subtitles created by DaVinci Resolve 20 were in a bold font. The problem was the SRT file. Here’s how to fix it.
For something that’s supposed to be fast and accurate, adding captions to video could not be more cumbersome – regardless of which NLE you use. None of them do a great job and all of them will require FAR more time to get it right than you expect. Here are the details.
Scott writes: “I’m desperately trying to embed CEA-608 captions into a .MXF for broadcast television using Final Cut Pro. Everything says I should be able to but neither Compressor nor FCP let me select captions to embed. What am I missing?” Here’s what you need to know.
Unlike project files in Premiere and Final Cut, DaVinci Resolve tracks files using a master database. Here’s how to move the main database from an old to new drive, without losing your work.
Magic Mask 2 is a powerful tool for creating masks in DaVinci Resolve 20. But did you know you can also use it to separate the foreground from the background? In this short tutorial, Larry Jordan illustrates how to create a mask, then use it to remove the background. It only takes a few seconds – once you know how it works.
I’ve known since RAW-format media was introduced that we could go from RAW to video, but not video to RAW. In this short tutorial, Larry Jordan explains why.
I made a mistake in this week’s webinar – Apple Final Cut Pro 11 Power Tips – when I said that ProRes did not support Log video. (I corrected this in the edited final version.) It does. WHAT IS LOG …
The new Magnetic Mask in Final Cut Pro 11 is a powerful tool to separate the foreground from background – without a green screen key – so you can alter the look of each layer independently. In this short video, Larry Jordan illustrates how to create a mask that includes multiple subjects.
There are two principal ways to create moves on stills for a video: the “Ken Burns Effect,” and keyframes. Both have benefits, both have weaknesses and both are used every day. Watch as Larry Jordan shows how to use each technique to create effective moves on a still image.
In this short video, Larry Jordan illustrates the differences between duplicating a project and creating a snapshot. There are CLEAR differences and one big winner.
This is a flat-out amazing interview and photographs! Philip Grossman is a documentarian, cinematographer, technology consultant.. and absolutely fearless. His documentaries inside Chernobyl and Fukushima won international praise. Here he discusses his gear, his technique, and his thoughts on media itself.
While much of AI requires the cloud, for media asset management, running locally makes more sense. Here, Sam Bogoch, CEO of Axel AI, shares four benefits to creative workflows: Cost, Trust, Speed and Guilt.
All three NLEs – Final Cut, Premiere and Resolve – provide AI-powered audio tools to remove background noise. DaVinci Resolve 20 provides tools in both the free and Studio versions. Here’s how they work.
All three NLEs – Final Cut, Premiere and Resolve – provide AI-powered audio tools to remove background noise. Here’s how to use Enhance Speech in Adobe Premiere Pro 2025.
All three NLEs – Final Cut, Premiere and Resolve – provide AI-powered audio tools to remove background noise. Final Cut Pro 11 offers three different options. Here’s how they work.
The Channel EQ effect (filter) replaces the Fat EQ effect in Final Cut Pro. You use this to shape your audio, warm voices and make them easier to understand. Here’s how this effect (filter) works for men and women.
In this age of smartphones with incredible cameras, it is easy to take high-quality images for granted. But when working with older film prints or slides, quality is not a given; especially for images shot by non-professionals. In this tutorial, I show how to adjust scanner settings to rescue images and make them look great.
All NLEs today can convert speech to text, then generate captions for video. However, following in the steps of CapCut, which popularized this feature, DaVinci Resolve now animates subtitles in a variety of ways. Here’s how this works.
Media Intelligence is new with Premiere Pro 2025. It searches “for your perfect shot using language based on imagery, spoken words, or content with embedded metadata like shoot date, location, or camera type, all at the same time.” Here’s how it works.
The Magnetic Mask in Apple Final Cut Pro provides fascinating ways to separate foreground from background, then manipulate each separately. In this tutorial, Larry Jordan shows how to use the Magnetic Mask to isolate the foreground, change the background, adjust color and add text effects.
Slow motion is as much a trick of the eye and brain, as it is a trick of technology. Nothing in a video actually moves, it’s our brain that adds the movement. Here’s what you need to know to make your slomo look as good as it can.
Sometimes, in spite of our best efforts during production, something gets into the shot that we just don’t notice until it is too late. DaVinci Resolve has two effects that can quickly remove elements from a shot: Patch Replacer and Object Remover. Here’s a tutorial on how they work.
This is such a powerful tool that, if you don’t know about it, then now is the perfect time to learn. Apple has built a single-click, automatic color corrector that works exceedingly well in fixing color problems essentially instantly.
Recently, I contacted Blackmagic Design to learn which features in DaVinci Resolve 20 were powered by AI. Here’s what I learned, along with a video demo at the end of this article.
Recently, my social media team asked me to create several vertical videos with captions. Since I can only shoot horizontal video, here’s how I did it, using DaVinci Resolve 20.
Recently, my social media team asked me to create several vertical videos with captions. Since I can only shoot horizontal video, here’s how I did it, using Premiere Pro 2025.
Recently, my social media team asked me to create several vertical videos with captions. Since I can only shoot horizontal video, here’s how I did it, using Apple Final Cut Pro 11.1.1.
How fast does your storage need to be to support video editing these days. Well, in most cases, not as fast as you might expect, as Larry Jordan illustrates.
Ken Paul Rosenthal is a filmmaker who switched from Canon to Blackmagic Design cameras. In doing so, he found an interested technique to improve exposures for his films.
Sigh… the worst just happened. Your Premiere Pro project is corrupt and won’t open. Now what? There are a number of options you can use to restore your project and get back to work quickly, as Larry Jordan explains.
Sigh… the worst just happened. Your Final Cut Pro library is corrupt and won’t open. Now what? There are a number of options you can use to restore your library and get back to work quickly, as Larry Jordan explains.
Far too often, you need to change color settings in the middle of a clip so that the colors change during playback. While you can simply dissolve between two clips, using keyframes gives you more control – allowing you to change settings multiple times during a clip. In this short video tutorial, Larry Jordan shows how to create color keyframes and change settings to convert a clip from daylight to indoor lighting.
All recent versions of DaVinci Resolve provide an outstanding motion tracker. In this short video, Larry Jordan shows how to configure a Power Window (mask) for tracking, then, seconds later, apply a secondary color correction effect. The whole process takes less than a minute and can be used with any Power Window!
DaVinci Resolve is an industry-legend as color grading software. In this short video tutorial, Larry Jordan shows how to transfer projects from Apple Final Cut Pro and Adobe Premiere Pro into Resolve, then how to transfer them back.
We are shooting more media than ever, distributing it in more ways than ever, and continually returning to our archives for new material to feed to social media long after the original event is done and gone. I asked Sam Bogoch, CEO of Axle AI, what questions we should ask in choosing a media asset manager.
