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.
Earlier this month, Adobe released the latest version of Premiere Pro (25.5). Here is an illustration of its new features.
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.
Richard Rees, CEO of QuickLink, explains what’s new at IBC 2025.
Freddie Vinehill-Cliffe describes what’s new from NUGEN Audio at IBC 2025.
Michael Cioni, CEO of Strada, comments on the impact of AI on media today.
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.
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.
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.
