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.
One of the themes from multiple interviews at the 2025 NAB Show in Las Vegas was “data repatriation.” In this short video, Sam Bogoch, CEO of Axle AI, explains what this means and the benefits it provides.
In my webinar last week, I showed how to use keyframes in Premiere Pro to seamlessly change color in the middle of a clip using keyframes. However, as Reed Brown wrote, there’s a faster way that can be used in any NLE. Here’s how it works.
Adobe Premiere Pro has two ways to change the amount of color in a video clip: Saturation and Vibrance. In this short video, Larry Jordan illustrates the difference between them and explains which one to use when you are adjusting color in a clip. Surprisingly, the choice is not obvious.
Adobe Premiere Pro has vastly improved matching colors between shots – especially when you use Comparison View. In this short video, Larry Jordan shows how to display Comparison View, how to match colors between shots, then how to make manual adjustment if needed after the match.
One the harder color effects to create in Adobe Premiere Pro is a color change in the middle of a clip. But, it can be done! In this short video, Larry Jordan shows how this feature works, as well as how to color match different sections of the same clip.
Unlike Final Cut or Premiere, DaVinci Resolve does not store libraries (Final Cut) or projects (Premiere) as separate files. However, there are times when you need to save a specific project. Resolve provides three ways to do this: Backup, export, and archive. Here’s how each of these work.
With the 2025 release of Premiere Pro, Adobe has totally overhauled how it handles color. The new pipeline has streamlined settings, and added support for wide-gamut camera raw and log-encoded media. Here’s an overview of how it works.
Generative AI is commanding all the fear and attention in media today. But, there are a wealth of AI-assisted tools in Apple Final Cut Pro, Adobe Premiere Pro and DaVinci Resolve that are enabling editors to do more, rather than replacing them en masse. In this presentation to the Los Angeles Creative Pro User Group, Larry Jordan highlights nearly two dozen AI-assisted tools across all three of these applications.
Apple Final Cut Pro provides three different ways to quickly adjust the look of a clip: Looks, Color Board Presets, and Color Grading Presets. In this short video demo, Larry Jordan shows what these are, where they are located and the differences between them; including one very big advantage!
Comparison view quickly allows comparing the look of any timeline clip to the clips preceding and following it. Even better, it supports building a collection of “looks” you can use to compare any timeline clip to up to 30 timeline images. Larry Jordan shows how this feature works.
I found myself giving bad advice recently – which I hate to do – and it started with this panic email which I misinterpreted.
I was worried. My SSD RAID was getting fuller every time I deleted files. This should not happen! It SHOULD get emptier. While I was using an OWC Thunderblade RAID, this problem could apply to any SSD. The answer, I …
One of the themes at the 2025 NAB Show in Las Vegas seemed to be a reaction against the cloud; a question about whether we’ve moved too much data to the cloud. Several my interview guests talked about data repatriation, …
Resolve can easily display two timelines using either a single or dual monitor display. But it’s a bit fiddly. Here’s how this works.
Adobe Premiere supports displaying two or more timelines at the same time. For example, this can help when you need to compare two versions of an edit. This isn’t hard to do, but it isn’t obvious. Here’s how this works.
While Final Cut does not allow displaying more than one project in the timeline at the same time, it does make switching between projects easy. Here are some secret tips.
The latest version of Adobe Premiere Pro (v25.2.1) has a totally revamped color engine. Which is excellent, actually. But, if you are shooting iPhone video, when you load that clip into Premiere, it will look, ah, terrible. Here’s how to fix it – quick.
All the hype surrounding AI presents software developers making tools for creatives with a dilemma. How do they find the right balance between creating features that improve their tools versus replacing the editor?
One of the tasks editors are increasingly asked to do today is convert a horizontal timeline to vertical to post to social media. Premiere makes this process easy using Auto Reframe. Here’s how this works.
One of the tasks editors are increasingly asked to do today is convert a horizontal timeline to vertical to post to social media. Apple Final Cut makes it easy using Smart Conform. Here’s how.
In this conversation, Larry Jordan and Conner Stirling discuss how MASV has only one mission: To provide faster, more reliable, and more flexible file transfers for media. What you may not know is how much is under the hood.
Larry Jordan and Chris McMahon discuss Backlight’s product suite, how they view media asset management, how they are using AI in their products and how Wildmoka automates instantly sending content “clippings” to multiple destinations on any platform.
Larry Jordan and Ole-Andreas Løvland discuss how BitFocus is creating the macro button technology that runs on Stream Deck that allows one button to control up to 700 different actions. He also previews up-coming Stream Deck hardware allowing it to connect directly to a network.
I spent this last week immersed in editing in DaVinci Resolve Studio 19. Here’s how it compares to Final Cut and Premiere, along with features that drive me nuts.
Larry Jordan and Jon Finegold discuss Signiant’s 20th Anniversary, moving large media files around the globe, how they compare to the competition and what’s needed to use Signiant’s fast file transfer technology.
Larry Jordan and Rich Andes discuss Telestream’s latest features and products, the new partnership with Iconix, how he plans new products, and key trends that he’s watching this year.
Larry Jordan and Arie Stavchancky discuss how Dataclay tools connect databases with After Effects to automatically create customized versions of the same A.E. comp. Think of it as “mail merge for After Effects.”
Larry Jordan and Paul Lombert discuss how Hedge tools remove workflow problems throughout the post-production process. Paul explains their latest features and where each tool fits in an editing workflow.
At the recent the 2025 NAB Show in Las Vegas, I sat down with Blackmagic’s audio gurus to learn more about the Fairlight page. What I learned made a big difference in the sound of my projects. Here are three secrets that I’m now using in every project.
An illustrated look behind-the-scenes at what we did and how it worked at the 2025 NAB Show. This covers setup, operations and the things I learned. Surprisingly, it all worked really well!
I want to add watermarks to the videos I edit in DaVinci Resolve – but I couldn’t find a “watermark” option. Then, I discovered “Data Burn-in.” Here’s how it works, how to create presets and where to use them.
The M4 Mac Studio is the ultimate performance tool for video editing. Here are my thoughts on how to maximize performance, without breaking the bank.
I’m recording 65 video interviews at the 2025 NAB Show in Las Vegas next week. Here’s the gear we are using and why I picked it.
Tomorrow, Axle AI will make two important announcements for its multi-user, media asset manager: The first improves data privacy in general and the second improves finding the media you need for Mac-based video editors.
Apple released the latest version of Final Cut Pro (11.1) last week, with several helpful new features Here are the details on what they are and how they work.
Axle AI is a media asset manager (MAM) that runs on Mac, Windows and Linux computers. In this short video, Larry Jordan showcases the features of Axle AI and how a MAM can extend the power of video editing software like Apple Final Cut Pro, Adobe Premiere Pro, or DaVinci Resolve.
