A clip collision generally occurs when you are trimming. Specifically, when you are ripple trimming.
This is a very cool technique that changes the color and display of your text as the background changes.
This is a very fast way to edit multiple camera angles into the Timeline in FCP 7 – without using multi-clips.
If Blu-ray Discs are in your future as a Mac Pro user, you need to read this report from Michael Powles on installing a Blu-ray burner in a Mac.
I am advocating LTO-5 tape drives for archive and backup of our Final Cut Pro media. However, I still have not gotten this unit to work on my MacPro.
Ben Balser writes on editing H.264 video natively in Final Cut Pro.
I’m not a fan of QuickClusters because, personally, I’ve found them problematic and unreliable. However, if you can get them to work, then by all means use them.
When placing still images in DVD Studio Pro, a PNG will be autosized to fit, while a TIFF won’t. This article explains more.
Here is an easy trick from Loren Miller to accelerate the manual advance of slideshows in DVD Studio Pro by resetting the duration of all slides.
In this article, Larry Jordan answers a question about when to convert HD files to SD for editing in Final Cut Pro 7 or earlier.
DVDs are always standard-def, not high-def. So your AVCHD material will always look worse on a DVD than your source footage.
The best practice – and the most reliable – is to transfer the ENTIRE contents of the SXS card to its own individual folder on your hard disk.
Donald Smith sent in the following explanation of DPI and I thought it would be something you might want to read.
Steps for audio editing and sound correction in Soundtrack Pro.
Loading clips into an Audio File Project, reducing noise, and handling audio files in Soundtrack Pro.
One of our subscribers discovered one of the big differences between capturing in tape-mode, where you can combine multiple shots into one long clip, and tapeless, where each shot is stand-alone. In this article we examine how to avoid that problem.
H.264 and X.264 are two different development projects that result in two different codecs that both do the same thing: create H.264-compliant files.
When trying to sync audio to video using sub-frame slipping in the Viewer, a subscriber writes that Final Cut is setting a new In for his audio in the Sequence without actually slipping the Audio. This technique, which can be used in Final Cut Pro versions 4 through 7, explains how to adjust for this.
A subscriber recounts the difficulties, and the workaround that fixed them, he experienced with Buzz lines cropping up in a project.
A subscriber noticed that if there is a clip generator or any clip in a top track in the Timeline, the clip under the top track becomes invisible, making it impossible to edit using Playhead > Open Sync. He supplies three very helpful workarounds.