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An Analogy for Video Bit-Depth

Video, generally, has two bit-depths: 8 and 10. In this short article, I provide an analogy that helps to understand what bit-depth is, why its important, and when you should consider working in 10-bit depth.

Benefits of Makeup

Making your talent look good is critical in any production – however, not all productions can afford a hair/makeup person. Here’s a tip I learned years ago that will make all your on-camera people look great – with almost no work.

Commentary: In Search of a Backup Strategy

With the camera industry’s head-long rush into tapeless image acquisition, having a soild backup and archiving strategy is critical because video tape masters no longer exist. In this commentary, I discuss the sad state of today’s options and provide suggestions to keep you out of trouble.

Audio Speed Changes in Soundtrack Pro

Having problems with audio playing at the wrong speed? It may be due to mismatched sample rates. This article describes what you need to know, and to do.

Making an Audio Insert Edit in Soundtrack Pro

Soundtrack Pro allows you to easily make an insert edit and keep everything in sync. However, just because it is easy to do, does NOT mean it is easy to find. This article explains what you need to know to make it happen.

Creating an Audio CD in Soundtrack Pro

Soundtrack Pro does not create audio CDs automatically, but you can still do so, if you know how. This article explains the steps. Also, Peter Neil, from the BBC, suggests another program that makes this process even easier.

Nailing Down the Anchor Point in Final Cut Pro

It’s hidden in plain sight, near the top of the Motion tab in Final Cut Pro: Anchor Point. But, what does it do?

Anamorphic Flag

Setting the Anamorphic Flag to tell FCP how to treat your footage.

Creating an Alpha Channel from a Video Tape

Traditionally, effects were recorded to DigiBeta tape in two cuts. The first cut was the hold-out, which defined the alpha channel and the second cut was what went into the matte. However, creating an alpha channel from tape is not obvious. However, it’s easy to do and this article shows you how to do it.

Ingesting Footage Via AJA Cards

Here’s a conversation between Peter Tours, of TNT Video Services, and Tony Lauria, of AJA Technical Support, on the best way to ingest footage using AJA video cards. (Reprinted with permission.)

Adding Fonts to your System

Need to find some new fonts — or looking for a way to add them to your system? Here’s how.

Adding Audio to Video Using QuickTime 7

It’s late at night, you are wrapping up a project. Just when you think you can go home, you discover that your final export from Soundtrack Pro, doesn’t sync with your final export from Final Cut Pro. Grrr!! Now what? This article explains a very nifty technique that solves that problem in short order.

About Rendering

The simplest definition of rendering is to convert an effect or image from its native format to match the video format of your timeline.

Improving Quality on 8mm Film Transfers

Getting the most from old 8mm film is the subject of this article. Here are six steps you can use to improve the look of your film transfers.

What Does "64-bit" Really Mean?

64-bit memory addressing is new with OS X 10.6. But what does this really mean? And what does it mean for Final Cut Studio (3)? In this short, moderately technical, article, we take a look a this new term and what it means for the future of video editing.

Testing Your System for 64-Bit Support

Here’s a short article that explains what you need to know about 64-bit memory support, along with some software you can use to toggle between 32-bit and 64-bit modes.

Is 60i Video the Same as 30p Video?

It’s a simple question, but not necessarily a simple answer. This looks at the differences between the two video formats.

Thoughts on Stereoscopic 3D Video

Stereoscopic 3D video is not just for theatrical release. Cable and satellite channels, even YouTube, now display images in 3D. In this musing, I reflect that even if 3D isn’t the future, we can make money on it now – without spending a ton of money.

Capturing 32 kHz Audio

One of the common problems that inexperienced Final Cut editors run into is audio that slowly drifts out of sync. While the problem may appear to be within Final Cut Pro, the cause is actually due to mismatched audio sample rates between the video you shot and the way you are capturing it. What makes this worse is that many consumer cameras default to an audio sample rate of 32 kHz, while Final Cut expects 48 kHz. In this step-by-step tutorial, I’ll explain what an audio sample rate is and how to change your Final Cut settings to capture your audio accurately.

Musing: A Look Back at 2010 to Look Ahead to 2011

As 2010 draws to a close, three quick observations on technology for the coming year.