Every clip in Final Cut supports up to three timecode tracks — a primary and two auxilliary tracks. This article describes how to access them, change the timecode they contain, and idea on what to use them for.
With FCP version 4.1, Apple changed the rules on how copy and paste work. You now need to know about “auto-select.” This article explains it.
Understanding how auto-render works can save you hours on each project. Here’s a step-by-step that explains it.
With Blu-ray winning the DVD format war, attention has now turned to the costs of creating a Blu-ray DVD. This article explains that the cost of replicating one of these new format discs isn’t cheap.
It’s easy to create burned-in timecode for video clips. But what about visible timecode for audio clips? The answer is “maybe,” but probably not.
Here is a great trick to solve one of the features of FCP that drives me nuts — we can’t slip keyframes. But, here, in this article, I’ll show you an undocumented way to slip audio keyframes. Very cool and very quick.
Setting the correct audio recording levels on a video camera is crucial to obtaining the best sound during production. This short article explains some of the choices and what you need to know.
Using Pro Tools to mix your Final Cut Pro project is a great way to achieve excellent audio. However, there are some tricks you need to understand in this process, as explained here.
Final Cut Pro hates compressed audio. This article explains the problems you will having working with it, as well as providing a simple conversion process that solves the problem.
Ever wonder what levels to set your reference tones to? Should you output tone at 0 dB, -12 dB,-18 dB, or -20 dB. In this discussion, Larry is joined by Woody Woodhall, president of Allied Post, to get a better understanding of the issue. And, yup, it’s just as confused as we thought!
Audio in FCP is clip-based, rather than track-based. This article describes a variety of ways to change the levels of more than one clip at once.
This is a quick simple technique to automatically create keyframes for an audio filter. Basically, audio key-framing in real-time.
Here’s a neat trick to make a constant speed change to a video clip without changing the sound of the audio.
This article shows the best way to get audio out of FCP so you can finish your mix in your favorite audio program.
When capturing from tape, Capture Now should always be your last choice, not your first. Sometimes, when using Capture Now, your audio may drift. If that happens, read this article.
One of the signs of getting older is that our hearing is not as sharp as it once was. So one of the things I do in my mixes is to be sure that I make things as clear and easy to understand as possible. This article walks you thru the specific steps you can take in Soundtrack Pro to make your audio as clear and distinct as possible.
There are very few things that cause as much confusion to video editors as working with audio. In this technique, I show you a very efficient technique for structuring where to place audio in your timeline and suggest audio levels that can make your project sound GREAT! If you read only one audio article this month, this is the article to read!
Final Cut expects all cameras to shoot audio at 48 kHz. But, what happens when they don’t? Well, you get audio drifting out of sync, or no audio at all. Many low-end cameras record audio at 32 kHz. This technique shows you what you need to know to capture your audio accurately.
These ten suggestions on ways to improve your audio recording are excerpted from The Sound Effects Bible written by Ric Viers. If you are having problems getting your recording to sound the way you want, check out these tips.