A reader wanted to know how to display video on the monitor using an AJA card. So he contacted AJA, who responded with this.
Dual Layer break points are determined by where the VTS segments are located, not just which is the longest, or most logical, clip within which to place a break point.
Larry walks you through looping a DVD, along with reader feedback on how to make those loops seamless.
When importing a video into DVD Studio Pro, if you encode at the end of the project, your assets are not converted to MPEG until you start to build the project.
DVD SP contains drop zones, which you can use to add video or images to a menu. Here’s how.
These two options are designed to solve problems when the clip, or image, you are editing into the Timeline does not match the sequence size.
A few weeks ago, AJA sent me a new KiPro Mini to take a look at.
A few days ago I wrote about my frustrations in finding archiving solutions. The next day, I had a long phone conversation with the executive team at Cache-A plus a long email from HP.
I’ve become increasingly concerned as I talk with producers, editors, and vendors that we are rapidly moving into a tapeless environment without any realistically priced options for long-term media archiving.
Here are two techniques that make a big difference to me when I am working with effects: Remove Attributes and Paste Attributes.
Compressor automatically generates log DPX files. Is there a way to create linear DPX files?
Troubles with logging? Check the Reel column in the browser.
Larry answers some questions regarding the different codecs that Final Cut Express captures vs. Final Cut Pro, as well as fielding a question on audio waveforms.
In addition to over 100 audio effects, Final Cut Pro X ships with some very interesting audio enhancements which can repair bad audio. In this tutorial, I want to illustrate how to work with these enhancement tools.
Final Cut Pro 7 calls it a “nest.” Final Cut Pro X calls it a “compound clip.” Whatever you call it, there are some real benefits in knowing how to use it. A compound clip is simply a collection of clips gathered together and treated as though they were a single clip. This tutorial explains how to create them.
Keyframes are at the heart of all video animation; though, in some cases they are hidden in a Motion behavior or pre-built effect. In this tutorial, I will show you how to add keyframes in the Final Cut Pro X Timeline to animate an effect.
Action Safe and Title Safe boundaries were invented decades ago to solve two problems with televisions that had picture tubes. This technique explains what they are and how to display them.
Valentine’s Day is coming up, so I thought I would use it as the example for one of my favorite effects – putting video inside a shape. This effect is also called a “traveling matte.”
Welcome to the latest edition of my monthly Final Cut Studio newsletter for December, 2011. This newsletter provides tutorials, tips and other information essential to the interested user of Final Cut Pro.
Adding timecode to clips or projects is a great way to allow clients to review your projects and relate their comments to a specific time in the project. (This process is also called “timecode burn-in” – or “burning in timecode.”) This technique explains what you need to know.