In responding to a subscriber’s request for AVCHD advice, I explain my recent change of opinion, and why I now favor using the Log and Transfer function.
When using Media Manager to archive media the key point to remember is that you need to select what you want to manage BEFORE selecting it from the menu. And, I always select what I want to Media Manage in the Browser, not the Timeline.
A quick question about preserving LiveType settings when upgrading to Final Cut Pro 7 is asked and easily answered.
This technique explains creating, working with, and deleting subclips. It also illustrates the main reason we create subclips.
In successfully working with tapeless media, I’ve developed an easy-to-implement workflow that will help prevent problems in your own projects.
Ben Balser, an Apple-Certified Trainer for Digital Media, sent me the following commentary on investing the time to get trained. By way of background, Ben is a long-time educator and trainer.
How to upload a file automatically after Compressor has finished converting a file.
New with Final Cut Pro 7 are two shortcuts: Zoom In/Out at Playhead on Timeline. However, they don’t do anything until you assign them to a keyboard shortcut. But, what if you want to assign them to your mouse? This article shows you what you need to know to do it.
Canon’s new HV20 camera shoots a modified version of 24 frame video. Up until recently, Final Cut did not easily support this format. In this discussion learn how to capture video from this camera, as well as a short discussion of when shooting 24 fps is appropriate.
Video images are not the same as computer images — and what you don’t know WILL get you in trouble. This article explains what you need to know to keep your tapes from being rejected for technical reasons.
QuickTime can make viewing 16:9 anamorphic video a bit difficult because it always displays video using square pixels. In this article, discover the secret to getting QuickTime to show your video correctly.
As we move from the world of standard-definition to high-def video, understanding hard disk speeds and the data requirements of video formats can prevent a lot of problems. During my recent seminars, I spent a lot of time explaining hard drive speeds and video format requirements. This is a summary of what techniques I talked about.
When you send a stereo audio pair to Soundtrack, STP treats it as a stereo clip. When you send a dual-channel mono pair to Soundtrack, STP treats them as two separate files. This article describes how to switch from one to the other.
Need to get a sequence from a later version of Final Cut back to an earlier version? Here’s how to do it — though, keep in mind, that not everything will transfer.
XDCAM is generating a lot of interest for its high-def quality and small size. This discussion began with a question about using it for archiving – which spawned a lot of additonal thoughts.
Sometime between February and June, 2009, all broadcast television stations in the US need to convert from analog to digital transmission. However, this is NOT the same as converting from SD to HD – they are not, necessarily, related. While the current changeover timing is being debated in Washington, here are some answers to your questions.
Dean Schweinler writes in to ask if he needs an AJA or a BlackMagic capture card to edit HDV. This article explains three options for capture.
Final Cut Pro is a QuickTime editor. But what if you want to create WMV files? Well, you are not out-of-luck, but you will need different software. This article describes what you need to know, along with how to resolve problems when creating WMV files.