ProRes 422 is a new codec, invented by Apple, that seeks to minimize the massive file sizes of some HD formats. It also has benefits when you are working with HDV or other GOP-compressed video formats. In this article, I show you more about this codec and how to use it.
Transcoding is the process of converting video (and/or audio) from one format into another. Generally, compression is done for final delivery, while transcoding is done from one editing format to another editing format. In any case, when should you transcode? This article explains the three options and provides suggestions on which one you should pick.
Track gaps are pesky things that sneak around and flash black at the worst possible moments. This article shows you how to find and delete them.
Way over on the left side of the Timeline are a set of gray buttons that very few people understand. However, when you know how to use the Patch Panel properly, you’ll be able to edit any clip to any track instantly. I use this ALL the time and can’t imagine editing without it. This tool is also essential when you want to make a video-only, or audio-only edit.
How do you create and size text for video? What is the impact of interlacing? How can you make your text look as good as possible? This short article provides the answers.
Telestream Pipeline is a capture and output device that is unique in the features it provides Final Cut editors — specifically, its ability to share decks over a network and allowing an editor to start editing a clip before the capture is complete. In this detailed review, we show you how it works, and examine its strengths and weaknesses.
Audio distortion means disaster for your project. This article shows you a new technique in Soundtrack Pro that can guarantee to increase audio gain without distortion.
Unlike video, which has a fixed duration, still images are assigned a duration when they are imported into Final Cut.
Nothing causes more confusion for video editors than trying to figure out how to size still images for video. I’ve written extensively about this in the past — which is referenced in this article — this is an additional follow-up.
Scratch Disks are critical to Final Cut. If they are set improperly, Final Cut won’t edit. This article describes what they are, how to set them and how to trouble-shoot problems.
Save As does more than just give your file a a new name. It can also prevent problems, as this short article describes.
The Samson Zoom H2 recorder has a lot of good things going for it – price, size, and portability. However, when I was using it at NAB, the one thing that disappointed me was the audio quality. Read the review here.
If you’ve ever had to convert a 16:9 sequence into a 4:3 letterbox video, this explains how to do it.
Larry finally gets the chance to answer the question he’s been waiting for : What is the “Color Thingy”?
Handles are critical for transitions and trimming. In this article, discover what handles are and why they are necessary.
The best way to display HD video is using a Blu-ray Disc. However, the Mac OS does not support Blu-ray Disc playback, and to create a Blu-ray Disc takes an external burner. This article describes what you need to know to create a Blu-ray Disc. (Keep in mind that this technology is changing constantly – after this article was published, FCP 7 was released which provides limited support for Blu-ray Discs.)
Here’s a great technique you can use if your camera only shoots 4:3, but you want it to look like 16:9. This works for any standard-def video format; you don’t need it when shooting HD, because HD is already 16:9.
Having problems with Apple Final Cut Pro 7? This article provides dozens and dozens of techniques you can use to optimize your Final Cut 5, 6, or 7 system; plus trouble-shooting tips to prevent problems.
You can trim everything using the Arrow tool. But you can trim faster and more accurately using the Roll and Ripple tools. This article shows you how.
This is a great technique when you have a large image, but only want to display portions of it moving around the frame.