Audio that slowly drifts out of sync is often due to a mismatch between the sample rate at which you shot the video and the sample rate at which you captured the audio.
Surround sound mixing is even more of an art than standard stereo mixing. In this article, we take a quick look at channel allocations and some general thoughts to getting the right mix.
The article describes how to view and change subtitles in DVD Studio Pro.
Stuttery audio generally is a problem with bad preference files. But, on a MacPro, it can be caused by putting your capture card in the wrong slot. This article describes the problem and what you need to do to fix it.
When you are ready to lay your final projects back to tape, the best way to do so is to use Print to Video. However, Edit to Tape is required if you need to record at a specific timecode on your tape. But this requires laying Timecode on your tape first. This article explains how.
This technique occurred to me while I was developing my training DVD for Lynda.com on Soundtrack Pro because scripts in Soundtrack Pro have a quirky, potentially dangerous, behavior that surprised me until I did some research on them.
I’ve done hundreds of hours of audio editing in Soundtrack and have discovered a wealth of features that make editing audio in it a breeze.
Moving multi-track files from Final Cut Pro to Soundtrack Pro for mixing can cause problems, unless you understand how Soundtrack Pro handles linked files. This article explains.
Mixing audio files in Soundtrack Pro is like editing video files in Final Cut Pro — there are lots and lots of files involved. Which means that if you don’t pay attention, things are going to get lost. This article explains what you need to know to keep track of everything.
In this article Larry fields a question from a subscriber having trouble exporting a multitrack and directs him to the suggestion of another subscriber.
During my recent seminar tour, I had a lot of fun showing how to take advantage of the audio clean-up power in Soundtrack Pro.
It’s enough to drive you nuts. Every time you start-up your computer, Final Cut Pro launches as well. It’s time to stop the start! And this article shows you a very easy way to do just that.
Judging by my email, handling still images is by far the most confusing part of editing video — especially because the computer creates images using square pixels and video uses rectangular pixels, in a variety of shapes. This article explains everything you need to know to create great looking still images for your next video project.
Creating stills that you can do moves on in Final Cut is tricky. My email In-box will attest to that. This article describes what you need to know to make sure your images are the right size and how to import them.
SSD (solid-state drives) are the latest fashion in hard drives. Impervious to vibration, with no mechanical movement, they are ideal for computers in rugged situations. But are they good for editing? This article provides answers to that question.
Larry explains in this article why a subscriber is having difficulty with a video transfer from his Sony hard disk recording unit (HVR DR60).
A few bullet point suggestions for subjects ranging from trying to up-res from SD to HD without losing detail to getting Compressor to launch.
Apple has announced a new version of its operating system for next year – 10.6 (Snow Leopard). This article looks at what this may mean for Final Cut Pro users.
Smoothcam, Final Cut Pro’s motion stabilization filter, can really smooth out some very shaky shots. But it can take a long time to do so. This article shows you what you can do to speed this process up.
Creating smooth moves on stills is at the heart of many documentaries. Final Cut makes creating moves easy. But smoothness is sometimes much harder to achieve. Take a look at what these editors have to say about the best way to get your images to move.