It’s frustrating! You buy a hard disk only to discover you can’t move your data from one drive to the next. Here’s a personal case story, along with options on how to fix this problem.
The National Association of Broadcasters sent me the following memo, which I am posting as it has relevance for all of us involved in media production.
In this answer to a newsletter reader’s question, we look at the process of transcoding (converting) video from one format to another. We specifically talk about what is the right format to transcode into.
With the release of Final Cut Pro v5.1.2, Apple added 53 new filters. Here’s an article that shows you how to create interesting “trail” effects.
A subscriber writes in requesting info on a program that would be able to track time by client, as well as project and function. Larry refers him to a pair of very useful suggestions from other subscribers.
The afternoon that Final Cut Studio (3) was released, July 23, 2009, I spoke with Richard Townhill, Director of Video Application Marketing for Apple, and the public face of Final Cut Studio. In fact, Richard is responsible for all the ProApps in Apple, including Final Cut Studio, Aperture, and Logic Studio. Probably no one in Apple has more direct control over the future of the product than he does. For this reason, it was good to get his take on the latest release. This article is based on our conversation.
You may not know it, but there’s a fiber optic audio connection built into every Mac. This article describes what it is, where it is, and how to use it.
It would be great if we didn’t have to render. But, since we do, what can make it go faster? This article explains what you can do to help and what won’t make any difference.
An editor, Gene Thomas, faced a problem with a timecode break when a pair of clips he was recording stopped capturing in the middle. In this article we take a look at timecodes, how multiclip reads them, how to manually change them, and other fun stuff.
Here’s a very quick tip that describes how to display thumbnails in the Browser, how to create poster frames for a thumbnail, and how to scrub around inside a thumbnail.
Through edits are marked by red “bow-ties” which indicate cuts in a track where there’s no change in video or audio. This brief technique provides three different ways to get rid of these edits.
Working with still images in Final Cut Pro is very, very confusing. Not least because video ignore the DPI settings of your image. In this short article, I explain what you need to know to size your images appropriately.
In this article Larry advises a subscriber who downloaded a beta version of Soundbooth and believes there may have been an error in his workflow.
Simply editing a text clip to the timeline isn’t enough. If you are planning on keying your text, use superimpose instead. This article shows you the three-step process and tells you why its important.
Here’s a simple technique that creates a very interesting effect using one of the ugliest generated texts in Final Cut.
Many times we need to use the same text formatting for multiple text clips. Here’s a fast and easy way to create text favorites, including drop shadows, that make the whole process simple.
If you’ve tried matching text sizes between Final Cut and Motion, you’ve discovered they aren’t the same. This article explains why.
Here’s another technique that grew out of a recent webinar — creating cast shadows using Boris Title 3D. Title 3D is bundled with your version of Final Cut, so you already have this installed on your system.
Here are a series of tips to create great looking text in Final Cut Pro.
What makes for an effective technology teacher? What should we focus on? How do we avoid the “fear of the unknown” in our students? In this philosophical musing, I reflect on what I’ve learned about teaching technology for almost a decade.