Experiencing a problem exporting a sequence as a mov and finding that the quality of the QuickTime is soft, a subscriber is referred by Larry to a previous article and walked through an easy QuickTime7 solution.
Larry weighs in on the issue of selecting between the Animation codec and ProRes 4444, following a subscriber’s question regarding importing files into Final Cut.
The reason that drop frame timecode was invented was because non-drop did not properly indicate running time. And as one subscriber has discovered, there is a difference in running time between DF and NDF material.
In addressing a subscriber’s question we look at what makes 3D work, what’s required to best create the desired effect in Motion and what makes them difficult.
A quick, comprehensive definition of one of the most commonly misunderstood terms in our industry.
Here’s a product review of the iStoragePro; a RAID with a rocket attached to it.
While at the Director’s Guild of America’s “Digital Day,” I was impressed by a fabulous presentation given by Scott Billups called, “Zero Post.” In this article we’ll take a look at this process and the great opportunity it offers us.
A subscriber and previous contributor returns with another great tip about operating the Compressor from the command line and advises to limit the number of your batches to a few hundred compressions.
Formats like HDV and XDCAM are compressed using MPEG-2 which is very hard to edit accurately. So, Final Cut Pro converts it invisibly in a process called “conforming”.
Here are a series of thoughts I jotted down during the presentations at DGA Digital Day, specifically during a long session devoted to 3D video.
In this note we look at a hard-learned lesson regarding the perils of adding extension cables to Mini-DisplayPort cables.
In answering a subscriber’s questions regarding working with three different formats we examine issues like selecting the best codec to use, converting frame rates, and more.
In this article we examine how SmoothCam is processor-dependent, faster computers working this program more quickly, and recommend a couple of options to speed up the process without upgrading your system.
In response to a subscriber’s question regarding the “blurry and aliased” look of his clips, Larry suggests that the problem may lie in the monitor settings.
Ben Balser had a client whose audio filters were grayed out in the Effects > Video Filters list. The problem was Effects Availability. In this article we walk you through how you can control which effects are displayed from the Effects tab in the Browser.
A kernel panic is a complete crash of the operating system – probably the most serious software crash that exists. Kernel panics are generally not caused by a single application, but by the interaction between the software and hardware.
Subscriber Mike Henry writes in to see about finding the most highly recommended practices with mixing cameras with different resolutions.
A subscriber writes in asking for the best codec to use to get the great HD quality of her footage transferred onto a 4.7GB DVD, which is, unfortunately, a question with no easy solution.
Larry addresses one subscriber’s question regarding transferring chapter markers and spotlights the advice of editor Andreas Kiel, and the set of programs he’s designed to tackle this problem.
PluralEyes was specifically designed to sync clips and create multiclips based upon their audio. However, it can also sync clips in a sequence – even if there are timecode breaks in the clips – by aligning the audio.
