In this article we examine Final Cut’s usage of multiple processors to enhance rendering speed, the possible alternatives, and more.
An extensive email correspondence with editor/subscriber, Patrick Nugent, concerning some difficulties with video artifacting and the solutions he found, is summarized in this article.
Creating markers for H.264 is exactly the same as creating markers for a DVD. In this article we examine the technique to do just that.
Growing out of a topic originally posted on our Facebook page, this article serves as a summary of our subscribers’ biggest challenges with the industry’s reliance on tapeless video.
A subscriber, William Aleman, writes in with a valuable tip on the feature that successfully locks QuickTime movies from being downloaded or saved by the visitors on the Internet.
Two excellent questions by an editor/subscriber, L. Blake Baldwin, involving why the Master Gain defaults to .51, and also when to use a +3dB audio transition instead of a dB audio transition. We examine and answer both.
In this article we give a quick examination of how to upsize an original 4:3 sequence into a 16:9 timeline.
In this article we discuss the limitations of using the keyboard to target audio track numbering above 9, and the keyboard shortcut for the lower track numbers is demonstrated.
A clever trick for working around Final Cut’s resetting of transitions is supplied by subscriber, Richard Day, using a temporarily set up dummy edit.
An editor’s interest in “cleaning up” some audio clips is a joy to answer, and very useful info to have.
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.
