Compressor does a really good job of compressing video for the web, or DVD. But, what if you want to change the image size? Well, Compressor does that too – in the Geometry tab. This article shows you how.
Ripping a DVD, which means to convert it into something that Final Cut Pro can edit, can be done a number of ways. However, not all of them yield the best quality. This article explains what you need to know to convert your DVD footage into something that can be edited, while still looking good.
A reader questions why the Quicktime quality of his sequences are soft when he exports them as a mov.
Last month, I wrote about how to use QuickTime 7 to add audio to video. Since then, I’ve gotten several comments from people that own OS X 10.6 that they don’t have QuickTime 7 on their system.
QMaster allows you to combine multiple computers into a render farm to make video compression run faster. It also allows you to combine multiple processors on one computer to compress video faster. One of these choices works MUCH better than the other. This article explains what you need to know.
A good question regarding soundtrack transfer is submitted in this article and Larry explains the problem with how scripts process – or fail to process – clips
Print to Video is your best choice when outputting to tape. However, some people find really ingenious ways to avoid it. This article describes what it is, along with a discussion of self-contained vs. reference QuickTime movies.
The Primatte RT keyer, which ships with both Motion and Final Cut Pro, is a nice keyer, but it has problems with hair and transparency. In this review/technique, I show you how to use the big brother to the RT filter: Primatte Keyer Pro 4 to key a model who has lots and lots of big, bouncy, hair!
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.
Sigh… There’s nothing quite like death by PowerPoint slides. Still, many times we need to incorporate them into our productions. Here’s what you need to know to help them look as good as they can. (Oh, and by the way, do EVERYTHING you can to reduce the text they contain!)
Not all video is, um, video. In many cases, we need to integrate PowerPoint or Keynote slides into our video projects. This article explains what you need to know to make this work successfully.
There’s a right way and a wrong way to position text in Final Cut Pro to get the highest quality. This article explains what you need to know.
What’s the best way to position text in Final Cut Pro, and why does the position shift as you change justification? This short article explains the why and how.
Creating keys on the computer is easy – and they look great. Where problems occur is when those specials effects are shot with interlaced video and displayed on an interlaced TV set or monitor. This article describes how to avoid suddenly discovering that all your effects look out of focus.
These thoughts have been bubbling around my head for the last few months, but developed into an article as I was trying to learn a particularly tricky piece of software. After reading the manual, watching the tutorials, and taking the training, I was more confused than ever. This article is an attempt to discuss how to create effective training, and specific techniques to avoid.
If you edit multiple cameras and spend time creating multiclips, you need to check into a new utility for Final Cut Pro called “PluralEyes.” This software vastly simplifies the process of syncing and building multiclips — especially when there are breaks in the timecode. This article shows you how to use it.
This detailed analysis looks at how to create graphics on your computer that look “right” on FCP. It’s a detailed look at the difference between square and non-square pixels.
Since its first release, Final Cut Pro has integrated effects with video editing. In this tutorial, I show you how to create a picture-in-picture effect, then make it move using keyframes in the Motion tab.
With the release of Final Cut Studio 2, Apple created a new high-end codec entitled ProRes. With the release of Final Cut Studio (3) they expanded it from two variations to five. What is ProRes and how do you decide which version to use for your projects? Answering that question is the purpose of this article.
If there was one “magic format” we would all be shooting in it. Unfortunately, as many of us are discovering as we move to HD, the world is a highly incompatible place.