Ben Balser, an Apple-Certified Trainer for Digital Media, sent me the following commentary on investing the time to get trained. By way of background, Ben is a long-time educator and trainer.
How to upload a file automatically after Compressor has finished converting a file.
New with Final Cut Pro 7 are two shortcuts: Zoom In/Out at Playhead on Timeline. However, they don’t do anything until you assign them to a keyboard shortcut. But, what if you want to assign them to your mouse? This article shows you what you need to know to do it.
Canon’s new HV20 camera shoots a modified version of 24 frame video. Up until recently, Final Cut did not easily support this format. In this discussion learn how to capture video from this camera, as well as a short discussion of when shooting 24 fps is appropriate.
Video images are not the same as computer images — and what you don’t know WILL get you in trouble. This article explains what you need to know to keep your tapes from being rejected for technical reasons.
QuickTime can make viewing 16:9 anamorphic video a bit difficult because it always displays video using square pixels. In this article, discover the secret to getting QuickTime to show your video correctly.
Regardless of the video format we edit, understanding storage speeds and capacity, along with the data requirements of video can prevent a lot of problems. This is a detailed explanation of storage types, bandwidth, capacity and video codecs. You don’t need to memorize this, but you do need to keep it handy.
When you send a stereo audio pair to Soundtrack, STP treats it as a stereo clip. When you send a dual-channel mono pair to Soundtrack, STP treats them as two separate files. This article describes how to switch from one to the other.
Need to get a sequence from a later version of Final Cut back to an earlier version? Here’s how to do it — though, keep in mind, that not everything will transfer.
XDCAM is generating a lot of interest for its high-def quality and small size. This discussion began with a question about using it for archiving – which spawned a lot of additonal thoughts.
Sometime between February and June, 2009, all broadcast television stations in the US need to convert from analog to digital transmission. However, this is NOT the same as converting from SD to HD – they are not, necessarily, related. While the current changeover timing is being debated in Washington, here are some answers to your questions.
Dean Schweinler writes in to ask if he needs an AJA or a BlackMagic capture card to edit HDV. This article explains three options for capture.
Final Cut Pro is a QuickTime editor. But what if you want to create WMV files? Well, you are not out-of-luck, but you will need different software. This article describes what you need to know, along with how to resolve problems when creating WMV files.
Here’s a technique that can totally change how you think about sequences, nests, and the special effects you can create with them.
Dealing with shifting color temperatures during shooting presents a raft of problems during editing. This article describes what you can do during shooting to compensate for color temperature changes, as well as how to “fix it in post.”
Recent versions of Western Digital Hard Drives have had interface issues with Mac systems. This reader-submitted article describes the problem and a solution.
While you can create watermarks in FCP, Compressor provides a much better alternative. This technique shows you what to do.
Here are a series of tips, written by a professional voice-over talent, that you can use to make sure your voice-over scripts are organized, easy to read, and run correctly to time.
Those glowing green lights on the extreme left side of the Timeline have a very important purpose – especially if you are trying to see tracks below other tracks, output, or export. This article shows you their secrets.
