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.
Working with still images in video is hard, because images created on the computer are not compatible with video. A new software – PhotoMotion – seeks to solve a lot of the challenges in working with still images. This is a detailed review of how the product works.
This is a quick tip illustrating how to make your dialog sound like it is coming over the telephone.
Paste Attributes is an extremely flexible tool that simplifies copying settings from one clip to another. This tutorial shows you how.
Hard disks are essential to video editing. But, as this short article explains, what you thought you knew about maintaining your hard disks may not be true. Take a look.
Panning balances audio playback between the left and right speaker to position the audio in space. In this quick technique, learn three ways you can pan multiple clips in Final Cut Pro.
Over the last four months I’ve had a long email chat about video formats and the best ways to convert between them. If you are moving files from NTSC to PAL or back, and trying to integrate HD material, this article covers what you need to know.
Here’s a quick tip on how to create still images so they can display in a PAL 16:9 sequence.
A reader asks how to create a PAL DVD. In this article, I provide a reference for file conversion, then talk about the Compressor setting you can use to compress your files. (I also include a link to lots more training on DVD creation.)