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.)
Confused by all the different video outputs on your deck? This article explains what they mean, what they do, and when to use them.
Getting organized is always easier to say than to do. In this article, we discuss basic organization techniques and provide references to other sources you can use to organize even huge projects.
Converting a low-resolution edit into a high-res master is the process of on-lining. Here are a series of tips to keep in mind as you on-line High-Def material.
Understanding the Media Manager is critical to successfully recapturing media, whether for creating the highest quality final master, or for resurrecting an old project. But the Media Manager is not that intuitive. This article walks you through what you need to know for successfully recapturing your project.
The debatable “nightmare” of offline editing is discussed, with Larry strongly recommending the creation of DVCPROHD 23.98 fps masters to keep the frame rate and image size constant and greatly simplify the final on-line edit.
All DV audio is not created the same. A client had a problem with the NS light lighting; finding the solution took a few days of phone calls. Here’s the scoop.
Normalizing is one way to raise the gain of an entire clip without creating any over-modulation. Prior to FCP 6, only Soundtrack Pro could normalize. Now, FCP can, too. Here’s how.
An important trouble-shooting technique is to create a new user account to eliminate corrupted preference files. This short article explains why you should consider doing this, and what the potential problems are.