Flip cameras, and other inexpensive devices, capture footage in a variety of unusual formats. This article explains what you need to know to work with it inside Final Cut Pro.
Trying to decide what hard drive to buy? This article explains the differences between FireWire and SATA, and how to select the one that’s right for you.
This technique shows you how to get the most from your FireWire drives, from partitioning through formatting to daisy-chaining.
Here’s a secret technique that allows you to add the default transition to any number of selected clips in the timeline — all at the same time!
A quick technique to use when you need to find a specific clip.
Over the last few versions, Apple has added new options in Final Cut Pro that make finding clips a lot easier. In this Technique, I want to show you what some of them are. Whether you are looking for clips in the Viewer, the Browser, or the Timeline, here are some very cool, and little known, techniques.
This technique describes an interesting effect combining a traveling matte and a pond ripple filter which allows you to color an effect as it moves across the screen.
One of the biggest challenges editors face is getting organized at the start of a project, then staying organized during a project. Here is a collection of tips and techniques from a variety of readers than can give you the system you need to get on top of your project.
By default, Final Cut only displays one field of video – this makes images much easier to view while editing. But, sometimes, you need to see both fields. This very, very short article explains exactly what you need to know.
“Interlacing” is a term that confuses many people. This article explains what it is, how to work with it, and how to remove it in both video and stills.
Video is hard enough to understand. Throw in fields, frames, field order, and interlacing and it’s enough to make you cry. In this article, I explain what you need to know to successfully navigate around the land mines.
Apple released Final Cut Studio (3) on July 23, 2009. This is a quick look at the announcement and an exclusive interview with Richard Townhill, Director of Video Application Marketing for Apple, about the new software suite.
When I was writing my first book on Final Cut Pro a few years ago, I developed a nine-step editing workflow that answered the question: “What should I be doing right now?” However, over the years, I’ve learned more and Apple has released new software, so this nine-step process has become a bit outdated. Today I want to revisit and update it. Especially for editors that are new, or just getting back into the industry, my hope is that in following these steps, you’ll have a better way to keep track of what you should be doing “right now.”
The issue of converting to ProRes is addressed along with a walk-through of the pros and cons of the different version.
As you know, most versions of Final Cut Pro are tied to work best with certain versions of QuickTime. However, as time passes, it gets harder and harder to remember all the different permutations. Here’s a quick link to a website that has the answers.
With the release of Final Cut Pro 7, we got a new export menu option – Send. In this article, I take a first look at the differences between Share, Send, and Export; and explain which one to use.
With FCP 5’s support for HDV, you need to change the size of images you import. Here are new scan numbers you should use.
Apple changed the algorythms FCP uses for scaling and rotation for FCP 5. This explains what the changes are, how to use them and how to convert to the new settings.
Preference settings have changed in FCP 5. This article shows you how to optimize your setting to get the most from your editing system.
JPEGs are highly compressed, which means they often show blockiness or other image artifacts. However, they tend to have smaller file sizes. TIFFs are uncompressed with great image quality. However, their file sizes tend to be lots bigger. All things being equal, I recommend using TIFFs.