Larry diagnoses a subscriber’s problems with burning DVDs and makes recommendations (altering compression bit-rates, etc.) towards finding a solution.
In this article, various problems with playback are addressed and answered.
In this article I discuss the criteria I use in judging which camera to buy, as well as factors that may not be that critical in making the decision.
Even though Soundtrack Pro is, at its core, a surround-sound audio editing system, sometimes you just need mono (single-channel) audio out. The only problem is… how? This quick article explains what you need to know.
Confused about what size to create your images? This article explains what image size to use so they import correctly into Final Cut Pro HD.
Steve Gagne sent in a question that sparked this tutorial. He was dissolving between chroma-key shots and in the middle of each dissolve, the foreground clip color-shifted to green. He thought this could be fixed using nests, but needed some help in figuring out how.
When you are working with multiple tracks of video, trimming clips on several tracks at once is essential. This article shows you how to trim multiple tracks quickly and accurately.
I ran into an interesting problem over the weekend that I want to share with you because the solution is more complex than at first blush. Here’s the problem: I was asked to create a video for posting on line. The video had two components: me on camera talking, and screen shots, both of which were different sizes and formats. This article describes the process of creating a single, compressed file composed of multiple format video.
When I first discovered the motion tracking in Motion 2, I was really excited. It was fairly easy to learn, easy to use, and delivered great results. Updated with more examples and lots of reader feedback.
Recently, I got an email from John Bertram, an editor in Toronto, on why metadata support is crucial to the next generation of Final Cut Pro.
Tracking and removing render files is easy — when you know how the Render Manager works. This tutorial shows you how.
Final Cut creates render files for all transitions, effects, and audio mixes. This article explains what you need to know to keep these files under control and recover hard disk space at the end of a project.
It’s happened to all of us. We created an effect that looked great at the time, but now, after a night’s rest, we hate it. Here are two techniques you can use to remove all the filters from selected clips.
Sometimes, especially when merging clips, you get more audio tracks in a Final Cut Pro timeline than you want. This article describes a couple of different ways you can get rid of them.
Addressing the problem of digital media “evaporating” when a hard drive is powered down and stored on a shelf, with additional advice from Bob Gobeille, who originally provided the terminal script to fix this problem.
Nothing is more critical than making sure your reel numbers (or names) are correct before capturing video. This explains how to fix them when you forget.
Soundtrack Pro has the amazing ability to reduce the background noise in a clip – like air conditioners or other machine noise. In this tutorial, I’ll show you a step-by-step procedure you can use to reduce the noise in your audio. (Note: For a video tutorial of this process, click here.)
Tony asked an interesting question: what’s the difference between RED and DSLR cameras for shooting video. Good question. So I asked two experts: Philip Hodgetts and Noah Kadner. This article provides their answers.
Final Cut Pro is, most often, used for editing after the recording is complete. However, there are some situations where you need to record live and edit as soon as you can. This article talks about that and provides options to consider. There’s also some relevant reader feedback.
You have probably used Final Cut’s audio mixer to mix your audio tracks in real-time. Did you know you can do the same thing with audio filters? This technique shows you how.
