I discovered this technique a few months ago and was stunned at how easy it is to change the speed of a clip without have the duration change destroy the organization of the rest of my sequence. This is VERY cool!
Here’s the problem. You have high-definition (HD) 16:9 footage that you need to create a standard-definition (SD) 4:3 full-screen image. This means that you are going to lose some visual information on the sides of your image. What’s the best way to do this? This article explains what you need to know.
Keyboard shortcuts make work a lot easier. Here are eleven that I recently discovered that I never knew existed; along with a suggestion on how to get keyboard shortcuts that use Function Keys to work on your computer.
The best way to export from FCP is reexamined with new attention given to changes in distribution mediums. Also, Larry provides a detailed explanation of how he exports files from Final Cut.
DigiBetacam is a standard in video-tape. However, many new editors don’t know what settings to use to capture it properly. This short article describes what you need to know to select the right codec for your project.
Larry fields a few questions regarding DVD problems from transcoding HD to SD, the advantages of Blu-Ray, and more.
Here is a fast way to use anchor points in the Motion tab to create motion effects quickly, while saving keyframes.
Here is a fast way to create a sequence with burned-in timecode – very useful for client reviews and revisions. In fact, we can do this in about six steps, as this tutorial shows how.
When it comes to creating 16:9 projects in LiveType, the process is not intuitive. However, after you read this, whether you need 16:9 in PAL or NTSC, it will be a piece of cake.
HDV is the latest video format craze, but it isn’t like DV; or any other video format we are used to working with. This article explains how HDV is different and what you need to know to use it successfully.
In Final Cut Pro, filters process before motion effects. Most of the time, this is fine. However, this order prevents creating certain effects. This tutorial shows how to create nests, how to change this processing order, and how to blur both a clip and the edges of a clip.
Video, generally, has two bit-depths: 8 and 10. In this short article, I provide an analogy that helps to understand what bit-depth is, why its important, and when you should consider working in 10-bit depth.
Making your talent look good is critical in any production – however, not all productions can afford a hair/makeup person. Here’s a tip I learned years ago that will make all your on-camera people look great – with almost no work.
With the camera industry’s head-long rush into tapeless image acquisition, having a soild backup and archiving strategy is critical because video tape masters no longer exist. In this commentary, I discuss the sad state of today’s options and provide suggestions to keep you out of trouble.
Having problems with audio playing at the wrong speed? It may be due to mismatched sample rates. This article describes what you need to know, and to do.
Soundtrack Pro allows you to easily make an insert edit and keep everything in sync. However, just because it is easy to do, does NOT mean it is easy to find. This article explains what you need to know to make it happen.
Soundtrack Pro does not create audio CDs automatically, but you can still do so, if you know how. This article explains the steps. Also, Peter Neil, from the BBC, suggests another program that makes this process even easier.
It’s hidden in plain sight, near the top of the Motion tab in Final Cut Pro: Anchor Point. But, what does it do?
Setting the Anamorphic Flag to tell FCP how to treat your footage.
Traditionally, effects were recorded to DigiBeta tape in two cuts. The first cut was the hold-out, which defined the alpha channel and the second cut was what went into the matte. However, creating an alpha channel from tape is not obvious. However, it’s easy to do and this article shows you how to do it.