Here is a ten-step, tested technique to convert DVCProHD sequences into HDV. This would a good way to archive HD sequences if you don’t have a DVCProHD sequence to tape.
Without a doubt, the question I get asked the most is “what should I buy?” This article explains all the different gear you may need for your editing sytem along with links to companies and products to consider. This isn’t a commercial, rather it’s a tutorial on what you need to know to make some good investments.
What do you do when your client requests a video that’s almost 13,000 pixels wide? (Well, after panicking a bit first…) Steve Sebban took on this task for a museum. Since then, I’ve heard from other editors who need, or use, this technique for the chasing lights around the edges of stadiums. Fortunately, Final Cut Pro makes this easy… if you ignore render times.
Having problems capturing 24 fps video from the DVX camera? This article tells you what you need to know.
Creating a single layer DVD is relatively easy. But a dual-layer DVD requires that we pay attention to where the switch occurs between the two layers — called the Dual-Layer Break Point. This article explains what it is, how to find it, and what you need to know to successfully create a dual-layer DVD.
NTSC video, unlike PAL and HD, has two different timecode systems — drop-frame and non-drop-frame. This article describes what they are and when you need to worry about them.
In this technique, I want to show you how to use clip distortion to create an interesting opening title sequence. Distortion, also called “corner pinning,” allows us to change the shape of the frame from a rectangle to a parallelogram, then modify it using keyframes so it changes over time.
The default video transition in Final Cut Pro is a 30 frame cross-dissolve. This article shows you how to change it.
Final Cut’s text tools are pretty limited in the design department. But here is a simple way to make your closing credits look much more interesting without a lot of work.
What do you do when you have locked yourself out of your own computer? Well, besides screaming and yelling… This short article shows you the backdoor you can use to get access to a computer you are locked out of.
In this article Larry fields a question regarding recommended color space when importing images into FCP.
Here’s a great technique that not only provides a interesting effect, but teaches you how to use cropping when you are creating effects.
Want to give your DVDs a more professional look? In this detailed, step-by-step article, you’ll learn how to create menus and button highlights in Photoshop, import them into DVD Studio Pro, build a menu and add buttons, all to create a professional-grade menu. (Part 1 of 2 – the second part discusses how to create a motion menu in Final Cut Pro for a DVD.)
You know the drill. Someone at Apple coughs and suddenly the rumor mill is filled with frenzied statements that the doom of Final Cut Studio is at hand. “The Death of Final Cut” rumors have gotten to be as regular as spring floods or a plague of locusts.
Have you been mystified by all the different files FCP creates? This article explains what you need to know – and where they are hidden.
Tired of recreating the same effects over and over again? Final Cut has a better way – create a Favorite Effect. This article shows you how fast and easy this is.
Creating favorite filters is just a quick drag away, using this technique.
Creating a slow-motion clip is easy: Modify > Speed. But what if you want to create a fast-motion clip and your hard disk isn’t fast enough to keep up? This short article explains what you need to know.
Dramatically slow motion is easy to create in Motion – if you know where to look. This article details all the steps you need to take to make your fastest shots move in balletic slow-motion.
The Grad filter has been used by professional photographers for decades. Now, this same power is available to you inside Final Cut Pro.
