Normally, when you export a QuickTime movie from Soundtrack Pro, the audio travels with the video. But, not always. This article shows you what you need to know to export audio and video successfully from this audio editing software.
One of the current limitations of Final Cut Studio is that it does not natively support creating Flash video output from a Final Cut Pro sequence. However, all is not lost. This article describes three different ways you can get what you want.
There are a variety of ways to export a project from Final Cut Pro for a DVD. This article showcases the best way to do it if you are using Final Cut Pro 6.x. (FCP 7 users may want to consider using Share or Send, which this article doesn’t cover.)
MXF is the native format for a variety of HD video formats. However, it is not one that Final Cut Pro currently supports. This short article details what you need to know to get your QuickTime video into MXF format.
This technique generated a LOT of responses — how to export a series of still to create a slide show. This technique shows you a couple different ways to create this effect.
Keynote is a very fast way to create bullet slide and animated text for video. However, when it comes time to export your images, this article explains how to do it fast and with the best quality.
Here’s a seven-step process to export your Final Cut video sequences to Flash.
Here’s a simple technique you can use to export all the data in the Browser into a format you can read in Excel, Word, or Text Edit.
PPMs are something we never hear about in North America. All our audio is measured in dB. However, in Europe, PPM is THE standard of audio measurement — and Final Cut does not support it natively. This article explains what you need to know, and how to measure audio in PPMs.
Recently, Euphonix invited me to their LA offices to take a look at a suite of new products designed for video and audio editors. — a series of external control surfaces. Control surfaces have been a fixture in the audio industry for many year, but for video editors, this is a fairly new concept. This article takes a detailed look at each of the four units Euphonix provides, along with thoughts on where they fit into a post-production workflow.
We can’t always use the latest video technology to capture our images. Sometimes, historical footage requires a film transfer. In this article are some tips you can use to make your film transfers look better.
In the category of “you don’t know what you don’t know,” here’s an interesting piece of trivia. Ever wonder what that checkbox called “Little Endian” means when you are saving audio? This article tell you so you can now impress your friends.
The recent conversion to all-digital broadcasting brought this reflection on the changes we’ve seen in television over the years. I guess this isn’t really technical, but it struck me as appropriate.
One confusing issue new editors need to deal with is getting Final Cut Pro to recognize 16:9 (also called “widescreen,” or “anamorphic”) video. As well, if the editor is a new Mac user, they may also have problems with exported file sizes. This article addresses both these issues.
Soundtrack Pro is far better at editing and mixing audio than Final Cut Pro is. While this can make your audio sound a lot better, you still run the risk of knocking your audio out of sync. This article explains more about how to prevent this problem.
Yes, Virginia, analog video tape still exists. And if you’ve ever wondered whether you can edit to a Betacam SP deck, this article will reassure you that Final Cut Pro works great with it.
I’ve been writing a lot about HDV recently – and not all of it positive. However, Iain Anderson sent this in with his positive results using HDV. You owe it to yourself to read both side of the issue and Iain does a nice job.
The worst time to discover you have a problem is at the end of editing, when you have no time and no money. In fact, the best time to solve these problems is before production even starts. Here’s short article that provides guidelines on what you need to do to prevent problems down the road.
I’ve never seen this happen, but the workaround maybe a life-saver if you need it. Here’s how to reconnect DVD Studio Pro’s palettes with the files stored on your hard disk.
By default, DVD Studio Pro creates tracks that support 4:3 video. However, this is easy to change, but hard to find. This short article describes what you need to do to create wide-screen DVDs.
