If you’ve been wondering what the color tools in Final Cut do, or how to make them work better, this session is for you. In this short video tutorial, Larry Jordan explains the Three Rules of Color Correction and how they apply regardless of which video editing software you are using.
While every project is different, most of us work in corporate or client-based video. As you start a new project, what topics are key to discuss with a client before pre-production starts?
Recovery Mode is a hidden operating system on recent Macs that simplifies emergency maintenance on your system. However, it is accessed differently for Intel and M1 Macs. Here are the details.
Humility, authenticity and a demand for meaningful living is what people want and Think Film Impact Production is leveraging the power of media to effect social change.
There are cheaper soft lights out there, but I like the quality of the Lumecube Edge Light. It is well-built, easily adjustable and floods a medium-sized area with clean, soft light. Here’s my review.
Auditions are a fast, flexible tool that quickly preview different clips, sounds and/or effects in the Timeline. They are easy to create, simple to use and a worthwhile addition to your Final Cut toolset. Here’s how they work.
Remix, a new feature in Adobe Premiere Pro, shortens the length of a music clip, without making the edits obvious. Here’s a tutorial that explains how it works.
Last week, Adobe updated Premiere Pro to version 22.2. New features dramatically accelerate editorial workflows, including Remix, and an updated Speech to Text, which can now be used offline, generating accurate transcriptions up to 3 times faster. Here are the details.
The Event Monitor in Apple Final Cut Pro enables viewing Browser clips in a much larger monitor. This tutorial shows where it is and how to use it.
The process of wrapping up any Final Cut Pro project is fairly simple, especially if you think about where to store media and project elements before you start editing. Here are four options on what to do when an editing project ends.
In this article, I compare the compression speed of Apple Compressor, Adobe Media Encoder and ffWorks (ffMPEG) on an Intel system versus a new M1 MacBook Pro. Along the way we also discover that speed is not dependent upon how hard the CPUs are working.
“Ask Larry Anything,” is a free-form conversation about questions related to media production and editing. In this short excerpt, Larry Jordan explains what Final Cut Pro’s export tags are, where they are located and how to change them.
“Ask Larry Anything,” is a free-form conversation about questions related to media production and editing. In this short excerpt, Larry Jordan discusses the differences between using photo scanners and copy stands when digitizing photos or 3D objects.
“Ask Larry Anything,” is a free-form conversation about questions related to media production and editing. In this short excerpt, Larry Jordan suggests several ideas that media creators and editors can use to find new clients and grow their business.
“Ask Larry Anything,” is a free-form conversation about questions related to media production and editing. In this short excerpt, Larry Jordan explains how to use keyframes in Motion to animate the movement of an object.
The Video Limiter, in Adobe Premiere Pro, protects excessive video levels for broadcast, streaming, cable and DVD projects. Here’s how it works.
For web work, you don’t need to worry about video levels. However, for just about all other video projects, you do. In those cases, it’s nice to know the Broadcast Safe effect has your back by keeping your video levels “legal.” Here’s how it works.
Here’s the advice I wish I had when starting my career. Regardless of your role in creating media – actor, producer, director, or editor – these tips will help you decrease your stress and improve your career.
SilverFast SE Plus 9, by LaserSoft Imaging, provides high-quality image scans for professional use. However, it has an interface that takes time to learn. It does a great job, not because of its interface, but in spite of it. Here’s my review.
Leigh Reeves owns a Canon R5 camera and needs to record ProRes RAW to an Atomos Ninja V. Here’s a step-by-step guide on how to configure the gear to do this.