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.
Most of the time, you can easily create simple moves in Final Cut directly on the timeline. But, sometimes, when you need a truly complex move a compound clip can help. Let me illustrate. Normally, we add the image we …
This is a very fast trick I recently learned which can save a ton of time when you need to change fonts in one or more titles in an Adobe Premiere Pro sequence or project.
I’m a long-time owner of an Epson Perfection V600 Photo scanner. But, recently I purchased an Epson V850 Pro because I have a lot of slides to scan. In this review, I compare both and share the strengths and weaknesses of each.
This session takes a closer look at color grading in DaVinci Resolve 17, with a special emphasis on its unique color tools and secondary color correction ability. In this excerpt, Larry Jordan demonstrates how to use nodes to solve more complex problems in color grading.
This session takes a closer look at color grading in DaVinci Resolve 17, with a special emphasis on its unique color tools and secondary color correction ability. In this excerpt, Larry Jordan showcases a variety of ways to compare and match shots in Resolve.
This session takes a closer look at color grading in DaVinci Resolve 17, with a special emphasis on its unique color tools and secondary color correction ability. In this excerpt, Larry Jordan explores the different variations of RGB color wheels in Resolve.
This session takes a closer look at color grading in DaVinci Resolve 17, with a special emphasis on its unique color tools and secondary color correction ability. In this excerpt, Larry Jordan illustrates how to customize the video scopes.