Although there’s no universal answer for this question, in this article we look at what RAID system or otherwise, that I personally recommend using for various types of video editing.
For those of you interested in a more technical look at the Broadcast Safe filter, Dennis Couzin, technical assistant to a video documentarian based in Germany, sent me the following article that he wrote.
I am not a fan of Capture Now, however, for some formats Capture Now is the best option. I like the workflow one subscriber suggests in this article.
In this article a subscriber would like to change the name of a clip in a sequence in the Timeline without having to change the original source file. We take a look at the options (making a clip independent, using subclips, etc).
In this article we examine my personal favorite method to burn DVDs (Roxio Toast) as well as the most reliable way to burn a VIDEO_TS folder.
Inevitably, adding too many FireWire devices will cause problems. In this article we discuss some things to think about to keep your system running smoothly and avoid, at all costs, the dreaded “beach ball” .
A subscriber, creating titles for a 16×9 movie that will go to SD DVD, writes in asking whether he keep his text in a 4×3 title safe grid. In response, we look at how Title Safe is defined.
In this article we examine Final Cut’s usage of multiple processors to enhance rendering speed, the possible alternatives, and more.
An extensive email correspondence with editor/subscriber, Patrick Nugent, concerning some difficulties with video artifacting and the solutions he found, is summarized in this article.
Creating markers for H.264 is exactly the same as creating markers for a DVD. In this article we examine the technique to do just that.
Growing out of a topic originally posted on our Facebook page, this article serves as a summary of our subscribers’ biggest challenges with the industry’s reliance on tapeless video.
A subscriber, William Aleman, writes in with a valuable tip on the feature that successfully locks QuickTime movies from being downloaded or saved by the visitors on the Internet.
Two excellent questions by an editor/subscriber, L. Blake Baldwin, involving why the Master Gain defaults to .51, and also when to use a +3dB audio transition instead of a dB audio transition. We examine and answer both.
In this article we give a quick examination of how to upsize an original 4:3 sequence into a 16:9 timeline.
In this article we discuss the limitations of using the keyboard to target audio track numbering above 9, and the keyboard shortcut for the lower track numbers is demonstrated.
A clever trick for working around Final Cut’s resetting of transitions is supplied by subscriber, Richard Day, using a temporarily set up dummy edit.
An editor’s interest in “cleaning up” some audio clips is a joy to answer, and very useful info to have.
Experiencing a problem exporting a sequence as a mov and finding that the quality of the QuickTime is soft, a subscriber is referred by Larry to a previous article and walked through an easy QuickTime7 solution.
Larry weighs in on the issue of selecting between the Animation codec and ProRes 4444, following a subscriber’s question regarding importing files into Final Cut.
The reason that drop frame timecode was invented was because non-drop did not properly indicate running time. And as one subscriber has discovered, there is a difference in running time between DF and NDF material.