Many times we need to use the same text formatting for multiple text clips. Here’s a fast and easy way to create text favorites, including drop shadows, that make the whole process simple.
If you’ve tried matching text sizes between Final Cut and Motion, you’ve discovered they aren’t the same. This article explains why.
Here’s another technique that grew out of a recent webinar — creating cast shadows using Boris Title 3D. Title 3D is bundled with your version of Final Cut, so you already have this installed on your system.
Here are a series of tips to create great looking text in Final Cut Pro.
What makes for an effective technology teacher? What should we focus on? How do we avoid the “fear of the unknown” in our students? In this philosophical musing, I reflect on what I’ve learned about teaching technology for almost a decade.
As our industry moves quickly to tapeless media and acquisition, properly archiving your footage can make the difference between happiness and heart-ache. In this article, I outline what you need to know about archive formats.
Most of the time, we edit using the final image quality from our cameras. But, in the case of HD-CAM SR, that may not be possible, as those video files are HUGE! In this article, a reader asks how to use EDLs when trying to capture tapeless media. Depending upon how the off-line, low-resolution images were created, this story has either a happy, or very sad, ending. You can read the options here.
Audio that slowly drifts out of sync is often due to a mismatch between the sample rate at which you shot the video and the sample rate at which you captured the audio.
Surround sound mixing is even more of an art than standard stereo mixing. In this article, we take a quick look at channel allocations and some general thoughts to getting the right mix.
The article describes how to view and change subtitles in DVD Studio Pro.
Stuttery audio generally is a problem with bad preference files. But, on a MacPro, it can be caused by putting your capture card in the wrong slot. This article describes the problem and what you need to do to fix it.
When you are ready to lay your final projects back to tape, the best way to do so is to use Print to Video. However, Edit to Tape is required if you need to record at a specific timecode on your tape. But this requires laying Timecode on your tape first. This article explains how.
This technique occurred to me while I was developing my training DVD for Lynda.com on Soundtrack Pro because scripts in Soundtrack Pro have a quirky, potentially dangerous, behavior that surprised me until I did some research on them.
I’ve done hundreds of hours of audio editing in Soundtrack and have discovered a wealth of features that make editing audio in it a breeze.
Moving multi-track files from Final Cut Pro to Soundtrack Pro for mixing can cause problems, unless you understand how Soundtrack Pro handles linked files. This article explains.
Mixing audio files in Soundtrack Pro is like editing video files in Final Cut Pro — there are lots and lots of files involved. Which means that if you don’t pay attention, things are going to get lost. This article explains what you need to know to keep track of everything.
In this article Larry fields a question from a subscriber having trouble exporting a multitrack and directs him to the suggestion of another subscriber.
During my recent seminar tour, I had a lot of fun showing how to take advantage of the audio clean-up power in Soundtrack Pro.
It’s enough to drive you nuts. Every time you start-up your computer, Final Cut Pro launches as well. It’s time to stop the start! And this article shows you a very easy way to do just that.
Judging by my email, handling still images is by far the most confusing part of editing video — especially because the computer creates images using square pixels and video uses rectangular pixels, in a variety of shapes. This article explains everything you need to know to create great looking still images for your next video project.