You know the drill. The client didn’t have the money for makeup when they were shooting the video, then is horrified to discover in post that their star/kid/sweetie has a humongous zit that spoils all the close-ups of the video they dumped in your lap to edit.
The problem with reverb is that the effect needs to continue after the clip ends. While Soundtrack Pro has some great audio filters, often there just isn’t time to move your project from Final Cut to STP. In this tutorial, you’ll learn how to use nesting to create a reverb effect inside Final Cut that can last long after the clip itself is over. Best of all, this is both quick and easy.
You’ll find that you can retouch images directly in Photoshop. You will need Photoshop Extended CS3 or CS4. In fact, I created a video tutorial that shows you how.
Adding DVD chapter markers to a QuickTime movie is reasonably easy. But how do you do this for H.264 compressed video. This article describes what you need to know.
One of the terrifying facts of hard disk life is that a hard disk, unplugged and sitting on a shelf, will slowly have its magnetic data “evaporate.” While the time period varies, industry experts tell us its between one to three years! This article explains what you MUST do to safeguard your data. Best of all, its FREE!
This powerful technique can quickly bail you out when you need to match shots from the middle of a clip, rather than the In or the Out.
Rendering is the bane of an editor’s life. Waiting for the computer to calculate an effect can seem interminable. What can be done to speed rendering and what causes it to slow down in the first place? This short article answers these questions.
Nothing drives us more nuts than having to wait for our systems to render transitions and effects. Reader Don Smith sent in this technique for reducing the time you spend waiting for Final Cut Pro to render.
One of the Mac magazines published some seriously wrong information. Read this to keep from making a mistake.
When compressing an H.264 file, whether in QuickTime, Final Cut Pro, or Compressor, an option you may see is called “Frame Reordering.” This article explains, briefly, what it is and when you should use it.
Larry diagnoses a subscriber’s problems with burning DVDs and makes recommendations (altering compression bit-rates, etc.) towards finding a solution.
In this article, various problems with playback are addressed and answered.
In this article I discuss the criteria I use in judging which camera to buy, as well as factors that may not be that critical in making the decision.
Even though Soundtrack Pro is, at its core, a surround-sound audio editing system, sometimes you just need mono (single-channel) audio out. The only problem is… how? This quick article explains what you need to know.
Confused about what size to create your images? This article explains what image size to use so they import correctly into Final Cut Pro HD.
Steve Gagne sent in a question that sparked this tutorial. He was dissolving between chroma-key shots and in the middle of each dissolve, the foreground clip color-shifted to green. He thought this could be fixed using nests, but needed some help in figuring out how.
When you are working with multiple tracks of video, trimming clips on several tracks at once is essential. This article shows you how to trim multiple tracks quickly and accurately.
I ran into an interesting problem over the weekend that I want to share with you because the solution is more complex than at first blush. Here’s the problem: I was asked to create a video for posting on line. The video had two components: me on camera talking, and screen shots, both of which were different sizes and formats. This article describes the process of creating a single, compressed file composed of multiple format video.
When I first discovered the motion tracking in Motion 2, I was really excited. It was fairly easy to learn, easy to use, and delivered great results. Updated with more examples and lots of reader feedback.
Recently, I got an email from John Bertram, an editor in Toronto, on why metadata support is crucial to the next generation of Final Cut Pro.