As we move from the world of standard-definition to high-def video, understanding hard disk speeds and the data requirements of video formats can prevent a lot of problems. During my recent seminars, I spent a lot of time explaining hard drive speeds and video format requirements. This is a summary of what techniques I talked about.
When you send a stereo audio pair to Soundtrack, STP treats it as a stereo clip. When you send a dual-channel mono pair to Soundtrack, STP treats them as two separate files. This article describes how to switch from one to the other.
Need to get a sequence from a later version of Final Cut back to an earlier version? Here’s how to do it — though, keep in mind, that not everything will transfer.
XDCAM is generating a lot of interest for its high-def quality and small size. This discussion began with a question about using it for archiving – which spawned a lot of additonal thoughts.
Sometime between February and June, 2009, all broadcast television stations in the US need to convert from analog to digital transmission. However, this is NOT the same as converting from SD to HD – they are not, necessarily, related. While the current changeover timing is being debated in Washington, here are some answers to your questions.
Dean Schweinler writes in to ask if he needs an AJA or a BlackMagic capture card to edit HDV. This article explains three options for capture.
Final Cut Pro is a QuickTime editor. But what if you want to create WMV files? Well, you are not out-of-luck, but you will need different software. This article describes what you need to know, along with how to resolve problems when creating WMV files.
Here’s a technique that can totally change how you think about sequences, nests, and the special effects you can create with them.
Dealing with shifting color temperatures during shooting presents a raft of problems during editing. This article describes what you can do during shooting to compensate for color temperature changes, as well as how to “fix it in post.”
Recent versions of Western Digital Hard Drives have had interface issues with Mac systems. This reader-submitted article describes the problem and a solution.
While you can create watermarks in FCP, Compressor provides a much better alternative. This technique shows you what to do.
Here are a series of tips, written by a professional voice-over talent, that you can use to make sure your voice-over scripts are organized, easy to read, and run correctly to time.
Those glowing green lights on the extreme left side of the Timeline have a very important purpose – especially if you are trying to see tracks below other tracks, output, or export. This article shows you their secrets.
Those green visibility lights on the far left of the Timeline have some very useful functions; and hidden keyboard shortcuts. Learn what they are here.
Vignettes are a great technique for highlighting something or softening edges. This article explains how to create a vignette in Final Cut Pro, as well as some ideas on how to adjust it to create different effects.
The View menu has changed in FCP-HD, making it easier to select how you want to monitor your audio and video. This quick article explains what you need to know.
This article grew out of newsletter discussions over the last few months and features thoughts from experienced tape editors.
What’s the best video format for archiving materials? This is an easy question to ask, but a hard question to answer. Also, what’s the best way to preserve 1″ and 2″ master video tapes — especially since those machines are increasingly hard to find? This article gets you started in the right direction.
New with FCP 5 are render settings and video processing controls that help keep your video “broadcast safe.” This article explains how they work while giving you techniques for using them.
Larry explains the somewhat intensive process of shooting digital video for use with FCP.