Final Cut supports over 52 different video codecs, and this gets close to a hundred when you add a third-party capture card. How to do you choose which to use? This article explains what you need to know to select the best codec for your video.
What’s the difference between 8-bit and 10-bit video and why should editors care? Well, if you are doing a lot of effects, you should care a lot and this article explains why.
What happens when you change Final Cut’s display background to any color except black? Much less than you think. Here’s why.
A variable-speed clip is one that changes speed during playback; as opposed to a “slow-motion” clip, which remains at the same speed for the duration of the clip. There are two ways these variable speed effects can be created and this article shows you the technique.
Not all software updates work the way they are advertised.This article describes an update approach you can use to make sure all software updates go smoothly.
Deciding whether to upgrade to Final Cut Studio 2? Read this short note first.
Ever needed to find what video you haven’t used in your edit? Here is a very fast technique you can use in Final Cut Pro that shows all your unused clips.
ProRes 422 is a new codec, invented by Apple, that seeks to minimize the massive file sizes of some HD formats. It also has benefits when you are working with HDV or other GOP-compressed video formats. In this article, I show you more about this codec and how to use it.
Transcoding is the process of converting video (and/or audio) from one format into another. Generally, compression is done for final delivery, while transcoding is done from one editing format to another editing format. In any case, when should you transcode? This article explains the three options and provides suggestions on which one you should pick.
Track gaps are pesky things that sneak around and flash black at the worst possible moments. This article shows you how to find and delete them.
Way over on the left side of the Timeline are a set of gray buttons that very few people understand. However, when you know how to use the Patch Panel properly, you’ll be able to edit any clip to any track instantly. I use this ALL the time and can’t imagine editing without it. This tool is also essential when you want to make a video-only, or audio-only edit.
How do you create and size text for video? What is the impact of interlacing? How can you make your text look as good as possible? This short article provides the answers.
Telestream Pipeline is a capture and output device that is unique in the features it provides Final Cut editors — specifically, its ability to share decks over a network and allowing an editor to start editing a clip before the capture is complete. In this detailed review, we show you how it works, and examine its strengths and weaknesses.
Audio distortion means disaster for your project. This article shows you a new technique in Soundtrack Pro that can guarantee to increase audio gain without distortion.
Unlike video, which has a fixed duration, still images are assigned a duration when they are imported into Final Cut.
Nothing causes more confusion for video editors than trying to figure out how to size still images for video. I’ve written extensively about this in the past — which is referenced in this article — this is an additional follow-up.
Scratch Disks are critical to Final Cut. If they are set improperly, Final Cut won’t edit. This article describes what they are, how to set them and how to trouble-shoot problems.
Save As does more than just give your file a a new name. It can also prevent problems, as this short article describes.
The Samson Zoom H2 recorder has a lot of good things going for it – price, size, and portability. However, when I was using it at NAB, the one thing that disappointed me was the audio quality. Read the review here.
If you’ve ever had to convert a 16:9 sequence into a 4:3 letterbox video, this explains how to do it.