I found myself giving bad advice recently – which I hate to do – and it started with this panic email which I misinterpreted.
I was worried. My SSD RAID was getting fuller every time I deleted files. This should not happen! It SHOULD get emptier. While I was using an OWC Thunderblade RAID, this problem could apply to any SSD. The answer, I …
One of the tasks editors are increasingly asked to do today is convert a horizontal timeline to vertical to post to social media. Apple Final Cut makes it easy using Smart Conform. Here’s how.
Larry Jordan and Martin Greenwood discuss YoYotta’s evolution beyond its initial phase of archiving media to LTO tape. Their software now supports indexing and finding media, backups and archives, as well as LTO tape.
Larry Jordan and Derek Barrilleaux discuss how Projective’s key insight is protecting and organizing media by project, why this is important, and who their cloud-based Strawberry software is designed for.
Larry Jordan and Patrick Holroyd discuss their brand-new camera app for iPhone. Expanding well beyond the native Camera app, MAVIS provides camera-to-cloud directly from the iPhone, access to pro features, including 25 fps video, and a totally new interface.
Larry Jordan and Dan Maloney discuss how, in the beginning, Matrox Video meant media. Now, they are into providing media converters and connections for broadcast, IP, military, government, space — anywhere pixels need to be moved, Matrox is moving them.
In this conversation, Larry Jordan and Conner Stirling discuss how MASV has only one mission: To provide faster, more reliable, and more flexible file transfers for media. What you may not know is how much is under the hood.
Larry Jordan and Linda Tadic discuss archiving creative projects and media for the long-term, how Digital Bedrock verifies all files, creates multiple backups, checks them annually for file integrity, and tracks them for potential obsolescence.
Larry Jordan and Matthieu Kopp discuss Peakto, a Mac-based media asset manager, that integrates AI and extended search with popular NLEs to track your media wherever it is stored. “Our goal,” says Mattieu, “was to emulate Kyno.”
In this conversation, Larry Jordan and Peter Bruggink discuss MediaAnywhere’s new technology that tracks and streams cloud-based video clips without proxies, while file renaming without breaking links in Premiere Pro.
Larry Jordan and Chris McMahon discuss Backlight’s product suite, how they view media asset management, how they are using AI in their products and how Wildmoka automates instantly sending content “clippings” to multiple destinations on any platform.
I spent this last week immersed in editing in DaVinci Resolve Studio 19. Here’s how it compares to Final Cut and Premiere, along with features that drive me nuts.
Larry Jordan and Tom Huczek discuss why he invented Nobe OmniScope which contains 19 extended audio and video scopes, who it’s for, how it is used, and ends with Tom describing several of his favorite scopes.
Larry Jordan and Gergana Berman discuss what LucidLink is and how it works, why it was created, typical customers, and how it competes with other cloud services.
Larry Jordan and Mark Hudgins discuss DIT file automation, the new Shotput Studio, and current media trends forcing teams to process more data in less time without losing track of it.
I’m recording 65 video interviews at the 2025 NAB Show in Las Vegas next week. Here’s the gear we are using and why I picked it.
Tomorrow, Axle AI will make two important announcements for its multi-user, media asset manager: The first improves data privacy in general and the second improves finding the media you need for Mac-based video editors.
From a recent conversation about radio, I realized there are direct parallels between what is happening in traditional media and the stresses we face as media creators. But, there is also a way for us to successfully compete. Larry Jordan shares his thoughts.
Axle AI is a media asset manager (MAM) that runs on Mac, Windows and Linux computers. In this short video, Larry Jordan showcases the features of Axle AI and how a MAM can extend the power of video editing software like Apple Final Cut Pro, Adobe Premiere Pro, or DaVinci Resolve.
Finding the exact media clip that you need is only the first step. Now, you need to get that clip loaded into your video editor from wherever it’s stored. In this short video, Larry Jordan, shows exactly how to transfer files from Axle AI directly to remote clients, or into Apple Final Cut Pro, DaVinci Resolve or Adobe Premiere Pro.
Axle AI, a multi-platform media asset manager, provides fast and efficient searches through tens of thousands of clips to find exactly the video that you need. Here, Larry Jordan how how to do searches in Axle AI.
You buy Media Asset Management (MAM) software to extend how your current video editing tool finds and tracks media. But there are a lot of options in the market today. Here, Larry Jordan presents some key questions you need to ask when deciding what to get.
This short video, presented by Larry Jordan, describes what Media Asset Management (MAM) software does, how Apple Final Cut Pro, Adobe Premiere Pro and DaVinci Resolve currently handle media, and how a MAM can extend what they do.
Jason manages multiple editors and needs to transfer sequences from Adobe Premiere Pro to Apple Final Cut Pro. In this demo, Larry Jordan shows exactly how this is done.
Richard needs to change the size of his images, but is worried about them getting blurry. In this tutorial, Larry Jordan shows how to safely scale images in both Premiere Pro and Final Cut Pro, without losing image quality.
Siamack is new to Final Cut and struggling to organize her media. In this video, I provide a variety of organizational tools she can use, with a special emphasis on keywords.
Adobe is adding “Media Intelligence” to Adobe Premiere. What is this new video search tool? What are its limitations? And how will this impact the thriving market for media asset management software? This includes an interview with Max Lund, CEO of Jumper.io.
Paul asks: “Is there a way to always import files into a Final Cut Pro library by default?” The answer is that storing files in the library IS the default, but it is easy to change accidentally. Here’s how to reset and verify your storage locations.
Still images are rich in data about the camera, lens and settings used to record an image. Surprisingly, most of this information is missing in a video file. Geoff asks why?
A somewhat hidden feature in Final Cut Pro 11 is Smart Conform. Apple describes this as an easy way to “make social media-friendly versions of projects in square or vertical formats.” Apple Help states: “Smart Conform analyzes the contents of …
However, just as with the storyline of Sunset Boulevard, the film and the show industry isn’t fading … it’s just changing. Yes, our industry is under stress, but that doesn’t mean there aren’t signs of hope sprouting up everywhere, as this commentary by industry-veteran Andy Marken illustrates.
At CES, OWC announced a series of new products designed to maximize the performance of Thunderbolt 5. These included faster RAID storage, longer Thunderbolt cables and a new multi-port hub. Here are the details.
Editing may tell stories, but visual effects make those stories eye-catching. In this short video, Larry Jordan explains what video stabilization does, the options available, and how to apply stabilization to your own video.
Last week, Larry O’Connor, Founder & CEO of OWC, made three predictions about storage for 2025. Take a look and see if you agree or not.
Recently, I purchased an OWC Thunderbay 4 RAID. To go with the RAID enclosure, I also bought four Seagate Iron Wolf Pro 16 TB drives. Over the last two weeks I conducted a wide variety of performance tests and, in many cases, the results surprised me.
Ken Kobre released a highly revised 2nd edition of his book: “Video Journalism: Multimedia Storytelling for Online, Broadcast and Documentary Journalists.” Since I got my start in TV news a long, long time ago, this is a subject near to my heart. In this interview, Ken explains why he wrote this book and why it is so necessary today.
This tutorial measures and illustrates the difference in speeds between different HDD (Hard Disk Drive) RAID levels. This also provides definitions of these different levels and recommendations on which to use for your storage.
High-performance, high-capacity storage is at the heart of everything we do as media editors. Clearly, performance improves with each generation of gear. Equally clearly, none of us have unlimited budgets. These tests compare the benefits of migrating from Thunderbolt 2 storage to Thunderbolt 3.
For many years, I’ve written that the fuller a spinning hard disk drive (HDD) is, the slower it goes. But, while I’ve “known” this for years, I never really bothered to test it. Until this week, as part of a detailed review of a Thunderbay 4 HDD RAID. Here’s the answer.
I’ve often wondered just how much better an SSD is for multicam editing than an HDD (spinning hard disk drive). Recently, as part of detailed review of the OWC Thunderbay 4 HDD RAID, I decided to find out.
I’ve always “known” that HFS+ is better for formatting spinning hard drives for the Mac than APFS. But, I wondered, is that just hearsay or is there some truth to it? So, I put them both to the test. The results are surprising.
Backups are basic to protecting your media. But what should you use for hardware, or software, and how many backups are “enough.” Larry Jordan explains the basics.
Gary asks: “I recall you said that mixed frame rates cannot exist on a DaVinci Resolve timeline. Often my media is submitted in a myriad of forms/rates. How do I deal with that?” Actually, Resolve handles mixed frame rates easily – with one BIG!! gotcha. Here are the details.
Geoff is experiencing consistent jerkiness during pans of any speed on multiple cameras when shooting PAL video. Take a look and see if you can solve the problem.
Recently, I made a mistake that destroyed all my existing projects. Here’s what I did, and here’s what I learned: how to archive projects, how to restore from backups and where to set the initial Resolve Project Library.
In this short video, Larry Jordan demonstrates how to import timelines from Adobe Premiere Pro or Apple Final Cut Pro for color grading, then export them back out again.
Over the last week, I tested Apple Final Cut Pro 11, Adobe Premiere Pro 25 and DaVinci Resolve 19.1 using a variety of computers from 2018 to the new M4 Pro Mac mini. This article summarizes what I’ve learned with an emphasis on the M4 Pro Mac mini and M2 Max Mac Studio.
This review looks at the performance differences in video editing running DaVinci Resolve 19.1 on a variety of Macs from the 2018 Mac mini to the new 2024 Apple M4 Pro Mac mini.
“How fast is fast enough?” is a question I’ve been pondering this last week. I decided to compare the speeds of two popular SSD drives: the T9 and T5 from Samsung. Partly, to see how fast they were, and partly to see if they were “fast enough” for video editing.
