As I was editing a recent webinar, I rediscovered three highly useful techniques that sped my work. Since these are not techniques I use everyday, I wanted to share them with you so you could save some time on your next edit as well.
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.
Guest post: Dr. Imed Bouchrika, PhD and BSc, is a Computer Science professor from the University of Southampton, UK, who specializes in eLearning, image processing, and biometrics. (Here are Larry’s rules for guest posts.) Implementing efficient export workflows can save …
This morning, Adobe updated Premiere Pro, Audition, Media Encoder, Bridge and their Camera Raw formats. Here’s what’s new, with links to learn more.
A question I get all the time is: “How do I import just a section of a clip? The original is really long and I don’t want to waste disk space.”
Regardless of the video editing software (NLE) you use, the answer is not initially encouraging: “You can’t. Here’s why.
Adobe announced new versions of Premiere Pro, Media Encoder, and Audition at the NAB Show in April. Last week, they released them. Here’s what’s new.
One of the key benefits of Apple silicon computers is the use of Unified Memory. But… what is “Unified Memory,” why is it important, and how much do we need for our work? This tutorial has the answers.
With its latest releases, Apple now offers M2 versions of the Mac mini, Mac Studio and Mac Pro. This article is to help you decide which hardware best meets the needs of media creators, then provide tips on how to best configure the system.
Peter asked me recently to write an article on how to optimize files for posting to YouTube, download or streaming. As Internet speeds continue to improve, and YouTube adjusts its rules, now is a good time for an update on my recommendations.
This articles details the performance of the M2 Pro Mac mini, specifically the speed of rendering visual effects and exporting projects in Apple Final Cut Pro and Adobe Premiere Pro. 77 tests were performed and some of the answers are surprising!
Premiere Pro is not bad at multicam editing. If you are only editing a few clips, Premiere will be fine. But, for complex projects, or where you want to customize proxy compression settings, Premiere is not the fastest or most capable choice. Here are the details.
A frequent question is whether a computer has the power an editor needs. Here I look at what Adobe Premiere Pro needs for 4K multicam editing and the speeds your storage needs to support. The answer is not what you expect.
Digital video no longer requires state-of-the-art hardware. We no longer need the biggest, fastest, most powerful system to get our work done. Here’s what you need to consider for a video editing system today.
Here’s a collection of two dozen websites with free – or mostly free resources for video editors.
Adobe announced a raft of new features, along with improved AI creation tools and an initiative to verify who actually created an image or other creative work.
Adobe added new features to their proxy workflow. However, you need to make sure permissions are set correctly, and, even then, they are hard to see. Here’s how this new feature works.
Video bit depth makes a difference when you are creating effects, color grading or working with HDR material. Here’s an explanation of what bit depth is and when to care about it.
Adobe updated their video applications last week. Here are the new features, with links to learn more.
Adobe changed the Premier Pro export interface — cleaning it up without removing any of the power or flexibility. Here’s a tutorial with a look at the new changes.
With the 22.3 release of Adobe Premiere Pro, Adobe created a faster and easier way to create a new project and import media into it. Here’s how it works.
This is an excerpt of a recent PowerUP webinar called “Ask Larry Anything.” In this short tutorial, Larry Jordan explains what makes video frame rate conversions so difficult.
Step-by-step illustrated instructions on how to encode image sequences using Adobe Media Encoder.
The New Mac Studio computer is stunning. But, is it for you? Here’s what you need to know to configure it for video editing – yet save money at the same time.
In this article, I compare the compression speed of Apple Compressor, Adobe Media Encoder and ffWorks (ffMPEG) on an Intel system versus a new M1 MacBook Pro. Along the way we also discover that speed is not dependent upon how hard the CPUs are working.
Here’s a list of the top 20 most-read media and video editing tutorials on Larry Jordan’s website from Jan. 1, 2021 to Dec. 31, 2021.
This morning, Adobe announced new features and updates for Premiere Pro, Character Animator and After Effects. Here are the details.
Yes, the new M1 MacBook Pro is very, very fast. But, the M1 did not win every race when tested against a 2013 MacBook Pro and a 2017 iMac. These twelve tests are a good comparison between performance benchmarks and real-world media processing of the improvements you can expect if you upgrade to these new systems.
Adobe adds speech-to-text and native M1 Mac support to the July, 2021, version of Premiere Pro. Here’s the full list of changes.
When it comes to updating the operating system on my main production Mac, I’m a laggard. This is by intent. Still, I finally decided it was time to upgrade. Here’s what I learned in the process.
Both the new M1 and existing T2 chips from Apple support hardware-assisted encoding and decoding of H.264 and HEVC media. Here’s how to enable it in Adobe Media Encoder.
This week, Adobe released new versions of its video and audio applications: Premiere Pro, After Effects, Audition, Media Encoder, Character Animator and Premiere Rush. There is a LOT in these new releases. Here are the details.
When using Premiere, caption timecode for importing captions doesn’t matter. But it DOES matter when exporting. Here’s what you need to know.
“Should you upgrade?” is the wrong question. Here is a better answer on when to upgrade to Big Sur – along with links to help your transition go smoothly.
Watch Folders are a fast, automated way to compress files. But, when you nest them, they can simplify even highly complex compression tasks. Here are two examples.
There’s a feature in Adobe Media Encoder that can speed your compression work: Parallel Encoding, especially when you are creating multiple versions of the same source file. Here’s how it works.
Video compression is essential to all media today, from social media to broadcast to streaming. In this short video, Larry Jordan shows how to stitch multiple clips into a single movie during compression in Adobe Media Encoder.
Video compression is essential to all media today, from social media to broadcast to streaming. In this short video, Larry Jordan shows how to add overlays, like watermarks or timecode, to video during compression in Adobe Media Encoder.
Video compression is essential to all media today, from social media to broadcast to streaming. In this short video, Larry Jordan shows how to create Watch Folders to automate media compression using Adobe Media Encoder.
You exported your video file only to find that it is WAAAY too big! Here’s an explanation of file sizes, codecs and media workflow for beginners.
I first wrote these “Media Planning Guidelines” as a series of bullet points to help us think about media and the storage necessary for video editing. In this article, I expand these to explain my thinking to help you make better media decisions for your next project.
In this short video tutorial, Larry Jordan discusses the impact of video frame size, frame rate and codec on storage capacity and video editing, whether you use Adobe Premiere Pro or Apple Final Cut Pro X.
In this short video tutorial, Larry Jordan explains why converting video frame rates often causes video playback to stutter, whether you use Adobe Premiere Pro or Apple Final Cut Pro X.
This is a system to speed exporting Premiere Pro projects for one or more editors using two computers, Adobe Media Encoder and Watch Folders.
There is difference in how the same color is displayed in Premiere, Final Cut and QuickTime. This made worse when looking at media on a P3 display. Here’s what you need to know.
Captions are not titles. Understanding the difference is key to problem-free playback of your media. Also, you don’t get to choose the caption format – your distributor does. Learn more here.
Adobe announced a flock of new updates. Here’s a summary of what’s new for audio and video folks, plus links for more information.
This morning, Adobe updated Premiere Pro, After Effects, Audition, Character Animator and Premiere Rush. Available today, the updates offer support for Apple ProRes RAW, new creative tools in After Effects, workflow refinements in Character Animator, and performance improvements, such as …
An illustrated tutorial on how to import, modify, adjust and export captions in Adobe Premiere Pro CC.
A quick, step-by-step process to transfer videos from a Mac to an iPad.
A detailed look at video compression speeds in both Mojave and Catalina for both Apple Compressor and Adobe Media Encoder. Cool charts are included.
