Blog Archives

A step-by-step tutorial on converting frame sizes and frame rates from HD to SD video using Compressor.

In this video tutorial, learn how to change video frame rates using Compressor 4.

In this video tutorial, learn the best, and fastest, way to deinterlace video in Compressor 4.

In this video tutorial, learn how to speed video compression using a processor cluster in Compressor 4.

The X.264 codec can improve compressed image quality. This tutorial shows how to install and use it in Apple Compressor.

This step-by-step tutorial shows how to automate the process of burning-in timecode to a clip using Final Cut Pro X.

A step-by-step tutorial showing how to convert standard-def video into high-def video using Apple Compressor.

A step-by-step technique to creating a clip with a transparent background in Final Cut Pro X, then adding it as a watermark to Compressor 4 (or Compressor 3).

A video tutorial on adding chapter markers and creating test movies using Compressor 4.

Job-chaining saves time during compression by sending the output of one compression process into input of the next. Here’s how it works.

Stories are a very powerful technical feature in DVD Studio Pro that allows you to alter the normal flow of your movies. This article shows you how.

There are two ways to create movies using custom image sizes: one in Motion and one in Compressor. This illustrates both methods.

Here’s a step-by-step technique that shows you how to create chapter markers manually or automatically in Compressor.

Audio slowly drifting out of sync is often caused by mismatched sample rates, or trying to edit MP3 audio. This explains how to convert MP3 to AIF.

Compressor scares a lot of people. However, if all you want to do is compress a video for YouTube, Compressor makes the process very easy. This technique shows you how.

Compressor automatically generates log DPX files. Is there a way to create linear DPX files?

David Scott was having a problem creating a DVD using a Compressor Template. Until he solved it. Here’s what he did.

An extensive email correspondence with editor/subscriber, Patrick Nugent, concerning some difficulties with video artifacting and the solutions he found, is summarized in this article.

In this article we give a quick examination of how to upsize an original 4:3 sequence into a 16:9 timeline.

A subscriber and previous contributor returns with another great tip about operating the Compressor from the command line and advises to limit the number of your batches to a few hundred compressions.

Subscriber Mike Henry writes in to see about finding the most highly recommended practices with mixing cameras with different resolutions.

How to upload a file automatically after Compressor has finished converting a file.

While you can create watermarks in FCP, Compressor provides a much better alternative. This technique shows you what to do.

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.

Down-converting HD to SD using Compressor provides better image quality than using Final Cut Pro. This article shows you why.

A few bullet point suggestions for subjects ranging from trying to up-res from SD to HD without losing detail to getting Compressor to launch.

Here’s a great technique you can use if your camera only shoots 4:3, but you want it to look like 16:9. This works for any standard-def video format; you don’t need it when shooting HD, because HD is already 16:9.

The only problem with creating multiple versions of the same file is the time it takes. In this article, I explain how you can do this faster and easier by automating Compressor, than just doing one file at a time from Final Cut Pro.

A reader asks how to create a PAL DVD. In this article, I provide a reference for file conversion, then talk about the Compressor setting you can use to compress your files. (I also include a link to lots more training on DVD creation.)

Compressor does a really good job of compressing video for the web, or DVD. But, what if you want to change the image size? Well, Compressor does that too – in the Geometry tab. This article shows you how.

With the release of Final Cut Pro 7, we got a new export menu option – Send. In this article, I take a first look at the differences between Share, Send, and Export; and explain which one to use.

DVDs are always standard definition video. Which means that if you shot your project in HD, you need to down-convert it to SD before you can put it onto a DVD. This short article describes what you need to know.

Larry fields a question related to transferring HDV footage and traces the problem back to the process of compressing the video. A walk-through of changing the output settings in the Geometry tab provides a detailed guide to preventing this problem from reoccurring.

Money was tight, so “they” decided to shoot the project using both SD and HD cameras. Now, your stuck editing them. HOW??? In this article, we explains a variety of ways you can intercut between SD and HD material, and how to avoid problems with poorly converted video.

One of the new features in Compressor 3 is its ability to harness all the processors in your computer to speed video compression. But, you have to turn this feature on before you can use it. Here’s how.

Why doesn’t MP3 audio play nicely with Final Cut Pro? The answer is because Final Cut Pro was invented to support only uncompressed audio files. There are only three audio formats that Final Cut supports: AIF (and AIFF), WAV (and Broadcast WAV), and SDII. All compressed formats (like MP3 and AAC) need to be converted into an uncompressed format before you can edit them.

The native format of HDV isn’t QuickTime, it’s .M2T. However, FCP can’t play M2T files – it needs to convert them. There are two ways you can do this — using Compressor or using MPEG StreamClip. This article shows you how.

Most of the time the default settings in Compressor are not too bad. But, sometimes, problems arise when down-converting high-def material to standard-def (HD to SD). In this case, if you are getting images that look worse than you expect, try this two-step process (called “pre-compression”) and see if your image quality improves.

Droplets are great for automatiing video compression. Create your settings once, then use the droplet.

I’ve taught this technique in my classes for a long time, but recently discovered that I have not written about it. When you are compressing a QuickTime movie for a DVD, the default settings for video and audio compression may need to be tweaked.

There are a variety of ways to export a project from Final Cut Pro for a DVD. This article showcases the best way to do it if you are using Final Cut Pro 6.x. (FCP 7 users may want to consider using Share or Send, which this article doesn’t cover.)

Final Cut Pro hates compressed audio. This article explains the problems you will having working with it, as well as providing a simple conversion process that solves the problem.

In this article I want to give you some suggestions on proper selection of compression bit-rates; as well as how to improve the compatibility of the CDs and DVDs that you burn.

In spite of the hype, optical media is not dead. The two variations for HD media – AVCHD and Blu-ray Discs – are still valuable tools in an editor’s toolkit. In this article, David Scott writes about his success in using Blu-ray Discs to meet the needs of his project.

Are you having problems getting Final Cut to render? It may not be a software problem. Eric Solstein sent us this cautionary tale on the problems of heat. If your system is acting up, read this article.

There are four ways inside DVD Studio Pro to control how 16:9 video plays back on a 4:3 monitor. This article describes what you need to know and provides suggestions on which one is best to use.

In Final Cut Pro 7 is the File > Share option which allows us to export a sequence from Final Cut and compress it for YouTube. This article, and comments, show you how this works.