I’ve known since RAW-format media was introduced that we could go from RAW to video, but not video to RAW. In this short tutorial, Larry Jordan explains why.
I made a mistake in this week’s webinar – Apple Final Cut Pro 11 Power Tips – when I said that ProRes did not support Log video. (I corrected this in the edited final version.) It does. WHAT IS LOG …
While much of AI requires the cloud, for media asset management, running locally makes more sense. Here, Sam Bogoch, CEO of Axel AI, shares four benefits to creative workflows: Cost, Trust, Speed and Guilt.
All three NLEs – Final Cut, Premiere and Resolve – provide AI-powered audio tools to remove background noise. DaVinci Resolve 20 provides tools in both the free and Studio versions. Here’s how they work.
In this age of smartphones with incredible cameras, it is easy to take high-quality images for granted. But when working with older film prints or slides, quality is not a given; especially for images shot by non-professionals. In this tutorial, I show how to adjust scanner settings to rescue images and make them look great.
All NLEs today can convert speech to text, then generate captions for video. However, following in the steps of CapCut, which popularized this feature, DaVinci Resolve now animates subtitles in a variety of ways. Here’s how this works.
Upgrades, whether for the macOS or your favorite NLE, are always a balancing act. We need to decide whether the new features (and security improvements) are worth risking breaking a feature we depend upon. Here are my recommendations.
Sometimes, in spite of our best efforts during production, something gets into the shot that we just don’t notice until it is too late. DaVinci Resolve has two effects that can quickly remove elements from a shot: Patch Replacer and Object Remover. Here’s a tutorial on how they work.
Recently, I contacted Blackmagic Design to learn which features in DaVinci Resolve 20 were powered by AI. Here’s what I learned, along with a video demo at the end of this article.
Recently, my social media team asked me to create several vertical videos with captions. Since I can only shoot horizontal video, here’s how I did it, using DaVinci Resolve 20.
Far too often, you need to change color settings in the middle of a clip so that the colors change during playback. While you can simply dissolve between two clips, using keyframes gives you more control – allowing you to change settings multiple times during a clip. In this short video tutorial, Larry Jordan shows how to create color keyframes and change settings to convert a clip from daylight to indoor lighting.
All recent versions of DaVinci Resolve provide an outstanding motion tracker. In this short video, Larry Jordan shows how to configure a Power Window (mask) for tracking, then, seconds later, apply a secondary color correction effect. The whole process takes less than a minute and can be used with any Power Window!
The free version of DaVinci Resolve 20 is amazing. But the Studio version will blow your mind! In this short video tutorial, Larry Jordan showcases four color effects only available in the Studio version of Resolve that will alter your view of reality and leave your jaw on the floor!
The Color page in DaVinci Resolve 20 is jam-packed with features to adjust color. Because of this, the page is totally overwhelming. To overcome this, Larry Jordan shows how to use four automatic features in Resolve – Auto Color, Auto White Balance, Auto White Level, and Auto Black Level – to fix common color problems without requiring learning how the rest of the Color page works.
DaVinci Resolve is an industry-legend as color grading software. In this short video tutorial, Larry Jordan shows how to transfer projects from Apple Final Cut Pro and Adobe Premiere Pro into Resolve, then how to transfer them back.
Unlike Final Cut or Premiere, DaVinci Resolve does not store libraries (Final Cut) or projects (Premiere) as separate files. However, there are times when you need to save a specific project. Resolve provides three ways to do this: Backup, export, and archive. Here’s how each of these work.
Generative AI is commanding all the fear and attention in media today. But, there are a wealth of AI-assisted tools in Apple Final Cut Pro, Adobe Premiere Pro and DaVinci Resolve that are enabling editors to do more, rather than replacing them en masse. In this presentation to the Los Angeles Creative Pro User Group, Larry Jordan highlights nearly two dozen AI-assisted tools across all three of these applications.
I found myself giving bad advice recently – which I hate to do – and it started with this panic email which I misinterpreted.
Resolve can easily display two timelines using either a single or dual monitor display. But it’s a bit fiddly. Here’s how this works.
Adobe Premiere supports displaying two or more timelines at the same time. For example, this can help when you need to compare two versions of an edit. This isn’t hard to do, but it isn’t obvious. Here’s how this works.
All the hype surrounding AI presents software developers making tools for creatives with a dilemma. How do they find the right balance between creating features that improve their tools versus replacing the editor?
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.
The challenge I faced was that, once I finished a horizontal version of a video, I needed to create a vertical version for social media posts. Resolve makes it easy, but not obvious. Here’s what you need to know.
At the recent the 2025 NAB Show in Las Vegas, I sat down with Blackmagic’s audio gurus to learn more about the Fairlight page. What I learned made a big difference in the sound of my projects. Here are three secrets that I’m now using in every project.
I want to add watermarks to the videos I edit in DaVinci Resolve – but I couldn’t find a “watermark” option. Then, I discovered “Data Burn-in.” Here’s how it works, how to create presets and where to use them.
Larry Jordan and Dan May discuss BMD’s 36 newest products, with closer looks at Pyxis cameras, ATEM switchers, the role of AI in creative software, and DaVinci Resolve 20.
Here’s a list of all scheduled industry and thought leader interviews scheduled for the 2025 NAB Show in Las Vegas, NV.
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.
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.
Last week provided a unique (for me) perspective into the perils of AI for video editors. I’m not saying: “Don’t use AI.” But I am saying that we need to continue to view AI answers with skepticism.
We all want accurate color in our video. But, good golly it’s hard, as this conversation between Gary Bowman and myself illustrates.
At first blush, Sidebar – the ability to mirror an iPhone or iPad on a Mac – doesn’t seem to offer much value. But, when you mirror the Mac on a mobile device, magic can happen.
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?
Here’s a list of my most popular tutorials for December, 2024. Yet what I find most intriguing is how many older tutorials are still very popular.
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.
Christopher Campbell created an amazing time-lapse image sequence about painting a large picture. Then, he asked me for ways to make this time-lapse look better. Here is a technique you can use in Final Cut Pro, Premiere Pro or DaVinci Resolve.
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.
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.
Here’s a very fast technique that can reduce (or emphasize) wrinkles in an actor’s face – without resorting to plug-ins. Watch as Larry Jordan illustrates how this adjustment works – improving how an actor looks instantly!
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.
This short video showcases the differences between using Lift – Gamma – Gain and Shadows – Mids – Highlights to change the gray-scale values of a clip. These differences are significant, powerful, and highly useful, as Larry Jordan illustrates.
DaVinci Resolve has a preference with a default setting that makes editing audio almost impossible. Here’s which preference to change and how to edit audio in very small increments, easily and accurately, using the Fairlight page in DaVinci Resolve 19.
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.
It’s important to remember that you don’t need to buy the fully-loaded version of any system to get serious work done. Here are my thoughts on how to configure an M4-series Mac for serious video editing without breaking the bank.
“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.
Audio normalization makes one or more selected audio clips louder, without creating distortion, by raising the gain (audio level) of each clip such that the loudest portion of each clip does not exceed the level that you specify. This tutorial explains when to use it and when you should not.
It appears as a bug during audio dialog editing in DaVinci Resolve 19. What it ACTUALLY is, is a preference that defaults to the wrong setting.
Here’s a list – with links – to all of Larry’s interviews at the NAB Show New York 2024.
