Here’s a quick way to hide, or reveal, audio track names on the FCP 7 Timeline.
Here’s a quick effect to create a “pull quote” using the Motion tab in Final Cut Pro.
A clip collision generally occurs when you are trimming. Specifically, when you are ripple trimming.
This is a very cool technique that changes the color and display of your text as the background changes.
This is a very fast way to edit multiple camera angles into the Timeline in FCP 7 – without using multi-clips.
In this article, Larry Jordan answers a question about when to convert HD files to SD for editing in Final Cut Pro 7 or earlier.
One of our subscribers discovered one of the big differences between capturing in tape-mode, where you can combine multiple shots into one long clip, and tapeless, where each shot is stand-alone. In this article we examine how to avoid that problem.
When trying to sync audio to video using sub-frame slipping in the Viewer, a subscriber writes that Final Cut is setting a new In for his audio in the Sequence without actually slipping the Audio. This technique, which can be used in Final Cut Pro versions 4 through 7, explains how to adjust for this.
A subscriber noticed that if there is a clip generator or any clip in a top track in the Timeline, the clip under the top track becomes invisible, making it impossible to edit using Playhead > Open Sync. He supplies three very helpful workarounds.
In this article a subscriber would like to change the name of a clip in a sequence in the Timeline without having to change the original source file. We take a look at the options (making a clip independent, using subclips, etc).
Creating markers for H.264 is exactly the same as creating markers for a DVD. In this article we examine the technique to do just that.
In this article we discuss the limitations of using the keyboard to target audio track numbering above 9, and the keyboard shortcut for the lower track numbers is demonstrated.
A clever trick for working around Final Cut’s resetting of transitions is supplied by subscriber, Richard Day, using a temporarily set up dummy edit.
An editor’s interest in “cleaning up” some audio clips is a joy to answer, and very useful info to have.
Larry weighs in on the issue of selecting between the Animation codec and ProRes 4444, following a subscriber’s question regarding importing files into Final Cut.
Formats like HDV and XDCAM are compressed using MPEG-2 which is very hard to edit accurately. So, Final Cut Pro converts it invisibly in a process called “conforming”.
In answering a subscriber’s questions regarding working with three different formats we examine issues like selecting the best codec to use, converting frame rates, and more.
Ben Balser had a client whose audio filters were grayed out in the Effects > Video Filters list. The problem was Effects Availability. In this article we walk you through how you can control which effects are displayed from the Effects tab in the Browser.
When using Media Manager to archive media the key point to remember is that you need to select what you want to manage BEFORE selecting it from the menu. And, I always select what I want to Media Manage in the Browser, not the Timeline.
This technique explains creating, working with, and deleting subclips. It also illustrates the main reason we create subclips.
In successfully working with tapeless media, I’ve developed an easy-to-implement workflow that will help prevent problems in your own projects.
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.
Deciding whether to upgrade to Final Cut Studio 2? Read this short note first.
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.
What happens when you change Final Cut’s display background to any color except black? Much less than you think. Here’s why.
New with FCP 5 are render settings and video processing controls that help keep your video “broadcast safe.” This article explains how they work while giving you techniques for using them.
Vignettes are a great technique for highlighting something or softening edges. This article explains how to create a vignette in Final Cut Pro, as well as some ideas on how to adjust it to create different effects.
Those green visibility lights on the far left of the Timeline have some very useful functions; and hidden keyboard shortcuts. Learn what they are here.
Those glowing green lights on the extreme left side of the Timeline have a very important purpose – especially if you are trying to see tracks below other tracks, output, or export. This article shows you their secrets.
Dealing with shifting color temperatures during shooting presents a raft of problems during editing. This article describes what you can do during shooting to compensate for color temperature changes, as well as how to “fix it in post.”
Here’s a technique that can totally change how you think about sequences, nests, and the special effects you can create with them.
Final Cut Pro is a QuickTime editor. But what if you want to create WMV files? Well, you are not out-of-luck, but you will need different software. This article describes what you need to know, along with how to resolve problems when creating WMV files.
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.
Sometime between February and June, 2009, all broadcast television stations in the US need to convert from analog to digital transmission. However, this is NOT the same as converting from SD to HD – they are not, necessarily, related. While the current changeover timing is being debated in Washington, here are some answers to your questions.
Need to get a sequence from a later version of Final Cut back to an earlier version? Here’s how to do it — though, keep in mind, that not everything will transfer.
When you send a stereo audio pair to Soundtrack, STP treats it as a stereo clip. When you send a dual-channel mono pair to Soundtrack, STP treats them as two separate files. This article describes how to switch from one to the other.
This powerful technique can quickly bail you out when you need to match shots from the middle of a clip, rather than the In or the Out.
Adding DVD chapter markers to a QuickTime movie is reasonably easy. But how do you do this for H.264 compressed video. This article describes what you need to know.
You’ll find that you can retouch images directly in Photoshop. You will need Photoshop Extended CS3 or CS4. In fact, I created a video tutorial that shows you how.
The problem with reverb is that the effect needs to continue after the clip ends. While Soundtrack Pro has some great audio filters, often there just isn’t time to move your project from Final Cut to STP. In this tutorial, you’ll learn how to use nesting to create a reverb effect inside Final Cut that can last long after the clip itself is over. Best of all, this is both quick and easy.
NewBlue is new to the Mac, but not to creating effects. They’ve been producing video effect for Windows users for years. This product review takes a look at several of their new plug-ins for Final Cut Pro/Express/Motion. Featuring a very easy to use interface, there is a lot to like.
Transcriptize is a new piece of software that takes the text transcripts automatically generated by Adobe Premiere or Adobe Soundbooth and formats them so people, rather than computers, can read them. PLUS, it allows you to a great trick to import those text transcripts into Final Cut Pro to speed your editing.
Ganging two movies together in Final Cut Pro means that you can easily compare, frame-by-frame, two different movies. One in the Viewer and the other in the Timeline. This has been a feature of Final Cut for many years, but its hard to find. This article explains how to do it.
Trashing your Final Cut preference files also deletes all the entries in your Effects > Favorites folder. Which can be a bummer. This technique provides a fast and easy way to backup your Favorites prior to trashing preferences so you don’t lose a thing. Cool.
Understanding how to read the Waveform Monitor and Vectorscope are essential to getting the best possible pictures out of Final Cut Pro. This article gives you an overview of how to read them and what they mean.
Until version 5.1.2, the scopes in Final Cut were notorious for being almost, but not quite, accurate. That all changed with 5.1.2. and they’ve been enhanced in FCP 6. This article provides a more technical discussion on the quality of Final Cut Pro’s scopes, especially in regard to Color.
Moving horizontally in the Timeline is easy. Moving vertically is easy, too, once you know the secret. Here’s how.
The number one interface rule for Final Cut is “select something, then do something to it.” Well, I’ve discovered that virtually no editor knows what these selection tools can do. Which is a shame, because once you understand how these work, they can make a real difference in speeding up your work. This article explains how.
In this article Larry handles a question regarding whether a series of continuous time code cuts will translate into the OMF or be ignored.
Still images, especially when you move on them, create weird shimmer, or moiré, patterns. This article describes what they are and how to fix them.