Blog Archives

A summary of the latest updates to Apple Final Cut Pro X (10.1.2), Motion (5.1.1) and Compressor (4.1.2)

In this short video tutorial, watch as Larry Jordan shows how to create and animate a dotted line in Motion 5. This is the perfect technique to use to illustrate a path across a map.

Motion 5 can create visually stunning motion graphics for Final Cut or any other video editing software. In this short video tutorial, Larry Jordan shows how to export a Motion project to use in Adobe Premiere Pro CC.

Motion Simulators create very cool effects – and they are also very well hidden. In this short video tutorial, watch Larry Jordan explain what they are and show you some of the effects they can create.

A detailed tutorial on how to animate text along a curve, also called text on a path, using Motion 5. This isn’t obvious, but it isn’t hard, once you know how.

A detailed explanation of how to get text to flow around a shape using Motion 5.

“Publishing” allows you to send Motion effects settings to Final Cut Pro X so that you can adjust a Motion template inside Final Cut. Sounds complex, but it isn’t, as this short video tutorial explains.

Final Cut Pro X can’t open Motion projects directly. But, using Motion 5, you can convert any existing Motion project so it will open and play in Final Cut Pro X. This short video tutorial explains how.

Rigs and widgets extend the power and flexibility of Motion into Final Cut Pro X. In this short video tutorial, learn how they work.

A step-by-step tutorial showing how to add a motion path to an object, then change its timing, speed, and path shape using Apple Motion 5.

A short video tutorial motion-tracking particles to create cold breath in Motion 5.

The Neat Video Reduce Noise filter does an amazing job reducing video noise created by shooting in low-light situations.

A step-by-step video tutorial showing how to create FCP X templates inside Motion 5.

In this video tutorial, learn how to motion track text so it moves with the background in Motion 5.

In this video tutorial, learn how to create an effect in Motion 5 for use in Final Cut Pro X.

This short video tutorial shows how to animate a mask in Motion 5 – a very cool effect that is very easy to do.

A step-by-step tutorial on how to find, share, or delete custom Motion effects used by Final Cut Pro X.

This step-by-step technique shows how to animate a line across a map using Motion 5.

In this short video tutorial, learn how to animate text on a curved path in Motion 5. (This works for Motion 4, as well.)

A step-by-step technique to motion track two clips using either Motion 5 or Motion 4.

This detailed technique shows you how and why to stabilize video images in Motion 5.

Here’s a very cool Motion effect where changes in music cause the video to change as well.

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

The open secret of Final Cut Pro X is that all its effects are Motion 5 projects. This means that you can use Motion to create custom effects for use in Final Cut. This video tutorial shows you how this works.

Recently, I wrote about how to add video to a shape in Final Cut Pro 7 While adding video to shapes is reasonably easy in Final Cut Pro 7, it is almost impossible in FCP X. So, this week I decided to create a video tutorial on adding video to a shape in Final Cut Pro X.

Here are two techniques that make a big difference to me when I am working with effects: Remove Attributes and Paste Attributes.

Valentine’s Day is coming up, so I thought I would use it as the example for one of my favorite effects – putting video inside a shape. This effect is also called a “traveling matte.”

Changing the color of a gradient in Final Cut Pro X requires opening it in Motion and making changes. This article describes how.

Here’s a quick effect to create a “pull quote” using the Motion tab in Final Cut Pro.

In addressing a subscriber’s question we look at what makes 3D work, what’s required to best create the desired effect in Motion and what makes them difficult.

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.

Here’s a simple technique to apply a filter to a portion of clip — then use the Slip tool to move it where you need it.

Creating smooth moves on stills is at the heart of many documentaries. Final Cut makes creating moves easy. But smoothness is sometimes much harder to achieve. Take a look at what these editors have to say about the best way to get your images to move.

If you’ve tried matching text sizes between Final Cut and Motion, you’ve discovered they aren’t the same. This article explains why.

With the release of Final Cut Pro v5.1.2, Apple added 53 new filters. Here’s an article that shows you how to create interesting “trail” effects.

If you’ve ever had to convert a 16:9 sequence into a 4:3 letterbox video, this explains how to do it.

One of the effects I wanted to create for my training was a reflection of a moving clip of video. This is what we are going to create in this technique.

One of the hot new features in Final Cut Pro 6 (part of Final Cut Studio 2) is the ability to use Motion templates inside Final Cut Pro. This article shows you how that’s done and gives you a couple of killer examples on how using templates as placeholders can save you HOURS of time.

Since its first release, Final Cut Pro has integrated effects with video editing. In this tutorial, I show you how to create a picture-in-picture effect, then make it move using keyframes in the Motion tab.

Creating keys on the computer is easy – and they look great. Where problems occur is when those specials effects are shot with interlaced video and displayed on an interlaced TV set or monitor. This article describes how to avoid suddenly discovering that all your effects look out of focus.

What’s the best way to position text in Final Cut Pro, and why does the position shift as you change justification? This short article explains the why and how.

Great looking chroma-keys start on set with how you light. However, once you’ve got the footage, what’s the best way to create a key. Here’s a quick sidebar that lists some other software you might want to try if you are not able to get the effect you want using the keyers that ship with Final Cut or Motion.

Here’s a technique you can use to create multiple keyframes in multiple clips at the same time with a single mouse click. Then, I’ll show you how to get more control over the keyframes you set.

SmoothCam is magical – but the analysis it requires is glacially slow. In this article, discover two tips you can use to speed things up.

Last month, I showed you how to hide someone’s identity using a traveling matte. (Technique: Creating a Traveling Matte.) This month, I want to show you a technique suggested by Tom Wolsky, where the mask, shape, and tracking are all contained on one layer, rather than two layers in a traveling matte.

Here’s the problem. You have high-definition (HD) 16:9 footage that you need to create a standard-definition (SD) 4:3 full-screen image. This means that you are going to lose some visual information on the sides of your image. What’s the best way to do this? This article explains what you need to know.

Chroma-keying, also called blue-screen or green-screen, is the process of making the background transparent so you can insert the foreground into a different shot. It sounds easy, but in practice, its tricky. This is because the chroma-keyer in Final Cut is, to be kind, sub-optimal. In this article, I’ll show you a better way to key — using Motion. Better yet, you don’t need to really know Motion to get great results.

Taking a portion of a 16:9 image and expanding it so it fills a 4:3 screen is called a “center cut.” While taking a center cut of an HD image to fill a 4:3 SD frame is easy, this article describes how, and whether, to expand a 16:9 SD image to fill a 4:3 frame.

Dramatically slow motion is easy to create in Motion – if you know where to look. This article details all the steps you need to take to make your fastest shots move in balletic slow-motion.

Tired of recreating the same effects over and over again? Final Cut has a better way – create a Favorite Effect. This article shows you how fast and easy this is.