In this short video, Larry Jordan illustrates the differences between duplicating a project and creating a snapshot. There are CLEAR differences and one big winner.
This is a flat-out amazing interview and photographs! Philip Grossman is a documentarian, cinematographer, technology consultant.. and absolutely fearless. His documentaries inside Chernobyl and Fukushima won international praise. Here he discusses his gear, his technique, and his thoughts on media itself.
Recently, CapCut changed their Terms of Service to give them control over your media – in certain circumstances. Here’s what you need to know to keep your media safe.
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.
Atomos announced the Ninja TX, a completely reengineered member of the Ninja family of camera monitor-recorders featuring a brand-new industrial design, improved thermal efficiency, reduced weight, and enhanced portability, all in a compact 5-inch form factor.
Media Intelligence is new with Premiere Pro 2025. It searches “for your perfect shot using language based on imagery, spoken words, or content with embedded metadata like shoot date, location, or camera type, all at the same time.” Here’s how it 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.
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 Premiere Pro 2025.
How fast does your storage need to be to support video editing these days. Well, in most cases, not as fast as you might expect, as Larry Jordan illustrates.
Sigh… the worst just happened. Your Premiere Pro project is corrupt and won’t open. Now what? There are a number of options you can use to restore your project and get back to work quickly, as Larry Jordan explains.
Sigh… the worst just happened. Your Final Cut Pro library is corrupt and won’t open. Now what? There are a number of options you can use to restore your library and get back to work quickly, as Larry Jordan explains.
We are shooting more media than ever, distributing it in more ways than ever, and continually returning to our archives for new material to feed to social media long after the original event is done and gone. I asked Sam Bogoch, CEO of Axle AI, what questions we should ask in choosing a media asset manager.
One of the themes from multiple interviews at the 2025 NAB Show in Las Vegas was “data repatriation.” In this short video, Sam Bogoch, CEO of Axle AI, explains what this means and the benefits it provides.
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.
I found myself giving bad advice recently – which I hate to do – and it started with this panic email which I misinterpreted.
I was worried. My SSD RAID was getting fuller every time I deleted files. This should not happen! It SHOULD get emptier. While I was using an OWC Thunderblade RAID, this problem could apply to any SSD. The answer, I …
One of the themes at the 2025 NAB Show in Las Vegas seemed to be a reaction against the cloud; a question about whether we’ve moved too much data to the cloud. Several my interview guests talked about data repatriation, …
Larry Jordan and Martin Greenwood discuss YoYotta’s evolution beyond its initial phase of archiving media to LTO tape. Their software now supports indexing and finding media, backups and archives, as well as LTO tape.
Larry Jordan and Craig Hering discuss how Suite Studios is able to create cloud-based media collaboration software that provides both fast performance and high security world-wide.
Larry Jordan and Derek Barrilleaux discuss how Projective’s key insight is protecting and organizing media by project, why this is important, and who their cloud-based Strawberry software is designed for.
Larry Jordan and Trevor Morgan discuss Open Drives’ transition into a software-only company, the need for faster network-attached storage, and the increasing trend of data “repatriation.”
In this conversation, Larry Jordan and Conner Stirling discuss how MASV has only one mission: To provide faster, more reliable, and more flexible file transfers for media. What you may not know is how much is under the hood.
Larry Jordan and Linda Tadic discuss archiving creative projects and media for the long-term, how Digital Bedrock verifies all files, creates multiple backups, checks them annually for file integrity, and tracks them for potential obsolescence.
Larry Jordan and Tara Montford discuss some of the 20 new products EditShare released at the show, how EditShare’s media-centric focus enables it to optimize their products, and details on their hardware specifications.
Larry Jordan and Dr. Marc Batschkus discuss new features in Archiware’s backup and archiving software suite, where Archiware fits into a media production workflow and, a key benefit that tape archives provide in protecting organizations against cyber-attacks.
Larry Jordan and Michael Kammes take a step back and look at media production and post from a higher level, discussing the role of AI, the different forms of AI, and how they impact the tools that we use. Michael also shares what young editors need to know to build their careers.
Larry Jordan and Larry O’Connor discuss OWC’s latest Thunderblade high-speed storage, the importance of Thunderbolt 5, and network-connected LTO drives. They then take a deeper look into SoftRAID 8.5.
Larry Jordan and Mark Hudgins discuss DIT file automation, the new Shotput Studio, and current media trends forcing teams to process more data in less time without losing track of it.
The M4 Mac Studio is the ultimate performance tool for video editing. Here are my thoughts on how to maximize performance, without breaking the bank.
Be careful purchasing a USB-C to USB-C cable. If it says “Charging” on the box, it will not work to send data, connect a monitor, or even connect an iPhone. These are for charging devices only. I’ve already been burned three times. Time I learned my lesson.
Tomorrow, Axle AI will make two important announcements for its multi-user, media asset manager: The first improves data privacy in general and the second improves finding the media you need for Mac-based video editors.
Axle AI is a media asset manager (MAM) that runs on Mac, Windows and Linux computers. In this short video, Larry Jordan showcases the features of Axle AI and how a MAM can extend the power of video editing software like Apple Final Cut Pro, Adobe Premiere Pro, or DaVinci Resolve.
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.
Axle AI, a multi-platform media asset manager, provides fast and efficient searches through tens of thousands of clips to find exactly the video that you need. Here, Larry Jordan how how to do searches in Axle AI.
You buy Media Asset Management (MAM) software to extend how your current video editing tool finds and tracks media. But there are a lot of options in the market today. Here, Larry Jordan presents some key questions you need to ask when deciding what to get.
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.
Francesca asks: “I need to move a library between two different versions of Final Cut Pro. How can I do this?” Larry has the answer, and a workaround.
Yesterday, Muvi, a SaaS Platform dedicated to providing high-quality streaming experiences for users around the world, published “2K vs 4K: A Neat Comparison of 2K and 4K Resolution.” In this commentary, Larry Jordan shares his thoughts on how this could affect video production.
Siamack is new to Final Cut and struggling to organize her media. In this video, I provide a variety of organizational tools she can use, with a special emphasis on keywords.
Paul asks: “Is there a way to always import files into a Final Cut Pro library by default?” The answer is that storing files in the library IS the default, but it is easy to change accidentally. Here’s how to reset and verify your storage locations.
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?
At CES, OWC announced a series of new products designed to maximize the performance of Thunderbolt 5. These included faster RAID storage, longer Thunderbolt cables and a new multi-port hub. Here are the details.
Last week, Larry O’Connor, Founder & CEO of OWC, made three predictions about storage for 2025. Take a look and see if you agree or not.
Recently, I purchased an OWC Thunderbay 4 RAID. To go with the RAID enclosure, I also bought four Seagate Iron Wolf Pro 16 TB drives. Over the last two weeks I conducted a wide variety of performance tests and, in many cases, the results surprised me.
This tutorial measures and illustrates the difference in speeds between different HDD (Hard Disk Drive) RAID levels. This also provides definitions of these different levels and recommendations on which to use for your storage.
High-performance, high-capacity storage is at the heart of everything we do as media editors. Clearly, performance improves with each generation of gear. Equally clearly, none of us have unlimited budgets. These tests compare the benefits of migrating from Thunderbolt 2 storage to Thunderbolt 3.
For many years, I’ve written that the fuller a spinning hard disk drive (HDD) is, the slower it goes. But, while I’ve “known” this for years, I never really bothered to test it. Until this week, as part of a detailed review of a Thunderbay 4 HDD RAID. Here’s the answer.
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.
I’ve always “known” that HFS+ is better for formatting spinning hard drives for the Mac than APFS. But, I wondered, is that just hearsay or is there some truth to it? So, I put them both to the test. The results are surprising.
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.
