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.
In this short video, Larry Jordan illustrates three key terms which directly affect the quality of video images: Color space, bit depth and chroma-subsampling.
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 DaVinci Resolve 20.
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.
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 Apple Final Cut Pro 11.1.1.
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.
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.
A powerful and poetic tribute to the magic that was LACPUG, née LAFCPUG, for 25 years the defining community for video editors around the world. A labor of love and a work of art by Mike Horton.
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.
“Most video editors are broke by choice,” Brian Alves posted on LinkedIn. “Why?, he continued, because “they panic when it’s time to price.” Here are some pricing tips from my business seminars that can help you make more money on your next project
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.
Thoughts from Larry Jordan on Apple’s 2025 WWDC keynote presentation.
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, …
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?
In this conversation, Larry Jordan and Maxim Jago discuss the future of media, the impact of AI on media creation and humanity, why he chooses to be optimistic, and his suggestions on what creative media folks can do to survive and surmount the turbulence in today’s world.
Larry Jordan and Jeffrey Weiss discuss Valiant Eagle Enterprises’ up-coming acquisition of sound stages from Occidental Studios in Los Angeles. Jeffrey also describes his plans for the studio, its technology, and his target market.
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 Gary Rosen discuss Pliant’s focus on wireless intercom systems, where they are used, the challenges in building them and a look at their latest features.
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.”
Larry Jordan and Patrick Holroyd discuss their brand-new camera app for iPhone. Expanding well beyond the native Camera app, MAVIS provides camera-to-cloud directly from the iPhone, access to pro features, including 25 fps video, and a totally new interface.
Larry Jordan and Dan Maloney discuss how, in the beginning, Matrox Video meant media. Now, they are into providing media converters and connections for broadcast, IP, military, government, space — anywhere pixels need to be moved, Matrox is moving them.
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 Saj Jamal discuss IMAX’s long tradition of high-quality cinema experiences. New this year, IMAX announced it is branching into presenting live sports. Saj discusses their work with the NBA and how media creators can contribute.
In this conversation, Larry Jordan and Martin Vorley discuss Farmerswife’s two key production software tools: Cirkus, task-based scheduling and production management, and FarmersWife, with facility and crew scheduling, financial tracking, and reports.
Larry Jordan and Ashay Javadekar discuss Eagle Studio’s new production slate technology which automatically embeds critical media metadata into video and audio files and read automatically by NLEs.
In this conversation, Larry Jordan and Joe Ross discuss the virtual production facilities at Door G, in East Providence, RI, the gear they have, their LED volume, and how their crew can enable your next production.
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 Matthieu Kopp discuss Peakto, a Mac-based media asset manager, that integrates AI and extended search with popular NLEs to track your media wherever it is stored. “Our goal,” says Mattieu, “was to emulate Kyno.”
Larry Jordan and Jenn Liang-Chaboud discuss how to pick the right microphone for your project, how to choose between wireless and wired mics, and Shure’s latest announcements at the show.
Larry Jordan and Greg LaPorte discuss Sonnet Technologies’ support for Thunderbolt 5, why this new protocol matters, the importance of Thunderbolt’s support for PCIE-4 and new hardware Sonnet introduced at the show.
Larry Jordan and Roy Folkman discuss how CineSys’ expertise in custom system design and workflow integration can help media organizations improve their facilities or workflow.
In this conversation, Larry Jordan and Peter Bruggink discuss MediaAnywhere’s new technology that tracks and streams cloud-based video clips without proxies, while file renaming without breaking links in Premiere Pro.
Larry Jordan and Elisabetta Cartoni discuss how Cartoni is developing tripod heads capable of tracking 4 million positioning points, then feeding to a motion tracking system or Unreal Engine for a video wall.
Larry Jordan and Abhi Dey discuss the development effort behind PixitMedia’s media asset platform, Abhi’s goals for the project and what they hope to accomplish.
Larry Jordan and Chris McMahon discuss Backlight’s product suite, how they view media asset management, how they are using AI in their products and how Wildmoka automates instantly sending content “clippings” to multiple destinations on any platform.
Larry Jordan and Barton Weiss discuss what makes videography with a smartphone different from using a more traditional video cameras. Barton also explains his challenges in writing this book and how he tested its concepts on his film students.
Larry Jordan and Martin Torner discuss what a grip does, Matthews’ focus on solving support problems on set, and that, with “only 12 cars in the parking lot,” it’s easy for them to quickly tackle and solve problems that film and broadcast crews bring them.
