2024 is over. 2025 has just begun. Last year was mess, and the tumult in media production and post is likely to continue. Here are Larry Jordan’s reflections on the year past and year to come.
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.
Ken Kobre released a highly revised 2nd edition of his book: “Video Journalism: Multimedia Storytelling for Online, Broadcast and Documentary Journalists.” Since I got my start in TV news a long, long time ago, this is a subject near to my heart. In this interview, Ken explains why he wrote this book and why it is so necessary today.
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.
As I was editing a recent webinar, I rediscovered three highly useful techniques that sped my work. Since these are not techniques I use everyday, I wanted to share them with you so you could save some time on your next edit as well.
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.
Dan asks: “I just edited a short family video and was stunned at how long it took! What should my expectations be for editing a project?” This is a GREAT question and one that I’m asking my readers to share their thoughts. Yes, the answer could be anything – but we still need to create an estimate.
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.
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.
Recently, Jungle Power launched a series of eco-friendly, on-location power generation systems. To learn more, I emailed a series of questions to Mark Naidoo, CEO of Jungle Power.
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.
This review looks at the performance differences in video editing running Adobe Premiere Pro 25 on a variety of Macs from the 2018 Mac mini to the new 2024 Apple M4 Pro Mac mini. The results may surprise you!
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.
This review looks at the performance differences in video editing running Apple Final Cut Pro 11 on a variety of Macs from the 2018 Mac mini to the new 2024 Apple M4 Pro Mac mini. The results may surprise you!
Today, Apple updated Final Cut Pro – Mac to version 11, along with updates to Final Cut Camera, Final Cut Pro – iPad and Logic. Here are the details and more links.
“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.
Over the weekend, I bought a newly-announced M4 Pro Mac Mini. This article explains what I bought and why. (Updated based on my recent performance tests.)
Last week, Apple announcing a bevy of new Macs: MacBook Pro, iMac, and Mac mini; each using variations of the M4: M4, M4 Pro, and M4 Max. Here are my thoughts on what to know, when to upgrade, and where to spend your money.
Another question I asked my interview guests at the 2024 NAB Show New York, was what key trends were they watching? As you might expect, there’s a LOT! going on.
One of the questions I asked my interview guests at the NAB Show New York, was, in spite of all the stress in media today, what made them optimistic? Twelve interviews from the 2024 NAB Show in New York City.
Templates are simply customized project files for Premiere or Audition that are saved to a specific location, then accessed whenever you create a new project. These can significantly speed your workflow when you are creating similar projects over and over.
In this interview, Larry Jordan and Gary Adcock discuss what AI (Artificial Intelligence) is and is not, whether we should be afraid of it, and how it gets trained.
In this interview, Larry Jordan and Megan Fasy discuss the relationship between marketing, advertising and PR; mistakes companies make when dealing with a PR agency; the current state of the market; and reasons for optimism in media.
In this interview, Larry Jordan and Sadie Groom discuss how to effectively create PR, mistakes companies make when dealing with the press, when to work with a PR agency, the current state of the market, and the importance of personal connections.
In this interview, Larry Jordan and Matt Morgan discuss Ross Video’s expansion into corporate media production, the requirements of live production, and the differences between broadcast and corporate media.
In this interview, Larry Jordan and Andrew Takacs discuss the remote production tools QuickLink provides, why they are needed, how they are used, and their new integration with collaborative software like Skype and Teams.
In this interview, Larry Jordan and Jeff Sengpiehl discuss how the media industry has morphed over the last few years, where growth is occurring, and how AI is playing a more nuanced role in production and post today.
In this interview, Larry Jordan and Kari Eythorsson discuss how Clear-Com began in the rock palaces of 1960’s San Fransisco, how they evolved a cloud-based intercom solution and began offering communications on a per-project basis.
In this interview, Larry Jordan and Victor Ha discuss when is the time to step up to a camera from a mobile device, FujiFilm’s emphasis on color and film emulation, and how the process of creating images has evolved over the last few years.
In this interview, Larry Jordan and Tara Montford discuss the 20-year history of Editshare, the stresses in the industry today, and emerging new markets.
In this interview, Larry and Neal discuss the role MPE plays in media post-production around the world, along with the opportunities and challenges of remote production and post.
In this interview, Larry and Costa discuss how the Telos Alliance got its name, its view of the marketplace and why their tagline is “Love what you hear” and how they make audio better.
In this interview, Larry and Phil discuss the mind-bending graphics that Pixotope creates, why it uses the Unreal Engine, and the need for graphic designers – at every level – to find ways to improve on their best work..
In this interview, Larry and Sean discuss what OpenDrives provides, the benefits of the OpenDrives architecture, why storage performance is so challenging, why storage hardware and controller software need to be different, and the industry trend toward the commoditization of storage.
In this interview, Larry and Meghan discuss what CueScript is, their latest teleprompter offerings, and tips on picking the right prompter.
In this interview, Larry and Gary discuss the challenges of accurately tracking camera pan and tilt changes when shooting on an LED volume stage and how Cartoni is providing tripod heads that track this and send it to the computer. As well, Gary shares his thoughts on how to pick the right tripod for your work.
In this interview, Larry and Ray discuss Avid’s recent acquisition of WolfTech for newsroom operations, improved support for sharing projects between Media Composer and ProTools, and new trends in automation and “digital first,” meaning files for social media take priority.
In this interview, Larry and Marc discuss the differences between backups and archives, the current state of archiving using LTO tape and trends toward integrating archiving with cloud services.
In this interview, Larry and Andy discuss Appear’s products for the transport of digital media files – including compression, IP encapsulation, transport, manipulation, and processing – that are all part of the live production process.
In this interview, Larry and Sam discuss Axle’s media management software, optimized for social media, the benefits of using AI without using the Cloud and the key decentralization trend that’s upending media production.
In this interview, Larry and Michael discuss shared storage, and why it is important for NexSan to design, build, test and support their system within their company. As well, Michael explains what storage may be a commodity, but support is not.
In this interview, Larry and Matt discuss remote media access for collaborative editing, the performance issues of accessing media remotely, when to use local cacheing, and announcing LucidLink 3.0 for mobile devices.
In this interview, Larry and Chris discuss the latest products from Vizrt, how their products integrate throughout the entire production chain, the differences between NDI and ST2120, and how remote production is changing the face of production for both large and small companies.
In this interview, Larry and Randi discuss how PostPerspective has evolved over the last 15 years, her thoughts on the impact of AI and how the media industry will get past the challenges its currently facing.
