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.
I am not a fan of Capture Now, however, for some formats Capture Now is the best option. I like the workflow one subscriber suggests in this article.
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).
A subscriber, creating titles for a 16×9 movie that will go to SD DVD, writes in asking whether he keep his text in a 4×3 title safe grid. In response, we look at how Title Safe is defined.
Growing out of a topic originally posted on our Facebook page, this article serves as a summary of our subscribers’ biggest challenges with the industry’s reliance on tapeless video.
In this article we give a quick examination of how to upsize an original 4:3 sequence into a 16:9 timeline.
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.
An editor’s interest in “cleaning up” some audio clips is a joy to answer, and very useful info to have.
The reason that drop frame timecode was invented was because non-drop did not properly indicate running time. And as one subscriber has discovered, there is a difference in running time between DF and NDF material.
While at the Director’s Guild of America’s “Digital Day,” I was impressed by a fabulous presentation given by Scott Billups called, “Zero Post.” In this article we’ll take a look at this process and the great opportunity it offers us.
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.
Larry addresses one subscriber’s question regarding transferring chapter markers and spotlights the advice of editor Andreas Kiel, and the set of programs he’s designed to tackle this problem.
PluralEyes was specifically designed to sync clips and create multiclips based upon their audio. However, it can also sync clips in a sequence – even if there are timecode breaks in the clips – by aligning the audio.
In responding to a subscriber’s request for AVCHD advice, I explain my recent change of opinion, and why I now favor using the Log and Transfer function.
This technique explains creating, working with, and deleting subclips. It also illustrates the main reason we create subclips.
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.
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.
Larry explains the somewhat intensive process of shooting digital video for use with FCP.
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.
Here are a series of tips, written by a professional voice-over talent, that you can use to make sure your voice-over scripts are organized, easy to read, and run correctly to time.
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.
Video images are not the same as computer images — and what you don’t know WILL get you in trouble. This article explains what you need to know to keep your tapes from being rejected for technical reasons.
Canon’s new HV20 camera shoots a modified version of 24 frame video. Up until recently, Final Cut did not easily support this format. In this discussion learn how to capture video from this camera, as well as a short discussion of when shooting 24 fps is appropriate.
New with Final Cut Pro 7 are two shortcuts: Zoom In/Out at Playhead on Timeline. However, they don’t do anything until you assign them to a keyboard shortcut. But, what if you want to assign them to your mouse? This article shows you what you need to know to do it.
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.
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.
Data Robotics released a new storage unit: the Drobo Elite. In this detailed product review, we examine how it works, how well it works, how fast it works, and what its limitations are.
Data Robotics makes a family of RAID products that can be very useful in a video capture and editing environment. This is a review of their latest unit – the Drobo S – which directly attaches to the computer via FireWire. I find these units to be especially useful on set when shooting tapeless media.
get is the new kid on the block — an almost magical piece of software that searches your audio files looking for words you type into a typical text entry window. If you know “you’ve got the file around here somewhere,” but haven’t a clue where it is, get is for you, as this product review explains.
Adobe Premiere can create text transcripts of your media files. prEdit takes those transcripts and allows you to edit a rough cut for either Premiere or Final Cut just using those transcripts. For editors wading through a ton of material trying to find just the right quotes, this software can make your life VERY easy, as this product review explains.
When you are working with tapeless media during production, and recording to cards, the basic workflow is to copy the card to your hard disk then ERASE THE CARD! (Sorry, I come from a tape background and that word “erase” is just plain scary…) So, it makes sense that when copying the card to your hard disk you take every precaution to do so safely. Here’s a review of a product that can help: Imagine Products’ Shotput Pro.
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.
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.
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.
Confused about all the options available in Sequence Settings? Well, this article can help. It may not explain ALL the different choices, but it will help you focus on the ones that are the most important.
In this article Larry handles a question regarding whether a series of continuous time code cuts will translate into the OMF or be ignored.
Converting between NTSC and PAL video is tricky because they have different image sizes, frame rates, and pixel aspect ratios. Ideally, if you need PAL, shoot PAL. If you need NTSC and PAL, shoot PAL because it’s easier to move from PAL to NTSC, than the other way around. However, if you need to go from NTSC to PAL, this explains how.
In this article a subscriber brings Larry a question regarding the benefits of shooting on a HD camera for video that will be transferred to the web and Larry offers an explanation as well as an alternative.
The quality of slo-mo footage processing can vary by the level of equipment you possess. However, does this mean that you should upgrade? There are three possible answers here: Yes, No, and Maybe.
A few bullet point suggestions for subjects ranging from trying to up-res from SD to HD without losing detail to getting Compressor to launch.
During my recent seminar tour, I had a lot of fun showing how to take advantage of the audio clean-up power in Soundtrack Pro.
In this article Larry fields a question from a subscriber having trouble exporting a multitrack and directs him to the suggestion of another subscriber.
Mixing audio files in Soundtrack Pro is like editing video files in Final Cut Pro — there are lots and lots of files involved. Which means that if you don’t pay attention, things are going to get lost. This article explains what you need to know to keep track of everything.
I’ve done hundreds of hours of audio editing in Soundtrack and have discovered a wealth of features that make editing audio in it a breeze.
Stuttery audio generally is a problem with bad preference files. But, on a MacPro, it can be caused by putting your capture card in the wrong slot. This article describes the problem and what you need to do to fix it.
Surround sound mixing is even more of an art than standard stereo mixing. In this article, we take a quick look at channel allocations and some general thoughts to getting the right mix.
Audio that slowly drifts out of sync is often due to a mismatch between the sample rate at which you shot the video and the sample rate at which you captured the audio.
