The Fast Color Corrector does exactly that – fast color correction. Here’s how it works.
Adjustment layers are a powerful new feature Premiere Pro CS6. This technique shows you how they work.
Here’s a simple way to share the same FCP X project files between editors.
Here are two audio repair techniques to remove power line hum and remove audio glitches.
Four light effects in Final Cut Pro X to add visual interest: vignette, spot, shadows, artifacts.
Here are two ways to animate moving on images in Final Cut Pro X.
The Hard Limiter effect in Adobe Audition helps make soft audio louder without risking distortion. Here’s how it works.
Stabilizing an image and correcting for rolling shutter are easy in Final Cut Pro X. This article explains how.
Here’s a quick article that explains what Spatial Conform is and how it works.
A step-by-step technique to creating green-screen effects in Final Cut Pro X.
A step-by-step tutorial on how to create a chroma-key (green-screen key) in Final Cut Pro 7.
Here’s a very cool Motion effect where changes in music cause the video to change as well.
Here’s an easy way to create a very intriguing effect- called a gradient wipe – without ever going into Motion. Here’s how it works.
General Errors in Final Cut Pro 7 (and earlier) are often caused by either bad clips or bad render files. This article explains how to fix them.
In this article, I want to talk about what happens when you make a color or exposure adjustment to a clip; and illustrate this with screen shots.
Final Cut Pro X contains the built-in ability to check grammar and spelling in title text. This short video tutorial shows you how it works.
Here’s a great technique to match the sound of your audio between clips using Final Cut Pro X. Best of all, its fast!
Editing a montage of still or moving images to music is a typical editing activity. In this tutorial, I want to show you a technique you can use for your own projects.
Photoshop is legendary for fixing image problems. But the Extended version can also retouch video, as this video tutorial illustrates.
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.
Open in Timeline is a hidden menu item in Final Cut Pro X that allows you to modify a clip in the Event Browser without removing it from the Event Browser. This technique allows you to solve problems that are not easy to solve any other way.
Optical flow, and it’s less sophisticated cousin, Frame Blending, are techniques that Final Cut Pro X uses to smooth playback of extremely slow-motion clips. This tutorial shows you how to apply and use them in FCP X.
Final Cut Pro X provides a very easy way to match audio between clips. This is useful when you have recorded the same talent on different days using different mics.
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.
Final Cut Pro 7 calls it a “nest.” Final Cut Pro X calls it a “compound clip.” Whatever you call it, there are some real benefits in knowing how to use it. A compound clip is simply a collection of clips gathered together and treated as though they were a single clip. This tutorial explains how to create them.
Keyframes are at the heart of all video animation; though, in some cases they are hidden in a Motion behavior or pre-built effect. In this tutorial, I will show you how to add keyframes in the Final Cut Pro X Timeline to animate an effect.
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.”
Adding timecode to clips or projects is a great way to allow clients to review your projects and relate their comments to a specific time in the project. (This process is also called “timecode burn-in” – or “burning in timecode.”) This technique explains what you need to know.
In this technique, you’ll learn how to save custom audio filter settings in both Final Cut Pro X (FCP X) and Soundtrack Pro.
This color correction technique in Final Cut Pro X isn’t perfect, but it is REALLY fast and gets you close enough to keep your job
A picture-in-picture effect is a very popular effect in that it allows us to see two images at once. This tutorial shows you how to create this in FCP X (Final Cut Pro X).
A quick tip for FCP X: if you are adding Ken Burns moves to two clips and you need to add a transition between them, apply the transition first.
This technique shows you how to create hold frames, remove them, adjust their duration, and change the frame that freezes in Final Cut Pro X.
Do you have two or more audio clips that need to sound the same? Here’s a fast technique in FCP X that explains how.
Here is a simple technique to match the sound of two different audio clips using Soundtrack Pro.
Roles are new with Final Cut Pro X (FCP X) and can help manage complex projects through keywording your audio and video clips.
This is a better, faster, and more flexible way to create audio transitions in Final Cut Pro X.
Changing the color of a gradient in Final Cut Pro X requires opening it in Motion and making changes. This article describes how.
Alex Gollner has posted a new, FREE, effect for Final Cut Pro X — it’s an eight-point mask.
Here’s a quick effect to create a “pull quote” using the Motion tab in Final Cut Pro.
Apple rewrote both the Constant and Variable Speed change interface for FCP 7. In this technique learn how to create speed changes using FCP 7.
A clip collision generally occurs when you are trimming. Specifically, when you are ripple trimming.
This is a very cool technique that changes the color and display of your text as the background changes.
This is a very fast way to edit multiple camera angles into the Timeline in FCP 7 – without using multi-clips.
A subscriber recounts the difficulties, and the workaround that fixed them, he experienced with Buzz lines cropping up in a project.
For those of you interested in a more technical look at the Broadcast Safe filter, Dennis Couzin, technical assistant to a video documentarian based in Germany, sent me the following article that he wrote.
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.
In this article we examine Final Cut’s usage of multiple processors to enhance rendering speed, the possible alternatives, and more.
In this article we give a quick examination of how to upsize an original 4:3 sequence into a 16:9 timeline.
