Blog Archives

A fast way to view the timecode of source clips in the Event Browser of Final Cut Pro X.

A simple technique to turn off file ownership, which can solve problems with direct-attached hard drives on Mac systems.

An explanation of video compression, image quality, and bit rates using an unbelievably brilliant analogy. This is why the size of the source file doesn’t matter.

Lots of details tips and techniques to keep your Final Cut Pro X editing system running at peak performance.

A video tutorial showing how to add, search for, and delete keywords, which makes managing media much more efficient.

A simple technique illustrating how to export a portion of a Final Cut Pro X timeline.

A simple step-by-step technique to correct problems with merged clips in Final Cut Pro 7 due to inaccurate frame rates, aspect ratios, or image size.

A better way to sync double-system sound with video using PluralEyes 3 from Red Giant Software.

A step-by-step guide to creating custom batch templates in Compressor 4.

An overview of how Final Cut Pro X manages render files and how to delete them at the end of a project.

A step-by-step guide to moving Final Cut Pro X Events, media and Projects.

This video tutorial shows how to move projects between Final Cut Pro X and Adobe Audition CC.

A quick technique to create subclips in the Event Browser of Final Cut Pro X.

A video tutorial showing how to select and ingest tapeless video clips using Adobe Prelude CC.

This short, step-by-step video tutorial illustrates the new hover-scrub feature in Adobe Prelude CC.

A detailed video tutorial showing how to send files from Adobe Prelude CC to Premiere Pro CC.

A detailed tutorial on HTTP Live Streaming and how to compress video files for it.

A step-by-step tutorial on building a “selects reel,” marking and tracking the clips you need in Final Cut Pro X.

A step-by-step guide to understanding the Gear menu to organize Events in Final Cut Pro X.

A video tutorial on creating, renaming, moving, and deleting Events using Final Cut Pro X.

A summary of storage technology and trivia gathered at the recent Storage Visions Conference 2013 in Las Vegas.

A collection of articles explaining how hard drives and RAIDs work, from the point of view of editing media.

This article explains how to relink media in Final Cut Pro X when it goes offline.

This article explains RAIDs, SSDs, The Cloud, and how to improve the performance of your storage.

Final Cut Pro X can automatically analyze your audio. This article explains what it is doing.

A 12-page report summarizing media storage and archiving trends from Coughlin & Associates.

This article provides an overview of how to use Adobe Media Encoder CS6.

A look back at The Buzz coverage of the 2012 NAB Show – what worked, what didn’t, and what we’d change.

Audio slowly drifting out of sync is often caused by mismatched sample rates, or trying to edit MP3 audio. This explains how to convert MP3 to AIF.

Here’s a technique that explains what and how to import and organize your files in Final Cut Pro X.

Compressor scares a lot of people. However, if all you want to do is compress a video for YouTube, Compressor makes the process very easy. This technique shows you how.

This article explains how Final Cut Pro X handles Events and Projects. It explains where they are stored and how you can make them active, or inactive.

iMovie user can easily move both iMovie Projects and Events into Final Cut Pro X. This tutorial explains how to do it.

The Activity Monitor in OS X is one of those unsung utilities that I find indispensable. It allows you to look inside five key areas of your computer to tell you what’s going on. Best of all, you can’t hurt anything using it – because its simply a monitor.

What is the best version of ProRes to use for HDV?

Which version of ProRes should you select in Log and Transfer for a Canon 7D? Which is better for the Canon 7D format?

I’ve become increasingly concerned as I talk with producers, editors, and vendors that we are rapidly moving into a tapeless environment without any realistically priced options for long-term media archiving.

Compressor automatically generates log DPX files. Is there a way to create linear DPX files?

Larry answers some questions regarding the different codecs that Final Cut Express captures vs. Final Cut Pro, as well as fielding a question on audio waveforms.

An overview of working with proxies for your media in Final Cut Pro X.

Cheryl Foster sent me an email recently asking about archiving.

H.264 and X.264 are two different development projects that result in two different codecs that both do the same thing: create H.264-compliant files.

In this article we examine Final Cut’s usage of multiple processors to enhance rendering speed, the possible alternatives, and more.

Larry weighs in on the issue of selecting between the Animation codec and ProRes 4444, following a subscriber’s question regarding importing files into Final Cut.

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.

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.

What’s the difference between 8-bit and 10-bit video and why should editors care? Well, if you are doing a lot of effects, you should care a lot and this article explains why.

Final Cut supports over 52 different video codecs, and this gets close to a hundred when you add a third-party capture card. How to do you choose which to use? This article explains what you need to know to select the best codec for your video.

Final Cut Pro is a QuickTime editor. But what if you want to create WMV files? Well, you are not out-of-luck, but you will need different software. This article describes what you need to know, along with how to resolve problems when creating WMV files.

As we move from the world of standard-definition to high-def video, understanding hard disk speeds and the data requirements of video formats can prevent a lot of problems. During my recent seminars, I spent a lot of time explaining hard drive speeds and video format requirements. This is a summary of what techniques I talked about.