Audio normalization makes one or more selected audio clips louder, without creating distortion, by raising the gain (audio level) of each clip such that the loudest portion of each clip does not exceed the level that you specify. This tutorial explains when to use it and when you should not.
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.)
Paul is creating a compilation video and asks: What happens when I copy clips from one Final Cut Pro library to another? And how can I keep my library sizes small? The answer? It all depends upon how you initially import your media.
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.
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 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 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 brief introduction to his interviews at the NAB Show New York 2024, Larry Jordan summarizes what he learned, and what we can expect in his upcoming interviews.
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 Chris discuss what Panasonic Connect is, the difference between mobile phones and Panasonic’s cameras, and the features required for a camera geared for live events.
In this interview, Larry and Mike discuss the current challenges facing the media industry including a shrinking workforce, the impact of AI, and the advent of new career opportunities with companies that exist solely online.
There are several reasons why you might want to send a project from Premiere Pro to DaVinci Resolve: For example, to create more complex effects in Fusion or more detailed color correction on the Color page. If you do, you also need to know how to get those files there and back.
There are several reasons why you might want to send a project from Final Cut Pro to DaVinci Resolve: For example, to mix the audio in Fairlight or do more detailed color correction on the Color page. If you do, you also need to know how to get those files there and back.
I was thinking about multicams this morning. I had just finished editing my DaVinci Resolve Multicam webinar, so multicam editing was on my mind. I was pondering the differences between multicam in the three NLEs I know the best – Final Cut Pro, Premiere Pro and DaVinci Resolve. It probably won’t surprise you that the answer is: “It depends…”
Your project is complete – except you need to burn captions into your video. This process is surprisingly easy in Apple Final Cut Pro – but darn hard to find. Here’s how to do it.
So, just how well does Resolve handle multicam clips? In this tutorial, Larry Jordan decided to see how many 4K video clips Resolve could play in real-time, while still streaming a live webinar, recording that webinar and processing all this media. The answer is pretty surprising.
Sometimes, creating a custom effect can save you a lot of time – especially if you need to use it over and over. So, here’s an example of how to create a template in Motion, using a variety of useful Motion effects, that you can use directly in Apple Final Cut Pro. (I included both the movie and the Motion project.)
Thunderbolt 5 devices are announced. In this interview with Larry O’Connor, CEO of OWC, Larry Jordan explores what Thunderbolt 5 provides, how it works and when we should consider buying into it.
OWC just opened the doors to the latest high-speed storage technology: Thunderbolt 5 announcing two groundbreaking products at IBC 2024: the new Jellyfish Studio for editorial collaboration and the OWC Envoy Ultra Thunderbolt 5 SSD.
Axle AI today announced Searchr – a new software/hardware bundle providing media asset management for small workgroups, NVMe RAID storage and extremely fast networking for media editors or DITs that fits in a backpack. Here are the details.
Guest post: Dr. Imed Bouchrika, PhD and BSc, is a Computer Science professor from the University of Southampton, UK, who specializes in eLearning, image processing, and biometrics. (Here are Larry’s rules for guest posts.) Implementing efficient export workflows can save …
Droplets are great stand-alone mini-apps. Watch folders are fast Compressor automations. Both can speed your work by automating the process of doing the same thing over and over Here’s how they work and which to pick for your work.
Earlier this week, I wrote an article on how to move media stored in a Library out of that library. But, since writing it, I discovered a much faster way to do this – and one that works both ways. Here’s what you need to know.
There is a LOT you can do to customize the Viewer in Final Cut Pro. And it all starts with discovering what the View menu can do.
In this video tutorial, discover how to make the most of Browser settings, including better ways to organize files, create custom metadata, and create projects faster and more easily.
In this tutorial, see how to convert a Final Cut Pro library from one where all the media is stored in the Library to one where all the media is stored external to the library.
Artificial intelligence is causing seismic tremors of fear and loathing throughout the entire creative community. So this week I decided to find out what’s real, what’s hype, and what we can do about it by interviewing Sam Bogoch, Founder/CEO of Axle AI.
A question I get all the time is: “How do I import just a section of a clip? The original is really long and I don’t want to waste disk space.”
Regardless of the video editing software (NLE) you use, the answer is not initially encouraging: “You can’t. Here’s why.
Adobe continues making video proxies easier to create and more useful. In this short video, Larry Jordan explains how to create proxies and the new custom watermark feature.
Roles can now display different colors in an Apple Final Cut Pro 10.8 timeline. This new technique also provides a super-powerful, secret selection trick that can help organize complex projects, and apply effects. This is a trick worth knowing.
HDR is quickly transforming from the video format of the future into the video format of today. In fact, every iPhone 12 or later can shoot HDR. In this short video, Larry Jordan shows how to setup and edit HDR media in two Final Cut Pro projects, one is HDR and the other is SDR.
The 10.8 update extended the number of ways we can organize timelines in Final Cut Pro to three. This tutorial shows you the options, their strengths and weaknesses and how to create them.
How do lists sort in Apple Final Cut Pro? If you don’t understand the importance of column headers, you can get some confusing results. Here are the details.
Regardless of which NLE you use for media editing, you’ve probably suffered through the hassle of relinking media. This tutorial explains what caused it, how to fix it, and how to prevent it in the future.
In this tutorial, I tested different export options to see which is the fastest way to create an H.264 or HEVC compressed file from a Final Cut Pro project. Several results surprised me.
Apple Final Cut Pro 10.8 no longer supports DVD burning. However, Apple and Corel teamed up to provide a 50% discount to Roxio Toast for all FCP users. Here are the details.
When I was editing my recent NAB Show interviews, I knew that I wanted to create a transcript of the video along with captions. When editing was done, I used Adobe Premiere Pro to transcribe the finished project. Here’s what I learned in the process.
Once it’s setup, the OWC Jellyfish delivers on its promise: high-speed shared file access in a portable server to support a local media workgroup of up to six.
Some client, somewhere, is going to feel that their life is not complete unless they shoot their next YouTube ad in 12K. So you’re sitting at your edit station with a pile of drives on your desk containing this 12K opus. Now what? This tutorial has the answers.
As many of us turn to remote production, we face a bewildering array of standards and protocols to move media around the web. This tutorial explains the leading protocols, what they do and who uses them.
At the 2024 NAB Show, Blackmagic Design introduced the URSA Cine 12K camera. Here’s an overview of what the camera can do and the audience it is designed for.
One of the themes at this year’s NAB is the “Creator Economy.” One of the things I wanted to find out during my interviews is what is the “Creator Economy” and how is it impacting traditional media? This is a transcript of my interviews.
NAB is a celebration of technology. It’s a celebration of what’s happening right now. But for every one of the companies that exhibits here, it’s also a chance to explore what’s coming in the future. One of the questions I asked as I was interviewing key vendors at the 2024 NAB Show was what are some of the trends that they’re paying attention?
