A speed comparison between the iMac and new Mac Pro, testing video compression speeds. The winner may surprise you!
A personal experience trying to compress WebM movies to support FireFox browsers.
A video tutorial on a new utility for Final Cut Pro X that automatically generates the detailed content reports required at the end of many projects.
A simple technique illustrating how to export a portion of a Final Cut Pro X timeline.
Use this “Three Codec” method to shoot and edit video to improve speed and image quality.
A video tutorial showing how to export a project from Premiere Pro CC to create a master file or a compressed file.
A step-by-step tutorial on how to compress video and audio for the web.
This article illustrates a simple keyboard shortcut sequence to export multiple files from Final Cut Pro X very quickly.
A commentary on how to pick the best video frame rate to shoot your project, with a look back at history.
When Google changed YouTube’s API, it broke the YouTube export option in Final Cut Pro X, as this article explains.
A tutorial on how to export a high-quality master file with a default keyboard shortcut from Final Cut Pro X.
In this video tutorial, learn how to speed video compression using a processor cluster in Compressor 4.
Learn how to export using Roles, and adjust export settings, in Final Cut Pro X in this short video training.
A short video tutorial on how to change button highlight colors in Adobe Encore CS6.
A step-by-step tutorial showing how to convert standard-def video into high-def video using Apple Compressor.
Here’s a step-by-step tutorial on exporting source clip timecode using Final Cut Pro X.
This short video tutorial orients you to Sorenson Squeeze and shows you how to create a simple compression.
In this short video tutorial, learn how to create Watch Folders to automate media compression.
Be cautious when using the 50’s TV effect or Add blend mode in Final Cut Pro X, as this article explains.
Here’s a short step-by-step tutorial that shows how to create chapter markers in Final Cut Pro X.
5 Tips to export media faster when using Final Cut Pro X.
A video tutorial on adding chapter markers and creating test movies using Compressor 4.
Job-chaining saves time during compression by sending the output of one compression process into input of the next. Here’s how it works.
Here is a step-by-step tutorial on how to compress video for YouTube using Adobe Media Encoder CS6.
This article provides an overview of how to use Adobe Media Encoder CS6.
There are two ways to create movies using custom image sizes: one in Motion and one in Compressor. This illustrates both methods.
Here’s a step-by-step technique that shows you how to create chapter markers manually or automatically in Compressor.
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.
Although Adobe Audition and Premiere Pro are designed to work smoothly together, that doesn’t mean you are limited to only using Premiere Pro with Audition. In fact, there is a very nice, very fast way to move projects between Final Cut Pro 7 and Audition, which I want to show you here.
Many times, editors need to share projects. Changing Event References in FCP X makes this possible.
By default, the audio output of Final Cut Pro is stereo. You can get it to output split tracks, but you’ll need to do the mix in Soundtrack Pro or ProTools. This tutorial explains how.
There’s been some debate about authoring NTSC DVDs in DVD Studio Pro (with having all of the region codes selected) and their playback in PAL countries.
David Scott was having a problem creating a DVD using a Compressor Template. Until he solved it. Here’s what he did.
If Blu-ray Discs are in your future as a Mac Pro user, you need to read this report from Michael Powles on installing a Blu-ray burner in a Mac.
In this article, Larry Jordan answers a question about when to convert HD files to SD for editing in Final Cut Pro 7 or earlier.
DVDs are always standard-def, not high-def. So your AVCHD material will always look worse on a DVD than your source footage.
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 my personal favorite method to burn DVDs (Roxio Toast) as well as the most reliable way to burn a VIDEO_TS folder.
Creating markers for H.264 is exactly the same as creating markers for a DVD. In this article we examine the technique to do just that.
A subscriber, William Aleman, writes in with a valuable tip on the feature that successfully locks QuickTime movies from being downloaded or saved by the visitors on the Internet.
Experiencing a problem exporting a sequence as a mov and finding that the quality of the QuickTime is soft, a subscriber is referred by Larry to a previous article and walked through an easy QuickTime7 solution.
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.
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.
A subscriber and previous contributor returns with another great tip about operating the Compressor from the command line and advises to limit the number of your batches to a few hundred compressions.
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”.
Here are a series of thoughts I jotted down during the presentations at DGA Digital Day, specifically during a long session devoted to 3D video.
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 response to a subscriber’s question regarding the “blurry and aliased” look of his clips, Larry suggests that the problem may lie in the monitor settings.
Subscriber Mike Henry writes in to see about finding the most highly recommended practices with mixing cameras with different resolutions.
A subscriber writes in asking for the best codec to use to get the great HD quality of her footage transferred onto a 4.7GB DVD, which is, unfortunately, a question with no easy solution.
