AVCHD Discs are a nice compromise between full-HD Blu-ray Discs, and the standard def DVDs we’ve all been using for the last 20 years. While, currently, Final Cut Studio can not create Blu-ray Discs, it can create a version of Blu-ray called “AVCHD.” This article explains what AVCHD Discs are, why you would use them, and how you create them.
In this article I want to give you some suggestions on proper selection of compression bit-rates; as well as how to improve the compatibility of the CDs and DVDs that you burn.
We toss around terms like 8-bit depth, or 10-bit depth, even 12-bit depth. But what do those terms actually mean? Does it make a difference what bit depth we work in? The answer is yes. Bit-depth determines how accurately we can digitally represent an image, compared to reality. This article provides more detail without going into too much tech.
Ever wonder about those black bars on the edges of DV? They are about 9 pixels wide and they are always there. How can you get rid of them? SHOULD you get rid of them? This article explains what you need to know and when you need to worry about it.
With Blu-ray winning the DVD format war, attention has now turned to the costs of creating a Blu-ray DVD. This article explains that the cost of replicating one of these new format discs isn’t cheap.
In spite of the hype, optical media is not dead. The two variations for HD media – AVCHD and Blu-ray Discs – are still valuable tools in an editor’s toolkit. In this article, David Scott writes about his success in using Blu-ray Discs to meet the needs of his project.
HDV is the latest video format craze, but it isn’t like DV; or any other video format we are used to working with. This article explains how HDV is different and what you need to know to use it successfully.
There are four ways inside DVD Studio Pro to control how 16:9 video plays back on a 4:3 monitor. This article describes what you need to know and provides suggestions on which one is best to use.
The simplest definition of rendering is to convert an effect or image from its native format to match the video format of your timeline.
It’s late at night, you are wrapping up a project. Just when you think you can go home, you discover that your final export from Soundtrack Pro, doesn’t sync with your final export from Final Cut Pro. Grrr!! Now what? This article explains a very nifty technique that solves that problem in short order.
Setting the Anamorphic Flag to tell FCP how to treat your footage.
With the camera industry’s head-long rush into tapeless image acquisition, having a soild backup and archiving strategy is critical because video tape masters no longer exist. In this commentary, I discuss the sad state of today’s options and provide suggestions to keep you out of trouble.
HDV is the latest video format craze, but it isn’t like DV; or any other video format we are used to working with. This article explains how HDV is different and what you need to know to use it successfully.
In Final Cut Pro 7 is the File > Share option which allows us to export a sequence from Final Cut and compress it for YouTube. This article, and comments, show you how this works.
A while ago, I wrote about how and why to create submixes in Soundtrack Pro. While submixes can be used for reverb, a better way is to use Sends and Busses. This provides greater control and more flexibility than a Submix, but it is a bit trickier to understand.
