In this interview, Larry and Gary discuss the challenges of accurately tracking camera pan and tilt changes when shooting on an LED volume stage and how Cartoni is providing tripod heads that track this and send it to the computer. As well, Gary shares his thoughts on how to pick the right tripod for your work.
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 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 Bram discuss the new Quantum Dot technology for HDR monitors, the challenges of bringing prices down, and when is the best time to invest in a high-quality HDR monitor.
In this interview, Larry and Bob discuss Blackmagic’s latest products, the need for – and uses of – a camera that creates 17K images, and his thoughts on the challenges facing today’s media industry.
Here’s a list – with links – to all of Larry’s interviews at the NAB Show New York 2024.
On October 9 – 10, 2024, I recorded thirty 10-minute one-on-one video interviews at the NAB Show in New York City. To do this, I used a mixture of my own gear and rental equipment. Here’s what I used and learned.
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’ve been a fan of Lume Cube lights for a long while now. Last week, I purchased the Studio Panel Lighting Kit, which contains two LumeCube LED panel lights, with tripods and barn doors. Here’s my review.
The Fairlight audio page in Resolve has very sophisticated audio recording capability. But it certainly isn’t intuitive. In this short video, Larry Jordan shows how to record audio narration in Resolve.
In spite of our best efforts, all too often we have audio that has problems: too much noise or hum. In this short video, Larry Jordan shows how to use Resolve’s audio effects to fix both those problems.
The Røde Podcaster Pro II is a beautiful machine, damaged by poor documentation, led astray by poorly-trained and over-stretched technical support, and done in by inadequate attention to audio levels; especially regarding live streaming – for which it was originally designed. It is fine as the front-end to a DAW, but very expensive to use just for that purpose.
By reader request, here are almost 100 essential keyboard shortcuts – in PDF form – for DaVinci Resolve 19. Feel free to download a copy for yourself.
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.
When working with media clips with matching timecode, the Sync Bin will automatically sync them, then display all matching angles simultaneously. This is a really fast way to build a rough cut, especially with multichannel audio, as Larry Jordan demonstrates.
Captioneer is a Premiere Pro extension that creates animated captions directly in your timeline using .mogrt files which are easily modified by an editor. Here’s an interview with its developer: Nic Dean.
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.
This was a fun project! I decided to compare how accurately Apple Final Cut Pro, Adobe Premiere Pro and DaVinci Resolve handle tracking shape masks used for color correction. I also included movies so you can judge the results for …
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 …
In this short video excerpt, Larry Jordan illustrates different ways to trim clips in the timeline. Larry demos both how to trim using keyboard shortcuts and the mouse.
Teaching DaVinci Resolve isn’t the same as using it. For the last three days I edited my weekly webinar in Resolve. This is the first time I’ve used it in years. Here are the highlights of what I learned.
“Ducking” is the process of lowering the audio level of background music or background sounds during dialog. Resolve has a blindingly fast way to do this automatically – without keyframes. It’s called “sidechaining.” Here’s how it works.
Hidden in the Fairlight audio page interface are several tools which can quickly optimize dialog for quality and levels in DaVinci Resolve. Here’s what they are, how they work and how to set them for best results.
Joel asks: “I want the logo to enlarge, eventually getting to the point where a single letter fills the screen, and at the same time, the logo area gradually becomes the concert video. How do I do this?” There are at least three ways. Here’s an illustrated approach to all three.
I think a lot about teaching. More specifically, I’ve been reflecting on the challenges in teaching technology. And I’m starting to think we, as teachers, may be making it harder for our students to retain information due to the way we teach. Here is what’s I’ve learned in the classroom.
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.
Saturation and vibrance control the amount of color in an image. What’s the difference between them and which should you use? This tutorial shows how to use them for video.
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.
Final Cut provides four interface workspaces, and supports an unlimited number more. In this short video tutorial, Larry Jordan shows how to access workspaces, how to customize them, then how to apply a Finder shortcut to make them instantly accessible.
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.
AI is causing seismic tremors of fear and loathing throughout the entire creative community. In this short snippet, Sam Bogoch, Founder/CEO of Axle AI, describes what media creators can do to protect their work. There are real threats and real opportunities – and the pace is only going to speed up.
AI is causing seismic tremors of fear and loathing throughout the entire creative community. In this short snippet, Sam Bogoch, Founder/CEO of Axle AI, explains to Larry Jordan whether it’s possible for AI to be trained without violating copyrights or stealing the creative work of others?
AI is causing seismic tremors of fear and loathing throughout the entire creative community. In this short snippet, Sam Bogoch, Founder/CEO of Axle AI, shares his thoughts with Larry Jordan on whether there are any applications where AI can enable us to get our work done, as opposed to replace us?
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.
For professional media creators, the landscape is increasingly complex and demanding. The integration of advanced technologies changed everything. Now, Artificial Intelligence (AI) and cloud computing are not just optional extras but essential tools for staying competitive.
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.
Fx badges are hidden in plain sight in every Premiere Pro clip. But, what you may not know is how much they can speed adding and modifying audio and video effects. In this short video, Larry Jordan shows where these are, how they work and the tricks you can put them through.
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.
Premier Pro stole a very useful audio technique from Audition and added interactive fade handles to every audio clip. In this short video, Larry Jordan illustrates what these are, how they work and when to use them.
Captions are not titles, though both display text to the screen. In this short video, Larry Jordan explains the principle reasons not to worry about formatting captions.
