Blog Archives

Final Cut has always allowed keyboard customization. This article shows some new “almost-secret” techniques buried in OS X that allow you to create customized keyboard shortcuts in ANY application.

Snow Leopard, Apple’s latest operating system, is not for everyone. But it may be for you. This article describes what you need to know in deciding when to upgrade your system.

Here’s a simple technique to apply a filter to a portion of clip — then use the Slip tool to move it where you need it.

The quality of slo-mo footage processing can vary by the level of equipment you possess. However, does this mean that you should upgrade? There are three possible answers here: Yes, No, and Maybe.

This article grew out of a reader question about how to create special effects in Final Cut.

Creating smooth moves on stills is at the heart of many documentaries. Final Cut makes creating moves easy. But smoothness is sometimes much harder to achieve. Take a look at what these editors have to say about the best way to get your images to move.

Smoothcam, Final Cut Pro’s motion stabilization filter, can really smooth out some very shaky shots. But it can take a long time to do so. This article shows you what you can do to speed this process up.

Apple has announced a new version of its operating system for next year – 10.6 (Snow Leopard). This article looks at what this may mean for Final Cut Pro users.

A few bullet point suggestions for subjects ranging from trying to up-res from SD to HD without losing detail to getting Compressor to launch.

Larry explains in this article why a subscriber is having difficulty with a video transfer from his Sony hard disk recording unit (HVR DR60).

SSD (solid-state drives) are the latest fashion in hard drives. Impervious to vibration, with no mechanical movement, they are ideal for computers in rugged situations. But are they good for editing? This article provides answers to that question.

Creating stills that you can do moves on in Final Cut is tricky. My email In-box will attest to that. This article describes what you need to know to make sure your images are the right size and how to import them.

Judging by my email, handling still images is by far the most confusing part of editing video — especially because the computer creates images using square pixels and video uses rectangular pixels, in a variety of shapes. This article explains everything you need to know to create great looking still images for your next video project.

It’s enough to drive you nuts. Every time you start-up your computer, Final Cut Pro launches as well. It’s time to stop the start! And this article shows you a very easy way to do just that.

During my recent seminar tour, I had a lot of fun showing how to take advantage of the audio clean-up power in Soundtrack Pro.

When you are ready to lay your final projects back to tape, the best way to do so is to use Print to Video. However, Edit to Tape is required if you need to record at a specific timecode on your tape. But this requires laying Timecode on your tape first. This article explains how.

Most of the time, we edit using the final image quality from our cameras. But, in the case of HD-CAM SR, that may not be possible, as those video files are HUGE! In this article, a reader asks how to use EDLs when trying to capture tapeless media. Depending upon how the off-line, low-resolution images were created, this story has either a happy, or very sad, ending. You can read the options here.

As our industry moves quickly to tapeless media and acquisition, properly archiving your footage can make the difference between happiness and heart-ache. In this article, I outline what you need to know about archive formats.

What makes for an effective technology teacher? What should we focus on? How do we avoid the “fear of the unknown” in our students? In this philosophical musing, I reflect on what I’ve learned about teaching technology for almost a decade.

Here are a series of tips to create great looking text in Final Cut Pro.

Here’s another technique that grew out of a recent webinar — creating cast shadows using Boris Title 3D. Title 3D is bundled with your version of Final Cut, so you already have this installed on your system.

If you’ve tried matching text sizes between Final Cut and Motion, you’ve discovered they aren’t the same. This article explains why.

Many times we need to use the same text formatting for multiple text clips. Here’s a fast and easy way to create text favorites, including drop shadows, that make the whole process simple.

Here’s a simple technique that creates a very interesting effect using one of the ugliest generated texts in Final Cut.

Simply editing a text clip to the timeline isn’t enough. If you are planning on keying your text, use superimpose instead. This article shows you the three-step process and tells you why its important.

In this article Larry advises a subscriber who downloaded a beta version of Soundbooth and believes there may have been an error in his workflow.

Working with still images in Final Cut Pro is very, very confusing. Not least because video ignore the DPI settings of your image. In this short article, I explain what you need to know to size your images appropriately.

Through edits are marked by red “bow-ties” which indicate cuts in a track where there’s no change in video or audio. This brief technique provides three different ways to get rid of these edits.

Here’s a very quick tip that describes how to display thumbnails in the Browser, how to create poster frames for a thumbnail, and how to scrub around inside a thumbnail.

An editor, Gene Thomas, faced a problem with a timecode break when a pair of clips he was recording stopped capturing in the middle. In this article we take a look at timecodes, how multiclip reads them, how to manually change them, and other fun stuff.

It would be great if we didn’t have to render. But, since we do, what can make it go faster? This article explains what you can do to help and what won’t make any difference.

The afternoon that Final Cut Studio (3) was released, July 23, 2009, I spoke with Richard Townhill, Director of Video Application Marketing for Apple, and the public face of Final Cut Studio. In fact, Richard is responsible for all the ProApps in Apple, including Final Cut Studio, Aperture, and Logic Studio. Probably no one in Apple has more direct control over the future of the product than he does. For this reason, it was good to get his take on the latest release. This article is based on our conversation.

A subscriber writes in requesting info on a program that would be able to track time by client, as well as project and function. Larry refers him to a pair of very useful suggestions from other subscribers.

With the release of Final Cut Pro v5.1.2, Apple added 53 new filters. Here’s an article that shows you how to create interesting “trail” effects.

In this answer to a newsletter reader’s question, we look at the process of transcoding (converting) video from one format to another. We specifically talk about what is the right format to transcode into.

Travel mattes are a fascinating multi-layer effect with countless uses. Here, we use a travel matte to blur portions of an image to prevent identification, or to draw attention to the portions that are in-focus.

This is a great technique when you have a large image, but only want to display portions of it moving around the frame.

You can trim everything using the Arrow tool. But you can trim faster and more accurately using the Roll and Ripple tools. This article shows you how.

Having problems with Apple Final Cut Pro 7? This article provides dozens and dozens of techniques you can use to optimize your Final Cut 5, 6, or 7 system; plus trouble-shooting tips to prevent problems.

The best way to display HD video is using a Blu-ray Disc. However, the Mac OS does not support Blu-ray Disc playback, and to create a Blu-ray Disc takes an external burner. This article describes what you need to know to create a Blu-ray Disc. (Keep in mind that this technology is changing constantly – after this article was published, FCP 7 was released which provides limited support for Blu-ray Discs.)

Handles are critical for transitions and trimming. In this article, discover what handles are and why they are necessary.

Larry finally gets the chance to answer the question he’s been waiting for : What is the “Color Thingy”?

If you’ve ever had to convert a 16:9 sequence into a 4:3 letterbox video, this explains how to do it.

Save As does more than just give your file a a new name. It can also prevent problems, as this short article describes.

Scratch Disks are critical to Final Cut. If they are set improperly, Final Cut won’t edit. This article describes what they are, how to set them and how to trouble-shoot problems.

Nothing causes more confusion for video editors than trying to figure out how to size still images for video. I’ve written extensively about this in the past — which is referenced in this article — this is an additional follow-up.

Unlike video, which has a fixed duration, still images are assigned a duration when they are imported into Final Cut.

Telestream Pipeline is a capture and output device that is unique in the features it provides Final Cut editors — specifically, its ability to share decks over a network and allowing an editor to start editing a clip before the capture is complete. In this detailed review, we show you how it works, and examine its strengths and weaknesses.

Way over on the left side of the Timeline are a set of gray buttons that very few people understand. However, when you know how to use the Patch Panel properly, you’ll be able to edit any clip to any track instantly. I use this ALL the time and can’t imagine editing without it. This tool is also essential when you want to make a video-only, or audio-only edit.

Track gaps are pesky things that sneak around and flash black at the worst possible moments. This article shows you how to find and delete them.