Blog Archives

Transcoding is the process of converting video (and/or audio) from one format into another. Generally, compression is done for final delivery, while transcoding is done from one editing format to another editing format. In any case, when should you transcode? This article explains the three options and provides suggestions on which one you should pick.

ProRes 422 is a new codec, invented by Apple, that seeks to minimize the massive file sizes of some HD formats. It also has benefits when you are working with HDV or other GOP-compressed video formats. In this article, I show you more about this codec and how to use it.

Final Cut does not like editing compressed video. However, what’s the best way to convert MEPG-2 video, which is compressed, into something Final Cut likes? This article tells you what you need to know.

MS microphones are popular in documentary recording because they avoid problems with phase-cancellation. However, there is not an easy way to use them in Final Cut Pro — until now, that is, using this very simple technique.

We are living in the middle of truly interesting times from proliferating video formats, monitor problems and tapeless acquisition, this article helps you make sense of the industry during a period of very rapid change.

When your audio mix is more complex than Final Cut can handle, this technique shows you how to export your audio using OMF, while keeping all your clips and handles intact.

Whenever you trash or delete Final Cut preference files, FCP will reset back to NTSC DV 48kHz audio. This reset happens whenever your preferences get trashed. I don’t think Final Cut inherently thinks NTSC, but that when things reset, FCP resets to its default settings which is NTSC.

The lighting is perfect, the acting superb, the audio flawless — except the boom mike has crept into the top of the frame. Here are several quick techniques you can use to get rid of it — without reshooting.

In this article Larry answers a subscriber’s question about how to locate a missing file in FCP.

I am getting periodic reports of missing render files inside Final Cut Pro. This short article may give you a hand in tracking down the problem.

Does this happen to you? The audio waveforms don’t display in a Final Cut Pro 7 sequence when they should. Hitting option-apple-W simply brings up a series of Xs instead of a waveform. How do you get these back? By reading this article, which explains the problem and what you need to know to fix it.

This technique shows you how to connect a video monitor to your computer. This is great for those situations where you don’t have access to camera or deck.

Normally, audio is monitored off your deck or camera. However, if you need to listen to the audio during capture, Final Cut turns it off by default. This short tip shows you how to turn it on.

Computers use square pixels to represent images, while video uses rectangular pixels. And this difference drives all of us nuts. This article describes pixel aspect ratio and helps you get your images looking great.

One of the effects I wanted to create for my training was a reflection of a moving clip of video. This is what we are going to create in this technique.

Final Cut makes it easy to move files from one place to another — provided you have your files and system setup correctly. This article explains what you need to know.

Final Cut Pro is two audio channels in, but up to 24 audio channels out. This article shows you how to get more than stereo from FCP.

By default, Final Cut outputs all audio as a stereo pair. However, Final Cut supports up to 24 discrete audio channels out — provided you know what to adjust and where to click. This article shows you how.

Probably the most reqested technique in my classes — how to add the same transition to multiple clips at once. Here’s how.

Probably the most reqested technique in my classes — how to add the same transition to multiple clips at once. Here’s how.

Multicam clips are new with FCP 5 and provide the ability to see multiple camera angles at the same time. However, while they are easy to use, they can be tricky to set up. This technique explains the steps you need to follow to get everything working smoothly.

In order to create a multiclip in Final Cut Pro, all the clips in it MUST match for codec, frame rate, and image size. They must also contain continuous, uninterrupted timecode.

Multiclips are new with Final Cut 5. This article explains how to use markers within a multiclip.

One of the more useful new goodies in Final Cut 7 is all the new functions that markers now support. Since we are talking about multiclips, I wanted to mention a specific marker feature you may not know about.

As you move into editing HD footage, you will quickly discover that there are many, many, MANY different HD formats. This article describes what you can do when you are forced to work with more than one HD format in a project.

In this article, learn how you can capture two simultaneous, real-time video feeds into one computer and get them ready for editing.

The only problem with creating multiple versions of the same file is the time it takes. In this article, I explain how you can do this faster and easier by automating Compressor, than just doing one file at a time from Final Cut Pro.

In this post-NAB 2010 report, I show how we covered this huge trade show for the Digital Production Buzz. 16 reporters, crew of 22, live hourly audio brodcasts, and daily one-hour show specials. This goes into the gear, the process, the file naming conventions…everything.

Wendy is searching for a universal HD output format to simplify distribution of her projects. In this article, she discovers that’s easier to say than to do.

Nesting is the process of placing one sequence inside another sequence. There are many reasons why this technique is useful. This article highlights several of them, including ways to fix problems when your nested audio does not appear.

Here’s a quick little shortcut that just appeared in the latest version of Final Cut Pro that is almost impossible to find.

An important trouble-shooting technique is to create a new user account to eliminate corrupted preference files. This short article explains why you should consider doing this, and what the potential problems are.

Normalizing is one way to raise the gain of an entire clip without creating any over-modulation. Prior to FCP 6, only Soundtrack Pro could normalize. Now, FCP can, too. Here’s how.

All DV audio is not created the same. A client had a problem with the NS light lighting; finding the solution took a few days of phone calls. Here’s the scoop.

The debatable “nightmare” of offline editing is discussed, with Larry strongly recommending the creation of DVCPROHD 23.98 fps masters to keep the frame rate and image size constant and greatly simplify the final on-line edit.

Understanding the Media Manager is critical to successfully recapturing media, whether for creating the highest quality final master, or for resurrecting an old project. But the Media Manager is not that intuitive. This article walks you through what you need to know for successfully recapturing your project.

Converting a low-resolution edit into a high-res master is the process of on-lining. Here are a series of tips to keep in mind as you on-line High-Def material.

Getting organized is always easier to say than to do. In this article, we discuss basic organization techniques and provide references to other sources you can use to organize even huge projects.

Confused by all the different video outputs on your deck? This article explains what they mean, what they do, and when to use them.

A reader asks how to create a PAL DVD. In this article, I provide a reference for file conversion, then talk about the Compressor setting you can use to compress your files. (I also include a link to lots more training on DVD creation.)

Here’s a quick tip on how to create still images so they can display in a PAL 16:9 sequence.

Over the last four months I’ve had a long email chat about video formats and the best ways to convert between them. If you are moving files from NTSC to PAL or back, and trying to integrate HD material, this article covers what you need to know.

Panning balances audio playback between the left and right speaker to position the audio in space. In this quick technique, learn three ways you can pan multiple clips in Final Cut Pro.

Hard disks are essential to video editing. But, as this short article explains, what you thought you knew about maintaining your hard disks may not be true. Take a look.

Paste Attributes is an extremely flexible tool that simplifies copying settings from one clip to another. This tutorial shows you how.

This is a quick tip illustrating how to make your dialog sound like it is coming over the telephone.

Working with still images in video is hard, because images created on the computer are not compatible with video. A new software – PhotoMotion – seeks to solve a lot of the challenges in working with still images. This is a detailed review of how the product works.

If there was one “magic format” we would all be shooting in it. Unfortunately, as many of us are discovering as we move to HD, the world is a highly incompatible place.

With the release of Final Cut Studio 2, Apple created a new high-end codec entitled ProRes. With the release of Final Cut Studio (3) they expanded it from two variations to five. What is ProRes and how do you decide which version to use for your projects? Answering that question is the purpose of this article.

Since its first release, Final Cut Pro has integrated effects with video editing. In this tutorial, I show you how to create a picture-in-picture effect, then make it move using keyframes in the Motion tab.