I am looking for a specific workflow instructions. Since I’m dealing with HDV, XDCAM EX, anamorphic SD, recaptured DVD assests and stills, I needed an in depth step by step workflow.
Changing the color of a gradient in Final Cut Pro X requires opening it in Motion and making changes. This article describes how.
What happened to Background Sound in Final Cut Pro X?
The latest version of OS X — Lion — is now shipping. While many people are excited, I recommend taking a cautious approach to upgrading any systems that you depend upon for editing.
One of the limitations of FCP X is that it only allows one sequence per project. Here is a simple workaround you can create that may do the trick.
Cheryl Foster sent me an email recently asking about archiving.
Mark Whalen sent me his thoughts on Final Cut Pro X that I wanted to share with you.
Final Cut Pro X was released just over 30 days ago — seems longer than that somehow…
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.
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.
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.
Sometime between February and June, 2009, all broadcast television stations in the US need to convert from analog to digital transmission. However, this is NOT the same as converting from SD to HD – they are not, necessarily, related. While the current changeover timing is being debated in Washington, here are some answers to your questions.
Down-converting HD to SD using Compressor provides better image quality than using Final Cut Pro. This article shows you why.
In this article a subscriber brings Larry a question regarding the benefits of shooting on a HD camera for video that will be transferred to the web and Larry offers an explanation as well as an alternative.
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.
In this article I discuss the criteria I use in judging which camera to buy, as well as factors that may not be that critical in making the decision.
Interlacing, deinterlacing, progressive — three very confusing terms to many people. This article explains what they are, when you use them, what to do when you see them, and why you should care — not, in many case, not care at all.
Money was tight, so “they” decided to shoot the project using both SD and HD cameras. Now, your stuck editing them. HOW??? In this article, we explains a variety of ways you can intercut between SD and HD material, and how to avoid problems with poorly converted video.
Not everyone needs HD. However, HD can make reframing a lot easier — especially when it is integrated into an SD timeline. This article provides an example of how this is done.
We can shoot HD, we can edit HD, but we still can’t effectively distribute HD due to the market standoff surrounding HD-DVD and Blu-Ray. Recently, things just got worse, as this article explains.
Flip cameras, and other inexpensive devices, capture footage in a variety of unusual formats. This article explains what you need to know to work with it inside Final Cut Pro.
Apple, on April 18, 2004, announced the latest version of Final Cut. Larry attended the event and files this report, then updated it in June with more information direct from Apple.