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.
Increasingly, audio is being recorded in more than two tracks. However, Soundtrack Pro has a problem when dealing with more than two tracks. This article describes the problem, and a work-around that fixes it.
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.
This is a commentary by Larry Jordan on the announcements and background conversation at MacWorld 2006 in San Francisco, CA.
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.
This detailed analysis looks at how to create graphics on your computer that look “right” on FCP. It’s a detailed look at the difference between square and non-square pixels.
If you edit multiple cameras and spend time creating multiclips, you need to check into a new utility for Final Cut Pro called “PluralEyes.” This software vastly simplifies the process of syncing and building multiclips — especially when there are breaks in the timecode. This article shows you how to use it.
These thoughts have been bubbling around my head for the last few months, but developed into an article as I was trying to learn a particularly tricky piece of software. After reading the manual, watching the tutorials, and taking the training, I was more confused than ever. This article is an attempt to discuss how to create effective training, and specific techniques to avoid.
Creating keys on the computer is easy – and they look great. Where problems occur is when those specials effects are shot with interlaced video and displayed on an interlaced TV set or monitor. This article describes how to avoid suddenly discovering that all your effects look out of focus.
What’s the best way to position text in Final Cut Pro, and why does the position shift as you change justification? This short article explains the why and how.
There’s a right way and a wrong way to position text in Final Cut Pro to get the highest quality. This article explains what you need to know.
Not all video is, um, video. In many cases, we need to integrate PowerPoint or Keynote slides into our video projects. This article explains what you need to know to make this work successfully.
Sigh… There’s nothing quite like death by PowerPoint slides. Still, many times we need to incorporate them into our productions. Here’s what you need to know to help them look as good as they can. (Oh, and by the way, do EVERYTHING you can to reduce the text they contain!)
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.
The Primatte RT keyer, which ships with both Motion and Final Cut Pro, is a nice keyer, but it has problems with hair and transparency. In this review/technique, I show you how to use the big brother to the RT filter: Primatte Keyer Pro 4 to key a model who has lots and lots of big, bouncy, hair!
Print to Video is your best choice when outputting to tape. However, some people find really ingenious ways to avoid it. This article describes what it is, along with a discussion of self-contained vs. reference QuickTime movies.
A good question regarding soundtrack transfer is submitted in this article and Larry explains the problem with how scripts process – or fail to process – clips
QMaster allows you to combine multiple computers into a render farm to make video compression run faster. It also allows you to combine multiple processors on one computer to compress video faster. One of these choices works MUCH better than the other. This article explains what you need to know.
Last month, I wrote about how to use QuickTime 7 to add audio to video. Since then, I’ve gotten several comments from people that own OS X 10.6 that they don’t have QuickTime 7 on their system.
A reader questions why the Quicktime quality of his sequences are soft when he exports them as a mov.
