An explanation of what you need to consider, technically, when purchasing a RAID for a server or direct-attached storage. Written for the mostly non-techie.
Thoughts and commentary on announcements and trends at the recent 2014 NAB Show in Las Vegas, NV.
A step-by-step tutorial on how to merge separate audio and video files using QuickTime Player 7 Pro.
A detailed step-by-step tutorial on working with libraries in the 10.1 version of Final Cut Pro X.
An explanation of video compression, image quality, and bit rates using an unbelievably brilliant analogy. This is why the size of the source file doesn’t matter.
This short, step-by-step video tutorial illustrates the new hover-scrub feature in Adobe Prelude CC.
The Activity Monitor in OS X is one of those unsung utilities that I find indispensable. It allows you to look inside five key areas of your computer to tell you what’s going on. Best of all, you can’t hurt anything using it – because its simply a monitor.
I’ve become increasingly concerned as I talk with producers, editors, and vendors that we are rapidly moving into a tapeless environment without any realistically priced options for long-term media archiving.
Compressor automatically generates log DPX files. Is there a way to create linear DPX files?
Larry answers some questions regarding the different codecs that Final Cut Express captures vs. Final Cut Pro, as well as fielding a question on audio waveforms.
An overview of working with proxies for your media in Final Cut Pro X.
I am advocating LTO-5 tape drives for archive and backup of our Final Cut Pro media. However, I still have not gotten this unit to work on my MacPro.
H.264 and X.264 are two different development projects that result in two different codecs that both do the same thing: create H.264-compliant files.
In this article we examine Final Cut’s usage of multiple processors to enhance rendering speed, the possible alternatives, and more.
Larry weighs in on the issue of selecting between the Animation codec and ProRes 4444, following a subscriber’s question regarding importing files into Final Cut.
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.
In responding to a subscriber’s request for AVCHD advice, I explain my recent change of opinion, and why I now favor using the Log and Transfer function.
Final Cut supports over 52 different video codecs, and this gets close to a hundred when you add a third-party capture card. How to do you choose which to use? This article explains what you need to know to select the best codec for your video.
Final Cut Pro is a QuickTime editor. But what if you want to create WMV files? Well, you are not out-of-luck, but you will need different software. This article describes what you need to know, along with how to resolve problems when creating WMV files.
What’s the difference between 8-bit and 10-bit video and why should editors care? Well, if you are doing a lot of effects, you should care a lot and this article explains why.
Ever needed to find what video you haven’t used in your edit? Here is a very fast technique you can use in Final Cut Pro that shows all your unused clips.
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.
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.
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.
Adding DVD chapter markers to a QuickTime movie is reasonably easy. But how do you do this for H.264 compressed video. This article describes what you need to know.
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.
Audio that slowly drifts out of sync is often due to a mismatch between the sample rate at which you shot the video and the sample rate at which you captured the audio.
Down-converting HD to SD using Compressor provides better image quality than using Final Cut Pro. This article shows you why.
When you are working with tapeless media during production, and recording to cards, the basic workflow is to copy the card to your hard disk then ERASE THE CARD! (Sorry, I come from a tape background and that word “erase” is just plain scary…) So, it makes sense that when copying the card to your hard disk you take every precaution to do so safely. Here’s a review of a product that can help: Imagine Products’ Shotput Pro.
get is the new kid on the block — an almost magical piece of software that searches your audio files looking for words you type into a typical text entry window. If you know “you’ve got the file around here somewhere,” but haven’t a clue where it is, get is for you, as this product review explains.
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.
Tony asked an interesting question: what’s the difference between RED and DSLR cameras for shooting video. Good question. So I asked two experts: Philip Hodgetts and Noah Kadner. This article provides their answers.
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.
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.
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.
The issue of converting to ProRes is addressed along with a walk-through of the pros and cons of the different version.
Here’s a short article that describes what to do if you are experiencing jittery video playback. We look at what could cause it and how to fix it.
HDV is the latest video format craze, but it isn’t like DV; or any other video format we are used to working with. This article explains how HDV is different and what you need to know to use it successfully.
Trying to get up to speed on HDV quickly. This article gives you a primer on the current status of HDV – what’s good, what’s bad, and what you need to know.
What’s the best way to get the highest quality video images during export? DV, especially, looks particularly poor when you view it in QuickTime. This article explains what’s going on and what you need to know to make your exported video look as good as it possibly can.
We toss around terms like 8-bit depth, or 10-bit depth, even 12-bit depth. But what do those terms actually mean? Does it make a difference what bit depth we work in? The answer is yes. Bit-depth determines how accurately we can digitally represent an image, compared to reality. This article provides more detail without going into too much tech.