Blog Archives

A fast way to view the timecode of source clips in the Event Browser of Final Cut Pro X.

Here’s a step-by-step tutorial on exporting source clip timecode using Final Cut Pro X.

The reason that drop frame timecode was invented was because non-drop did not properly indicate running time. And as one subscriber has discovered, there is a difference in running time between DF and NDF material.

In this article Larry handles a question regarding whether a series of continuous time code cuts will translate into the OMF or be ignored.

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.

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.

Every clip in Final Cut supports up to three timecode tracks — a primary and two auxilliary tracks. This article describes how to access them, change the timecode they contain, and idea on what to use them for.