Blog Archives

It’s a simple question, but not necessarily a simple answer. This looks at the differences between the two video formats.

64-bit memory addressing is new with OS X 10.6. But what does this really mean? And what does it mean for Final Cut Studio (3)? In this short, moderately technical, article, we take a look a this new term and what it means for the future of video editing.

Getting the most from old 8mm film is the subject of this article. Here are six steps you can use to improve the look of your film transfers.

It’s late at night, you are wrapping up a project. Just when you think you can go home, you discover that your final export from Soundtrack Pro, doesn’t sync with your final export from Final Cut Pro. Grrr!! Now what? This article explains a very nifty technique that solves that problem in short order.

Here’s a conversation between Peter Tours, of TNT Video Services, and Tony Lauria, of AJA Technical Support, on the best way to ingest footage using AJA video cards. (Reprinted with permission.)

Setting the Anamorphic Flag to tell FCP how to treat your footage.

Making your talent look good is critical in any production – however, not all productions can afford a hair/makeup person. Here’s a tip I learned years ago that will make all your on-camera people look great – with almost no work.

Video, generally, has two bit-depths: 8 and 10. In this short article, I provide an analogy that helps to understand what bit-depth is, why its important, and when you should consider working in 10-bit depth.

When it comes to creating 16:9 projects in LiveType, the process is not intuitive. However, after you read this, whether you need 16:9 in PAL or NTSC, it will be a piece of cake.

After years of using Compressor Droplets to automate video compression, a very helpful tip has been discovered to engineer Droplets to contain multiple settings. Larry illustrates this simple and innovative process.