The number one interface rule for Final Cut Pro is: “Select something, then do something to it.” (OK, it may not be as deep as: “I think, therefore I am,” but this is still true.)
You may not have discovered them yet, but LiveType has dozens of great templates.
Getting our projects to look the way we want for the web is often a challenge; especially when we are working with 16:9 media.
Apple’s Compressor doesn’t actually compress our video.
Are you confused trying to convert HDV to Standard Definition? Have you imported a movie, only to discover that you have the wrong format?
Have you ever played a QuickTime movie and wondered why it didn’t look like it was in the right aspect ratio or why the image looked soft?
LiveType is designed to give your text life. In fact, it contains hundreds of pre-built effects.
Motion has an entirely different interface from Final Cut Pro. For this reason, many people avoid using it. In this short, focused, video tutorial, Larry Jordan introduces the particle system in Motion 3 by creating a simple, but fascinating, transition effect for use in Final Cut Pro.
Submixes provide the ability to group tracks.
Human speech is one of the hardest audio signals there is. The levels change constantly, from very soft to very loud, yet your audience needs to hear every word to understand what is going on.
When it comes to repairing audio, the waveform does a lot. But what it CAN’T do is let you see the various frequencies in your clip.
Adding reverb to a single track is easy – just apply the filter to the track.
Recording on different days, using different microphones, presents a challenge: How do I make sure my recordings match?
There’s no time, the clip is orange, and the client is waiting.
As shipped, Final Cut Studio, and Compressor, don’t have the ability create a Flash movie.
Final Cut Studio has a very fast way to move files between applications – called Sending.
Have you ever needed to convert your current Final Cut project so that it opens in an earlier version of Final Cut Pro?
The first step to improving the look of your video is understanding how to read the video scopes inside Final Cut Pro.
The text animation features in Final Cut Pro are, to put it politely, lame.
You KNOW that Final Cut has a faster way to do something — what you DON’T know is what that is.
Does Final Cut Pro seem a bit sluggish? Are you looking for ways to get it to run faster?
Probably nothing creates a more arresting effect than having a clip change speed during playback.
Nothing is worse than having a narration track that is just a second or two long.
EDLs were invented what seems like centuries ago, back in the days of CMX editing systems using paper tape.
In this short, focused tutorial, Larry introduces the concept of working in 3D space. He explains how to switch between 2D and 3D, how to create objects that move through each other, how to rotate and move objects in three dimensions, and how to apply 3D behaviors to easily spin and move objects.
Media Manager can be very, very dangerous – because it can permanently alter or delete media that you have carefully stored on your hard disk.
The problem with creating scrolling credits in Final Cut is that you have very limited styling options and you can’t pause the scroll at the end. Both of those limitations don’t exist in LiveType.
Just as we have tools to edit video in Final Cut, Soundtrack Pro 2 provides a wealth of audio editing tools.
While Log & Capture is used to bring video in from tape, Log & Transfer is used to acquire video and audio from tapeless sources; such as P2, XDCAM, RED, and others.
In this short tutorial, I’ll show you how to use the Reduce Noise feature in Soundtrack Pro to reduce the amount of noise in your audio clips.
How can you keep track of your media when you have hundreds of clips spread across multiple hard drives?
One of the most fascinating effects in video is called the Traveling Matte. This is where one video clip is superimposed over another video clip.
No one speaks English any more. They seem to speak a language of “ums,” “ahs,” “likes,” “you knows”, and heavy breathing.
It’s the perfect shot — except it has a dropout in it that destroys that special moment.
Have you ever been confused trying to figure out what size to make still images for video?
One of the hot new features in Adobe Soundbooth CS4 is the ability to create verbatim text transcripts directly from media files.
Normally, Final Cut Pro is a solid, stable application. But, every so often, it starts to misbehave and act flakey.
Nothing is more frustrating than having an editing session interrupted by the Spinning Beach-ball of Death.
Getting organized makes the difference between getting your project done and getting lost trying to find all the elements you need.
Final Cut Pro allows you to sync and edit multiple cameras at the same time using multiclips.
Creating great-looking freeze frames from Final Cut is difficult because exported video images look stretched, often with thin horizontal lines radiating out from moving images.
The two most time-consuming, yet essential, elements in editing any project are editing the clips to the Timeline, then trimming them once they are in place.
Final Cut Pro is a highly customizable application – provided you know what to customize.
There are three preference groups in Final Cut Pro, however, without question, the most important set of preference settings are the System Preferences.
Probably nothing is more annoying than having a “perfect” shot – only to discover that a shadow, wire, or car is intruding into your visual perfection.
How do you convert your movie into H.264 from either Final Cut Pro or QuickTime?
Don’t avoid Motion just because you don’t understand it. In this training, you’ll master the Motion interface, discover the power of Motion templates, create simple, yet effective, animated lower-thirds, and design elegant full-screen animated titles using resources from the Motion Library. This session can remove your fear of Motion forever — and give you a reason to finally let go of LiveType.
This Final Cut tutorial shows you specific techniques that you can put to work immediately to make your editing FLY! You’ll save so much time, you can stop looking at those pictures stuck on the wall and rediscover what the actual faces of your family look like!
This training is designed for folks that want to compress their media faster using the automation tools built into Compressor. If your deadlines are shrinking, clients are demanding higher quality with lower budgets, and you need to get work done faster, this session is for you.
This session is designed for folks that are new to working with tapeless media. As our example for this training, we will be working with AVCHD media.
