This online video training takes a closer look at working with audio in Adobe Premiere Pro CS5.5 and Adobe’s latest application for the Macintosh – Audition.
This online training showcases how to work with double-system sound when shooting with DSLR cameras – using both FCP 7 and FCP X.
Photoshop is an amazing tool for people who want to design beautiful images. But it is also critical in many video productions as well.
Video compression is part art and part science, but it doesn’t have to be part mystery.
This webinar is designed to provide an orientation to the new software, from the perspective of a Final Cut Pro editor.
With the release of Final Cut Pro X, Apple updated all of the color correction tools in the software. Moving from YUV to RGB color space, with an unlimited number of color corrections per clip, as well as new color correction controls, there’s a lot of new things to learn.
With the release of Adobe Premiere Pro CS5.5, a lot of Final Cut Pro 7 editors are taking a long, hard look at moving their projects into Premiere Pro. This on-line video tutorial shows you what you need to know to make the switch.
In this fourth of four sessions on FCP X, Larry shows how to create effects using a variety of filters and effects that are applied directly to a clip.
This online video training provides a detailed guide to creating effects using transitions and built-in effects available to all clips.
This online video training provides a detailed guide to viewing and marking clips, editing them to the Timeline, rearranging clips in the Timeline, and trimming the point where two clips touch.
Final Cut Pro X is a radically different take on non-linear editing. With an interface that borrows more from iMovie than Final Cut Pro 7, Apple has presented video editors with a new way of thinking about editing.
Most of us create DVDs without using stories or scripts. However, stories, which are short segments of a video track, and scripts, which are short computer programs, provide a great deal of power when creating a customized DVD.
Guest Host Norman Hollyn, presents this fascinating look at the process of how to edit a dramatic film.
Composite modes have been hidden in Final Cut for a long, long time. But while they can create some amazing effects, they are still poorly understood.
One of the significant changes in Final Cut Pro 7 is how it exports still frames (also called “Freeze Frames”) and adds speed changes to clips.
Guest Host Bruce Nazarian, The Digital Guy, presents this introduction to creative music for the video professional.
If you are wondering what Motion can do that Final Cut can’t, you need to see this webinar. Some of these effects are so cool – and SO EASY – that it will make you want to start using Motion immediately to spice up all your projects!
Final Cut Pro has a wide range of filters and effects that ship with the product. However, what makes Final Cut truly amazing is that it allows other companies to create plug-ins that extend the power of the program far beyond its original design.
One of the questions we get asked frequently is how to create a standard-definition DVD when you are working with high-definition video.
Telling great stories visually is wonderful. But what do you do with all the pieces when you are done?
Metadata is becoming increasingly important in production and postproduction. More than ever metadata is being acquired on set to pass through to post and VFX departments; plus, metadata is required for distribution and rights management control.
The purpose of a matte, or a mask, is to hide something in one clip so you can see something else in another clip.
In this session, Larry uses his weekly webinars as an example of how to create your own. He spends a lot of time going through the planning process, listing questions you need to consider as you begin your own projects. Then, he iillustrates the tools he uses to create his own weekly sessions.
In this session, we will look at how to create cameras, lights, and sets, then animate them in 3D space. While many of these features also work in Motion 3, all our demos will be in Motion 4.
Working with multiple video formats in one project is becoming a fact of life. A very confusing fact of life.
This session starts with an 11-step “What Should I Be Doing Right Now?” workflow to help you decide how to complete your project most efficiently.
In this online tutorial, we will look at file management, setting scratch disks, some lesser understood tabs, creating submixes, buses, sends, reverb, exporting — and how to conform (reconcile) multiple versions of the same project sent from Final Cut Pro to Soundtrack Pro.
While there is a lot of debate currently in the industry about whether the future of high-definition video is downloads or optical media, there is still a need for many filmmakers to create high-definition optical discs of their projects. And that means creating Blu-ray Discs.
A while back, we presented a webinar — Improve Your Audio Using Soundtrack Pro — introducing the power that Soundtrack Pro brings to your audio. This session picks up where that session left off.
Multiclips give us the ability to edit multiple cameras at the same time within Apple Final Cut Pro. This new technique is especially useful for creating performance videos, reality shows, action sequences, even sitcoms.
This webinar, which was sponsored by Boris FX, shows you how to use the titling software bundled with Final Cut Pro, then how to extend it when you add the power of Boris Continuum Complete version 7 to supercharge your text effects.
This session is for people who have never worked in 3D before. This will take you step-by-step into a brand new world. You’ll learn how to animate shapes and text in 3D, and add and animate a camera, add and adjust 3D lighting and reflections. Best of all, no special design skills are required to be successful with this lesson.
If keyframes scare you and the Motion tab is a mystery, you are going to have a great time at this session. And for you long-time Final Cut wizards, this is a great way to refresh your skills on basic operations.
In this tutorial, Larry shows you how to create two full-screen menus in Motion – one still and one animated. Then send it to DVD Studio Pro to build into a finished motion menu using buttons, button regions, and overlays.
The Geometry tab, in Compressor 3.x, controls the size of your final compressed video.
Inside Final Cut Pro 7 are a number of hidden shortcuts. These shortcuts are not assigned to any button or key – but, if you know where to look, you can create your own customized settings.
This is the fourth of an extended four-part series on creating and editing multi-channel audio interviews in Soundtrack Pro.
This is the third of an extended four-part series on creating and editing multi-channel audio interviews in Soundtrack Pro.
This is the second of an extended four-part series on creating and editing multi-channel audio interviews in Soundtrack Pro.
This is the first of an extended four-part series on creating and editing multi-channel audio interviews in Soundtrack Pro.
Markers are the yellow sticky notes of Final Cut Pro. And in the latest version they’ve had a lot of very useful features added.
Deinterlacing is the process of removing interlace lines from video.
One of the hardest questions for many editors to answer is where to set audio levels.
Final Cut Pro 7 introduces a significantly improved way to create speed changes in your clips.
Setting audio levels to achieve a good listening volume is important.
The definition of a nest is a sequence contained inside another sequence.
New with Final Cut Pro 7 is the ability to create an Alpha Transition. This uses a third video clip to transition between two clips using some form of a wipe.
The alpha channel determines the transparency of each pixel in a clip; it is similar to the red, green, and blue channels that determine color.
Rotoscoping is the process of manually removing a portion of an image in a clip, without using a green screen.
What’s the best way to compress High-Def video for the web?
