September 15, 2006
Firewire Deck Control Problems with Avid or Final Cut Pro
Many of the deck control problems you may encounter may have something to do with the firewire connection. A faulty cable can also cause intermittent problems.
If have you have a high-end tape machine, chances are it may have a 9-pin serial R422 connection on the back. In this case, you would benefit from purchasing a simple adapter cable that will allow your Avid or Final Cut Pro system to take advantage of direct deck control using your Deck's 9 pin RSS 422 control.
If you are using a PC, all that is required is a simple cable that converts the RSS 422 (serial) - to RS 232 (serial). (Available here)
If your computer does not have a 9 pin serial port, or if you are using a Mac. You'll also need an USB to serial adapter.
Next, all you need to do is change your device control options to use RS 422 control instead of firewire. You will immediately notice that your device will control much better than it did with the firewire cable. You will still leave your firewire cable connection to your system for Video and Audio input. You will be using the RSS 422 connection from timecode and deck control.
Posted by MovingPicture at 05:23 PM
One Hour of Footage Equals How Many Gigabytes?
5 minutes of DV footage equals approximates 1 gigabyte of storage. Digital Heaven has a free widget, VideoSpace v1.0, For OSX Tiger that will allow you to calculate how much disk space your Final Cut Pro or Avid Xpress video project will require before you begin. It's as simple as selecting the Codec that you will be using from a drop down menu of 17 options, selecting the framerate, and typing in the projected length of the program in HHMMSS format and Video Space will calculate the size of the file.
It can also work in reverse allowing you to enter in the storage capacity of optical storage media such as a DVD or CD and calculate the amount of video it can hold. Check out and Download Digital Heaven's VideoSPace right here.
Posted by MovingPicture at 05:02 PM
Shooting for Avid and FCP Editing
If you are a pro, or just getting into editing and vidoeography, you need to be aware of a very important part of shooting your footage. You need to shoot, or have your camera operators shoot, for the edit.
For example: If you are shooting an interview, you need to have at least 5-10 seconds after you hit record and 5-10 seconds before you stop recording where the interviewee is looking at the camera, or desired direction, so that your edits will be smooth.
This may sound so simple, but it is often not done by many camera operators; but more so the subjects are not told they need to do this. It makes it really hard to insert a nice 20-frame dissolve while your subject is not moving according to what you are shooting. This is great rule to always follow no matter what type of subject you are shooting. It makes it so much easier when you get back to your Avid or Final Cut machine and have nice clean cuts to start with. This will make your editing process go so much smoother and make for a much more professional production.
Posted by MovingPicture at 03:38 PM
August 08, 2006
New Mac Pro from Apple the Fastest Mac Ever
Whether you run Avid Xpress Pro or Final Cut Pro, and you have just entered the market for a new computer, then you have to check out Apple's new successor to the Power Mac, the Mac Pro. With up to 4 million configurations possible, the Mac Pro can perform at speeds of up to 3GHz running on 2 Dual Core Intel Xeon processors.
It can also accommodate up to 2 Terabytes of storage, 16 GB of RAM, up to two SuperDrives or other optical drive (what's that? did somebody say "Blu-Ray"?), has four PCI Express slots and more I/O ports. You also have your choice of three graphics cards: the NVIDIA GeForce 7300 GT (256MB), ATI Radeon X1900 XT (512MB), and the NVIDIA Quadro FX 4500 (512MB). You can also house as many as 4 of the 7300 GT graphics cards in this machine.
If you need us, we'll be at the Apple Store, drooling...
Posted by MovingPicture at 06:10 PM
June 22, 2006
HVX200 Microsite Brought to You by Panasonic
Whether you are a loyal Panasonic HVX200 fan or just curious as to which HD cam to spring for, Panasonic has a great new microsite at panasonic.com that is all things HVX. This is a great opportunity for all of you Final Cut Pro and Avid Xpress Pro users to see what other people are doing with the HVX and to witness how it is being applied in the real world. If you're into pro videography, news gathering, independent filmmaking, HD production, or education, this site gives great information on the practicality of the HVX in each discipline. There are also in-depth reviews of the operability of the HVX from working producers who are using the camera in the field on a daily basis. This site is a treasure trove of HVX information.
If you are a fan of the Panasonic line of cameras or just an independent filmmaker in general, you also need to check out DVXUser.com. This site has to be one of the most comprehensive and active places on the internet for the independent filmmaking community. Whether you are loyal to Cannon, JVC, Sony, this online community is talking about it. The examples of other peoples projects is reason enough to check out dvxuser.com.
Posted by MovingPicture at 01:31 PM
March 29, 2006
Up-rez in Final Cut Pro and After Effects
Have you been looking for ways to use your SD footage in a HD Production? Instant HD, by Red Giant Software, is a plug-in for Final Cut Pro Pro, Adobe After Effects, and Premiere that will allow you to up-convert NTSC or PAL SD to High Definition; but that's not all!
Here are some of the uses:
- Convert web cam and cellphone source material to SD video
- Scale SD video for pan and scan adjustments
- Can be used with Magic Bullet software to create high-end "film-look" masters
- Scale still images to HD
This plug-in only works with progressive, non-interlaced footage.
Posted by MovingPicture at 04:16 PM
Avid, Final Cut, After Effects and Digital Juice
If you are looking to make your productions professional and graphically entertaining than look no further than Digital Juice. Whether you use Avid, Final Cut Pro or After Effects Digital Juice has the solution you are looking for. They have just introduced Editor’s Toolkit 10 and the great new sound effects library. I use Digital Juice products on a daily basis, both in Avid Express Pro HD and After Effects. Editor’s Toolkits are complete animated graphics packages for video producers. The 10 thematic Toolkits contain thousands of graphical elements that are an essential part of any production. Many of these elements are organized into matched sets so that it is effortless to create a coordinated and professional look. Avid, FCP, or After Effects editors can all benefit from Digital Juice.
Posted by MovingPicture at 03:36 PM
February 16, 2006
Exporting Audio Only From Final Cut Pro
When you export audio only from a sequence in FCP, all of the many tracks and clips will be consolidated into a single media file.
Read on for the step-by-step...
Exporting Audio From a FCP Sequence
Click on the Track Visibility button in the Video Track(s) to deselect them. The entire track should appear greyed out.
Go to File > Export > Using Quicktime Conversion.
Designate a place to save the file, then proceed to choose the file format that you want to save it in (AIFF, WAVE etc.).
Click on options to designate Format, Channels, Sample Rate and Bit Depth, then click OK.
Click Save to export. All of your audio clips will now be exported as a single media file.
Posted by MovingPicture at 03:41 PM
February 14, 2006
Changing the Position of a Transition via the Roll Tool in FCP
Another way to manipulate where a transition occurs between two clips is to open the Transition Editor and move the transition with the Roll Tool. For the sake of this lesson, If you do not have a transition aleady made, just Control-Click and choose to add the default transition to an edit point in your sequence.
Read on for details...
Changing the Position of a Transition
After you have placed a transition over an edit point in your sequence, double click on the transition to open the Transition Editor in the Viewer.
When you place the cursor over the transition in the editor, it will automatically turn into the Roll tool. If you look at the graphic above, you will see the absence of a cursor or a Roll tool This is due to the nature of the screen shot. The cursor will not show, but just in case you were wondering, the Roll tool looks like this
.Drag the transition to a new location.
Posted by MovingPicture at 01:46 PM
Designating Search Folders in Final Cut Pro
Reconnecting offline media is a pain, there is just no other way to describe it, but there are some things you can do within Final Cut Pro to narrow the search. You can designate which folders and drives Final Cut Pro should look in before you attempt to reconnect your offline media. If you go to Final Cut Pro > System Settings, under the tab search folders, you can designate specific areas where FCP will perform the search. This is especially great if you have a large number of drives and if you work in a SAN (Storage Area Network) envrionment.
Read On for the easy steps...
Designating a Search Folder
Go to Final Cut Pro > System Settings, then click on the Search Folders tab.
Click on the Set button to navigate to a new folder or click Set to replace a previously chosen folder or drive. Choose clear to clear any choice.
Click OK.
Posted by MovingPicture at 01:38 PM
February 13, 2006
Performing a Slip Edit on Multiple Clips in Final Cut Pro 5
We have talked before about how trimming is the essence of editing and how having a firm handle on the various trimming techniques in Final Cut Pro can broaden your creative horizons, well here is another technique that you can add to your arsenal.
Read on to see how to slip edit multiple clips at once...
Slipping Multiple Clips Simultaneously
A slip edit only effects the in and out points of one clip, but in this example, we have multiple selections and will be changing the in and out points of multiple clips. Think of it as reframing the action that occurs in each clip, while maintaining their individual durations.
Press A to ensure that the selection tool is active.
Select more than one clip in the timeline on which to perform the slip edit. Keep in mind that these clips do not have to be adjacent to one another. You can hold the Command key and select any clips you like.
Press S to activate the Slip tool.
Type in a positive or negative time code number then press enter. It may feel weird to start typing in thin air, but just enter a value and the clips will be slipped by that amount. If for some reason one clip in your selection can not be slipped, none of them will be slipped. In this example, I have slipped the selected clips 5 frames forward.
Posted by MovingPicture at 01:40 PM
February 10, 2006
Using Split Edits For Dialog in Final Cut Pro 5
Whether you're cutting a piece for a magazine news show or meticulously laying down dramatic dialog, the Split Edit feature in Final Cut Pro gives you the power to set the pace and tone of a scene. The ability to overlap the audio and video of characters having a conversation is a great way to visually soften a straight cut.
Perhaps you've never paid close attention to it before, but you have see this technique used all over television and film: such as the intense reaction shot of Jodie Foster's character in 'The Silence of the Lambs' as she's being sized up by a caged Hannibal Lecter or the look of defeat in a criminal's eyes as he hears the evidence in 'CSI'. Much like many other functions in Final Cut Pro, there is more than one way to execute a split edit.
You can simply edit the clip to the time line, unlock the audio and video, then use the ripple tool to trim the audio and video, or you can designate separate in and out points for audio and video in the Viewer before laying the clip to the time line. This example will explain the latter of the two, since it may include procedures that you are unfamiliar with.
Performing a Split Edit in the Viewer Window
Double-Click on a clip in the Browser to load it into the Viewer. This particular exercise will work best if you use footage of a conversation between two people, but it can be performed on any clip allowing for audio lead ins to a new scene or cutaways.
Place the Playhead at the point where you want to make a video only in or out, then press CONTROL-I for a video in point or CONTROL-O for a video out. In this example, we have placed an in point for the audio at the beginning of the actor's conversation and placed a video out point where we want to cut to the reaction shot of the person he is talking to.
Place the playhead at the point where you want the audio in or out to be, then press OPTION-COMMAND-I or OPTION-COMMAND-O. In this example, we set the audio in a few frames before the video in and set an audio out after he had finished articulating his thought. If we were to have set the video and audio in at the same point, FCP would have then just created a typical edit point. For the sake of this example, we wanted you to see the visual difference between split edit points and the typical edit point.
The actor's audio is now longer than his video, when edited into the time line,
allowing us, through the same procedure, to place the pleasant smile of the actress Amanda over the dialog of an old and dear friend as a reaction shot.
Posted by MovingPicture at 03:36 PM
February 09, 2006
Creating a Motion Path in Final Cut Pro 5
You can easily manipulate a clip's motion path in the Viewer Window to achieve some impressive animated effects such as the Animated Filmstrip. This tutorial will only focus on creating a motion path for a single clip.
Read more for the steps...
- Open up the clip that you wish to use in the Viewer Window by double clicking it in the Timeline.
- Go to the View menu in the Canvas Window and choose Image and Wireframe.
- You will be able to see the effect more clearly if you deacrease the scale of the clip, so go to the Motion tab in the Viewer Window and set the scale to 50.
- Place the playhead in the Timeline at the first frame of the clip that you are animating, so that you can see it in the Canvas Window. Make sure Snapping is turned on in the Timeline
- Make sure your selection arrow tool is active by clicking on it in the tool palette or by pressing A on your keyboard.
- While holding down the shift key, click and drag the clip from its center towards the left side of the Canvas Window so that it is halfway off screen. Holding down the shift key constrains the movement of the clip, keeping it in a straight line as you drag.
- While in the Motion tab, you will need to expand the window pane by dragging its bottom right corner to the right. Position the Window so that it is not covering up the Canvas Window.
- The timeline idicator within the Motion Window will be parked over the first frame of the clip that is in the Timeline area. You should see a slightly highlighted range in the keyframe area representing the clip on which you are performing the animation.
- Locate the center parameter within the Motion tab and click on the Keyframe Button to insert a keyframe for your current clip position. You will see that two keyframes are placed at the location of indicator bar in the Motion tab.
- This step is a little confusing and I will explain why in just a moment. Move the timline indicator in the Motion tab and snap it to the end of the highlighted range representing the clip and press the back arrow key on your keyboard once to move the indicator backward one frame.
The white barrier in the keyframe area representing the end of the clip that we are working on is actually the first frame of the proceeding clip, this is why we had to move the indicator back one frame.
- Go to the Canvas Window and Shift-drag the clip to the right of the screen. You will then see a motion path, representing the path that the clip will move along.
- Play the clip from the beginning in either the timeline or the Canvas to review the effect.
Posted by MovingPicture at 02:53 PM
Adding Shortcut Button to the Button Bar in FCP 5
If you have ever had the chance to do some editing on another editor's workstation, you will have noticed how different editors have created their own personal interface set up specific to their own particular ease of use. If you look at the Final Cut Pro interface, you will notice that there are button wells located over all the work area windows, allowing you to place shortcut functions in each of them. This ability will aid you in customizing your own personal workspace.
This enables you to be able to place the Import Files Button in the button well over the Browser or add the Add Audio Transition Button to the Timeline Button Bar.
Creating a Shortcut Button in a Button Bar
1 Go to tools > Button List
2 Drag an icon for the function that you desire from the list to the button well and release the mouse button.
Posted by MovingPicture at 02:41 PM
February 07, 2006
The Revert Project Command in Final Cut Pro 5
It is not uncommon among editors to have the urge to try something new or to shift gears and go in a completely new direction while in the midst of a creative project. The curiosity of a new pathway, the willingness to come out of your safety zone is a great trait for an editor, but may we suggest that you make a copy of your present sequence before venturing off into the unknown and be aware of the Revert Project Command feature?
The Revert Project Command in Final Cut Pro Pro is a handy tool that will allow you to return the project to the state that it was in the last time you saved it. This is good for testing new waters, but not for diving in. Keep in mind that the Auto Save feature in Final Cut Prois not saving the actual project, but storing a copy of it for later restoration. So, you should not solely rely on a last ditch effort to recover your work, such as the Auto Save feature provides, for saving your work. Instead, get into the habit of frequently manually saving your work. This practice would render the Revert Project Command less practical for making drastic changes and reverting back to its previous saved state. With all this being said, it is still an excellent tool for giving you the freedom to play with a few new ideas!
Click on the project's tab that you are working in that is located in the Timeline.
Go to File > Revert Project.
Click OK.
Posted by MovingPicture at 03:36 PM
Exporting an Image Sequence in Final Cut Pro
Exporting a series of images from your sequence is performed a little differently than exporting a single frame image in Final Cut Pro. You can export a sequence of images in the format of your choice via exporting Using Quicktime Conversion. Set a range in your sequence for export using in and out points.
Read on for details...
After you have opened a sequence into the Timeline, you can set your in and out points for export as a Numbered Image Sequence.
Go to File > Export > Using QuickTime Conversion.
Designate a place where you want the files to be saved. I recommend creating a new folder for this export.
Click on the FORMAT pull-down menu and choose Image Sequence from the list.
Click on the USE pull-down menu and choose a setting.
Click on the Options button in the Export Window to set other options for bit depth and compression under the Options button of the Export Image and Sequence Settings box.
Click OK after you have made changes in the Options menu, in this example JPEG Options, and in the Export Image and Sequence Settings box and Click Save in the Export Window to export your image sequence.
Posted by MovingPicture at 03:30 PM
Exporting to QuickTime DV-NTSC, MJPEG-A, MJPEG-B, or PhotoJPEG Prior to Encoding
If you have videos on your Non-linear editor that are destined for the web, exporting your videos as a QuickTime DV-NTSC, MJPEG-A, MJPEG-B, or PhotoJPEG prior to encoding will help you get great quality. DV-NTSC, MJPEG-A, MJPEG-B, and PhotoJPEG are all codecs found inside QuickTime on Non-linear editors such as Avid, Final Cut Pro and Adobe Premiere Pro.
Using this process allows you to then take your videos into encoding tools such as: Compression Master, Sorenson Squeeze Compression Suite, ProCoder, Flix Pro, Cleaner and many others. These encoding applications will produce files small enough for the web delivery.
When exporting content with these codecs in QuickTime it's mostly about the quality settings. The higher the quality setting the longer your export will take and the better your quality. For example, the PhotoJPEG codec at the highest quality setting of 100% is actually a 4:4:4 codec but if you bring down the quality setting to 75% Quality it becomes a 4:2:2 codec which is even better sampling than DV at 4:1:1. MJPEG-A and MJPEG-B are also capabable of producing 4:2:2 quality.
Do you want to know more?
> Learn more information about the DV-NTSC, MJPEG-A, MJPEG-B, and PhotoJPEG QuickTime CODECS
> Learn how to export QuickTime using DV-NTSC, MJPEG-A, MJPEG-B, and PhotoJPEG CODECS
Posted by MovingPicture at 03:20 PM
Nesting Sequences in Final Cut Pro 5
You may find it convenient in the process of planning the workflow for your film to create a new sequence in FCP for each scene and later edit them together in a finished master sequence. This particular workflow could really help you in the render department by allowing you the fexibility of being able to render all of your effects intensive scenes in separate sequences.
Drag the icon for your current sequence from the Browser into the Viwer Window.
Go to File > New > Sequence.
Double-click on the new sequence icon that appears in the Browser to open up the new Timeline Window.
You can now set in and out points in your sequence that was previously loaded into the Viewer.
Edit the source sequence into the master sequence just as you would a clip with an overwrite or insert edit.
Keep in mind that you could have also dragged the sequence icon from the Browser into the timeline or have dragged the video from the source sequence into the Timeline.
Posted by MovingPicture at 02:52 PM
Performing a Fit to Fill Edit in Final Cut Pro
You can perform a fit to fill edit with multiple selected clips in the Browser by marking in an out points for multiple clips, selecting those clips in the Browser and dragging the top selection to the Fit To Fill overlay button located in the Canvas Window. You can either set in and out points in the Timeline or you can simply place the playhead over the clip where you want to start the edit and FCP will replace each consecutive clip in the timeline with each clip you had selected in the Browser Window. If you have chose more clips in the Browser than you have in your timeline, then you will recieve an 'insufficient content for edit' error.
With this being said, you will likely find it much more practical to perform this procedure with a single clip at a time due to the nature of Fit to Fill procedure, which we will discuss later.
Read on for directions.
Performing a Fit To Fill Edit with a Single Clip
Make sure you have the destination track selected for the edit.
You can either set in and out points for the edit in the Timline or in the Canvas Window or park the playhead over the clip you wish to replace. In this example, I have chose simply to park over the targeted clip. Keep in mind that you can also park the playhead over a gap you wish to fill in the timeline as well.
Double click on a clip in the Browser to load it into the Viewer.
Set your in and out points for the clip.
Drag the clip from the Viewer over to the Canvas Window overlay marked Fit To Fill, then release. You will see that the clip in the Viewer has replaced the designated clip in the Timeline.
There is a very significant consequence to utilizing the Fit To Fill feature that is woven into the very nature of its functionality and that is: the >speed of the clip that you are editing into the sequence will be adjusted so that the clip can fill that space without changing the length of the overall sequence. For instance, if you placed a clip with a three second duration into a gap that has a duration of seven seconds, the clip will have to be played back at a slower speed in order to fill that gap. The same logic applies if the duration of the clip is longer than the duration of the gap that it is filling. The clip would have to play back faster in order to maintain the finite duration of the sequence.
Posted by MovingPicture at 02:48 PM
A Quick Way to Solo a Clip in Final Cut Pro 5
While in the process of editing, you can sometimes have second thoughts about a given clip's purpose or the action that it displays. A quick way to review the clip is to solo it. We have discussed soloing a track before, but this is a single clip and this can come in handy if you have video in tracks that overlap the clip.
Place the position indicator over the clip in the timeline.
Click on the clip in the Timeline to select it.
Press Control S or go to Sequence > Solo Selected Item(s).
Play the clip by either pressing the space bar or clicking the play button in the Canvas Window. You will now see the selected clip playback and that all overlapping video tracks have been disabled.
Press Control S or go to Sequence > Solo Selected Item(s) to reactivate the other clips in your sequence.
Posted by MovingPicture at 02:41 PM
MPEG 2 Import into Final Cut Pro
Here is a little piece of software that is truly amazing! STREAMCLIP, from the comapany Squared 5, is a high quality file converter for MPEG (1,2,3,4), transport streams and QuickTime files providing movie conversions that are compatible with Final Cut Pro, DVD Studio Pro and Roxio Toast 6 and7. Perhaps what is even more amazing is the fact that it is ABSOLUTELY FREE and is available for Windows XP as well as Mac OSX!
For all of you Final Cut Pro Artists who have tried to place MPEG 2 Files into your timeline, only to get a video track with no audio, you can be happy to hear that this ware will allow you to export the MPEG 2 file to Quicktime, AVI, DV and MPEG 4 so it can be properly imported.
Simply open an MPEG 2 file into the application,
choose the method of export, which was Quicktime in this instance,
choose the frame size and Presto! You recieve a high quality Quicktime file that you could import into Final Cut Pro with audio intact. You also have more control of the final outputted file such as compression codec, quality, field dominace, audio sample rate and cropping capabilities. You have to check this out!
Posted by MovingPicture at 02:32 PM
February 06, 2006
Using The Range Selection Tool in Final Cut Pro
We have discussed in great length the application of filters to clips to achieve a unique look, well, the Range Selection Tool opens a door to even more possibilities and flexibility. The Range Selection Tool gives you the opportunity to select only a section of a single clip without the use of through edits, enabling you to appy an effect to a selected portion of a clip and not the entire clip.
You can either select the Range Selection Tool from the Tool Pallete or hit the G key three times in succession to activate it.
Simply click inside of the clip and drag your selection once the tool is activated. Now you can drag an effect to this selected area and add transitions to soften it.
You can also adjust the selected area that contains the filter: Double-click on the clip and load it into the Browser Window > go to the Filters Tab and drag the filter in the keyframe area to a new location.
Posted by MovingPicture at 07:01 PM
February 03, 2006
Copying Keyframes Between Projects in LiveType 2
LiveType makes it quite simple to copy and paste effects, keyframes and tracks between projects. This is excellent for saving you the time of having to recreate effects you have made from scratch.
Copying and Pasting Keyframes Between Projects
After you have opened the project that you want to copy a keyframe from, choose the keyframe by clicking it once, then Press command C to copy it. Keep in mind that if you were copying an entire track or effect you could have simply Control Clicked or Right Clicked with a two button mouse on a track, to copy a track or to the side of a keyframe, to copy an entire effect.
Open the project that you will be copying to and position the timeline indicator over the area where you wish to paste, in the effect track that you have laid down in the new project, and press either Command V or Control Click the track and select Paste from the menu.
Posted by MovingPicture at 03:51 PM
Flip4Mac WMV 2.0 - Windows Media Import and Export for Mac
The latest version of Flip4Mac WMV 2.0 - Windows Media Import and Export tools for Mac users are available for customers. These tools are designed to give users of QuickTime based applications additional options for import and exporting for Windows Media content.
Here's an overview of the Flip4Mac tools:
Flip4Mac WMV Import
Flip4Mac WMV Import allows you to import Windows Media video and audio for editing or conversion to other QuickTime formats. You can import directly into applications like Final Cut Pro, Final Cut Express HD, QuickTime Pro and iMovie. You can also convert files from Windows Media to other QuickTime formats using applications like QuickTime Pro, Cleaner 6 and Sorenson Media Squeeze 4.3. With WMV Import, if you can play a Windows Media file, you can import it.
Flip4Mac WMV Studio
Import and export Windows Media files using expanded preset encoding profiles. Export Windows Media files directly from your editing system or media encoding application, including Final Cut Pro, Final Cut Express HD, QuickTime Pro, iMovie, Sorenson Media Squeeze 4.3, AutoDesk Cleaner 6, Compressor 2 and more.
Flip4Mac WMV Studio Pro
Adds the ability to create your own standard definition, one-pass encoding profiles.
Flip4Mac WMV Studio Pro HD
Adds the ability to create high definition and two-pass encoding profiles.
Note: These tools are available as an upgrade to the free Windows Media Components Plugin for QuickTime.
Learn more about Telestream and their Flip4Mac products that allow you to import and export Windows Media files from QuickTime Pro, iMovie, Cleaner 6, Sorenson Squeeze 4.3, Compressor 2, Final Cut Express HD, Final Cut Pro.
Posted by MovingPicture at 03:33 PM
Designating a New Default Setting in LiveType 2
After you have completed a few projects utilizing LiveType, naturally you will have discovered your own personal workflow and interface configurations. It is very important to know how to save you own personal configurations in order to be able to increase your work efficiency for the next project. Nothing is more precious than time when you are a working editor, except for the paycheck of course!
After you have configured LiveType's settings and interface to your liking, simply go to LiveType> Settings > Remember Settings.
Posted by MovingPicture at 03:15 PM
Editing To The Beat in Final Cut Pro
The slug generator and the Replace Edit function can assistant you in finding a visual rhythm for a piece of music you have laid down.
First, you must remap the Add Edit function to a key from the Keyboard Layout Menu. Go to Tools > Keyboard Layout > Customize.
Type in the words add edit into the search bar located in the upper right of the window in order to locate the function.
Unlock the Keyboard Layout by cliking on the lock icon at the bottom left corner of the window, then drag the Add Edit icon to a key to replace a function that you use the least. In this example, I have remapped my numeral 1 key. Close the Custom keybaord Layout menu.
Click on the generator menu, which is located in the lower right hand corner of the Viewer Window and choose the slug option. You will then see that slug has been loaded into the Viewer.
After you have laid down your music to an audio track, edit in the slug as you would any other clip, then use the A tool (the selection tool), to fully extend the slug. More than likely, the music that you have selected will be much longer than the slug. You can either extend the edit points for the slug clip in the viewer or keep editing in the slug clip to increase its length.
Lock your audio track(s).
Now you can press the space bar to play your audio track and hit the 1 key (or whatever key you mapped the add edit function to) to add an edit point on the fly as you find a rhythm to your music track. This will work best if have been previously familiar with the song that you are using and have become acquainted with its rhythmic variations.
When you press the space bar againg to stop playback, you will see that the Add Edit points have been placed into your slug track.
Place the timeline idicator bar in the middle of one of the slug clips, this will work best if you temporarily deactivate the Snapping capability in the timeline by pressing the N key, then load a video clip into the Viewer Window by double clicking on it in the Browser Window. Click the Replace Edit key and you will see that the slug where the position indicator was parked over has been replaced by the clip in the Viewer.
You can do this for all of the add edits you have created within the slug track, then use the Slip Tool along with various others to capture the action in the clips you have laid down and to fine-tune your sequence.
Posted by MovingPicture at 02:59 PM
January 27, 2006
Performing an Audio Pan in the Viewer Window in FCP
You can make your audio more dynamic by panning sound effects from the left speaker to the right from within the Viewer Window. A sound effect, such as a passing car panning from the left speaker to the right, can add another dimension to your project and lessen the flatness of canned sound effects.
Before you try this, keep in mind that you only need a mono clip to perform this effect, so if you have a stereo pair, unlink the two and delete one of the tracks.
Double click on the audio clip to load it into the viwer.
Click on the channel tab in the Viewer Window.
Option click on the purple audio spread overlay in order to get the pen tool to create keyframes and drag the points of the line so that it looks like the diagram below. When you begin to move the purple overlay you will see a pink line underneath it. It helps if you think of it in this way: think of anything above the pink line as being the right channel and anything below as being the left channel.
Now the audio in this clip will pass from the left speaker through the right when played.
Posted by MovingPicture at 03:14 PM
Utizing Chapter Markers in Final Cut Pro
You can add navigability to your DVD projects in DVD Studio Pro by setting chapter markers in your Final Cut Pro sequence. By adding chapter markes to your finished sequence, you will give those who have the pleasure of viewing your DVD the flexibility of selecting specific chapters of interest for playback instead of having to shuttle through a program in a linear fashion.
Note: Do not place chapter markers at the very beginning or at the end of your sequence. A marker will automatically be placed by DVD Studio Pro at the begnning of your program.
Concerning the business of placing markers, think of them as chapters in your favorite novel. Each marker should be strategically placed where you feel there is an ebb in the flow of the story.
Park the position indicator over the desired location for the marker and press the M key twice. This will place a green marker in the timecode area of the timeline and open up a dialog box.
Give the marker a descriptive name that is pertinent to the action in this particular chapter and click the Add Chapter Marker button. Now, whenever you park over that marker, you will see an overlay in the canvas window displaying the name of that chapter.
Posted by MovingPicture at 03:05 PM
January 23, 2006
Extending an Edit in Final Cut Pro
The ability to fine tune your FCP project after you have laid down audio and video into a sequence is one of the most important functions of the editing process. The Extend Edit feature is another way for you to extend or contract a clip without using the Roll or Arrow tools.
Click on an edit point in your sequence in order to select it.
Move the position indicator to the location in the sequence where you wish to extend the clip. Keep in mind that the original captured clip file that you are extending must have enough media to accommodate the extension.
Press the E key on the keyboard to extend the clip to where the position locator is parked.
Take a look at more Final Cut Pro Trimming Techniques!
Posted by MovingPicture at 05:21 PM
Making Yokel and Barkitecture with Final Cut Pro
Armed with Apple laptops and desktops in his den, Knoxville filmmaker Dario Gildrie and his 3 man crew cranks out about 30 episodes a year for DIY and Turner South. The shows: 'Barkitecture' giving you a birds eye view of the construction of the most lavish doggie homes around and 'Yokel' a show that takes you on an advernture through the backroads of the American South, giving you a taste of small town southern hospitality.
'I do an up-convert from 720p to 1080i through a DecLink card to a Panasonic deck, then loop into the high-def cam for a copy and then down-convert it for standard definition. It takes me an hour a show to make three versions. It's amazing, really, and I'm doing it all with Final Cut.' -- Dario Gildrie
See how these guys crank these shows out from home!
Posted by MovingPicture at 05:16 PM
January 19, 2006
Slamdance Video Podcast
The 2006 Slamdance Film Festival kicks off today in Park City, Utah featuring 20 competition feature films and 6 special screenings. Apple will be broadcasting the 'Slamdance Podcast' on iTunes and the video Podcast will provide screenings of many of the films being featured and festival highlights. Currently, there are 23 Podcast episodes.
For all of you Final Cut Pro and Avid users who are not familiar with the Slamdance Film Festival, its held every year at the same time as the Sundance Film Festival providing an alternative for filmmakers who operate with very limited budjets. Its been said by its patrons to offer a more accurate depiction of indie filmmaking. The festival is in its 12th year.
Here's a sample of some of the talent discovered at Slamdance: Directors Jared Hess (Napoleon Dynamite), Chrisotpher Nolan (Momento) and Mark Foster (Monster's Ball).
Posted by MovingPicture at 02:29 PM
January 18, 2006
Performing a Global Parameter Change in LiveType 2
Another way to alter premade effects is to manipulate just one keyframe parameter, then apply the change globally to the entire effect.
Apply an effect to the text you have created. In this example, I have chose the Dirst Stop effect under the Caricature menu.
Select the effect in the timeline.
Make a change to the effect by manipulating a property in either the Text , Style or Attributes tabs. In this example, I will be changing the XY scale larger under the Attributes tab.
Note: You can either select an existing keyframe in the effect by clicking on it or parking the locator bar over an area that does not have a keyframe and one will be made for you as you adjust a parameter.
Option click the LED next to the parameter that you have just changed to apply it to the entire effect. You will see that the X and Y parameters will be altered for the entire effect.
See how to duplicate an effect in LiveType 2.
Posted by MovingPicture at 03:08 PM
January 17, 2006
Using The Distort Tool in Final Cut Pro
The Distort Tool will allow you to perform some interesting visual effects, such as fitting your footage into a picture frame that exists on another layer of video. Keep in mind that this will work best with a static shot.
First, you must park the locator bar over a clip in the timeline, then set the Canvas Window to Image and Wireframe Mode.
The Distort Tool is a subset of the Crop Tool, so locate the Crop Tool in the tool palette and hold down the mouse button until you see the other tools appear to the side. Choose the disotort tool from the list.
Note: It is the tool in the foreground of the list in the image below.
Click on the image in the Canvas, then use the corner handles to warp the clip footage.
Remember, if you have not superimposed a clip over another clip before performing this, your background will be black, unless you have changed the backdrop from its default color.
Posted by MovingPicture at 03:47 PM
Creating Cut-Out Animations In Final Cut Pro
For all of you Final Cut Pro users out there looking for an excercise that may be a little less practicle than what we have done in the past, this tutorial will walk you through the process of creating cut-out animations that are similar to what is used to create the television show 'South Park.' If you are up to the challenge, this tutorial assumes that you have a firm grasp on Adobe Photoshop as well. You have been warned! Enjoy!
How To Make Cut Out Animations in Final Cut Pro!
Posted by MovingPicture at 03:38 PM
January 11, 2006
Avid Express Pro, FCP and Firewire 800
We all want to add speed to our editing workflow and the new Firewire 800 is huge step in that direction. Avid and FCP ask a lot of your hard-drives and push all of the information through those small black cables. If you run Firewire 400 the transfer rate is 400 mbs, USB 2.0 is approx 480 mbs and the new Firewire 800 steps up to a blazing 800 mbs. Upgrading to the 800 is very inexpensive and very easy. All you need is a Firewire 800 card for around fifty dollars and most of the new 800 drives are close to the same price as the other formats.
The beauty of the new 800 drives is that they have 400 interfaces built right in so, if you have a huge collection of 400 drives, no need to worry. Just install your new 800 card in your computer, plug the 800 drive in and plug your 400 drive into the back of the 800 drive. With so many brands of hard drives on the market you need to look for a few specifics before you buy. Make sure that it can stay cool with internal fans. The new Maxtor One Touch ll, Firewire 800 edition, is great drive to look at if you are in the market to upgrade to 800. In tests running this drive hard for the last week it always feels cool to the touch. Check out all of the specs for this drive and next time you need more hard-drive space, step up to 800, you will not regret it.
Posted by MovingPicture at 05:47 PM
January 09, 2006
Final Cut Pro and The Texas Longhorns
The 2006 Rose Bowl Champions University of Texas Longhorns hired Lava Studios to document their road to victory and to give their fans a more indepth, personal look at the star athletes. A season subscription to 'Vmag' gets you into places that only a true die-hard fan could dream and producer Scott Rehling says 'There's no way, without Final Cut's ability to capture and execute content as quickly as it does, we could broadcast fully-formed program segements over the web by Monday morning.'
Here's the schedule: they capture footage throughout the entire week, including Saturdays game, and deliver a show by Monday morning. Lava Studios is completely Mac driven, using Final Cut Pro to cut, creating graphics in Motion and using Soundtrack Pro to make original music.
Take a look at how the tutorials that you see here everyday are being used in the real world!
Posted by MovingPicture at 06:03 PM
Avid audio tool, desired level for dialogue
Mixing audio levels in Avid Xpress, or Final Cut Pro can be confusing. If you are mixing for broadcast television keep your levels so they peak somewhere between +6 and +8 on the VU meter side.
If you are mixing for multimedia output, such as a streaming web movie, then you should try and mix your levels to the very top of the scale without exceeding 0 on the digital scale.
Keep in mind that that the Digital scale on the left of the Avid audio tool is only a reference, and is different for each manufacturer. The only important factor is the 0 at the top of the scale. Anything over zero will be useless digital noise. The default setting for Avid is -14 equals 0 VU.
Posted by MovingPicture at 05:51 PM
Editing LiveType Movies While In Final Cut Pro
The ability to use external editors inside of Final Cut Pro is a very convenient function that gives you the flexibility to update a LiveType movie that has already been incorporated into a FCP Project. Before you perform this function, you must go into the External Editors tab under Final Cut Pro > System Settings and set LiveType as your external editor for Video Files.
Click on the LiveType clip in your Final Cut Pro timeline to select it.
Control click the clip, if you have a one button mouse, or right click with a two button mouse, and select Open in Editor from the menu.
The LiveType movie will then open within LiveType itself and be ready for editing. Each adjustment that you make will be updated inside of final Cut Pro after you save the file.
Posted by MovingPicture at 05:14 PM
December 28, 2005
Troubleshooting Motion 2
If Motion is being quirky, here are some things you can do to try and troubleshoot. Keep in mind that Motion is inherently processor intesive and at times things are going to appear to be moving slower than expected. Make sure that the machine that you are running Motion on meets the recommended system requirements. Now, with that being said...
Deleting The Preferences
Within the Mac OS Finder, go to your home folder > Library > Preferences.
Locate the com.apple.motion.plist in the preferences folder, then drag it to the trash can.
Deleting Receipts and Reinstalling Motion
Make sure Motion is closed before you perform this.
Navigate to the Applications Folder in your Mac OS and open it.
Move the Motion application to the trash.
Navigate to Library > Receipts.
Within the Receipts folder, find the 'Motion2.0pkg' file and drag it to the trash.
Reinstall Apple Motion.
Posted by MovingPicture at 05:33 PM
December 27, 2005
Can't Hear Realtime Soundtrack Pro Effects in Final Cut Pro
If you have ever kicked out audio from a Final Cut Pro project into Soundtrack Pro, laid down some realtime effects, saved the changes, then sent it back into FCP but could not hear the effects, its because the effects were not rendered to the audio file. This goes for audio in Apple's Motion being sent to Soundtrack Pro and back again as well.
In order to use realtime effects in a project go to Process > Bounce Realtime Action within Soundtrack Pro to render the real-time effects to the file itself. You can also apply effects as actions by selecting them from the Process menu These effect will be also be rendered to the audio file.
Posted by MovingPicture at 05:09 PM
Final Cut Pro and The Blue Man Group
Director/Editor Kevin Rhoades used Final Cut Pro to capture the excitement and intrigue of Bluephoria, the hit theatrical performance by, you guessed it, 'The Blue Man Group.' The show has already been a hit in London, New York and Las Vegas and it was Kevin Rhoades' job to cut 40 hours of raw footage into an hour and half video with a return time of only a month.
They were shooting in the dark with 12 synchronized cameras.
"It’s a very dark show with a lot of blacks and very bright colors," says Rhoades. "HD gave us the latitude we needed to capture the strong contrasts."
Read how Kevin and his crew pulled it off!
Posted by MovingPicture at 05:06 PM
Flip4Mac Important for creating Windows Media Content
If you are using a Mac and want to do video compression for Windows Media streaming, you can use the Flip4Mac WMV Studio export component. What is nice about Flip4Mac WMV Studio is that it utilizes QuickTime. What this means is that QuickTime based applications such as: Final Cut Pro, Final Cut Express HD, iMovie, Sorenson Squeeze Compression Suite 4.1, Cleaner 6, QuickTime Pro and Compressor can export directly to Windows Media. You can also import Windows Media content to applications such as Cleaner 6 and Sorenson Squeeze 4.1. for encoding to other QuickTime formats.
Here are some of the features of Flip4Mac WMV Studio:
- Uses 1-pass CBR, 1-pass VBR , 2-pass CBR and 2-pass VBR compression
- Allows the creation of Meta data for Windows Media content
- Data rate can be limited
- Allows customization of video frame sizes
- Users can adjust Frames Per Second (FPS)
- Keyframe Every settings are adjustable
- Encodes to Windows Media 9
Find out more about Flip4Mac and other Telestream products.
Posted by MovingPicture at 05:03 PM
The Frame Viewer in Final Cut Pro
The Frame Viewer will appear as a tab in the Tool Bench Window allowing you to perform side by side comparisons of the previous edits with the current frame, following clips with the current frame, scenes with and without filters applied so that you can make sure your sequence has the flow you intended. This is a good way to eyeball scenes that may have been shot under various light conditions and for lining up shots for sequence continuity.
Simply go to Tools > Frame Viewer. Each drop menu in the Frame Viewer will give you options of which clips you can monitor in your sequence and how you wish to view them.
Posted by MovingPicture at 04:58 PM
December 21, 2005
Batch Export From Final Cut Pro
The Batch Export capability is very useful if you need to export many clips and sequences to various formats and settings. Each clip or sequence in the Eport Quque can have its own bin and independent export settings. You could export multiple sequences as Quicktime movies containing different dimensions if you wanted to.
Here's how to do it:
Select all of the bins, sequences and clips you want to export from within the Browser Window. Keep in mind that you can choose items from multiple projects.
Go to File > Batch Export and the Export Queque will open.
Press Command B to create a new bin and drag new clips from the browser to the bins in the Export Queque if additional clips are desired.
Click on the Settiing tab to mark your export settings.
Set the destination of your export by clicking on the Set Destination button.
Pick the desired file format from the Format list.
Pick a preset setting from the Settings list. The selections you see in this list are contingent upon the file format you chose earlier.
Configure additional settings, if you are given the opportunity, by clicking on the Options Tab. Whether you are given the option to use the Options tab is contingent upon settings you have made earlier in this process such as the selection of a file format.
Click on naming options to create a custom file extension. You can choose Strip Existing Extension in order to add your own custom extension. You can add a custom extension by typing it into the entry box to the right or choose whether or not the default extension for the export will be attached to the name of the file.
If your chosen format is a Quicktime Movie, you will be given the option to export Audio or Video or both. You will also be prompted to choose which type of Quicktime movie you wish to export. If your exported material has transitions between media, you will have to recompress.
If you have set a range in a sequence, via in an out points, for this export, then choose Use Item In/Out or the entire sequence will be exported.
Click OK twice for your settings to be accepted, then click Export in the Export Queque Window.
See how to export a still image from your project in Final Cut Pro.
Posted by MovingPicture at 05:20 PM
December 15, 2005
Using Peak Detection To Modify Audio Hot Spots in FCP
When you play back a sequence, you can tell which audio spots are hot by simply looking at the audio meter clipping into the red area, but you cannot pinpoint the specific problem areas within your audio clip so that you can address them.
You can detect specific hot spots in your audio by marking audio peaks in Final Cut.
Marking Audio Peaks
Make sure that you have UNselected all audio and video in the timeline.
Go to Mark > Audio > Peaks > Mark. Final Cut Pro will then place peak markers in the Timeline Ruler above the sequence hot spots. If a section of your audio has a hot point that lasts longer than a spike, a peak marker with a duration will appear over that area in the Timeline Ruler.
Now that you have detected audio peaks now its time to fix them.
Lowering Audio Hot Points
There are multiple ways but here are two:
Select the area of the audio clip that was marked as hot underneath the peak markers. You can do this buy creating through edits with the razor blade tool to designate the areas right underneath the peak markers, then going back to the selection tool to make your selections (Shift Click to make multiple selections).
After you have made your selections, go to Modify > Levels > and adjust the gain. If you make the changes Relative, if you have already keyframed the audio in this area the keyframes will be maintained. By making your changes absolute, you will blast away any keyframes that where previously set and all audio will be adjusted to the assigned dB level.
Another way to adjust the audio in these problem spots would be to Toggle On Cip Overlays at the bottom right of the timeline > control click on the pink overlays on your audio to create keyframe points that you can drag up or down to adjust levels.
Learn how to remove audio filters and keyframes in Final Cut Pro!
Posted by MovingPicture at 04:20 PM
December 14, 2005
Assigning Labels to Clips in the Browser
You can make quick notes for clips, bins and sequences within the browser in Final Cut, by assigning labels to them. For Example:
No Color: None
Orange: Good Take
Red: Best Take
Blue: Alternate Shots
Purple: Interviews
Green: B-Roll
Assigning a Label to a Clip
Select the clips in the Browser that you want to label.
Either control click, if you have a one button mouse, or right click, with a two button mouse, on top of one of the selected files and navigate to the Label option, then choose a label. Each of the clips, will be labled with the assigned color and if you pull over the lower right corner off the Browser Window to the right, your clips will be labled accordingly in the Label field.
Changing Label Names
Go to Final Cut Pro > User Preferences > Click on the Label tab > Change the name > Click OK.
Learn how to create a static region within an FCP timeline so your work doesn't get lost!
Posted by MovingPicture at 03:59 PM
December 13, 2005
Recompressing Media For The On The Go FCP Editor
WARNING: This tutorial may not prove helpful to any current relationship you may be involved in.
If you're wanting to take work home with you or if you need to cut while in route to Grandmas house for the holidays, why not recompress your media files at work to lower-resolution files, move those to your laptop and cut on on your Powerbook?
Recompressing Your Sequence
Select your sequence in the Browser, then go to File > Media Manager
Within Media Manager, click on the Media options and choose Recompress. Uncheck the option for 'Delete Unsued Media From Duplicated Items.'
Go to the 'Recompress Media Using' options and slect 'Offline RT NTSC (Photo JPEG).'
Go to the Media Destination pane of the Media Manager and use the Browse tab to navigate to a location whee you can create a folder to save the recompressed files in.
Click OK in the Media Manager, then give your recompressed file a unique name. Click Save. Your recompressed file will now appear in the assigned folder at a lower resolution and a new tab will appear in the FCP Browser containing the file.
Check out Pyromania, a new five-disc collection of royalty free HD clips.
Posted by MovingPicture at 05:30 PM
Ripping DVDs For Edit In Final Cut Pro and Avid Xpress Pro
There is alot of confusion circulating around the discussion forums on the topic of finding an efficient way to extract material from a DVD to import into Final Cut Pro for re-editing. After doing some research, I found such a ware that will allow you to read the dvd > set in and out points for the scenes that you want > and extract that video in a format that can be taken into Final Cut Pro and Avid. If you already have pre-existing VOB files, you can read them through DVDXDV and extract from them as well. Keep in mind that this ware is for Macs only.
DVDXDV Pro will allow you to extract high quality audio and video from a DVD to be used in Final Cut Pro and Avid. Their are two versions of this software, DVDXDVPro ($80), which is the more robust version of the program that will allow the reversal of the original interlaced field ordering of a DVD, widescreen resizing, 3:2 pulldown removal, and multi-channel audio export.
DVDXDV ($25) is being marketed more to the home video crowd and not the video professional. It will allow you to kick out a quicktime file with all audio in this version being exported as a stereo mix, it also allows for video cropping and resizing and field order reversing. There is also an 'Expert Settings' option in the Export dialog that will allow you to manipulate compression settings.
After downloading the trial version of DVDXDV Pro, my initial response was that it would be well worth the wait of shipping. You don't have access to an instant download of the ware if you should decide to purchase it, but I imported some extremely high quality audio and Video into Final Cut Pro and Avid from this ware!
If you find yourself needing to use material from premade non-encrypted dvds, you should really give DVDXDV Pro and DVDXDV serious consideration. If you have Quicktime 6 or later,click here to see a video sample of the process of how you get DVD material into Final Cut Pro. Download the free trial version and see if its right for you!
Posted by MovingPicture at 05:24 PM
December 12, 2005
Audio Output Presets In Final Cut Pro
You can reset the default audio output in Final Cut Pro for all future sequences by going into the User Preferences Window.
Go to Final Cut Pro > User Preferences and choose the Audio Outputs tab.
Either choose a preset from the list or customize one by editing it. If you choose to edit a preset, it will signify that a copy will have to be made. Click OK in this dialog box.
Within the Audio Outputs Preset Editor, enter a name and description for the new preset you are creating.
Select the number of audio channels for access.
In the Grouping category, choosing Stereo for each pair of audio channels you will be allowing for panning. The Dual Mono selection will allow for each channel to be used as a distinct output.
Select a downmix level. If you are working with many audio tracks, downmixing will allow all of those tracks to be mixed into a single stereo output. The downmix level represents the level of each output to avoid distortion. Think of it this way, the more channels you have to downmix the lesser this value needs to be to avoid distortion.
Click OK for this dialog box and OK in the previous box.
See how to adjust audio for a group of clips in Final Cut Pro.
Posted by MovingPicture at 05:24 PM
Selecting All Clips Forward and Backward in FCP
In a huge sequence filled with many clips, it can be difficult to select a range of clips. the Select All Forward and Select All Backward tools in Final Cut Pro will allow you to simply select all clips before or after a designated clip.
Selecting All Clips After a Designated Track
1 Choose the Select Track Forward tool from the tool palette.
2 Click on the clip that you wish to make first in the selection. All other clips following this clip will be selected.
Selecting All Clips Before a Designated Clip
1 Choose the Select Track Backward tool from the tool palette.
2 Click on the clip that you wish to be last in the selection. All of the preceeding clips will be selected.
Learn how to set marker durations in Final Cut Pro!
Posted by MovingPicture at 05:18 PM
Checking Luminanace Range in Final Cut Pro
If by surprise you are receiving either red or green lines througout your video in the canvas, you have probably pressed Control and Z by accident. When you see these zebra lines, Final Cut Pro is checking the luminance levels of your video, this is called Range Checking.
Along with these stripes you will also receive one of three symbols at the top of the current clip located in the Canvas Window. A checkmark in a green circle signifies that luminance levels for the current frame are safe and below 90 percent. There are usually no zebra lines present when this lone checkmark is present.
The next symbol is a checkmark in a green cirle with an arrow pointing upwards. This signifies that some of the luma levels are between 90 and 100 percent and you will see the suspect areas shrouded in green zebra stripes. This is also an acceptable level.
The next symbol is a yellow warning icon, which means your levels are over 100 percent. This icon is accompanied with red stripes over the problem areas.
Press Control Z to activate this function and press them again to deactivate it.
Learn how to match hue in Final Cut Pro in this GeniusDV tutorial!
Posted by MovingPicture at 05:12 PM