Tutorial: Page (1) of 2 - 02/22/09 Email this story to a friend. email article Print this page (Article printing at MyDmn.com).print page facebook

125 Final Cut Pro Professional Training Tutorials

Actually it's 138 - But hey, who's counting!
We thought it would be useful to bring all our Final Cut Pro training tutorials (all so far that is!) into one place so you could have easy access. So here they are: 138 Final Cut Pro training clips, hands on tutorials and quick tips!


Final Cut Pro Advanced Technique: Copying, Pasting, and Removing Attributes 
Author: Heath McKnight 
Description: Ever run into this scenario while editing in Final Cut Pro? You're tweaking a filter on a clip in FCP, and you know you have to apply it to at least three or four identical clips. What's the easiest, fastest and most productive way to apply the filter with the customized settings? By working with attributes!
 

Exporting movies in Final Cut Pro
Author: Craig Elliott Hanna   
Description: When supplying film and video assets in a digital format, most post- or authoring houses will want an uncompressed version of your project (QuickTime or AVI) delivered on a portable hard drive. This method is best for supplying projects because it removes the risks involved with additional compression and subsequent loss of quality.
 

Final Cut Pro 6 Level 3: Masks and Mattes
Author: Jerry Leer   
Description: In this training video, host Jerry Leer covers how to work with masks and mattes in Apple Final Cut Pro. One of the things you want to do with a clip is get rid of part of the image and one of the easiest ways to do this is to crop it. It doesn't always work, and another way to do it is to create a garbage matte and an image mask. he shows how to create these in this tutorial. 
 

Final Cut Pro 6 level 1: Batch Export 
Author: Jerry Leer
Description: In this training video, host Jerry Leer transitions in Final Cut Pro. Leer details all the different ways to apply transitions into Final Cut Pro, including the easiest, dragging and dropping the transition from the effects tab in the browser. He shows what is under the effects tab, looking for video transitions. He also shows how to change the default transitions. 
 

Using Add TransferMode in FinalCut
Author: Ko Maruyama  
Description: Joel Holland has offered up some free footage in both High Def and Standard Def formats - so why not use them? But if you don't know how to composite in Apple's Final Cut Pro, don't worry that these free graphic elements don't come with alpha channels, you can use transfer modes to drop out the darkest parts of the movie without keying.
 

Adjust to TransferModes in After Effects 
Author: Ko Maruyama   
Description: Joel Holland has offered up some free footage in both High Def and Standard Def formats. It's pretty easy to jam them into an After Effects comp, then start to build a background graphic, but you can take advantage of adjustment layers to get an overall transfermode on top of your comp too.
 

Automatic Duck Pro Export 4.0 for Final Cut Pro  
Author: Kevin McAuliffe   
Description: As I have said in previous articles, there is no better tool on the market for FCP and Avid editors to invest in, then the Automatic Duck family of plug-ins. What they give editors on both platforms is not only a way to move between their editing program of choice and Adobe's After Effects (Pro Import AE), but the capability to move back and forth between editing applications (Pro Export FCP, Pro Import FCP) and post audio workstations alike. 


 

 
 

Final Cut Pro 6 Level 2: Preferences, projects and sequences  
Author: Jerry Leer   
Description: In this training video, host Jerry Leer discusses preferences, projects and sequences. The preferences in FCP have been sub grouped in different headings, making it easier to find things. He shows the FCP menu and goes over each of the preferences in the menu, starting with the Audio Video settings. he also covers preferences under the General tab, editing, Timeline, Render control, and Audio outputs.
 

Final Cut Pro 6 Level 3: Ripple and Rolling Edits  
Author: Jerry Leer   
Description: In this training video, host Jerry Leer covers ripple and rolling edits. He setys up FCP for Ripple editing and describes what a ripple edit is and what it does to your timeline. He also covers what a rolling edit is as well and gives detailed explanation on how to perform a ripple and rolling edit. 
 

Working with XDCAM EX Footage in Final Cut Pro 6  
Author: Heath McKnight    
Description: The Sony XDCAM EX line of cameras, which include the PMW-EX1 and EX3, offer full HD resolution recording (1920 x 1080), which record onto non-linear flash-based cards that Sony has named SxS. Speed is always of the utmost importance, so it's great to be able to get clips into Final Cut Pro fast and easy. 
 

Boris FX Tutorial: Using Light Effects  
Description: This tutorial uses BCC Rays Cartoon in Apple Final Cut Pro to generate a volumetric lighting effect on an animated text element. The BCC Rays Cartoon filter will also give the text the appearance of being made of neon lights. 
 

How to get SDI Timecode into Final Cut Pro using AJA capture devices 
Author: Kevin McAuliffe   
Description: I had a reader e-mail me with an interesting question. The problem that they were experiencing was that they were in the field shooting HD, and wanted to capture the footage they shot into their edit system that they had with them, but the only VTR they had was the camera itself. Most people might say "No problem, just hook up the HD-SDI, and capture your video and audio!". That is true, except for one problem. 
 

Gain Adjust: Absolute vs Relative Audio In Final Cut Pro 
Author: Kevin McAuliffe   
Description: Nothing drives an editor crazier than when they have gotten to the end of a project, and the producer/director says "Can you bring the on-camera dialog up 5db across the board?" Most editors, at this point, would run screaming out of the edit suite, as it always takes forever to go clip by clip to raise the audio universally, especially if you have adjusted that specific track to varying levels throughout your entire show.
 

Trashing Preferences in Final Cut Pro
Author: David Basulto    
Description: Editing in Final Cut Pro is wonderful for me. I love the layout and its ease of use. To learn the basic controls is easy and a quick learn. What I wasn't prepared for was the lovely (and I mean that in the most sarcastic manner) beach balls that pop up when I am in the middle of working. "What is going on now?" I would ask myself. I would scrub the timeline only to find myself locking up and that vicious beach ball appearing from the dark depths of my mighty Mac Pro. 
 

Singling out a color in Final Cut Pro 6  
Author: David Basulto   
Description: Remember that movie called Pleasantville with Toby McGuire? When they lived in the past it was a world stricken of color. Slowly the color began to come back to life. Did you know you could do this effect with a simple tool in Final Cut Pro? You can.
 

Keying options for Motion 3  
Author: David Basulto   
Description: Recently I had a project that had a ton of green screen shots in it. I edited in Final Cut Pro and really wanted to see if doing all the work in Final Cut Studio was doable for me because I am so used to exporting to After Effects to do all my keying. This time I would bring the footage into Motion. 
 

Start in Final Cut and end with Adobe Premiere Pro via Automatic Duck  
Author: David Basulto    
Description: A film school grad contacted me recently and told me how he was really getting into compositing and color correction. He really enjoyed Adobe After Effects and edited with Premiere Pro. His dilemma was as a recent grad he really wanted to start making money but all his opportunities were from people who cut their projects in Final Cut Pro. How was he to do his work, including some audio tweaks if he was not an Apple guy?
 

Using Behaviors in Motion 3  
Author: David Basulto   
Description: One of the great things about Apple`s Motion 3, (part of Final Cut Studio 2), is its ease of use. You can create some great animations simply by adding Motion`s Behaviors, the program`s equivalent to Adobe After Effects` Expressions.
 

Final Cut Pro 6 Essential Editing: Collapsing the Multiclip   
Author: Larry Jordan   
Description: This video touches on reseting the button bars in all of the windows in Final Cut. Towards the end the video talks about collapsing the multiclip so that you are only playing one clip at a time without straining the hard disk for all of the angles to be played at the same time. 
 

Final Cut Pro 6 Essential Editing: Multi Clip Editing 
Author: Larry Jordan    
Description: In this clip, host Larry Jordan covers Multiclips, which can have up to 128 different angles but only 16 can be viewed at a time. Clips can be added and removed from the multiclip with a simple drag and drop to the viewer window. He shows how to perform these tasks in Final Cut Pro. 
 

Final Cut Pro 6 Essential Editing: Multi Clip Editing  
Author: Larry Jordan   
Description: In this video, host Larry Jordan talks about Multiclip Editing, the different clips that are can be used, the different tools used, and the different windows that you can work in. He provides an in-depth overview of the application and its interface, and demonstrates how to plan, create, edit, and export professional digital video projects. 
 

Final Cut Pro 6 Essential Editing: Open Format 
Author: Larry Jordan    
Description: This video covers the open format timeline, a new feature in Final Cut Pro 6 that allows for the use of different formats of video. The first clip in the timeline sets the format for all of the other video clips. If the first video in the sequence is standard DV and you place 720p HD clips into the timeline, the clips will be scaled and adjusted so that the formats match to the first clip. 
 

Final Cut Pro 6 Essential Editing: Ripple tool  
Author: Larry Jordan   
Description: This video emphasizes two editing tools; the ripple and roll tools. The ripple tool allows to cut the in or the out of a clip in the timeline. The ripple tool only allows for the edit of one side of the clip at a time, either the in or the out. The ripple tool automatically cuts and moves the clips to the cut points. 
 

Final Cut Pro 6 Essential Editing: Trim Edit Window  
Author: Larry Jordan    
Description: This movie emphasizes the Trim Edit window in Final Cut Pro 6. The Trim Edit window lets the user preview how their trims and edits are going to look either before the edit is done or in real time. 
 

Final Cut Pro 6 Essential Editing: 3-point editing  
Author: Larry Jordan   
Description: This tutorial goes over the 3-point edit feature in Final Cut. This is where you can set the ins and outs in the viewer and place corresponding ins and outs in the timeline. The ins and outs take priority over the playhead in the timeline and automatically cuts the overlay video to the same duration that the ins and outs represent. 
 

Final Cut Pro 6 Essential Editing: Replace Edit Technique  
Author: Larry Jordan    
Description: In this clip, host Larry Jordan covers the replace edit technique, which allows for the replacement of a clip in the timeline with another clip without the use of ins or outs. Final Cut will take the placement of the two playheads and automatically times the ins and outs of the replacement movie to the clip that it will replace in the timeline. 
 

Final Cut Pro Advanced Technique: Working with DivX  
Author: Heath McKnight    
Description: DivX is known for its excellent codec, which can compress video file sizes down while maintaining a high level of overall image and sound quality. DivX Pro for Macintosh is an affordable software application ($19.99 USD) that gives the Final Cut Pro (FCP) user the capability to make fantastic-looking Web movies, DVDs (both standard definition [SD] and high definition [HD]) and full-resolution movies that won't clog up your hard drive.
 

Final Cut Pro 6 Essential Editing: Navigating the workspace 
Author: Larry Jordan    
Description: Starting with his system for getting organized and ending with final output, Apple Certified Trainer Larry Jordan covers all the details of creating and editing with Final Cut Pro 6 Essential Editing. He provides an in-depth overview of the application and its interface, and demonstrates how to plan, create, edit, and export professional digital video projects.
 

Final Cut Pro 6 Essential Editing: The View Menu  
Author: Larry Jordan    
Description: This video goes over creating a new sequence and viewing clips. As a reminder every sequence that is open in the timeline takes up memory so watch what you have open. This video also touches on marking ins and outs of a video clip without actually cutting clip. 
 

Final Cut Pro 6 Essential Editing: Customizing your workflow 
Author: Larry Jordan    
Description: The emphasis of this video is on the timeline and the video and audio track size as well as the multiple markers that you can have shown or not shown. It also touches on customizing the buttons in the upper right hand corners of all of the windows in Final Cut and customizing keyboard shortcuts all of which can be saved to disk in your preference files. 
 

Add Motion templates to create lower thirds in Final Cut Pro  
Author: David Basulto    
Description: If you have ever seen the motion graphics stream across the screen on your favorite TV show, news cast or game show, and dreamed of having that on your own videos, your prayers have been answered. Final Cut Pro, part of Final Cut Studio 2, lets you add some extremely cool and highly customizable Motion templates to your footage to add some pizzazz. It is simple to do too.
 

Surround Sound Mixing in Soundtrack Pro 2 
Author: Kevin McAuliffe   
Description: One of the best new features in all of the Final Cut Studio family is the addition of surround sound mixing to Soundtrack Pro 2 (STP2). Let's take a look at how easy it is to mix in surround sound, and things you need to keep in mind while doing it! 
 

Final Cut Pro Advanced Technique: Using Sorenson Video 3  
Author: Heath McKnight    
Description: Looking for a high quality compression codec to create great looking QuickTime (QT) videos that can be edited in any sort of non-linear edit program (NLE) that supports QT? Sorenson Video 3 is an excellent option, and this article aims to help you with creating the videos in Final Cut Pro (FCP).
 

Motion Tracking and the Match Move Behavior in Motion 3  
Author: Kevin McAuliffe   
Description: I've been an unhappy compositor since Apple's decision to discontinue Shake. But thankfully, some good things have come out of it. Apple is now starting to pull out some of Shake's great features, and give them to Final Cut Pro and Motion, and one of those great features is Match Move. Motion Tracking, like Chromakeying, is one of those tasks that always makes me cringe, but with Match Move, your tracking jobs will be quick and easy. 
 

Compressor 2.1 Essential Training: Changing the Preferences 
Author: Larry Jordan   
Description: Apple's version of its video and audio compression application, Compressor 2.1, packs a lot of new features and produces smaller video files for publishing to the Web or DVD. In this tutorial, Apple-certified instructor Larry Jordan shares workflows and techniques to help DVD Studio Pro and Final Cut Pro users master media compression. The training covers how to work with markers, create custom destinations, improve video and audio quality,customize both interface and settings preferences, and more. 
 

Compressor 2.1 Essential Training: Trouble-shooting 
Author: Larry Jordan    
Description: Apple's version of its video and audio compression application, Compressor 2.1, packs a lot of new features and produces smaller video files for publishing to the Web or DVD. In this tutorial, Apple-certified instructor Larry Jordan shares workflows and techniques to help DVD Studio Pro and Final Cut Pro users master media compression. The training covers how to work with markers, create custom destinations, improve video and audio quality, customize both interface and settings preferences, and more. 
 

Compressor 2.1 Essential Training: Compression Task Overview  
Author: Larry Jordan   
Description: Apple's version of its video and audio compression application, Compressor 2.1, packs a lot of new features and produces smaller video files for publishing to the Web or DVD. In this tutorial, Apple-certified instructor Larry Jordan shares workflows and techniques to help DVD Studio Pro and Final Cut Pro users master media compression. The training covers how to work with markers, create custom destinations, improve video and audio quality, customize both interface and settings preferences, and more. 
 

Final Cut Pro 6 Techniques: Editing with Canon's 24F  
Author: Heath McKnight    
Description: When Canon introduced its professional HDV systems (the XLH1, XHG1 and XHA1), they featured three interesting frame rate features: 24f, 30f and the optional 25f. The f stands for full frame, and is very much like progressive-scan video (24p, 30p and 25p). This frame rate wasn't able to be cut on Final Cut Pro (FCP) until recently. There are two ways to cut Canon HDV footage running at this frame rate with FCP 6:
 

Compressor 2.1 Essential Training: Advanced Compression Techniques
Author: Larry Jordan    Description: Apple's video and audio compression application, Compressor 2.1, packs a lot of new features and produces smaller video files for publishing to the Web or DVD. In this tutorial, Apple- certified instructor Larry Jordan shares workflows and techniques to help DVD Studio Pro and Final Cut Pro users master media compression. The training covers how to work with markers, create custom destinations, improve video and audio quality, customize both interface and settings preferences, and more. 
 

Compressor 2.1 Essential Training: Advanced Compression Workflow 
Author: Larry Jordan    
Description: Apple's latest version of its video and audio compression application, Compressor 2.1, packs a lot of new features and produces smaller video files for publishing to the Web or DVD. 
 

What's new in Final Cut Pro 6: Improved Audio  
Author: Diana Weynand    
Description: With Final Cut Pro 6, you have several new audio features as well as enhanced integration with Soundtrack Pro. One of the features I gravitated to first was the new Audio Normalization and Gain filter. Let's look at the audio clip we have in the Timeline. 
 

What's New in Final Cut Pro 6: APPLE ProRes 422  
Author: Diana Weynand    
Description: If you've been wanting to incorporate HD into your workflow, but didn't feel you had the storage space for it, or a fast enough computer processor, you have a new option in Final Cut Pro 6 - the Apple ProRes 422 codec. This new format' created by Appl  offers uncompressed HD quality at SD file sizes. The purpose of this codec is simple - to create high quality images at low file sizes, which makes it ideal for post production. 
 

Compressor 2.1 Essential Training: Interface Essentials
Author: Larry Jordan    
Description: Apple's latest version of its video and audio compression application, Compressor 2.1, packs a lot of new features and produces smaller video files for publishing to the Web or DVD. In this tutorial, Apple-certified instructor Larry Jordan shares workflows and techniques to help DVD Studio Pro and Final Cut Pro users master media compression. The training covers how to work with markers, create custom destinations, improve video and audio quality, customize both interface and settings preferences, and more. 
 

Final Cut Pro 6 - Editing fast, accurate, and effectively when adding clips  
Author: David Basulto   
Description: As a new Mac and Final Cut Studio user I have immersed myself with all the programs the suite has to offer. Learning Final Cut Pro 6 has been fast and surprisingly easy. I should say the basics are easy to learn. I have found out there is a whole host of useful, time saving features that will enhance even the greatest editor's workflow.
 

Compressor 2.1 Essential Training: Compression Terms and Bit Budgeting  
Author: Larry Jordan   
Description: Apple's latest version of its video and audio compression application, Compressor 2.1, packs a lot of new features and produces smaller video files for publishing to the Web or DVD. In this tutorial, Apple-certified instructor Larry Jordan shares workflows and techniques to help DVD Studio Pro and Final Cut Pro users master media compression. The training covers how to work with markers, create custom destinations, improve video and audio quality, customize both interface and settings preferences, and more.
 

What's New in Final Cut Pro 6: Renaming Clips 
Author: Diana Weynand    
Description: In Final Cut Pro 6, there are two new commands that give you freedom and control in renaming your clips. The two commands allow you to either change the name of the project clip to match that of the file, or you can change the media file name to match that of the project clip. To access the rename commands you can right-click (or control-click) on a clip and choose that option from the short cut menu.
 

What's new in Final Cut Pro 6: Open Format Timeline 
Author: Diana Weynand    
Description: Let's say you're building a show reel, or working on a project that uses multiple formats, or even multiple frame rates. A new addition to Final Cut Pro 6 is the open format timeline where you are free to edit a combination of HD and SD, even NTSC and PAL all in real time. With a mixed format timeline you need to take a closer look at the footage properties of each clip in your timeline. 
 

What's new in Final Cut Pro 6: Smooth Cam Filter  
Author: Diana Weynand    
Description: We're all familiar with the 'shaky camera' style of shooting used in many television shows. But if you had to hand hold your camera, or grab a shot on the fly, and didn't really mean for it to shake noticeably, now you can apply the Smooth Cam filter, new to Final Cut Pro 6. 
 

Advanced Final Cut Pro Techniques: Converting footage to 24p and more 
Author: Heath McKnight   
Description: The ways to achieve a film look in digital cinema will always evolve, but 24p (24 frames per second, progressive-scan) will always be the basis of that look. This article's goal is to help you convert your non-24p footage, be it 60i or 50i/25p, to 23.98 fps, or 24p. For more on film looks, check out my article, Achieving a Film Look with DV and HDV Cameras. Converting 30p video is trickier, and not recommended. Shoot in 60i, 50i or 25p.
 


What's new in Final Cut Pro 6: Automatic Setups 
Author: Diana Weynand    
Description: In FCP 6, there is a new automatic way to choose sequence settings. For purposes of demonstration, let's go to the easy set up dialogue window under the Final Cut Pro menu. I'm going to choose PAL as my format type, 25 fps as my frame rate, and DV-PAL as my format selection. 
 

Advanced Final Cut Pro Techniques: ProRes 422
Author: Heath McKnight    Description: With the release of Final Cut Studio 2 and Final Cut Pro 6 (FCP), Apple introduced ProRes 422, a new codec that gives high definition (HD) quality at standard definition file size. You can also convert your HD, HDV, DV, etc., footage within FCP to ProRes 422, which I have done, to gain the codec's benefits.
 

Final Cut Pro 5 export to Compressor annoyance solved 
Description: Fixed a problem I discovered when attempting to export to Compressor, very simple but annoying. Useful tip if you are exporting and getting a "No media selected" or "No clips selected" error.
 

Creative F/X at lightning speed! 
Author: Marco Salsiccia   
Description: Creative F/X at lightning speed! Digital Anarchy's new PlasmaFX filter suite are powerful, fast effects for Mac users on Final Cut Pro, Motion, and After Effects. The 26 filters use new Apple technology like FxPlug architecture and OS X's Core Image system. This base system provides a big boost in speed, making the effects real time in some cases. 
 

How to wash footage with a metallic sheen and glow with Digital Anarchy's PlasmaFX 
Author: Marco Salsiccia   
Description: Digital Anarchy's new PlasmaFX filter suite are powerful, fast effects for Mac users on Final Cut Pro, Motion, and After Effects. The 26 filters use new Apple technology like FxPlug architecture and OS X's Core Image system. This base system provides a big boost in speed, making the effects real time in some cases. Creative F/X at Lightning Speed! This is the final tutorial in a series about PlasmaFX.LE, or 'Lite'.
 

Complex Subtitling in DVD Studio Pro 4.0 - What you NEED to know  
Author: Kevin McAuliffe    
Description: Like with most editors using Final Cut Pro Studio, I've been asked to make DVD's for clients from time to time, but lately, I've gotten into more complex DVD creation, and have needed to include subtitles on some of my DVD's. For most people, subtitles are pretty straightforward, but, what do you do if you need to subtitle an hour long show that is mostly dialogue the entire way through? 
 

Faster Work Flow in LiveType, Motion and After Effects for Final Cut Editors 
Author: Kevin McAuliffe    
Description: A few years ago, program integration was for the most part, non-existent. I've worked with Adobe After Effects for about 11 years now, and I remember that whenever I would have to leave the Avid world to delve into the After Effects world, I would cringe, as it was always a real pain, as the programs never really talked to each other. Thankfully, Automatic Duck has more or less solved that problem for all the Avid users out there working in After Effects. 
 

Approvals with Windows Media on OSX 
Author: Kevin McAuliffe   
Description: These days pretty much everyone has Windows Media Player. Whether you work on a PC at home, or you have one at the office, we are all exposed to Windows Media almost every day, and more and more, we as editors, are asked to provide clients with Windows Media files to approve, as clients don't have Quicktime on their computers, or it is too much of a hassle to get corporate IT to put in on their machine.
 

Advanced Final Cut Pro Techniques: Exporting QuickTime and QuickTime Conversion Movies 
Author: Heath McKnight      
Description: Whether you're exporting a QuickTime (QT) movie for archiving purposes, a less compressed file for output to HDCAM or DVCPro, or a smaller version for the Web, you need to know the settings. But you also need to know the difference between QT Movie and QT Conversion, because they aren't the same. [Note: this is for users of versions 4.5 to 5.1.4.]
 

Let's Set Up Our Project in Final Cut Pro  
Author: Kevin McAuliffe   
Description: As the expression goes, "Cleanliness is next to Godliness". This couldn't be truer than when it comes to editors and their projects. I have been an editor for a long time, and have seen some outrageous organization skills from not only freelance editors, but staff editors as well. I thought I'd take a look at good and simple organization, to keep not only yourself sane, but your fellow editors sane as well. 
 

24p HD Offline on Your Laptop with Final Cut Pro 
Author: Kevin McAuliffe    
Description: When it comes to production, the best quality at the lowest cost is key. In today's production world, we are seeing more and more independent producers wearing multiple hats as producers, directors, editors, etc. Another thing that we are seeing more and more of is higher end Macintosh computers coming out, with lower prices that can do more than they ever could in the past. It's been my experience that most people think you need a high end machine to offline for HD, and that's just not the case. 
 

Final Cut Pro: Native HDV versus AIC
Author: Heath McKnight   
Description: Before Final Cut Pro 5 was introduced at NAB 2005, the only ways to cut HDV (high definition video) was to use either Lumiere HD or, as of January 2005, iMovie HD, part of iLife 2005. The technology allowed you to use the Apple Intermediate Codec (AIC) to bring the HDV footage into iMovie HD, edit, then allow iMovie HD to send it back as HDV to tape. 
 

Creative F/X at lightning speed using Digital Anarchy's new PlasmaFX filter suite 
Author: Marco Salsiccia    
Description: Digital Anarchy's new PlasmaFX filter suite are powerful, fast effects for Mac users on Final Cut Pro, Motion, and After Effects. The 26 filters use new Apple technology like FxPlug architecture and OS X's Core Image system. This base system provides a big boost in speed, making the effects real time in some cases. This is the first of three tutorials in a series about PlasmaFX.LE, or 'Lite'.
 

Editing HDV  
Author: Heath McKnight    
Description: Though there were some issues editing HDV early on, it has become an easy process in all major and most consumer NLEs. Whether you choose to cut in native HDV, or using a DI (Digital Intermediate), editing this popular new video codec is easy, if you have the right tools. I'll be taking a look at all the NLE apps out there, big and small, and some of the proxy solutions to help out if your camera or deck aren't yet supported, or your computer is older and upgrading may be out of the question. 


 

Page: 1 2 Next Page


Related Keywords:Final Cut Pro training, fcp training, final cut pro techniques, final cut pro help, final cut pro tutorials, fcp tutorials, final cut pro tips, final cut pro instruction, final cut pro how to

HOT THREADS on DMN Forums
Content-type: text/html  Rss  Add to Google Reader or
Homepage    Add to My AOL  Add to Excite MIX  Subscribe in
NewsGator Online 
Real-Time - what users are saying - Right Now!

Our Privacy Policy --- @ Copyright, 2015 Digital Media Online, All Rights Reserved