Color Grading in Final Cut Pro with the Monogram Creative Console
I’ve avoided control surfaces for years. I’m not sure why: part of it has to do with the fact...
Better Dialogue Edits with L & J Cuts in Final Cut Pro
This week on MacBreak Studio, Steve shows us how to use L & J cuts to tighten up and...
Faster Editing in Final Cut Pro with “Press & Hold”
Experienced editors know the value of minimizing clicking and keystrokes: they can edit faster and focus more on crafting...
Creating a Background in Motion
Last month I taught several sessions at the Final Cut Pro Global Summit. In between my sessions, I checked...
Final Cut Pro 10.6 New Features
Full dot releases for both Final Cut Pro and Motion today with a few new and interesting features. First,...
Matching Microphones in Final Cut Pro
When I shoot MacBreak Studio, I use two microphones: one for the on-camera portion, and one for the user...
Audio Finishing using Roles in Final Cut Pro
How do you work with audio in your NLE when it doesn’t have tracks or a mixer? This week...
Editing iPhone HDR Video in Final Cut Pro
Last Fall shortly after the iPhone 12 was announced, we published a video where I explained how to work...
Using Magic Mask & Qualifiers in Resolve 17
One of the marquee new features in Resolve 17’s Color Page update is the new Magic Mask palette. Available...
Using Camera-Generated Proxies in Final Cut Pro
As more and more cameras capable of shooting 10-bit 4-2-2 video hit the market at lower and lower price...
