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January 2006 Archives

Currently with Compression Master 3.2.2 the software doesn't like the audio in the DV-NTSC QuickTime video files and won't compress those types of videos. So if you have a QuickTime DV-NTSC video file with DV audio it will give you errors during encoding. This happens when encoding to various formats using Compression Master 3.2.2. What you need to do is replace the DV audio with AIFF audio. The good news is that customers can look to see a fix in the next update of the Compression Master software but for right now here's a work around.


* Open your file within QuickTime Pro
* Export the audio using "Sound to AIFF" (as shown above)
* Open the audio file in QuickTime
* Set in point at the beginning and the out point at the end of the file
* Then Copy the sound

Step 2:
* Open your original movie (or a copy) file in QuickTime
* Show "Movie Properties" (Cmd+J)
* Within "Movie Properties" click "Sound track" and then delete
* Paste the AIFF sound that you copied into memory in step 1 by using "Add
to selection & Scale" found in the "Edit" menu within Quicktime
* Save the movie as self contained

Your files are now ready for encoding in Compression Master 3.2.2.

Note: A special thanks to the great technical support staff at Popwire for providing this solution.

On2 Technologies has some excellent tools for compressing your Flash content for real-time or on-demand streaming. Here's an overview of their products:


On2's Flix Pro offers professional-quality output and an amazing array of time-saving features including the ability to automatically output cool Flash players for your video. Create video for the web, video blogs, CD-ROMs, presentations, and limitless other uses! Flix Pro is priced higher than Flix Standard and is targeted towards those that want more professional level features for encoding and authoring.

Here are some of the Features of Flix Pro:
- Supports high-quality 2-pass Flash 8 video encoding
- Flix video works without a streaming server
- Output your video in a custom player automatically.
- Batch encode your videos.
- Convenient presets to prepare your video for streaming over the Internet
- Customizable and savable settings and options.
- Apply advanced Flash features without having to know any Flash.


The Flix Exporter offers professional quality FLV and SWF video output from multiple video applications that support the use of Quicktime plugins, including AutoDesk Cleaner 6, Canopus Pro Coder (Flash 8 video only), Quicktime Pro, Adobe After Effects, Apple Final Cut, and Apple Compressor.

Here are some of the Features of Flix Exporter:
- Export Flash 8 video from any QuickTime-enabled application
- Supports high-quality two-pass Flash 8 video encoding
- Simple user interface requires no Flash authoring experience
- Output both Flash 8 and Flash MX FLV video.
- Easiest way to create video for the Web, presentations, and CDs.
- Outputs a SWF file or a projector file (.exe)

To: Genius DV
800 Celebration Ave.
Celebration, FL 34747

Dear John Lynn:
I recently attended the After Effects Intro class at Genius DV. This is my fourth class that I have attended at Genius DV and the result, as usual was spectacular. I found the class to be thoroughly educational and much more informative than anticipated. Jack's teaching style is very easy to follow. In addition to teaching me After Effects, he incorporated an actual project of mine into the course syllabus. Not only did I learn the fundamentals of After Effects, I worked on, and was able to complete one of my projects during the week. Jack helped flatten out the steep learning curve that is required to understand After Effects. Jack's "real world" knowledge of After Effects is indispensable. The week that I spent with Jack learning After Effects has not only helped me further launch my current career, it saved me months of headaches trying to learn an intense and powerful program. I felt this class covered much more than introductory material, it gave me the tools to become efficient and effective with After Effects.



Mickey Hough
Editor in Chief
S. B. Productions

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.

I simply oepend an MPEG 2 file into the application,


chose my method of export, which was Quicktime in this instance,


chose my frame size and Presto! I recieved a high quality quicktime file that I 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!


According to Macworld Daily News Final Cut Pro, DVD Studio Pro and Motion will no longer be available as individual products.

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Individuals must purchase the entire Final Cut Studio which consists of Final Cut Pro, LiveType, SoundTrack Pro, DVD Studio Pro, and Motion.

According to Macworld Daily News, an upgrade path will be available to current users of the Stand Alone version of Final Cut Pro.

Also, a new Universal Version will soon be available that will run flawlessly on the new Intel based Mac Computers. The same Universal Version of Final Cut Studio will also run on the older Power PC Mac Computers.

This is good news, since the same version of software will eventually run on both intel and power-pc models.

Upgrade information regarding Final Cut Universal can be found on Apple's website.

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.

Related Links:
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.


Purchase Flip4Mac WMV Studio Pro HD

Purchase Flip4Mac WMV Studio Pro

If you need to customize players for your Flash streaming videos you can use Flix Power Players. This is a package of 135 players that work with the Flix Pro Software. The Flix Pro software is available for Mac and Windows operating systems and comes with a limited amount of players.

What is great about the Flix Power Players is that they are customizable and you can add your own logo or text on the player. Some players come with draggable progress bars in which you can drag the progress bar to move the video back and forth. The are many styles to choose from. There is a cost for the Flix Power Players


What's nice about customizable players and pre-made players for Flash is that they can be easy to work with and add a significant improvement in the quality of your web page design. In addition to the Flix Power Players, Sorenson Squeeze Compression Suite comes with several pre-made players. The latest version, Sorenson Squeeze 4.3, has some some newer player templates that can be used with Flash streaming videos.

Information links:

Customize your players for Flash streaming content by using the On2 Flix Power Players. This works with Flix Pro's automatic player output function.

Download Sorenson Squeeze Compression Suite 4.3 to learn how to choose various player templates for Flash streaming videos.

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.


Learn how you can customize your work area in Final Cut Pro!

When planning to upgrade from QuickTime 6 Pro to QuickTime 7 Pro you need to know that you will need to purchase a new license key for QuickTime 7 Pro. However, the application will make authoring a lot easier and is worth the purchase. Unfortunately, The old license key that you purchased for QuickTime 6 Pro will not work with QuickTime 7 Pro.

Once you are up and running with QuickTime 7 Pro you should love it! The thing I like best is that increasing the frame size for movies becomes easier. Now for QuickTime movies, you can easily type in the width and height for the frame size you would like to adjust your movie to. You no longer have to try to adjust the frame size by adjusting the movie player window. This task many times took a long time to adjust in QuickTime 6 Pro and there is a significant time savings in QuickTime 7 Pro.


Overall, the Movie Properties window is nicely designed providing better viewing of adjustable parameters and easier accessibility through tab browsing to items such as Annotations, Statistics, Visual Settings and Other settings. Now there is a nice volume slider to adjust the volume levels. Deleting tracks and extracting tracks is also a snap with QuickTime 7 Pro. In addition, it's easier to see the total tracks, including hint tracks, without having to navigate to a drop down menu.

Additional QuickTime 7 Pro features:

*The application has capture features that QuickTime 6 Pro did not have.
*It has the ability to easily export videos for the Video iPod and iTunes, easily making your video content portable.
*The new user interface is brilliant and makes creating streaming content a more enjoyable experience.

Other related articles:

Creating Poster Movies using QuickTime Pro

Hinting QuickTime Streaming Videos for a Streaming Server

Compressing Videos for the iPod and iTunes

By downloading the latest Whitepaper on MPEG-4 you can learn more about AVC, MPEG-7, MPEG-21, HE-AAC and other parts of the MPEG-4 standard. There are 22 parts of the MPEG-4 standard and we have mainly seen the implementation of popular parts such as Part 2 (MPEG-4) Part 10 (AVC/H.264), Part 3 (AAC) but there are still many more to come in the future. MPEG-4 is a standard that continues to get better and the new Whitepaper on MPEG-4 gives more detail about that.


MPEG-7 and MPEG-21 also will work hand-in-hand with MPEG-4 for providing Metadata for content in the case of MPEG-7 and for providing Digital Rights Management in the case of MPEG-21. These two items still need to be developed more. What's good about the whitepaper is that it's current and up-to-date with references to items such QuickTime 7, Playstation Portables (PSP), iPods, and other mobile devices. You can use the MPEG-4 Whitepaper to get a better understanding of different technologies and how they relate to MPEG-4. You can also use it to get a glimpse into the future of where the industry is going in regards to streaming, mobile devices, and other technologies.

Information link:

Download the New Whitepaper on MPEG-4 to learn about the many parts of MPEG-4 including AVC, AAC, HE-AAC and additional items such as MPEG-7, MPEG-21

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.

1 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.

markker1.jpg edwin.jpg

2 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.


See how to add audio to your slideshows in DVD Studio 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.


1 Click on an edit point in your sequence in order to select it.

2 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.

3 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!

We all know the importance of a fast computer and having more RAM is a quick and sure way to get us there. The price of RAM has fallen to such great lows that it is now time to maximize your RAM in you computer. You first need to figure out how much RAM you motherboard will support. When you purchase RAM you should buy the largest size to maximize each slot. For example, if you motherboard supports 4GB then you should buy four 1 GB sticks. Before you go out a purchase RAM for you machine make sure that it is compatible with your Avid system and the you can enjoy your new found speed!

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!

Sony unveils its newest addition to the CineAlta family at the 2006 Sundance Film Festival, The PDW-F350-XDCAM HD and its PDW-330 counterpart. This camcorder is a heavyweight boasting native 24p but also shooting at 25p, 30p, 50i and 60i. The XDCAM HD also allows for "overcranking" and "undercranking" for smoother fast and slow motion effects and also has time-lapse capabilites.


With all the benefits that file based recording offers, the XDCAM HD is being championed as a Indie Filmmaker's camcorder with its variable frame weight capablities, but engineered rugged enough for the demands of a news camera.

The camcorder wars continue to rage on and with the price of the Panasonic P2 chips being through the roof right now and the XDCAM HD utilizing removeable media that costs under $30, this is a serious alternative.



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 budgets. It's 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 of Napoleon Dynamite, Chrisotpher Nolan (Momento) and Mark Foster (Monster's Ball).

Have a taste of Slamdance!

new_ui copy.gif

It’s finally here! Adobe has just released After Effects 7.0 with some very worthwhile upgrades. After Effects is by far my favorite program. It has no limits and your imagination can run wild. Adobe® After Effects 7.0 software is loaded with improvements designed to help you create outstanding, original work. A redesigned UI and a new Graph Editor help streamline your workflow, new presets and effects enhance your creativity, and 32-bit float High Dynamic Range (HDR) color support (Professional Edition only) helps you achieve greater precision. I feel the one of its greatest assets is the real-time open GL support. This allows you to experience real-time performance with advanced OpenGL 2.0 capabilities including support for blending modes as well as motion blur, anti-aliasing, track mattes, high-quality shadows and transparency, and accelerated rendering of common effects. Use OpenGL for accelerated final renders. These are just a few of the new features you will find in the new After Effects 7.0 to find out more check out the Adobe website for a more in-depth look at After Effects 7.0.

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!


If you were to listen to David Alexander Davidson explain how his post production company "Solventdreams" came into existence, you would believe that an event as profound as a golden sword had fallen from the sky piercing the earth right before his feet and in a booming voice stated "Go forth, and use Final Cut Pro." Well, perhaps it wasn't that dramatic, but when a Universal Studios Executive approached him on the set of a Coke commercial, pointed to a backlot filled with equipment and in a nutshell said Final Cut Pro will be replacing all of it, he took it seriously! Serious enough that he created a production company that was built around a Mac workflow.


His current project, an 87 minute claymation feature named "Disaster" a spoof on disaster films such as Armageddon and Deep Impact. Acquiring all images for the feature with a series of still cameras, instead of film, Disaster is not your typical claymation feature. Compositing at 4k resolution in Shake and kicking out DV resolution quicktime files to be edited in Final Cut Pro, David's team had achieved a balance between flexibility and cost.

Check out the entire aricle!

Save yourself some time and instead of going back to the effects tab to find a previous effect that you had used in your LiveType project, simply go to the desired effect in your timeline > option click and drag the effect to its new location in another track.

Explore the possibility of taking an After Effects Course and browse through our After Effects class outline.


See how to superimpose in Final Cut Pro.

HulkLoop copy.gif

The great thing about being an editor is having the ability to learn something new everyday. I discovered a new feature in Avid today that I think you’ll find very useful. It’s called Loop Selected Clips. An important part of the editing process is the ability to review footage and, more importantly, to compare takes in order to use the best shot, angle, or performance for the edit. Loop Selected Clips allows you to do just that. Here is a quick overview of how it works.
Select the clips in the bin that you wish to review. Then go the bin menu at the bottom left corner of the bin and select Loop Selected Clips. This function can also be mapped to a button or keyboard if needed. Once selected, the clips play back in order, one right after the other, in the source monitor and on the client monitor. If in-out marks are present in the source clip, the play back will be restricted to just that range, this is great for selecting a preferred reading or action for a given span across multiple takes.
Each clip will play in turn when the end of the clip or the Mark Out point has been reached. The user can also use the TAB key to advance to the next clip before the end of play or use SHIFT TAB to go back to a previous clip. This enables easy navigation and clip selection for finding that perfect shot among multiple sources.


We all want to add speed to our editing workflow and the new Fire wire 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 Fire wire 400 the transfer rate is 400 mbs, USB 2.0 is approx 480 mbs and the new Fire wire 800 steps up to a blazing 800 mbs. Upgrading to the 800 is very inexpensive and very easy. All you need is a Fire wire 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 , Fire wire 800 editions, is great drive to look at if you are in the market to upgrade to 800. I have ran this drive hard for the last week and to my amazement, 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.

Rumor has it that Apple will unveil a treat for Final Cut Pro users at this years NAB 2006 Trade Show. The sight "Think Secret.com" says that their sources suggests that Apple will unveil a new, high end version of its Final Cut Pro NLE called "Final Cut Extreme." Its goal, to grab market away from rival Avid." The system is rumored to be in the ballpark of $10,000 supporting 1080/24p and 1080/30p DVCPROHD and would run on a Quad G5 with Dual Nvidia QuadroFX graphics cards.


It is also speculated that Apple will introduce a new Cinema Display Monitor that is larger than its current 30-inch display "one capable of supporting all 11 + Million pixels a 4 K camera (4520X2540 resolution) will be able to capture." Speaking of this 4K camera, this baby has been thought to exist only in legend throughout the forums that I participate in, but guess what, the introduction of this camera is also rumored to make an appearance at NAB by Red Digital Cinema.

Editing native 5.1 sound in Final Cut 6 and in the new Soundtrack Pro, the ablity to burn Blu-ray and HD-DVD in the next generation DVD Studio Pro? Check out the entire Think Secret Article and decide for yourself if it is too good to be true!

If you are creating a multi-angle or mixed angle HDV DVD in DVD Studio Pro 4, keep in mind that the maximum bit rate for the video streams in the track, including subtitles and audio streams, is 24 mbps. The bit rate for 1080i HDV video is 25 mbps, which exceeds the maximum bit rate for the HD DVD specification.
If you wish to use HDV material in a multi-angle HD DVD project, use 720p video which has a bit rate of 19 mbps and be mindful of the number of audio and subtitle streams you utilize.

Take a look at this tutorial on building menus in DVD Studio Pro.

The capture tool in Avid Express Pro displays various information about what you are about to capture. When it comes to media management do not forget to check the Target Drive area of the capture tool. This is key for making sure that you select the preferred drive and make sure you have enough space on that drive to capture the amount that you need. You select the target-drive from the pop-up menu and check your amount of free disk space from the Time-Remaining display. The Time-remaining display is an estimate based on your resolution settings, the number of tracks you have to be stored on the drive, and the free space available on the target drive. When you capture paying close attention to detail will help you manage your projects in the long run.

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!

According to Apple, this issue involves the G5 models that were introduced late in 2005 after October 19th. Your PCI Express Card can provide connectivity to two monitors, but if you add another compatible graphics card and connect a monitor to it, Motion 2 canvas will not display properly on it. The Motion 2 canvas will need to remain on the main display to be seen correctly.

motion 2.jpgcomputer-monitor.jpg

Learn to create an Alpha Mask in Motion 2!

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.

1 Type a line of text into the text entry box of the Inspector Window.

2 Go into the Media Browser and look under the Effects tab. Click on the Category menu and select Scrolls and Crawls. Select a crawl and apply it to the text you just created.

3 You can now change the speed of the effect by either lengthening or shortening the effect track in the timeline or by going to the Timing tab in the in the Inspector and and manipulating its speed.

4 Make sure that the length of your text track is the same length as your effect track. You can change the location of your crawling text by clicking and dragging the text track in the Canvas (the blue bar on which your text appeared in the Canvas Window).

5 You can also change the start time of the crawling text by clicking and dragging the text track to the right or left as the position indicator in the timeline is over the first frame.

See how to add subtitles in DVD Studio Pro


sync lock.gif

The sync lock feature allows you to maintain sync among several tracks while adding, moving, trimming, or removing frames in a sequence. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between the two.
You activate sync locking by clicking the Sync Lock button in the Track Selector panel to display the Sync Lock icon. You can also switch all sync locks on or off by clicking the Sync Lock All button.

Consider the following aspects of sync locking:

1. Edits performed in editing, Segment, or Effect mode override sync-locked tracks.

2. Sync locking applies to single-roller trims only because dual-roller trims do not break sync. For more information, see Maintaining Sync While Trimming.

3. You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources, and can include multiple video tracks as well as audio tracks.

4. Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you add, move, trim, or remove material anywhere in the sequence.

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.


1 Click on the LiveType clip in your Final Cut Pro timeline to select it.

2 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.

3 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.

Learn to use the blending features of Motion to achieve a unique look for your next project!

If you are working with clips in Final Cut Pro that have been linked to audio that came from different media sources and you want to "Send To" Soundtrack Pro for audio editing, the clip would be greyed out and would not allow you to do so. The same would hold true if you had a video clip with its associated audio from the same media source linked with audio clips that came from different sources. Two mono clips linked to form a stereo pair will give you the same problem.

You would need to UNLINK the media in these clips in order to Send To Soundtrack Pro Audio File Project.


Check out this page filled with Final Cut Pro Audio tips (includes unlinking clips).

If you paste audio between files that have different sample rate in Soundtrack Pro, you could be in for a unexpected result. Let's say that you pasted audio that originated from the LEFT CHANNEL of an audio file into the RIGHT CHANNEL of another file that has a different sample rate, via the Waveform Editor. The information that you just pasted could show up in the LEFT CHANNEL of the file that you are pasting to, even though you pasted it into the Right Channel.

To prevent this from happening, make sure that all of your sample rates are uniform between the files you will copying and pasting between.


Check out this article about "Podcasting With Soundtrack Pro!"

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This page is an archive of entries from January 2006 listed from newest to oldest.

December 2005 is the previous archive.

February 2006 is the next archive.

Find recent content on the main index or look in the archives to find all content.