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April 2007 Archives

It is quite simple to create text in Motion. In the Tool Bar area a the top of the Canvas Window, click on the T icon which is the text tool. Click in the Canvas areas and you will be give a cursor with which to write. The text that you type will form a new layer on which you can drag text behaviors from the library to the text on Canvas. Make sure that the text is highlighted before you drag and drop effects.


You can apply a Live Font to the text you have made by simply going to the Motion Library and dragging a font to the selected text on the Canvas. You will be able to determine if the text in the Canvas because it will have a bounding box around it.


When building a graphic in Photoshop for Final Cut Pro, there are some important things to take into consideration while building your graphic.

Square vs. Non-Square Pixels

Using Photoshop with Final Cut Pro can be tricky if you do not follow some important steps. The most common mistake is to save a Photoshop graphic as a .psd file at 720 x 534.  This can be very misleading, especially since Photoshop shows DV-NSTC as being 720 x 534 in non-square pixels.


Apple announces major upgrades to Final Cut Studio.

What's new in Final Cut Studio 2? At first glance, you may not notice a difference in the core Final Cut Pro 6.0 software. The upgrades are all under the hood in terms of how Final Cut Pro integrates with the associated Final Cut Studio applications.

It obvious, with Final Cut Studio 2.0 that Apple is focusing it's effort on high-end production facilities to gain market share away from Avid Technology. So if you are in the high-end production business, there are some huge announcements in this next release of Final Cut Studio. However, if you fall into the pro-sumer category of the business the upgrades to the software are more subtle.

So first off, whatever happened to those rumors about Final Cut Pro extreme? To answer your question, Apple has partnered with AJA to provide a product called IoHD. This product should satisfy those who are looking to compare something to Avid's Media Composer Adrenaline box.

Open Format Timeline: Final Cut 6 now has the ability to mix and match source material from a wide range of formats. What's most impressive is you can even match different frame frames. As an example, you could mix PAL, NSTC, and HD media all in the same sequence without having to render.

Apple PosRes 422 Codec: Apple has released a new codec that is virtually indistinguishable vs 10 bit uncompressed HD. They were showing 20th generation footage with a split screen vs 10 bit uncompressed media. It was impossible to notice any degradation.

Surround Sound Mix: With Soundtrack Pro you can now mix in full 5.1 surround sound in real-time.

New Application (Color): This looks like a programmed module straight from Apple's Shake program. Color is an extremely high-end color corrector.

For the rest of us, the most impressive upgrade to Final Cut Studio 2.0 is Motion 3.0. The newest release of Motion 3.0 comes with several key upgrades. My favorite upgrades these include:

Real-time 3D perspective: Not only can you animate objects in true 3D space, the particle generators can now be promoted to 3D! This provides for amazing 3D particles in full 3D space.

Motion Tracking: Motion now includes a 4 point motion tracker.

Vector Based Paint: There is now support for full vector based paint. Any object can become a paint source.

Audio Behaviors: You can now assign audio behaviors to individual filters or particles.

Improved Slow Motion which also includes modules for image-stabilization and something called 'smooth cam'. I watched in awe, as they provided examples of slowing down media to 2.5% speed without any jerkiness in the video. Yes, that's two and a half percent of original speed!

Improved Integration of Motion: Motion templates will now dynamically update within a Final Cut Pro timeline. They also will play in real-time without having to render within an FCP sequence.

It is hard to believe you can have so much power with one software package. I will warn you, the learning curve to using all these programs efficiently is becoming quite high. GeniusDV be offers training courses to help get you up to speed in learning these new products.

This is much more included with Final Cut Studio 2.0. You can read about all the additional details on Apple's website.

At NAB 2007, Apple extended the Final Cut Pro family by adding a new scaleable media assett manager and workflow automator, Final Cut Server. This server app allows for content brosing, review and approval from within a studio or over the Internet. You will also be able to take advantage of a shot selection and editing tool that will allow for drag and drop intergration with Final Cut Pro 6.


Final Cut Server aslo integrates with the new Compressor 3 for high-quality format conversions for broadcasting, the web, iPod, Apple TV, DVD and mobile phones.

You'll find Final Cut Server on shelves by the end of summer with a retail price of one server for $999 (US) including 10 concurrent licenses and $1,999 (US) for one server and unlimited licenses.


Episode Pro is fast becoming the Swiss Army knife of video encoding with the ability to create 25 Mbps and higher MPEG-2 files, H.264 real-time streaming and VC-1 files including many other features. Amazingly, the tool gives users the ability to create JPEG thumbnails from source files imported into the application. This is a huge plus as many video portals use thumbnails on the web to show viewers what's on videos to be watched. Being able to create JPEG thumbnails in Episode Pro will save many video editors and multimedia specialists time because they can create JPEG thumbnails with a simple key board shortcut in the Episode Pro compression application instead of having to use a tool such as QuickTime Pro or a non-linear editor to export stills for thumbnails. For those attending NAB 2007 I suggest you visit the Telestream booth to learn more on how to create JPEG thumbnails with Episode Pro. For those that can't make it NAB look for GeniusDV's upcoming tutorial which will walk you through the process of creating JPEG thumbnails with Episode Pro.

After making the necessary hardware connections, which instructions can be found in the article "Previewing Full Screen in a Dual Monitor Configuration in FCP," you can set up the Motion preferences to preview out to an external monitor.


1 Go to Motion > Preferences.

2 Click on the output tab.

3 In the Video output pop up menu, choose FireWire-Apple Firewire

4 Choose update during playback to have your external monitor and Canvas views updated live. Activating the "update dynamically on parameter change" option will mirror what's in the Canvas dynamically. Think of it this way, when you only have the update during playback selection checked, if you move the playhead in the Motion timeline to a new position by dragging it, the external monitor will not reflect that move until you start to play the timeline. Keep in mind that the playback frame rate will have to compensate for these options being checked.

Adjusting audio can be done using clip overlays within the audio tracks of a sequence.

overlay%20icon.jpg Clicking the clip overlay button will display a pink line across each audio track. This line can be adjusted up or down to increase or decrease the audio level of a clip. The clip overlay button is located in the lower left corner of the timeline window.

If you do not have a preview monitor on which to preview your work in Final Cut Pro, you can use one of your computer monitors to see a full screen preview.

1 Simply go to View > Video Playback > Digital Cinema Desktop Preview-Full Screen.

2 Go to View > External Video > All Frames so that FCP knows to send the information found in your project frame by frame to the external monitor.

May I point out that you may already posses the hardware to preview to an external NTSC monitor. Do you have an inexpensive Mini-DV camera with firewire and and S-Video ports? I'm talking about the type of Mini-DV camera that you would commonly take on a vacation. Do you have a television set with an S-Video in? If you do, then you're in luck!


1 Run the firewire cable from your computer to the Mini-DV Camera.

2 Run an S-Video Cable from the Mini-DV camera to the television set. Make sure your camera is in VTR mode and not in Camera mode.

3 Go to View > External Video > All Frames

4 Go to View > Video Playback > Apple Firewire NTSC (720x480).

Your audio source will have to be connected to the Mini-DV Camera for you to be able to monitor the audio. Now, you have a relatively inexpensive VTR!

Including watermarks on QuickTime Movies with QuickTime Pro 7 can seem confusing but this tutorial will show you how.


First you'll create a Quicktime Poster Movie. If you have an image file supported by QuickTime Pro you can navigate to the File Pull-down Menu in QuickTime Pro and select Open File. Photoshop .PSD and JPEG .jpg are good image formats to use for this purpose.

Once you open your file you can then select Save and this will save your image as a Poster Movie, which is a one frame video. When you have your poster movie created you are ready to watermark your QuickTime Movie in QuickTime Pro.

Open the QuickTime movie you want to apply the watermark to and also open the poster movie you just created. Now, select the Poster Movie.

Within Avid Xpress Pro, learn how to create a page curl with different media on the front and back of a 3D page curl.


You can import backgrounds into LiveType of various file formats such as: AVI, Photoshop, PICS, PICT, PLS, MPEG-2, MPEG-4, GIF, DV, BMP, JPEG, SGI, Targa, TIFF, QuickTime, QuickTime image file and PNG. The past few LiveType tutorials that you have seen all contain backgrounds from under the Textures tab located within LiveType itself.


Placing a LiveType Background

1 Go to the Textures tab and pick a catergory from the Category menu. You will then see the options for that category listed below.

2 Select the particular background that you want and you will then see a preview for that background in the Media Browser Window. Click the Apply To New Track tab at the bottom. Notice that your selection is now placed below the background bar in the timeline.

Importing External Images to Use as a Background

1 Go to File > Place.

2 Navigate to the image you want to use.

3 Drag the image track in the timeline below the Background Bar.

Heres a tip for changing letter colors in Photoshop!

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This page is an archive of entries from April 2007 listed from newest to oldest.

March 2007 is the previous archive.

May 2007 is the next archive.

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