THE LAFCPUG COLORISTA DEMO...

First a picture of me doing the demo. You have to click on this link, and you will see me in the far lower left corner. And note...the image quality of the picture is really bright, that isn't how I color correct. (OK, bad joke.)

OK, so I started the demo with a question that my friend Andrew Balis asks all of his students. "How many people here have opened Color?" A good three dozen hands shot up. "OK, now how many of you never opened it again?" The same hands shot up, minus a few. Because, well, let's admit it...Color is an application for professional colorists. For the editors who want to color correct but want more control over the colors than the 3-way color corrector gives you, Colorista is a good choice.

ANYWAY...I am straying into my speech. I can't really do that in a blog.

So I started the demo. I showed a sequence with a lot of footage, containing speed changes and still images and mixed formats...sent it to Color. Showed off the rather complex interface, then went back into FCP and started to show the differences between the built in 3-Way Color Corrector and Colorista. I threw the 3-Way on a clip and pushed the blues in the Lows to the extreme...showed how it neons out the image. Then I dropped Colorista from my Favorite Effects onto a clip and...

Spinning Beachball...then crash. Ho boy.

So I launch FCP again. Then I drop the effect onto another clip and...beachball...crash.

Now, earlier that day during my lunch break I opened this project and was going through the demo to make sure I had all my ducks in a row. I threw the Colorista plugin on a clip and...beachball, crash. I did it several more times with the same result. So I trashed my FCP prefs...trashed the Colorista prefs (oops, that reset the serial number so I had to reinstall and add the SN again)...and then it was working again. I swear it was.

So here I am, in the middle of my demo...well, the beginning of my demo, and it is crashing again. So do I try to trash the prefs, reinstall the application and input the SN again...in front of the audience where they can see the number? What would I talk about?

So there I was...stuck saying things like "Well, if you could see this, what you would see is that I can put a second instance of Colorista as a secondary, or "Power Matte," and highlight only this area and brighten it. All the while I was prepping to do all of that preference trashing. I had 15 minutes...all eyes on me...for a VERY visual demo that wasn't working.

Then from the audience I hear someone say something. "What?" I ask.

"Instead of grabbing it from the Favorites why not drag it from the base folder?" That was Andrew Balis, but he was only repeating what the guy next to him said...an editor named Les.

"Ok...let's try that." So I grabbed it from the MAGIC BULLET folder in the Effects tab...dropped it on my clip...held my breath (I think the audience was too)...and it worked. FCP didn't crash. Whew!

There was much applause and celebration.

I went on to finish my demo...and answer a few questions.

Thank you Les.

OH, and I did plan on recording it, but after the first crash I restarted the computer, and forgot to start recording again. I was a bit stressed.

So if you want a demo...albeit an old one...watch this one by Stu Maschwitz, the guy who created Colorista, is the one to see.

RAYLIGHT MXFX...INTRO VIDEO

Wow, so many great videos out there. Here is a good one that is an introduction to Raylight's MXFX 2.0 plugin for FCP. Great because it is informative and funny as hell:



IN short, MXFX will

- Remove pulldown
- Add pulldown
- Work with AVCIntra footage
- Convert 25p to 24p without re-encoding
- Convert 720p to 1080i, and 1080i to 720p
- Remove noise
- Flip your footage 180 degrees if you accidentally held your camera upside down...or used a lens adapter like the Redrock Micro.

ALSO:

- Converts MXF files to MXF files, P2 Cards to P2 Cards, preserves metadata

Now, this is mainly for Avid users...that is why it converts MXF to MXF. Not sure about FCP support...it doesn't say so on the product page. I'll ask Marcus.

RAYLIGHT MXFX...INTRO VIDEO

VENDOR/CLIENT RELATIONSHIP...

OK, since I am on this video posting kick, you must, and I stress MUST watch the Vendor/Client Relationship in Real World Situations that my buddy Jim from Final Cut User found. This is a PERFECT example....VERY well done.

Why is it that clients think that standard business practices do not apply in the world of video/film production?

DAVID LYNCH, ON PRODUCT PLACEMENT

All I can say is, I am proud to come from the same home town as this guy.

(NSFW - coarse language)

EDITQUETTE

Nice play on words.

OK, I am snagging this from another site...Art+Copy Club blog. I link to them so you can go there and see their site...and out of courtesy. But I had to embed this on this blog...well, because I can. This is very funny, but has some swear words, so possibly NSFW, unless you can close your bay doors. Just don't route the internet audio through your massive speakers really loud.

Joy Moeller's Edit Bay "EditQuette."

Joy Moeller – EditQuette from Art+Copy Club of Kansas City on Vimeo.

(And yes, this is what I do when I have nothing of note to say.)

MOCHA FOR FCP - TUTORIAL

When I was at NAB, hovering near the LAFCPUG Superbooth, I met my antithesis, Ross Shain. We shook hands, and I thought that there'd be a huge matter/anti-matter explosion as the result. But there wasn't...something I attribute to the fact that his last name isn't QUITE the same spelling as my first. Shain, not Shane. If it was exact, then I am sure the explosion would have been massive.

ANYWAY...Mr. Shain has written a great plugin for motion tracking, called MOCHA. Finally, we can do some of the needed graphics tracking that normally we'd have to go into MOTION to do (I have yet to learn Motion), or After Effects (I know after effects OK, but not an expert). This is something that keeps me in my comfort zone of FCP. Now, I have a copy, but have yet to play with it. I will soon, I promise. Because before I was either manually doing this, or getting the AE artist to do this.

I wanted to get the word out on this plugin, because it is so cool and is ÜBER useful. So keep it in mind as you watch this tutorial, posted on Studio Daily.

AN INCONVENIENT POOP

Hee.

Sure, the camera is cheap, and there is really no color correction, but the creativity and storytelling is there...and the point is made. And I am helping a friends wife who is trying to make this go viral. Not that I have much of a reach. But if you guys pass it on, that will help.

so...Psst...pass it on.

COLORISTA DEMO AT LAFCPUG

I gave a demonstration of Red Giant's Magic Bullet Colorista in Las Vegas at NAB...in the Superbooth on the show floor. Now, this wasn't as packed as I'd have liked to have seen it, so for people in the Los Angeles area, I will be doing the demo again, this time at the next LAFCPUG MEETING.

If you can't make it to that, I understand. Either you don't live here, or you are pretty far away, or you have to work. Well, they record the meetings and are SUPPOSED to post them online somewhere. I'll look into that. I will also see about doing a screen capture of my demo and see if I can post that.

The basic gist is that Colorista gives you far better control of the colors that the built in 3-way color corrector does, and is far easier to use than Apple's COLOR. No need to prep the timeline (no stills, not speed changes, all frame rates and codecs matching) and send to Color...and get lost in an interface designed for colorists. You can color correct in FCP with familiar looking tools, and even have Secondaries and the ability to highlight specific areas and only affect those areas (Power Windows).

There will be other people at the meeting too. "Patrick Woodward from DigitalFilm Tree will show off FCP workflow and footage with the Canon EOS 5D. Michael Weis and Sam Crutsinger will be reviewing the RED workflow they used shooting the indie road feature 'Carried Away.'" So if you have that Canon still camera that shoots video and want to know how to edit it, or you want to look at a RED workflow (there are SO many), then come on down.

TRUELY AWFUL SCIFI TRAILERS

Before I go to see the new Star Trek, and bring my kids, I wanted to show them the first few movies. They are fans of the original series (loved the Tribbles episode), so I thought they'd like the movies. No, I did not start with STAR TREK, THE MOTION PICTURE. That was one boring snoozefest. I mean, a 12 minute flyover shot of the Enterprise? Please.

So we watched Star Trek II: The Wrath of KHAAAAAAAAAAAN!!!! My oldest loved it, even cried when Spock died (this has been out since 1982 so NO SPOILER THERE!). And we will watch STIII and STIV before Saturday to get them ready. Really, I wanted to watch STII because of the mention of the Kobyashi Maru test...something I think that is in the new Trek movie. Has to be...Kirk is in Star Fleet Academy.

OK, this is all besides the point. I told a good friend of mine that we watched it and he gave me the link to the trailer on YouTube. HOLY COW, what a piece of CRAP! I mean...cripes, that was horrible. I don't think I would have had ANY interest in seeing a movie based on that trailer. Don't believe me? Here:



Star Trek III is no better:



Ugh. Was it only limited to the Star Trek movies? We started looking at more SciFi trailers from around that time.

TRON:



The Black Hole (which wasn't all that good of a MOVIE anyway):



Heck, even THE EMPIRE STRIKES BACK isn't all that good:



Got me wondering, were ALL trailers that bad? Or did they just dump the SciFi trailers on the dirty guy who hangs out in the back room? I mean, oochie the Trek ones sucked. So we started looking up others, like RAIDERS OF THE LOST ARK (my favorite film)



And THE VERDICT:



An Officer and a Gentleman:



Annie:



GHANDI!



My buddy found a list of the other box office toppers of 1982 and we looked them up on YouTube, like TOOTSIE (trailer not that good), Poltergeist (eeeh), Best Little Whorehouse in Texas (pretty good), and First Blood (a very good trailer). They don't hold up well to the trailers lately, but some were decent. But MAN...STII was just plain awful. Lordy...I would NOT want to see that movie.

Also look up STAR WARS..the original. That trailer is iffy too.

(yes, I am rendering in COLOR and twiddling my thumbs...)

THE EDIT BAY - EPISODE 13

The thirteenth episode of THE EDIT BAY is now available for download. This one will be the last for a while...I will be taking a short hiatus while I gather my wits and try to catch up on LOST...and sleep.

This one is all about how I got started in the biz, and tips for people who want to join the biz, or are in it but are feeling discouraged because they feel like they are going nowhere. Been there.


To play in your browser or download direct, click here.


To subscribe to this podcast in iTunes, CLICK HERE.

MEXICAN AMERICAN WAR...ARCHIVED

I found out last week that my producer still had ALL the footage, ALL the After Effects files, ALL the music and ALL the sound effects that I used on the first broadcast doc I edited with Final Cut Pro, THE MEXICAN AMERICAN WAR. The show was hosted by boxing legend Oscar De La Hoya.

What he has basically is the two drives I had for the show. Everything I used on that show is on those drives. So everything is there and intact. The footage for a two hour History Channel special...on two 500GB G-Raids. 840GB total.

The main footage was Varicam shot at 720p24, with a few shots at 760p60 with the intent of slowing it down. The B-Cameras were two HVX-200s. The FIRST TWO HVX-200s on the west coast. And we shot on five 4GB P2 cards for each camera.

This is the show that had me make the move from Avid to FCP. This is the show that actually got me started on this blog...here is the first post. Because when we started out doing this show we (my producer and I) still had Avid workflows in our head...offline/online. With FCP and DVCPRO HD there would be no online. We would store all the footage on firewire drives, at full quality...no problem. We were amazed by that. I am still amazed that all of that footage for that show only adds up to 840GB. Could be the fact that we worked at 23.98fps.

We had LIVE cannon fire...shooting LIVE rounds. We had hand to hand combat with the cameraman in the mix being battered about by the combatants. And I edited this in the garage of my house in Van Nuys, while my producer was in Long Beach. We had no production office.

So I came to ask my producer if he still had the original MXF files of that shoot. He did not, he sent those on a G-Raid to the History Channel. But he did have the entire show still...and he asked if I wanted that.

Hell yes!

SUITE TAKE - THE LITTLE THINGS

This is a MUST READ. The blog post called "The Little Things" is not only spot on, but funny as hell. With an opening line like this...things only get better:

"An editing facility is a lot like an underground fight club. Except it’s cleaner. And more work gets done. And there aren’t any fights. It’s actually nothing like an underground fight club. But that would be awesome if it was."

THE PROFESSIONALS - REVISITED

OK, I just have to post this video again. It has been two years since I last posted it, but it is still freaking HILARIOUS!

THE PROFESSIONALS

OK, and one that blog follower Doug posted in a comment...THE PHOTOGRAPHER. This is a small snippet of a full episode, which you can find in three parts on YouTube, in the related video section of this link.

P2 METADATA EDITOR

This comes from my pal Jeremy Garchow, who has a blog over on the Creative Cow. He, like I, deals a lot with P2...but he really gets into the metadata, which is valuable information. He, like I, am a big fan of MXF4QT when it comes to importing P2 into FCP, as it retains all of the metadata recorded onto the clips, and maps that information to columns in FCP. That and it allows FCP to edit the MXF files natively...so no lengthy LOG AND TRANSFER.

As if THAT wasn't cool enough, Andreas Kiel of Spherico Film Tools and Björn Adamski of MXF4mac have been working on a P2 metadata editor called P2 Flow that will allow you to add and edit this metadata, and send all kinds of useful information to FCP.

Here, read Jeremy's blog post about this before I plagiarize his site any further.

Here is the LINK to the demo video. There is no audio. You can SAVE AS a QT movie on your computer and then scale it to fit.

THE EDIT BAY - EPISODE 12

The twelth episode of THE EDIT BAY is now available for download.

Have you ever gotten a job and then realized that you don't know how to use a major piece of equipment they require you to use? Me too! More than once.


To play in your browser or download direct, click here.


To subscribe to this podcast in iTunes, CLICK HERE.

LESSONS AND ADVICE FROM TOP EDITORS

I love the EDITORS LOUNGE that Terry Curren puts on at Alpha Dog in Burbank. And I really wish he'd start it later than 6:30 so that I can make it. Most of my jobs has me an hour or more away from there, so I miss them. BUT, I do get to see the highlights online. And that is great.

Studio Daily has two highlights from the last EDITOR'S LOUNGE that are really good to watch:

The AlphaDogs Editors' Lounge in April featured a panel of four seasoned editors with diverse backgrounds talking about the craft of editing and how it has changed since they got in the business. In this series of videos, feature film editor Billy Weber, reality TV editor Glenn Morgan, trailers editor Carol Streit and jack-of-all trades editor Terry Curren discuss the lessons they have learned in decades of work and offer bits of wisdom not found in any film school or editing manual.

To watch the videos, CLICK HERE. To watch the entire lounge, CLICK HERE.

QMASTER/COMPRESSOR TROUBLESHOOTING TIP

I had a really strange thing happen to me...my virtual cluster (the thing where you use QMaster to set up all your processors to render faster...I'll post how at the end of this blog post)...as I was saying, before the long parenthesis aside, my virtual cluster in Compressor upped and vanished. Just went away. POOF! One minute it was compressing a file to MPEG-4 for the audio house, the next...just gone. I was perplexed.

So I iChatted with my buddy Jim Geduldick of Final Cut User and asked if he knew what happened. I figured he was a Compressor guru, having written CRAM. And sure enough, he did have an answer. A little known of button that you have to know where to find.

Well, he blogged about it and posted a tip video on how to find that button and fix all of this.

Thanks Jim.

Now, as for how to set up QMASTER to use all of these processors you have on your MacPro.

- In System Preferences at the bottom is a black splotch icon thing, that is Apple Qmaster. Click on that.
- Select Share this computer as "Quick Cluster with services."
- Share Compressor.
- "Options for selected service" should be 1 instance for each of 2 processors, so if you have an Octo MacPro, set it to 4 instances.
- Click Share...

Then when you submit from compressor, change it from "This Computer" to whatever you named your cluster. Works like gang busters...

HARLAN ELLISON - PAY THE WRITER

WARNING! NSFW! CONTAINS PROFANITY. Well justified profanity, but not something you want your boss to hear coming from your computer while you are at work.

This is a small section from a documentary about Harlan Ellison called "DREAMS WITH SHARP TEETH," that a company that I worked with did. GREAT documentary. He rants about how companies with money want to get content from creative people...for free. Very timely rant and fitting with a lot of stuff that is happening today.

I smell a future podcast episode, as something similar happened to me.

Go to www.dreamswithsharpteeth.com for more excerpts.

See the full trailer here.

AVID MXF TO FINAL CUT PRO

Part of that interesting online is that a lot of the b-roll used in the cut is DVCPRO HD footage that a production manager shot. The fact that he shot it isn't interesting...how I am getting the master footage is. You see, he has the tapes, but he also captured this footage into the Avid at high resolution..DNxHD 175. And he had some MPEG-4 versions with timecode so he could shop it around as stock footage. The MPEG-4s is what we used in the offline cut, converted to DV.

But now that the online is upon me, I want the high res stuff. So I can either rent a deck or deal with the Avid files. We weren't going to rent a deck (money's tight) so I have to convert the Avid files.

I took the raw .mxf files and put them in an Avid file structure on my external FW drive. AVID MEDIA FILES>1>the files. I then opened Avid MC and made a new DVCPRO HD 720p 23.98 project. I then opened the MEDIA TOOL and searched for the files...they showed up fine, because they were in the proper structure. See, with the Avid media files you need to do this, unlike FCP you can't just IMPORT the files...Avid won't allow that. You need to use the Media Tool. That is just how Avid rolls.

Anyway, I loaded the clips into a bin, then loaded them into the Preview Monitor, and exported them as DVCPRO HD QT files. They were now in the DVCPRO HD Avid codec. Meaning that you need the Avid codecs to view these files. Obviously I did. I checked the QT movies and they retained their original timecode.

So far so good, but I am not done yet. Now I need to convert these DVCPRO HD 720p 23.98 files to ProRes 1080i 29.97...progressive to interlaced. So I took them into Compressor, loaded the ProRes 422 for Interlaced onto one of the clips, then modified it. I turned on the FRAME Controls and set things to BEST. Not ALL of them, a couple refer to de-interlacing, and I didn't want that. I needed them to be interlaced.

After I modified the settings I hit SUBMIT. The sytem estimated 7.5 hours. Fine, as I was leaving for the night. When I returned the next day, they were done. They retained their timecode, but now they were full raster 1920x1080 and 29.97...interlaced Compressor did a pretty good job.

OK, now to recapture the HDV footage.

RT: ADDING METADATA IN COMPRESSOR

RT=Re-Tweet...Twitter term, sorry. But I guess this is a RB...Re-Blog, as this tip comes from another blog, Final Cut User.

Anyway, this is a great little video tutorial on how to add metadata to your footage with Compressor. Nice. I'm all for passing along tips that OTHER people figured out too.

INTERESTING ONLINE...MIXED FORMATS - PART 2

As I mentioned on THIS POST a week ago, I am faced with an interesting online. A mixed format timeline with ProRes (and I just found out, ProRes HQ), HDV and DV...and then stock footage that I need to capture from BetaSP and digibeta and upconvert to HD. The biggest issue was going to be finding what footage is what on the timeline, so that I can separate it out and recapture the DV and HDV as ProRes. The stock footage is very easy to spot, as it has visibe timecode on the clips. DV might be easy as it will look pretty low res in comparison to the rest, but the HDV clips won't be that easy to spot.

So how am I going to find all that footage and separate out what I need to recapture?

Well, Martin Baker of Digital Heaven e-mailed me saying that he had a tip that would help me tremendously. It was on page 56 of his new book, FINAL CUT PRO KILLER SECRETS, which I am allowed to share with you:

Finding Timeline Clips with Matching Attributes

This tip is useful for locating clips in a sequence that match certain
attributes such as being offline or a particular codec.
For example, when preparing a sequence for export to Color, clips that
aren’t running at 100% forwards speed will need to be exported and
replaced. Here’s how to identify those clips.

1 -Create a temporary bin in the current project.

2 - With the Timeline active, press Command-A to select all the clips in
the sequence and drag them to the temporary bin.

3 - If it’s not already visible, right-click on a column header and choose
the Speed column.

4 - Click on the Speed column header to sort the clips in the bin
by their speed.

5 - For each clip that isn’t 100% speed, open it into the Viewer then press
F to reverse match frame into the current sequence. The playhead will
move to show where the clip is used.

While this tip is for finding speed changes...also something that I need to do as I prep for Color, you can also use this to sort the footage by compression type or frame rate...any column heading. Sure enough that trick did the...uh...trick, and I am good to go.

Looking at the rest of this PDF (just glancing through) I am already learning a LOT of stuff I didn't know. I'll wager those timeline scrolling lock and Autosave Restore are in there too. If you are interested you can download a copy for only $19.00. This already has saved me that much in time.

Man that was a fairly simple trick...and the simple ones are always the best. Makes you go "why the heck didn't I think of that?"

I have added the FINALCUTTERS blog into my blogroll. Full of FCP news and tips from other blogs, including this one.

(thanks for the tip Martin.)

MATROX MXO AND AVID MEDIA COMPOSER

Last year at NAB (2008) I was working in the Matrox Booth. The MXO2 was announced, but not shipping. I was working in the booth at the MXO for FCP station, showing off how to make your Apple Cinema Display into a color correction monitor, and how the MXO displayed interlacing as well.

Well, other stations in the booth showed the MXO used in combination with Avid Media Composer. Avid? How did it work with the Avid? I thought only Avid hardware worked with Avid software. They showed me how it worked and it was pretty slick. Impressed all the Avid editors who saw it.

Then 6 months later I find myself working on an Avid. And then at one point I needed to work from home. When I found myself at home I figured, hey, why not check this thing out? I have an MXO. But the MXO took one of the DVI ports, and I still liked working with two monitors as workspaces. So what was I do to? I recalled that a station at the Matrox booth across from me showed off the TripleHead2Go Digital Edition. What this box did was take one DVI port and spread it across two monitors...increase the horizontal resolution from 1920 to 3840. This way you could put two monitors on one DVI port, and then the MXO on the other. So I ordered one.

When it arrived I got the TripleHead working with two monitors on the one DVI port. Then I put the MXO on the other DVI port. Now, the MXO does two things. First off, it passes through the computer video, allowing for another computer monitor. And second, when used with FCP, you can activate it to send a broadcast signal to an external monitor, either Apple or Dell display via DVI, or broadcast monitor via Component or SDI.

What we are going to be using is the first option...the MXO allowing passthrough for another computer monitor. While this allows passthrough via DVI, you might not know that it sends this signal out via Component, Composite and SDI as well. Because of this feature, this allows the MXO to be used on an Avid. The image isn't broadcast quality, but it is still full screen on an external HDTV or client monitor. And since most of the time you will be working with offline formats, like 15:1, or formats you capture via firewire, this is fine...it looks like poo anyway (well, 15:1 does).

HOW do you get this image onto the external monitor? Well, with this simple thing called TOGGLE FULL SCREEN. Go into the Avid Settings, click on this to open it up, drag it onto the monitor you want to use this with, and click SELECT MONITOR. Now when you activate this option your image will appear full screen.



Normally this allows you to play back the footage full screen on one of your computer monitors. Well, since the MXO allows playthrough of the computer image to another computer monitor, and out via SDI and Component, you can now send a full screen image out through the MXO to an external monitor. Doesn't matter if this is a computer monitor, like my Apple Display, or CRT monitor, like my PVM-14L5.

Would you like to see this? Here:



If you want to see it bigger, CLICK HERE.

As you can see, I have the image full screen on my Apple display via DVI, and on my HD CRT via Component. Now, because I can get this signal out via component, composite and SDI, I can now output to tape, or a DVD recorder. Not sure about deck control. I know you can get USB to RS-422 adapters, but I don't know if this will work with an Avid. I assume you can, as I did this with Media Log to log footage.

But that isn't something I tested this time. But, if it does work, this means that you can output rough cuts to tape. And have that nice big image on the client monitor. And you don't need the Avid hardware for this. $995 is a lot less than $4000 (Mojo DX). Bear in mind that the MXO does not capture, it is an output only device. And again, it is outputting a computer signal, so it isn't full quality. This will not output full res to master. But it is great as a client monitor box. If you have multiple edit systems, you can get one Nitris or Mojo to capture the footage, and the rest can use the MXO (in cobination with the TripleHead2Go) to get the image out to a client monitor.

Heck, this will even work on an iMac, since the iMac can run the Avid software, and it has a DVI out...perfect for the MXO. That makes this one heck of a versatile box.

FCP TIP - VERTICAL SCROLL LOCK

OK smart asses, let's see if you knew about THIS tool. Now, I know this one has been around for a while but I for one never touched it. I actually just thought it was something cosmetic. Just the way the timeline looked. But then my buddy Paul, who I share a bay with, fiddled with it (he was bored). And he figured out what it did.

What is it? Well, I have no clue what it is called, but here is a picture:



The part of the timeline that straddles V1 and A1...to the left of the tool pallet. Next to the pen tool. ON the timeline. Here, lemme zoom in:



THAT thing. I bet most of you didn't know this did anything did you? I didn't, as I said, I thought this was cosmetic. IT ISN'T! It has a function, and Paul figured it out.

I is a scroll lock...a VERTICAL scroll lock. Lemme try to explain this. If you have 12 layers of video, and 18 layers of audio, and your timeline doesn't fill the screen, you always need to scroll up and down to see things. But what if you always want to see V1, or V1 and V2? Well, drag this up and it will lock the track so they never scroll out of site. V2 on up will move, but not V1. Look:



See, it draws a little BOX around the track. All you need to do is grab the top tab and pull it up one notch. Want to cover two tracks? You can do that too:



And you can do the same with audio.

HOW COOL IS THAT? And don't you tell me "oh, I have been doing this for years...where have you BEEN Shane?" I don't want to hear it! Well, OK, maybe I do. I would like to know if people knew about this...but more from people who will tell me "GREAT find Shane! Thanks!"

Don't thank me...Thank Paul.

LATEST MICROSOFT LAPTOP HUNTER AD

OK, watch this first, then read on:



OK, the only thing that stopped her was "this only has 2GB of RAM." That's it. That stopped her? She can't edit video with only 2GB of RAM?

I am running Final Cut Pro 6.0.5...I am running Avid Media Composer 3.5...all on my MacBook Pro...and it only has 2GB of RAM. ZERO issues. Editing ProRes, Editing DNxHD 175, editing HDV!

Well, if she is this clueless, she deserves that PC....running Windblows Vista. I wonder if it is compatible with Avid?

I just found it funny that the ONLY thing she found wrong with it was 2GB of RAM.