While almost everyone knows that you can use final cut pro plugins to achieve a huge variety of flares and effects in this versatile program, there’s always a tip or two we’ve missed, no matter how experienced you are. Here are some for you to ponder for your next project.
The Gamma Setting
Gamma setting options- accessible via User Preferences/Editing- haven’t always been a part of the Final Cut Pro stable, but they’re a darn useful tool. They enable compensation for gamma differences in the graphics you import from other platforms. In general, 2.2 yields a satisfactory result you should find pleasing.
Graphic convertors are useful.
While Final Cut Pro has some great inbuilt features, the ability to compensate for the Mac OS’s poor handling of image formats like .png is not one of them. It can be difficult, if not impossible, to compensate for these unacceptable Gamma shifts. Finding a friendly, easily usable graphic convertor that will allow you to uncompress problematic graphics into .bmp files appropriate and simple for you to use can be essential to your ease and convenience.
On the subject of handling compressed files- don’t do it with audio. Work with uncompressed audio with a suitable 48kHz sample rate. The importation features for mp3s and the handling of 441kHz audio will prove more of a thorn then it’s worth. Once they are rendered, they can cause problems not obvious when unrendered within the program. Whether it’s shifts at edit points or levels that didn’t balance, you’re simply better off keeping your sound uncompressed. Convertors are easy to find, simple to use, and Digital Heaven’s Loader will even run resident within the program if you really want ease of use.
Final Cut Pro can be a bit quirky when handling audio synchronization. It bases its speed settings on audio samples, not timecode- and it’s not even that simple. Frame rates can inexplicably shift, not matter how precise your settings. IN general, this is a solution that can only be fixed by working around it with programs like QuickTime movies, which force a timecode into the clip, or be prepared to alter the speed of your video to suit the synching.
Slomos that rock.
The new release of Final Cut Pro has made for better variable speed workflow, but not particularly improved the video quality that results. It’s generally a facet of blending frames, which doesn’t create the best possible renders when regarding motion. Compressor, via the use of a conversion preset and frame controls, can be used to change the speed effectively and well.
With these easy little Final Cut Pro workarounds and tips, you’ll be able to address some of the bugbears of this otherwise great program, and produce creative content that rocks your world.