Make Film Work » Final Cut Studio

Reconnect Media in FCPX

Jason — Thu, 18 Aug 2011 05:04:49 +0000

I’ve been reading a lot about the new Final Cut Pro X and how managing source files and projects can be a bit of a pain. Most notably, that there’s no (logical/easy) way to reconnect media that’s been moved to another drive. It turns out that’s not entirely true.

Say you have an event called Brian Visits Brooklyn on your computer’s internal hard drive, and an associated project called The Moon. The event is huge and you’d like to reclaim the space for your collection of 2011 WWDC session videos. So you connect an external hard drive and drag your source files (your event) to the new hard drive.

Do the same with the project, dragging it to the drive you want and selecting just the project and render files.

Uh-oh, the project is still pointing to the event on your internal drive. That’s no good. So what to do?

Access the project’s properties by choosing File –> Project Properties… from the menu bar, or by pressing Command + J. A new inspector-style window appears with two tabs, Properties and Sharing. Under Properties click the big Modify Event References button. You should see the referenced events on both drives, with the option to drag to the top whichever event you want the project associated with. Click OK and you’re done.

I realize it’s not as robust as it used to be, but it’s a bit more than the nothing I keep reading about.

Snow on Norman Street

Jason — Mon, 27 Dec 2010 23:58:07 +0000

We got our first major snowfall here in Salem and, just like last year, I wanted to try and capture it. If you’ve ever scrolled through a long grid of photos in iPhoto, Aperture or Lightroom you might have seen something that looks a little like the video above. That’s where I got the idea anyway. Unfortunately, it didn’t really turn out like I had imagined. I was hoping the difference in color would be really apparent as the snow blew in and night fell. But, at this point, I’ve already spent two days on this and I’m sick of looking at it.

I used the iPhone’s camera and let it shoot every five seconds for two hours. The phone was supported by my Glif on top of a camera extender on top of my Manfrotto 501 baseplate.

I used a replicator in Motion, each offset by one frame in a six by six grid. That was enough for my computer to beg for death, so I baked it out and finished the rest in Final Cut. The music is Dirty Glass by WHY? [iTunes].

Title Animation

Jason — Mon, 13 Dec 2010 21:06:44 +0000

I made another title animation in Motion, this time 20 seconds instead of 10. That turned into around 16 hours of work and another 9 or so for export.

The texture I used for the floor and wall came from cgtextures.com, who appear to have a very reasonable terms of service regarding commercial and non-commercial use. The reason it took so long to export was because of the text. Since I wanted the camera to fly in so close to the title I needed the text to render at a very high quality. That takes time. The settings I used also did some hardcore anti-aliasing for object intersections which helped sell the point where the wall and floor met.

To compress for the web I ran it through an iOS droplet I made from Compressor with a data rate of 1Mbps. Any higher and my web host seems to have a problem delivering the video fast enough to iPhones or iPads. The Ogg Theora (Firefox) version was encoded in Terminal with FFMpeg2Theora at 3Mbps. The WebM version was done with Make Web Video, a Firefox extension (also at 3Mbps).

If you have any questions, feel free to write.

Motion

Jason — Thu, 09 Dec 2010 19:35:45 +0000

I’ve never spent a ton of time working in Motion. I’ve always assumed After Effects was a superior application for compositing, so trying to become as skilled in Motion as I am (or at least as I think I am) in Final Cut seemed like a waste of time. I recently watched this tutorial by Andrew Kramer and wondered if it was even possible to create those kind of elements within Motion. He, of course, was working in AE.

Turns out you can, more or less. I spent a few hours yesterday poking around in Motion and made a proof-of-concept title animation. This is what it looks like.

Breezelands Orchards

Jason — Wed, 20 Oct 2010 05:31:58 +0000

Here’s something I worked on recently. Shot with the DVX100a equipped with polarizing and UV filters. Edited in Final Cut Studio and graded using Magic Bullet Looks.

Color Subsampling

Jason — Wed, 09 Jun 2010 19:08:04 +0000

What is color subsampling?

Our eyes don’t see all of the subtle variations between every color. We do, however, see the difference in shades of a color. In video, this is called luminance. The color is referred to as chroma, or chrominance. Since the dawn of video, cameras have been using a technique to reduce the amount of color information captured to reduce the amount of bandwidth needed to deliver it. Since our eyes won’t see these colors anyway, we’re not missing much.

How is it done?

The most common model of color subsampling uses an area that’s 4 by 1. Four pixels wide and one pixel high. For each of those pixels measurements are taken, and values assigned. The first is for how luminous each is, measuring once for each pixel. When we’re done we’ll have four unique measurements for each of our four pixels.

Next, color information is measured. We already know that our eyes aren’t going to see all of the color that we’ trying to record, so instead of getting a color value for each pixel we’ll be averaging the colors together. This dramatically reduces the amount of data needed to transport the image. Colors accuracy is also significantly reduced. When we’re done we’ll have one measurement that represents four pixels.

This example assumes we’re using 4:1:1 sampling. It’s commonly found in consumer DV cameras and for most applications it’s just fine. The real problem starts when you get into color correction and — even more so — when working with green screen. It’s then that the more color information you have to work with the better off you’re going to be.

Below are brief descriptions for some of the most popular color sampling methods.

4:1:1

DV video, represents a highly subsampled image. Sample area is four pixels wide and one pixel high. Found in cameras like the DVX-100.

4:2:0

Some HD cameras use this including the Sony EX-1 and EX-3. Technically, its the same as 4:1:1. The camera is still averaging the color of four pixels down to one. The difference is that the sample size is two pixels high by two pixels wide. Commonly used in HDV cameras.

4:2:2

Vastly superior to 4:2:0 and 4:1:1. Each color sample size is further broken down from four pixels to two, yielding much higher color accuracy. Used by DVCPRO HD and Digital Betacam.

4:4:4

Every color is represented as accurately as possible. No subsampling. Used by RED, Viper and Genesis camera systems.

4:4:4:4

Same as 4:4:4, but includes an alpha channel, typically used for chroma keying.

Why care?

Maybe you’ve noticed artifacts in your image; blockiness where colors bump up against each other. This is because the same algorithms are trying to average the colors the best it can. Sometimes, especially in these transitional places, it may guess wrong.

This is important to understand when doing color correction, and absolutely essential when doing any kind of chroma keying. If you’re working with a camera that has low color sampling resolution you’ll need to know what kind of limitations you’re up against. You may not actually be able to get the seamless VFX shot you originally had planned. But that’s filmmaking, right?

Now what?

I encourage you to figure out what color sampling method your camera uses. The more you know about your camera, the more you’re going to be able to get out of it. You’re also going to make things easier on yourself once you get to editing.

Additional resources

Color Subsampling on DVXuser

Subsampling notation PDF

Basic Color Correction

Jason — Mon, 10 Aug 2009 23:00:29 +0000

Say you’ve spent all day editing a video and now you’re excited to show it off. You don’t know too much about color correction but maybe noticed that your video looks a little red. And the colors are a little flat. And there’s not a lot of definition in the shadows.

Content might be king, but the big guy doesn’t wear a crown because it’s comfortable.

A Clarification

Color correction is the process of removing color casts due to a white imbalance, adjusting for poorly exposed shots, and improving contrast. Color grading is the process of manipulating color in your footage to produce a desired look.

That should answer the why. But what are you correcting? Simply, you’re looking to normalize your footage. Or maybe it’s better to call it naturalizing. Your goal is to make your video look normal. Properly exposed. Not-tinted. Uniform.

For reference, I run everything I shoot through Color for adjustments. From iPhone videos to the big-time client projects, I don’t consider it finished until it’s gone through (at least) a contrast & white balance grade. In fact, I specifically shoot in a way that gives me the greatest flexibility for correcting and grading. It’s similar to shooting RAW on your DSLR. But that’s for another day.

So here we are. Basic color correction. You can do everything here with Final Cut’s “Color Corrector 3-way” filter (discussed below), but if you have Final Cut Studio, you might as well use Color — you’ll have far more control over your adjustments.

Contrast

I always start by adjusting contrast.

Unless you’re shooting with your shadows absolutely black (which you shouldn’t — you want flexibility) you should start by pulling the darkest areas down toward the black. Not so much that you’re losing a ton of color information, but enough to create a distinction between dark and semi-dark.

On the other end, your highlights shouldn’t be blown out. By which I mean not peaking above 100%. Anything above 100% is considered super white and not broadcast safe. Here’s a quick before and after look at the RGB histogram for the clip above.

Before Adjustments

The most important thing to note here is how the highlights are squished along the top (the thick yellow line near the top separates white from super white). The shadows are spread along the lower half.

After Adjustments

With the highlights reigned in, the graph isn’t top or bottom heavy. Most of the color is in the middle and we’ve got a few shadows near the bottom.

How you shoot has a lot to do with how much flexibility you’ll have while grading. For example, many cameras include a handy zebra striping feature (see below) to let you know when you’re approaching your white limit. No striping means you’re within the limit.

Final Cut’s Color Corrector 3-way Filter

If you’re using Final Cut Express or if Color’s interface scares you, you might be familiar with this guy.

From left to right you see three color wheels and sliders to play with. The far left is for adjusting shadows. The center is for mid-tones. The far right is for highlights. Use the sliders below the color wheels to adjust contrast, and the wheels themselves for color adjustments. Take it slow — minor adjustments can produce dramatic results.

Your goal is to maintain consistency across your clips.

White Balance Adjustment

You’ll want to look at your clips for any red or blue casting. Casting comes from maladjusted white balance and can cause ugliness between shots. This is the red tinting I mentioned in the opening paragraph. Pretty much every camera you encounter these days has some kind of automatic white balance, so most of the time it’ll be spot-on. When it’s not you need to fix it by adding the opposite of whatever color you have too much of. Here’s a handy color wheel for reference.

If you’re using the Color Corrector 3-way filter in Final Cut Express or Final Cut Pro you’ll want to use the center wheel to remove most of whatever color cast your clips might have.

Again, your goal is to be as consistent as possible. When you’re done making your adjustments every clip in your sequence should be consistent from shot to shot. If you notice one clip that looks a little blue, everybody else is going to notice it too. Same goes for shadows. If it’s too light or too dark, you’ll know, and so will we.

Coloring

When you have your footage looking good (and unified) you can choose to add a little bit of style. Maybe your video is set in the summer so you want to give it a warm feel. You’ll tint it orange. Or say your characters are locked in a cold freezer, you add blue. Maybe you want to show off an afternoon by the waterfront so you punch up the colors a little bit.

This is the fun part of color grading. You’re free to create a look all your own at this point — adjusting saturation, vignetting, removing colors altogether, etc. And because you’ve already corrected your clips for color & contrast, any look you create will be applied uniformly. Experiment and take time to create a look that makes you happy.

No time like the QuickTime

Jason — Wed, 10 Jun 2009 06:55:26 +0000

As Apple throws all caution to the wind by skipping two full versions between iterations 7 and 10, I can’t help but wonder what QuickTime X — and Snow Leopard — means for the future of Final Cut Studio.

For now the only information I can find is the bit about ColorSync that was mentioned in the WWDC Keynote on Monday, and the small section under Snow Leopard’s New Technologies heading. ColorSync is Apple’s system for maintaining consistency across imaging devices like displays, printers, scanners, and digital cameras so that the color viewed on screen is the same as the color printed out.

Maybe this means an end to those tricky gamma-shift issues that occurred when exporting to specific formats in Compressor.

Snow Leopard is due out in September, so it would be great to hear something about Final Cut Studio around then, but I won’t get my hopes up. I wouldn’t be too surprised if it’s April before we hear any mention of Final Cut Studio 3. But holy cow, that would have to be some upgrade, right? It will have been three years since the last major release, and I expect the Final Cut team have been keeping themselves busy since 2007 — especially with all those new Snow Leopard goodies like Grand Central Dispatch to play with.

The Ozone Plug-in Error

Jason — Thu, 26 Mar 2009 20:16:28 +0000

I ran into this recurring problem recently which, in turn, spurred my semi-annual hunt for information on what it means and how to make it go away.

My search ended when I realized the problem was simply an animated vector graphic that was just too large for my video card to handle. I solved the issue by baking the animation into a movie clip then re-importing it into Motion.

For future reference, and anyone else looking for answers, here are the articles I found to be the most helpful — ordered by helpfulness.

Helpful Articles regarding the Ozone Plug-in

Fixing the Ozone Problem via Industrial Revolution
Troubleshooting Tips via AppleMotion.net
Motion 3.0.2 Update Beware via FCProducer
Discussion Thread via KenStone.net
Discussion Thread via Apple
Another Thread via Apple
Discussion Thread via MacRumors.com

My Soundtrack Pro Headache

Jason — Sat, 30 Aug 2008 21:26:15 +0000

Update: Commenter Cameron points to this Apple Kbase article that should resolve this problem. So hooray for that. And for Cameron.

I have more problems with Soundtrack Pro than any other application on my Mac. Between crashing, and the seemingly endless file save progress indicators, I have managed to tip-toe my way through several successful projects. But it’s the looming uncertainty that puts fear in me whenever I send a project from Final Cut to Soundtrack Pro.

Recently I had the unique pleasure of being treated an an error I haven’t seen before, the curiously named CNSExceptionWrapper. I say it’s curious because most methods in the OS X frameworks start with NS, a remnant of NeXTSTEP — of which OS X is a direct descendent. The C prefix is a little peculiar however, and I wonder if it has something to do with one of the Core Services. Perhaps Core Audio? Who knows. I was only able to find a few references to the error after searching, and still haven’t found an explanation for what caused it.

Last night I ran into an issue I’ve had off and on for quite a while. Let’s say I’ve recorded a project using two different audio sources; a shotgun on the left channel and a lav on the right channel. I bring them into Soundtrack Pro and mute the left channel (I usually just use it for backup), and proceed to do my work on the right channel. When it’s ready I export the master mix back to Final Cut Pro and… WHAT?! None of my changes/edits made it through! In fact the sound I hear couldn’t have possibly come from a lavaliere microphone. So, completely confused and demoralized, I switch back to Soundtrack Pro and play the sequence. The audio now sounds the same as it did in Final Cut, but completely different than it sounded just a minute ago in Soundtrack Pro.

What’s going on?

For whatever reason, it appears that Soundtrack Pro sometimes decides that the channel you think you’re working with isn’t the one it thinks you should be working with. So it changes it for you at export. How helpful.

To correct this (and trust me, this is a huge pain) right-click on the clip in the timeline. Choose Channel Select > Mono > 1 (or whichever channel isn’t currently checked). You’re picking the channel you DON’T want. Then right-click again and choose Channel Select > Mono > 2 (bringing it back to the channel you do want).

Repeat for every single clip in your sequence.

When I discovered this solution (and I’m using that term loosely) I was working on a project that’s only 60 seconds long. You can see how this could be a major issue for projects that are something like 60 minutes or longer. Even manually changing the tracks for every clip in a five minute sequence would be a chore. It’s something I really hope to see fixed in a software update in the future. It’s hard for me to believe that I’m the only person that’s experienced this issue.

Final Cut Keyboard Shortcuts

Jason — Fri, 29 Aug 2008 07:02:19 +0000

I haven’t posted anything in a while. You may have noticed. To make myself feel better about my own blogging failure I thought I’d pass along a tip that the people at Creative Cow recently wrote about; key bindings.

It’s a $10 name for describing how to create your own keyboard shortcuts within Final Cut Pro. This can be a huge time saver. For example, to get started in Soundtrack Pro I normally have to right click (or control-click) on a sequence in the Browser, select Send To, then choose Soundtrack Pro Multitrack Project. Alternatively, one could bind the action to their very own fancy-shmancy keyboard shortcut and accomplish the same task in a fraction of a second. On my system, I have this action set to Option-Shift-S.

The process of actually editing these shortcuts is as simple as you might expect something in FCP to be (meh). Start by hitting Option-H to open the keyboard layout editor, then click on the little lock icon in the lower left to allow changes. From there you can have at it by choosing the key combination tabs along the top of the window, and searching for the desired command in the search area. Simply drag the command onto the key you want to bind it to.

Creative Cow lists a bunch of great shortcuts in their post, but I’d also suggest setting Render All to the letter Y. It’s a letter that’s not used by default for anything, and it’s something you’re probably going to be doing a lot of. Consider also binding Send to Color and Send to Motion to Option-Shift-C and Option-Shift-M, receptively.

The last thing you’re going to want to do is to save your layout (and if you really want to blow your own mind, you can even set a keyboard shortcut for that too!). From the menu bar choose Tools > Keyboard Layout > Save Keyboard Layout… and give it a name. Something like, “Jason’s Keyboard,” or, “Master of space and time” would do nicely.

And finally, if things get too crazy in there, you can always hit the reset button to get yourself back to the Apple-supplied shortcuts.

Timid Icecube – A Linked List

Jason — Fri, 11 Jul 2008 01:29:44 +0000

This summer has been pretty crazy what with moving across the country and everything. I haven’t had the time to write about everything that I thought was interesting, so I thought about creating a linked list (no affiliation to this guy, of course) to catch up on what’s been going on around here.

The biggest news is that Meagan and I have moved from Orlando, FL to Salem, MA. We love it. Salem is amazing. You should definitely take a look at all of the pictures I’ve shot since moving.

The real bombshell here, however, is that Meagan is going to be working with legendary, dragon-slaying designer Dan Cederholm, of SimpleBits fame. We’re all pretty excited about that, and I can’t wait to see what kind of mind-expanding creations these two come up with in the months to come.
A week (to the day) after arriving in Salem, Meagan and I found ourselves attending the first ever gathering of The Build Guild. The Build Guild is a collection of web developers and designers from the greater Salem area, who meet to talk shop and eat some delicious Salem food. The first meeting was a lot of fun, thanks in a big way to the Guild’s founders, Marc Amos and Angelo Simeoni.

A fews days prior to leaving Orlando, I wrote about my MacBook Pro having a logic board failure. After I got the computer back I decided to try and restore the system from my latest Time Machine backup. Something I wasn’t aware of is that Time Machine uses your computer’s MAC address to identify it for a backup. When that address changes (such as when you get a new logic board), you have to perform a bit of Unix voodoo to get it to work again. I found a great walk-through on the topic over at Mac OSX Hints. If you’re having a similar issue, this should straighten things out.
I’m a big fan of The Edit Blog for it’s fantastic production-related content. On a recent post Scott linked to a post by a very frustrated filmmaker trying to work with Soundtrack Pro for audio mixing. He lists his grievances and calls for it’s immediate execution by Apple. I’ve had my share of frustrations with Soundtrack Pro, but I’ve never wished death upon it before. He makes some great points though. Definitely worth a read.
Lastly, I’m going to bookend this post with another mention of moving. One of my new favorite blogs, Big Contrarian recently had a post about moving that I loved. Read it and subscribe immediately.

Final Cut Server and the future of Final Cut Studio

Jason — Tue, 08 Apr 2008 14:34:50 +0000

Today Apple announced that Final Cut Server is finally shipping. Final Cut Server was announced nearly a year ago, with a projected ship date sometime last fall. That didn’t happen, and it looks like the extra time may have been spent sprucing up the user interface.

It appears that Server carries with it some curiously distinct departures from the standard Leopard-style interface. The changes look fantastic and include updated scroll bars, drop-down menus, and button styling. Overall, the application is dark, similar to Color. It’s strange though that none of the other pro apps maintain this new look and feel.

If this is an indication that the rest of Final Cut Studio will be getting a visual upgrade this year around NAB (which is when that sort of thing might happen), bring it on. Final Cut Pro has one of the most dated interfaces of any Apple-produced app. It’s ancient. It’s annoying. And it’s ugly.

In addition, Final Cut Studio has a pretty disjointed interface when jumping between different applications. One of the selling points for Studio is that the applications work well with each other, and that round-tripping between most of the apps is a breeze. A unified interface or, at the very least, unified interface elements would really drive this home.

The features and solutions that Final Cut Server offers will surely be a boon for production houses looking for a new or better way to structure their post-production workflow. And while I doubt I’ll be using it anytime soon (since I typically work on small projects by my lonesome), I’m hoping it’s a herald of things to come.

Time Machine & Final Cut

Jason — Sat, 01 Mar 2008 16:38:11 +0000

The most publicized feature in Mac OS 10.5 Leopard can also be one of the most useful for your Final Cut Studio workfow. This, of course, is Time Machine.

My setup right now consists of two external hard drives. Both are 500GB FireWire 800 drives. One is for capture and all of the extra goodies that come with Final Cut Studio, and the other is for backup via Time Machine.

I previously mentioned how using Final Cut Studio’s Media Manager can be useful while needing to stay mobile. Another option is to use Time Machine to store your current, but not quite active, projects for later while you focus on what needs to get done immediately.

Here’s how it works. When you import your tape go ahead and capture it right to your laptop’s internal drive, instead of your external. I usually keep about 30GB free for this kind of thing, but that sort of flexibility may vary wildly depending on you and your lifestyle.

Once the capture is complete let Time Machine grab it. If it’s something you anticipate working on immediately, go for it. If not, delete it from your internal drive and move on to something else. Time Machine will save it for later, and since it’s always going to be captured under Final Cut Pro Documents > Capture Scratch, you’ll know exactly where to look for it.

I recently did a lot of work for a Web-based promotional company that required juggling five projects simultaneously. Three of which were awaiting final approval, but the other two hadn’t been started. I trashed the first three projects after ensuring a successful backup, and just kept on trucking. When the time came to burn the projects to disks I trashed the current projects, restored the old files, burned the discs, trashed them again, and restored the projects on which I was currently working.

This sort of workflow can take some time to get used to. Deleting your source files is kind of a big no-no in the world of non-linear editing. So it’s not going to be for everybody. Especially if you’re a bit squeamish. But if you find yourself in a pinch, this is a useful technique that’ll keep your workflow moving even when working with limited hard drive space.

The Media Manager

Jason — Sat, 23 Feb 2008 00:10:50 +0000

Final Cut Pro is a huge application. It has loads of options, oodles of customizable features, and even a talking yak.

For real.

It also has something called Media Manager.

What does it do? Lots. Why should you care? Because if you’re like me and you do all of your video work on a laptop with limited hard drive space, this can be a life-saver. Media Manager allows you to capture all of your footage to an external drive, do your editing at home, then apply the polish when you’re out of the dungeon.

Here’s an example. Say you’re working on a project that you’ve just finished editing. There’s still a bunch of work left to do (color grading, motion graphics, and some audio work), but you’re leaving the apartment for a bit since the place needs to be fumigated because your idiot roommate dog-napped a flea-ridden mutt from one of the hobos under the overpass. The client doesn’t give two flips about it and still wants the video done NOW. Time to take it to the coffee shop where you can suffocate your pain with some caffeine.

Oh wait. The source files take up something like 24GB on your external, but you’ve only got 2GB left on your MacBook Pro. Your mind turns from caffeine dreams to blood-red visions of the apocalypse. But alas, unlike your roommate (or your client), Final Cut Studio is ready and willing to help you in your time of need.

From within the Browser in Final Cut Pro, right-click on the sequence you’re working on. Select “Media Manager…”. A dialog box pops up that gives you a couple of neat bar graphs and a handful of options. You’ll mostly want to leave those alone for now. Just take a look at the graphs near the top. This shows you just how much unused crap you’re about to leave out of your soon-to-be modified project file.

Once you select a destination for your files (I chose Desktop because this junk needs to get done NOW), go ahead and hit ok.

Media Manager copies only the parts of the source files that you’re currently using, then places them in the destination folder, creates a new project file for you, and automatically links the referenced clips in the timeline to the new source files. Pretty slick, no?

If you’re thinking ahead you may have realized that this isn’t entirely foolproof. If you need to change an edit by making it slightly longer you’re out of luck. It is what it is at this point. That’s why getting a lock on your picture edit is so important. But you’re completely free to play around in Color, add in your Motion content, or send it onto Soundtrack Pro for a little audio massaging.

Media Manager has some other helpful abilities, but this is the one I find the most useful. Especially when the client won’t stop calling and the exterminator is screaming at you to stop what you’re doing and get out so he can do his job, which he so very clearly despises.

What a sack.

$10 bucks says he steals something from my room.

Quickie: Soundtrack Pro

Jason — Sat, 16 Feb 2008 15:28:56 +0000

If you’re the kind of person that spends any amount of time in Final Cut Studio, and you’re also the kind of person that went out and bought Apple’s 30in Cinema Display, chances are good you’re somebody who is a fan of keyboard shortcuts. So here’s one I think you’ll like.

As you’re working hard on an audio project in Soundtrack Pro, you’re likely to be switching between the timeline editing tools rather frequently. Given the relative size of the toolbar to the rest of the screen (that’s you’re 30in screen that everybody told you was WAY too big), traveling back and forth can become something of a pain.

Enter the world of the grave accent. And yes, it’s every bit as dramatic as it sounds.

At any time, and at any location from within Soundtrack Pro, simply hit the grave accent (`) key and wham-bam-shamina you’ve got yourself a HUD. This little trick gives you easy access to the selection tool, timeslice tool, both blade tools, both lift and stamp tools, and the scrubbing tool. Anywhere. Anytime.

So the next time somebody makes fun of your massive screen because it takes a minute and a half for the mouse to travel from one side to the other, tell them to shove it and show them this sweet little trick. They’ll not only be super impressed with your in-depth knowledge of Final Cut Studio, you’ll also give them one more reason to feel shame over buying the 23in model just because it “seemed more practical” at the time.

No regrets.*

*I’m still paying off that screen. But it looks AMAZING.