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Tag: Final Cut Pro X

Best Ways to Quickly Compress a Video File

Video files are notoriously large. Now with HD and 4K… whoa! If you’re editing your home movies on your computer, you’ll quickly realize your final masterpiece is going to need some squeezing before you can share it. Here’s how…

If you happen to find yourself hyperventilating while trying to compress a video file, this post should offer you a shortcut to the finish line. The key word in today’s title is quickly. To be clear… For those of you who practice the craft at the professional level, I guarantee you know more about this task than I do, and I’ll let you lead the way on what is actually ‘best.’

This space is reserved for everyone else on planet Earth who may have shot or edited a family video into an extraordinarily-large file. And then you need to magically shrink the size to email the file or post it somewhere online.

And, I’ll be working in an Apple ecosystem on my 2017 iMac.

Still here?
All right then.
After that rather lengthy disclaimer, let’s begin…

It Was a Dark and Stormy Night…of Editing
The universe of video file compression can be unpredictable and sometimes stormy. It’s a place where even pros can encounter stiff winds. It’s also something of an art form that I guarantee you don’t want to explore if you don’t have to.

So, here are a few simple solutions to easily chop down your video file size…

Final Cut Pro X
If you want access to a more advanced editing tool, you’ll want to invest in Apple’s Final Cut Pro X, which costs $299.99. Sure, that’s a hefty investment, but a fraction of the cost of what Pro editing software used to run.
(Professional editors – Please hold your boos about FCPX.
Hey, you’re not even supposed to be here!)

Final Cut Pro X also offers you some decent file compression choices when it’s time to export your video. Here’s how to find them:

  • First go to ‘File’
  • Then ‘Share’
  • And ‘Master File’

Then select your Video Codec:

  • ‘H.264 for Faster Encoding’ or ‘H.264 for Better Quality’
    (‘Faster’ usually creates a smaller file.)

Then, select ‘Computer’ under ‘Format’
And choose your resolution:

  • 1920 x 1080
  • 1280 x 720
  • 960 x 540
  • 854 x 480

Of course, the smaller the resolution, the smaller the resulting file size.

If you want to shrink it more, I think you’re out of luck.
Unless…

Apple Compressor
…Unless you also buy Compressor, Apple’s separate file-compressing software.

This is FCPX’s companion ($49.99) that’s designed to create just about any size or flavor of video file you’ll ever think of.
(Plus, it can create multiple versions as one job.)

You can bring the resolution down to whatever you want.
(With some practice)
Plus, you’ll quickly see there’s a prebaked option that creates a wicked-small file.
(428 x 240)

Compressor is probably more than you need, but for fifty bucks, you’ll never complain about this topic again.

The Cost for Getting It Done ‘the Right Way’
So, for a total of $350, you’re set to edit, encode and compress like a professional.
(Sure, there are pros out there who walked away from Final Cut Pro platform after the 2011 FCPX redesign made it unrecognizable to long-time fans of FCP7. But others made the transition and have been satisfied with the ongoing free upgrades FCPX has received over the years.)

But you need not worry about this particular controversy as FCPX is plenty powerful for all of your personal editing/compression needs.
(It is for me!)

I should also mention that if you’re spending some money, there are great non-Apple options out there to consider like Adobe Premiere Pro CC and Adobe Media Encoder CC.

But what if you’d really prefer not to invest any money at all to get the job done?
Are there free options?
There are sure are!
(Though you won’t have as much flexibility.)

QuickTime Player
You can shrink your video file in the QuickTime Player application just by creating a new version with different settings:

  • Go to ‘File’
  • Then, ‘Export’
  • And click on ‘480P’
    (That’s the smallest file size option. It actually squeezed a test MOV file for me down to 640 x 360.)

iMovie
Using Apple’s iMovie editing software is another great choice.
Once you get your video file into the program-

  • Go to ‘File’
  • ‘Share’
  • ‘Resolution 540p 60’
  • ‘Quality: Low’
  • ‘Compress: Faster’

iMovie was able to create a smaller file size than QuickTime by automatically reducing the data rate.
(Yes, that’s another variable. No, don’t ask.)

And iMovie was also able to beat QuickTime at the compression game while still keeping the frame size a little larger.
(It’s really nice when your friends and family don’t need a magnifying glass to watch one of your videos.)

Getting the Job Done for Free
So, if you have to choose between QuickTime and iMovie as the free applications that Apple gives you, iMovie is the better choice.

That said, QuickTime is the easier choice.
(Unless you’ve already been editing your video in iMovie.)

Tech Inner Peace
If you’re beginning to get the feeling that there are no truly ‘simple’ solutions in the video editing and compression world, congratulations… You’ve begun your journey to knowing what you’re talking about.

But the really good news is you don’t have to feel like an amateur either when playing in this pond of complexity.

If you want to spend some money to get the job done… good choice.
If you want to MacGyver the solution for free, Apple gives you tools for that too.

And if you’ve got some other ideas to offer, do share!
…Like creating and sharing an animated GIF from your video.

Hold your applause.
Applause

All right, don’t.

How to Create Videos with Ken Burns Photo Zooms in 10 Steps

If you don’t know what to do with all of those photos you snap, why not make some videos out of them with cool zooms. Don’t know how? Well, today is your lucky day!

In the spirit of April Fools’ Day, I’ve decided to play a little hide and seek with a few of my photos and the Ken Burns effect in Final Cut Pro X. Can you figure out what the photo is before it zooms out?

I’ve got seven pictures to share in a little over 30 seconds…
Go!


Quickly Create a Photo Montage Video with Ken Burns Effect in FCP X

Here’s how I pulled it all together…

1.
Find a few unusual horizontal photos in your Lightroom collection.
(What? You don’t use Lightroom? Here’s how to switch.)

2.
Export your photos into a separate folder.

3.
Open Final Cut Pro X.
(You can also use Adobe Premiere Pro… although these steps are for FCP X.)

4.
Import the photos into a new timeline.

5.
Use the Ken Burns zoom effect, which you can access by first clicking ‘Crop’ on the bottom left drop down located next to the right video window.

 

 

 

 

 

6.
And then click on ‘Ken Burns.’

 

 

 

 

 

7.
Add a brief freeze frame to the top of each zoom to help set up the tight shot by clicking on the ‘Edit’ drop down menu and then clicking on ‘Add Freeze Frame.’

 

 

 

 

 

 

8.
Then, just freeze the very first frame of each zoom and add it to the timeline.

 

 

 

9.
Go to freemusicarchive.org to find some music.

10.
Export and voilà!

I Sold My Soul to the Digital Devil

Is Final Cut Pro X sharp enough to erase that evil deal you made to shoot movies on your camera?

If a stranger with a wicked sun burn walked up to you and said you never needed to use your camcorder ever again to record your home movies, you’d take the deal, right?

We all did this a few years back.

The last tape-based camcorder I ever bought was a Sony Mini DV unit back in 2002.

I edited the content by sucking it onto my iMac via FireWire. My editing software was iMovie and then later, Final Cut Pro.
Everything worked just fine, and I was rather chuffed with my little home media studio of the early 21st century.

Then one day, digital cameras started showing up with little red movie record buttons, and everyone suddenly realized you didn’t need tape-based camcorders anymore. Heck, you didn’t even need a camcorder. Cameras could do double duty.

Sure, the video quality wasn’t as good. There were file size limits that restricted how long you could record. And to edit your digital movie files, you had to buy external hard drives to handle the massive movie clip sizes. And the file size problem really exploded when HD recording came into fashion.

You theoretically could save the files forever. But you also had to worry about your hard drives going belly up with all your precious family memories.
(This has occurred to you, hasn’t it?)

But storage, backup, and file corruption concerns aside, I have to admit it’s pretty cool to plug your camera’s little SD card into your computer and watch your movie files quickly transfer over.

So yes, it was a time saver.
Yes, it was easier.
Yes, I liked it way better.
(really)

…BUT
(You knew that was coming.)

There is one problem that nobody ever talked about-

TRANSCODING.
No, not transwarp.
TRANSCODING!

The Deal with the Digital Devil
You must have wondered somewhere along the way how a tiny four gig SD card in a camera could record so much video. Well, it’s called file compression, and that’s your camera’s secret voodoo.

There are a few types of movie recording codecs that perform this tricky task to squeeze your movies small enough to allow them fit onto your camera’s memory card. A few of the more common codecs are H.264, Motion JPEG, and AVCHD.

These highly compressed movie formats create video files that look great when you play them back on your camera or your computer, but you couldn’t edit with them. (That’s buried on page 17 of the contract.)

So what good were these movie files if you couldn’t do anything other than look at them?

The fix here was to reprocess or “transcode” the files into a different video codec that your editing software could actually handle. This meant creating a larger and less compressed duplicate of each movie file that would play nice with your editing software.

Got that?
Just nod your head, and let’s move on.

The Devil is in the Details
As a new daddy, I went about my business editing little movies of my son’s early days by first transcoding every frickin video clip I wanted to edit with.

You can imagine the organization that kind of workflow required.
-Duplicate files.
-External hard drives filling up at triple speed.
-Archiving hell.

I’ll just say my desk at home, let alone my computer’s desktop, does not quite live up to the clean and simple aesthetic of our almost all-digital world.

But you do what you gotta do.
Right?

Was I the only father out there who had a deal with Mephistopheles to make home movies? Nobody else seemed to be talking about it.
(Maybe it’s in the contract. I really never got around to reading mine.)

The Phoenix of Final Cut Pro
A year ago, Apple shocked the digital editing world and killed off its wildly successful Final Cut Pro editing platform. Almost a decade earlier, Final Cut had brought professional non-linear editing to the masses for a fraction of the cost of competing systems.

Then Apple pulled the plug by reinventing Final Cut Pro all over again. The problem is the new version, Final Cut Pro X, is an entirely new program, “built from the ground up.”
It’s not compatible with the old version, Final Cut Pro 7.
(There is no version 8 or 9.)
So you can’t move your old or ongoing editing projects to this new editing platform. Sorry.

I got stuck in the eye of this hurricane, and for the past year I’ve been struggling to decide when to make the transition.

First off, Final Cut Pro X only works on Lion, Apple’s current operating system (and soon to be released Mountain Lion). So I first had to make the Lion upgrade.

Then, there was sooooo much bad press about how inferior this new version of FCP was. Angry editors called it iMovie on steroids. There was a consensus in the professional and semi-professional editing communities that they felt abandoned by this more limited editing platform.

So I wasn’t too eager to jump into the mess.
I’ve got plenty of my own digital messes to clean up!
(plus a few analog ones too)

But Apple kept banging their drum about how much better FCP X really was. They said you simply had to invest a little time to learn the new interface.

But there was one particular FCP X feature that caught my eye.
Apple said you didn’t need to transcode your files anymore.
You could throw just about any video codec at FCP X, and it could work with it.

Bold words.
But still I held off.

Fast forward to our current timeline, and Apple, never standing still, has been busy improving FCP X through multiple software updates.
And there’s a rumor out there that the old FCP 7 platform will cease working with the Mountain Lion OS, coming out later this month.

So I figured it was finally time.

Final Cut Pro X to the Rescue
Last week, I went to Apple’s App Store, which always has a friendly icon waiting eagerly on my iMac’s dock.

I clicked on it and downloaded Apple’s most controversial product since the iPhone 4 ‘Antenna-gate.’ (Remember all that hoopla with the antenna reception problem?)

The time had come to face my digital gauntlet.
I watched my finger make its move to launch Final Cut Pro X.

FCP X quickly sprung to life.
Would the continuity of the Lester family record on video be ensured for eons to come?
(or at least the next couple of years?)
Drum roll please…

Well, of course it worked.
But as I’ve said, the devil is always in the details.

While this is not a product review, let me confirm that FCP X is better and faster in a whole host of ways. It’s also still missing some functionality that was standard with the older version. One example is it takes three steps to blend a transition between two audio tracks instead of the old way, which took one.

I’ll live.

The Big Answer
And what about TRANSCODING?
Remember, Barrett’s holy grail?
Have we forgotten about that already?!

Can Final Cut Pro X edit my native H.264 .MOV files fresh from my Canon SX230 (standard-issue toddler cam) or Canon Elph 300 (in-a-pinch pocket cam)?

Perhaps the question should be,
“Does FCP X WANT to edit with my camera’s native H.264 movie files?”

I don’t think it really does, but it grudgingly will when told to.

FCP X quickly gave me a few opportunities to transcode my imported movies.
Pro Res 422 (a beefy codec) is now FCP X’s default transcoding option.
It was almost like, “Would you like fries with that?”

Clearly Apple’s declaration that ENDS THE ERA OF TRANSCODING has been somewhat exaggerated.

Look, I understand that better ingredients create a tastier pie.
And the same holds true in the digital world. Non-optimized movie files will make FCP X and your Mac work harder. And maybe not all Macs (especially older ones) are up for the task.

But my 2010 iMac is a 2.93 GHz Intel Core i7 with 4 gigs of RAM,
(I’m not bragging) and should be ready for the challenge. Yes?

So I refused all requests to transcode and hit the proverbial red button.
Cue another drum roll…

EUREKA!! It worked!
(And there was much rejoicing in Barrett’s brain.)

Let me proclaim this again loud and clear throughout the land!

I DO NOT NEED TO TRANSCODE MY H.264 .MOV FILES TO EDIT IN FINAL CUT PRO X!

I am free!!

Wait, did I just cut another deal with Beelzebub?
Hmmm. I don’t think so.

So today’s story has a happy ending.
Technology has made my life a little easier.
(Savoring the moment…)

Digital Zen restored.
I am At Home with Tech.

Now please excuse me while I get to work editing my five-month backlog of family videos. I think I’ll be needing to move at transwarp speed to catch up!