2009

April

• Automation Mixing

• Stills in Final Cut Pro

March

• Plugins You Should Know About

• FXScript: FCP’s Most Under-appreciated Feature

• Inside the New Mac Pros

• The History of SmoothCam

• ProRes: A Closer Look

February

• Setting Up Soundtrack Pro For 5.1 Monitoring

• Editing in Motion Part 2

• Editing in Motion Part 1

• Composite Modes in Final Cut Pro

• RED+FCP: ProRes Clips from Log and Transfer

• 3 Ways to Get RED Footage into Final Cut Pro

• Choose Apple’s Spanish keyboard, even if you only type in English

• Discover DisplayPort’s untapped power for pro video

January

• RED+FCP: Native REDcode Importing

2008

December

• Do It Yourself 6TB Video Array on a Mac

• Large Scale Final Cut Pro Installations, Part II

November

• Tutorial - How To Get The Most Out Of Your Easy Setup Part 3

• Why Pro Res Should Be Your Only Res & The AJA IoHD Part 1

• Reality TV Post with Final Cut

• Make Custom Templates for FCP

• Tutorial - How To Get The Most Out Of Your Easy Setup Part 2

October

• Fun with Motion Templates

• Preparing FCP Sequences for Color

• Time Stretching Music

• Surround Patching

• Optical Flow Speed Effects

• DVD Studio Pro: Leaving 4x3 behind for good

September

• How To Get The Most Out Of Your Easy Setup Part 1

• Offline To Online For An HD Project

August

• The Magic of Conform in Soundtrack Pro 2

• Tapeless Cinematography Workflow v2

July

• Compressor 3: A “virtual Cluster” Makes an Impressive Speed Boost

• Ten Reasons To Switch To Final Cut Studio