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November 3, 2025

Apple is expected to release macOS 26.1 either today or tomorrow. While I haven't upgraded to macOS 26, yet, I will upgrade to 26.1. My plan is to wait a week after Apple releases 26.1, check the web to see if there are any problems that concern me, then upgrade. Most likely, I'll upgrade next week. I'll let you know how it goes.


Remember! If you depend upon any application for your work, make sure to check their website for macOS 26 compatibility! It is far easier to wait for an app to be upgraded, than to suffer through downgrading macOS.

It's getting toward the end of the year, but something new is always happening.


Check out the latest Media Industry News - new stories posted multiple times each week.

Everything you need...

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Last week, researchers at the University of Cambridge and Meta Reality Labs released a report comparing screen resolution to the resolution of the human eye. This also includes a very useful calculator that determines the optimal resolution for your computer monitors.


This report is well worth reading.

Last week, a reader sent me a report about problems when deinterlacing media in Final Cut Pro 11.2 which prevents exports if deinterlacing has been enabled.


Yes, there's a the workaround. 

Last week's webinar - "Ask Larry Anything! - covered more than 20 viewer questions! I liked this session a lot because I got to present ideas I've often mentioned in passing, but hadn't covered in depth.


We discussed exporting, plus questions on Final Cut, Motion, and Premiere. (Another webinar on Nov. 12 - details next week.)

I have three highlights from last week's webinar for you.


The first looks at how Adobe has improved setting and adjusting keyframes in Premiere Pro 25.


Next, we've talked a lot about video compression over the years, but I realized I've never written a tutorial on what determines the size of compressed video, and what you can control to change it.


I corrected that lack in last week's webinar.

Whether you love it, hate it, or simply accept it as “the way things are,” vertical video is everywhere – especially on social media.


Here's how to create vertical video projects in Final Cut Pro 11.

Bill Clough is a retired journalist, having spent 60 years behind a viewfinder, a microphone or a keyboard.


He’s developed two acronyms to prevent problems during production and post; these are especially helpful if you are relying on volunteer help to shoot or edit your videos.

Last week, I wrote about how to move media from a media asset manager into Final Cut Pro and Premiere Pro.


This week, I show the same technique optimized for DaVinci Resolve.


I was intrigued reading the Cambridge University research report on how much detail the eye can actually see. According to Wikipedia, the Snellen Eye Test Chart (which you see in every eye doctor's office) was created by Herman Snellen in 1862 to test vision acuity. That's evolved into the current LogMAR chart but neither have been empirically tested.


So, the researchers from the University of Cambridge decided to find out. The human eye, like a camera lens, views the outside world using a field of view shaped like a cone. So, it made sense to determine how many pixels per degree we see, rather than pixels per inch or centimeter. The Snellen chart assumes human vision is 60 pixels per degree (ppd). But, this new research proved we can see black and white text at 94 ppd, red and green patterns at 89 ppd, and yellow and violet at 53 ppd. (Link)


These numbers, too, are not surprising. Text that is colored is harder to read, especially if there is not sufficient contrast with the background.


I remember writing, back when 4K was just starting to appear in production, that we really didn't need 4K because, at normal viewing distances, we can't see the extra pixels. Naturally this didn't stop manufacturers from pushing 5K, 6K, and, now, 8K monitors. 


IEEE research in 2023 also showed that, "on average, subjects prefer to sit at a distance of 2.07 [times the screen height]". What this means is that "the increased video quality of 8K HDR against 4K HDR content decreases with distance... beyond 2H the quality difference was very little or zero." (Link)


While there are benefits to shooting with frame sizes larger than 4K in terms of video walls, improved chroma downsampling, and the ability to crop to match different frame sizes, there's no significant benefit to distributing media larger than 4K, and, in most cases, not even larger that 1080p


It was an interesting report, giving me lots to think about.


Until next Monday, stay hopeful, stay healthy and edit well.

TUTORIALS & REVIEWS

» What's the Best Way to Set Keyframes in Premiere Pro 25? (Tutorial)

   » A short illustrated video that shows the entire process.


» What Determines the Size of a Compressed Video File? (Tutorial)

   » These are the factors that affect file size and what you can tweak.


» How to Create Vertical Video in Final Cut Pro 11? (Tutorial)

   » This shows how to use both vertical and horizontal video in a vertical project.


» Two Acronyms to Improve Your Videos (Tutorial)

   » Bill Clough sent me these and I wanted to share them.


» Caution When Deinterlacing in Final Cut Pro 11.2 (News)

   » Deinterlacing seems to be preventing exports. There's a workaround.


» How to Import Media From a Media Asset Manager Into Resolve (Tutorial)

   » This illustrates different workflows to move media from MAM to NLE.

Ask Larry Anything!


“I really liked this session, because it covered subjects I always wanted to discuss, but hadn’t the time." (Larry)


More than 20 viewer questions, including:


  • How should we archive media and projects?
  • What determines compressed file size?
  • Would you explain Final Cut’s export settings?
  • How can we create a “jittery old film” look in Motion?
  • How should we set keyframes in Premiere?
  • What’s a better way to set audio levels in Premiere?


Everything you need - all in one place.

DaVinci Resolve 20 - Master Bundle


NOW INCLUDES the latest Fusion webinar! This bundle goes beyond illustrating new features, it explains WHY, along with new techniques, keyboard shortcuts, and extensive “how-to’s” to help you make the most of this software. (6 sessions, 5.5 hours)


  • Complete workflow - from import to export
  • Double-system syncing
  • Multicam editing
  • Speech-to-Text editing
  • Fairlight audio - record, repair & mix
  • Color Page Tools & Video Scopes
  • Learning Fusion to Animate Text
  • AI-powered Tools in the Studio version


Everything you need - all in one place.

TOP 4 TITLES LAST WEEK

ARTICLES


» Compare Speed: FCP, PPro, Resolve


» Configure an M4 Mac for Video Editing


» Review: Epson v600 vs. v850 Scanners


» How to Move Files Out of FCP Library


» View all Larry's free tutorials here.

WEBINARS


» Video Training Library Membership


» Master Bundle: Final Cut Pro 11


» 336: Multicam Editing in Final Cut Pro


» 388: Ask Larry Anything!


» See all of Larry's online training here.