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Revolutionary video editing. Powerful media organization. Incredible performance for 4K video. The way ahead for post-production ishere.
Editwithoutclipcollisionsorsync problems while using Magnetic Timeline, Clip Connections, andmore.
Find any clip inside of a few clicks using acombination of automatic metadata and customkeywords.
Take full benefit of the incredible power of Mac Pro to edit and deliver 4Kvideo like neverbefore.
Built to fulfill the needs of todays creative editors, FinalCutPro breaks clear of the restrictions of old-fashioned timeline tracks. A dynamic editing interface allows you to experiment freely while using the services of extraordinary speed andprecision.
With a visual simplicity that reveals powerful professional tools just when you really need them, the Magnetic Timeline in FinalCutPro provides an exceptionally fluid, flexible approach to edit. Assemble shots easily as clips magnetically seal to eliminate unwanted black gaps inside the timeline. Similarly, clips get out of the strategy to avoid clip collisions and sync problems. If you would rather work with traditional, non-rippling editing behaviors, you need to use the Position tool to create your timeline. Interactive animations teach you exactly whats happening since you work, so that you can easily take a look at newideas.
Assemble sophisticated multicam projects with unprecedented speed and suppleness using FinalCutPro. The 64-bit engine means that you can work natively along with real time using a variety of formats, frame sizes, and frame rates. Create a Multicam Clip by automatically syncing around 64 angles of video and photos, or choose custom sync options to precisely align footage determined by time of day, timecode, markers, or audio waveforms. To adjust a Multicam Clip, double-click to spread out it inside the Angle Editor, which helps you to move, sync, and edit the feel of individual clips. When its time to take, simply drop the Multicam Clip to your project and click inside customizable Angle Viewer. Or use keyboard shortcuts to seamlessly switch between car stereo on the fly. You can also combine audio channels from multiple cameras with just aclick.
Edit multichannel sorround sound systems faster than ever before right inside timeline. A simple keystroke helps you to expand any audio file in place to help you view its separate components. Easily enable or disable entire channels, select ranges to regulate timing and volume, and utilize the embedded audio fade handles to quickly smooth transitions. For a complete look at your audio file, access the Inspector, where you could rename and hide individual channels. And if youre using the services of Multicam Clips, it is possible to switch between and combine multiple audio sources with aclick.
Clip Connections don't make it hard to place clips for example B-roll, sound files, and music from the timeline in order that they all move together because you make changes even within the most complex projects. FinalCutPro automatically produces a Clip Connection whenever you drag another element to thetimeline.
Its very easy to reorganize your story while you work, because you'll be able to move an area of any project in asingle step. Or press a modifier factor to keep Connected Clips located in place when you rearrange clips within the Primary Storyline. Clear visual connections make it simple to hand off a project completely to another editor or resume editing for a laterdate.
Compound Clips are automatically saved time for the Library, making it all to easy to reuse them in other projects as an example, when building a unique sound effect with layered audio. And Compound Clips work similar to Multicam Clips, so changes you make inside the Browser instantly ripple across yourprojects.
The Magnetic Timeline improves on traditional strategies to trimming, including ripple, roll, slip, and slide edits. If you would like additional control, double-click an edit to start the Precision Editor and earn trims directly inside timeline. The Precision Editor expands your look at the edit point so you're able to see both used and unused portions of the clips. Then skim entire clips and adjust edit points with aclick.
With the Auditions feature, you may collect multiple alternative shots with a single location inside the timeline and quickly cycle through them in context. Test different B-roll shots, different reads of the identical lines, different color grades for the similar shot, or different effects. Or use Auditions to make multiple versions of one's project for different deliverables and venues. Its simple to create an Audition simply drag shots associated with a length towards the same place inside the timeline and select Add to Audition. As you experiment with different shots, the Magnetic Timeline keeps everything insync.
Choose from simple animated 3D templates or use cinematic templates with built-in backgrounds to generate stunning looks in a single click. Customize with many materials, realistic lighting options, and text styles. And instantly open any title in Motion for total control.
Use the Color Correction effect to quickly grade your image, web site simultaneously view around four separate scopes. Apply Shape, Color, and custom Draw masks to pinpoint effects to specific elements of the frame. Andsave any effect being a preset to only reuse later.
Todays video editor works with more formats and footage previously before. FinalCutProX assists you to handle itallwithease, offering a streamlined import interface and dynamic new solutions to organize yourmedia.
Libraries are young source clips and edited projects inside a unified bundle. You can organize your media into separate libraries and open the libraries you would like to access the information you need. Its an easy task to work across libraries and manage media between them while using the Librarysidebar.
Libraries also enable improved collaboration. You can store libraries in a system location and share your creative work together with others by passing libraries between editors, assistants, and high-end sound and color finishing. You can also tend to keep source files, optimized and proxy media, and render files from the library bundle or stick them in external folders to simplify multiuser workflows.
Seamlessly import media from cameras, DSLRs, and drives while using the unified import window. The streamlined interface features a customizable List view well suited for reviewing metadata as well as a Filmstrip view that makes it an easy task to browse a lot of footage. The newly integrated sidebar permits you to control media management, transcoding, keywording, and image analysis from just one display.
FinalCutPro dramatically accelerates preparing your media by analyzing your source material inside background as you edit. Content Auto-Analysis scans your footage and produces metadata determined by the way editors like to help range-based tags for media attributes, camera data, shot type, and regardless of if the shot contains anyone, a couple, or even a group. Use these tags to sort, filter, and look yourclips.
Set up Auto-Analysis that occur during import or analyze clips later in case you prefer. Content Auto-Analysis also performs processor-intensive tasks beforehand, including evaluating Color Balance and repairing typical audio problems. Then you need to use these features in actual time as youedit.
Search more precisely by creating your individual keywords and assigning those to clip ranges. Skimming and keyboard shortcuts enable you to efficiently browse hours of footage, and you'll be able to make and look after multiple range selections even on a single clip. Use range-based keywords in conjunction with rich metadata from Content Auto-Analysis to locate any shot that has a few keystrokes. Thats a major improvement over old-fashioned staticbins.
Set up Smart Collections for individual events or perhaps an entire library to arrange clips without moving or copying files. Create a search using any mix of metadata and keywords, then save it like a Smart Collection. And every new library begins with useful Smart Collections already devised for you, which means your material will organize itself before youbegin.
Built-in content browsers permit you to preview and appearance for photos, music, and sound files without leaving Final Cut Pro. Easily access visual content over the Photos Browser, such as your libraries from iPhoto, Aperture, plus the new Photos app. Final Cut Pro supports MP3 and AAC files, so you need to use iTunes because your built-in music library. Final Cut Pro offers more than 1300 royalty-free sound clips through a free software update, as well to be a range of generators including graphic backgrounds and textures that add polish for your projects. When you find the information youre seeking, just drag and drop to provide it directly to your timeline.
Designed to look at full selling point of the power of OSX and multicore Mac computers, FinalCutProX operates at blazing speeds sufficient reason for superiorquality.
Work faster than ever before with FinalCutPro and MacPro. Dual-GPU support provides incredible real-time performance when utilizing layered effects and multiple streams of 4K video. And FinalCutPro uses both GPUs to accelerate background rendering and quicken demanding tasks like optical flow analysis. Ultrafast I/O provides 4K video monitoring via Thunderbolt 2 andHDMI.
Work with larger projects, larger frame sizes, more frames in RAM, and deeper multilayered effects.
See dynamic feedback inside a highly responsive interface enhanced for Retinadisplays.
Save time with faster processing over the use coming from all CPUcores.
Trust colour consistency across FinalCutPro, Motion, Compressor, andQuickTime.
Using the Shared Render Engine, create blurs, scales, and lighting in floating-point, linear-light color space the identical quality obtained in high-end compositingsoftware.
Final Cut Pro supports a wide collection of professional formats including REDCODE RAW, Sony XAVC, AVCHD, H.264, and AVC-Ultra. You can also natively import, edit, and deliver MXF files. And Final Cut Pro supports a variety of audio formats for instance MP3, AAC, AIFF, SDII, and WAV.
Edit flexibly with support for image sizes from SD to 4K and beyond. And on an iMac with Retina 5K display, you'll be able to view full 4K video with pixel accuracy and now have room for ones browser andtimeline.
Create more advanced, higher-resolution effects that play in realtime.
Eliminate interruptions to editing while rendering, transcoding, and movingmedia.
Render with pristine quality across FinalCutPro, Motion, andCompressor.
Edit full-frame 4:2:2 and 4:4:4:4 HD, 2K, 4K, and larger video sources including ProRes Log C from ARRI ALEXA and AMIRA cameras with multistream, real-time performance in FinalCutPro.
Use Thunderbolt I/O technology inside the latest Mac computers to daisy-chain nearly sixhigh-performancedevices, including a video capture device, a high-speed external drive, along with a high-resolution display. You canalso use Thunderbolt video devices to output car stereo to an outside broadcastmonitor.
Final Cut Pro enhances the entire post-production workflow. Import, organize, edit, add effects, sweeten, grade, and deliver with unprecedented ease.
Make every effect special.
Download in the Mac App Store for 49.99.
Advanced encoding. Simplified.
Available from your Mac App Store for 299.99.
Just click to download and install.
Directors John Requa and Glenn Ficarra teamed with editor Jan Kovac to take their new Will Smith film in FinalCutProX. Read more
TV editors create compelling local newswith stunning 3D graphics using FinalCutProX, Motion5, and MacPro. Read more
Mexican TV broadcaster of hugely popular telenovelas rolls in FinalCutProX for fasterworkflow. Readmore
See whats new in version 10.2 Motion graphics set the scene inside latest turmoil Final Cut Pro. Create stunning 3D titles inside of a few clicks. Adjust the style, lighting, animation plus much more with simple controls that generate studio-quality titles. Colour grade with multiple scopes, easily apply custom masks and save custom effects for fast access later. You can do it all over a wider choice of video, because Final Cut Pro adds support with the latest pro formats from Panasonic and Sony and features incredible GPU acceleration for RED RAW footage.
Read about professional video editors in broadcast, education and show filmmaking using Final Cut ProX.
Directors John Requa and Glenn Ficarra, in addition to editor Jan Kovac, cut their box officetopping feature entirely in Final Cut ProX.
A thriving ecosystem permits you to streamline your workflow and enhance the feel of your projects with powerfulutilities, inventive plug-ins and exquisite content.
The blend of Final Cut ProX and MacPro enables you to edit faster than previously before at 4K and beyond.
Make every effect special. Create stunning effects and sweeping motion graphics, including studio-quality 2D and 3D titles that it is possible to immediately open in Final Cut ProX.
Advanced encoding. Simplified. Quickly encode video employing an intuitive interface and from now on create an iTunes Store Package to streamline delivery of your respective film on the iTunesStore.
Download on the Mac App Store.
Available in the Mac App Store.
Fine-tune your Final Cut Pro X workflow with third-party products, detailed online tutorials, and support from your thriving community of industry professionals.
Learn more details on the wide assortment of plug-ins, devices, and content for usage with FinalCutProX, Motion5, and Compressor4.
Get trained, certified, or just approximately speed on Apple pro video apps by using a wealth of online trainingmaterials, ebooks, white papers, plus more.
Whether youre a new comer to Final Cut Pro or perhaps looking to acquire some tips, you are able to get as much as speed quickly by viewing online tutorials furnished by leading video training developers.
Larry Jordan provides comprehensive training to video editors using Final Cut Pro. His unique style, techniques, methods, and resources raises your productivity and improve your skills. Power up your learning of Final Cut Pro, new or old, with Apple Certified Trainer Larry Jordans free articles and videos.
Import. Organize. Edit. Add effects. Sweeten. Grade. Deliver.
Youll find breakthrough features in most part of theworkflow.
through every portion of the post-productionworkflow.
Work faster previously with FinalCutProX and Mac Pro. Dual-GPU support provides incredible real-time performance when using the services of layered effects and multiple streams of 4K video. And FinalCutPro uses both GPUs to accelerate background rendering and accelerate demanding tasks like processing RED RAW files, Send to Compressor, and optical flow analysis. Ultrafast I/O provides 4K video monitoring via HDMI and Thunderbolt2.
No longer restricted towards the 4GB limit of 32-bit applications, FinalCutPro uses each of the RAM within your body to handle larger frame sizes and more frames in memory. You is now able to create more extensive projects and help deeper, more interesting multilayeredeffects.
FinalCutPro natively supports more formats than ever before, including REDCODE RAW, SonyXAVC, AVCHD, H.264, and AVC
To obtain a free trial of FinalCutProX version 10.2.2 to your Mac, enter your name
and email address inside the box below, then clickDownload.
If youre utilizing a previous version from the FinalCutProX trial, you can use this version free for one more 30 days.
Final Cut ProX has a Mac with OSX v10.10.4 or later, 4GB of RAM 8GB suited to 4K editing and 3D titles, as well as an OpenCL-capable graphics card or Intel HD Graphics 3000 or later. For details, see
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Explore FinalCutProX Resources to learn a little more about the application and it is ecosystem of third-party products and training.
To install, first open the disk image, then double-click the installer package. You will probably be guided with the installationprocess. You can install the trial application even when you already have an earlier licensed version of FinalCutPro.
If youre already employing a licensed copy of a previous version of FinalCutProX, you'll be prompted to change your librarywhen the trial application is first launched. It is recommended to maintain a back version of your respective libraries beforeupgrading. Once your library is upgraded, you should update your licensed copy of FinalCutPro to gain access to yourupgraded libraries following 30-day trial periodexpires.
External monitoring of audio and video with third-party Thunderbolt and PCIe devices, or via HDMI on select Maccomputers
Full-screen, real-time preview playback of SD, HD, 2K, 4K, and 5Kmedia
Multicam editing with automatic sync and support for mixed formats, mixed frame rates, and nearly 64 cameraangles
Magnetic Timeline automatically keeps material in sync, prevents clip collisions, and eliminatesgaps
Clip Connections keep secondary material in sync while trimming and moving the Primary Storyline. Press a modifier step to keep Connected Clips stationary while slipping, sliding, or moving clips from the PrimaryStoryline.
Compound Clips allow complex compositions to get simplified in to a singleclip. Compound Clips are automatically saved on the Browser for convenient reuse, and changes to Compound Clips actively update in all of the projects where they've already beenused.
Auditions combine multiple clips to a single clip to find out alternative takes, color grades, or effects incontext
Mix frame sizes, frame rates, and formats inside same timeline around 5K in realtime
Edit at 23.976, 24, 25, 29.97, 30, 50, 59.94, or 60fps
Insert, Overwrite, Replace, Append, and Connect with keystroke or drag anddrop
Direct usage of iTunes, iMovie, iPhoto, and Aperture through MediaBrowsers
Snapping to Playhead, Skimmer, Clips, andMarkers
High-quality, real-time vectorscopes, waveforms, and histograms for both Viewer and Event Viewer. Vertical keeping of scopes below viewers optimizes onscreenspace.
Organize, view, mute, and export depending on automatically assigned or custom rolesmetadata
Inline Precision Editor allows skimming of used and unused media around edit point, plus trimming to Skimmer that has a singleclick
Trim Start, Trim End, or Trim to Selection within a single keystroke for fast news and documentaryediting
Beautifully animated and easily customizable 3D titles with many combinations of materials, lighting, and edges
Advanced chroma keying with controls for color sampling, edge adjustments, and lightwrap
Use Open in Motion on any effect, modify in Motion, and save as new in FinalCutPro
Access music, sound files, transitions, filters, color looks, and generators through MediaBrowsers
Over 113 filters, keys, blurs, and colorlooks
41 backgrounds, elements, solids, andtextures
Apply Draw mask to your clip with selections for linear, bezier, and B-spline control point smoothing
Multiple keyframe selection, copy, paste, and come in thetimeline
Trim, crop, and Ken Burnseffect
Three Retime quality settings: normal, frame blending, and optical flow
Multichannel audio editing for adjusting individual audio channels within the timeline, with capability to assign roles tochannels
5.1 surround monitoring and keyframe control forpanning
Preset animations for 5.1 surround panning for instance Back to Front, Rotate, Create Space, andmore
Audio enhancements for volume normalization, background noise removal, and hum removal for both 50Hz and60Hz
Unique Color Board with controls for saturation, exposure, andcolor
Balance Color instantly improves skin discoloration, removes color casts, and expands dynamic choice of bright and dark aspects of theimage
Keyframable masks with size, rotation, and softnessadjustments
Adjust the interaction style between masks with add, subtract, or intersectsettings
Supports real-time Look Up Tables LUTs from your latest pro cameras from ARRI, Canon, Blackmagic Design, and Sony
Single interface for importing from cameras, drives, network locations, and camera archives. Browse media in List view or Filmstrip view, and save Favorite locations on networks andvolumes when frequently importing through the sameplaces. The import window consolidates media management, keywording, transcoding, and image analysis options in to a single sidebar.
Apple ProRes family, a 10-bit, full-width VBR codec that supportsall major frame sizes and framerates from ProRes 422 Proxy to ProRes4444 XQ, including ProRes Log Cfrom cameras including ARRIAMIRA and ALEXA
2016 CBS Interactive Inc.
Editors Note: Clicking around the Download Now Visit Site button above will open a connection to your third-party site. cannot completely guarantee the security from the software hosted on third-party sites.
Editors note September 20, 2011: Apple has released a serious software update to Final Cut Pro X. Additional features added include support for XML, custom starting time codes, Xsan event and project compatibility, support for media stems/audio channeling, full-screen view toggle for Lion users, and GPU acceleration.
The important thing: Final Cut Pro X is a dramatic rewrite of Apples mature and well-developed video-editing software. It borrows some interface aspects of iMovie which could disappoint seasoned professionals, and also it loses many key features which can be simply a certain necessity inside professional world, like XML export. On the other hand, those seeking to upgrade from iMovie will discover a lot more features in Final Cut Pro X, but there are many caveats.
Final Cut Pro Xs bold philosophy of video editing certainly will take some becoming familiar with, in return, editors are going to be rewarded with blazing performance as well as a future where tapes are as outdated as wax cylinders. For amateur video editors, iMovie remains to be the best balance of features, convenience, and price. At this stage, Final Cut Pro X can be a 1.0 merchandise that still needs a lot more development. However, Apple has laid the groundwork for versions 2.0 and 3.0 to get much more compelling and usable.
Its been 36 months since Apple last updated its venerable Final Cut Studio 3 suite of applications. FCS 3, mainly because it was known, included Final Cut Pro 7, DVD Studio Pro 4, Motion 4, Soundtrack Pro 3, Color 1.5, and Compressor 3.5. Forces are in work changing the field of video editing, and even one of the most hardened video-editing professionals will advise you that editing has to evolve.
First, the price of productions has dropped drastically inside the last two years. An indie film several years ago will often have achieved some notoriety to get shot over a consumer MiniDV camcorder, however these days youll discover the same Canon 5D Mark II you have at home on the 1 million set.
Second, computer systems gotten much faster, with multithreaded cores and GPUs which could generate lifelike 3D graphics at 120 frames per second at resolutions double that regarding even 1080p video.
Now, think about the frustrations that editors feel when running Final Cut Pro with a Mac Pro with 16GB of RAM and eight cores, only to find that FCP are only able to address 4GB of memory in support of a few operations and codecs support any multithreaded operations.
Its not really that Apple hasnt been throwing resources behind Final Cut Pro. However, it is exactly the same reason so it took Apple six iterations of Mac OS X prior to the company finally were update the ubiquitous Finder app to 64 bits: rewriting applications is actually difficult. Even iTunes, which can be considered Apples most significant application due to its syncing abilities for the iPod and iOS, remains sitting around using 32 bits.
Third, like how blogging gave everyone the capability to compete with famous brands major newspapers, magazines, and publishers, YouTube, Vimeo along with other online video-sharing sites are giving legions of wannabe filmmakers a platform to show their work and show Hollywood you dont need millions of dollars to make something that many millions of folks will see.
Finally, lots of things can be said about Apple, but one thing that this company truly embraces is change. Ten years ago, Apple transitioned Mac OS 9 to your radically different Mac OS X. The first iteration Mac OS X 10.0 Cheetah was slow and missed basic features like DVD playback and CD burning. In the end, the radical transition to Cheetah laid the foundation from the wonderfully featured and a lot faster Mac OS X Panther, Tiger, Leopard, Snow Leopard, and soon-to-be-released Lion.
With dozens of forces at the office, Apple is doing the identical transition with Final Cut Pro mainly because it did with Mac OS. Like Cheetah, Final Cut Pro X is missing many features, several of which likely wont ensure it is, nonetheless they lay the groundwork to get a next generation of video editing.
Apple surprised the Mac world if this announced that Mac OS X Snow Leopard 10.6 wouldnt contain many major additional features, but alternatively was an under-the-hood improvement to your OS X main system. Snow Leopard brought improved performance, enhanced support for 64-bit applications, new tools like Grand Central Dispatch for multicore programming, and also a new programming framework to take benefit of the massive power of graphics processors called OpenCL.
The original Final Cut Pro took very little good thing about any of these new leaps because doing so was still shackled with a 10-year-old code base and 32-bit Carbon APIs.
In the modern Final Cut Pro X, Apple rewrote the main application on the ground nearly finally support 64-bit Cocoa APIs, but additionally to take benefit of the power of GPUs through programming frameworks like OpenCL and multithreaded operations. The change is obvious if you look at the Activity Monitor, which shows more threads. Even better, the native 64-bit code now supports a practically limitless method of getting RAM.
Final Cut Pro X is available with the Mac App Store. The previous Final Cut Studio had heavy instruction manuals, which might be now just help files in FCPX. We appreciate reducing paper waste, but be warned the digital help files wont offer any images unless you are connected to your Internet.
Final Cut Pro X is available through Mac App Store for just a low price of 299. In comparison, the first sort Final Cut Studio costs 999, however it was included with Motion, Soundtrack Pro, Compressor, LiveType, Cinema Tools, and Color. Some of those apps have disappeared for good within the new Final Cut Pro X with only a few of their functionality built into the app.
For an added 49 apiece, you are able to purchase Motion 5 and Compressor 4 as add-on companion apps to Final Cut Pro X. Well dive into these apps somewhat later inside review.
Final Cut Pro X also offers the distinction to be the first app accessible for voluming licensing. Licenses for businesses and schools will likely be available through Apple Online Store for quantities of 20 if not more. Users will get a redemption code, which can use to download the app from your Mac App Store.
Simply downloading isnt as fun mainly because it sounds. Final Cut Pro X is 1.33GB, and it may take hours to download in the event you have time consuming connection. In addition, there's 637.2MB of supplemental content like effects and backgrounds, that's downloaded with the Mac OS X Software Update feature because its shared between applications. Additionally, Motion 5 is 1.09GB, and Compressor is often a relatively paltry 261MB. This will 't be fun for that eager enthusiast having a slow DSL line.
Still, its a greater and easier installation method than the earlier Final Cut Studio, which required swapping out DVDs repeatedly with an hour or two.
When you initially launch Final Cut Pro X, the existing Final Cut loading screen is replaced with a new semitransparent load screen that permits you to know this can be the 10.0 iteration on the professional software. But what accepts that is unlike the 10 previous versions of Final Cut.
Youll first notice a prominent substitute for Import iMovie Events right higher than the Import Files and Import From Camera options. If youre wondering when we skipped a measure, youre wrong. According to Final Cut Pro Xs help file, you dont produce a project first. Instead, you import media and manage your media first. You can, however, build a project first and import later. But it just goes to provide you with how much Apple believes that data-based video workflows will be the future of post-production.
FCPXs new interface borrows some style components from iMovie, that may really have many editors scratching their head. But first, multiple windows have largely disappeared.
Instead of windows, during previous versions, we have now get panels. The panels have default positions, nonetheless they can fortunately be resized.
For by far the most part, the panel locations are often where you want these phones be, but we might have preferred more customization options. Users can specify the Viewer and the Events panels to reside on secondary monitors, however its still no match for arranging windows to whatever assembling your shed or personal preferences are.
The biggest change is the modern Viewer. Previous users of Final Cut Pro will wonder what happened towards the Viewer and Canvas windows.
They happen to be combined to a single panel known as the Viewer. In previous versions of Final Cut Pro, the Viewer loaded clips to edit or it let users manipulate the properties of the clip. The Canvas traditionally showed the existing frame with the playhead within the Timeline. Final Cut Pro X now combines the viewer and canvas into one panel simply referred to as the Viewer.
Simpler is way better though, right? Actually, weren't so sure.
Final Cut Pro 7 used the decades-old convention of Source and Record editing which Apple, obviously, were required to refer differently because Viewer and Canvas. It traces back in the day of linear editing, any time a producer or editor would stock up one clip coming from a video deck, mark a symptom and stop, and record on with a second tape.
Old since it might be, the source/record convention is blazingly fast. Watching a specialist editor is a lot like watching a pianist. Loading clips, scrubbing through to discover the perfect clip, marking an in point as well as an out point, then laying within the timeline could possibly be accomplished without touching the mouse whatsoever. For Apple, its a change of philosophy.
Starting a fresh project feels a tad strange considering that the program does little to spell out new concepts like Events. Events are Apples new means of describing media libraries. An event is the actual media files within your project, along with metadata information.
When you build a new project, there aren't any options like resolution or codec before you select custom. By default, the app will select a resolution and frame rate depending on the first clip you utilize.
You can choose custom options, that could support most on the standard resolutions: 1080i, 1080p, 720p, NTSC, PAL, 2K, and 4K. The Other options curiously do not permit you to set custom resolutions. Instead, youre limited by 640x480 pixels and 960x540 pixels. Apple says that you can utilize Compressor to scale and resize your videos.
Frame rates are also restricted to standard NTSC, PAL, and film rates of 23.98, 24, 25, 29.97, 30, 50, 59.94, and 60 frames per second. Again, when you have to work in the nonstandard frame rate, youre doomed. As a sign on the future of where Apple wants to look at video editing, FCPX supports 4K resolutions at 60 progressive frames per second.
Additionally, you can find options for video and audio rendering, which default to Surround Sound at 48KHz, and variable bit rate ProRes 422. ProRes 422 HQ, ProRes 4444, and Uncompressed 10-bit are available as options, if you'll need those extra components of color information or editing through an alpha channel. However, for many editors, ProRes 422 gives a good balance between speed and drive space.
Perhaps by far the most unsettling behavior up to now is that Final Cut Pro X doesnt enable you to specify where you need to save any project file within the New Project dialog box. By default, FCPX creates new projects within the root directory of whatever drive you might have selected within the Project Library.
This is especially frustrating. Being able to specify an establishment for project files is very important. For example, its common to have an editor to routinely save projects in network drives and organize by folders and subfolders.
Render files are saved inside the same folder because the project files. Render files are essentially media files that FCP uses to avoid wasting rendered work, like effects. So even in the event you are diligent enough to generate a new project on the separate hard disk, your render files must live inside same folder.
For Apple, its again a change of philosophy. Users lose some granularity when scouting for a scratch disk, however they get the good thing about having a single folder that they may move around, detailed with their projects rendered media.
Final Cut Pro X has support for natively importing AVC-Intra, AVCHD including AVCCAM, AVCHD Lite, and NXCAM, all standard versions of DV including DVCAM, DVCPRO, DVCPRO50, and DVCPRO HD, H.264, HDV, iFrame, Motion JPEG, MPEG IMX D-10, and standard XDCAM HD/EX/HD422. Additionally, this system can import codecs backed up by QuickTime.
Gone will be the Log Capture and Log Transfer options. Instead, we only get selections for importing media files and importing files from the camera. The new Final Cut Pro X really embraces a file-based workflow.
The closest option might be the Import From Camera. This is not the identical as Log Transfer. Its kind of an attempt at combing capture from tape and capture from storage device sources. The new import interface does support FireWire which enable it to read mounted memory cards, and also control playback options while using classic JKL rewind-pause-play keys.
It doesnt support importing certain kinds of files. For XDCAM users, Apple recommends installing Sonys own transfer and transcoding utility. HDV is supported, but oddly only over tape on FireWire. Youll ought to wait for HDV import from MXF files. Nor does FCPX secure the ultrahigh-quality RED RAW natively. For now, you'll be able to either put in place your RED camera to record QuickTime movie files, which FCPX can import natively, or you can utilize REDs own free conversion program to convert into Apples native ProRes format. Apple says it is utilizing companies like Sony and Red to build plug-ins that will enable FCPX to become a one-stop-shop for importing video.
Final Cut Pro X gives you a Supported Cameras page, however it isnt given that wed like, nor will it be completely approximately date. For example, importing P2 footage into the newest FCPX is quite possible, but it isn't included inside Support Cameras page. Also, it is not entirely obvious that some formats like P2 have for being imported over the Import From Camera option and never the Import Files option.
On the brilliant side, a minimum of it natively sports ths iPhone 3GS, iPhone 4, iPad 2, and iPod Touch.
If you are actually experiencing compatible files or footage to import into Final Cut Pro X, there are many great new options giving you a taste of the items Apple has been focusing on these last several years of developing FCPX.
You can produce a new event, or you may add for an existing event. Fortunately, you are able to select which drive youd prefer to import your footage to with this dialog box. By default, Final Cut Pro X will copy over your media files and automatically organize the footage to suit your needs using Content Auto-Analysis.
Content Auto-Analysis is possibly one from the coolest extra features of Final Cut Pro X. Not only do you obtain the standard metadata that FCPX would collect like frame rate, codec, resolution, plus more, nonetheless it also borrows some technology from iPhoto and iMovie to automatically detect people inside the shot and also shot size.
Additionally, Content Auto-Analysis analyzes footage for color balance, audio problems, shaky footage, and also the notorious rolling shutter distortion occurring with many CMOS-based cameras when panning. FCPX will even transcode supported footage since it imports into native ProRes along with create small proxy media files, if you are working with a low-power machine. Other smart features include the power to intelligently group mono or stereo audio channels and take away silent audio channels.
The Events Library organizes your media in the tree while using main branches being the tough drives connected in your system. But not only any drives are going to be recognized in FCPX; Apple says spinning disks, and that means you wont see USB drives. As far as we realize, neither will Xsan, NFS, AFP, or SMB-mounted volumes appear within the Event Library.
There are lots of things within the above sentence that will make some people unhappy, but fortunately, it is possible to import footage to your local Event Library while not having to copy over gigabytes of web data. Final Cut Pro X can create links for a remote media. Just be sure to deselect the copy files to FCPXs events folder, otherwise the media will probably be copied to whatever drive you might have set up for ones events.
Within the Event Library may be the Event Browser, this also is where much on the magic with the new Final Cut Pro X lives. Previous versions of Final Cut Pro X had fairly limited metadata abilities. You could comment and mark a clip being a good or bad take, but the modern FCPX brings metadata into the joy of Google.
When importing footage, Smart Collections will automatically build a number of premade groups determined by things like whether or not the shot can be a wide, medium, or close-up. It will also detect people and group them together.
The power on the new metadata engine emanates from its extensibility. Users is now able to create their particular keyword tags, as well as tag-specific areas of clips using custom keywords. All this tagging and metadata becomes incredibly powerful whenever you realize that Final Cut Pro X adds search capabilities.
For example, an end user can tag the many footage of the interviewee, then perform a search query trying to find medium-only shots with the interviewee. Loggers and assistant editors will likely be much happier. Apple also says which the metadata engine will likely be extensible via third-party plug-ins, so that it wont be too far through the day that people see plug-ins that transcribe and auto-sync transcripts to video.
Finally, the Event Browser in Final Cut Pro X eliminates the Media Manager in Final Cut Pro 7, and today within your Events Library, you'll be able to create lightweight proxy versions to look at on the road with a laptop.
One project, one timeline
As you get the quirks with the new interface, the one thing that might stop so obvious is that there's exactly one timeline or sequence to every single project.
That might sound natural for amateur video editors, but its a serious change for professionals. Editors routinely duplicate sequences inside same project, so that in case you have to go returning to a previous version because the revolutionary sequence just didnt figure out, its in front of them. For now, Apple says that in case you want to build a snapshot in the current sequence, you need to use the Duplicate feature inside menu bar, which makes a new copy of your respective current project. Fortunately, projects may be viewable from your Project Library.
While many will probably be upset that projects can just contain a single timeline, Apple has really rethought the previous track-based timelines, and from the process created some innovations which may make the absence of multiple timelines more palatable.
Final Cut Pro Xs most touted feature has got being the new Magnetic Timeline and each of the features that build away from it. Tracks have disappeared, and instead we now have what Apple calls lanes. Because in this, your tool, the Track tool, has disappeared, when you dont need it anymore.
Like lanes of traffic, clips automatically make room first another if you move them for the timeline, so that you never ought to worry about accidentally overwriting a on top of audio or video. Its magnetic because clips automatically ripple get rid of the gap between clips or leave the strategy to make room for brand new clips.
New and amateur video editors will appreciate the Magnetic Timeline, but it truly is going for taking some time and use before you see many professional editors embracing it. Most professional editors wont boost the comfort, but we all do spend to much time making room for clips we would like to insert, closing up gaps and keeping all things in sync. Admittedly, find ourselves itching to press the T key for that Track tool for making some space from the timeline.
Without source and record windows, Apples replacement for your classic Trim Mode is known as the Inline Precision Editor. By just double-clicking for the border where two clips meet, the Inline Precision Editor will expand the clips to show all of the footage available within the outgoing and incoming clips.
As many gripes as we may have with the decrease of separate Viewer and Canvas windows, the Inline Precision Editor is often a much better take a look at footage than Trim Mode. You are now able to easily see how a lot more footage you've left in each clip. Once you could have extended or decreased the choice, the timeline ripples each of the changes with the sequence, keeping all things in sync.
Built on top in the Magnetic Timeline is the brand new Clip Connections feature. In previous Final Cut Pro apps, you would must tediously separate out your clips from the sequence before moving them around. Now, with Clip Connections, you'll be able to have multiple bits of video, title and audio move around around the time line and remain perfectly in sync.
Building along with Clip Connections and also the Magnetic Timeline are Compound Clips.
In large projects, once youve finished an intricate scene or segment, you are able to now group all of the audio, title, and video tutorials together to act as being a single massive clip. Its a tad like nested sequences, but less difficult to use. Effects can be applied being a whole onto Compound Clips, and video may even be retimed as you giant clip. All the while, they remain perfectly in sync. Apple says editors wont have to make multiple sequences per scene, but may use compound clips instead.
Often, an editor are going to be the only one that has seen the many footage, and also the time directors and producers join edit sessions, an editor can have likely laid out your core elements and structure of an video piece.
Inevitably, though, the producer or director will want to find out alternate takes. And pulling apart a sequence to slip in a alternate clip is an essential headache.
Auditioning will alleviate a great deal of that pain. Editors can try alternate takes just by marking an in with an out on alternate clips, drag them on top of the existing clip around the timeline, and select Add to Audition. As you experiment with alternate takes, the Magnetic Timeline will just ripple around, taking out the gap or making room for clips of numerous lengths.
Because virtually every component of the Final Cut Pro X application differs from the others from its predecessor, it in all probability isnt a surprise to several that your old 32-bit Final Cut Pro 7 plug-ins wont use the new FCPX. Thats not to convey that Apple is giving up about the third-party plug-in community. In fact, its depending on it heavily to add some missing features.
Final Cut Pro X comes complete using a new plug-in architecture that's 64-bit from your start, called FxPlug 2. Developers can access the entire specification, on Apples Developer Web site, as well as its been rearchitectured to take good thing about the new high-performance, multithreaded, floating-point rendering engine.
The work that Apple has put into the revolutionary rendering engine really shows. Effects can be applied in real-time and require practically no rendering. You may see some resolution drops plus a few frames here or there, but also in our tests it stayed all-around real-time performance.
Applying effects never been easier. Instead of dragging and dropping effects and choosing a coffee break to await it to render, it is possible to simply press play within the timeline and take a look at different effects and appears in real-time by hovering within the effect inside Effects Browser.
There can be quite a lot to have used to if it comes towards the changes for the user interface and missing features, but one area where the revolutionary Final Cut Pro X deserves universal praise is performance.
In fact, when Apple product marketing managers first demoed FCPX to us, they did not make use of a top-of-the-line, tricked-out Mac Pro. Instead, they used a non-SSD 27-inch iMac, precisely the same computer that lots of Mac desktop users have. All the while, i was applying real-time effects and color corrections to untranscoded, 1080p H.264 dSLR footage. In contrast, previous versions of Final Cut would force you to render dSLR footage inside a codec like ProRes or DVCPRO HD.
While the first sort versions of Final Cut Pro at their maximum at 4GB of usable RAM, Apple says users should expect to view a dramatic performance improve the more RAM you throw at FCPX. Final Cut Pro X uses Grand Central Dispatch to harness the many computing power within the new multicore CPUs as well as supports Intels new AVX instruction set extensions inside newly released Sandy Bridge processors.
Final Cut Pro X also requires an OpenCL-compatible graphics card. Be careful, though, and dont think that every Mac that Apple has released inside last couple of years is OpenCL-capable. At CNET, we was required to switch out our dual-quad-core Mac Pros standard ATI Radeon HD 2600 card to get a ATI Radeon HD 3870, since the former didnt meet Apples OpenCL requirements.
Part of Final Cut Pro Xs new performance increase derives from background processing. While youre pondering your following edit, FCPX make use of those down cycles to execute a volume of different tasks including transcoding, content auto-analysis for stabilize shaky footage, or removing background noise from audio. Final Cut Pro X even has a Background Task window, which teaches you exactly what FCPX is doing as well as offers some manual controls like pausing or canceling an identification process.
The new Final Cut Pro X is certainly much faster than its predecessor, nonetheless it still maintains high picture throughout its rendering engine. The new rendering engine is floating-point based and runs on the much wider color space, meaning you may blow the highlights in a single effect and produce back detail in to the image with another effect. All the while, FCPX maintains accurate color profiles using ColorSync, which means you wont have fret a lot of about the differences between ITU 709 HD colors and NTSC Never Twice Same Color.
Unfortunately, everything that exceptional color management would go to waste because as of right this moment, Final Cut Pro X doesnt support monitoring on professional broadcast monitors. Apple does say that it can be working closely with partners like AJA and Black Magic Design flying insects Thunderbolt- and PCIe-based accessories that will enable FCPX to both capture footage from an outside source just like a tape deck and output via industry-standard HD-SDI ports. Still, its a good disappointment that for the time being, Final Cut Pro X users will need to trust their computer monitors and know that it in all probability wont look precisely the same once it hits a genuine television set or gets projected inside a screening room.
Many video professionals are already wondering for decades when Motion would step up in the big leagues of compositing after it shuttered its Academy Award-winning Shake compositing program. While the revolutionary Motion 5 inherits Final Cut Pro Xs facelift and high-quality rendering engine, it isn't Shake for mere mortals. And Apple says it is not intended to become.
Motion graphics designers can now create Smart Motion Templates with editable parameters that may be rigged together. For example, a motion graphics artist may give motion graphic titles several variations with assorted colors and font sizes that work well together. Editors can adjust these rigs with simple sliders, pop-up menus, or check boxes.
Motion 5s new Smart Motion Templates will also be more intelligent than their predecessor. Artists can define intro animations and out animations, but leave an adaptable title body to adjust to the correct timing from the middle. The days of slicing motion graphics and fading between your two to increase a title that simply wasnt of sufficient length to cover an edit are gone for good.
The most valuable improvement to Final Cut Pro X motion graphics is that you'll be able to now edit the written text right within the Viewer panel. No more examining a titles controls inside the Viewer, changing a lttle bit of text, and clicking somewhere else within the timeline to your text to update.
Finally, Final Cut Pro X also comes which has a new Apple-made chroma keyer. Primatte is gone through the package, but Apple says that this new chroma keyer is better than previously. It utilizes exactly the same 64-bit high-quality rendering engine, and our limited testing shows it for being at least on par with Motion 4s Primatte keyer.
The other companion app inside the Final Cut Pro X suite is Compressor 4. For probably the most part, it seems a lot like its previous incarnations, but Apple has cleaned up some with the interface, mostly by permitting rid of those extra Compressor presets that almost all people only ever used in the blue moon.
Many Final Cut Pro X users may never use Motion 5, however it is far more likely how they would use Compressor 4. Considering Final Cut Pro X lost support for laying off video to tape, its much more important that editors use a compression tool like Compressor 4 to upload files to YouTube, Vimeo, FTP, or whatever future platform, though admittedly FCPX builds some upload functions right in the menu bar.
Other improvements to Compressor include support for Apples new
Finally, Compressor 4 incorporates Apples Qmaster rendering engine into the appliance itself rather than like a separate background application or installation. Users may now designate encoding nodes within the application form to take benefit from unused CPU cores or machines with your network. You will, however, must install Compressor 4 on other machines in your network to take benefit of the distributed encoding.
Say goodbye to DVD Studio Pro, Color, and Soundtrack Pro
Well commence with DVD Studio Pro. Its not ever coming back. Apple sees iTunes because future type of media distribution, if youve been following a development of Final Cut Studio, youll are aware that DVD Studio Pro hasnt really changed in over five years. Final Cut Pro X does include the capability to burn DVDs through the application, but dont kid yourself. It is nowhere close for the power and customizability of DVD Studio Pro. If you absolutely still need to produce DVDs, you try Adobes Encore application.
Color was always the odd-man out from the Final Cut Studio suite. Originally, it had been called FinalTouch and got its start by Silicon Color before company was acquired by Apple. But it turned out always obvious that this app hasn't been very Apple-like, nor may be the idea of stepping out of your respective video-editing application to execute a color correction.
The new Final Cut Pro X incorporates most from the basic top features of Color without ever having to leave the applying. Color correction has stopped being a special effect, however it is built into every clip you lay about the timeline. By just tabbing over, youll be able to build global color corrections within FCPX, and also additional secondaries. The color board does take a tad of adjusting to, and lots of users will miss Final Cut Pros iconic three-way color corrector. In return, however, they're going to get features like masking and also selective keying to generate fine adjustments.
Its much less powerful as Color. You wont be capable of track faces or moving elements on-screen. For that, Apple recommends using Motion 5s built-in trackers and color correction engine.
Finally, we to Soundtrack Pro. Fortunately, Final Cut Pro X upgrades much with the audio-editing tools. For instance, sound may now be edited to precision levels. One reason you needed apps like Soundtrack was because Final Cut Pro audio tools still lived in a very world where frames are king. Editors all over the world know the pain and frustration when attemping to remove that half-frame long pop or click. As a part of Final Cut Pro Xs massive rewrite, the organization also included support for 64-bit Audio Unit plug-ins. Even better is they support Audio Unit plug-in custom interfaces, so that you dont must worry about using imprecise sliders to create your adjustments.
Honestly, though, Soundtrack is just not an application we are going to miss much; others might disagree. Yes, you could potentially clean up audio, mix multiple tracks, and look for sound clips, but inside the professional world, Soundtrack Pro simply would not compare together with the industry-standard Pro Tools, while us into maybe the biggest gripe of the.
OMG! Where would be the EDLs, AAFs, OMFs, and XMLs?
If you dont know very well what these acronyms mean, youre not really a person who should upgrade to Final Cut Pro X. Also, if youve see the early reviews of Final Cut Pro X, then none of the items were going to say are going to be a surprise. Final Cut Pro X can be a complete overhaul of any very mature application. Unfortunately, Apple did not include some features that arent simply missed, however are very necessary.
As great as Final Cut Pro Xs new tools are, physical exercises arent a match for dedicated applications like DaVinci Resolve for color correcting or Pro Tools for audio editing. Virtually, every post production facility for sound uses Pro Tools.
Fortunately, Automattic Duck is filling inside major void featuring its Pro Export FCP 5.0 plug-in. With the Pro Export FCP plug-in, users is going to be able to export tracks to Pro Tools at 96KHz, 24-bit quality. Still, its a waste that pro video-editing software doesnt accomplish this natively. Its much more of a hit towards the gut whenever you also recognize that Pro Export FCP 5.0 doesnt come cheap at 495.
As far as EDLs and AAF export options, you are not likely to find out them later on updates on the software. Apple says its priority is to develop XML export, therefore we expect third-party companies to generate XML-to-EDL or XML-to-AAF online translation tools.
Our last file compatibility gripe: Final Cut Pro X does not include the import of Final Cut Pro 7 project files. For some editors, this wont be much of a large issue. Its a short article of faith that you simply never buy some new NLE software from the middle of post-production. But there's always a time when you really need to crack open an existing project file to get a still or rejigger an edit. The official Apple line thus far is so it wont be developing FCP7-to-FCPX file conversion tools. The company says that because in the major architecture changes, it'd create more problems than it'd solve.
Final Cut Pro X 10.0 is an important, bold step inside a new way ahead for post-production, where tapes are an anachronism as well as a single application are equipped for all of one's color grading, title effects and sound-editing needs. Its clear through the price along with the new workflow of FCPX that Apple believes that video will be more ubiquitous within the near future.
It wasnt too long ago that writing with the masses meant landing a coveted job in a major newspaper, but blogging came around. Now, anybody with barely a modicum of the interesting thought can blog, along with the writing can be viewed by millions. Apple believes precisely the same thing with video.
There are three sets of users how the new Final Cut Pro X might interest, and each of them, you will find three different conclusions.
For professionals, it is actually difficult to recommend Final Cut Pro X 10.0 in the current state to be a replacement or upgrade to Final Cut Pro 7, Avid, or no matter what preferred nonlinear editor.
Enlightened editors who envision your day that file-based workflows is going to be the norm still need to deal while using reality the network still wants an HDCAM SR archive. To be sure, the bean counters wont be happy when an editor asks to restore a rack of 100, 000 HDCAM SR decks that theyre still paying off for the SD card reader plus a pair of 100 drives.
The company has now assured us that it will probably be updating Final Cut Pro X with a few much needed features, like XML export and multicam-editing support. Third-party manufacturers like AJA and Black Magic Design is going to be releasing Thunderbolt and PCIe accessories soon that can let editors lay off to tape and professionally monitor on broadcast-quality displays. Automattic Duck has released something to export FCPX sequences to OMF.
Apple has recently said how the company is going to be moving to your more rapid release schedule, nonetheless it would 't be a surprise to determine an update to FCPX within the next month or two instead on the next couple of years. Meanwhile, Apple says your present Final Cut Pro 7 setup still works. It would also not a surprise if Apple makes Final Cut Studio still designed for purchase again within the interim.
For amateur video editors, Final Cut Pro X is just not iMovie Pro. Its iMovie approach to much. Clip connection could possibly be amazing every time a producer wants to determine the scene moved around, nonetheless its too much for amateurs, who just need to edit the part where they forgot to close off the camcorder. The latest version of iMovie is really a fine video-editing program, and it also comes using a whole suite of programs like iPhoto that video-making newbies will discover immensely more useful. Still, when you willing to spend the bucks to sample pro features and havent used the app for decades like professionals, you might get the new means of doing things more palatable.
In short, for the portion with the post-production world that keeps a balanced view and is comfortable using the lack of tape, XML, and Pro Tools support, Final Cut Pro X will probably be worth your consideration. Still, we cant help but believe that sticking with Final Cut Studio 3 or waiting some months for Final Cut Pro X 10.1 makes life a small bit easier for the blades edge.
Editors note: Wilson G. Tang is often a CNET and CBS producer, who's directed, shot and edited award-winning pieces. He hosts a regular technology and culture show on CNET called The 404. As a video and film professional, she has had almost several of experience with Final Cut Pro along with nonlinear video-editing software using a day-to-day basis. In addition, he's had extensive experience within the field, using sets from film cameras to new digital cinema cameras that shoot to memory cards.
From Apple: At the heart of Final Cut Pro X will be the Magnetic Timeline, a trackless method of editing your footage that permits you to add and arrange clips wherever you desire them, while other clips instantly slide out with the way. You can make use of Clip Connections to link primary story clips with other elements like titles and sounds, so they really stay in perfect sync after you move them. You will even combine related story elements to a Compound Clip that may be edited being a single clip. The groundbreaking new Auditions feature enables you to swap between a assortment of clips to instantly compare alternate takes.
Some people like a new challenge.
Where to Hard to come up with something which hasnt recently been said, so Ill just reiterate. Even together with the update, its still merely a good product. Still missing a lot of the was great in regards to the last FCS, the worst being which it cant import old files. Seriously Apple, what have you been thinking achievable. As others have said, this should are actually a new FCE. The extra features and interface tend not to overcome precisely what is missing. Used it on another system and don't buy it myself. Sticking with FCS3 for so long as I can. So disappointed in Apple. Worse, CNET keeps asking me to upgrade and seeking to download it, it doesn't matter how many times I tell it never to. STOP ASKING!!!
Lion is kinda terrible too, but ML is fine. Would never upgrade if I didnt need iCloud as MobileMe is ending. If this is an indication of where theyre deciding to consider things, it doesn't bode well for Apples future.
How the heck am I about to download this with a Telkom ADSL line in South Africa?
The rest of it is possible to be the Im sitting tight with FCS3 - professional tools for just a professional job. When Apple is capable of holding me with OMF export, deck control and also other industry standards, then/maybe/Ill for the time being, why bother?
Great feel and good speed, bad in the event you create footage
You cannot easily use created compared to recorded footage each and every change needs a re-import and re-edit.
media management is limiting; you can utilize disk images though.
fun, but I sure could well be ticked if I produced living with it. Note the price will not be great - a final upgrade I got for fcs was 299 and this included all of the apps as I recall, besides fcp. I like Motion 5 for essentially the most part, sort of like the earlier one using a new ui and faster and slicker - kind products I think I was expecting from FCP. Over all, I am utilizing it since I am a one-man-band along with the integrated features like color matching are good for me since before this I never bothered to spend time doing color correction or grading.
This product is usually a Huge Letdown!
64 Bit not important though with so little professional functionality.
Everything that's professional about Final Cut studio has stopped being in this App. The re-written architecture is sensless and seems for being done with a complete non-professional.
If it is Apples advance I will have to consider 2 steps back and learn Avid leaving Mac for PC.
Powerful Media Management section so that you to get, edit and tag your media files, especially useful large projects with some other shots. Overall faster and certainly background rendering.
The interface overall will demand editors with optimised workflows dependant on previous version to rethink media management and acquire used to your more iMovie interface. Some alternative party plugins would possibly not work.
Highly recommend take a go without replacing your overall setup. You can run 2 versions in parallel without having a problem. You may need to learn FCPX on smaller and much easier projects first to learn when you go. There is usually a learning curve plus some features might even be invisible for a first look. It is often a disruptive approach that I think may benefit the editor along the track. It is worthwhile to get started with this version and have into learning the facts of this version, as I expect that future version will build upon and surely improve other things even as go.
Well Organized GUI, Powerful Video Editing Tools!
this program revolutionized a. will not switch
Works great on my small PowerMac G4! Cant believe Apple is giving me HD through firewire support without cost! I can make my movie august withoutfinding extra WOO-HOO!
Digigirl, Id require a list of one's plug-ins, post your problem for the Final Cut Pro support forum.
This review was originally posted on FCPrender plugin that solved the Quicktime 6.4 issues, or will I still need to update that plugin?
subject says everthing really - we like this app and our you apple!
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