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Editors note September 20, 2011: Apple has released an important 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 net profit: Final Cut Pro X is a dramatic rewrite of Apples mature and well-developed video-editing software. It borrows some interface components from iMovie which could disappoint seasoned professionals, and also it loses many key features which might be simply a complete 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 numerous caveats.
Final Cut Pro Xs bold philosophy of video editing certainly will take some becoming familiar with, in return, editors will likely be rewarded with blazing performance plus a future where tapes are as outdated as wax cylinders. For amateur video editors, iMovie continues to be the best balance of features, simplicity, and price. At this stage, Final Cut Pro X is usually a 1.0 creation that still needs a lot more development. However, Apple has laid the groundwork for versions 2.0 and 3.0 being much more compelling and usable.
Its been several years since Apple last updated its venerable Final Cut Studio 3 suite of applications. FCS 3, 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 have reached work changing the concept of video editing, and in some cases the most hardened video-editing professionals will explain that editing must evolve.
First, the expense of productions has dropped drastically within the last number of years. An indie film decade ago probably have achieved some notoriety to be shot using a consumer MiniDV camcorder, but the days youll chose the same Canon 5D Mark II you have at home over a 1 million set.
Second, occupation gotten much faster, with multithreaded cores and GPUs which could generate lifelike 3D graphics at 120 frames per second at resolutions double those of 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 realize that FCP can just 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 will be the same debate that it took Apple six iterations of Mac OS X prior to a company finally were able to update the ubiquitous Finder app to 64 bits: rewriting applications is actually difficult. Even iTunes, that happen to be considered Apples most significant application simply because of its syncing abilities towards the iPod and iOS, is sitting around using 32 bits.
Third, like how blogging gave everyone the cabability to compete with names like major newspapers, magazines, and publishers, YouTube, Vimeo and also other online video-sharing sites are giving legions of wannabe filmmakers a platform to show off their work and show Hollywood that you simply dont need huge amount of money to create something that a huge selection of millions of folks will see.
Finally, a lot 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 on the wonderfully featured and faster Mac OS X Panther, Tiger, Leopard, Snow Leopard, and soon-to-be-released Lion.
With dozens of forces in the office, Apple is performing the same transition with Final Cut Pro since it did with Mac OS. Like Cheetah, Final Cut Pro X is missing many features, many of which likely wont help it become, nonetheless they lay the groundwork for the 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 latest features, but rather was an under-the-hood improvement on the OS X operating-system. Snow Leopard brought improved performance, enhanced support for 64-bit applications, new tools like Grand Central Dispatch for multicore programming, as well as a new programming framework to look at advantage from the massive power of graphics processors called OpenCL.
The original Final Cut Pro took very little benefit of any of these new leaps given it was still shackled to some 10-year-old code base and 32-bit Carbon APIs.
In the revolutionary Final Cut Pro X, Apple rewrote the entire application through the ground up to finally support 64-bit Cocoa APIs, but also to look at advantage in the power of GPUs through programming frameworks like OpenCL and multithreaded operations. The change is pretty obvious when you consider the Activity Monitor, which shows additional threads. Even better, the native 64-bit code now supports a practically limitless way to obtain RAM.
Final Cut Pro X is just available using the Mac App Store. The previous Final Cut Studio had heavy instruction manuals, which can be now just help files in FCPX. We appreciate reducing paper waste, but be warned which the digital help files wont offer any images unless you are connected for the Internet.
Final Cut Pro X is available using the Mac App Store for the low price of 299. In comparison, the prior Final Cut Studio costs 999, fat it had 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 some of these functionality incorporated into the app.
For an added 49 apiece, you can aquire Motion 5 and Compressor 4 as add-on companion apps to Final Cut Pro X. Well dive into these apps somewhat later from the review.
Final Cut Pro X has the distinction for being the first app accessible for voluming licensing. Licenses for businesses and schools will likely be available with the Apple Online Store for quantities of 20 or even more. Users will get a redemption code, that they can use to download the app through the Mac App Store.
Simply downloading isnt as fun the way it sounds. Final Cut Pro X weighs 1.33GB, and it may take hours to download for those who have a slow connection. In addition, there is certainly 637.2MB of supplemental content like effects and backgrounds, that is downloaded using the Mac OS X Software Update feature because its shared between applications. Additionally, Motion 5 is 1.09GB, and Compressor can be a relatively paltry 261MB. This will 't be fun with the eager enthusiast with time consuming DSL line.
Still, its a more effective and easier installation method than the prior Final Cut Studio, which required swapping out DVDs repeatedly for the hour or two.
When first you launch Final Cut Pro X, the previous Final Cut loading screen is replaced with a new semitransparent load screen that allows know this can be a 10.0 iteration in the professional software. But what practices that is nothing can beat 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 as we skipped a pace, youre wrong. According to Final Cut Pro Xs help file, you dont develop a project first. Instead, you import media and manage your media first. You can, however, develop a project first and import later. But it just demonstrates you how much Apple believes that data-based video workflows include the future of post-production.
FCPXs new interface borrows some style aspects of iMovie, that could really have many editors scratching their head. But first, multiple windows have largely disappeared.
Instead of windows, during previous versions, visit get panels. The panels have default positions, nonetheless they can fortunately be resized.
For one of the most part, the panel locations are likely to be where you would like them for being, but we will have preferred more customization options. Users can specify the Viewer or even the Events panels to call home on secondary monitors, however its still no match for arranging windows to whatever any project or personal preferences are.
The biggest change is the brand new Viewer. Previous users of Final Cut Pro will wonder what happened towards the Viewer and Canvas windows.
They are already combined to a single panel referred to 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 latest frame in the playhead inside the Timeline. Final Cut Pro X now combines their viewer and canvas into one panel simply known as the Viewer.
Simpler is way better though, right? Actually, just weren't so sure.
Final Cut Pro 7 used the decades-old convention of Source and Record editing which Apple, needless to say, needed to refer differently since the Viewer and Canvas. It traces back towards the day of linear editing, any time a producer or editor would group one clip from your video deck, mark a symptom and stop, and record on into a second tape.
Old since it might be, the source/record convention is blazingly fast. Watching an expert editor is a lot like watching a pianist. Loading clips, scrubbing through to discover the perfect clip, marking an in point along with an out point, then laying within the timeline may be accomplished without touching the mouse in any respect. For Apple, its a positive change of philosophy.
Starting a brand new project feels a tad strange for the reason that program does little to describe new concepts like Events. Events are Apples new strategy for describing media libraries. An event has the actual media files of assembling your project, and also metadata information.
When you build a new project, there isn't any options like resolution or codec unless you select custom. By default, the app will decide on a resolution and frame rate based for the first clip you employ.
You can come up custom options, that will support most from the standard resolutions: 1080i, 1080p, 720p, NTSC, PAL, 2K, and 4K. The Other options curiously never let you set custom resolutions. Instead, youre on a 640x480 pixels and 960x540 pixels. Apple says that you simply can use Compressor to scale and resize your videos.
Frame rates are also on a standard NTSC, PAL, and film rates of 23.98, 24, 25, 29.97, 30, 50, 59.94, and 60 frames per second. Again, should you have to are employed in a nonstandard frame rate, youre at a complete loss. As a sign from your future of where Apple wants to consider video editing, FCPX supports 4K resolutions at 60 progressive frames per second.
Additionally, you'll 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 will also be available as options, if you want those extra pieces of color information or editing with the alpha channel. However, for the majority of editors, ProRes 422 gives a good balance between speed and drive space.
Perhaps probably the most unsettling behavior thus far is that Final Cut Pro X doesnt help you specify in which you want to save assembling your garden shed file inside the New Project dialog box. By default, FCPX creates new projects within the root directory of whatever drive you've selected from the Project Library.
This is especially frustrating. Being able to specify a place for project files is very important. For example, its common on an editor to routinely save projects in network drives and organize by folders and subfolders.
Render files are saved from the same folder as being the project files. Render files are essentially media files that FCP uses in order to save rendered work, like effects. So if you live diligent enough to generate a new project using a separate hard disk drive, your render files must live inside the same folder.
For Apple, its again an improvement of philosophy. Users lose some granularity in choosing a scratch disk, nonetheless they get the benefit for having a single folder they can move around, filled 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 software can import codecs sustained by QuickTime.
Gone will be the Log Capture and Log Transfer options. Instead, we get alternatives for importing media files and importing files coming from a camera. The new Final Cut Pro X really embraces a file-based workflow.
The closest option might be the Import From Camera. This will not be the same 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 and may read mounted memory cards, together with control playback options while using the classic JKL rewind-pause-play keys.
It doesnt support importing some types 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 should wait for HDV import from MXF files. Nor does FCPX offer the ultrahigh-quality RED RAW natively. For now, you may set up your RED camera to record QuickTime movie files, which FCPX can import natively, or you are able to use REDs own free conversion program to convert into Apples native ProRes format. Apple says it really is working with manufacturers like Sony and Red to make plug-ins that will enable FCPX to become a one-stop-shop for importing video.
Final Cut Pro X has a Supported Cameras page, however it isnt given that wed like, nor will it be completely up-to-date. For example, importing P2 footage into the revolutionary FCPX is achievable, but it just isn't included inside the Support Cameras page. Also, it is also not entirely obvious that some formats like P2 have being imported over the Import From Camera option instead of the Import Files option.
On the intense side, at the very least it natively props up the iPhone 3GS, iPhone 4, iPad 2, and iPod Touch.
If you actually have compatible files or footage to import into Final Cut Pro X, there are many great new options that provides you a taste products Apple has been working away at these last four years of developing FCPX.
You can build a new event, or you can help to increase an existing event. Fortunately, you can choose which drive youd want to import your footage to using 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 could well be one with the coolest additional features of Final Cut Pro X. Not only do you have the standard metadata that FCPX would collect like frame rate, codec, resolution, and much more, nevertheless it also borrows some technology from iPhoto and iMovie to automatically detect people within the shot and also shot size.
Additionally, Content Auto-Analysis analyzes footage for color balance, audio problems, shaky footage, and in some cases the notorious rolling shutter distortion that happens with many CMOS-based cameras when panning. FCPX may even transcode supported footage since it imports into native ProRes together with create small proxy media files, when you are working over a low-power machine. Other smart features include the opportunity to intelligently group mono or stereo audio channels and take away silent audio channels.
The Events Library organizes your media inside a tree with all the main branches being the tough drives linked to your system. But not merely any drives is going to be recognized in FCPX; Apple says spinning disks, and that means you wont see USB drives. As far as we all know, neither will Xsan, NFS, AFP, or SMB-mounted volumes appear from the Event Library.
There are lots of things inside above sentence that could make several people unhappy, but fortunately, it is possible to import footage in your local Event Library and never have to copy over gigabytes of web data. Final Cut Pro X can create links for your 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've set up on your events.
Within the Event Library may be the Event Browser, and also this is where much from the magic from 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 as being a good or bad take, but the modern FCPX brings metadata into the concept of Google.
When importing footage, Smart Collections will automatically make a number of premade groups according to 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 in the new metadata engine arises from its extensibility. Users are now able to create their unique keyword tags, as well as tag-specific chapters of clips using custom keywords. All this tagging and metadata becomes incredibly powerful once you realize that Final Cut Pro X adds search capabilities.
For example, a person can tag all of the footage of your interviewee, after which perform a search query trying to find medium-only shots for your interviewee. Loggers and assistant editors will likely be much happier. Apple also says how the metadata engine are going to be extensible via third-party plug-ins, thus it wont be too far on the day we see plug-ins that transcribe and auto-sync transcripts to video.
Finally, the Event Browser in Final Cut Pro X gets rid of Media Manager in Final Cut Pro 7, and from now on within your Events Library, you are able to create lightweight proxy versions to take for the road on the laptop.
One project, one timeline
As you will find the quirks with the new interface, a very important factor that might stop so obvious is that there's exactly one timeline or sequence to every one project.
That might sound natural for amateur video editors, but its an essential change for professionals. Editors routinely duplicate sequences within the same project, so that when you have to go back with a previous version because the modern sequence just didnt determine, its immediately. For now, Apple says that in case you want to build a snapshot with the current sequence, you can make use of the Duplicate feature within the menu bar, which creates a different copy of one's current project. Fortunately, projects may be viewable on the Project Library.
While many is going to be upset that projects could only contain a single timeline, Apple has really rethought that old track-based timelines, and inside process created some innovations which may make the insufficient multiple timelines more palatable.
Final Cut Pro Xs most touted feature has got being the new Magnetic Timeline and the many features that build away from it. Tracks have disappeared, and instead we've what Apple calls lanes. Because in this, the most popular tool, the Track tool, is fully gone, simply because you dont need it anymore.
Like lanes of traffic, clips automatically make room for starters another if you move them around the timeline, so that you never must worry about accidentally overwriting a tabs on audio or video. Its magnetic because clips automatically ripple take away the gap between clips or move out in the way for making room for brand spanking new clips.
New and amateur video editors will appreciate the Magnetic Timeline, but it's going to try taking some time and exercise before you see many professional editors embracing it. Most professional editors wont boost the comfort, but perform spend a lot of time making room for clips we wish to insert, closing up gaps and keeping my way through sync. Admittedly, look for ourselves itching to press the T key for your Track tool for making some space inside the timeline.
Without source and record windows, Apples replacement for your classic Trim Mode is referred to as Inline Precision Editor. By just double-clicking within the border where two clips meet, the Inline Precision Editor will expand the clips to show the many footage available inside the outgoing and incoming clips.
As many gripes as we will often have with the lack of separate Viewer and Canvas windows, the Inline Precision Editor is really a much better look at footage than Trim Mode. You is now able to easily see how a lot more footage you've left in each clip. Once you've extended or decreased the choices, the timeline ripples every one of the changes throughout the sequence, keeping all things in sync.
Built on top in the Magnetic Timeline is the newest Clip Connections feature. In previous Final Cut Pro apps, you would ought to tediously separate your clips at a sequence before moving them around. Now, with Clip Connections, it is possible to have multiple bits of video, title and audio move around around the time line and remain perfectly in sync.
Building together with Clip Connections along with the Magnetic Timeline are Compound Clips.
In large projects, once youve finished an intricate scene or segment, you'll be able to now group the many audio, title, and video tutorials together to act being a single massive clip. Its a lttle bit like nested sequences, but much simpler to use. Effects can be applied as being a whole onto Compound Clips, and video may even be retimed jointly giant clip. All the while, they remain perfectly in sync. Apple says editors wont have to generate multiple sequences for every single scene, but can make use of compound clips instead.
Often, an editor will likely be the only person that has seen each of the footage, through the time directors and producers join edit sessions, an editor should have likely laid the core elements and structure of your video piece.
Inevitably, though, the producer or director will would like to see alternate takes. And pulling apart a sequence to slip inside an alternate clip is an important headache.
Auditioning will alleviate most of that pain. Editors can take a look at alternate takes just by marking an in as well as an out on alternate clips, drag them into the existing clip for the timeline, and select Add to Audition. As you check out alternate takes, the Magnetic Timeline will still only ripple around, treatment of gap or making room for clips of several lengths.
Because virtually any part on the Final Cut Pro X application differs from the others from its predecessor, it likely isnt a surprise to many people that your old 32-bit Final Cut Pro 7 plug-ins wont work with the modern FCPX. Thats not to state that Apple is giving up within the third-party plug-in community. In fact, its depending on it heavily to fill out some missing features.
Final Cut Pro X comes complete having a new plug-in architecture that is certainly 64-bit on the start, called FxPlug 2. Developers can access the complete specification, on Apples Developer Web site, as well as its been rearchitectured to consider advantage with the new high-performance, multithreaded, floating-point rendering engine.
The work that Apple has put into the modern rendering engine really shows. Effects can be applied in real time and require virtually no rendering. You may see some resolution drops and also a few frames here or there, however in our tests it stayed all-around real-time performance.
Applying effects has not been easier. Instead of dragging and dropping effects and going for a coffee break to loose time waiting for it to render, it is possible to simply press play inside timeline and experiment with different effects and appears in real time by hovering within the effect from the Effects Browser.
There may well be a lot to acquire used to if this comes for the changes on 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 work with a top-of-the-line, tricked-out Mac Pro. Instead, they used a non-SSD 27-inch iMac, exactly the same computer that numerous Mac desktop users have. All the while, there we were 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 in a very codec like ProRes or DVCPRO HD.
While the first sort versions of Final Cut Pro set to their maximum at 4GB of usable RAM, Apple says users should be prepared to see 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 inside the new multicore CPUs and also supports Intels new AVX instruction set extensions from the newly released Sandy Bridge processors.
Final Cut Pro X also requires an OpenCL-compatible graphics card. Be careful, though, and dont believe that every Mac that Apple has released inside the last number of years is OpenCL-capable. At CNET, we were forced to switch out our dual-quad-core Mac Pros standard ATI Radeon HD 2600 card for the ATI Radeon HD 3870, considering that the former didnt meet Apples OpenCL requirements.
Part of Final Cut Pro Xs new performance increase emanates from background processing. While youre pondering your following edit, FCPX make use of those down cycles to execute a variety of different tasks including transcoding, content auto-analysis for stabilize shaky footage, or removing background noise from audio. Final Cut Pro X even features a Background Task window, which will show you exactly what FCPX is doing and in many cases offers some manual controls like pausing or canceling a credentials process.
The new Final Cut Pro X is without question much faster than its predecessor, however it still maintains high picture throughout its rendering engine. The new rendering engine is floating-point based and works on the much wider color space, meaning you can blow the highlights in a single effect and carry back detail in the image with another effect. All the while, FCPX maintains accurate color profiles using ColorSync, therefore you wont have fret an excessive amount of about the differences between ITU 709 HD colors and NTSC Never Twice Same Color.
Unfortunately, all of that exceptional color management would go to waste because as of at the moment, Final Cut Pro X doesnt support monitoring on professional broadcast monitors. Apple does say that it's 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 another source just like a tape deck and output via industry-standard HD-SDI ports. Still, its a serious disappointment that in the meantime, Final Cut Pro X users will ought to trust their computer monitors and know that it in all probability wont look precisely the same once it hits an actual television set or gets projected in a very screening room.
Many video professionals happen to be wondering for decades when Motion would step up into your big leagues of compositing after it shuttered its Academy Award-winning Shake compositing program. While the revolutionary Motion 5 inherits Final Cut Pro Xs change and high-quality rendering engine, it will not be Shake for mere mortals. And Apple says it is not intended to become.
Motion graphics designers can now setup Smart Motion Templates with editable parameters that may be rigged together. For example, a motion graphics artist gives motion graphic titles several variations with various 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 may now define intro animations and out animations, but leave a flexible type of title body to install the correct timing from the middle. The days of slicing motion graphics and fading relating to the two to increase a title which simply wasnt for enough time to cover an edit have ended.
The most successful improvement to Final Cut Pro X motion graphics is you can now edit the written text right inside Viewer panel. No more opening a titles controls inside Viewer, changing a tad of text, and after that clicking somewhere else around the timeline for the text to update.
Finally, Final Cut Pro X also comes which has a new Apple-made chroma keyer. Primatte is gone in the package, but Apple says how the new chroma keyer is more preferable than ever. It utilizes a similar 64-bit high-quality rendering engine, and our limited testing shows it being at least on par with Motion 4s Primatte keyer.
The other companion app within the Final Cut Pro X suite is Compressor 4. For essentially the most part, it seems a lot like its previous incarnations, but Apple has cleaned up some in the interface, mostly by obtaining rid of those extra Compressor presets that a lot of people only ever used in a very blue moon.
Many Final Cut Pro X users may never use Motion 5, nevertheless its far more likely that they can would use Compressor 4. Considering Final Cut Pro X lost support for laying off video to tape, its a lot more important that editors have a very 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 in to the application itself rather than being a separate background application or installation. Users may now designate encoding nodes inside application to adopt advantage of unused CPU cores or machines in your network. You will, however, have to install Compressor 4 on other machines on your own network to adopt advantage on the distributed encoding.
Say goodbye to DVD Studio Pro, Color, and Soundtrack Pro
Well commence with DVD Studio Pro. Its not finding its way back. Apple sees iTunes because future kind of media distribution, in case youve been following your development of Final Cut Studio, youll be aware that DVD Studio Pro hasnt really changed in additional than 5yrs. Final Cut Pro X does include a chance to burn DVDs from your application, but dont kid yourself. It is nowhere close on the power and customizability of DVD Studio Pro. If you absolutely still need to make DVDs, you try Adobes Encore application.
Color was always the odd-man out within the Final Cut Studio suite. Originally, it absolutely was called FinalTouch and was made by Silicon Color prior to the company was acquired by Apple. But it absolutely was always obvious that this app has not been very Apple-like, nor will be the idea of stepping out of the video-editing application to do a color correction.
The new Final Cut Pro X incorporates most on the basic highlights of Color without ever having to leave the approval. Color correction isn't a special effect, nevertheless its built into every clip you lay for the timeline. By just tabbing over, youll be able to make global color corrections within FCPX, in addition to additional secondaries. The color board does take a tad of adjusting to, and several users will miss Final Cut Pros iconic three-way color corrector. In return, however, they are going to get features like masking and also selective keying to produce fine adjustments.
Its much less powerful as Color. You wont have the capacity to track faces or moving elements on the watch's screen. For that, Apple recommends using Motion 5s built-in trackers and color correction engine.
Finally, we have to Soundtrack Pro. Fortunately, Final Cut Pro X upgrades much on the audio-editing tools. For instance, sound is now able to be edited to precision levels. One reason you needed apps like Soundtrack was because Final Cut Pro audio tools still lived in the world where frames are king. Editors worldwide know the pain and frustration when you attempt to remove that half-frame long pop or click. As part of Final Cut Pro Xs massive rewrite, the organization also included support for 64-bit Audio Unit plug-ins. Even better is the fact that they support Audio Unit plug-in custom interfaces, therefore you dont ought to worry about using imprecise sliders to produce your adjustments.
Honestly, though, Soundtrack will not be an application we're going to miss much; others might disagree. Yes, you might clean up audio, mix multiple tracks, to see sound effects, but within the professional world, Soundtrack Pro simply would not compare together with the industry-standard Pro Tools, that leads us into probably the biggest gripe of.
OMG! Where would be the EDLs, AAFs, OMFs, and XMLs?
If you dont really know what these acronyms mean, youre that's doubtful a person who must upgrade to Final Cut Pro X. Also, if youve look at the early reviews of Final Cut Pro X, then none with the items were gonna say are going to be a surprise. Final Cut Pro X is really a complete overhaul of the very mature application. Unfortunately, Apple didn't include some features that arent simply missed, but you are very essential.
As great as Final Cut Pro Xs new tools are, they just 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 will probably be able to export tracks to Pro Tools at 96KHz, 24-bit quality. Still, its unfortunate that pro video-editing software doesnt do that natively. Its even more of your hit on the gut whenever you also understand that Pro Export FCP 5.0 doesnt come cheap at 495.
As far as EDLs and AAF export options, you aren't likely to discover their whereabouts in future updates towards the software. Apple says its priority would be to build XML export, therefore we expect third-party companies to generate XML-to-EDL or XML-to-AAF online translation services.
Our last file compatibility gripe: Final Cut Pro X does not secure the import of Final Cut Pro 7 project files. For some editors, this wont be much of your big issue. Its a short article of faith you never change your NLE software from the middle of post-production. But there is always a time once you need to crack open a well used project file to get a still or rejigger an edit. The official Apple line thus far is which it wont be developing FCP7-to-FCPX file conversion tools. The company says that because on the major architecture changes, it will create more problems than it could solve.
Final Cut Pro X 10.0 is a serious, bold step in the new way forward for post-production, where tapes are an anachronism and also a single application are prepared for all of the color grading, title effects and sound-editing needs. Its clear from your price and also the new workflow of FCPX that Apple believes that video will likely be even more ubiquitous inside near future.
It wasnt too long ago that writing with the masses meant landing a coveted job at an essential newspaper, then again blogging came around. Now, anybody with barely a modicum connected with an interesting thought can blog, plus the writing is so visible by millions. Apple believes precisely the same thing with video.
There are three multiple users how the new Final Cut Pro X might entice, as well as each of them, you'll find three different conclusions.
For professionals, it is tough to recommend Final Cut Pro X 10.0 in the current state as being a replacement or upgrade to Final Cut Pro 7, Avid, or no matter what the preferred nonlinear editor.
Enlightened editors who envision your day that file-based workflows will likely be the norm still need to deal together with the reality how the network still wants an HDCAM SR archive. To be sure, the bean counters wont be happy when an editor asks to change a rack of 100, 000 HDCAM SR decks that theyre still paying off with an SD card reader and also a pair of 100 drives.
The company has recently assured us that it are going to be updating Final Cut Pro X by much needed features, like XML export and multicam-editing support. Third-party manufacturers like AJA and Black Magic Design will most likely be releasing Thunderbolt and PCIe accessories soon that may let editors lay off to tape and professionally monitor on broadcast-quality displays. Automattic Duck has recently released something to export FCPX sequences to OMF.
Apple has said the company will probably be moving to some more rapid release schedule, however it would not a surprise to find out an update to FCPX from the next couple of months instead in the next couple of years. Meanwhile, Apple says your overall Final Cut Pro 7 setup still works. It would also cease a surprise if Apple makes Final Cut Studio still designed for purchase again within the interim.
For amateur video editors, Final Cut Pro X will not be iMovie Pro. Its iMovie way an excessive amount of. Clip connection could be amazing every time a producer really wants to see the scene moved around, however it is too much for amateurs, who just would like to edit out of the part where they forgot to seal off the cam corder. The latest version of iMovie can be 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 are willing to spend the funds to sample pro features and havent used the app for many years like professionals, you might chose the new strategy for doing things more palatable.
In simple terms, to the portion on the post-production world that keeps an objective balance and is comfortable with all the lack of tape, XML, and Pro Tools support, Final Cut Pro X will be worth your consideration. Still, we cant help but believe sticking with Final Cut Studio 3 or waiting a number of months for Final Cut Pro X 10.1 will make life a bit easier within the blades edge.
Editors note: Wilson G. Tang is usually a CNET and CBS producer, who's directed, shot and edited award-winning pieces. He hosts an everyday technology and culture show on CNET called The 404. As a video and film professional, he's got had almost several of experience with Final Cut Pro along with nonlinear video-editing software with a day-to-day basis. In addition, they have had extensive experience inside the field, using from film cameras to new digital cinema surveillance 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 allows add and arrange clips wherever you long for them, while other clips instantly slide out with the way. You may use Clip Connections to link primary story clips for some other elements like titles and sound clips, to make sure they stay in perfect sync whenever you move them. You can also combine related story elements right into a Compound Clip which could be edited as being a single clip. The groundbreaking new Auditions feature helps you to swap between a variety of clips to instantly compare alternate takes.
Some people like new stuff.
Where to Hard to come up with something which hasnt been recently said, so Ill just reiterate. Even using the update, its still hardly a good product. Still missing a lot of the was great in regards to the last FCS, the worst being who's cant import old files. Seriously Apple, what have you been thinking your. As others have said, this should have already been a new FCE. The additional features and interface don't overcome what's missing. Used it on another system and don't buy it myself. Sticking with FCS3 for provided that I are able to. So disappointed in Apple. Worse, CNET keeps asking me to upgrade and seeking to download it, regardless of how many times I tell it not to ever. STOP ASKING!!!
Lion is kinda terrible too, but ML is alright. Would never upgrade if I didnt need iCloud as MobileMe is ending. If this is suggestive of where theyre deciding to consider things, it won't bode well for Apples future.
How the heck am I about to download this on the Telkom ADSL line in South Africa?
The rest of you'll be able to be the Im sitting tight with FCS3 - professional tools for the professional job. When Apple supports me with OMF export, deck control as well as other industry standards, then/maybe/Ill before this, why bother?
Great feel and good speed, bad in case you create footage
You cannot easily use created instead of recorded footage just like any change has a re-import and re-edit.
media management is limiting; you will use disk images though.
fun, but I sure could well be ticked if I designed a living with it. Note the price will not be great - a final upgrade I got for fcs was 299 knowning that included the many apps as I recall, not only fcp. I like Motion 5 for that most part, sort of like the earlier one having a new ui and faster and slicker - kind products I think I was expecting from FCP. Over all, I am making use of it since I am a one-man-band and also the integrated features like color matching are fantastic for me since before this I never bothered to spend some time doing color correction or grading.
This product is often a Huge Letdown!
64 Bit not important though with so little professional functionality.
Everything which was professional about Final Cut studio has stopped being in this App. The re-written architecture is sensless and seems being done using a complete non-professional.
If it is Apples advance I will have to look at 2 steps back and learn Avid leaving Mac for PC.
Powerful Media Management section which allows you to find, edit and tag your media files, especially attractive large projects with various shots. Overall faster and positively background rendering.
The interface overall will need editors with optimised workflows according to previous version to rethink media management and have used with a more iMovie interface. Some alternative plugins might not exactly work.
Highly recommend allow it a go without replacing your present setup. You can run 2 versions in parallel with no problem. You may wish to learn FCPX on smaller and simpler projects first to understand as you go. There is really a learning curve plus some features can even be invisible for a first look. It is usually a disruptive approach that I think will manage to benefit the editor on the track. It is worthwhile to commence with this version and find into learning the facts of this version, as I expect that future version will build upon and surely improve other things when we go.
Well Organized GUI, Powerful Video Editing Tools!
this program revolutionized the. could not switch
Works great in this little PowerMac G4! Cant believe Apple is giving me HD through firewire support free of charge! I can make my movie september withoutfinding extra WOO-HOO!
Digigirl, Id have to have a list within your plug-ins, post your problem within 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 must update that plugin?
subject says everything really - we like this app and our you apple!
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Mix, scratch, and remix MP3s or music videos live.
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