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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 important thing: Final Cut Pro X is a dramatic rewrite of Apples mature and well-developed video-editing software. It borrows some interface components from iMovie that could disappoint seasoned professionals, and also it loses many key features that happen to be simply a total necessity from the professional world, like XML export. On the other hand, those seeking to upgrade from iMovie will see a lot more features in Final Cut Pro X, but there are several caveats.
Final Cut Pro Xs bold philosophy of video editing will certainly take some becoming accustomed to, however in return, editors will likely be rewarded with blazing performance plus a future where tapes are as outdated as wax cylinders.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 remains the best balance of features, usability, and price. At this stage, Final Cut Pro X is really a 1.0 merchandise that still needs more development. However, Apple has laid the groundwork for versions 2.0 and 3.0 for 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, 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 near work changing the concept of video editing, and in many cases the most hardened video-editing professionals will explain that editing must evolve.
First, the money necessary for productions has dropped drastically from the last couple of years. An indie film a decade ago will often have achieved some notoriety if you are shot over a consumer MiniDV camcorder, however these days youll discover the same Canon 5D Mark II you have at home using a 1 million set.
Second, grown to be gotten much faster, with multithreaded cores and GPUs that may generate lifelike 3D graphics at 120 frames per second at resolutions double that regarding even 1080p video.
Now, think of 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 could only address 4GB of memory and just 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 believe that it took Apple six iterations of Mac OS X prior to the company finally was able to update the ubiquitous Finder app to 64 bits: rewriting applications is tough. Even iTunes, that will be considered Apples most essential application due to its syncing abilities for the iPod and iOS, remains to be sitting around using 32 bits.
Third, like how blogging gave everyone a chance to compete with famous brands major newspapers, magazines, and publishers, YouTube, Vimeo along with online video-sharing sites are giving legions of wannabe filmmakers a platform to produce their work and show Hollywood you dont need huge amount of money to create an issue that hundreds of millions of men and women will see.
Finally, lots of things can be said about Apple, but one thing the company truly embraces is change. Ten years ago, Apple transitioned Mac OS 9 to some 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 a lot of faster Mac OS X Panther, Tiger, Leopard, Snow Leopard, and soon-to-be-released Lion.
With dozens of forces in the office, Apple does the same transition with Final Cut Pro the way it did with Mac OS. Like Cheetah, Final Cut Pro X is missing many features, several of which likely wont help it become, however 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 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 for taking advantage with the massive power of graphics processors called OpenCL.
The original Final Cut Pro took very little selling point of any of these new leaps given it was still shackled into a 10-year-old code base and 32-bit Carbon APIs.
In the modern Final Cut Pro X, Apple rewrote the complete application through the ground up to finally support 64-bit Cocoa APIs, but also to look at advantage with the power of GPUs through programming frameworks like OpenCL and multithreaded operations. The change is evident when you think about the Activity Monitor, which shows much 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 sported 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 last Final Cut Studio costs 999, fat it sported Motion, Soundtrack Pro, Compressor, LiveType, Cinema Tools, and Color. Some of those apps have disappeared for good inside new Final Cut Pro X with just one or two of their functionality built-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 inside the review.
Final Cut Pro X also offers the distinction to be the first app readily available for voluming licensing. Licenses for businesses and schools are going to be available using the Apple Online Store for quantities of 20 or higher. Users will get a redemption code, that they can use to download the app from your Mac App Store.
Simply downloading isnt as fun mainly because it sounds. Final Cut Pro X weighs about 1.33GB, this means you will take hours to download should you have a slow connection. In addition, there may be 637.2MB of supplemental content like effects and backgrounds, that's downloaded using the Mac OS X Software Update feature because its shared between applications. Additionally, Motion 5 weighs about 1.09GB, and Compressor is really a relatively paltry 261MB. This will 't be fun for that eager enthusiast with time consuming DSL line.
Still, its a much better and easier installation method than the last Final Cut Studio, which required swapping out DVDs repeatedly to have an hour or two.
When first you launch Final Cut Pro X, the existing Final Cut loading screen is replaced by the new semitransparent load screen that allows you to know here is the 10.0 iteration with the professional software. But what practices that is nothing beats the 10 previous versions of Final Cut.
Youll first notice a prominent choice to Import iMovie Events right across the Import Files and Import From Camera options. If youre wondering after 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, build a project first and import later. But it just proves you how much Apple believes that data-based video workflows would be 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, as with previous versions, we currently get panels. The panels have default positions, nevertheless they can fortunately be resized.
For essentially the most part, the panel locations are likely to be where you want them to become, but we'd have preferred more customization options. Users can specify the Viewer and the Events panels to reside on secondary monitors, however it is still no match for arranging windows to whatever assembling your shed or personal preferences are.
The biggest change is the newest Viewer. Previous users of Final Cut Pro will wonder what happened for the Viewer and Canvas windows.
They have already been 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 any clip. The Canvas traditionally showed the existing frame on 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 much better though, right? Actually, weren't so sure.
Final Cut Pro 7 used the decades-old convention of Source and Record editing which Apple, naturally, was required to refer differently because the Viewer and Canvas. It traces back on the day of linear editing, whenever a producer or editor would group one clip at a video deck, mark a symptom and stop, after which record on to some second tape.
Old because 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 get the perfect clip, marking an in point with an out point, then laying for the timeline might be accomplished without touching the mouse in any way. For Apple, its an improvement of philosophy.
Starting a different project feels a little strange considering that the program does little to describe new concepts like Events. Events are Apples new technique of describing media libraries. An event offers the actual media files of any project, and also metadata information.
When you make a new project, there aren't any options like resolution or codec and soon you select custom. By default, the app will decide on a resolution and frame rate based on the primary clip you utilize.
You can choose custom options, that will support most from the standard resolutions: 1080i, 1080p, 720p, NTSC, PAL, 2K, and 4K. The Other options curiously don't let you set custom resolutions. Instead, youre limited by 640x480 pixels and 960x540 pixels. Apple says you can use Compressor to scale and resize your videos.
Frame rates are also limited by 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 operate in a nonstandard frame rate, youre at a complete loss. As a sign in the future of where Apple wants for taking 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 can also be available as options, if you would like those extra components of color information or editing having an alpha channel. However, for some editors, ProRes 422 gives a good balance between speed and drive space.
Perhaps probably the most unsettling behavior until now is that Final Cut Pro X doesnt help you specify in places you want to save assembling your shed file inside New Project dialog box. By default, FCPX creates new projects from the root directory of whatever drive you could have selected within the Project Library.
This is especially frustrating. Being able to specify a spot for project files is amazingly 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 within the same folder because the project files. Render files are essentially media files that FCP uses in order to save rendered work, like effects. So if you are diligent enough to make a new project using a separate harddrive, your render files must live from the same folder.
For Apple, its again an impact of philosophy. Users lose some granularity in picking a scratch disk, nonetheless they get the benefit from having just one folder that they may move around, that includes 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 course can import codecs held by QuickTime.
Gone are definitely the Log Capture and Log Transfer options. Instead, we merely 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 precisely the same as Log Transfer. Its form of an attempt at combing capture from tape and capture from storage device sources. The new import interface does support FireWire which enables it to read mounted memory cards, together with control playback options while using the classic JKL rewind-pause-play keys.
It doesnt support importing particular sorts of files. For XDCAM users, Apple recommends installing Sonys own transfer and transcoding utility. HDV remains to be supported, but oddly only over tape on FireWire. Youll should wait for HDV import from MXF files. Nor does FCPX keep 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 can make use of REDs own free conversion program to convert into Apples native ProRes format. Apple says it can be working with manufacturers like Sony and Red to produce plug-ins that will enable FCPX to get a one-stop-shop for importing video.
Final Cut Pro X gives you a Supported Cameras page, nonetheless it isnt so long as wed like, nor could it be completely updated. For example, importing P2 footage into the revolutionary FCPX can be done, but it can be not included within the Support Cameras page. Also, it is also not entirely obvious that some formats like P2 have for being imported with the Import From Camera option and never the Import Files option.
On the brilliant side, a minimum of it natively props up iPhone 3GS, iPhone 4, iPad 2, and iPod Touch.
If you have compatible files or footage to import into Final Cut Pro X, there are a few great new options that provides you a taste with the items Apple has been implementing these last several years of developing FCPX.
You can produce a new event, or you can help to increase an existing event. Fortunately, you can make which drive youd prefer to import your footage to because of this dialog box. By default, Final Cut Pro X will copy over your media files and automatically organize the footage available for you using Content Auto-Analysis.
Content Auto-Analysis might well be one with the coolest additional features of Final Cut Pro X. Not only do you find the standard metadata that FCPX would collect like frame rate, codec, resolution, plus more, nevertheless it also borrows some technology from iPhoto and iMovie to automatically detect people from the shot together with shot size.
Additionally, Content Auto-Analysis analyzes footage for color balance, audio problems, shaky footage, as well as the notorious rolling shutter distortion occurring with many CMOS-based cameras when panning. FCPX can also transcode supported footage mainly because it imports into native ProRes in addition to create small proxy media files, if you are working using a low-power machine. Other smart features include to be able 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 associated with your system. But besides any drives will likely be recognized in FCPX; Apple says spinning disks, therefore you wont see USB drives. As far as we realize, neither will Xsan, NFS, AFP, or SMB-mounted volumes appear inside Event Library.
There are lots of things inside the above sentence which may make a couple of people unhappy, but fortunately, you may import footage in your local Event Library and never have to copy over gigabytes of knowledge. Final Cut Pro X can establish links for a remote media. Just be sure to deselect the copy files to FCPXs events folder, otherwise the media are going to be copied to whatever drive you could have set up on your events.
Within the Event Library would be the Event Browser, and this also is where much with the magic on 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 like a good or bad take, but the revolutionary FCPX brings metadata into the industry of Google.
When importing footage, Smart Collections will automatically make a number of premade groups depending on things like regardless of if the shot is often a wide, medium, or close-up. It will also detect people and group them together.
The power with the new metadata engine derives from its extensibility. Users is now able to create their very own keyword tags, as well as tag-specific parts of clips using custom keywords. All this tagging and metadata becomes incredibly powerful after you realize that Final Cut Pro X adds search capabilities.
For example, a person can tag every one of the footage connected with an interviewee, after which perform a search query seeking medium-only shots to the interviewee. Loggers and assistant editors are going to be much happier. Apple also says the metadata engine will probably be extensible via third-party plug-ins, so that it wont be too far through the day we see plug-ins that transcribe and auto-sync transcripts to video.
Finally, the Event Browser in Final Cut Pro X eliminates Media Manager in Final Cut Pro 7, and after this within your Events Library, you are able to create lightweight proxy versions for taking on the road with a laptop.
One project, one timeline
As you see the quirks with the new interface, the one thing that might not so obvious is that there's exactly one timeline or sequence to each and every 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 when you have to go back into a previous version because the brand new sequence just didnt exercise, its in front of them. For now, Apple says that when you want to generate a snapshot with the current sequence, you can make use of the Duplicate feature inside menu bar, which creates a whole new copy of your respective current project. Fortunately, projects may be viewable from your Project Library.
While many are going to be upset that projects are only able to contain 1 timeline, Apple has really rethought the previous track-based timelines, and inside process created some innovations that may make the absence of multiple timelines more palatable.
Final Cut Pro Xs most touted feature has got to get the new Magnetic Timeline and the many features that build from it. Tracks have disappeared, and instead we have now what Apple calls lanes. Because in this, well known tool, the Track tool, has disappeared, since you dont need it anymore.
Like lanes of traffic, clips automatically make room for starters another whenever you move them within the timeline, which means you never ought to worry about accidentally overwriting a a record of audio or video. Its magnetic because clips automatically ripple get rid of the gap between clips or move out in the way to create room for first time clips.
New and amateur video editors will love the Magnetic Timeline, but it really is going to try taking some time and use before you see many professional editors embracing it. Most professional editors wont be honest, but perform spend a lot of time making room for clips we would like to insert, closing up gaps and keeping my way through sync. Admittedly, find ourselves itching to press the T key with the Track tool to generate some space inside timeline.
Without source and record windows, Apples replacement with the classic Trim Mode is referred to as the Inline Precision Editor. By just double-clicking within the border where two clips meet, the Inline Precision Editor will expand the clips to show each of the footage available within 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 take a look at footage than Trim Mode. You may now easily see how a lot more footage you've got left in each clip. Once you might have extended or decreased the choices, the timeline ripples each of the changes from the sequence, keeping my way through sync.
Built on top with the Magnetic Timeline is the newest Clip Connections feature. In previous Final Cut Pro apps, you would should tediously separate the clips from your sequence before moving them around. Now, with Clip Connections, you may have multiple waste video, title and audio move around about the time line and remain perfectly in sync.
Building in addition to Clip Connections along with the Magnetic Timeline are Compound Clips.
In large projects, once youve finished a posh scene or segment, you may now group all of the audio, title, and videos together to act being a single massive clip. Its a tad like nested sequences, but much simpler to use. Effects can be applied to be a whole onto Compound Clips, and video can also be retimed jointly giant clip. All the while, they remain perfectly in sync. Apple says editors wont have to make multiple sequences for each and every scene, but can make use of compound clips instead.
Often, an editor is going to be the only person that has seen every one of the footage, through the time directors and producers join edit sessions, an editor should have likely laid the core elements and structure of an video piece.
Inevitably, though, the producer or director will would like to see alternate takes. And pulling apart a sequence to slip in the alternate clip is a serious headache.
Auditioning will alleviate most of that pain. Editors can experiment with alternate takes through marking an in along with an out on alternate clips, drag them on top of the existing clip about the timeline, and select Add to Audition. As you take a look at alternate takes, the Magnetic Timeline only will ripple around, detaching the gap or making room for clips of varied lengths.
Because virtually any part with the Final Cut Pro X application differs from its predecessor, it in all probability isnt a surprise to several that your old 32-bit Final Cut Pro 7 plug-ins wont work with the revolutionary FCPX. Thats not to state that Apple is giving up around the third-party plug-in community. In fact, its depending upon it heavily to fill some missing features.
Final Cut Pro X comes complete which has a new plug-in architecture which is 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 look at advantage from the new high-performance, multithreaded, floating-point rendering engine.
The work that Apple has put into the newest 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, however in our tests it stayed all-around real-time performance.
Applying effects hasn't been easier. Instead of dragging and dropping effects and having a coffee break to lose time waiting for it to render, you'll be able to simply press play from the timeline and check out different effects and appearance in real time by hovering in the effect from the Effects Browser.
There can be quite a lot to have used to if this comes on the changes on the user interface and missing features, but one area where the newest Final Cut Pro X deserves universal praise is performance.
In fact, when Apple product marketing managers first demoed FCPX to us, they did not employ 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, we had arrived applying real-time effects and color corrections to untranscoded, 1080p H.264 dSLR footage. In contrast, previous versions of Final Cut would force that you render dSLR footage in the codec like ProRes or DVCPRO HD.
While the first sort versions of Final Cut Pro maxed at 4GB of usable RAM, Apple says users should be ready to see a dramatic performance raise the more RAM you throw at FCPX. Final Cut Pro X uses Grand Central Dispatch to harness all of the computing power within the new multicore CPUs and in some cases supports Intels new AVX instruction set extensions inside 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 within the last two years is OpenCL-capable. At CNET, we needed to switch out our dual-quad-core Mac Pros standard ATI Radeon HD 2600 card for the ATI Radeon HD 3870, since the former didnt meet Apples OpenCL requirements.
Part of Final Cut Pro Xs new performance increase emanates from background processing. While youre pondering the following edit, FCPX uses those down cycles to execute a quantity of different tasks including transcoding, content auto-analysis for stabilize shaky footage, or removing background noise from audio. Final Cut Pro X even carries a Background Task window, which teaches you exactly what FCPX is doing as well as offers some manual controls like pausing or canceling a history process.
The new Final Cut Pro X will probably be much faster than its predecessor, however it still maintains high picture throughout its rendering engine. The new rendering engine is floating-point based and utilizes a much wider color space, meaning you can blow out your highlights in a single effect and provide back detail into your image with another effect. All the while, FCPX maintains accurate color profiles using ColorSync, therefore you wont have fret excessive about the differences between ITU 709 HD colors and NTSC Never Twice Same Color.
Unfortunately, everything that exceptional color management travels to waste because as of right this 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 introducing Thunderbolt- and PCIe-based accessories that will FCPX to both capture footage from another source such as a tape deck and output via industry-standard HD-SDI ports. Still, its a significant disappointment that in the meantime, Final Cut Pro X users will must trust their computer monitors and know that it in all probability wont look precisely the same once it hits an authentic television set or gets projected in a very screening room.
Many video professionals are actually wondering for many years 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 change and high-quality rendering engine, it really is not Shake for mere mortals. And Apple says it is not intended for being.
Motion graphics designers can now put in place Smart Motion Templates with editable parameters which could be rigged together. For example, a motion graphics artist gives motion graphic titles several variations with some other colors and font sizes realistically work together. Editors can adjust these rigs with simple sliders, pop-up menus, or check boxes.
Motion 5s new Smart Motion Templates can also be more intelligent than their predecessor. Artists are now able to define intro animations and out animations, but leave an accommodating title body to match the correct timing within the middle. The days of slicing motion graphics and fading relating to the two to give a title which simply wasnt of sufficient length to cover an edit have ended.
The most valuable improvement to Final Cut Pro X motion graphics is which you can now edit the written text right within the Viewer panel. No more opening a titles controls inside the Viewer, changing somewhat of text, and after that clicking somewhere else within the timeline for the text to update.
Finally, Final Cut Pro X also comes using a new Apple-made chroma keyer. Primatte is gone through the package, but Apple says which the new chroma keyer is more preferable than ever. It utilizes precisely the same 64-bit high-quality rendering engine, and our limited testing shows it to get at least on par with Motion 4s Primatte keyer.
The other companion app within the Final Cut Pro X suite is Compressor 4. For one of the most part, it seems a lot like its previous incarnations, but Apple has cleaned up some in the interface, mostly by permitting rid of dozens of extra Compressor presets that almost all people only ever used inside a blue moon.
Many Final Cut Pro X users may never use Motion 5, however its far more likely how they would use Compressor 4. Considering Final Cut Pro X lost support for laying off video to tape, its all the more important that editors possess 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 to the menu bar.
Other improvements to Compressor include support for Apples new HTTP live-streaming standard. The moniker is really a bit misleading, however. Compressor 4 won't gain a chance to encode live video streams. HTTP live streaming remains to be file-based, but it really does allow it to become a lot better to generate multi-bit-rate H.264 videos, and also the accompanying.M3U playlist. HTML5 video the H.264 variety can be a whole lot easier now with all of the files located in the single folder, and yes it includes an HTML5 JavaScript-based video player.
Finally, Compressor 4 incorporates Apples Qmaster rendering engine in to the application itself rather than to be a separate background application or installation. Users may now designate encoding nodes from the application for taking advantage of unused CPU cores or machines in your network. You will, however, ought to install Compressor 4 on other machines on your own network to look at advantage in the distributed encoding.
Say goodbye to DVD Studio Pro, Color, and Soundtrack Pro
Well get started with DVD Studio Pro. Its not ever coming back. Apple sees iTunes because future type of media distribution, of course, if youve been pursuing the development of Final Cut Studio, youll realize that DVD Studio Pro hasnt really changed in many than 5 years. Final Cut Pro X does include the opportunity 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 inside the Final Cut Studio suite. Originally, it had been called FinalTouch and was created by Silicon Color till the company was acquired by Apple. But it absolutely was always obvious that this app has not been very Apple-like, nor may be the idea of stepping out of one's video-editing application to carry out a color correction.
The new Final Cut Pro X incorporates most with the basic popular features of Color without ever having to leave the applying. Color correction is not really a special effect, however its built into every clip you lay for the timeline. By just tabbing over, youll be able to build global color corrections within FCPX, together with additional secondaries. The color board does take a lttle bit of adjusting to, and a lot of users will miss Final Cut Pros iconic three-way color corrector. In return, however, they are going to get features like masking and in some cases selective keying to generate fine adjustments.
Its significantly less powerful as Color. You wont have the ability to 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 on the audio-editing tools. For instance, sound are now able to be edited to precision levels. One reason you needed apps like Soundtrack was because Final Cut Pro audio tools still lived inside a world where frames are king. Editors worldwide know the pain and frustration when trying 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 always that they support Audio Unit plug-in custom interfaces, therefore you dont need to worry about using imprecise sliders for making your adjustments.
Honestly, though, Soundtrack isn't an application we'll miss much; others might disagree. Yes, you could potentially clean up audio, mix multiple tracks, and check out sound effects, but inside the professional world, Soundtrack Pro simply would not compare together with the industry-standard Pro Tools, although us into possibly the biggest gripe of most.
OMG! Where would be the EDLs, AAFs, OMFs, and XMLs?
If you dont know very well what these acronyms mean, youre that's doubtful a person who should upgrade to Final Cut Pro X. Also, if youve look at the early reviews of Final Cut Pro X, then none of the items were on the verge of say are going to be a surprise. Final Cut Pro X is really a complete overhaul of an very mature application. Unfortunately, Apple did not include some features that arent simply missed, but they are very all-important.
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 the major void having its Pro Export FCP 5.0 plug-in. With the Pro Export FCP plug-in, users are 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 try this natively. Its even more of any hit for the gut if you also know that Pro Export FCP 5.0 doesnt come cheap at 495.
As far as EDLs and AAF export options, you are not likely to obtain them in future updates for the software. Apple says its priority is usually to build XML export, therefore we expect third-party companies to think of XML-to-EDL or XML-to-AAF online translation tools.
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 any big issue. Its a piece of writing of faith which you never get some new NLE software inside the middle of post-production. But there's always a time if you need to crack open a well used project file to seize a still or rejigger an edit. The official Apple line up to now is which it wont be developing FCP7-to-FCPX file conversion tools. The company says that because in the major architecture changes, it could create more problems than it will solve.
Final Cut Pro X 10.0 is a significant, bold step in the new way forward for post-production, where tapes are an anachronism plus a single application are designed for all of your respective color grading, title effects and sound-editing needs. Its clear in the price and the newest workflow of FCPX that Apple believes that video will likely be even more ubiquitous within the near future.
It wasnt too long ago that writing to the masses meant landing a coveted job at a serious newspaper, then again blogging came around. Now, anybody with barely a modicum connected with an interesting thought can blog, as well as the writing can be viewed by millions. Apple believes exactly the same thing with video.
There are three multiple users which the new Final Cut Pro X might fascinate, and each of them, you can find three different conclusions.
For professionals, it is difficult to recommend Final Cut Pro X 10.0 in their current state to be 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 is going to be the norm still need to deal with all the reality which the network still wants an HDCAM SR archive. To be sure, the bean counters wont be happy when an editor asks to exchange a rack of 100, 000 HDCAM SR decks that theyre still paying off with an SD card reader plus a pair of 100 drives.
The company has recently assured us that it is going to be updating Final Cut Pro X with many much needed features, like XML export and multicam-editing support. Third-party manufacturers like AJA and Black Magic Design might 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 now released a power tool to export FCPX sequences to OMF.
Apple has recently said which the company will probably be moving into a more rapid release schedule, but it really would cease a surprise to view an update to FCPX within the next several months instead with the next couple of years. Meanwhile, Apple says your overall Final Cut Pro 7 setup still works. It would also stop a surprise if Apple makes Final Cut Studio still readily available for purchase again inside interim.
For amateur video editors, Final Cut Pro X just isn't iMovie Pro. Its iMovie way excessive. Clip connection could possibly be amazing each time a producer would like to see the scene moved around, nevertheless its too much for amateurs, who just desire to edit out your part where they forgot to seal off the camera. The latest version of iMovie can be a fine video-editing program, plus it comes using a whole suite of programs like iPhoto that video-making newbies will see immensely more useful. Still, if you are willing to spend the bucks to sample pro features and havent used the app for a long time like professionals, you might discover the new means of doing things more palatable.
In short, to the portion on 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 may be valued at your consideration. Still, we cant help but feel that sticking with Final Cut Studio 3 or waiting some months for Final Cut Pro X 10.1 makes life a little bit easier about the blades edge.
Editors note: Wilson G. Tang can be 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, they have had almost several years of experience with Final Cut Pro along with nonlinear video-editing software using a day-to-day basis. In addition, he's got had extensive experience within the field, using anything from film cameras to new digital cinema camcorders that shoot to memory cards.
From Apple: At the heart of Final Cut Pro X could be the Magnetic Timeline, a trackless strategy to editing your footage that permits you to add and arrange clips wherever you would like them, while other clips instantly slide out in the way. You are able to use Clip Connections to link primary story clips with elements like titles and sound files, to make sure they stay in perfect sync once you move them. You can also combine related story elements right into a Compound Clip which could be edited like a single clip. The groundbreaking new Auditions feature permits you to swap from a collection of clips to instantly compare alternate takes.
Some people like a new challenge.
Where to Hard to come up with something hasnt recently been said, so Ill just reiterate. Even using the update, its still hardly a good product. Still missing a lot of the items was great concerning the last FCS, the worst being so it cant import old files. Seriously Apple, what have you been thinking with this. As others have said, this should are actually a new FCE. The the latest features and interface don't overcome precisely what is missing. Used it on another system and usually 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, however many times I tell it not to ever. STOP ASKING!!!
Lion is kinda terrible too, but ML is okay. Would never upgrade if I didnt need iCloud as MobileMe is ending. If this is an indication of where theyre deciding to adopt things, it doesn't bode well for Apples future.
How the heck am I planning to download this on the 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 now, why bother?
Great feel and good speed, bad in case you create footage
You cannot easily use created instead of recorded footage each and every change needs a re-import and re-edit.
media management is limiting; you can make use of disk images though.
fun, but I sure could be ticked if I developed a living from it. Note the price just isn't great - a final upgrade I got for fcs was 299 and this included each of the apps as I recall, not merely fcp. I like Motion 5 for by far the most part, style of like the existing one having a new ui and faster and slicker - kind of the I think I was expecting from FCP. Over all, I am making use of it since I am a one-man-band as well as the integrated features like color matching are fantastic for me since before this I never bothered to spend enough time doing color correction or grading.
This product is usually a Huge Letdown!
64 Bit not important though with so little professional functionality.
Everything which was professional about Final Cut studio is not really in this App. The re-written architecture is sensless and seems to become done using a complete non-professional.
If it is Apples step of progress I will have for taking 2 steps back and learn Avid and then leave Mac for PC.
Powerful Media Management section which allows you to locate, edit and tag your media files, especially useful large projects with some other 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 obtain used into a more iMovie interface. Some alternative party plugins would possibly not work.
Highly recommend take a go without replacing your setup. You can run 2 versions in parallel with no problem. You may wish to learn FCPX on smaller and much easier projects first to find out as you go. There can be a learning curve and many features might even be invisible with a first look. It can be a disruptive approach that I think may benefit the editor along the track. It is worthwhile to focus on this version and obtain into learning the main points of this version, as I expect that future version will build upon and surely improve other things even as we go.
Well Organized GUI, Powerful Video Editing Tools!
this program revolutionized that is a. would not switch
Works great on my own 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 need to have a list within your plug-ins, post your problem about 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 everthing really - we like this app and our you apple!
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Produce audio and make music.
Mix, scratch, and remix MP3s or music videos live.
Save YouTube, , Vimeo videos and SoundCloud in MP3
Create motion graphics and visual effects.
Digital video editing system.
YouTube video player and downloader.
Universal, highly tweakable DVD/video ripper and converter.
Convert MPC, APE, WV, FLAC, OGG, WMA, AIFF, WAV and Video
Discover and play online videos, download, save, organize,
Create artwork, correct color, retouch scanned images.
Scheduling component for Radiologik DJ.
Learn to learn an instrument, write music, record a song.
Motion graphics package.
Automated radio DJ assistant.
Manage your music and movie libraries with your Mac, iPod,
Create multilayer audio loops with adjustments and effects.
Audio extendable converter. Convert between over 40 audio
Music mixing and organization.
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To obtain a free trial of FinalCutProX version 10.2.2 for ones Mac, enter your name
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If youre employing a previous version with the FinalCutProX trial, youll be able to make use of this version free on an additional thirty days.
FinalCutProX takes a Mac with OSX v10.10.4 or later, 4GB of RAM 8GB suited to 4K editing and 3D titles, plus an OpenCL-capable graphics card or Intel HD Graphics 3000 or later. Fordetails, see
Make every effect special.
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Advanced encoding. Simplified.
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FinalCutProX has a Mac with OSX v10.10. 4 or later, 4GB of RAM 8GB appropriate 4K editing and 3D titles, along with an OpenCL-capable graphics card or Intel HD Graphics 3000 or later. Fordetails, see
Make every effect special.
Download from your Mac App Store for 49.99.
Advanced encoding. Simplified.
Download in the Mac App Store for 49.99.
Available in the Mac App Store for 299.99.
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Video editing, compositing camera work.
This software can be obtained to download in the publisher site.
Update your registered copy of Final Cut Pro to version 3.0.2.
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Update your registered copy of Final Cut Pro to version 5.0.4.
professional video editing, compositing, computer graphics
Search from the big database in the best German online community.
Convert and import movies, music, sound but still images into Final Cut Pro.
Generate Final Cut Pro sequences.
Design and produce a vinyl-cut signage.
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Video editing, compositing tricks.
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Update your registered copy of Final Cut Pro to version 3.0.2.
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professional video editing, compositing, camera work
Search in the big database in the best German online community.
Convert and import movies, music, sound but still images into Final Cut Pro.
Design and make a vinyl- cut signage.
The Installer securely delivers software from s servers for a computer. During this process, the Installer may offer other free applications given by our partners. All offers are optional: You are not necessary to install any extra applications for the software you selected. A direct download link towards the software can be obtained on the product page.
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See whats new in version 10.2 Motion graphics set the scene inside latest relieve Final Cut Pro. Create stunning 3D titles in just some clicks. Adjust the design, lighting, animation, and even more with simple controls that generate studio-quality titles. Color grade with multiple scopes, easily apply custom masks, and save custom effects for urgent access later. You can do it all on the wider variety of video, because Final Cut Pro adds support to the latest pro formats from Panasonic and Sony and features blazing GPU acceleration for RED RAW footage.
Read about professional video editors in broadcast, education, and have filmmaking using Final Cut Pro X.
Directors John Requa and Glenn Ficarra, together with editor Jan Kovac, cut their box officetopping feature entirely in Final Cut Pro X.
A thriving ecosystem allows you to streamline your workflow and increase the look within your projects with powerfulutilities, inventive plug-ins, and delightful content.
The mixture of Final Cut Pro X and Mac Pro permits you to edit faster than any other time at 4K and beyond.
Make every effect special. Create stunning effects and sweeping motion graphics, including studio-quality 2D and 3D titles which you can immediately open in Final Cut Pro X.
Advanced encoding. Simplified. Quickly encode video utilising an intuitive interface and after this create an iTunes Store Package to streamline delivery of one's movie towards the iTunesStore.
Make every effect special.
Download through the Mac App Store for49.99.
Advanced encoding. Simplified.
Download in the Mac App Store for49.99.
Available from your Mac App Store for 299.99.
Just click to download and install.
See whats new in version 10.2 Motion graphics set the scene inside latest turmoil Final Cut Pro. Create stunning 3D titles in just some clicks. Adjust the looks, lighting, animation, plus more with simple controls that generate studio-quality titles. Color grade with multiple scopes, easily apply custom masks, and save custom effects for immediate access later. You can do it all on the wider selection of video, because Final Cut Pro adds support for your latest pro formats from Panasonic and Sony and features blazing GPU acceleration for RED RAW footage.
Read about professional video editors in broadcast, education, and have filmmaking using Final Cut Pro X.
Directors John Requa and Glenn Ficarra, together with editor Jan Kovac, cut their box officetopping feature entirely in Final Cut Pro X.
A thriving ecosystem helps you to streamline your workflow and increase the look within your projects with powerfulutilities, inventive plug-ins, and exquisite content.
The blend of Final Cut Pro X and Mac Pro allows you to edit faster than ever at 4K and beyond.
Make every effect special. Create stunning effects and sweeping motion graphics, including studio-quality 2D and 3D titles which you can immediately open in Final Cut Pro X.
Advanced encoding. Simplified. Quickly encode video utilizing an intuitive interface and after this create an iTunes Store Package to streamline delivery within your movie towards the iTunesStore.
Make every effect special.
Download from your Mac App Store for49.99.
Advanced encoding. Simplified.
Download from your Mac App Store for49.99.
Available from your Mac App Store for 299.99.
Just click to download and install.
Video editors are available in many flavors and possess various groups of features that attempt to help their users make probably the most out of any video source and obtain the best looking output movie possible.
Among the sea of which solution available about the Mac platform, Apple s Final Cut Pro is a that stands apart, automobile large suite of built-in tools, speedy workflow and powerful media organization capabilities.
From the start, when you finally install it with your Mac and start utilizing it, Final Cut Pro might seem being a little intimidating for the busy looking interface but, despite making the educational curve slightly steep, furthermore, it gives you access to your multitude of tools created to greatly transform your post-production workflow.
Moreover, once you obtain the hang of it, you ll note that each and every Final Cut Pro UI object continues to be carefully placed and keep any and all of its integrated tools as few ticks away as is possible.
Besides as a full blown video editor, the Final Cut Pro solution also comes which has a built-in audio editing toolset that can offer you with all of the needed tools for taking care of excessive noise and hum problems with your audio tracks. This feature can also be utilized to quickly ensure that any DSLR videos you include in assembling your garden shed are in sync making use of their audio track and also to effortlessly add one in the many available royalty free sound files that come bundled along with it.
Additionally, Final Cut Pro features a high level and dynamic media organizer, a device that enables that you quickly find any clip they re looking for within a matter of seconds. In order to allow it to be as fast as you can to find any file inside your library, Final Cut Pro works on the combination of keywords and automatic metadata that helps it to provide you which has a friendly importing interface as well as a host of basic and new strategies to classify your computer data.
Because Final Cut Pro is thought from scratch to become a professional grade software, they are available in native support on an extensive variety of formats that each one experts use, including H.264, REDCODE RAW, AVCHD, Sony XAVC, and AVC-Intra.
On the surface of that, Apple s Final Cut Pro can also be accustomed to import, edit, and deliver MXF files using the help of third-party developed plug-ins. Regarding audio formats, it might work using a broad choice of audio files, for example AIFF, SDII, MP3, AAC, and WAV.
Taking all from the above into account, Final Cut Pro can be a answer to any video editing whiz, making it possible for importing, editing, improving and delivering premium quality products and upgrading the complete video post-production workflow using the help of your comprehensive variety of fast yet easy to work with tools.
Mac OS X 10.10.4 or later Intel only
Export interlaced H.264 video
Last updated on September 4th, 2015
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