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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 inside a few clicks. Adjust the looks, lighting, animation, plus much more with simple controls that generate studio-quality titles. Color grade with multiple scopes, easily apply custom masks, and save custom effects for fast access later. You can do it all with a wider variety 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 show 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 permits you to streamline your workflow and enhance the appearance of your projects with powerfulutilities, inventive plug-ins, and exquisite content.
The mix of Final Cut Pro X and Mac Pro permits 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 you could immediately open in Final Cut Pro X.
Advanced encoding. Simplified. Quickly encode video having an intuitive interface and after this create an iTunes Store Package to streamline delivery of your respective movie on the iTunesStore.
Make every effect special.
Download on 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 relieve Final Cut Pro. Create stunning 3D titles in a few 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 immediate access later. You can do it all with a wider choice 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 show filmmaking using Final Cut Pro X.
Directors John Requa and Glenn Ficarra, in conjunction 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 enhance the appearance of your projects with powerfulutilities, inventive plug-ins, and delightful content.
The mix of Final Cut Pro X and Mac Pro enables you to edit faster than previously at 4K and beyond.
Make every effect special. Create stunning effects and sweeping motion graphics, including studio-quality 2D and 3D titles that you could immediately open in Final Cut Pro X.
Advanced encoding. Simplified. Quickly encode video employing an intuitive interface now create an iTunes Store Package to streamline delivery of the movie to your iTunesStore.
Make every effect special.
Download on the Mac App Store for49.99.
Advanced encoding. Simplified.
Download through the Mac App Store for49.99.
Available in the Mac App Store for 299.99.
Just click to download and install.
To get yourself a free trial of FinalCutProX version 10.2.2 on your Mac, enter your name
and email address within the box below, then clickDownload.
If youre utilizing a previous version on the FinalCutProX trial, you will have use this version free for one more 30 days.
FinalCutProX uses a Mac with OSX v10.10.4 or later, 4GB of RAM 8GB appropriate for 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 on the Mac App Store for 49.99.
Advanced encoding. Simplified.
Download from your Mac App Store for 49.99.
Available in the Mac App Store for 299.99.
Just click to download and install.
To get yourself a free trial of FinalCutProX version 10.2.2 for the Mac, enter your name
and email address inside the box below, then click Download.
If youre by using a previous version in the FinalCutProX trial, you will have use this version free for one more 30 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.
Download in the Mac App Store for 49.99.
Advanced encoding. Simplified.
Download through the Mac App Store for 49.99.
Available in the Mac App Store for 299.99.
Just click to download and install.
2015 CBS Interactive Inc.
Editors Note: Clicking about the Download Now Visit Site button above will open a link to a third-party site. cannot completely be sure the security from the software hosted on third-party sites.
Editors note September 20, 2011: Apple has released an essential 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 will disappoint seasoned professionals, and also it loses many key features that happen to be simply a total necessity inside professional world, like XML export. On the other hand, those trying to upgrade from iMovie will see a lot more features in Final Cut Pro X, but there are a few caveats.
Final Cut Pro Xs bold philosophy of video editing certainly will take some acclamating yourself with, however in return, editors will likely be rewarded with blazing performance as well as a future where tapes are as outdated as wax cylinders. For amateur video editors, iMovie remains to be the best balance of features, usability, and price. At this stage, Final Cut Pro X is often a 1.0 manufactured goods still needs a lot more development. However, Apple has laid the groundwork for versions 2.0 and 3.0 to become much more compelling and usable.
Its been 3 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 are in work changing the joy of video editing, and also the most hardened video-editing professionals will explain that editing should evolve.
First, the price tag on productions has dropped drastically inside last couple of years. An indie film several years ago may have achieved some notoriety to get shot over a consumer MiniDV camcorder, but the days youll chose the same Canon 5D Mark II that you've got at home over a 1 million set.
Second, grown to be gotten much faster, with multithreaded cores and GPUs that will generate lifelike 3D graphics at 120 frames per second at resolutions double that surrounding even 1080p video.
Now, picture the frustrations that editors feel when running Final Cut Pro over a Mac Pro with 16GB of RAM and eight cores, only to realize that FCP are only able to address 4GB of memory simply 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 belief that it took Apple six iterations of Mac OS X prior to company finally were update the ubiquitous Finder app to 64 bits: rewriting applications is actually difficult. Even iTunes, that happen to be considered Apples most significant application for the syncing abilities towards the iPod and iOS, is sitting around using 32 bits.
Third, like how blogging gave everyone to be able 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 come up with their work and show Hollywood which you dont need huge amount of money to create an issue that hundreds of millions of folks will see.
Finally, several things can be said about Apple, but one thing the company truly embraces is change. Ten years ago, Apple transitioned Mac OS 9 into a 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 with 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 at the office, Apple has been doing the same transition with Final Cut Pro the way it did with Mac OS. Like Cheetah, Final Cut Pro X is missing many features, many of which likely wont allow it to be, 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 extra features, instead was an under-the-hood improvement to your OS X computer. Snow Leopard brought improved performance, enhanced support for 64-bit applications, new tools like Grand Central Dispatch for multicore programming, plus a new programming framework for taking advantage in the massive power of graphics processors called OpenCL.
The original Final Cut Pro took very little selling point of any of these new leaps as it was still shackled with a 10-year-old code base and 32-bit Carbon APIs.
In the modern Final Cut Pro X, Apple rewrote the main application through the ground up to finally support 64-bit Cocoa APIs, but also to look at advantage from the power of GPUs through programming frameworks like OpenCL and multithreaded operations. The change is clear when you go through the Activity Monitor, which shows more threads. Even better, the native 64-bit code now supports a practically limitless availability of RAM.
Final Cut Pro X is merely available using the Mac App Store. The previous Final Cut Studio had heavy instruction manuals, that are now just help files in FCPX. We appreciate reducing paper waste, but be warned how the digital help files wont offer any images unless you are connected on the Internet.
Final Cut Pro X is available through Mac App Store for just a low price of 299. In comparison, the prior Final Cut Studio costs 999, however it had Motion, Soundtrack Pro, Compressor, LiveType, Cinema Tools, and Color. Some of those apps have disappeared for good inside the new Final Cut Pro X with just one or two of their functionality built-into the app.
For another 49 apiece, may buy Motion 5 and Compressor 4 as add-on companion apps to Final Cut Pro X. Well dive into these apps a little later from the review.
Final Cut Pro X boasts the distinction to become the first app accessible for voluming licensing. Licenses for businesses and schools is going to be available through Apple Online Store for quantities of 20 or higher. Users get a redemption code, which can use to download the app on the Mac App Store.
Simply downloading isnt as fun mainly because it sounds. Final Cut Pro X is 1.33GB, this means you will take hours to download when you have a slow connection. In addition, there's 637.2MB of supplemental content like effects and backgrounds, which can be downloaded through the Mac OS X Software Update feature because its shared between applications. Additionally, Motion 5 is 1.09GB, and Compressor is often a relatively paltry 261MB. This will cease fun to the eager enthusiast with a pokey DSL line.
Still, its a much better and easier installation method than the prior Final Cut Studio, which required swapping out DVDs repeatedly to have an hour or two.
When you first of all launch Final Cut Pro X, the earlier Final Cut loading screen is replaced by the new semitransparent load screen that helps you to know this can be the 10.0 iteration in the professional software. But what uses that is not like the 10 previous versions of Final Cut.
Youll first notice a prominent solution to Import iMovie Events right higher than 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 build a project first. Instead, you import media and manage your media first. You can, however, produce a project first and import later. But it just proves you how much Apple believes that data-based video workflows are definitely the future of post-production.
FCPXs new interface borrows some style aspects of iMovie, that may really have many editors scratching their head. But first, multiple windows have largely disappeared.
Instead of windows, such as previous versions, visit get panels. The panels have default positions, nevertheless they can fortunately be resized.
For essentially the most part, the panel locations usually are where you want them to get, but we will have preferred more customization options. Users can specify the Viewer or perhaps the Events panels to live on on secondary monitors, however it is still no match for arranging windows to whatever assembling your garden shed or personal preferences are.
The biggest change is the modern Viewer. Previous users of Final Cut Pro will wonder what happened on the Viewer and Canvas windows.
They are already combined in a single panel the Viewer. In previous versions of Final Cut Pro, the Viewer loaded clips to edit or it let users manipulate the properties of an clip. The Canvas traditionally showed the actual frame from the playhead inside Timeline. Final Cut Pro X now combines their viewer and canvas into one panel simply referred to as Viewer.
Simpler is way better though, right? Actually, wasn'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, every time a producer or editor would stock up one clip from the video deck, mark the beginning and stop, after which record on to your second tape.
Old since it might be, the source/record convention is blazingly fast. Watching a specialist editor is compared to watching a pianist. Loading clips, scrubbing through to chose the perfect clip, marking an in point as well as an out point, then laying within the timeline might be accomplished without touching the mouse in any way. For Apple, its an impact of philosophy.
Starting a fresh project feels a lttle bit strange since the program does little to go into detail new concepts like Events. Events are Apples new means of describing media libraries. An event provides the actual media files of your respective project, and also metadata information.
When you make a new project, there won't be any options like resolution or codec before you select custom. By default, the app will look for a resolution and frame rate based on the initial clip you employ.
You can make custom options, that could support most from the standard resolutions: 1080i, 1080p, 720p, NTSC, PAL, 2K, and 4K. The Other options curiously do not allow 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 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, in case you have to work with a nonstandard frame rate, youre doomed. As a sign on the future of where Apple wants for taking video editing, FCPX supports 4K resolutions at 60 progressive frames per second.
Additionally, you can find options for car stereo rendering, which default to Surround Sound at 48KHz, and variable bit rate ProRes 422. ProRes 422 HQ, ProRes 4444, and Uncompressed 10-bit are available as options, if you'd like those extra items of color information or editing having an alpha channel. However, for the majority of editors, ProRes 422 comes with a good balance between speed and drive space.
Perhaps probably the most unsettling behavior up to now is that Final Cut Pro X doesnt permit you to specify the place you want to save assembling your garden shed file within the New Project dialog box. By default, FCPX creates new projects from the root directory of whatever drive you might have selected inside the Project Library.
This is very frustrating. Being able to specify an establishment for project files can be quite 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 from the same folder because project files. Render files are essentially media files that FCP uses just to save rendered work, like effects. So looking diligent enough to generate a new project using a separate harddrive, your render files must live within the same folder.
For Apple, its again a change of philosophy. Users lose some granularity in picking a scratch disk, nonetheless they get the benefit from having an individual folder they will move around, full of 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 include the Log Capture and Log Transfer options. Instead, we only get choices for importing media files and importing files at a 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 exactly the same as Log Transfer. Its almost an attempt at combing capture from tape and capture from storage device sources. The new import interface does support FireWire and will read mounted memory cards, and also control playback options while using 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 continues to be supported, but oddly only over tape on FireWire. Youll need to wait for HDV import from MXF files. Nor does FCPX keep the ultrahigh-quality RED RAW natively. For now, either 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 truly is working with manufacturers like Sony and Red to generate plug-ins that will FCPX to get a one-stop-shop for importing video.
Final Cut Pro X is equipped with a Supported Cameras page, nonetheless it isnt given that wed like, nor can it be completely up-to-date. For example, importing P2 footage into the modern FCPX is quite possible, but it truly is not included inside the Support Cameras page. Also, it is also not entirely obvious that some formats like P2 have to become imported throughout the Import From Camera option and never the Import Files option.
On the brilliant side, no less than it natively props up the 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 numerous great new options that provides you a taste products Apple has been implementing these last four years of developing FCPX.
You can make a new event, or you can help to increase an existing event. Fortunately, you can come up 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 for you personally using Content Auto-Analysis.
Content Auto-Analysis might well be one with the coolest latest features of Final Cut Pro X. Not only do you have the standard metadata that FCPX would collect like frame rate, codec, resolution, and even more, nonetheless it also borrows some technology from iPhoto and iMovie to automatically detect people from the shot in addition to shot size.
Additionally, Content Auto-Analysis analyzes footage for color balance, audio problems, shaky footage, and also the notorious rolling shutter distortion that develops with many CMOS-based cameras when panning. FCPX can also transcode supported footage since it imports into native ProRes along with create small proxy media files, when you working on the low-power machine. Other smart features include to be able to intelligently group mono or stereo audio channels and take silent audio channels.
The Events Library organizes your media in the tree using the main branches being the tough drives linked to your system. But not only any drives are going to be recognized in FCPX; Apple says spinning disks, and that means you wont see USB drives. As far as could, neither will Xsan, NFS, AFP, or SMB-mounted volumes appear within the Event Library.
There are lots of things from the above sentence that will make a couple of people unhappy, but fortunately, you'll be able to import footage in your local Event Library without needing to copy over gigabytes of web data. Final Cut Pro X will provide links on your 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 for ones events.
Within the Event Library will be the Event Browser, and this also is where much with the magic in 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 newest FCPX brings metadata into the field of Google.
When importing footage, Smart Collections will automatically produce a number of premade groups according to things like perhaps the shot is really 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, and in some cases tag-specific elements of clips using custom keywords. All this tagging and metadata becomes incredibly powerful if you realize that Final Cut Pro X adds search capabilities.
For example, an end user can tag every one of the footage associated with an interviewee, and after that perform a search query searching for medium-only shots to the interviewee. Loggers and assistant editors are going to be much happier. Apple also says that this metadata engine will probably be extensible via third-party plug-ins, therefore 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 gets rid of Media Manager in Final Cut Pro 7, and from now on within your Events Library, you may create lightweight proxy versions to adopt on the road with a laptop.
One project, one timeline
As you get the quirks on the new interface, another thing that might 't be 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 a significant change for professionals. Editors routinely duplicate sequences from the same project, so that for those who have to go back into a previous version because the modern sequence just didnt exercise, its immediately. For now, Apple says if you want to build a snapshot from the current sequence, you may use the Duplicate feature from the menu bar, which creates a whole new copy of one's current project. Fortunately, projects are typically viewable on the Project Library.
While many is going to be upset that projects could only contain 1 timeline, Apple has really rethought that old track-based timelines, and from the process created some innovations which may make the deficiency of multiple timelines more palatable.
Final Cut Pro Xs most touted feature has got being the new Magnetic Timeline and all of the features that build off from it. Tracks have disappeared, and instead we now have what Apple calls lanes. Because on this, your tool, the Track tool, fully gone, since you dont need it anymore.
Like lanes of traffic, clips automatically make room first another if you move them for the timeline, and that means you never should worry about accidentally overwriting a on top of audio or video. Its magnetic because clips automatically ripple eliminate the gap between clips or move out from the way to generate room for brand new clips.
New and amateur video editors will enjoy the Magnetic Timeline, but it can be going to try taking a little time and exercise before you see many professional editors embracing it. Most professional editors wont be honest, but we all do spend a lot of time making room for clips we would like to insert, closing up gaps and keeping my way through sync. Admittedly, we look for ourselves itching to press the T key with the Track tool to create some space within the 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 about the border where two clips meet, the Inline Precision Editor will expand the clips to show the many footage available inside 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 can be a much better take a look at footage than Trim Mode. You are now able to easily see how additional footage you might have left in each clip. Once you've extended or decreased the choices, the timeline ripples each 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 must tediously separate out of the clips from your sequence before moving them around. Now, with Clip Connections, you may have multiple bits of video, title and audio move around around the time line and remain perfectly in sync.
Building along with Clip Connections as well as 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 less difficult to use. Effects can be applied to be a whole onto Compound Clips, and video may even be retimed together giant clip. All the while, they remain perfectly in sync. Apple says editors wont have to produce multiple sequences for every single scene, but are able to use compound clips instead.
Often, an editor will likely be the only one who has seen the many footage, through the time directors and producers join edit sessions, an editor can have likely laid your core elements and structure of any video piece.
Inevitably, though, the producer or director will need to see alternate takes. And pulling apart a sequence to slip in a alternate clip is an essential headache.
Auditioning will alleviate a lot of that pain. Editors can experiment with alternate takes through marking an in with an out on alternate clips, drag them on the existing clip about the timeline, and select Add to Audition. As you try alternate takes, the Magnetic Timeline will just ripple around, taking off the gap or making room for clips of assorted lengths.
Because virtually any part from the Final Cut Pro X application differs from the others from its predecessor, in all probability it isnt a surprise to numerous that your old 32-bit Final Cut Pro 7 plug-ins wont work with the modern FCPX. Thats not to express that Apple is giving up for the third-party plug-in community. In fact, its counting on it heavily to add some missing features.
Final Cut Pro X comes complete using a new plug-in architecture that may be 64-bit through the start, called FxPlug 2. Developers can access the entire specification, on Apples Developer Web site, as well as its been rearchitectured for taking advantage with 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 hardly any rendering. You may see some resolution drops as well as a few frames here or there, however in our tests it stayed in close proximity to real-time performance.
Applying effects never been easier. Instead of dragging and dropping effects and choosing a coffee break to loose time waiting for it to render, it is possible to simply press play from the timeline and try different effects and appears in real time by hovering on the effect within the Effects Browser.
There may well be a lot to obtain used to if this comes to your changes for the user interface and missing features, but one area where the brand new 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, exactly the same computer that lots of Mac desktop users have. All the while, we had been 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 the codec like ProRes or DVCPRO HD.
While the last versions of Final Cut Pro maxed at 4GB of usable RAM, Apple says users should anticipate to see a dramatic performance raise 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 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 think that every Mac that Apple has released inside 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, for the reason that former didnt meet Apples OpenCL requirements.
Part of Final Cut Pro Xs new performance increase arises from background processing. While youre pondering the next 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 has a Background Task window, which demonstrates to you exactly what FCPX is doing and also offers some manual controls like pausing or canceling a history process.
The new Final Cut Pro X is without question much faster than its predecessor, nevertheless it still maintains high image quality throughout its rendering engine. The new rendering engine is floating-point based and runs on the much wider color space, meaning you can blow out your highlights within a effect and convey back detail in to the image with another effect. All the while, FCPX maintains accurate color profiles using ColorSync, so that 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 visits 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 introducing Thunderbolt- and PCIe-based accessories which will allow FCPX to both capture footage from a source just like a tape deck and output via industry-standard HD-SDI ports. Still, its a good disappointment that for the present time, Final Cut Pro X users will ought to trust their computer monitors and know that it likely wont look exactly the same once it hits a true television set or gets projected inside a screening room.
Many video professionals happen to be wondering for a long time when Motion would step up in the big leagues of compositing after it shuttered its Academy Award-winning Shake compositing program. While the brand new Motion 5 inherits Final Cut Pro Xs change and high-quality rendering engine, it's not Shake for mere mortals. And Apple says it is just not intended to get.
Motion graphics designers can now create Smart Motion Templates with editable parameters that may be rigged together. For example, a motion graphics artist gives motion graphic titles several variations with assorted colors and font sizes that actually work together. Editors can adjust these rigs with simple sliders, pop-up menus, or check boxes.
Motion 5s new Smart Motion Templates may also be more intelligent than their predecessor. Artists can define intro animations and out animations, but leave a versatile title body to match the correct timing inside the middle. The days of slicing motion graphics and fading between two to boost a title that simply wasnt good enough to cover an edit are gone for good.
The best improvement to Final Cut Pro X motion graphics is you could now edit the words right inside the Viewer panel. No more setting up a titles controls inside Viewer, changing a tad of text, after which clicking somewhere else for the timeline for ones text to update.
Finally, Final Cut Pro X also comes that has a new Apple-made chroma keyer. Primatte is gone from your package, but Apple says which the new chroma keyer is best than ever. It utilizes precisely the same 64-bit high-quality rendering engine, and our limited testing shows it to become 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 through getting rid of dozens of extra Compressor presets that many people only ever used inside a blue moon.
Many Final Cut Pro X users may never use Motion 5, nonetheless its far more likely they would use Compressor 4. Considering Final Cut Pro X lost support for laying off video to tape, its 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 into your 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 file-based, nevertheless it does help it become a lot better to generate multi-bit-rate H.264 videos, along with the accompanying.M3U playlist. HTML5 video the H.264 variety is usually a whole lot easier now with all of the files located within a 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 being a separate background application or installation. Users can designate encoding nodes inside the application to consider advantage of unused CPU cores or machines on the network. You will, however, ought to install Compressor 4 on other machines on the network to consider advantage on the distributed encoding.
Say goodbye to DVD Studio Pro, Color, and Soundtrack Pro
Well begin with DVD Studio Pro. Its not returning. Apple sees iTunes because the future label of media distribution, if youve been pursuing the development of Final Cut Studio, youll understand that DVD Studio Pro hasnt really changed in than 5yrs. Final Cut Pro X does include the cabability to burn DVDs through the application, but dont kid yourself. It is nowhere close for the power and customizability of DVD Studio Pro. If you absolutely still need to make DVDs, you could try Adobes Encore application.
Color was always the odd-man out from the Final Cut Studio suite. Originally, that it was called FinalTouch and was made by Silicon Color before the company was acquired by Apple. But it absolutely was always obvious that this app had not been very Apple-like, nor could be the idea of stepping out of the video-editing application to carry out a color correction.
The new Final Cut Pro X incorporates most on the basic options that come with Color without ever having to leave the approval. Color correction isn't a special effect, nonetheless its built into every clip you lay about the timeline. By just tabbing over, you will have create global color corrections within FCPX, and also additional secondaries. The color board does take a lttle bit of becoming accustomed to, and lots of users will miss Final Cut Pros iconic three-way color corrector. In return, however, they may get features like masking and also selective keying to generate fine adjustments.
Its less powerful as Color. You wont be capable of 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 obtain to Soundtrack Pro. Fortunately, Final Cut Pro X upgrades much with 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 in a very world where frames are king. Editors world wide know the pain and frustration when attemping to remove that half-frame long pop or click. As part of Final Cut Pro Xs massive rewrite, the business also included support for 64-bit Audio Unit plug-ins. Even better is always that they support Audio Unit plug-in custom interfaces, which means you dont need to worry about using imprecise sliders to generate your adjustments.
Honestly, though, Soundtrack just isn't an application we're going to miss much; others might disagree. Yes, you might clean up audio, mix multiple tracks, and check out sound effects, but within the professional world, Soundtrack Pro simply wouldn't compare together with the industry-standard Pro Tools, while us into maybe the biggest gripe of most.
OMG! Where would be the EDLs, AAFs, OMFs, and XMLs?
If you dont understand what these acronyms mean, youre not really 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 of the were gonna say are going to be a surprise. Final Cut Pro X is often a complete overhaul of any very mature application. Unfortunately, Apple neglected to include some features that arent simply missed, however they 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 within the major void using 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 try this natively. Its even more of your hit on the gut once you also recognize 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 to your 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 include the import of Final Cut Pro 7 project files. For some editors, this wont be much of an big issue. Its a piece of writing of faith you never change your NLE software inside the middle of post-production. But there'll always be a time if you need to crack open a classic project file to seize 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 in the major architecture changes, it might create more problems than it'd solve.
Final Cut Pro X 10.0 is an important, 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 through the price and the brand new workflow of FCPX that Apple believes that video will probably be even more ubiquitous inside near future.
It wasnt too long ago that writing to 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 can be viewed by millions. Apple believes precisely the same thing with video.
There are three categories of users how the new Final Cut Pro X might attract, also to each of them, you will find three different conclusions.
For professionals, it is tough to recommend Final Cut Pro X 10.0 in the current state to be a replacement or upgrade to Final Cut Pro 7, Avid, or no matter what the preferred nonlinear editor.
Enlightened editors who envision manufactured that file-based workflows is going to be the norm still should deal while using reality how the network still wants an HDCAM SR archive. To be sure, the bean counters wont be happy when an editor asks to restore a rack of 100, 000 HDCAM SR decks that theyre still paying off to have an SD card reader plus a pair of 100 drives.
The company has now assured us that it will likely be updating Final Cut Pro X by incorporating much needed features, like XML export and multicam-editing support. Third-party manufacturers like AJA and Black Magic Design is going to be releasing Thunderbolt and PCIe accessories soon that can let editors lay off to tape and professionally monitor on broadcast-quality displays. Automattic Duck has now released something to export FCPX sequences to OMF.
Apple has recently said the company will probably be moving with a more rapid release schedule, nevertheless it would stop a surprise to discover an update to FCPX within the next quarter or so instead on the next 2 yrs. Meanwhile, Apple says your existing 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 isn't iMovie Pro. Its iMovie way an excessive amount of. Clip connection could possibly be amazing whenever a producer wishes to see the scene moved around, however its too much for amateurs, who just wish to edit out of the part where they forgot to seal off the videocamera. The latest version of iMovie is usually a fine video-editing program, also it comes that has a whole suite of programs like iPhoto that video-making newbies will see immensely more useful. Still, if you are willing to spend the amount of money to sample pro features and havent used the app for many years like professionals, you might obtain the new method of doing things more palatable.
In short, for the portion from the post-production world that keeps an objective balance and is comfortable while using lack of tape, XML, and Pro Tools support, Final Cut Pro X will probably be worth your consideration. Still, we cant help but imagine that sticking with Final Cut Studio 3 or waiting several months for Final Cut Pro X 10.1 will make life a small bit easier about the blades edge.
Editors note: Wilson G. Tang is often a CNET and CBS producer, that has 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 10 years of experience with Final Cut Pro as well as other nonlinear video-editing software using a day-to-day basis. In addition, he's got had extensive experience from the field, using sets from film cameras to new digital cinema camcorders that shoot to memory cards.
From Apple: At the heart of Final Cut Pro X will be the Magnetic Timeline, a trackless strategy to editing your footage that permits you to add and arrange clips wherever you desire them, while other clips instantly slide out with the way. You can make use of Clip Connections to link primary story clips with elements like titles and sound files, so they really stay in perfect sync if you move them. You can also combine related story elements to a Compound Clip that may be edited like a single clip. The groundbreaking new Auditions feature helps you to swap from the collection of clips to instantly compare alternate takes.
Some people like something totally new.
Where to Hard to come up with an issue that hasnt previously been said, so Ill just reiterate. Even with all the update, its still simply not a good product. Still missing a lot of the items was great concerning the last FCS, the worst being it cant import old files. Seriously Apple, what have you been thinking to be able. As others have said, this should happen to be a new FCE. The the latest features and interface will not overcome precisely what is missing. Used it on another system and usually buy it myself. Sticking with FCS3 for providing I are able to. So disappointed in Apple. Worse, CNET keeps asking me to upgrade hoping to download it, it doesn't matter how many times I tell it to not. STOP ASKING!!!
Lion is kinda terrible too, but ML is fine for some. Would never upgrade if I didnt need iCloud as MobileMe is ending. If this is suggestive of where theyre deciding for taking things, it isn't going to bode well for Apples future.
How the heck am I planning to download this with a Telkom ADSL line in South Africa?
The rest of you are able to be the Im sitting tight with FCS3 - professional tools for the professional job. When Apple is capable of holding me with OMF export, deck control as well as other industry standards, then/maybe/Ill for the time being, why bother?
Great feel and good speed, bad in case you create footage
You cannot easily use created rather than recorded footage every change uses 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 developed a living with it. Note the price isn't great - the past upgrade I got for fcs was 299 and this included every one of the apps as I recall, not simply fcp. I like Motion 5 for your most part, style of like the earlier one which has a new ui and faster and slicker - kind with the items I think I was expecting from FCP. Over all, I am making use of it since I am a one-man-band plus the integrated features like color matching are good for me since before this I never bothered to spend enough time doing color correction or grading.
This product is often a Huge Letdown!
64 Bit not important though with so little professional functionality.
Everything that had been professional about Final Cut studio is not in this App. The re-written architecture is sensless and seems for being done using a complete non-professional.
If it is Apples advance I will have to adopt 2 steps back and learn Avid leaving Mac for PC.
Powerful Media Management section that permits you to find, edit and tag your media files, especially useful when you are large projects with assorted shots. Overall faster and certainly background rendering.
The interface overall will demand editors with optimised workflows depending on previous version to rethink media management and find used into a more iMovie interface. Some alternative party plugins might not exactly work.
Highly recommend allow it a go without replacing your setup. You can run 2 versions in parallel with out a 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 plus some features could even be invisible for a first look. It can be a disruptive approach that I think will manage to benefit the editor about the track. It is worthwhile to get started with this version and have into learning the facts of this version, as I expect that future version will build upon and surely improve other things even as we go.
Well Organized GUI, Powerful Video Editing Tools!
this program revolutionized the market. will not switch
Works great on my own PowerMac G4! Cant believe Apple is giving me HD through firewire support free of charge! I can make my movie come july 1st withoutfinding extra WOO-HOO!
Digigirl, Id desire a list of one's plug-ins, post your problem for the Final Cut Pro support forum.
This review was originally posted on FCPrender plugin that solved the Quicktime 6.4 issues, or will I still need to update that plugin?
subject says everything really - we love to this app and our you apple!
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Produce audio and build 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 experience an instrument, write music, record a song.
Motion graphics package.
Automated radio DJ assistant.
Manage your music and movie libraries in your Mac, iPod,
Create multilayer audio loops with adjustments and effects.
Audio formatting converter. Convert between over 40 audio
Music mixing and organization.
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Editors Note: This update includes performance and reliability fixes and enhancements, including chapter and compression marker export support for DVD Studio Pro 1.5, updated real-time enablers with the dual 1GHz computers, plus more.
From Apple: This update includes performance and reliability fixes and enhancements, including chapter and compression marker export support for DVD Studio Pro 1.5, updated real-time enablers to the dual 1GHz computers, plus much more.
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Play Blu-ray disc/movies and view 1080p HD video on Mac.
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Play, import, convert and export Windows Media video and
Create motion graphics and visual effects.
Convert mov files to JPG images.
Advanced screen recording application.
Convert MP4, WMV, AVI, MOV, MKV, AVCHD MTS/M2TS, MXF, FLV,
Broadcast and access videos and radio for the Internet.
Download and convert videos from various websites.
Play any Blu-ray disc/folder/ISO image file, 4K/1080p HD
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Send single, non-replayable, messages to many people Mac
Create, edit, and become MP4 video format.
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Make your own personal independent movies.
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