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Sound Effects: Over 1300 rights-free sound files installed into your Audio Browser of Final Cut Pro X.
Audio Effect Presets: Additional preset effects to the Space Designer plug-in.
The Final Cut Pro X Content update is usually recommended for all users of Final Cut Pro X.
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I have used Final Cut Pro X as it was released. Recently, after I updated to Mavericks, the App Store Update page reports so it needs to update Final Cut Pro X Supplemental Content 1.0. So, I click update, it updates it successfully, Final Cut Pro X Supplemental Content Version 1.0 occurs under updated ran inside the plast calendar month. But then, it will continue to ask me to running the update by using it the report on needd updates. Any known factors behind this issue or solutions? Thanks!
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I have owned Final Cut Pro X mainly because it was released. Recently, after I updated to Mavericks, the App Store Update page reports it needs to update Final Cut Pro X Supplemental Content 1.0. So, I click update, it updates it successfully, Final Cut Pro X Supplemental Content Version 1.0 turns up under updated ran within the plast 1 month. But then, it is constantly ask me to to perform the update by toting the set of needd updates. Any known factors behind this issue or solutions? Thanks!
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Editors note September 20, 2011: Apple has released a serious software update to Final Cut Pro X. Additional features added include support for XML, custom starting time codes, Xsan event and project compatibility, support for media stems/audio channeling, full-screen view toggle for Lion users, and GPU acceleration.
The important thing: Final Cut Pro X is a dramatic rewrite of Apples mature and well-developed video-editing software. It borrows some interface components from iMovie which could disappoint seasoned professionals, and also it loses many key features which are simply a total necessity inside the professional world, like XML export. On the other hand, those aiming to upgrade from iMovie will see a lot more features in Final Cut Pro X, but there are numerous caveats.
Final Cut Pro Xs bold philosophy of video editing will certainly take some acclamating yourself with, however in return, editors are going to be rewarded with blazing performance and also a future where tapes are as outdated as wax cylinders. For amateur video editors, iMovie continues to be the best balance of features, usability, and price. At this stage, Final Cut Pro X is really a 1.0 product which still needs some other development. However, Apple has laid the groundwork for versions 2.0 and 3.0 for being much more compelling and usable.
Its been 36 months since Apple last updated its venerable Final Cut Studio 3 suite of applications. FCS 3, the way 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 concept of video editing, and in many cases the most hardened video-editing professionals will explain that editing would need to evolve.
First, the money necessary for productions has dropped drastically inside last number of years. An indie film several years ago probably have achieved some notoriety internet marketing shot with a consumer MiniDV camcorder, however, these days youll get the same Canon 5D Mark II that you've got at home on the 1 million set.
Second, occupation gotten much faster, with multithreaded cores and GPUs that could generate lifelike 3D graphics at 120 frames per second at resolutions double that regarding even 1080p video.
Now, think about the frustrations that editors feel when running Final Cut Pro over a Mac Pro with 16GB of RAM and eight cores, only to find that FCP is only able to address 4GB of memory simply a few operations and codecs support any multithreaded operations.
Its not too Apple hasnt been throwing resources behind Final Cut Pro. However, oahu is the same reason which it took Apple six iterations of Mac OS X prior to a company finally were able to update the ubiquitous Finder app to 64 bits: rewriting applications is actually difficult. Even iTunes, which were considered Apples most significant application simply because of its syncing abilities towards the iPod and iOS, continues to be sitting around using 32 bits.
Third, like how blogging gave everyone to be able to compete with the kind of major newspapers, magazines, and publishers, YouTube, Vimeo and also other online video-sharing sites are giving legions of wannabe filmmakers a platform to show off their work and show Hollywood you dont need huge amount of money to create something which hundreds of millions of men and women will see.
Finally, several things can be said about Apple, but one thing how the company truly embraces is change. Ten years ago, Apple transitioned Mac OS 9 to your radically different Mac OS X. The first iteration Mac OS X 10.0 Cheetah was slow and missed basic features like DVD playback and CD burning. In the end, the radical transition to Cheetah laid the foundation in the wonderfully featured and a lot of faster Mac OS X Panther, Tiger, Leopard, Snow Leopard, and soon-to-be-released Lion.
With those forces in the office, Apple has been doing the same transition with Final Cut Pro since it did with Mac OS. Like Cheetah, Final Cut Pro X is missing many features, a few of which likely wont ensure it is, but they also lay the groundwork for the next generation of video editing.
Apple surprised the Mac world in the event it announced that Mac OS X Snow Leopard 10.6 wouldnt contain many major latest features, but was an under-the-hood improvement for the OS X operating-system. Snow Leopard brought improved performance, enhanced support for 64-bit applications, new tools like Grand Central Dispatch for multicore programming, and also a new programming framework for taking advantage on 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 with a 10-year-old code base and 32-bit Carbon APIs.
In the brand new Final Cut Pro X, Apple rewrote the main application from your ground up to finally support 64-bit Cocoa APIs, but also to adopt advantage in the power of GPUs through programming frameworks like OpenCL and multithreaded operations. The change is evident when you glance at the Activity Monitor, which shows a lot more threads. Even better, the native 64-bit code now supports a practically limitless way to obtain RAM.
Final Cut Pro X is merely available with the Mac App Store. The previous Final Cut Studio was included with heavy instruction manuals, that happen to 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 on the Internet.
Final Cut Pro X is available with the Mac App Store to get a low price of 299. In comparison, the prior Final Cut Studio costs 999, in reality it was included with 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 integrated to the app.
For another 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 a little later inside the review.
Final Cut Pro X has the distinction for being the first app designed for voluming licensing. Licenses for businesses and schools will probably be available using the Apple Online Store for quantities of 20 or higher. Users will get a redemption code, that they can can use to download the app in the Mac App Store.
Simply downloading isnt as fun mainly because it sounds. Final Cut Pro X is 1.33GB, also it can take hours to download in case you have a slow connection. In addition, there's 637.2MB of supplemental content like effects and backgrounds, which can be downloaded using the Mac OS X Software Update feature because its shared between applications. Additionally, Motion 5 is 1.09GB, and Compressor can be a relatively paltry 261MB. This will not fun with the eager enthusiast with painstaking DSL line.
Still, its a greater and easier installation method than the earlier Final Cut Studio, which required swapping out DVDs repeatedly with an hour or two.
When first you launch Final Cut Pro X, the previous Final Cut loading screen is replaced by way of a new semitransparent load screen that allows know this can be a 10.0 iteration with the professional software. But what uses that is unlike the 10 previous versions of Final Cut.
Youll first notice a prominent replacement for Import iMovie Events right higher than the Import Files and Import From Camera options. If youre wondering whenever we skipped a measure, youre wrong. According to Final Cut Pro Xs help file, you dont make a project first. Instead, you import media and manage your media first. You can, however, make a project first and import later. But it just proves you how much Apple believes that data-based video workflows include the future of post-production.
FCPXs new interface borrows some style components from iMovie, that can really have many editors scratching their head. But first, multiple windows have largely disappeared.
Instead of windows, similar to previous versions, we currently get panels. The panels have default positions, however they can fortunately be resized.
For probably 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 live on 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 brand new Viewer. Previous users of Final Cut Pro will wonder what happened to your Viewer and Canvas windows.
They are already combined in 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 an clip. The Canvas traditionally showed the present frame with the playhead inside the Timeline. Final Cut Pro X now combines their viewer and canvas into one panel simply referred to as the Viewer.
Simpler is way better though, right? Actually, are not so sure.
Final Cut Pro 7 used the decades-old convention of Source and Record editing which Apple, needless to say, needed to refer differently since the Viewer and Canvas. It traces back on the day of linear editing, any time a producer or editor would group one clip at a video deck, mark first and stop, then record on to some second tape.
Old the way it might be, the source/record convention is blazingly fast. Watching an experienced editor is similar to watching a pianist. Loading clips, scrubbing through to chose the perfect clip, marking an in point along with an out point, then laying around the timeline may be accomplished without touching the mouse by any means. For Apple, its an improvement of philosophy.
Starting a fresh project feels a tad strange as the program does little to clarify new concepts like Events. Events are Apples new method of describing media libraries. An event offers the actual media files of assembling your garden shed, in addition to metadata information.
When you develop a new project, there aren't 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 primary clip you make use of.
You can choose custom options, that may support most in the standard resolutions: 1080i, 1080p, 720p, NTSC, PAL, 2K, and 4K. The Other options curiously never let you set custom resolutions. Instead, youre tied to 640x480 pixels and 960x540 pixels. Apple says that you simply 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 are employed in a nonstandard frame rate, youre in a hopeless situation. As a sign through the future of where Apple wants to adopt video editing, FCPX supports 4K resolutions at 60 progressive frames per second.
Additionally, you will discover 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 can also be available as options, if you want those extra components of color information or editing with the alpha channel. However, for almost all editors, ProRes 422 supplies a good balance between speed and drive space.
Perhaps probably the most unsettling behavior thus far is that Final Cut Pro X doesnt allow you to specify in places you want to save any project file inside the New Project dialog box. By default, FCPX creates new projects from the root directory of whatever drive you've got selected inside Project Library.
This is especially frustrating. Being able to specify an area for project files is exceedingly 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 as being the project files. Render files are essentially media files that FCP uses to save lots of rendered work, like effects. So even if you're diligent enough to generate a new project on the separate disk drive, your render files must live within the same folder.
For Apple, its again an improvement of philosophy. Users lose some granularity in choosing a scratch disk, nevertheless they get the advantage of having one particular folder they can move around, filled with their projects rendered media.
Final Cut Pro X has support for natively importing AVC-Intra, AVCHD including AVCCAM, AVCHD Lite, and NXCAM, all standard versions of DV including DVCAM, DVCPRO, DVCPRO50, and DVCPRO HD, H.264, HDV, iFrame, Motion JPEG, MPEG IMX D-10, and standard XDCAM HD/EX/HD422. Additionally, this software can import codecs based on QuickTime.
Gone are definitely the Log Capture and Log Transfer options. Instead, we only get methods of importing media files and importing files from your 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 a similar 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, along with control playback options while using classic JKL rewind-pause-play keys.
It doesnt support importing certain kinds of files. For XDCAM users, Apple recommends installing Sonys own transfer and transcoding utility. HDV is supported, but oddly only over tape on FireWire. Youll must wait for HDV import from MXF files. Nor does FCPX include 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 may use REDs own free conversion program to convert into Apples native ProRes format. Apple says it really is working with businesses like Sony and Red to build plug-ins that will permit FCPX to become 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 informed. For example, importing P2 footage to the new FCPX is quite possible, but it really is not included inside Support Cameras page. Also, it is not entirely obvious that some formats like P2 have for being imported throughout the Import From Camera option rather than the Import Files option.
On the brilliant side, at the very least it natively props up the iPhone 3GS, iPhone 4, iPad 2, and iPod Touch.
If you are actually experiencing compatible files or footage to import into Final Cut Pro X, there are several great new options that provide you a taste with the items Apple has been working away at these last 3 years of developing FCPX.
You can make 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 in your case using Content Auto-Analysis.
Content Auto-Analysis might well be one with the coolest extra features of Final Cut Pro X. Not only do you have the standard metadata that FCPX would collect like frame rate, codec, resolution, plus more, however it also borrows some technology from iPhoto and iMovie to automatically detect people within the shot in addition to shot size.
Additionally, Content Auto-Analysis analyzes footage for color balance, audio problems, shaky footage, and in some cases the notorious rolling shutter distortion that develops with many CMOS-based cameras when panning. FCPX will even transcode supported footage mainly because it imports into native ProRes and also create small proxy media files, if you are working with a low-power machine. Other smart features include a chance to intelligently group mono or stereo audio channels and take off silent audio channels.
The Events Library organizes your media inside a tree together with the main branches being the difficult drives attached to your system. But not merely any drives will likely be recognized in FCPX; Apple says spinning disks, and that means you wont see USB drives. As far as we understand, neither will Xsan, NFS, AFP, or SMB-mounted volumes appear within the Event Library.
There are lots of things from the above sentence that could make a couple of people unhappy, but fortunately, you are able to import footage into the local Event Library and never having to copy over gigabytes of information. Final Cut Pro X can provide links in your remote media. Just be sure to deselect the copy files to FCPXs events folder, otherwise the media will likely be copied to whatever drive you've got set up to your events.
Within the Event Library will be the Event Browser, and also this is where much in 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 being a good or bad take, but the newest FCPX brings metadata to the world of Google.
When importing footage, Smart Collections will automatically develop a number of premade groups dependant on things like whether or not 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 originates from its extensibility. Users are now able to create their particular keyword tags, and also tag-specific chapters 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, an end user can tag each of the footage of the interviewee, and perform a search query trying to find medium-only shots to the interviewee. Loggers and assistant editors will probably be much happier. Apple also says how the metadata engine is going to be extensible via third-party plug-ins, thus it wont be too far from your 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 after this within your Events Library, you are able to create lightweight proxy versions for taking on the road over a laptop.
One project, one timeline
As you get the quirks in the new interface, a very important factor that might 't be so obvious is that there is certainly exactly one timeline or sequence to each and every project.
That might sound natural for amateur video editors, but its an essential change for professionals. Editors routinely duplicate sequences inside the same project, so that when you have to go back into a previous version because the brand new sequence just didnt determine, its at that time. For now, Apple says that when you want to build a snapshot on the current sequence, you will use the Duplicate feature inside menu bar, which creates a whole new copy of the current project. Fortunately, projects can be viewable in the Project Library.
While many is going to be upset that projects could only contain just one timeline, Apple has really rethought that old track-based timelines, and inside process created some innovations that will make the insufficient multiple timelines more palatable.
Final Cut Pro Xs most touted feature has got for being the new Magnetic Timeline and the many features that build away from it. Tracks have disappeared, and instead we've what Apple calls lanes. Because on this, well known tool, the Track tool, fully gone, since you dont need it anymore.
Like lanes of traffic, clips automatically make room first another once you move them about the timeline, so that you never ought to worry about accidentally overwriting a on top of audio or video. Its magnetic because clips automatically ripple eliminate the gap between clips or move out with the way to produce room for brand spanking new clips.
New and amateur video editors will really like the Magnetic Timeline, but it can be going to take a little time and rehearse before you see many professional editors embracing it. Most professional editors wont be honest, but we all do spend a long time making room for clips we wish to insert, closing up gaps and keeping all things in sync. Admittedly, 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 to the classic Trim Mode is the Inline Precision Editor. By just double-clicking around the border where two clips meet, the Inline Precision Editor will expand the clips to show every one of the footage available from the outgoing and incoming clips.
As many gripes as we probably have with the decrease of separate Viewer and Canvas windows, the Inline Precision Editor is usually a much better look at footage than Trim Mode. You may now easily see how considerably more footage you could have left in each clip. Once you've got extended or decreased the choice, the timeline ripples the many changes throughout the sequence, keeping my way through sync.
Built on top in the Magnetic Timeline is the brand new Clip Connections feature. In previous Final Cut Pro apps, you would should tediously separate your clips from your sequence before moving them around. Now, with Clip Connections, it is possible to have multiple bits of video, title and audio move around around the time line and remain perfectly in sync.
Building over Clip Connections plus the Magnetic Timeline are Compound Clips.
In large projects, once youve finished a fancy scene or segment, you'll be able to now group the many audio, title, and films together to act like a single massive clip. Its a lttle bit like nested sequences, but easier to use. Effects can be applied as being a whole onto Compound Clips, and video may also be retimed together giant clip. All the while, they remain perfectly in sync. Apple says editors wont have to generate multiple sequences per scene, but will use compound clips instead.
Often, an editor will likely be the only one that has seen every one of the footage, through the time directors and producers join edit sessions, an editor could have likely laid out of the core elements and structure of any video piece.
Inevitably, though, the producer or director will wish to see alternate takes. And pulling apart a sequence to slip inside an alternate clip is an important headache.
Auditioning will alleviate most of that pain. Editors can take a look at alternate takes just by marking an in as well as an out on alternate clips, drag them 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 several lengths.
Because just about every part from the Final Cut Pro X application is unique from its predecessor, it likely isnt a surprise to numerous that your old 32-bit Final Cut Pro 7 plug-ins wont work with the newest 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 out some missing features.
Final Cut Pro X comes complete using a new plug-in architecture that may be 64-bit in the start, called FxPlug 2. Developers can access the total specification, on Apples Developer Web site, and it is been rearchitectured for taking advantage on the new high-performance, multithreaded, floating-point rendering engine.
The work that Apple has put into your new rendering engine really shows. Effects can be applied in real time and require practically no rendering. You may see some resolution drops along with a few frames here or there, however in our tests it stayed all-around real-time performance.
Applying effects hasn't ever been easier. Instead of dragging and dropping effects and having a coffee break to await it to render, you may simply press play inside the timeline and experiment with different effects and appears in real time by hovering on the effect from the Effects Browser.
There generally is a lot to obtain used to if it comes to your 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, exactly the same computer that a great many 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 you to render dSLR footage in a very codec like ProRes or DVCPRO HD.
While the first sort versions of Final Cut Pro set to their maximum at 4GB of usable RAM, Apple says users should be ready to see a dramatic performance raise the more RAM you throw at FCPX. Final Cut Pro X uses Grand Central Dispatch to harness every one of the computing power inside the new multicore CPUs and in some cases supports Intels new AVX instruction set extensions from the newly released Sandy Bridge processors.
Final Cut Pro X also requires an OpenCL-compatible graphics card. Be careful, though, and dont believe that every Mac that Apple has released from the last couple of years is OpenCL-capable. At CNET, we were required 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 originates from background processing. While youre pondering your future edit, FCPX makes use of those down cycles to execute a amount 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 will show you exactly what FCPX is doing and in many cases offers some manual controls like pausing or canceling a credentials process.
The new Final Cut Pro X is certainly much faster than its predecessor, but it really still maintains high picture throughout its rendering engine. The new rendering engine is floating-point based and runs on the much wider color space, meaning you may blow your highlights in a effect and carry back detail in the image with another effect. All the while, FCPX maintains accurate color profiles using ColorSync, therefore you wont have fret a lot of about the differences between ITU 709 HD colors and NTSC Never Twice Same Color.
Unfortunately, all of that exceptional color management would go to waste because as of today, Final Cut Pro X doesnt support monitoring on professional broadcast monitors. Apple does say which it is working closely with partners like AJA and Black Magic Design flying insects Thunderbolt- and PCIe-based accessories that will enable FCPX to both capture footage from another source being a tape deck and output via industry-standard HD-SDI ports. Still, its a serious disappointment that for the moment, Final Cut Pro X users will need to trust their computer monitors and know it probably wont look a similar once it hits an authentic television set or gets projected within a screening room.
Many video professionals are already wondering for decades when Motion would step up in to the big leagues of compositing after it shuttered its Academy Award-winning Shake compositing program. While the modern Motion 5 inherits Final Cut Pro Xs fresh look and high-quality rendering engine, it can be not Shake for mere mortals. And Apple says it is not intended being.
Motion graphics designers can now put in place Smart Motion Templates with editable parameters that may be rigged together. For example, a motion graphics artist may give motion graphic titles several variations with 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 may also be more intelligent than their predecessor. Artists can define intro animations and out animations, but leave a versatile title body to suit the correct timing inside the middle. The days of slicing motion graphics and fading between two to increase a title that wasnt for enough time to cover an edit are no longer.
The most valuable improvement to Final Cut Pro X motion graphics is that you simply can now edit the link right inside Viewer panel. No more opening a titles controls inside the Viewer, changing somewhat of text, and after that clicking somewhere else around the timeline on your text to update.
Finally, Final Cut Pro X also comes which has a new Apple-made chroma keyer. Primatte is gone from your package, but Apple says which the new chroma keyer is more preferable than ever. It utilizes exactly the same 64-bit high-quality rendering engine, and our limited testing shows it for being at least on par with Motion 4s Primatte keyer.
The other companion app inside 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 with the interface, mostly by permitting rid of dozens of extra Compressor presets that a majority of people only ever used in the blue moon.
Many Final Cut Pro X users may never use Motion 5, nevertheless its far more likely how they would use Compressor 4. Considering Final Cut Pro X lost support for laying off video to tape, its a lot 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 usually a bit misleading, however. Compressor 4 won't gain the cabability to encode live video streams. HTTP live streaming remains file-based, however it does allow it to be a lot better to generate multi-bit-rate H.264 videos, and also the accompanying.M3U playlist. HTML5 video the H.264 variety is really 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 to the application itself rather than being a separate background application or installation. Users is now able to designate encoding nodes inside the application for taking advantage of unused CPU cores or machines with your network. You will, however, should install Compressor 4 on other machines in your network to adopt advantage from the distributed encoding.
Say goodbye to DVD Studio Pro, Color, and Soundtrack Pro
Well get started with DVD Studio Pro. Its not returning. Apple sees iTunes since the future type of media distribution, if youve been pursuing the development of Final Cut Studio, youll are aware that DVD Studio Pro hasnt really changed in than 5 years. Final Cut Pro X does include a chance to burn DVDs from your application, but dont kid yourself. It is nowhere close to your power and customizability of DVD Studio Pro. If you absolutely still need to generate DVDs, you 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 prior to the company was acquired by Apple. But it turned out always obvious which the app had not been very Apple-like, nor will be the idea of stepping out within your video-editing application to do a color correction.
The new Final Cut Pro X incorporates most on the basic highlights of Color without ever having to leave the applying. Color correction is not a special effect, however its built into every clip you lay within the timeline. By just tabbing over, youll be able to make global color corrections within FCPX, in addition to additional secondaries. The color board does take somewhat of adjusting to, and plenty of users will miss Final Cut Pros iconic three-way color corrector. In return, however, they may get features like masking as well as selective keying for making fine adjustments.
Its significantly less powerful as Color. You wont have the ability to track faces or moving elements on the watch's screen. For that, Apple recommends using Motion 5s built-in trackers and color correction engine.
Finally, we are to Soundtrack Pro. Fortunately, Final Cut Pro X upgrades much on the audio-editing tools. For instance, sound can 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 of attempting to remove that half-frame long pop or click. As part of Final Cut Pro Xs massive rewrite, the corporation 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 just isn't an application we are going to miss much; others might disagree. Yes, you may clean up audio, mix multiple tracks, and look for sound files, but within the professional world, Soundtrack Pro simply failed to compare with all the industry-standard Pro Tools, while 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 not likely a person who has to upgrade to Final Cut Pro X. Also, if youve see the early reviews of Final Cut Pro X, then none products were on the verge of say is going to be a surprise. Final Cut Pro X is usually a complete overhaul of any very mature application. Unfortunately, Apple didn't include some features that arent simply missed, but you are very essential.
As great as Final Cut Pro Xs new tools are, his or her arent a match for dedicated applications like DaVinci Resolve for color correcting or Pro Tools for audio editing. Virtually, every post production facility for sound uses Pro Tools.
Fortunately, Automattic Duck is filling inside major void using 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 unfortunate that pro video-editing software doesnt make this happen natively. Its even more of an hit to your gut once you also be aware 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 towards the software. Apple says its priority would be to build XML export, and now we expect third-party companies to get XML-to-EDL or XML-to-AAF online translation services.
Our last file compatibility gripe: Final Cut Pro X does not keep 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 that you simply never buy some new NLE software inside middle of post-production. But there's always a time if you need to crack open a vintage project file to get a still or rejigger an edit. The official Apple line thus far is it wont be developing FCP7-to-FCPX file conversion tools. The company says that because from the major architecture changes, it might create more problems than it'd solve.
Final Cut Pro X 10.0 is a significant, bold step inside a new way forward for post-production, where tapes are an anachronism as well as a single application are designed for all of one's color grading, title effects and sound-editing needs. Its clear in the price and also the new workflow of FCPX that Apple believes that video are going to be even more ubiquitous inside the near future.
It wasnt too long ago that writing to the masses meant landing a coveted job at an important 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 the identical thing with video.
There are three teams of users the new Final Cut Pro X might interest, also to each of them, you will discover three different conclusions.
For professionals, it is tough to recommend Final Cut Pro X 10.0 to use current state like 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 are going to be the norm still need to deal together with 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 change a rack of 100, 000 HDCAM SR decks that theyre still paying off on an SD card reader and also a pair of 100 drives.
The company has recently assured us it will be updating Final Cut Pro X by much needed features, like XML export and multicam-editing support. Third-party manufacturers like AJA and Black Magic Design will most likely be releasing Thunderbolt and PCIe accessories soon that may let editors lay off to tape and professionally monitor on broadcast-quality displays. Automattic Duck has released an instrument to export FCPX sequences to OMF.
Apple has now said which the company will likely be moving to some more rapid release schedule, however it would stop a surprise to discover an update to FCPX within the next couple of months instead with the next couple of years. Meanwhile, Apple says your Final Cut Pro 7 setup still works. It would also cease a surprise if Apple makes Final Cut Studio still designed for purchase again inside the interim.
For amateur video editors, Final Cut Pro X is just not iMovie Pro. Its iMovie way an excessive amount of. Clip connection could possibly be amazing whenever a producer desires to see the scene moved around, nevertheless its too much for amateurs, who just would like to edit out of the part where they forgot to close off the camera. The latest version of iMovie is usually a fine video-editing program, and it also comes using a whole suite of programs like iPhoto that video-making newbies will see immensely more useful. Still, if you're willing to spend the amount of money to sample pro features and havent used the app for a long time like professionals, you might discover the new method of doing things more palatable.
In simple terms, for the portion in the post-production world that keeps an objective balance and is comfortable using the lack of tape, XML, and Pro Tools support, Final Cut Pro X will probably be worth your consideration. Still, we cant help but feel that sticking with Final Cut Studio 3 or waiting some months for Final Cut Pro X 10.1 makes life a bit easier around the blades edge.
Editors note: Wilson G. Tang is often a CNET and CBS producer, who's got directed, shot and edited award-winning pieces. He hosts a day-to-day technology and culture show on CNET called The 404. As a video and film professional, he's had almost 10 years of experience with Final Cut Pro along with nonlinear video-editing software on the day-to-day basis. In addition, he's got had extensive experience from the field, using anything from film cameras to new digital cinema cameras that shoot to memory cards.
From Apple: At the heart of Final Cut Pro X may be the Magnetic Timeline, a trackless method of editing your footage that permits you to add and arrange clips wherever you desire them, while other clips instantly slide out in the way. You will use Clip Connections to link primary story clips with elements like titles and sound files, to make sure they stay in perfect sync if you move them. You will even combine related story elements in a Compound Clip which could be edited being a single clip. The groundbreaking new Auditions feature enables you to swap from a collection of clips to instantly compare alternate takes.
Some people like interesting things.
Where to Hard to come up with an issue that hasnt recently been said, so Ill just reiterate. Even using the update, its still merely a good product. Still missing a lot of the was great regarding the last FCS, the worst being so it cant import old files. Seriously Apple, what have you been thinking your. As others have said, this should happen to be a new FCE. The the latest features and interface tend not to overcome what's 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 looking to download it, it doesn't matter how many times I tell it to never. 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 an indication of where theyre deciding to look at things, it won't bode well for Apples future.
How the heck am I likely to download this over a Telkom ADSL line in South Africa?
The rest of it is possible to be the Im sitting tight with FCS3 - professional tools for the professional job. When Apple is capable of supporting me with OMF export, deck control along with other industry standards, then/maybe/Ill before this, why bother?
Great feel and good speed, bad in case you create footage
You cannot easily use created instead of recorded footage because change uses a re-import and re-edit.
media management is limiting; you are able to use disk images though.
fun, but I sure can be ticked if I designed a living with it. Note the price will not be great - the very last upgrade I got for fcs was 299 knowning that included each of the apps as I recall, not merely fcp. I like Motion 5 for your most part, sort of like the earlier one that has a new ui and faster and slicker - kind with the items I think I was expecting from FCP. Over all, I am with it since I am a one-man-band along with the integrated features like color matching are fantastic for me since before this I never bothered to spend time doing color correction or grading.
This product is usually a Huge Letdown!
64 Bit not important though with so little professional functionality.
Everything that's professional about Final Cut studio isn't in this App. The re-written architecture is sensless and seems for being done with a complete non-professional.
If this can be Apples breakthrough I will have to adopt 2 steps back and learn Avid leaving Mac for PC.
Powerful Media Management section that allows you to find, edit and tag your media files, especially useful when you are large projects with some other shots. Overall faster and indeed background rendering.
The interface overall will demand editors with optimised workflows determined by previous version to rethink media management and obtain used to your more iMovie interface. Some alternative party plugins might not exactly work.
Highly recommend so it can have a go without replacing your setup. You can run 2 versions in parallel with no problem. You may would like to learn FCPX on smaller and much easier projects first to understand as you go. There is really a learning curve and a few features could even be invisible at the first look. It is often a disruptive approach that I think will manage to benefit the editor on the track. It is worthwhile to focus on this version and acquire 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. will not switch
Works great in my PowerMac G4! Cant believe Apple is giving me HD through firewire support at no cost! I can make my movie come july 1st withoutfinding extra WOO-HOO!
Digigirl, Id have to have a list of your respective 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 to this app and our you apple!
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I have FCP 10.1 installed. When launching software update, wanting to download 10.1.1, there simply is no vers. 10, 1.1 available.
Another strange update issue. I have downloaded and installed Final Cut Pro X Supplemental Content 1.0, - even many times, - but this update still keeps turning up in software update as if it's not installed.
Maybe the 2 issues are connected. Any ideas?
The administrator has disabled public write access.
What OS version have you been running?
What model/year Mac are you currently on?
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iMac i7, 3, 4 GHz, 1 TB fusiondrive, 16 GB ram, NVIDIA GeForce GTX 680MX 2048 MB, - early 2013
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OK, no issues there. Id do that. Download the free app FCS Remover from Digital Rebellion dot com and use it to eliminate FCPX totally in the system, re-boot the device. Then launch the App Store, it must list it, mainly because it wont find any trace of it for the system.
But first, make certain youre actually logged in on the App Store.
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You were right. Reinstalling FCP i want to update to 10.1.1.
It also seems the update solved my other issue, because sotfware-update app has stopped asking me repeatedly to install the other content. Very nice, - thank you for helping.
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El nuevo Final Cut Pro multiplica la velocidad, calidad y flexibilidad de todas las fases de posproducciСѓn.
Use las conexiones de clip para adjuntar metraje adicional, efectos de sonido y mСЉsica
Recorra los grР±ficos, efectos o imР±genes de un punto de la lРЅnea de tiempo con audiciones
Requisitos del sistema: OS X 10.9.2 o posterior, 4 GB de RAM se recomienda disponer de 8 GB para 4K, tarjeta grР±fica compatible con OpenCL o tarjeta Intel HD Graphics 3000 o posterior, 256 MB de VRAM se recomienda disponer de 1 GB para 4K, 3, 5 GB de espacio de disco.
Algunas prestaciones requieren acceso a Internet; se aplicarР±n las tarifas correspondientes. Se necesita una grabadora de Blu-ray para grabar discos Blu-ray.
ImportaciСѓn, ediciСѓn y exportaciСѓn nativa de archivos MXF con la actualizaciСѓn de software Formatos de VРЅdeo Profesionales 2.0
ValoraciСѓn: 5.00 de 5.00 estrellas con 4 votos
despues lo agrego al megapost.
Gracias! Gracias! Gracias! - OlР№ OlР№ OlР№
Mil gracias, y otras mil mР±s
gracias como siempre por tu trabajo. Increible rapidez de tu aporte.
saben que pueden contar conmigo.
hablo espaСЃol, uso OS X como alternativo y hasta estoy crackeando mis propios bigfishgames.
Vale, despues de rebuscar por todos lados, para hacer el efecto de chroma key, keying, clave cromР±tica o como leches se llame, en esta versiСѓn se llama incrustador dentro de los efectos de inctustaciСѓn.
Gracias, es un verdadero lujo
Confirmame por favor si tenia que pagar en el СЉltimo lo hice, y me esta fallando la descarga en un archivo de mР±s de 2gb de
Es posible que no haya funcionado la instalaciСѓn porque el archivo es muy pesado y yo tenia poco espacio en el Mac, por eso no me
Lo que no estoy seguro es si con ambos archivos me funcionaba el dividido en los tres primeros vinculos y el otro que se puede descargar comprando la versiСѓn premium.
En todo caso, SI funciona el archivo que descargue y no veo la hora de comenzar a estudiar y trabajar sobre Final Cut!
GRACIAS por el aporte! espero sacarle mucho provecho!
Una duda, el link de Rapid me dice que solo puedo descargarlo como premium, esta bien?
Si esta bien marke, porque al ser un archivo de mas de 1GB, creo, esta limitado a cuenta premium por el peso del archivo.
Un saludo y gracias por el aporte mojado.
si, es porque es tiene limite de tamaСЃo el host.
Hola primero que todo muchas gracias por el aporte. Lo tengo instalado pero no se si desde esta versiСѓn medicada si actualizСѓ el FCP X Supplemental Content 1.0 desde el app Store tendrР№ problemas? AlguiР№n ya actualizСѓ asРЅ?
Hola primero que todo muchas gracias por el aporte. Lo tengo instalado pero no se si desde esta versiСѓn medicada si actualizСѓ el FCP X Supplemental Content 1.0 desde el app Store tendrР№ problemas? AlguiР№n ya actualizСѓ asРЅ?
esta bien, podes bajar esos suplementos, mientras no toques la aplicacion
PreguntР± si tenР№s alguna duda! NecesitР±s ayuda o experimentР±s algСЉn problema con Final Cut Pro X 10.1.4 MultilenguajeMac OS X? Otros usuarios pueden ayudarte con gusto en el Foro de Ayuda