Apple Final Cut Pro X Review & Rating. When Final Cut Pro X first launched, surprisingly, it lacked several pro- level features that had been found in previous versions of the program—including multi- cam, XML importing, and external monitor support—causing an uproar in the user community. Those features have all since made their way back into the app, which has also added many new capabilities, including, in the latest version, powerful 3. D titling. One change that Apple has stuck with, however, is the abandonment of the traditional timeline track interface of its predecessors, a change that drove off a lot of video professionals. The company did this to take advantage of the more powerful hardware in newer Macs as well as to reimagine the craft of video editing.
The result is a surprisingly powerful and (once you get the hang of it) easy to use application. It's the best high- end video editing application for Mac users. Some professional video editors have started seeing how innovations like Magnetic Timeline, Clip Connections, and Auditions (not to mention faster performance that takes advantage of modern CPUs) can make their jobs easier. But many have moved to Adobe Premiere for a more traditional timeline interface. In any case, Final Cut Pro X's ease of use is a win for PCMag's enthusiast- level video editing crowd, especially those who want to move up from Apple i. Movie. Setup. As with any modern Mac app, Final Cut Pro X is obtainable only through the Apple App Store. You can install it on multiple Macs for $2.
Read a free sample or buy Final Cut Pro X User Guide by. Final Cut Pro X - 10.0.3 New. Final Cut Pro X includes manual keyword tagging. Final Cut Pro 7 was 32-bit.
It's a hefty 2. 3. GB download, so make sure you've got enough local storage. When updating to the latest version, I also had to update my project library. This meant its contents wouldn't be editable in previous versions.
The program requires at least a Core 2 Duo- based machine running OS X 1. Open. CL- capable video processor, 3. GB free disk space, and 4. GB RAM (8. GB recommended).
I tested Final Cut on a 2. Mac with a 3. 1. GHz Core i.
CPU and 1. 6GB RAM, and performance was responsive whether I was importing, scrubbing, previewing compound picture- in- picture montages, or adding effects. Only working with 3. D animated titles slowed down preview and caused dropped frames in playback. Libraries. Libraries let you keep assets together for use in multiple projects. They combine the previously discrete Events and Projects panels. Libraries are similar to Lightroom's Catalogs, in that they are databases that can be backed up to a separate drive, and they receive automatic backups. Luckily, you don't have to worry about projects you created before this Library arrangement: Final Cut offers a simple update option to get them with the program.
Importing and Organizing. Granted, Libraries are a big part of organizing your assets, but before you use them you have to import media. In fact, at import, you can tell Final Cut to copy the media to a specified Library. Within the library, the import is an Event.
At import you can specify creating proxy and optimized media, and also analyze video for balance color and fix audio problems on import. Helpfully, clicking on a file name shows a large preview of its contents in the import dialog. By comparison, you can't skim through clips at import with Adobe Premiere Pro or Premiere Elements. When I first tested the first release of Final Cut Pro, I couldn't import an AVCHD clip in MTS file format as I could in the Adobe product, but updates have corrected that shortcoming. Import options also bring new choices: You can have Final Cut Pro X create optimized media (in Apple Pro. Res format) and analyze it for stabilization issues, as well as color balance and the presence of people.
If you've chosen to analyze the clips, the program can create Smart Collections based on type of shot (long, close, or medium) or whether the shot is stable or unstable. In my quick test, it created a People folder, with Group, Medium Shot, and Wide Shot Smart Collections below it, and a Stabilization folder with Excessive Shake and Steady Shot groups. Final Cut Pro X can now import (and export) both projects and events in XML format. This means professional video editors can round- trip their work between video editing software and tools like Blackmagic Design's Da. Vinci Resolve, a standard in pro video color correction. The same holds for organizing projects in Square Box System's Cat. DV, which lets teams of professionals organize clips.
You still can't directly open projects from Final Cut Pro 7 or earlier, but a plugin called 7to. X ($9. 9. 9 in the Mac App Store), from Intelligent Assistance lets you do just that—addressing a huge concern of the existing pro user base. Another workflow capability is support for Apple Xsan storage, with file locking so team members don't trip on each other's work. In addition to its automatic clip- organization options, Final Cut Pro X includes manual keyword tagging.
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- This Final Cut Pro X tutorial will get you started with editing in this powerful program. It contains 2 hours and 32 minutes of video training.
- 101+ Requests for Final Cut Pro X. Manual resizing versus automatic. FCPX 10.0.6 implemented about 14 items from this list.
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- Final Cut Pro X and AJA Information. All information in this manual is subject. The information in this bulletin applies to Final Cut Pro X version 10.0.3 and.
Final Cut Pro - Wikipedia. Final Cut Pro is a series of non- linearvideo editing software programs first developed by Macromedia Inc. The most recent version, Final Cut Pro X 1. Intel- based Mac computers powered by OS X Yosemite or later. The software allows users to log and transfer video onto a hard drive (internal or external), where it can be edited, processed, and output to a wide variety of formats. The fully rewritten Final Cut Pro X was introduced by Apple in 2. Final Cut Pro being version 7.
Since the early 2. Final Cut Pro has developed a large and expanding user base, mainly video hobbyists and independent filmmakers. It had also made inroads with film and television editors who have traditionally used Avid Technology's Media Composer. According to a 2. SCRI study, Final Cut Pro made up 4. United States professional editing market, with Avid at 2. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de- poppers and de- essers.
It also has a manual 3- way color correction filter, videoscopes and a selection of generators, such as slugs, test cards and noise. The browser, where source media files (or clips) are listed, replicates the editor's traditional film . The Viewer, where individual media files can be previewed and trimmed, replicates the source monitor of older tape- based systems.
The Canvas replicates the . The Timeline, where media are assembled into a sequence, replicates the physically edited film or master tape of earlier systems. There is also a small Toolbox window and two audio- level indicators for the left and right audio channels.
Both the Viewer and Canvas have a shuttle interface (for variable- speed scanning, forwards or backwards through a clip) and a jogging interface for frame- by- frame advancing. Browser. It is an entirely virtual space in which references to clips (aliases) are placed for easy access, and arranged in folders called 'bins'. Since they are only references to clips that are on the media drive of the computer, moving or deleting a source file on the media hard drive destroys the link between the entry in the Browser and the actual media. This results in a 'media offline' situation, and the media must be 'reconnected'. Final Cut Pro can search for the media itself, or the user can do this manually. If multiple clips are offline at the same time, Final Cut can reconnect all the offline media clips that are in the relative directory path as the first offline media clips that is reconnected.
The browser has an 'effects' tab in which video transitions and filters can be browsed and dragged onto or between clips. The canvas outputs the contents of the Timeline. To add clips to the Timeline, besides dragging them there, it is possible to drag clips from the Browser or Viewer onto the Canvas, whereupon the so- called 'edit overlay' appears. The edit overlay has seven drop zones, into which clips can be dragged in order to perform different edits. The default is the 'overwrite' edit, which overwrites at an in point or the space occupied after the playhead with the incoming clip. The 'insert' edit slots a clip into the sequence at the in point or playhead's position, keeping the rest of the video intact, but moving it all aside so that the new clip fits.
There are also drop zones to have the application automatically insert transitions. The 'replace' edit replaces a clip in the Timeline with an incoming clip, and the 'fit to fill' edit does the same thing, but at the same time, it adjusts the playback speed of the incoming clip so that all of it will fit into the required space . Finally there is the 'superimpose' edit, which automatically places the dropped clip on the track above the clip in the Timeline, with a duration equal to the clip below it. Unless an in or out point are set, all edits occur from the position of the playhead in the Timeline. Using the wireframe view on the canvas, the clip can be manipulated directly - dragging it around in the canvas to change its position, for example, or resizing it. Precise adjustment controls for these things are in the viewer. The viewer has tabs for each channel of the selected clip's audio, in which the waveform for the audio can be viewed and scrubbed, and where its volume can be keyframed.
The filters tab is where effects for the clip appear and where their parameters can be adjusted and keyframed. If the clip selected is a generator (such as an oval shape), a control tab appears for changing its geometrical properties.
Finally, the viewer's motion tab contains tools to adjust the scale, opacity, cropping, rotation, distortion, drop shadow, motion blur and time remapping properties of a clip. Mini- timelines to the right of each parameter allow the property to be keyframed.
The Viewer is not present in Final Cut Pro X. Timeline. Sequences can be nested inside other sequences, so that a filter or transition can be applied to the grouped clips.
The Timeline in Final Cut Pro allows 9.