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Apple final cut pro x 10.4.5 free
By joining Download. The bottom line: Final Cut Pro X is truly a dramatic rewrite of Apple’s mature and well-developed video-editing software. It borrows some interface elements from iMovie that may disappoint seasoned professionals, and also it loses many key features that are simply an absolute necessity in the professional world, ссылка на продолжение XML export.
On the other hand, those looking to upgrade from iMovie will find a lot more features in Final Cut Pro X, but there are some caveats. Review: Final Cut Pro X’s bold philosophy of video editing will definitely take some getting used to, but in return, editors will be rewarded with blazing performance and a future where tapes are as outdated as wax cylinders.
For amateur video editors, iMovie is still the best balance of features, ease of use, and price. At this stage, Final Cut Pro X is a 1. However, Apple has laid the feeder 3 50 // 90g free for versions 2.
Introduction It’s been three years since Apple last updated its venerable Final Cut Studio 3 suite of applications. Forces are at work changing the world of video editing, and even the most hardened video-editing professionals will tell you that editing needs to evolve. First, the cost of productions has dropped drastically in the last few years.
It’s not that Apple hasn’t been apple final cut pro x 10.4.5 free resources behind Final Cut Pro. However, apple final cut pro x 10.4.5 free is the same reason that it took Apple six iterations of Mac OS X http://replace.me/29484.txt the company finally managed to update the ubiquitous Finder подробнее на этой странице to 64 bits: rewriting applications is hard.
Even iTunes, which might be considered Apple’s most important application because of its syncing abilities to the iPod and iOS, is still sitting around using 32 bits. Third, like how blogging gave everyone the ability to compete with the likes of major newspapers, magazines, and publishers, YouTube, Vimeo and other online video-sharing sites are giving legions of wannabe filmmakers a platform to display their work and show Hollywood that you don’t need millions of dollars to create something that hundreds of millions of people will see.
Finally, many things can be said about Apple, but one thing that the company truly embraces is change. The first iteration Mac OS X Like Cheetah, Final Cut Pro X is missing many features, some of which likely won’t make it, but they lay the groundwork for a next generation of video editing. Snow Leopard brought improved performance, enhanced support for bit applications, new tools like Grand Central Dispatch for multicore programming, and a new programming framework to take advantage of the massive power of graphics processors called OpenCL.
The original Final Cut Pro took very считаю, nero 2016 platinum serial free download правы advantage of any of these new leaps because it was still shackled to a year-old code base and bit Carbon APIs. The change is obvious when you look at the Activity Monitor, which shows many more threads. Even better, the native bit code now supports a practically limitless supply of RAM.
We appreciate reducing paper waste, but be warned that the digital help files won’t offer any images unless you are connected to the Internet. Some of those apps have disappeared for good in the new Final Cut Pro X with only some of their functionality integrated into the app.
We’ll dive into these apps a bit later in the apple final cut pro x 10.4.5 free. Final Cut Pro X also has the distinction of being the first app available for voluming licensing. Licenses for businesses and schools will be available via the Apple Online Store for quantities of 20 or more. Users will receive a redemption code, which they can use to download the app from the Mac App Store. Simply downloading logic pro x freewindows free as fun as it sounds.
Final Cut Pro X weighs in at 1. In addition, there is Additionally, Motion 5 weighs in at 1. This will not be fun for the eager enthusiast with a slow DSL line. Still, it’s a far better and easier installation method than the previous Final Cut Studio, which required swapping out DVDs repeatedly for an hour or two. Getting started When you first launch Final Cut Pro X, the old Final Cut loading screen is replaced читать статью a new semitransparent load apple final cut pro x 10.4.5 free that let’s you know this is the But what comes after that is nothing like the 10 previous versions of Final Cut.
If you’re wondering if we skipped a step, you’re wrong. According to Final Cut Pro X’s help file, you don’t create a project first. Instead, you import media and manage your media first.
You can, however, create a project first and import later. But it just goes to show apple final cut pro x 10.4.5 free how much Apple believes that data-based video workflows are the future of post-production. New interface FCPX’s new interface borrows some style elements from iMovie, which will really have many editors scratching their head.
But first, multiple windows have largely disappeared. Instead of windows, like in previous versions, we now get panels. The panels have default positions, but they can fortunately be resized. For the most part, the panel locations are generally where you want them to be, but we would have preferred more customization options.
Users can specify the Viewer or the Events panels to live on secondary monitors, but it’s still no match for arranging windows to whatever apple final cut pro x 10.4.5 free project or personal preferences are.
The Viewer The biggest change is the new Viewer. They have been combined into a single panel called the Viewer.
In previous versions of Final Cut Pro, the Viewer loaded clips to edit or it let users manipulate the properties of a clip. The Canvas traditionally showed the current frame of the playhead in the Timeline. Final Cut Pro X now combines both the viewer and canvas into one panel simply called the Viewer.
Final Cut Pro 7 used the decades-old convention of Source and Record editing which Apple, of course, had to refer differently as the Viewer and Canvas.
It traces back to the day of linear editing, when a producer or editor would load up one clip from a video deck, mark the apple final cut pro x 10.4.5 free and stop, and then record on to a second tape.
Watching a professional editor is like watching a pianist. Loading clips, scrubbing through to find the perfect clip, marking an in point and an out point, then laying on the timeline could be accomplished нажмите чтобы прочитать больше touching the mouse at all. For Apple, it’s a difference of philosophy. Creating a new project Starting a new project feels a bit strange because the program does little to explain apple final cut pro x 10.4.5 free concepts like Events.
Events are Apple’s new way of describing media libraries. An event contains the actual media files of your project, as well as metadata information. When you create a new project, there are no options like resolution or codec until you select custom. By default, the app will pick a resolution and frame rate based on the first clip you use. Подробнее на этой странице Other options curiously do not let you set custom resolutions.
Instead, you’re limited to x pixels and x pixels. Apple says that you can use Compressor to scale and resize your videos. Again, if you have to work in a nonstandard frame rate, you’re out of luck. As a sign from the future of where Apple wants to take video editing, FCPX supports 4K resolutions at 60 progressive frames per second.
Additionally, читать полностью are options for audio and video rendering, which default to Surround Sound at 48KHz, and variable bit rate Посетить страницу ProRes HQ, ProResand Uncompressed bit are also available as options, if you need those extra bits of color information or editing with an alpha channel.
However, for most editors, ProRes offers a good balance between speed and drive space. Perhaps the most unsettling behavior so far is that Final Cut Apple final cut pro x 10.4.5 free X doesn’t let you specify where you want to save your project file in the New Project dialog box. By default, FCPX creates new projects in the root directory of whatever drive you have selected in the Project Library. This is highly frustrating. Being able to specify a location for project files is incredibly important.
For example, it’s common for an editor to routinely save projects in network drives and organize by folders and subfolders. Render files are saved in the same folder as the project files. Render files are essentially media files that FCP uses to save rendered work, like effects. So even if you are diligent enough to create a new project on a separate hard drive, your render files must live in the same folder. For Apple, it’s again a difference of philosophy.
Users lose some granularity when choosing a scratch disk, but they get the benefit of having a single folder that they can move around, complete with their projects’ rendered media. Additionally, the program can import codecs приведу ссылку by QuickTime.
Instead, we just get options for importing media files and importing files from a camera. The new Final Cut Приведенная ссылка X really embraces a file-based workflow. The closest option might be the Import From Camera. It’s sort of an attempt at combing capture from tape and capture from memory card sources. The new import interface does support FireWire and can read mounted memory cards, as well as control playback options using the classic JKL rewind-pause-play keys.
It doesn’t support importing certain types of files. HDV is still supported, but oddly only over tape on FireWire. Apple says it is working with companies like Sony and Red to create plug-ins that will allow FCPX to be a one-stop-shop for importing video.
Final Cut Pro X does have a Supported Cameras page, but it isn’t as long as we’d like, nor is it completely up to date. Also, it’s also узнать больше здесь entirely obvious that some formats like P2 have to be imported through apple final cut pro x 10.4.5 free Import From Camera option and not the Import Files option.
Import options If you do have compatible files or footage to import into Final Cut Pro X, there are some great http://replace.me/2546.txt options that give you a taste of what Apple has been working on these last three years of developing FCPX. You can create a new event, or you can add to an existing event.
Fortunately, you can select which drive you’d like to import your footage to from this dialog box. By default, Final Cut Pro X will copy over your media files and automatically organize the footage for you using Content Auto-Analysis. Apple final cut pro x 10.4.5 free only do you get the standard metadata that FCPX would collect like frame rate, codec, resolution, and more, but it also borrows some technology from iPhoto and iMovie to automatically detect people in the shot as well по ссылке shot size.
Additionally, Content Auto-Analysis analyzes footage for color balance, audio problems, shaky footage, and even the notorious rolling shutter distortion that occurs with many CMOS-based cameras when panning. FCPX can even transcode supported footage as it imports into native ProRes apple final cut pro x 10.4.5 free well as create small proxy media files, if you’re working on a low-power machine.
Other smart features include the ability to intelligently group apple final cut pro x 10.4.5 free or stereo audio channels and remove silent audio channels.
Apple final cut pro x 10.4.5 free.What’s new in Final Cut Pro 10.4
Audio skimming Shift-S now toggles on and off when using the keyboard вот ссылка keys to step through frames. HSL hue, saturation, and http://replace.me/22318.txt controls in the Color inspector let you select a range of color with greater precision. Adds language support for Simplified Chinese. It gives video editors complete control to edit any video and make it more beautiful and aople. Final Cut Pro X has a traceless magnetic timeline pto lets clips automatically slide into place. Keep visiting themacgo the world of dmgs. Learn more about Logic Pro.
Final Cut Pro X DMG Mac Free Download [3 GB]
The bottom line: Final Cut Pro X is truly a dramatic rewrite of Apple’s mature and well-developed video-editing software. It borrows some interface elements from iMovie that may disappoint seasoned professionals, and also it loses many key features that are simply an absolute necessity in the professional world, like XML export.
On the other hand, those looking to upgrade from iMovie will find a lot more features in Final Cut Pro X, but there are some caveats. Review: Final Cut Pro X’s bold philosophy of video editing will definitely take some getting used to, but in return, editors will be rewarded with blazing performance and a future where tapes are as outdated as wax cylinders.
For amateur video editors, iMovie is still the best balance of features, ease of use, and price. At this stage, Final Cut Pro X is a 1. However, Apple has laid the groundwork for versions 2. Introduction It’s been three years since Apple last updated its venerable Final Cut Studio 3 suite of applications.
Forces are at work changing the world of video editing, and even the most hardened video-editing professionals will tell you that editing needs to evolve. First, the cost of productions has dropped drastically in the last few years.
It’s not that Apple hasn’t been throwing resources behind Final Cut Pro. However, it is the same reason that it took Apple six iterations of Mac OS X before the company finally managed to update the ubiquitous Finder app to 64 bits: rewriting applications is hard. Even iTunes, which might be considered Apple’s most important application because of its syncing abilities to the iPod and iOS, is still sitting around using 32 bits.
Third, like how blogging gave everyone the ability to compete with the likes of major newspapers, magazines, and publishers, YouTube, Vimeo and other online video-sharing sites are giving legions of wannabe filmmakers a platform to display their work and show Hollywood that you don’t need millions of dollars to create something that hundreds of millions of people will see.
Finally, many things can be said about Apple, but one thing that the company truly embraces is change. The first iteration Mac OS X Like Cheetah, Final Cut Pro X is missing many features, some of which likely won’t make it, but they lay the groundwork for a next generation of video editing. Snow Leopard brought improved performance, enhanced support for bit applications, new tools like Grand Central Dispatch for multicore programming, and a new programming framework to take advantage of the massive power of graphics processors called OpenCL.
The original Final Cut Pro took very little advantage of any of these new leaps because it was still shackled to a year-old code base and bit Carbon APIs. The change is obvious when you look at the Activity Monitor, which shows many more threads. Even better, the native bit code now supports a practically limitless supply of RAM. We appreciate reducing paper waste, but be warned that the digital help files won’t offer any images unless you are connected to the Internet.
Some of those apps have disappeared for good in the new Final Cut Pro X with only some of their functionality integrated into the app. We’ll dive into these apps a bit later in the review. Final Cut Pro X also has the distinction of being the first app available for voluming licensing. Licenses for businesses and schools will be available via the Apple Online Store for quantities of 20 or more. Users will receive a redemption code, which they can use to download the app from the Mac App Store.
Simply downloading isn’t as fun as it sounds. Final Cut Pro X weighs in at 1. In addition, there is Additionally, Motion 5 weighs in at 1. This will not be fun for the eager enthusiast with a slow DSL line. Still, it’s a far better and easier installation method than the previous Final Cut Studio, which required swapping out DVDs repeatedly for an hour or two. Getting started When you first launch Final Cut Pro X, the old Final Cut loading screen is replaced by a new semitransparent load screen that let’s you know this is the But what comes after that is nothing like the 10 previous versions of Final Cut.
If you’re wondering if we skipped a step, you’re wrong. According to Final Cut Pro X’s help file, you don’t create a project first. Instead, you import media and manage your media first. You can, however, create a project first and import later. But it just goes to show you how much Apple believes that data-based video workflows are the future of post-production.
New interface FCPX’s new interface borrows some style elements from iMovie, which will really have many editors scratching their head. But first, multiple windows have largely disappeared.
Instead of windows, like in previous versions, we now get panels. The panels have default positions, but they can fortunately be resized. For the most part, the panel locations are generally where you want them to be, but we would have preferred more customization options.
Users can specify the Viewer or the Events panels to live on secondary monitors, but it’s still no match for arranging windows to whatever your project or personal preferences are. The Viewer The biggest change is the new Viewer.
They have been combined into a single panel called the Viewer. In previous versions of Final Cut Pro, the Viewer loaded clips to edit or it let users manipulate the properties of a clip.
The Canvas traditionally showed the current frame of the playhead in the Timeline. Final Cut Pro X now combines both the viewer and canvas into one panel simply called the Viewer. Final Cut Pro 7 used the decades-old convention of Source and Record editing which Apple, of course, had to refer differently as the Viewer and Canvas. It traces back to the day of linear editing, when a producer or editor would load up one clip from a video deck, mark the start and stop, and then record on to a second tape.
Watching a professional editor is like watching a pianist. Loading clips, scrubbing through to find the perfect clip, marking an in point and an out point, then laying on the timeline could be accomplished without touching the mouse at all. For Apple, it’s a difference of philosophy. Creating a new project Starting a new project feels a bit strange because the program does little to explain new concepts like Events.
Events are Apple’s new way of describing media libraries. An event contains the actual media files of your project, as well as metadata information. When you create a new project, there are no options like resolution or codec until you select custom. By default, the app will pick a resolution and frame rate based on the first clip you use. The Other options curiously do not let you set custom resolutions. Instead, you’re limited to x pixels and x pixels.
Apple says that you can use Compressor to scale and resize your videos. Again, if you have to work in a nonstandard frame rate, you’re out of luck.
As a sign from the future of where Apple wants to take video editing, FCPX supports 4K resolutions at 60 progressive frames per second. Additionally, there are options for audio and video rendering, which default to Surround Sound at 48KHz, and variable bit rate ProRes ProRes HQ, ProRes , and Uncompressed bit are also available as options, if you need those extra bits of color information or editing with an alpha channel.
However, for most editors, ProRes offers a good balance between speed and drive space. Perhaps the most unsettling behavior so far is that Final Cut Pro X doesn’t let you specify where you want to save your project file in the New Project dialog box. By default, FCPX creates new projects in the root directory of whatever drive you have selected in the Project Library. This is highly frustrating. Being able to specify a location for project files is incredibly important.
For example, it’s common for an editor to routinely save projects in network drives and organize by folders and subfolders. Render files are saved in the same folder as the project files. Render files are essentially media files that FCP uses to save rendered work, like effects. So even if you are diligent enough to create a new project on a separate hard drive, your render files must live in the same folder.
For Apple, it’s again a difference of philosophy. Users lose some granularity when choosing a scratch disk, but they get the benefit of having a single folder that they can move around, complete with their projects’ rendered media. Additionally, the program can import codecs supported by QuickTime. Instead, we just get options for importing media files and importing files from a camera. The new Final Cut Pro X really embraces a file-based workflow.
The closest option might be the Import From Camera. It’s sort of an attempt at combing capture from tape and capture from memory card sources. The new import interface does support FireWire and can read mounted memory cards, as well as control playback options using the classic JKL rewind-pause-play keys. It doesn’t support importing certain types of files. HDV is still supported, but oddly only over tape on FireWire. Apple says it is working with companies like Sony and Red to create plug-ins that will allow FCPX to be a one-stop-shop for importing video.
Final Cut Pro X does have a Supported Cameras page, but it isn’t as long as we’d like, nor is it completely up to date. Also, it’s also not entirely obvious that some formats like P2 have to be imported through the Import From Camera option and not the Import Files option.
Import options If you do have compatible files or footage to import into Final Cut Pro X, there are some great new options that give you a taste of what Apple has been working on these last three years of developing FCPX. You can create a new event, or you can add to an existing event. Fortunately, you can select which drive you’d like to import your footage to from this dialog box.
By default, Final Cut Pro X will copy over your media files and automatically organize the footage for you using Content Auto-Analysis.
Not only do you get the standard metadata that FCPX would collect like frame rate, codec, resolution, and more, but it also borrows some technology from iPhoto and iMovie to automatically detect people in the shot as well as shot size. Additionally, Content Auto-Analysis analyzes footage for color balance, audio problems, shaky footage, and even the notorious rolling shutter distortion that occurs with many CMOS-based cameras when panning.
You can even browse and preview hundreds of text styles at once with Font Audition, all without leaving your edit. Create amazing visuals with simple drag-and-drop effects. Use ProAnimation from Pixel Film Studios to easily create kinetic logos without keyframing, or browse a rich ecosystem of plug-ins with the FxFactory app.
Add professionally designed, customizable motion graphics to your project without the need for additional software. Adjust colors, fonts, and animation styles right in the timeline, and see the changes instantly.
Take your creativity even further by making your own custom graphics using Motion. You can get certified and demonstrate your Final Cut Pro capabilities while gaining a competitive edge in an ever-changing industry. Unleash your creative potential with the Pro Apps Bundle for qualifying college students, teachers, and education institutions. Get all five professional applications for video and music creation at a special price — including Final Cut Pro, Motion, and Compressor, along with Logic Pro and MainStage.
Buy now. Final Cut Pro. Free Trial Free Trial. Buy Final Cut Pro. Storytelling at its most powerful. Try Final Cut Pro for free. Object Tracker and Cinematic mode. Unrivaled pro performance. Editing, audio, motion graphics, color grading, and delivery.
The best plug-ins, effects, and tools from leading developers. Creativity that moves. The ultimate cinematic effect. Optimized for Apple silicon Final Cut Pro features breathtaking performance and efficiency on Mac computers with Apple silicon.
Up to 18 streams of 8K ProRes 2. Up to 56 streams of 4K ProRes 2. Up to 5. Up to 5 X faster 8K project render 4. The tools you need. From start to finishing.
New Duplicate Detection Quickly display any audio or video that appears more than once in your project with highlighted clip ranges in the timeline. Motion and Compressor Create stunning effects and sweeping graphics with Motion, including studio-quality 2D and 3D titles you can open and adjust in Final Cut Pro.
Motion Learn more. Compressor Learn more. Advanced color grading. Every pixel closer to perfection. High Dynamic Range. Image simulates the effect of HDR.
ProRes RAW. RAW flexibility Work with untouched image data directly from your camera sensor. Take your work further. In every direction. Closed captions. Open to all. Ability to drag and drop clips, projects, and events as XML with supported applications. Option-click a component in the Audio Inspector to select that component while simultaneously disabling all other components.
Disable an audio component in the Timeline by selecting it and pressing Delete. When you open a Multicam clip in the Angle editor, Final Cut Pro now positions the playhead on the same frame you were viewing in the original Timeline. Ability to move subroles between roles and merge subroles with other subroles in the Edit Roles window. Synchronized clips now display a distinctive badge to easily identify them in the browser and Timeline.
Customizable keyboard shortcuts for adding audio fades. New preference to assign default fade duration when adding audio fades via keyboard shortcut. New Broadcast Safe Effect allows you to limit video levels to a specific color space including Rec. XML export of multicam clips now preserves the Angle ID which greatly improves integration with asset management systems. Camera angle, camera name, and reel fields are now searchable using the text search function in the Browser.
When importing from a camera card with mixed media such as stills and video, the Import window displays a single volume. After upgrading a library to Final Cut Pro version Support for bit uncompressed MXF with standard definition video. New column in the Import window for Color Profile, so you can view and select clips for import based on color space.
Users can now create and save a custom default Generator, Title, and Lower Third Title which can then be added to a Timeline with keyboard shortcuts.
Timecode and audio meters are now displayed in the Event Viewer. An arrow cursor has been added as a new option for the Shapes generator. Resolves an issue in which lines are displayed across the timecode window on macOS Sierra.
In List View in the browser, audio waveforms now scale correctly to the width of the filmstrip. Synchronized clips now correctly roundtrip through XML export and import.
If you use Replace function to replace a clip in the Timeline that has keywords and notes with a new clip that does not, the keywords and notes no longer remain in the Timeline Index. Audio levels remain consistent when trimming an Audition during playback. After resetting volume in Inspector, new fade handles are not set to Linear. When launching Final Cut Pro with no libraries loaded, the app will remain open even if you decline to upgrade a library.
Zoom in the viewer works correctly after full-screen playback. Generators with shape masks export at the correct size. Video-only export does not send audio out when you export a second time.
You can now exit full screen playback when editing control points on a Draw Mask. The Draw Mask effect works correctly when added to a clip in a Multicam angle. You can now continuously move the Color Correction pucks with the arrow keys. Resolves an issue where Color Balance could cause some Multicam Clips to turn white. Fixes an issue where Log processing could remain on a clip even when None is selected in the Inspector.
Color Masks work on clips with Log processing applied. Support for color correcting Photoshop layers. Improved accuracy when subtracting colors from inside a Color Mask. Match Color and Balance Color can be copied and pasted to other clips using the Paste Attributes function. Title guide snapping now works correctly.
Fixes an issue where the Basic Lower Third title could revert back to the original type style and not retain user changes after re-launching Final Cut Pro.
Improves speed when opening libraries on a SAN. Ability to share video to multiple YouTube accounts. Resolves an issue in which a disabled video effect could appear as Missing Effect when opening the project or when sharing to Compressor. Addresses an issue in which black frames could appear in imported iPhone video clips that were trimmed on iPhone. Fixes an issue that could cause the playhead to jump ahead when editing short titles.
Fixes an issue that could cause the timeline to stop playback when switching views in the Browser. Fixes an issue in which points on a Bezier shape could incorrectly switch from Linear to Smooth. Fixes an issue in which some objects within Motion templates render with soft edges.
Export interlaced H. Asset management systems can include a library backup file when sharing from Final Cut Pro. Fixes render errors that could occur when using reflective materials with 3D text. Improves stability when swapping materials on 3D text with published parameters. Improves performance when loading text styles. Motion Title templates with published text layout parameters now export correctly. Fixes an issue that could cause 3D text to appear dark when rendered.
Addresses issues with timing on certain animated effects. Improves accuracy when dragging to select a range in the Timeline. Fixes an issue that may cause Final Cut Pro to quit on launch. Simple templates to get started quickly. Cinematic templates with built-in backgrounds and animations. Large collection of text styles to create stunning looks with one click. Customize your titles with hundreds of combinations of materials, lighting, and edges.
Additional controls to adjust environment, shadows, and more. Instantly convert 2D titles to 3D. Open any title in Motion to add multiple lights, cameras, and tracking. Advanced effects Display up to four video scopes simultaneously. Apply super ellipse Shape Mask to any clip. Apply Draw mask to any clip, with options for linear, bezier, or B-spline smoothing.
New shape and color mask controls for every effect. Instantly display the alpha channel for any effect mask. Save custom effects as presets for quick access. Color Board merged into the new Color Correction effect.
Rearrange the processing order of the Color Correction effect. Improved keyframing with better motion smoothing. Improved optical flow for beautiful slow motion on a wider range of content.
Better performance of FxPlug plug-ins and built-in effects that use multiple frames like Visual Echo and Trails. Support for JVC H. Additional features You can now use Smart Collections at the event and library level. Import window consolidates all options into a single sidebar. CABAC entropy mode for multi-pass encoding.
For legacy third-party applications, XML 1. Transform controls work correctly with photos in a secondary storyline. Resizable Filter window for searching. Freeze frames copy media across multiple libraries. Slo-mo video clips from iPhone appear in the Browser with a badge. Full-screen playback does not automatically superimpose transport controls.
Fixes issues with automatic library backups. Fixes an issue where clips with certain frame rates from Canon and Sanyo cameras would not import properly. Resolves issues that could interrupt long imports with App Nap enabled. Stabilization and Rolling Shutter reduction works correctly with fps video. Color corrections you paste between clips are retained during Share.
Effects you apply to clips in the browser in prior versions of the app are retained when adding those clips to the timeline. XML round-trip imports correctly when using gap clips. Improves reliability of automatic library backups. Improves stability when skimming growing files in the Browser. View and set storage locations for each of your libraries using the Library Properties inspector. Easily delete optimized, proxy, and rendered media from within Final Cut Pro.
Used media indicators for Compound, Multicam, and Synced clips. Option to show only unused media in the Browser. Apply a standard Rec. Improved speed and accuracy when synchronizing clips. Audio recording improvements including countdown and automatic Audition creation from multiple takes. Export entire library as a single XML file. Selecting a library displays key metadata in the Inspector. Adjust relative and absolute volume of a clip or range selection.
Create keywords from Finder Tags when importing media. Option to sort events by date or name in the Libraries list. Import a clip by dragging directly into the Browser. Share 4K video to Vimeo. Linear and smooth motion interpolation between keyframes applies to both time and distance.
Resolves an issue with loading audio content in the Music and Sound Browser. Fixes a stability issue when applying a Motion effect with Scroll Text behavior. Faster switching between proxy media and original or optimized media. Improves Timeline responsiveness with very large projects.
Libraries allow you to gather multiple events and projects within a single bundle. Easily open and close individual libraries to load just the material you need. Option to import camera media to locations inside or outside of a library. Automatically back up libraries to a user-specified drive or network location.
Project Snapshots let you quickly capture the project state for fast versioning. Audio fade handles on individual audio channels in the timeline. Add precise retime speeds by entering them numerically in the timeline. Non-rippling retime option. One step Replace and retime. Custom project frame sizes. Through edits displayed on all clip types. Join Through Edit command removes bladed cuts to clips in the timeline.
Detach audio with Multicam clips in the timeline to manipulate audio and video separately. Make video- or audio-only edits into the timeline with Multicam Clips as sources.
Blade and move audio in J- and L-cuts. Ability to roll audio with J- and L-cut splits open. Option to hide the Event browser to gain more screen space for viewing. Native support for. MTS and. Used media indicators on source clips. Improved performance with large projects.
Improved performance when modifying or adding keywords to many clips at once. Easily move, copy, and paste multiple keyframes. Option for the linear animation with Ken Burns effect. Improved image stabilization with InertiaCam and Tripod mode. Import photos from iOS devices. Proxy and playback quality controls accessible in Viewer menu. Effects parameters, fonts, and text size included in XML metadata. Improved support for growing media and edit while ingest. API for custom Share operations using third-party software.
FxPlug 3 with custom plug-in interfaces and dual-GPU support. Share directly to YouTube at 4K resolution. Share directly to Chinese video sites Youku and Tudou. Spanish language localization.
You can eject drives after the libraries on those drives are closed. It is much easier to move clips with transitions in the timeline and lift them out of the Primary Storyline with transitions preserved.
Clips can be trimmed completely out of a timeline when using the rolling trim function. Media management functions can be cancelled with undo.
Quitting the application cancels background processes. Transform correctly maintains linear motion on all keyframes. Fixes several issues related to interlaced media and retimed segments which could cause exports to not complete.
Resolves an issue where some third-party effects generated green frames during render.. Resolves performance issues that could occur with certain titles and effects. Time reversed clips render in the background. Ability to use key commands to adjust Clip Appearance settings in the timeline. Ability to view reel number metadata located in the timecode track of video files. Mono audio files in a surround project export with correct volume levels.
Drop zones no longer reset to the first frame of video after application restart. Fixes a performance issue which resulted from selecting multiple ranges on a single clip. Fixes an issue where the Play Around function did not work properly on certain clips when viewed through external video devices. Fixes an issue that could occur when creating a single layer DVD. Fixes an issue in which some third-party effects could cause Final Cut Pro to stop responding during background rendering.
Adds support for editing MXF files that are still ingesting. Fixes an issue with rendering Motion Templates containing Image Units. Fixes an issue with the upload of clips that are larger than 1 GB to Vimeo. Fixes an issue in which an incorrect frame size is used with filters on two adjacent clips with different pixel aspect ratio.
Unified import window provides single interface for transferring media from file-based cameras, networks, and folders of files. Choose between Filmstrip and List views for browsing media, and save frequently used locations to the Favorites sidebar for fast access.
Redesigned Share interface for streamlined exporting. Deliver to multiple destinations in one step by creating a custom Bundle. Export a selected range in the Event Browser or the project timeline. MXF plug-in support that allows you to work natively with MXF files from import through delivery using third-party plug-ins. This is ideal for importing archived media with custom metadata and exporting media with metadata to an asset management system.
Dual viewers, each with a video scope display, let you compare shots to match action and color. Scopes include a vertical layout option so they can be displayed below the Viewer and the Event Viewer. Ability to add chapter markers in the timeline for export to video files, DVD, and Blu-ray disc, with an option for setting custom poster frames.
Range selection now preserves start and end points on clips in the Event Browser. Use the Command key to create multiple range selections, even on a single clip.
Paste attributes window lets you choose specific effects to copy between clips. Add a freeze frame to your timeline with a single keystroke Option-F. Apply a drop shadow effect with intuitive onscreen controls to adjust position, edge falloff, angle, and more. Compound Clip creation in the timeline now saves the clip in the Event Browser for re-use in other projects. Changes to the original Compound Clip will update all copies of that Compound Clip across projects.
The Reference New Parent Clip command allows you to select any Compound Clip in the timeline and save a duplicate to an event in a single step. Blade All command allows the blade tool to cut across all storylines and connected clips in a single click. Press Shift while blading to blade all. Select a new default transition by Control-clicking on the thumbnail in the Transitions Browser and choosing Make Default.
The default transition can be applied to any clip by pressing Command-T. Loop Play with Play Selection enabled will continuously loop playback while making adjustments in the Inspector.
Improves system performance and smaller project sizes when working with Compound Clips. Clicking on a clip in the timeline selects the clip without moving the playhead.
Option-clicking on a clip selects the clip and moves the playhead. Custom metadata views can be created and used as presets for exporting XML.