Posts Tagged ‘Final Cut Pro X’

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More Information about Final Cut Pro X

Well, the wait is over — Apple showed off what the company is calling Final Cut Pro X, at the Supermeet in Vegas last night. Some of the speculation turned out to be fairly accurate: full use of all CPU cores and the GPU, enough performance that they can claim you’ll never have to transcode, resolution independence up to 4K with mixed resolutions in the timeline, background rendering — and a decidedly iMovie-style interface.

There were many features designed to help you automatically organize, clean up and subclip material: shot recognition, face recognition, color correction, audio clean up, stabilization, all on import. Range-based keywording and something they are calling “Smart Collections” — all medium shots, for example, can be auto-identified, listed automatically and played together as if they’re in a sequence. You’ll be able to start editing a shot before it has been fully copied from a memory card to a local drive.

Other features include skimming with pitch-corrected audio, automatic syncing of multiple cameras as in PluralEyes, sample-accurate syncing, shot nesting (multiple versions held in a single timeline clip), multiple audio fade curves along with waveforms that move with clips and respond dynamically to level adjustments (audio keyframes seem to be a thing of the past), a color-managed workflow with automatic color matching between shots and secondary correction.

The timeline has been rethought in many ways. It doesn’t have fixed tracks — they’re dynamically created and removed as needed. There’s no viewer window — everything is played in what used to be the canvas — but there’s a nice audition feature, allowing you to merge alternate takes into a single object and then quickly switch between them within the sequence. There’s an an iMovie-style “precision” trimmer, but instead of Avid-style multi-track trimming you get the ability to define sync relationships within the timeline. Clips remain locked together even if they weren’t shot together, which makes it easier to move stuff around without throwing music or sound effects out of sync with picture.

The editing model is even more drag-and-drop than current FCP, and to make it work, clips move out of the way to accommodate a drag, something Apple calls a “magnetic” timeline. Drag and drop encourages track proliferation — you just keep stacking stuff up. To deal with that, there’s a new nesting feature, called Compound Clips.

The capper — it’ll be sold as a download from the Mac App Store — for just $299, available in June.

Many questions remain unanswered. What has become of the rest of the suite: Motion, Soundtrack Pro, Color, DVDSP and Compressor? Visual effects tools, titling and mixing weren’t discussed. How will Final Cut fit into professional, collaborative working environments? Will it export to Pro Tools? Can you input or output to tape? Will it even generate an EDL? In classic Apple style, the demo allowed for no questions.

In general, the new FCP is another step in the democratization of editing. aimed squarely at people who need to quickly rough out a story from miles of unstructured, file-based material. Those making documentaries, commercials, webvideos and reality tv are going to find a lot to like. For structured material, it makes less sense. Whether automatically moving clips around in a timeline and automatic track creation will work for scripted features and television remains to be seen.

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Final Cut Pro X

Apple has unveiled Final Cut Pro X, the newest version of its popular video-editing software.

Final Cut Pro X is a rebuild of the 12-year-old software, according to Apple‘s Peter Steinauer and Randy Ubillos. It’s the first 64-bit version for the software, capable of utilizing all eight cores and more than 4 GB of RAM of the Mac for professional video editing. Apple revealed the new version of Final Cut Pro at an event at the National Association of Broadcasters trade show in Las Vegas.

Final Cut Pro X comes with a slew of new features, including advanced people and shot detection, automatic audio cleanup and “range-based keywording,” which gives video editors the ability to apply keywords to specific portions of a video. The new Final Cut Pro also sports a feature that prevents audio and video tracks from being pushed out of sync by accident. Final Cut Pro X will also come with features that automatically matches color between two clips.

Final Cut Pro X will be available for download via the Mac App Store in June for $299, far less than the Final Cut Studio’s $999 price tag.

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