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Final Cut Pro

Series of video editing applications by Apple

Final Cut Pro is a series of non-linear video editing software programs first developed by Macromedia Inc. and later Apple Inc. The most recent version, Final Cut Pro , runs on Mac computers powered by macOS Big Sur 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 , with the last version of the legacy Final Cut Pro being version

Since the early s, Final Cut Pro has developed a large and expanding user base, mainly video hobbyists and independent filmmakers. It has also made inroads with film and television editors who have traditionally used Avid Technology's Media Composer. According to a SCRI study, Final Cut Pro made up 49% of the United States professional editing market, with Avid at 22%.[2] A published survey in by the American Cinema Editors Guild placed their users at 21% Final Cut Pro (and growing from previous surveys of this group), while all others were on an Avid system of some kind.[3]

Features[edit]

Final Cut Pro provides non-linear, non-destructive editing of any QuickTime-compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM (via plug-in), 2K, 4K, 5K, and 8K film formats[4] and can import projects directly from iMovie for iOS and iPadOS. It supports a number of simultaneously composited video tracks (limited mainly by video form capability); unlimited audio tracks; multi-camera editing for combining video from multiple camera sources; º video editing support; as well as the standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. 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 multiple color correction tools including color wheels, sliders and curves, video scopes and a selection of generators, such as slugs, test cards, and noise.[4]

Interface[edit]

The legacy (v. and earlier) Final Cut (Pro and Express) interface was designed around non-computerized editing workflows, with four main windows that replicate tried-and-trusted methods of organising, viewing and editing physical tape or film media. The browser, where source media files (or clips) are listed, replicates the editor's traditional film "bins" or stacks of videotapes. The Viewer, where individual media files can be previewed and trimmed, replicates the source monitor of older tape-based systems. The Canvas replicates the "program" monitor in such systems, where the edited material is viewed. 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[edit]

As in most digital non-linear editing applications, the Browser is not an interface to the computer's file-system. 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.

Canvas[edit]

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 [in the Timeline]. 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.

Viewer[edit]

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[edit]

Clips can be edited together in timelines called sequences. 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 99 video tracks to be layered on top of each other. If a clip is higher [in the timeline] than another, then it obscures whatever is below it. The size of a video clip can be altered, and the clips can be cropped, among many other settings that can be changed. Opacity levels can also be altered, as well as animated over the course of the clip using keyframes, defined either on a graphical overlay, or in the Viewer's 'motion' tab, where precise percentage opacity values can be entered. Final Cut also has more than a dozen common compositing modes that can be applied to clips, such as Add, Subtract, Difference, Screen, Multiply, Overlay, and Travel Matte Luma/Alpha.

The compositing mode for a clip is changed by control-clicking or right-clicking on the clip and selecting it from the cascading contextual menu, or by selecting the mode from the application's 'modify' menu. For either matte modes, the clip that will perform the key is placed overneath the fill clip on the Timeline.

For more advanced compositing Final Cut Pro is compatible with Apple's Shake (discontinued) and Apple Motion software.

Keyboard shortcuts[edit]

Final Cut Pro uses a set of hot-keys to select the tools. There are almost keyboard commands that allow the user to increase the speed of edits.[5] This combined with the nonlinear approach that digital editing, provides Final Cut Pro users with several editing options.

Users can also set their own customisable keyboard preferences.

History[edit]

Randy Ubillos created the first three versions of Adobe Premiere, the first popular digital video editing application.[6] Before version 5 was released, Ubillos' group was hired by Macromedia to create KeyGrip, built from the ground up as a more professional video-editing program based on Apple QuickTime. Macromedia could not release the product without causing its partner Truevision some issues with Microsoft, as KeyGrip was, in part, based on technology from Microsoft licensed to Truevision and then in turn to Macromedia. The terms of the IP licensing deal stated that it was not to be used in conjunction with QuickTime. Thus, Macromedia was forced to keep the product off the market until a solution could be found. At the same time, the company decided to focus more on applications that would support the web, so they sought to find a buyer for their non-web applications, including KeyGrip, which by was renamed Final Cut.

Final Cut was shown in private room demonstrations as a alpha at the National Association of Broadcasters (NAB) exposition in after Macromedia pulled out of the main show floor. At the demonstration, both Mac and Windows versions were shown. The Mac version was working with a Truevision RTX dual-stream real-time card with limited real-time effects. When no purchaser could be found, Apple purchased the team as a defensive move. When Apple could not find a buyer in turn, it continued development work, focusing on adding FireWire/DV support and introduced Final Cut Pro at NAB

In order that Final Cut Pro would be supported from the beginning with third-party self-paced and instructor-led training, Apple worked with mlbjerseyschina.us, who released a training disc called "Final Cut Pro PowerStart" at NAB on the day Final Cut Pro was released. Apple worked with mlbjerseyschina.us to host hundreds of free and paid Final Cut Pro seminars and workshops in 60 cities in the U.S., Canada and other countries over the following years, a strategy that some feel fundamentally contributed to Final Cut Pro's early awareness in the marketplace and rise in market share.

After the introduction of Final Cut Pro, Adobe Premiere's market share remained strong on Windows but began to decline on the Mac as its older codebase was more difficult to maintain. In , Apple announced a program for Premiere users to trade in their discs for a free copy of Final Cut Express or a $ discount on Final Cut Pro.[7]

Final Cut Pro benefited from the relative maturity of QuickTime and its native support for then-new DV cameras connected with FireWire (IEEE).

The first fully Broadcast quality, Worldwide Distributed TV show produced on Final Cut Pro was 's WOW! Women of Wrestling, using the Pinnacle CinéWave uncompressed video card. The Oxygen Network was a beta site for Final Cut Pro in late through network launch in early Shows like ShE-Commerce were cut using FCP.

In late , Independent Producer, Michael A. Bloom announced in an interview with Larry King while defending his controversial film "PlayCouples, A New Era Of Swinging ()" was made possible only after his transition from Avid Media Composer to Final Cut Pro. He cited the relatively new platform hadn't failed once while rendering his film, which was not what he experienced with Avid. After completing much of the leg work under a separate agreement between The Oxygen Network and his production company during beta testing of Final Cut he became an outspoken advocate. The studio motion picture The Rules of Attraction was edited on beta versions of Final Cut Pro 3, proving to the film industry that successful pulldown matchback to 24fps could be achieved with a "consumer" off-the-shelf product.[8]Roger Avary, the film's director became the spokesperson for Final Cut Pro, appearing in print advertisements worldwide. His advocacy of the product gave confidence to mainstream editors such as Walter Murch, that the product was ready for "prime time."

In August , the application won a Primetime Emmy Engineering Award for its impact on the television industry.[9]

Final Cut Pro 4 was announced in April It included three new applications: Compressor, used for the transcoding between video formats; LiveType for advanced titling (such as the creation of animated lower thirds); and Soundtrack, for royalty-free music soundtrack creation. It also bundled Cinema Tools, which was previously sold separately for filmmakers working with telecine.

Also in , Apple launched Final Cut Express, a less expensive version of Final Cut Pro. It uses the same interface as Final Cut Pro, but it lacks some of the film-specific tools and other advanced options, limiting the feature set for non-professional editors. In January , Soundtrack and LiveType, previously only available with Final Cut Pro, were added to Express, and features were added to edit HDV. Soundtrack was subsequently removed with Final Cut Express 4. In June , Final Cut Express was officially discontinued, in favor of Final Cut Pro X.

In April , version of Final Cut Pro was introduced and branded by Apple as "Final Cut Pro HD" due to its native support for Panasonic's tape-based DVCPRO HD format for compressed p and i HD over FireWire. (The software had been capable of uncompressed HD editing since version , but at the time had required expensive video cards and high speed storage.)

Final Cut Pro 5 was announced at a pre-NAB event in April, and shipped in May Final Cut Pro 5 added support for the burgeoning HDV format for compressed HD, which had previously been supported in Final Cut Pro's "scaled-down" cousin, Final Cut Express. Final Cut Pro 5 also added support for Panasonic's P2 format for the recording of DVCPRO HD video to memory cards rather than tape.

In January , Apple stopped selling Final Cut Pro as a stand-alone product. In March the Universal Binary version was released as part of Final Cut Studio. Upgrades were achieved by sending the original installation discs back to Apple with a fee. One noticeable difference is that the Intel versions of Final Cut and Motion no longer recognize After Effects plug-ins. Instead, Apple released its own universal plug-in architecture FxPlug.

On April 15, , Apple revealed Final Cut Pro , as the cornerstone of the Final Cut Studio 2 bundle. Once again, Apple did not have a booth at NAB , though the product was well represented on the show floor in various booths. The RED Camera team relied heavily on FCP during development.

On July 23, , Final Cut Pro 7/Final Cut Studio 3 (not officially designated as such by Apple but adopted by most users to describe the changes) was released, but it was not yet a bit application.

Final Cut Pro X was announced on April 12, and released on June [10][11] It is a bit application completely rebuilt with a new interface, workflow enhancements and automation, and new features such as ColorSync integration, resolution-independent playback system, system scaling with Core Animation, and more. The three Final Cut Studio apps, Color, Soundtrack Pro, and DVD Studio Pro were dropped, while Motion 5 and Compressor 4 were released onto the Mac App Store.

In its initial release, Final Cut Pro X was met with mixed reviews as many video editors eschewed its dramatic departure from the traditional editing interface and the dropping of many legacy (and some non-legacy) features. At the time of the initial release, a significant number of long-time Final Cut Pro users considered the new product to be an unsatisfactory product undeserving to be part of Final Cut Pro product line.[12] An online petition was started demanding either the continued development of the legacy Final Cut Pro product or its sale to a third party by January 1, The initiator of the petition was banned from the Apple discussion forums.[13] By January , the petition had received well over 9, signatures.

On October 27, , Apple unveiled Final Cut Pro X , which included a redesigned interface, enhanced window resizing, extended multiple display support, support for the Touch Bar on the new MacBook Pro, and an updated version of the Magnetic Timeline.

In December , Apple updated Final Cut Pro X to version , which included enhanced color editing tools, degree video editing support and support for HDR. The new version also supports the HEVC video format and HEIF photo format. Final Cut Pro X has also gained the ability to import projects from iMovie for iOS, and now supports enhanced performance on the iMac Pro.[14]

In November , in tandem with the release of macOS Big Sur, the X was dropped from the name to be "Final Cut Pro".[15]

File format[edit]

A Final Cut Pro Project technically consists of separate files:

  • Project File
  • Media Source Files
  • Render Files, Cache Files

The location of the Media and the Render/Cache Files is not standardised. Final Cut Pro can be configured where to store them. Some users have a central directory where they store all their Source/Render/Cache files, some set those file paths to their specific project directory, so that they have all project files at one place.

After having finished a project, one can erase everything but the project file, to save disk space, and at a later time Final Cut Pro can re-capture/re-link all source data and recalculate all render and cache data, provided it can access all linked sources.

Project file[edit]

The first versions of Final Cut Pro and Final Cut Express used a binary file which contained all montage information such as timecode information, clip's in/out-points, size/crop/position, composition nesting, filter settings, automation data, etc.

More recent editions of Final Cut Pro and Final Cut Express, before Final Cut Pro X, used the file extension .

The latest version of Final Cut Pro, Final Cut Pro X, uses a new file extension; . Apple has come under some criticism for not supporting the older project files, while it does support importing iMovie projects ( files).[16] This concern has been addressed through the use of third-party software, allowing for the migration of legacy FCP file formats into working FCPX libraries and projects. The software is called 7toX[17] and was developed by Philip Hodgetts.

Media source files[edit]

Either captured from tape or loaded/imported from the file system.

Render files, cache files, etc.[edit]

Files which are generated by Final Cut Pro, i.e. audio waveform display, filter effects, etc.

Major films edited with Final Cut Pro[edit]

See also[edit]

References[edit]

  1. ^"Final Cut Pro".
  2. ^"FCP passes the million mark". TVB Europe. May 1, Archived from the original on January 4, Retrieved January 22,
  3. ^"American Cinema Editors Society Equipment Survey". American Cinema Editors Society. June 21, Archived from the original on July 24, Retrieved February 21,
  4. ^ ab"Final Cut Pro X - Tech Specs". Apple.
  5. ^Jordan, Larry (February ). "Customizing Final Cut Pro Keyboard Shortcuts". Larry's Final Cut Pro Newsletter. Larry Jordan & Associates, Inc. Retrieved September 24,
  6. ^"Apple Announces New DEST Member". AppleWeb. November 5, Retrieved January 22,
  7. ^"Apple Offers Premiere Users Easy Switch to Final Cut Pro". Apple. July 16, Archived from the original on January 5, Retrieved January 22,
  8. ^ abcdefBurley, Shane (August 5, ). "The History of Final Cut Pro". Bright Hub. Retrieved January 23,
  9. ^"Apple's Final Cut Pro Wins Emmy Award". Apple. August 20, Archived from the original on April 23, Retrieved January 22,
  10. ^"NAB Final Cut Pro Supermeet Coverage [Final Cut Pro X Announced]". MacRumors. April 12,
  11. ^Dove, Jackie. "Apple released Final Cut Pro X on 21st June". Retrieved June 24,
  12. ^"Final Cut Pro X, Motion, Compressor out! - Apple".
  13. ^"Petition seeks to bring back old Final Cut Pro".
  14. ^"Final Cut Pro X introduces degree VR video editing".
  15. ^Espósito, Filipe (November 13, ). "Apple drops the 'X' from Final Cut Pro branding, adds support for M1 Macs". 9to5Mac. Retrieved November 13,
  16. ^Weintraub, Seth (June 21, ). "Criticism for not supporting older .fcp file". 9 to 5 Mac. Retrieved June 25,
  17. ^Wiggins, Peter. "Philip Hodgetts presents Final Cut Pro 7 to X at the LAFCPUG". Retrieved July 23,
  18. ^"O Brother, Where Art Thou? ()".
  19. ^"Editing "The Social Network" in Final Cut Pro with Angus Wall and Kirk Baxter". Creative Planet Network. February 15, Retrieved April 16,
  20. ^Wiggins, Peter. "How the Hollywood feature film Focus was edited on Final Cut Pro X Part One". Retrieved July 23,
  21. ^Wiggins, Peter. "Post Production on "What Happened, Miss Simone?" An Oscar Nominated Documentary Edited on Final Cut Pro X". Retrieved July 23,
  22. ^Wiggins, Peter. "How the Hollywood film Whiskey Tango Foxtrot was edited on Final Cut Pro X". Retrieved July 23,
  23. ^Courtens, Ronny. "Hollywood veteran Lance Bachelder explains why he has chosen to use Final Cut Pro X on his latest feature film "Saved By Grace"". Retrieved July 23,
  24. ^mlbjerseyschina.us

External links[edit]

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Apple Final Cut Pro X Free Download

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Apple Final Cut Pro X mac OS Overview

Final Cut Pro X is a non-linear trackless video editing application (NLE) created by Apple for the Mac. The original version of Final Cut Pro X was first released back in June , and is available on the Mac App Store. Final Cut Pro X is the successor to Final Cut Pro 7, a widely popular video editing application used by a wide variety of persons, including industry professionals and studios. You can also download Adobe After Effects CC Mac OS.

Final Cut Pro X was very controversial when first released due to the fact that Apple essentially started with a clean slate, and rebuilt the app from the ground up for bit machines. As such, many of the features deemed necessary by professionals were dropped for the initial releases. Final Cut Pro X features a trackless magnetic timeline that allows clips to automatically slide into position. Users can thus edit footage in a storyline without knocking any other clips or audio out of place at other points on the timeline. You also may like to download Apple iMovie 10.

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  • Fixes an issue in which using Option-drag to duplicate clips in the timeline could move them later in the timeline
  • Fixes an issue that caused some Panasonic P2 video files to be imported with mixed-down audio channels
  • Fixes an issue in which English keyboard shortcuts were incorrectly applied to other languages
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  • Deleting unused render files from a Compound clip in the browser works correctly

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Before you install Apple Final Cut Pro X Free Download you need to know if your system meets recommended or minimum system requirements:

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Editing, audio, motion graphics, colour grading and delivery.

The best plug-ins, effects and tools from leading developers.

Object Tracker and Cinematic mode.

With the new Object Tracker, Final Cut Pro uses powerful machine learning to detect faces and objects, then match their movement with titles and effects. And you can now adjust focus points and depth of field on clips captured in Cinematic mode on iPhone 13 for even more dramatic filmmaking.

New

Creativity that moves.

Use the Object Tracker to add dynamic text or colour correction to moving footage. Drag a title, graphic or effect directly into the viewer to detect faces and other objects using powerful machine learning. Analyse the motion of your target — accelerated by the Apple Neural Engine — in a single click and instantly match its movement. Apply tracking data to other text and graphics to enhance your work even more.

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Final Cut Pro can transform the look of video shot in Cinematic mode on iPhone 1 With a revolutionary new click-to-track feature, you can choose focus points in a shot and change them over time. Also, adjust a clip’s depth of field effect with a new slider in the inspector, or use keyframes to change the amount of blur in already captured material.

Blazing pro performance.

With optimisations for Apple silicon and its modern Metal engine, Final Cut Pro allows you to edit more complex projects and work with larger frame sizes, higher frame rates and more effects — all at incredible speeds. And it’s built to harness the extreme power of the new MacBook Pro for next-level performance.

Optimised for Apple silicon

Final Cut Pro features breathtaking performance and efficiency on Mac computers with Apple silicon. Tap into super-fast unified memory shared across the CPU, the GPU and the Apple Neural Engine to play back more high-resolution video streams and render your movie in record time.

Perfected for the new MacBook Pro

Taking full advantage of M1 Pro and M1 Max on the new MacBook Pro, Final Cut Pro delivers workstation-class performance on a notebook you can take anywhere. Complex tasks, like video analysis for object tracking or automatic cropping, are lightning fast on the Apple Neural Engine. And with hardware acceleration of encode and decode, ProRes performance is staggering — in some cases, delivering playback capabilities that are a first for any Mac. Creators can now do advanced editing, colour grading and delivery in HDR on 8K ProRes video — even when they’re miles away from the edit bay.

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The tools you need. From start to finishing.

With great new features and an intuitive design, Final Cut Pro accelerates post-production. So editors can create and deliver at the speed of thought.

The Magnetic Timeline allows you to easily experiment with story ideas by moving and trimming clips without collisions or sync problems. Use Compound Clips to bundle separate video and audio clips into a single movable package, create Auditions to try out multiple takes in the timeline and use Synchronised Clips to align video with second-source audio automatically. Colour coding makes it easy to identify different types of content, with the ability to customise the look of your timeline while you edit.

Final Cut Pro offers the most advanced organising tools of any professional video editing application. Easily tag entire clips or clip ranges with metadata for searching, and create Smart Collections that automatically collect content according to a set of custom criteria. In the browser, you can now create and save custom column views and search for media using clip names, markers and notes. Also quickly sort clips by proxy, optimised or missing media types.

Create 2D and 3D titles directly in Final Cut Pro, apply and modify filters, and use the built-in chroma key for high-quality green- and blue-screen effects. Expand on the built-in effects with thousands of third-party tools and templates. And for even more control, use Motion to create stunning titles, transitions, generators and effects you can access from Final Cut Pro.

Learn more about Motion

Final Cut Pro lets you edit multi-channel audio using built-in tools for removing background noise and optimising levels. Adjust multi-channel audio files in the timeline or open the inspector for more information and options. Choose from dozens of bundled plug-ins for audio compression, EQ and more — or send to a professional audio application like Logic Pro for advanced audio mixing.

Learn more about Logic Pro

Quickly encode video using the power of multicore CPUs and high-performance GPUs. Take advantage of presets to deliver ultra-high-quality masters or files optimised for iPhone, iPad, Apple TV and websites like YouTube and Vimeo. And batch exporting makes it fast to deliver multiple files or projects in multiple formats. You can also use Compressor to create custom export settings that appear directly in Final Cut Pro.

Learn more about Compressor

Multicam

The industry’s most advanced multicam editing lets you automatically sync up to 64 angles of video with different formats, frame sizes and frame rates. View up to 16 angles at once in the Angle Viewer. And open the Angle Editor timeline to move, sync, trim, add effects or colour grade individual clips.

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. Use Compressor to create custom export settings and streamline delivery of your movie to the iTunes Store. And because Final Cut Pro, Motion and Compressor all share the same Metal architecture, you’ll experience blazing performance and consistent rendering across applications.

Advanced colour grading.
Every pixel closer to perfection.

Professional colour grading tools are built into Final Cut Pro, including a dedicated colour inspector with colour wheels, colour curves and hue/saturation curves. Use keyframes to adjust corrections over time, and apply camera and creative Look Up Tables (LUTs) for the perfect look. All colour grading tools and scopes support High Dynamic Range (HDR) video.

Unique colour wheels improve on traditional controls by combining hue, saturation and brightness into a single, simple interface.

Colour and luminance curves allow ultra-fine-level adjustments with multiple control points to target specific colour and brightness ranges.

Sample a colour with an eyedropper and change just the hue, saturation or luminance of a specific colour within the image.

High Dynamic Range

Work closer to reality than ever before with HDR video. Import, edit, grade and deliver incredibly lifelike images with Final Cut Pro. Shoot on industry-standard cinema cameras, or in stunning Dolby Vision with the latest iPhone models. High-resolution scopes reflect HDR brightness levels as you edit, and tone mapping lets you easily convert HDR to Standard Dynamic Range output for broadcast. You can view beautiful HDR content on a variety of Mac computers that use the reserve brightness of the display to show an extended range of light levels.

Image simulates the effect of HDR.

ProRes RAW. The flexibility of RAW with the performance of ProRes.

Import, edit and grade original, untouched footage with RAW data straight from your camera sensor — without sacrificing any speed or smoothness. Create native ProRes RAW files using Atomos recorders and the DJI Inspire 2 drone and experience all the creative advantages of RAW with the real-time performance of ProRes.

ProRes performance

Remarkably smooth playback and real-time, multi-stream editing are part of the ProRes RAW package. The format is optimised for macOS and the latest Mac computers, allowing you to render and export faster than with other RAW formats. And if you’re working on the new MacBook Pro, the M1 Pro and M1 Max chips further accelerate ProRes RAW performance. Since ProRes RAW files are smaller than standard formats, you can fit more footage on every card.

View the Apple ProRes RAW White Paper

RAW flexibility

Work with untouched image data directly from your camera sensor. RAW files provide maximum flexibility for adjusting the look of your video while extending brightness and shadows — an ideal combination for HDR workflows. And new ProRes RAW tools in Final Cut Pro provide enhanced settings for ISO, colour temperature and exposure offset from supported devices for an even deeper level of control.

° video. Take your work further. In every direction.

Final Cut Pro includes a complete toolset for importing, editing and delivering both monoscopic and stereoscopic ° video.

° editing

Import and edit ° equirectangular footage in Final Cut Pro. Open the ° viewer to visualise a headset view of your footage, and take advantage of simple tools for changing orientation, straightening the horizon, removing camera rigs and more.

° graphics and effects

Easily add 2D and 3D titles to your ° video and apply blurs, glows and other ° effects. Or create more advanced ° motion graphics in Motion, then add them directly to your Final Cut Pro project. You can even add ° video to standard projects, using the Tiny Planet effect to create all-new spherical looks and animations.

Closed captions. Open to all.

Final Cut Pro includes an intuitive, comprehensive set of tools for closed captioning in a variety of formats, without the need for expensive third-party software or services. You can create, view and edit captions within Final Cut Pro, and deliver them as part of your video or as a separate file.

Add an existing caption file to your project and Final Cut Pro automatically connects each caption to the corresponding video or audio clip in your timeline.

Type captions from scratch — in multiple languages and formats — and watch the text play back in real time right in the viewer. Or use third-party services in a workflow extension to automatically transcribe clips and convert them into captions.

Attach captions to connected audio or video clips in the timeline so they move in sync with your edit. It’s easy to adjust text, colour, location and timing in the captions inspector. And the enhanced Timeline Index lets you quickly search and select captions, or use captions roles to instantly switch between different versions.

Export captions in the industry-standard CEA, iTT or SRT formats. Or burn them directly into your video. When delivering, you can choose to embed caption metadata in your video file or create a separate sidecar file. Captioned videos can be exported for YouTube and Vimeo. And you can send your project to Compressor to include captions in a batch or an iTunes Store package.

Step up from iMovie to Final Cut Pro.

iMovie is the easiest way to start making movies. And when you’re ready to ramp up production, it’s effortless to send your project to Final Cut Pro from iMovie for iOS and macOS. You’ll cut faster and more precisely with advanced editing tools, improve the look of your projects with third-party plug-ins and easily integrate video recorded with professional cameras from RED, Sony, Canon and more. You can even shoot and edit beautiful Dolby Vision High Dynamic Range video on your iPhone and send your iMovie project to Final Cut Pro for professional-quality HDR finishing.5

Download free trial

Extend the power of Final Cut Pro.

The extensive third-party ecosystem for Final Cut Pro delivers best-in-class media asset management, review and approval, effects, graphic templates and much more — right at your fingertips while you edit.

Third-party apps. First-class integration.

Extend your workflow with powerful third-party applications right inside Final Cut Pro. Browse and select stock photos, video and music for your edit with services like Shutterstock and APM Music, or use mlbjerseyschina.us to simplify review and approval. You can even browse and preview hundreds of text styles at once with Font Audition, all without leaving your edit.

Learn more about workflow extensions

Dazzling visual effects.

Create amazing visuals with simple drag-and-drop effects. Enhance your project with incredible new lighting filters from Boris FX Continuum FCP or create beautiful abstract particle universes with Yanobox Nodes. 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.

Learn more about third-party effects

Beautiful, customisable templates.

Add professionally designed, customisable motion graphics to your project without the need for additional software. Adjust colours, fonts and animation styles right in the timeline, and see the changes instantly. Create beautiful visualisations of your data with mInfographics from MotionVFX, or easily add social media branding with Instagram Stories from LenoFX. Take your creativity even further by making your own custom graphics using Motion.

Learn more about third-party templates
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Final Cut Pro release notes

Learn about current and previous Final Cut Pro updates.

New in Final Cut Pro

Released November 15,

  • Fixes an issue that could prevent successful import of FCPXML and files.
  • Improves performance when opening large libraries.
  • Fixes an issue where the Command-Z keyboard shortcut would not perform an Undo if Language was set to Spanish in System Preferences.
  • Fixes an issue in the Export File share destination where the Video Codec setting was unavailable after choosing Computer as the format.
  • Improves reliability during playback of AC3 audio.
  • Improves stability when removing audio effects in the inspector.
  • Improves stability when opening projects from the browser.
  • Improves stability when previewing effects in the Effects browser.
  • Improves stability when dragging clip ranges to Keyword Collections.

Previous versions

Final Cut Pro

Released October 18,

Object Tracker

  • Drag effects, titles, or generators into the viewer to automatically detect, track, and match the movement of faces or objects using machine learning.
  • Manually add a tracker from the inspector, adjust its mask shape, and choose between different tracking analysis types.
  • Use the Tracking Editor in the timeline to quickly delete or re-analyze segments of an existing track.
  • Attach additional titles or generators to existing tracks using the tracker source drop-down in the viewer.
  • Object tracking uses the Apple Neural Engine to accelerate video analysis on Mac computers with Apple silicon.

Cinematic Mode

  • Edit videos recorded with iPhone 13 in Cinematic mode (requires macOS Monterey).
  • Use Cinematic controls in the inspector to modify the intensity of the depth effect, and add keyframes to change the effect over time.
  • Choose to focus on faces or other objects by selecting them with the Cinematic tool in the viewer.
  • Use the Cinematic Editor in the timeline to view or delete focus points.

Final Cut Pro also includes these additional fixes and enhancements:

  • New Neon effect adds a glow to text and graphics.
  • Improves stability when duplicating a project.
  • Improves stability when selecting a library in the sidebar on Mac computers with Apple silicon.
  • Improves stability when performing a trim during double speed playback.
  • Improves stability when removing a through edit within a compound clip.
  • Improves performance when using Avid DNxHD and DNxHR media with the Avid Universal decoder on Mac computers with Apple silicon.
  • Improves stability when using the RED RAW Settings tool with multiple RED RAW clips and images selected.
  • Improves stability when drawing a shape mask in the viewer.
  • Improves reliability when choosing between multiple GPUs in Final Cut Pro Preferences on Mac Pro ().
  • Fixes an issue where a custom camera LUT could be ignored during a render or export.
  • Fixes an issue where a ProRes file lost its alpha channel after export.
  • Fixes an issue where scroll bars were not persistent when choosing to always show scroll bars in System Preferences.
  • Fixes an issue where thumbnails were not generated for some clips in the browser or timeline.
  • Fixes an issue where custom role colors would not change after choosing Undo.
  • Improves appearance of animation paths when using the transform tool.
  • Audio skimming (Shift-S) now toggles on and off when using the keyboard arrow keys to step through frames.
  • Fixes an issue where pops could occur during MP3 playback.
  • Improves reliability of MXF audio during playback.
  • Improves reliability of HE-AAC v2 audio during playback.
  • Adds support for playback of Opus audio files.
  • Fixes an issue where audio waveforms would not redraw after an audio level change.
  • Updates FCPXML to version with new bundle format.
  • Improves reliability when importing an XML that includes closed captioning.
  • Improves reliability when importing XML that contains rolling shutter or SmoothCam metadata.
  • Adds support for hiding FCPXML extension during export.

Final Cut Pro

Released July 8,

  • Improves stability when exporting with certain macOS Language & Region preferences.
  • Improves stability when playing H or HEVC media.

Final Cut Pro

Released June 17,

  • Create and edit custom column views with the new column editor.
  • Search for media in the browser using expanded criteria including clip names, markers, and notes.
  • Sort clips in the browser according to type, including proxy, optimized, and missing media.
  • Fixes an issue where adjusting audio keyframes on one side of a blade edit shifts keyframes unexpectedly on the other side.
  • Restores support for copying clips from the Finder and pasting into the timeline.
  • Improves stability when copying events in the browser to a library stored on an external hard drive.
  • Fixes an issue in which the timeline index was not displaying active angle information for multicam clips.
  • Fixes an issue where Canon Cinema RAW Light and RED RAW media could not be imported if a camera card was mounted when launching Final Cut Pro.
  • Improves reliability when importing an FCPXML file with missing media.
  • Fixes an issue with the Color Mask in which dragging to select a range with the eyedropper did not display the selection circle.
  • Improves reliability when using the Select Next Clip command.
  • Improves reliability when app switching to Final Cut Pro with an external hard drive connected.
  • Improves reliability when quitting Final Cut Pro during a background render.
  • Improves stability and performance when working with multicam clips that contain corrupt media.
  • Fixes an issue in which audio waveforms would sometimes not update when using the Trim tool to perform a slip edit.

Final Cut Pro

Released March 4,

  • Adds support for a new Universal RED plugin enabling native RED RAW decoding and playback on both Apple silicon and Intel-based Mac computers.
  • Improves stability when playing back H video files with corrupt data.
  • Fixes an issue in which text could disappear when double clicking a value field in the inspector.
  • Fixes an issue in which FCPXML files created from drop frame projects would import as non drop frame.
  • Fixes an issue that may prevent custom Motion titles stored inside the library from appearing in the Titles browser.
  • Improves stability when choosing the DPP/Editorial Services metadata view with MXF media.
  • Improves stability when using AirPlay with Final Cut Pro on a Mac computer with Apple silicon.

Final Cut Pro

Released December 14,

  • Adds an Export for YouTube & Facebook share option to create a file for uploading to those sites.
  • Includes stability improvements.

Final Cut Pro

Released November 12,

  • Improved performance and efficiency on Mac computers with Apple silicon.
  • Accelerated machine learning analysis for Smart Conform using the Apple Neural Engine on Mac computers with Apple silicon.
  • Option to create a copy of your library and automatically transcode media to ProRes Proxy or H at various resolutions.

Final Cut Pro also includes the following:

  • Export HLG high-dynamic-range projects with Dolby Vision metadata for optimized playback on Apple Devices.
  • Fixes an issue in which LUTs were not available in optimized or proxy clips.
  • Improves appearance of HDR thumbnails in the browser and timeline.
  • Improves reliability when previewing built-in sound effects in the browser.
  • Fixes an issue in which audio waveforms would not update in the inspector after adding a filter or making a volume change.
  • Fixes an issue in which chapter markers were not available when sharing.
  • Improves reliability when creating proxy media from non-square pixel interlaced clips.
  • Improves stability when applying stabilization and color balance during import.
  • Fixes an issue in which audio sync could drift when retiming clips.
  • Improves reliability with Social Media content positioning when using Smart Conform to switch between vertical and horizontal frame sizes.
  • Improves reliability when using onscreen Crop controls in the viewer.
  • Fixes an issue in which copying stills between libraries would result in duplicate files.
  • Includes built-in support for Avid DNxHR® and Avid DNxHD® decoding and playback.

Final Cut Pro

Released September 24,

  • Fixes an issue in which XAVC media from the Sony PXW-FX9 camera is not recognized.
  • Fixes an issue where brightness levels shift when switching between Better Quality and Better Performance in the viewer.
  • Fixes an issue in which effect keyframes are not added correctly when using onscreen controls.
  • Improves stability when using the transform tool with multiple clips in the timeline.
  • Improves reliability when exporting an FCPXML that contains Compound clips.
  • Addresses an issue which could prevent sharing at certain resolutions.
  • Fixes an issue in which sharing a Compound or Multicam clip from the timeline was disabled.

Final Cut Pro

Released August 25,

Improved proxy workflows

  • Generate proxy media in custom frame sizes of 1/8, 1/4, 1/2, or full resolution.
  • Choose to create proxy media in either ProRes Proxy or H
  • Choose to display original or optimized media if proxy media is not available for some clips in your project.
  • Create a proxy-only copy of a library to reduce size for portability or performance.

Social media tools

  • Automatically transform projects for square or vertical delivery with Smart Conform.
  • Display media outside the Viewer boundary when adjusting scale, rotation, and position using Transform Overscan.
  • Add a Custom Overlay as an on-screen guide when placing text and graphics within a square or vertical frame.
  • Use the new Duplicate Project As command in combination with Smart Conform to quickly create a social media version of your existing project.

Other new features

  • Adjust ProRes RAW camera settings such as ISO, color temperature, and exposure offset using new controls in the inspector.
  • Crossfade audio on adjacent clips in one step using a menu command or keyboard shortcut.
  • Use Close Project command in a new drop down menu above the timeline to clear project history.
  • Sort clips and projects by last modified date in list view.
  • Preview degree stereoscopic 3D video in simultaneous left and right eye views with the ° Viewer.
  • Easily stabilize degree video with one-click tools in the inspector.

Final Cut Pro also includes the following:

  • Adjust timeline clip height in thumbnail-only view.
  • Delete generated proxy files for individual clips in the browser.
  • Improves performance when dragging a complex project to a new Library.
  • Fixes an issue in which spanned clips were imported incorrectly.
  • Improves reliability when using the Canon XF-HEVC codec.
  • Improves reliability when using the Sony XAVC-L codec.
  • Improves stability when using Mac Pro () with three Pro Display XDRs
  • Improves reliability when selecting A/V Output while using Pro Display XDR.
  • Improves reliability when selecting A/V Output for 8K media on third-party hardware.
  • Fixes an issue in which adjusting clip audio configuration results in the audio role resetting to its default.
  • Fixes an issue in which thumbnails would not update when skimming titles, generators, and transitions in the browser.
  • Improves visual feedback when dragging music and sound effects from the media browser.
  • Improves reliability when sharing a project via email.
  • Fixes an issue in which layered PSD files would not display properly when imported via XML.
  • Improves reliability when importing stabilization data via XML.
  • Improves reliability when importing multicam camera angle metadata via XML.

 

Final Cut Pro

Released December 10,

  • Prevents an issue that could lead to visual artifacts appearing on a Mac with an Nvidia graphics card that has the Reduce Transparency accessibility preference turned on.
  • Fixes an issue that prevented media from appearing in the Photos library browser when using Final Cut Pro on macOS Catalina.
  • Fixes an issue in which Final Cut Pro would sometimes load an incorrect project into the timeline.
  • Resolves an issue in which thumbnails would not update when skimming titles, generators, and transitions in the Browser.
  • Improves stability when sharing.
  • Improves stability when skimming media in the Browser.
  • Improves reliability when working with Sony XAVC media.
  • Improves reliability when importing and exporting CEA captions.

 

Final Cut Pro

Released October 7,

  • New Metal-based processing engine improves playback and accelerates graphics tasks, including rendering, compositing, real-time effects, exporting, and more.
  • Enhances graphics performance with support for multiple GPUs, including Radeon Pro Vega II and Radeon Pro Vega II Duo on Mac Pro.
  • Optimizes CPU performance with support for up to 28 CPU cores on Mac Pro.
  • Accelerates ProRes and ProRes RAW playback when using the Afterburner card on Mac Pro.
  • View, edit, grade, and deliver stunning High Dynamic Range (HDR) video on Apple Pro Display XDR.
  • Simultaneously use up to three Pro Display XDR units connected to Mac Pro — two for the Final Cut Pro interface and one for dedicated monitoring.
  • Grade HDR video with enhanced color mask and range isolation tools.
  • View HDR video tone-mapped to compatible Standard Dynamic Range displays when using Final Cut Pro on macOS Catalina.
  • Select which internal or external GPU is used to accelerate graphics processing.

Final Cut Pro also includes the following:

  • Waveform monitor lets you view luminance levels in High Dynamic Range (HDR) PQ media as you edit.
  • HSL (hue, saturation, and luma) controls in the Color inspector let you select a range of color with greater precision.
  • HDR clips with LUTs applied now appear correctly when you use the Send to Compressor command.
  • Improves stability when applying noise reduction to a Rec. REDCODE RAW clip.
  • Lets you define keyboard shortcuts for the Add Color Mask, Add Shape Mask, and Toggle View Mask commands.
  • Improves reliability and performance when using the Flow transition.
  • Fixes an issue in which relinked media would sometimes result in empty thumbnails.
  • Timecode window remains visible when other applications are active.
  • Playhead now snaps to keyframes placed on audio components.
  • Skimming an audio component now plays back audio as expected.
  • Surround panning keyframes now work as expected when reopening a library.
  • Adds support for Canon XF-HEVC.
  • Adds HEIF support in Image Sequence exports.
  • Adds support for fragmented MP4 format in HTTP live streaming.

 

Final Cut Pro

Released March 21,

  • Detects media files that may be incompatible with future versions of macOS after Mojave and converts them to a compatible format.
  • Fixes an issue that could cause share destinations to disappear from the share menu after quitting Final Cut Pro.
  • Fixes an issue that could cause the workflow extension button to disappear when resizing the interface.
  • Fixes an issue in which the Select Clip command could incorrectly select the clip beneath the playhead.
  • Fixes an issue in which a successful share notification appears after the share operation was cancelled.
  • Fixes an issue in which frames saved to the frame browser in the Comparison Viewer may appear differently than they do in the viewer.
  • Fixes an issue in which frequency information for Hum Removal may not be visible in the audio inspector. 
  • Fixes an issue in which relinked media may appear with black thumbnails in the browser and timeline.
  • Fixes an issue in which the share menu may be obscured behind the viewer when using Final Cut Pro in fullscreen mode 
  • Improves reliability when sharing video to YouTube.

 

Final Cut Pro

Released January 17,

  • Improves performance when generating waveforms for clips with no audio channels.
  • Improves stability when sending a project to Compressor using the Shift-Command-E keyboard shortcut.
  • Improves stability when creating or editing titles with Arabic or Hebrew text.
  • Improves stability when switching tabs in the Timeline Index.

 

Final Cut Pro

Released November 15,

Workflow extensions

  • Extend the capabilities of Final Cut Pro with third-party extensions that open directly within the app interface.
  • Drag and drop clips between the extension window, browser, and timeline.
  • Connect to existing third-party accounts to access projects, download media, and purchase content.
  • Deep integration allows extensions to control timeline playback, navigation, clip markers, and more.
  • Workflow extensions include tools for collaboration (mlbjerseyschina.us), stock media (Shutterstock), and asset management (CatDV).

Batch share

  • Export and transcode multiple clips in the browser — with or without a camera lookup table (LUT) — for fast turnaround of dailies and other reviews.
  • Select and export multiple projects..
  • Combine batch sharing with bundles to encode multiple files to multiple formats in one step.
  • Monitor export progress in the background tasks window.

Video noise reduction

  • Apply the high-quality, drag-and-drop noise reduction effect to reduce grain and video noise..
  • Use simple controls to quickly adjust the look and amount of noise reduction.
  • Easily change processing order by dragging the noise reduction effect in the inspector.
  • The viewer shows the noise reduction effect when paused and disables the effect when skimming for optimal performance.
  • Apply ° noise reduction to ° video clips while preserving a flawless seam..

Timecode window

  • View project and source timecode in one or more floating timecode windows.
  • Resize the timecode window and drag any one to a second screen.
  • Choose to display clip names and role names.
  • Color coding in the timecode window matches the colors of roles in the timeline.

Comparison Viewer

  • Open the Comparison Viewer to reference other frames for consistent color grading across your project.
  • Quickly select the previous or next clip in the timeline as your reference frame.
  • Save any image to the frame browser to reference it later in the Comparison Viewer.

Tiny Planet

  • Select the Tiny Planet mapping option when adding º video to a non° project to create interesting spherical looks.
  • Use the roll and tilt parameters to wrap your tiny planet effect into an infinite cylinder.
  • Adjust the pan parameter to move your subject horizontally within the tiny planet.
  • Animate the field of view to transition from a close up to a satellite view flying high above your footage.
  • Give ° titles and generators a powerfully warped look by applying the Tiny Planet mapping option.

Other new features

  • View, edit, and deliver closed captions in the SRT format, which is used by a wide range of websites including Facebook.
  • Choose to burn closed captions into your video to ensure they appear at all times during playback.
  • When dragging in the timeline to select a secondary storyline, you can now select individual clips or the entire secondary storyline.
  • Instantly turn any photo or video into a comic book illustration using Comic filter then refine the comic book look with simple controls to adjust ink edges, fill, and smoothness.
  • New ° transitions include Gaussian Blur, Bloom, and a collection of wipes to seamlessly transition from one º clip to another.
  • Typing the first few letters of a font name jumps directly to the font in the list.

Final Cut Pro also includes the following:

° video

  • ° clips added to equirectangular projects display correctly in auditions.
  • Fixes an issue where clicking the delete keyframe button when adjusting orientation incorrectly added a keyframe.
  • Fixes an issue where the keyframe navigation buttons disappear while adjusting orientation.
  • Resetting the orientation when using a VR headset correctly resets the Y axis.
  • Option dragging a connected º clip maintains orientation.
  • Dragging the orientation tool vertically in the Viewer using the on screen controls works correctly.
  • Adding equirectangular media to a connected storyline that contains ° video media remains equirectangular.

Audio

  • Volume control is adjustable for a selected, connected clip.
  • Audio playback continues when resetting the peak indicators.
  • Audio playback continues when changing pan mode on an audio component.
  • Changing audio configuration of a clip properly clears any soloed audio components.
  • Fixes an issue where disabling and reenabling audio channels when previewing an audio effect in the effects browser caused audio to be inaudible.
  • Fixes an issue where audio meters of third-party audio plug-ins became unresponsive when changing the order of audio effects in the Audio inspector.

Closed Captions

  • Fixes an issue where disabling an invalid caption would hide other captions in the Viewer.
  • Embedded captions in shared files now display as expected in QuickTime Player 7.
  • Extract Captions from detached audio clips with embedded captions functions as expected.
  • Fixes an issue where the position of an ITT caption was not being saved when set as default.
  • Fixes an issue where captions couldn’t be embedded when connected to secondary storylines.
  • Fixes an issue where clicking on a CEA caption near the end of a project caused Final Cut Pro to stop saving changes.
  • Captions can be double-clicked in the caption index to open them in the Caption editor in the timeline.
  • Caption timing is honored when copying and pasting captions between projects.
  • Fixes an issue where Lane Headers unexpectedly move when selecting a caption and scrolling vertically.

Color Correction

  • Fixes an issue where the display order of LUTs after import were appearing alphabetically based on the content of folders.
  • Color Wheels accurately reflect the values set when using the color picker to choose a color.
  • Fixes an issue where duplicate sets of built-in color presets were sometimes visible in the Effects browser.
  • Reference level line in the waveform monitor remains locked in place until you click to move it or drag it out of the waveform monitor display to remove it.
  • Color, Saturation, and Brightness controls under the color wheels can be reset individually within the Master, Shadows, Midtones, and Highlights controls.
  • Fixes an issue where bit HEVC rec HLG media in a Wide Gamut library would cause Final Cut Pro to quit unexpectedly.
  • Fixes an issue when manually white-balancing a 50fps HDR clip in an HDR library and project would cause Final Cut Pro to quit unexpectedly.

Effects

  • Option clicking an audio effects preset opens all controls for each individual effect in the preset.

Multicam

  • Fixes an issue where color correcting an angle in the angle editor would cause the playhead to move unexpectedly to the beginning of the timeline.

Roles

  • Select All no longer selects secondary storylines and toggles selection of components based on role of clip in selection.

Timeline

  • Selected connected clips now properly follow the pointer and get placed where positioned in a non-zero starting project timeline.
  • Fixes an issue where an audio only clip in a connected story line plays video frames from the source clip that the audio is attached to.
  • Option-selecting connected clips now properly duplicates the expected clips in a non-zero starting project timeline.
  • Fixes an issue where connecting clips to a primary storyline draws overlapping audio components in expanded lanes.
  • Double clicking to add an effect adds it to the top clip at the playhead position.
  • Join Clips and Join Captions combined into a single command in the Command Editor.

Titles

  • Core Text engine ensures accurate display of Arabic letters, Indic vowel signs in Devanagari and Thai diacritics.

XML

  • Shape and Effect Mask values properly transfer via XML.

 

Final Cut Pro

  • Support for viewing and editing ProRes RAW files from DJI Inspire 2 drone with the DJI D-Log setting
  • Fixes an issue where some 25 fps-interlaced MXF files may display incorrectly
  • Fixes an issue in which using Option-drag to duplicate clips in the timeline could move them later in the timeline
  • Fixes an issue that caused some Panasonic P2 video files to be imported with mixed-down audio channels
  • Fixes an issue in which English keyboard shortcuts were incorrectly applied to other languages
  • Exported audio with certain plug-ins applied plays correctly
  • Deleting unused render files from a Compound clip in the browser works correctly

 

Final Cut Pro

  • Fixes an issue in which selecting multiple clips using the Shift key or marquee selection could inadvertently select other clips in the timeline
  • Fixes an issue in which XML import may not preserve color effect and color board settings
  • Dragging events between libraries no longer uses XML and correctly copies all settings and media
  • Removes unnecessary settings that were included in XML export

 

Final Cut Pro

Closed Captions

  • Import caption files into a Final Cut Pro project to automatically create time-synced, connected captions in the timeline
  • See captions directly in the Viewer
  • Use the Inspector to adjust text, color, onscreen location, and timing
  • Create captions in multiple languages and formats in the same timeline
  • Use the new Captions tab in the Timeline Index to search text, select captions, and quickly switch between different versions of your captions
  • Attach captions to audio or video clips in the timeline
  • Extract embedded captions from video to view and edit the captions directly in Final Cut Pro
  • Send your project to Compressor in a single step, making it easy to create a compliant iTunes Store package with audio and video files, captions, and subtitles
  • Validation indicator instantly warns about common errors including caption overlaps, incorrect characters, invalid formatting, and more
  • Embed captions in an exported video file or create a separate caption sidecar file
  • Share captioned videos directly to YouTube and Vimeo
  • Support for CEA and iTT closed caption formats

ProRes RAW

  • Support for ProRes RAW files lets you import, edit, and grade using pristine RAW image data from the camera sensor
  • RAW image data provides ultimate flexibility when adjusting highlights and shadows — ideal for HDR workflows
  • Enjoy smooth playback and real-time editing on laptop and desktop Mac computers
  • Highly efficient encoding reduces the size of ProRes RAW files, allowing you to fit more footage on camera cards and storage drives
  • ProRes RAW preserves more of the original image data, making it an ideal format for archiving
  • Work natively with ProRes RAW or ProRes RAW HQ files created by ATOMOS recorders and DJI Inspire 2 drone

Enhanced export

  • The new Roles tab in the share pane displays title, video, and audio roles in a single, consolidated interface
  • Quickly view and choose roles to be included in exported video files
  • Roles settings and enabled/disabled states from the timeline are carried through to the share pane
  • Embed closed captions in a video file or export a separate captions sidecar file in CEA and iTT formats

Final Cut Pro also includes the following:

VR

  • Changing ° metadata from rectilinear to equirectangular displays the clip’s correct orientation
  • ° Viewer has a new keyboard shortcut to reset field of view: Control + Option + Command + Delete
  • Command Editor function of “Reset Point of View” is now listed correctly as “Reset Angle”
  • VR headset drop frame warning preferences are honored with a VR headset connected 
  • Stray pixels are no longer visible in high contrast regions of a frame

Accessibility

  • It is easier to create custom project sizes when using accessibility applications as accessibility width and height labels have been added for project properties

Audio

  • Volume automation is retained after a retiming effect is applied
  • Quicker display of custom audio effects interface from the audio Inspector tab when using Final Cut Pro in German
  • Correct parameters are displayed in the Inspector when viewing a duplicate audio effect

Browser

  • Text in the notes field of the Inspector is saved automatically 
  • Text entered into the notes field in list view in the Browser displays in the Inspector
  • Project thumbnails load correctly when the system is connected to an HDMI display

Color Correction

  • Color wheel sliders retain values at IRE for white and 0 IRE for black, with the ability to move above and below using color correction controls
  • Color board exposure parameters are consistent for Rec. PQ projects
  • Keyframes are properly maintained when copying and pasting color wheel effects
  • Custom white balance values are pasted correctly in Rec. HDR libraries
  • View Masks selection displays the mask in the Viewer before color grading parameters are changed

Effects

  • Camera LUT is applied correctly to de-interlaced media
  • Fixes an issue in which the playhead jumps to a transition when adjusting the Ken Burns effect
  • Fixes an issue where the Viewer displays black when adjusting a crop or Ken Burns effect using on-screen controls in an Audition clip
  • Fixes an issue where Replicator edges appeared corrupt when exporting or rendering from projects set to Rec. HLG color space
  • Undo works correctly after a Luma Keyer effect is applied
  • Fixes an issue where a blade edit could reset an effect checkbox

Formats

  • MXF Item Signal Standard is set to correct values for AVC Intra, DVCPRO HD, and Uncompressed HD 
  • Fixes an issue where spanned Canon C clips are imported as multiple clips
  • Clips over 4GB on FAT32 media cards including Sony and JVC source files are represented as one clip in the Import window and also honor the recorded start and stop points
  • Fixes an issue where certain Sony SxS cards with large files would cause Final Cut Pro to quit unexpectedly
  • XAVC/XDCAM plug-in returns the correct timecode values for BPAV file types
  • Improved performance when stabilizing RED RAW files on iMac Pro
  • Fixes an issue where the folder structure for the Panasonic AU-EVA1 is not recognized
  • Loading spanned JVC XDCAM clips no longer causes Final Cut Pro to quit unexpectedly
  • Failures while Sharing with AVCHD media now displays the corrupt filename in the error dialog for easier troubleshooting
  • Fixes an issue where, with multiple camera volumes mounted in the Import window, skimming in Filmstrip view displayed the incorrect clip

General

  • Changing media storage locations from one location to another then back again on NFS storage updates the media links correctly
  • After typing text into an Inspector metadata field, entering text into a second text field works correctly
  • Relink Files button highlights after selection, allowing you to press Enter to commit the command
  • Screen recordings created using QuickTime Player in French or Spanish apply retiming effects correctly when imported into Final Cut Pro
  • Find People and Create Smart Collections After Analysis works correctly
  • Fixes an issue where PSDs with an alpha from Pixelmator appeared cropped in the Viewer

Multicam

  • Fixes an issue where switching between video scopes and the Angle Viewer or the ° Viewer causes the Angle Viewer to display incorrectly
  • Fixes an issue where spatial conform causes Multicam clip angles to display incorrectly in the Angle Viewer

Optical Flow

  • Last frame of % reversed clip with optical flow retiming renders correctly
  • Optical flow retiming renders correctly on clips with audio that is longer than video
  • Reversed clips with optical flow applied now render in the timeline without requiring analysis on the entire source clip

Rendering

  • Render bars appear correctly on i (60 field) clip in a 30p project
  • Background rendering works correctly on i (60 field) clip in a 30p project

Share

  • i (60 field) clips in a 30p project export correctly
  • YouTube “Visit” and “Tell a Friend” buttons open video URL correctly

Stability and reliability

  • Fixes an issue in which resetting a gradient control could cause Final Cut Pro to quit unexpectedly
  • Fixes an issue in which quickly switching back and forth between View > Layouts then selecting a color picker could cause Final Cut Pro to quit unexpectedly
  • Fixes an issue in which initiating an undo action after re-arranging roles in the timeline index could Final Cut Pro to quit unexpectedly
  • Improves stability when lifting two adjacent transitions from a Storyline
  • Improves stability when skimming over or importing a corrupted MXF (MPEG-4) file
  • Improves stability when importing a PSD file created in Pixelmator
  • Improves stability when inserting a SxS card into a Sony SxS USB card reader
  • Fixes an occasional hang after adding a title, relaunching Final Cut Pro, and then modifying parameters

Text

  • On screen controls for text in the Viewer are more responsive and properly sync with the Inspector

Timeline

  • Timecode display no longer skips timecode or frames during processor intensive tasks
  • Rename Clip in the timeline applies to all selected clips

XML

  • Color Balance effect now properly round trips via XML in HDR Libraries
  • Final Cut Pro no longer considers the part of the library name after a period “.” specified as the library location import option in FCPXML as a file extension 

 

Final Cut Pro

VR editing

  • Import and edit ° equirectangular video in a wide range of formats and frame sizes
  • Output ° video to a connected VR headset1
  • Open the ° viewer to simultaneously monitor headset and equirectangular views while editing
  • Option to track movement of a VR headset in the ° viewer in Final Cut Pro
  • Add ° effects including blurs, glows, and more
  • Share ° video directly to YouTube, Facebook, and Vimeo
  • Use the ° patch to instantly remove cameras and rigs from the scene
  • Use the Horizon overlay to easily change the orientation of ° video right in the viewer
  • Edit ° video into a non° project and animate the pan, tilt, and zoom
  • Place any graphic, still, or video into a ° project, then reposition and resize to fit perfectly into the ° scene
  • Support for monoscopic and stereoscopic ° video

Advanced color grading 

  • Dedicated color tab in the inspector provides one location for all color controls
  • Powerful new color wheels improve upon traditional wheels with integrated sliders to adjust hue, saturation, and brightness
  • Color curves enable ultra-fine adjustments using multiple control points to change color and contrast
  • Hue/saturation curves let you select a specific hue or brightness level to make adjustments while leaving other parts of the image unchanged
  • Use the eye dropper in the color and hue/saturation curves to quickly sample parts of an image for adjustment
  • Balance Color command includes an eye dropper for manual white balance
  • Apply custom LUTs from popular color grading apps and sites
  • Adjust color corrections over time with precise keyframe controls
  • Speed through color correction using new keyboard shortcuts for color adjustments and role-based timeline navigation
  • Color presets are now located in the effects browser for skimmable preview and fast search

High Dynamic Range

  • Import, grade, and deliver High Dynamic Range (HDR) video as Rec. HLG or Rec. PQ for HDR10
  • Output video to third-party HDR monitors using third-party I/O devices
  • Built-in waveform monitor indicates HDR brightness levels up to 10, nits
  • HDR Tools effect lets you easily tone map HDR to Standard Dynamic Range (SDR) output as well as convert between PQ and HLG formats
  • Option to view HDR as raw values when working without an HDR monitor

Additional features

  • Import your iMovie for iOS project directly into Final Cut Pro for advanced editing, audio work, and finishing
  • Import, playback, and editing of High Efficiency Video Coding (HEVC, also known as H) video clips and High Efficiency Image Format (HEIF) photos from Apple devices2
  • Send to Compressor to export video projects in the HEVC format
  • Adjust audio using effects plug-ins from Logic Pro X with redesigned, resizable interfaces 
  • Support for Canon Cinema RAW Light format with additional software from Canon 
  • Faster Optical Flow analysis using Metal 2
  • Support for NFS-based libraries and media
  • XML with support for new color grading controls, VR effects, and HDR

1 Requires compatible VR headset, macOS High Sierra, and SteamVR. Video output to VR headset requires a Mac computer with discrete graphics running macOS High Sierra. inch iMac with Radeon Pro graphics recommended.

2 HEVC and HEIF support requires macOS High Sierra.

Issues addressed in Final Cut Pro

  • Support for importing and exporting WAV files greater than 4GB as RF64 when using macOS High Sierra
  • Fixes a stability issue that could occur when using Final Cut Pro on macOS High Sierra with a laptop in closed-display mode and attached to an external monitor
  • Fixes an issue in which text in the Browser in List mode could occasionally disappear
  • Enabling transform, crop, or distort no longer closes Video Scopes
  • Third-party asset management systems can now send low-resolution media to Final Cut Pro through XML import and later replace those low resolution files with full resolution files through another XML import
  • Glue Tools Phantom Cine Toolkit works correctly with Phantom high speed camera “Cine” files when editing in Final Cut Pro
  • Support for new YouTube authentication protocols
  • Contextual menu option to create a new project from a selection of one or more clips in the Browser
  • Ability to use key commands in full screen mode when the Viewer is on a second display
  • Alert dialog appears when sharing a file if playback mode is set to proxy
  • Square pixel photos at x and x resolutions no longer appear distorted
  • The Toggle Fade In and Toggle Fade Out commands now appear under the Adjust Volume menu
  • Press Ctrl-Tab to cycle through tabs in the Inspector when the Inspector is selected

 

Final Cut Pro

  • Resolves a stability issue when using keyboard shortcuts to trim in Secondary Storylines
  • Fixes an issue in which certain editing operations could create an extra audio fade in
  • Fixes an issue in which the Share dialog could incorrectly display a codec warning

 

Final Cut Pro

  • Ability to expand the width of the Inspector to view and adjust effect parameters 
  • Fixes issues with updating older libraries
  • Faster redraw of audio waveforms when using clips that are being imported while recorded to disk
  • Diamond icon in the Timeline Index to show when the user has modified display of roles in the timeline 
  • More color options in the Role Editor
  • Reveal in Browser correctly displays the location of the original clip in the browser
  • Support for Canon Log 3 and Sony S-Log3/S-Gamut3 log processing
  • Resolves an issue in which the viewer could occasionally disappear when exiting full screen
  • Resolves issues in which Share to DVD could become unresponsive 
  • Improves font quality of DVD menu and chapter titles
  • Improves image quality when creating a DVD
  • Enhanced DVD User dialog messages with embedded links to documentation

 

Final Cut Pro

  • Ability to add custom folders of audio files to the Sound Effects browser
  • Using ripple delete on audio-only clips no longer disables the selected range
  • Audio meters retain custom width after relaunch
  • Improves responsiveness when editing very long projects
  • Improves performance when exporting H files and changing frame rate
  • Exporting ProRes files with transparency using Compressor creates a correct alpha channel
  • Fixes an issue in which adjusting the line spacing of multi-line titles only applied to the first line
  • Fixes an issue in which secondary storylines with mixed roles could overlap in the timeline
  • Fixes an issue that could prevent burning Final Cut Pro projects to DVD via Apple USB SuperDrive

 

Final Cut Pro

  • Fixes an issue with cropped images in the Viewer when the Language & Region System Preference is set to Spanish 
  • Fixes issues with updating libraries
  • Fixes an issue when using Paste Attributes to copy color correction between clips

 

Final Cut Pro

New Interface

  • Redesigned dark interface puts the focus on your video
  • Configure window layouts into custom workspaces for tasks like organizing and color grading
  • Fill a second display with the Timeline or hide the Timeline completely
  • Expand the Inspector to full-screen height

Magnetic Timeline 2

  • Color coding of clips based on roles such as dialogue, music, and effects lets you understand your project at a glance
  • Create, assign, and customize the colors of roles to identify different types of audio and video clips
  • Enhanced Timeline Index lets you drag and drop audio roles to rearrange the layout of your Timeline
  • Focus button in the Timeline Index lets you highlight specific audio roles and collapse all others
  • Show Audio Lanes button in the Timeline Index displays a structured Timeline layout with dedicated spaces for each audio role
  • Add audio effects and keyframe audio volume changes to an entire role within a Compound Clip
  • iXML support enables automatic creation and assignment of roles based on metadata from an audio field recorder
  • Custom Roles assignment can be combined with iXML metadata during import
  • Create and manage a unique set of roles for each Final Cut Pro library

Wide Color

  • Images are now viewable in wide color on supported Mac computers and external displays
  • Import, edit, and deliver video in standard Rec. and Rec. color spaces, or in wide Rec. color space
  • Configure color spaces for both libraries and projects
  • Log footage from ARRI, Blackmagic Design, Canon, Panasonic, and Sony cameras, as well as RED RAW footage, can be manipulated in real time while preserving wide color
  • Range check overlay in the viewer highlights areas out of the standard RGB range
  • Video scopes display wide color in real time

Support for the Touch Bar on MacBook Pro

  • Tap to execute common functions like volume control, fade in and out, and media import
  • Easily access advanced editing commands, including Override Clip Connections, Trim to Start, and Trim to End
  • View your entire project at a glance and navigate with touch in the timeline overview

More Video Formats

  • MXF-wrapped Apple ProRes provides a flexible new format for broadcast delivery
  • MXF master file export uses audio roles to configure industry-standard channel layouts
  • Support for Canon Log2/Cinema Gamut and Panasonic V-Log
  • Support for Sony XAVC-L at 4K for the Sony PXW-FS7 and PXW-X70 cameras
  • Export AVC-Intra files

Additional Features

  • Flow transition seamlessly merges jump cuts to remove pauses or mistakes in on-camera interviews
  • Remove Effects and Remove Attributes commands let you delete specific effects from clips
  • SMB 3 network support enables library access on network-attached storage devices
  • Timecode effect displays clip name and source clip timecode in the Viewer and in exported files
  • Copy and paste timecode to speed up numerical entry from text documents
  • Consolidate custom Motion projects into individual Final Cut Pro libraries
  • Option for continuous playback of clips in the Browser
  • Search custom metadata in the Browser and Timeline
  • Search Timeline Index for Auditions, compound clips, multicam clips, and synchronized clips
  • Ability to roll trim on adjacent connected clips
  • Larger Media and Content browsers provide more space for viewing photo libraries, sound effects, music, titles, and generators
  • Skim and select ranges of audio files in the Music and Sound Effects browser
  • Use a Mini DisplayPort or HDMI cable for direct AV output to an external display at standard video resolutions
  • XML supports role-based audio components for Magnetic Timeline 2
  • Enhanced XML support lets you import projects and clips into existing events
  • Ability to drag and drop clips, projects, and events as XML with supported applications
  • Ability to export a library an XML file from Final Cut Pro via drag and drop
  • 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
  • Press Command–Up Arrow or Command–Down Arrow to select and navigate clips vertically in the Timeline
  • 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
  • Batch relink from RED R3D files to QuickTime proxy files and back to the original R3D files instead of relinking one file at a time
  • Change the height of clips in the Timeline using keyboard shortcuts Command–Shift–Plus sign (+) or Command–Shift–Minus sign (-)
  • 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
  • The Overwrite Edit function is now the fourth Edit Mode button in the top-left corner of the Timeline alongside Connect, Insert, and Append
  • Align Audio to Video function quickly resets J or L cuts in the Timeline to straight cuts
  • Launching Final Cut Pro by double-clicking a library in Finder bypasses the Open Libraries window
  • New Broadcast Safe Effect allows you to limit video levels to a specific color space including Rec. PAL and NTSC, Rec. , and 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
  • Final Cut Pro now correctly recognizes and displays variable frame rates in the browser column when shooting XAVC-Long G with the Sony PXW-X70 camera
  • When importing from a camera card with mixed media such as stills and video, the Import window displays a single volume
  • Audio effects have a global enable/disable button in the Inspector like video effects
  • After upgrading a library to Final Cut Pro version , you can now reveal and utilize any original iXML metadata on audio clips by selecting the clip and re-applying the role
  • Support for bit uncompressed MXF with standard definition video
  • Support for exporting bit TIFF sequences from both Final Cut Pro and Compressor
  • Choose Metadata Views in the Inspector for DPP Editorial/Services and DPP Media which can be used when delivering Digital Production Partnership AS master program files
  • 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
  • Audio metering works when previewing an audio source in the Music and Sound Effects Media Browser
  • 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

Issues addressed in Final Cut Pro

  • Optical Flow on retimed clips with an alpha channel no longer causes transparent areas to become briefly opaque
  • 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
  • Resolves an issue that could cause the Create Disc sharing option to hang on macOS Sierra
  • Toggling between List View and Filmstrip View does not change the clip selection in List View
  • 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
  • After XML import, 4K Synchronized clips now correctly appear as 4K
  • Generators with shape masks export at the correct size
  • After using the Share to Apple Devices p option, the file information in iTunes no longer displays "SD"
  • 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

 

Final Cut Pro

  • Customizable Default Effect lets you choose both a video and audio effect that is assigned to a keyboard shortcut
  • 4K export preset to create video files for Apple devices
  • Improves speed when opening libraries on a SAN
  • Resolves an issue that could affect the timecode display in the Dashboard on OS X El Capitan
  • Import Canon XF-AVC including video files from the Canon C Mark II 
  • 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
  • Adds iPhone 6s, iPhone 6s Plus, iPad Pro, and Apple TV HD to the Apple Devices compatibility list in the Share window

 

Final Cut Pro

  • Native support for Sony XAVC-L and Panasonic AVC-Intra up to 4K resolution 
  • Import Canon XF-AVC 8-bit video files with Canon plug-in
  • Export interlaced H video 
  • 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

 

Final Cut Pro

  • Restores support for Panasonic AVCCAM video at 25p and 30p
  • Improves accuracy when dragging to select a range in the Timeline
  • Fixes an issue that may cause Final Cut Pro to quit on launch

 

Final Cut Pro

Introducing 3D titles

  • Beautifully animated and easily customizable 3D text
  • 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

Camera formats

  • Support for Panasonic AVC-Ultra codec family
  • Support for Sony XAVC S format
  • Import Sony XAVC and XDCAM formats without separate plug-in
  • Support for JVC H Long GOP format
  • GPU-accelerated RED RAW processing with support for dual GPUs
  • Support for RED RAW anamorphic formats

Additional features

  • You can now use Smart Collections at the event and library level
  • Import window consolidates all options into a single sidebar
  • GPU rendering when using Send To Compressor with support for dual GPUs
  • CABAC entropy mode for multi-pass encoding
  • XML for third-party interchange. For legacy third-party applications, XML continues to be supported

Final Cut Pro also includes the following:

  • Faster drawing of audio waveforms which improves performance especially when editing over a network
  • 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
  • Improved performance when skimming Long GOP video including AVCHD
  • Exporting a Master File using i-Frame codecs like ProRes can play in QuickTime Player before the export completes
  • Support for XAVC S video recorded at fps and fps
  • MXF-wrapped AVC-Intra and Uncompressed files export faster

 

Final Cut Pro

  • Native MXF import, edit, and export with the Pro Video Formats  software update
  • Option to export AVC-Intra MXF files
  • Support for import and editing with Panasonic AVC-LongG media
  • 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

 

Final Cut Pro

  • Fixes reliability issues when burning a Blu-ray Disc or creating a Blu-ray disk image
  • 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

 

Final Cut Pro

  • Optimized, proxy, and rendered media can be stored at any location outside of the library
  • 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. ) look in real time to high dynamic range and wide color gamut video from ARRI, Blackmagic Design, Canon, and Sony cameras
  • Automatically apply an ARRI embedded 3D LUT from the new AMIRA camera
  • Support for Apple ProRes XQ
  • Improved speed and accuracy when synchronizing clips
  • Audio recording improvements including countdown and automatic Audition creation from multiple takes
  • Fast export of cuts-only projects containing XDCAM media
  • 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

Final Cut Pro also addresses the following issues

  • Faster opening, closing, copying, and overall performance when working with large libraries
  • Linear and smooth motion interpolation between keyframes applies to both time and distance

 

Final Cut Pro

  • Preserves media files if an external drive or network is disconnected while consolidating a library
  • 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

 

Final Cut Pro

  • Optimized playback and rendering using dual GPUs in the new Mac Pro
  • Video monitoring up to 4K via Thunderbolt 2 and HDMI on select Mac computers
  • 4K content including titles, transitions, and generators
  • 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 .MT2S files from AVCHD cameras
  • 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
  • Support for portrait/landscape metadata in still images
  • 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

Final Cut Pro also improves overall stability and performance, and addresses the following issues:

  • Loading a library from a SAN is significantly faster
  • 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
  • surround sound audio originating from a camera as AVCHD will no longer be down mixed to stereo during import
  • If you have transcoded RED RAW files to ProRes through a third-party application, you can relink to the original RED files within Final Cut Pro
  • Transform correctly maintains linear motion on all keyframes

 

Final Cut Pro

  • Addresses issues resulting in green artifacts when using Sony XAVC media
  • Fixes several issues related to interlaced media and retimed segments which could cause exports to not complete
  • Includes stability improvements

 

Final Cut Pro

  • Support for Sony XAVC codec up to 4K resolution
  • Option to display ProRes Log C files from ARRI ALEXA cameras with standard Rec. color and contrast levels
  • 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

 

Final Cut Pro

  • The Letterbox effect "Offset" slider is restored
  • 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
  • Fixes an issue in which some third-party transitions would incorrectly use black instead of source media
  • 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 display of the Modify RED RAW settings button in synchronized and compound clips
  • 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

 

Final Cut Pro

  • Expand multichannel audio files directly in the timeline for precise editing of individual audio channels
  • 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
  • RED camera support with native REDCODE RAW editing up to 5K and optional transcode to Apple ProRes or ProRes Proxy. Ability to adjust RAW images with debayer controls directly in Final Cut Pro
  • 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
  • Flexible Clip Connections allow you to keep Connected Clips in place by pressing the ` key when slipping, sliding or moving clips in the Primary Storyline
  • 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
  • Combine audio from different angles within a Multicam Clip (Command-Option-click in the Angle Viewer)
  • 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
  • XML features improved metadata import and export for richer integration with third-party app
  • 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

Final Cut Pro improves overall stability and performance, and adds these fixes:

  • Background Rendering uses the GPU on the graphics card, enabling CPU-based processes like transcoding and proxy creation to continue uninterrupted while effects are rendering
  • Loop Play with Play Selection enabled will continuously loop playback while making adjustments in the Inspector
  • DSLRs and other cameras that use the Picture Transfer Protocol (PTP) for data transfer will now appear in the Import window when directly connected to the computer
  • 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. Importing XML with custom metadata fields preserves data in Final Cut Pro
  • Ability to manually tag clips as anamorphic using the Anamorphic Override option in the Inspector
  • When duplicating an event or project where media resides on shared storage, only the links will be copied. This speeds up duplicating or moving events and projects to another editing station that is linked to the same shared media
  • Improves behavior when moving clips to different vertical positions in the timeline
  • Generators now support the aspect ratio, which is used with a range of frame sizes
  • Video dissolves now default to the linear Video look instead of the Film look that includes some ease in and ease out
  • Ability to import SDII audio files

 

Final Cut Pro

  • Final Cut Pro improves overall stability and is enhanced for the MacBook Pro (Retina, Mid )
  • Fixes an issue in which changes were not properly saved when working off a SAN
  • Improves performance when switching between projects on a SAN
  • Fixes an issue which could lead to Multicam Clips losing their Roles after relaunching Final Cut Pro
  • Allows for YouTube uploads longer than 15 minutes
  • Correctly marks in and out points for spanned clips imported using the Sony Camera Import Plug-in PDZK-LT2

 

Final Cut Pro

  • Improves image quality and responsiveness of broadcast monitoring with compatible third-party PCIe and Thunderbolt I/O devices
  • Improves performance of multicam syncing and editing
  • Adds language support for Simplified Chinese
  • Adds a Share option for p video on compatible iOS devices

Final Cut Pro also addresses the following issues:

  • Assigns default audio channel setting for new projects to stereo
  • Includes multicam metadata in XML project export
  • Fixes an issue in which video superimposed over a background with an alpha channel could appear differently in Viewer before and after render
  • Fixes an issue that caused some titles to be rendered again after each application launch

 

Final Cut Pro

  • Multicam editing with automatic sync and support for mixed formats, mixed frame rates, and up to 64 camera angles
  • Advanced chroma keying with controls for color sampling and edge quality
  • Media relink for manual reconnect of projects and Events to new media
  • Ability to import and edit layered Photoshop graphics
  • XML with support for primary color grades, effect parameters, and audio keyframes
  • Multiple improvements to the Color Board, including new key commands, editable numeric fields, and adjustable parameters that act like infinite sliders when dragged
  • Ability to reorder color corrections in the Inspector
  • Reveal in Event Browser shows clip range in the filmstrip while in List View
  • Batch offset for clip date and time
  • Ability to search text added to Favorite and Reject ranges
  • Beta version of broadcast monitoring with third-party PCIe and Thunderbolt I/O devices

Final Cut Pro also improves overall stability and performance, and addresses the following issues:

  • Improves performance when editing text in titles
  • Improves performance when applying an effect from the Effect Browser
  • Improves keyframing behavior in the Inspector, with keyframes automatically added when moving to a new point in time and adjusting a parameter
  • Modifies transition behavior so that all newly added transitions use available media and maintain project length
  • Fixes an issue which affected audio solo while skimming
  • Resolves issues related to using Synchronize Clips with media containing a silent audio channel
  • Fixes an issue in which constant speed retiming was not properly applied when using the Paste Effects command

 

Final Cut Pro

  • Fixes an issue in which a title may revert to the default font after restarting Final Cut Pro
  • Resolves an issue that could cause files recorded with certain third-party mobile devices to play back incorrectly
  • Addresses a stability issue caused by changing the start time on a Compound Clip

 

Final Cut Pro

  • Export audio and video stems as a single multitrack QuickTime movie or as separate files using Roles
  • Import and export XML to support third-party workflows
  • Place Projects and Events on Xsan to improve collaboration between editors
  • Set custom starting timecode for your projects
  • Add transitions to connected clips in a single step
  • Enable full-screen view in OS X Lion
  • Speed up delivery with GPU-accelerated export
  • Access the new Tribute theme, with four animated titles and a matching transition

This update also improves overall stability and performance, and addresses the following issues:

  • Adds the ability to import DSLR video from Aperture and iPhoto libraries through the Photos Browser
  • Adds the ability to eject camera cards while Final Cut Pro is open
  • Adds the ability to always use the startup volume or Time Machine volumes for media storage
  • Improves audio syncing performance and ability to sync different frame sizes and frame rates
  • Fixes an issue in which alpha channels in transitions were not properly preserved
  • Resolves an issue that could cause titles to accidentally move in the timeline
  • Improves the quality of video retiming when applying slow motion or when working with interlaced video
  • Fixes an issue in which custom ICC color profiles affected the image in the Viewer
  • Improves the performance and reliability of automatic saving

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