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By joining Download. The bottom line: Final Cut Pro X is truly a dramatic rewrite of Apple’s mature and well-developed video-editing software. It borrows some interface elements from iMovie that may disappoint seasoned professionals, and also it loses many key features that are simply an absolute necessity in the professional world, like XML export.
On the other hand, those looking to upgrade from iMovie will find a lot more features in Final Cut Pro X, but there are some caveats. Review: Final Cut Pro X’s bold philosophy of video editing will definitely take some getting used to, but in return, editors will be rewarded with blazing performance and a future where tapes are as outdated as wax cylinders.
For amateur video editors, iMovie is still the best balance of features, ease of use, and price. At this stage, Final Cut Pro X is a 1. However, Apple has laid the groundwork for versions 2. Introduction It’s been three years since Apple last updated its venerable Final Cut Studio 3 suite of applications. Forces are at work changing the world of video editing, and even the most hardened video-editing professionals will tell you that editing needs to evolve.
First, the cost of productions has dropped drastically in the last few years. It’s not that Apple hasn’t been throwing resources behind Final Cut Pro. However, it is the same reason that it took Apple six iterations of Mac OS X before the company finally managed to update the ubiquitous Finder app to 64 bits: rewriting applications is hard.
Even iTunes, which might be considered Apple’s most important application because of its syncing abilities to the iPod and iOS, is still sitting around using 32 bits. Third, like how blogging gave everyone the ability to compete with the likes of major newspapers, magazines, and publishers, YouTube, Vimeo and other online video-sharing sites are giving legions of wannabe filmmakers a platform to display their work and show Hollywood that you don’t need millions of dollars to create something that hundreds of millions of people will see.
Finally, many things can be said about Apple, but one thing that the company truly embraces is change. The first iteration Mac OS X Like Cheetah, Final Cut Pro X is missing many features, some of which likely won’t make it, but they lay the groundwork for a next generation of video editing. Snow Leopard brought improved performance, enhanced support for bit applications, new tools like Grand Central Dispatch for multicore programming, and a new programming framework to take advantage of the massive power of graphics processors called OpenCL.
The original Final Cut Pro took very little advantage of any of these new leaps because it was still shackled to a year-old code base and bit Carbon APIs. The change is obvious when you look at the Activity Monitor, which shows many more threads.
Even better, the native bit code now supports a practically limitless supply of RAM. We appreciate reducing paper waste, but be warned that the digital help files won’t offer any images unless you are connected to the Internet.
Some of those apps have disappeared for good in the new Final Cut Pro X with only some of their functionality integrated into the app. We’ll dive into these apps a bit later in the review. Final Cut Pro X also has the distinction of being the first app available for voluming licensing.
Licenses for businesses and schools will be available via the Apple Online Store for quantities of 20 or more. Users will receive a redemption code, which they can use to download the app from the Mac App Store. Simply downloading isn’t as fun as it sounds. Final Cut Pro X weighs in at 1. In addition, there is Additionally, Motion 5 weighs in at 1. This will not be fun for the eager enthusiast with a slow DSL line.
Still, it’s a far better and easier installation method than the previous Final Cut Studio, which required swapping out DVDs repeatedly for an hour or two. Getting started When you first launch Final Cut Pro X, the old Final Cut loading screen is replaced by a new semitransparent load screen that let’s you know this is the But what comes after that is nothing like the 10 previous versions of Final Cut.
If you’re wondering if we skipped a step, you’re wrong. According to Final Cut Pro X’s help file, you don’t create a project first. Instead, you import media and manage your media first. You can, however, create a project first and import later. But it just goes to show you how much Apple believes that data-based video workflows are the future of post-production. New interface FCPX’s new interface borrows some style elements from iMovie, which will really have many editors scratching their head.
But first, multiple windows have largely disappeared. Instead of windows, like in previous versions, we now get panels. The panels have default positions, but they can fortunately be resized. For the most part, the panel locations are generally where you want them to be, but we would have preferred more customization options. Users can specify the Viewer or the Events panels to live on secondary monitors, but it’s still no match for arranging windows to whatever your project or personal preferences are.
The Viewer The biggest change is the new Viewer. They have been combined into a single panel called the Viewer. In previous versions of Final Cut Pro, the Viewer loaded clips to edit or it let users manipulate the properties of a clip. The Canvas traditionally showed the current frame of the playhead in the Timeline. Final Cut Pro X now combines both the viewer and canvas into one panel simply called the Viewer.
Final Cut Pro 7 used the decades-old convention of Source and Record editing which Apple, of course, had to refer differently as the Viewer and Canvas. It traces back to the day of linear editing, when a producer or editor would load up one clip from a video deck, mark the start and stop, and then record on to a second tape. Watching a professional editor is like watching a pianist. Loading clips, scrubbing through to find the perfect clip, marking an in point and an out point, then laying on the timeline could be accomplished without touching the mouse at all.
For Apple, it’s a difference of philosophy. Creating a new project Starting a new project feels a bit strange because the program does little to explain new concepts like Events. Events are Apple’s new way of describing media libraries. An event contains the actual media files of your project, as well as metadata information. When you create a new project, there are no options like resolution or codec until you select custom.
By default, the app will pick a resolution and frame rate based on the first clip you use. The Other options curiously do not let you set custom resolutions. Instead, you’re limited to x pixels and x pixels. Apple says that you can use Compressor to scale and resize your videos.
Again, if you have to work in a nonstandard frame rate, you’re out of luck. As a sign from the future of where Apple wants to take video editing, FCPX supports 4K resolutions at 60 progressive frames per second. Additionally, there are options for audio and video rendering, which default to Surround Sound at 48KHz, and variable bit rate ProRes ProRes HQ, ProRes , and Uncompressed bit are also available as options, if you need those extra bits of color information or editing with an alpha channel.
However, for most editors, ProRes offers a good balance between speed and drive space. Perhaps the most unsettling behavior so far is that Final Cut Pro X doesn’t let you specify where you want to save your project file in the New Project dialog box. By default, FCPX creates new projects in the root directory of whatever drive you have selected in the Project Library. This is highly frustrating. Being able to specify a location for project files is incredibly important. For example, it’s common for an editor to routinely save projects in network drives and organize by folders and subfolders.
Render files are saved in the same folder as the project files. Render files are essentially media files that FCP uses to save rendered work, like effects. So even if you are diligent enough to create a new project on a separate hard drive, your render files must live in the same folder. For Apple, it’s again a difference of philosophy. Users lose some granularity when choosing a scratch disk, but they get the benefit of having a single folder that they can move around, complete with their projects’ rendered media.
Additionally, the program can import codecs supported by QuickTime. Instead, we just get options for importing media files and importing files from a camera. The new Final Cut Pro X really embraces a file-based workflow. The closest option might be the Import From Camera. It’s sort of an attempt at combing capture from tape and capture from memory card sources.
The new import interface does support FireWire and can read mounted memory cards, as well as control playback options using the classic JKL rewind-pause-play keys.
It doesn’t support importing certain types of files. HDV is still supported, but oddly only over tape on FireWire. Apple says it is working with companies like Sony and Red to create plug-ins that will allow FCPX to be a one-stop-shop for importing video. Final Cut Pro X does have a Supported Cameras page, but it isn’t as long as we’d like, nor is it completely up to date. Also, it’s also not entirely obvious that some formats like P2 have to be imported through the Import From Camera option and not the Import Files option.
Import options If you do have compatible files or footage to import into Final Cut Pro X, there are some great new options that give you a taste of what Apple has been working on these last three years of developing FCPX. You can create a new event, or you can add to an existing event.
Fortunately, you can select which drive you’d like to import your footage to from this dialog box. By default, Final Cut Pro X will copy over your media files and automatically organize the footage for you using Content Auto-Analysis. Not only do you get the standard metadata that FCPX would collect like frame rate, codec, resolution, and more, but it also borrows some technology from iPhoto and iMovie to automatically detect people in the shot as well as shot size.
Additionally, Content Auto-Analysis analyzes footage for color balance, audio problems, shaky footage, and even the notorious rolling shutter distortion that occurs with many CMOS-based cameras when panning.
FCPX can even transcode supported footage as it imports into native ProRes as well as create small proxy media files, if you’re working on a low-power machine. Other smart features include the ability to intelligently group mono or stereo audio channels and remove silent audio channels.