FCP has been bolstered to allow it support more of editing, importing and exporting of videos taken under standard resolution.
The lat est versions of Final Cut Pro have advanced features that make it well compatible with Yosemite so you will not have challenges using it. They can handle video of 4K as well as 5K resolution and more which is an advantage for users. Apple has been very creative to have features like workflow assistant and inspector panel that make it smooth using Final Cut Pro with Yosemite. There are also iOS apps launched by Apple with support for Yosemite and that widens the scope of options.
At any given time, you will be able to use Final Cut Pro with Yosemite without experiencing any difficulties. However, there is no guarantee that Final Cut Pro will always work as expected. There are bound to arise several hitches and it will disturb you in case you are not informed on how to troubleshoot. You don't have to get bothered about getting an expert to do that for you, it is something that you will be able to actualize on your own with this troubleshooting guideline.
Start by lunching the "applications" folder and then right clicking on the "show package contents" icon. It will then open the "contents" folder and "Mac OS" in that order. Once it starts running, you will stop experience the initial problems. It can also be reused in different Projects. Closed Captions: Multicam Editing: Once in the timeline a Multicam Clip can be cut up into different angles by using the Angle Viewer.
A Multicam Clip can be opened in the Angle Editor where new angles can be added, synched, relabeled, and rearranged at any time. Clips can be grouped together in the Event Browser or on the Timeline as Auditions. Once in the timeline an Audition allows the user to choose between different clips in their edit while the timeline ripples automatically in order to preview two or more different versions of a cut.
This allows users to create titles like those found in Hollywood blockbuster movies directly in the application. Open CL support allows GPU accelerated processing for improved performance for playback, rendering , and transcoding. It is resolution-independent, supporting images sizes from SD to beyond 4K. Final Cut Pro X supports playback of many native camera and audio formats. Inside the Final Cut Pro X, editors can modify the parameters and contents of the effects, as long as the permission for such modifications is turned on in the Motion 5 project file.
A Photoshop project with layers is treated similar to a compound clip and the layers are preserved after being imported into the Final Cut Pro X. Individual layers of the Photoshop project can be toggled on or off inside the Final Cut Pro X by double clicking the imported project and going into the compound clip editing panel.
Other adjustments to the Photoshop project should be performed on the imported Photoshop project using Adobe Photoshop program with updates happening in real time inside Final Cut Pro X. XML import and export, server support, multicam editing, chapter markers, and broadcast monitor support. 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. You can select custom options, which will support most of the standard resolutions: 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. Event Library The Events Library organizes your media in a tree with the main branches being the hard drives connected to your system. There are many things in the above sentence that might make a few people unhappy, but fortunately, you can import footage into your local Event Library without having to copy over gigabytes of data.
Final Cut Pro X will create links to your remote media. Just be sure to deselect the copy files to FCPX's events folder, otherwise the media will be copied to whatever drive you have set up for your events. Previous versions of Final Cut Pro X had fairly limited metadata abilities. You could comment and mark a clip as a good or bad take, but the new FCPX brings metadata into the world of Google. When importing footage, Smart Collections will automatically create a number of premade groups based on things like whether the shot is a wide, medium, or close-up.
It will also detect people and group them together. The power of the new metadata engine comes from its extensibility. Users can now create their own keyword tags, and even tag-specific sections of clips using custom keywords. All this tagging and metadata becomes incredibly powerful when you realize that Final Cut Pro X adds search capabilities. For example, a user can tag all the footage of an interviewee, and then perform a search query looking for medium-only shots for that interviewee.
Loggers and assistant editors will be much happier. Apple also says that the metadata engine will be extensible via third-party plug-ins, so it won't be too far from the day that we see plug-ins that transcribe and auto-sync transcripts to video.
One project, one timeline As you discover the quirks of the new interface, one thing that might not be so obvious is that there is exactly one timeline or sequence to every project.
That might sound natural for amateur video editors, but it's a major change for professionals. Editors routinely duplicate sequences in the same project, so that if you have to go back to a previous version because the new sequence just didn't work out, it's right there.
For now, Apple says that if you want to create a snapshot of the current sequence, you can use the Duplicate feature in the menu bar, which creates a new copy of your current project. Fortunately, projects are easily viewable from the Project Library. While many will be upset that projects can only contain a single timeline, Apple has really rethought the old track-based timelines, and in the process created some innovations that might make the lack of multiple timelines more palatable.
Final Cut Pro X's most touted feature has got to be the new Magnetic Timeline and all the features that build off of it. Tracks have disappeared, and instead we have what Apple calls "lanes. Like lanes of traffic, clips automatically make room for one another when you move them on the timeline, so you never have to worry about accidentally overwriting a track of audio or video. It's magnetic because clips automatically ripple i. New and amateur video editors will absolutely love the Magnetic Timeline, but it is going to take some time and practice before you see many professional editors embracing it.
Most professional editors won't admit it, but we do spend too much time making room for clips we want to insert, closing up gaps and keeping everything in sync.
Admittedly, we find ourselves itching to press the T key for the Track tool to make some space in the timeline. By just double-clicking on the border where two clips meet, the Inline Precision Editor will expand the clips to show all the footage available in the outgoing and incoming clips.
As many gripes as we might have with the loss of separate Viewer and Canvas windows, the Inline Precision Editor is a much better view of footage than Trim Mode. You can now easily see how much more footage you have left in each clip.
Once you have extended or decreased the selection, the timeline ripples all the changes through the sequence, keeping everything in sync. In previous Final Cut Pro apps, you would have to tediously separate out the clips from a sequence before moving them around. Now, with Clip Connections, you can have multiple pieces of video, title and audio move around on the time line and remain perfectly in sync.
In large projects, once you've finished a complex scene or segment, you can now group all the audio, title, and video clips together to act as a single massive clip. It's a bit like nested sequences, but much easier to use.
You may not have gotten this notice if, like me, your email address changed after you initially registered the software. However, like all truly useful software, many of us have continued to use it long after its official demise. Final Cut is what got me started in this business. First introduced in the Spring of , I started using it in with version 1.
Since that first release, Final Cut has gone through multiple changes with an entirely new industry springing up around it. The world we work in today bears almost no resemblance to editing prior to Then, shooting video required cameras attached to technical support trucks, while editing required massive video tape machines costing a quarter-of-a-million dollars apiece. Film required shooting expensive film stock then using razor blades and glue to edit the finished product.
Neither technology was cheap, easily accessible to beginners, or spontaneous. The introduction of DV cameras and Final Cut changed the world — expanding video creation in areas that no one predicted. Video shooting and editing is now taught daily in elementary schools. Tens of thousands of college students are eagerly pursuing media careers. And the world has shifted from print to video — seemingly overnight.
Specifically, you need to hang on to older hardware, running an older OS, for any editing for which you want to use FCP 7. This also rules out using more recent codecs or plug-ins.
On the plus side, there are plenty of alternatives to the program that started it all — Final Cut 7: Take a minute to think about that: Over the last twenty years, video has moved from large mobile trucks to smaller DV cameras to cell phones. You only need to glance at any social media post to realize the impact video has on the everyday life of each of us today. Still, this week seems a good time to reflect on the impact one software program has had on the lives of so many — from movie goers to film makers to the countless developers of utilities and plugins that supported it to… well, just about all of us.
Final Cut is dead — yet Final Cut lives on; and video is more essential to our lives than ever before.