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Final Cut Pro Gets an Update Promising Faster Speeds
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We Verizon Media and our partners need your consent to access your device, set cookies, and use your data, including your location, to understand your interests, provide relevant ads and measure their effectiveness. Verizon Media will also provide relevant ads to you on our partners' products. These effects can be combined with others in a stacked arrangement. The Match Color feature lets you transfer color and exposure characteristics from one clip to the rest to give your project a consistent look and adjust specific areas of the image based on selected color or a mask.
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- Apple’s Final Cut Pro X just got a big update — here’s what’s new.
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The Color Balance tool, according to Apple, can "increase contrast and remove color casts while making skin tones appear more natural. The Touch Bar changes its appearance based on what you're doing in the application. It's nifty to see your timeline tracks or color options on the Touch Bar. Below, you can see three Touch Bar displays, for basic editing, timeline scrubbing, and text customization. These and many other versions of the Touch Bar show up automatically to expose tools that might be otherwise hidden in the menu.
It's a great tool for beginners. It might also be a good tool for higher-end users, too, but I can't help wonder if long-time Final Cut editors might be resistant to it. The biggest issue is that when you're working on a project, your eyes are intensely focused on the screen, not on the keyboard. And most video editors have the basic editing keyboard shortcuts in muscle memory by this point, so moving your gaze from the video content down to the keyboard introduces a disconnect in your workflow. Still, it's a good optional tool.
If you just want to be able to scrub through a video with your finger, you could do this in Adobe Premiere Elements on a Windows 10 touch-capable display without taking your eyes off the screen. Yes, the Touch Bar is close to the screen, but I find that while I'm looking at that bright, beautiful display, I'm usually not even aware of what's on the Touch Bar. Of course, if I worked with it long enough, that would probably change.
If you think of it as an additional option rather than an essential part of the Final Cut interface, there's really no downside to Final Cut's support for it. For those who don't have deeply ingrained habits—or who are willing to make new ones—the Touch Bar might end up being highly efficient and useful. Titling is also simple and powerful in the latest version of Final Cut.
What is Final Cut Pro X?
You get lots of control over title overlays, with animation templates. You edit text and position, and size the titles right in the video preview; there's no need for an external title editor. Though Final Cut Pro X has no instant movie feature like those you find in most consumer video editors, it does offer Themes, which are really just pairings of transitions and titles that work well together. Final Cut's 3D Titles are a lot of fun. There are eight basic 3D templates and four more Cinematic ones, including a cool 3D Earth choice, for your sci-fi projects.
There are 20 font presets, but you can use any style and size you like. Materials like concrete, fabric, plastic, and so on can give your titles any texture you desire. You also get a bunch of lighting options, such as Above, Diagonal Right, and so on. You can then position and rotate the text to taste on three axes. Even messing with 3D to this extent requires a powerful compute. I found myself looking at the pinwheel and dropping frames in playback on my test Touch Bar controls facilitate changing font settings like size and color, for those editing on a new MacBook Pro.
In the You can also preview them in the video preview window, as well as position and format them with a choice of colors. On export, you can embed the captions into the video file or include them in a separate sidecar file. You can also send captioned projects to Compressor, which can make them iTunes Store—ready.
Final Cut Pro X's chroma-keying effect works better than that of any Windows video editor I've used, performing admirably in testing, even given some imperfect green-screen lighting in the source. My background was nearly perfectly removed for transparency. Though Premiere Pro offers more adjustment choices with its Chroma-Key effect, I couldn't tune all its adjustments to get as good a result as Final Cut delivered off the bat.
And, in any case, Final Cut offers more control, letting you refine the sample color, edges, strength, spill level, mix, and more. But it's the Color Selection tool that really makes Final Cut state of the art in chroma-key. This presents a color wheel with the matted color range, letting you visually adjust it to include more or less of a color range.
Audio editing is another strength of Final Cut Pro X. It can automatically fix hum, noise, and peaks, or you can manually adjust these, if you prefer. Over 1, royalty-free sound effects are included, and there's lots of plug-in support. One impressive trick is the ability to match separately recorded tracks; for example, if you shoot HD footage with a DSLR and record sound simultaneously on another recorder, Match Audio aligns the sound source.
New support for Apple Logic Pro plug-ins give you even more powerful sound editing options. Finally, you get a surround-sound mixer to locate or animate 5. Final Cut Pro's multicam support reimagines the standard tool making it both more powerful and simpler. It supports the traditional syncing method using time codes, but it can also automatically sync up multiple clips by analyzing their audio tracks for peaks. You can alternatively use camera time or place a marker on the clips for syncing.
Facing Widescale User Revolt, Apple Starts Issuing Final Cut Pro X Refunds | Cult of Mac
Multicam works with sources in different formats, including different resolutions and codecs, and, remarkably, it allows up to 64 camera angles. I mentioned ease of use, and you get this right from the start when working with multicam. Just select the clips to include you can add or remove clips later , choose "New multicam clip…" from the right-click or File menu, and choose a syncing method. After placing the multicam clip in your timeline, choosing Open in Angle Editor displays a grid previewing each angle—up to 4-by-4 tiles for 16 total angles at a time.
As with many Mac operations, using multicam is simple—as long as you know what you're doing. It took me a while to figure out that I could cut angles only when a multicam clip was in the Timeline, using the Angle Viewer—not the Angle Editor, which lets you add or remove clips or stills to and from the multicam clip, resync them, and edit the component clips trimming and so on. It's actually simpler than Premiere Pro's multicam workflow, but not as easy as purely consumer products like PowerDirector and Pinnacle Studio make it. Not only does Final Cut's Angle Viewer let you switch angles live, but it also lets you later tweak the cuts in the timeline.
This combination of live switching and timeline tweaking lets you turn a three-angle interview into something far more compelling than a single edited clip could be. Newer options let you edit audio separately and even combine multiple audio channels from the angles. Final Cut can also output for Apple devices, discs, the Web, and email. As of the Speaking of formats, the version of macOS after Mojave will no longer support formats using codecs that rely on bit QuickTime 7. The Final Cut Pro The new conversion tool may not be able to convert everything, though, in which case it flags the incompatible media files and tells you to download external conversion software.
You can change the background and logo for these—far less customization than you find in most consumer video apps. It now also supports degree uploading to all three.