January 11, 2023
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Apple final cut pro x 10.2.1 free

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Skimming an audio component now plays back audio as expected. Surround panning keyframes now work as expected when reopening a library. 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 full-screen view. Improves reliability when sharing video to YouTube.

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.

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 Frame. 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. 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.

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. 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. Typing the first few letters of a font name jumps directly to the font in the list.

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. Dragging the orientation tool vertically in the Viewer using the on screen controls works correctly. 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 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. 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. Titles Core Text engine ensures accurate display of Arabic letters, Indic vowel signs in Devanagari and Thai diacritics.

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. 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 1. 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. 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. 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. Embed closed captions in a video file or export a separate captions sidecar file in CEA and iTT formats. 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. Keyframes are properly maintained when copying and pasting color wheel effects. Custom white balance values are pasted correctly in Rec. 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. Undo works correctly after a Luma Keyer effect is applied. Fixes an issue where a blade edit could reset an effect checkbox. Fixes an issue where spanned Canon C clips are imported as multiple clips.

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. Fixes an issue where spatial conform causes Multicam clip angles to display incorrectly in the Angle Viewer. 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 Background rendering works correctly on Share 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 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 importing a PSD file created in Pixelmator. 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. 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. 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. Built-in waveform monitor indicates HDR brightness levels up to 10, nits. It hosts a range of commercial and free plugins on the site. One free plugin was downloaded over a thousand times within 24 hours of release.

I also take on custom work, whether it is adapting an existing plugin for a special use or designing new plugins for clients from scratch. Having a good knowledge of editing allows me to build-in flexibility and more importantly, usability. Now in its 10th year and 4th redesign, running FCP.

The recent Covid restrictions has enabled live FCP. This involves managing a Zoom Webinar through Restream. I\’m always open to new ideas and opportunities, so please get in touch at editor at fcp. I\’ve judged film competitions, presented workflow techniques to international audiences and come up with ideas for TV shows and software programs! Pro Consumer. Written by Peter Wiggins Published: 11 April Evergreen Blog Reading time: Fully featured 3D titles.

You can change materials, lighting and edges all in the inspector. Open up effects in Motion to customise further. Many cinematic templates provided. This would explain the price cuts of similar 3D 3rd party plugins!

Smart Collections at the Library level. Professional video editing solution. Based on 91 user reviews. Follow this app Developer website. Final Cut Pro overview Redesigned from the ground up, Final Cut Pro combines revolutionary video editing with a powerful media organization and incredible performance to let you create at the speed of thought. Improves reliability when using drag and drop to replace a transition Improves reliability when dragging a transition onto a connected clip Fixes an issue where custom sound effects do not always appear in the Sound Effects browser.

Information License Commercial. Size 3. Downloads App requirements Intel 64 macOS Try our new feature and write a detailed review about Final Cut Pro. All reviews will be posted soon. Write review. Write your thoughts in our old-fashioned comment. MacUpdate Comment Policy. We strongly recommend leaving comments, however comments with abusive words, bullying, personal attacks of any type will be moderated.

Email me when someone replies to this comment. Il justifie cette « invention » par son souci de permettre aux utilisateurs de se concentrer. Mais tous les logiciels devraient permettre l\’affichage clair — on n\’est pas en Chine de Mao C\’est pour cette raison que je ne vais pas utiliser cette application : je ne veux pas qu\’on m\’impose quoi que ce soit.

Allo, Apple! Frodo-life Dec 14 I like FCPX, it it just was more reliable, so many small nagging bugs which are there forever and every updated introduces a few new one, Apples QA is non existent anymore and Beta testing is preformed on the final version by it\’s users. 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. Effects can be applied as a whole onto Compound Clips, and video can even be retimed as one giant clip. All the while, they remain perfectly in sync. Apple says editors won\’t have to create multiple sequences for each scene, but can use compound clips instead. Auditioning Often, an editor will be the only individual who has seen all the footage, and by the time directors and producers join edit sessions, an editor will have likely laid out the core elements and structure of a video piece.

Inevitably, though, the producer or director will want to see alternate takes. And pulling apart a sequence to slip in an alternate clip is a major headache. Auditioning will alleviate much of that pain. Editors can try out alternate takes by simply marking an in and an out on alternate clips, drag them onto the existing clip on the timeline, and select \”Add to Audition.

Effects Because virtually every part of the Final Cut Pro X application is different from its predecessor, it probably isn\’t a surprise to many that your old bit Final Cut Pro 7 plug-ins won\’t work with the new FCPX. That\’s not to say that Apple is giving up on the third-party plug-in community.

In fact, it\’s relying on it heavily to fill in some missing features. Final Cut Pro X comes complete with a new plug-in architecture that is bit from the start, called FxPlug 2. Developers can access the full specification, on Apple\’s Developer Web site, and it\’s been rearchitectured to take advantage of the new high-performance, multithreaded, floating-point rendering engine.

The work that Apple has put into the new rendering engine really shows. Effects can be applied in real time and require little to no rendering. You may see some resolution drops and a few frames here or there, but in our tests it stayed close to real-time performance.

Applying effects has never been easier. Instead of dragging and dropping effects and taking a coffee break to wait for it to render, you can simply press play in the timeline and try out different effects and looks in real time by hovering over the effect in the Effects Browser.

Performance There might be a lot to get used to when it comes to the changes to the user interface and missing features, but one area where the new Final Cut Pro X deserves universal praise is performance. All the while, we were applying real-time effects and color corrections to untranscoded, p H. Be careful, though, and don\’t assume that every Mac that Apple has released in the last few years is OpenCL-capable. Part of Final Cut Pro X\’s new performance increase comes from background processing.

While you\’re pondering your next edit, FCPX will use those down cycles to execute a number of different tasks including transcoding, content auto-analysis for stabilize shaky footage, or removing background noise from audio. Final Cut Pro X even includes a Background Task window, which shows you exactly what FCPX is doing and even offers some manual controls like pausing or canceling a background process. The new Final Cut Pro X is undoubtedly much faster than its predecessor, but it still maintains high picture quality throughout its rendering engine.

The new rendering engine is floating-point based and uses a much wider color space, meaning you could blow out the highlights in one effect and bring back detail into the image with another effect. Unfortunately, all that exceptional color management goes to waste because as of right now, Final Cut Pro X doesn\’t support monitoring on professional broadcast monitors.

Still, it\’s quite a disappointment that for now, Final Cut Pro X users will have to trust their computer monitors and know that it probably won\’t look the same once it hits a real television set or gets projected in a screening room.

Motion 5 Many video professionals have been wondering for years when Motion would step up into the big leagues of compositing after it shuttered its Academy Award-winning Shake compositing program. While the new Motion 5 inherits Final Cut Pro X\’s new look and high-quality rendering engine, it is not Shake for mere mortals. And Apple says it\’s not intended to be. Motion graphics designers can now set up Smart Motion Templates with editable parameters that can be \”rigged\” together.

For example, a motion graphics artist can give motion graphic titles several variations with different colors and font sizes that work together. Editors can adjust these rigs with simple sliders, pop-up menus, or check boxes. Motion 5\’s new Smart Motion Templates are also more intelligent than their predecessor. Artists can now define intro animations and out animations, but leave a flexible title \”body\” to fit the correct timing in the middle. The days of slicing motion graphics and fading between the two to extend a title that just wasn\’t long enough to cover an edit are over.

The most useful improvement to Final Cut Pro X motion graphics is that you can now edit the text right in the Viewer panel. No more opening up a title\’s controls in the Viewer, changing a bit of text, and then clicking somewhere else on the timeline for your text to update.

Primatte is gone from the package, but Apple says that the new chroma keyer is better than ever. It utilizes the same bit high-quality rendering engine, and our limited testing shows it to be at least on par with Motion 4\’s Primatte keyer.

For the most part, it looks a lot like its previous incarnations, but Apple has cleaned up some of the interface, mostly by getting rid of all those extra Compressor presets that most people only ever used in a blue moon. Considering Final Cut Pro X lost support for laying off video to tape, it\’s even more important that editors have a compression tool like Compressor 4 to upload files to YouTube, Vimeo, FTP, or whatever future platform, though admittedly FCPX builds some upload functions right into the menu bar.

The moniker is a bit misleading, however. Compressor 4 does not gain the ability to encode live video streams. HTTP live streaming is still file-based, but it does make it a lot easier to generate multi-bit-rate H.

M3U playlist.