Apple final cut pro x anleitung free download

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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. 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.

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. HTML5 video the H. Finally, Compressor 4 incorporates Apple’s Qmaster rendering engine into the application itself rather than as a separate background application or installation. Users can now designate encoding nodes within the application to take advantage of unused CPU cores or machines on your network.

You will, however, need to install Compressor 4 on other machines on your network to take advantage of the distributed encoding. It’s not coming back. Apple sees iTunes as the future model of media distribution, and if you’ve been following the development of Final Cut Studio, you’ll know that DVD Studio Pro hasn’t really changed in more than five years.

Color was always the odd-man out in the Final Cut Studio suite. Originally, it was called FinalTouch and was developed by Silicon Color until the company was acquired by Apple. But it was always obvious that the app was not very Apple-like, nor is the idea of stepping out of your video-editing application to perform a color correction.

The new Final Cut Pro X incorporates most of the basic features of Color without ever having to leave the application.

Color correction is no longer a special effect, but it’s built into every clip you lay on the timeline. By just tabbing over, you’ll be able to create global color corrections within FCPX, as well as additional secondaries. The color board does take a bit of getting used to, and many users will miss Final Cut Pro’s iconic three-way color corrector.

In return, however, they will get features like masking and even selective keying to make fine adjustments. It’s not as powerful as Color. You won’t be able to track faces or moving elements on screen. For that, Apple recommends using Motion 5’s built-in trackers and color correction engine. Finally, we get to Soundtrack Pro.

Unique color wheels improve on traditional controls by combining hue, saturation, and brightness into a single, simple interface. Color and luminance curves allow ultrafine level adjustments with multiple control points to target specific color and brightness ranges. Sample a color with an eyedropper and change just the hue, saturation, or luminance of a specific color within the image.

Work closer to reality than ever before with HDR video. Import, edit, grade, and deliver incredibly lifelike images with Final Cut Pro. 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.

View High Dynamic Range video the way it was meant to be seen. Import, edit, and grade original, untouched footage with RAW data straight from your camera sensor — without sacrificing any speed or smoothness. The format is optimized for macOS and the latest Mac computers, allowing you to render and export faster than with other RAW formats.

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. Work directly with powerful third-party applications — without leaving Final Cut Pro.

Use the Frame. Drag and drop clips and timelines, jump between markers, and review comments and annotations in real time from your Frame. The Shutterstock extension lets you browse stock photos, videos, and music while you edit. Drag and drop watermarked files into the timeline and easily replace them later with licensed, high-resolution versions. Simon Says uses AI to transcribe and translate audio in languages. Drag and drop clips and timelines into the extension to easily create accurate subtitles and captions for your Final Cut Pro project.

Learn more about workflow extensions. 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.

And the enhanced Timeline Index lets you quickly search and select captions, or use captions roles to instantly switch between different versions. 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.

Download free trial. Choose from thousands of custom transitions, titles, and motion graphics. Work directly with third-party applications through workflow extensions. Unleash your creative potential with the Pro Apps Bundle for qualifying college students, teachers, and education institutions.

Get all five professional applications for video and music creation at a special price — including Final Cut Pro, Motion, and Compressor, along with Logic Pro and MainStage.

Buy now. Final Cut Pro. Free Trial Free Trial. Buy Final Cut Pro. Tell any story. Try Final Cut Pro for free. Improved proxy workflows. Smart Conform for social media. High-performance Metal engine.

Editing, audio, motion graphics, color grading, and delivery. Next-level professional features. Take your creativity anywhere. Social media, transformed intelligently. Work at a faster clip. Accelerated performance with Metal Metal dramatically accelerates graphics tasks like rendering, real-time effects, and exporting. Optimized for Apple silicon Final Cut Pro features improved performance and efficiency on Mac computers with the M1 chip.

The tools you need. From start to finishing. 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.

Motion Learn more.

 
 

 

Apple final cut pro x anleitung free download. Apple Final Cut Pro 5 User manual

 

A separate text editing window allows you to import, modify and apply styles to your text:. The text of your choice is scrolled in and out of frame automatically, based on the length of the generator track. This feature also lets you match a title roll or crawl to the duration of a different clip. Click the Titles icon to browse all titling templates available in Final Cut Pro X and select the Manifesto category:. The same Manifesto plugins are also available as a Generators.

The output and functionality are identical, so feel free to choose the effect type that best suits your project. Create a new Transparent Video asset in your project, and drag it to your timeline:. Look for the Manifesto generators in the Manifesto category. Drag the desired version of Manifesto over the Transparent Video clip and use the parameter inspector to begin setting it up:. Click the Add Object icon on the toolbar. Select an existing layer, or create a new Solid layer on your timeline and select it.

Download Products News Support About. Captioning and Subtitles. Color Correction. Photo Animation. Light Leaks. Lower Thirds. Lens Effects and Lens Flares. Splitscreen and PiP. I have been reading it the last few months. A good official resource to have. Thanks Larry. I had this book in my iBooks lib. It turns out that in my case it was v In order to get v I have the chance to click on the box that says FCP user guide but it just refreshes. The link apparently took me to the Your email address will not be published.

Save my name, email, and website in this browser for the next time I comment. Access over 1, on-demand video editing courses. Unlock your creativity, and enjoy the flexibility that comes with this program. For novices and professionals alike, this program brings a different dynamic to the video production experience, but people with video-editing experience may feel that there are better programs out there.

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The application can run on systems using Mac OS X