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Koszyk jest pusty. Zobacz koszyk. Moje konto. Zarejestruj nowe konto. Kod Cortland: A82B Do koszyka. Buy now. Open Search. Perfect stories in fewer clicks with the latest Media Composer.
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And with your active plan, you get them as soon as we release them. Enjoy the latest episode of The Rough Cut The Rough Cut Podcast features in-depth interviews with the top film, television and documentary post production professionals working in the industry today. Work with any type of media Import and edit footage from any camera, no matter the format, codec, or resolution.
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Total color precision NEW! Create studio-quality soundtracks Create studio-quality soundtracks Create studio-quality soundtracks Make your story sound as good as it looks with a suite of audio tools and plugins. Do more, stress less. Go big—up to 8K and beyond Go big—up to 8K and beyond Go big—up to 8K and beyond Experience smooth, reliable editing and playback performance, no matter how large your source files are.
Edit at the speed of your imagination Edit at the speed of your imagination Edit at the speed of your imagination With the live timeline and unlimited playback streams, you can make changes to sequences during playback on the fly. Save time with automation Save time with automation Save time with automation Media Composer automates time-consuming tasks in the background. Get rewarded. See what awaits. See what teams can do. Share projects, bins, and media Share projects, bins, and media Share projects, bins, and media Add Avid NEXIS shared storage to your workflow and multiple video editors and assistants can work on the same projects at once.
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Add super-powers to Media Composer with advanced tools for color and news workflows. Find the right clips fast Find the right clips fast Find the right clips fast With PhraseFind , you can quickly find clips in a project that contain specific dialogue. Sync takes to a script in seconds Sync takes to a script in seconds Sync takes to a script in seconds Compare performances and find the best takes fast. You can also create unique animations by moving letters just where you want them.
With text generators you can automate tasks that would take hours to complete by hand. Count up and down in sequence, change text randomly, add a timecode sequence, and more.
Use Credit Rolls to set up a scroll in just a few steps — even for long lists of production credits. Import a text file or type the credits directly into a Motion project, then use the Scroll behavior to automatically animate the speed of the credits based on your project length.
Just drag and drop to assemble impressive animations, with a choice of more than filters and effects built into Motion. Then fine-tune your work with precise controls. Use machine learning to automatically detect and track faces or objects within a clip. Attach images, particles, filters, paint strokes, or text to create stunning visual effects and motion graphics.
Use realistic particle systems to create effects including smoke and sparkles — or add dazzling details to any animation. Choose from over particle presets or design your own and see your creations in real time. Or, create stunning geometric patterns in 2D or 3D using replicators. Go to the next level by adding 3D objects to both particle systems and replicators. Choose from over paintbrush presets or design your own using color gradients or QuickTime files. Create pressure-sensitive brushstrokes that paint gradient colors or particle dabs.
And SmoothCam eliminates jitters and bumps — so it looks like your footage was shot on a tripod while still retaining camera moves like pans, tilts, and zooms. Create an accurate chroma key in a single step with the easy drag-and-drop Keying filter. If the green- or blue-screen background in your footage is unevenly lit, you can use advanced controls, including an intuitive color wheel, to fine-tune adjustments.
Plus, you can play back the results without needing to render. Instantly apply those effects to your Final Cut Pro timeline and export a video optimized for YouTube, Facebook, and other popular video destinations. View them in real time with a VR headset or use the Look Around view to pan across your project in the viewer. Instantly transition from 2D to 3D space by adding a camera or cameras to any 2D project while preserving your 2D groups. Animate and adjust the cameras to create smooth, realistic 3D movement.
Set up point lights and spot lights to cast shadows across objects. Ready-to-use presets. Built-in creative assets. Audio sync. Text tools. Editing basics. Built-in assets. Automatically line up your video with your audio for a smooth, fast workflow. Easily add subtitles to your video and craft eye-catching 2D and 3D titles.
Motion tracking Track a point in your video and automatically attach text, objects and more. Keying The ultimate green screen tool for easily changing your background and cleaning up edges.
- Apple final cut pro x cena free
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Approximate size 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. 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. Tap into superfast unified memory shared across the CPU, the GPU, and the Apple Neural Engine to play back more high-resolution video streams and render your movie in record time. Complex tasks, like video analysis for object tracking or automatic cropping, are lightning fast on the Apple Neural Engine.
And with M1 Ultra, ProRes performance is astonishing — with more streams of full-quality playback than ever before. Creators can work in 8K ProRes video and handle advanced editing, effects work, and color correction all in real time — no rendering required. With great new features and an intuitive design, Final Cut Pro accelerates post-production.
So editors can create and deliver at the speed of thought. The Magnetic Timeline allows you to easily experiment with story ideas by moving and trimming clips without collisions or sync problems. Use Compound Clips to bundle separate video and audio clips into a single movable package, create Auditions to try out multiple takes in the timeline, and use Synchronized Clips to align video with second-source audio automatically.
Color coding makes it easy to identify different types of content, with the ability to customize the look of your timeline while you edit. Final Cut Pro offers the most advanced organizing tools of any professional video editing application.
Easily tag entire clips or clip ranges with metadata for searching, and create Smart Collections that automatically collect content according to a set of custom criteria.
In the browser you can create and save custom column views and search for media using clip names, markers, and notes. Also quickly sort clips by proxy, optimized, or missing media types. Create 2D and 3D titles right in Final Cut Pro, apply and modify filters, and use the built-in chroma key for high-quality green- and blue-screen effects.
Expand on the built-in effects with thousands of third-party tools and templates. And for even more control, use Motion to create stunning titles, transitions, generators, and effects you can access from Final Cut Pro. Learn more about Motion. Final Cut Pro lets you edit multichannel audio using built-in tools like Voice Isolation 5 to enhance speech by reducing background noise and optimizing levels.
Adjust multichannel audio files in the timeline or open the inspector for more information and options. Choose from dozens of bundled plug-ins for audio compression, EQ, and more — or send to a professional audio application like Logic Pro for advanced audio mixing. Learn more about Logic Pro. And batch exporting makes it fast to deliver multiple files or projects in multiple formats. You can also use Compressor to create custom export settings that appear right in Final Cut Pro.
Learn more about Compressor. Quickly display any audio or video that appears more than once in your project with highlighted clip ranges in the timeline. Or you can list all matches in the Timeline Index. Select a clip to show its duplicates and use keyboard shortcuts to instantly navigate between them. View up to 16 angles at once in the Angle Viewer. And open the Angle Editor timeline to move, sync, trim, add effects, or color grade individual clips. Create stunning effects and sweeping graphics with Motion, including studio-quality 2D and 3D titles you can open and adjust in Final Cut Pro.
Use Compressor to create custom export settings and streamline delivery of your movie to the iTunes Store. Learn more. Use keyframes to adjust corrections over time, and apply camera and creative Look Up Tables LUTs for the perfect look.
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. Shoot on industry-standard cinema cameras, or in stunning Dolby Vision with the latest iPhone models. 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. The amazing MacBook Pro display delivers up to 7.
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