Today Apple has released an update to Final Cut Pro X to 10.4.9. It brings new proxies, proxy relinking, media management and more. Also an update to Motion gives the ability to import 3D models- Wow!
Well, we all thought we were going to go to 10.5 and didn't really see this update coming! It is a lot more than a maintenance update though.
We will be live on FCP.co, some come and chat with us and find out more about the update.Join us on Zoom click here Passcode: 502824
FCP.co friend Felipe Baez has put together this rather excellent video taking us through all the new features
We have also just found a list of features on the Apple Website. This is a free update and still $299 for new users
Enhancements to Proxy Workflows
Now, more than ever before, users are editing remotely across a wide range of locations. Today’s update to Final Cut Pro includes major improvements to proxy workflows that make libraries more portable and streamline remote work with large, high-resolution files. For the first time within Final Cut Pro, video editors can create proxies in either ProRes Proxy or H.264 in dimensions as small as 12.5 percent of the original.
They can also consolidate proxy media, images, and audio to an external or network-connected drive. A Final Cut Pro Library can even be relinked to proxies already created for added flexibility. Editors can now link to proxy media generated by third-party applications via XML. Examples include Frame.io, a cloud-based creative collaboration platform for review and approval, plus asset management tools like Keyflow Pro and PostLab. If proxy media is not available for some clips, users can adapt workflows to display either the original file or an optimised version.
Automated Tools for Social Media Cropping
Today’s update to Final Cut Pro makes the experience of delivering social media content easier than ever. Using machine learning, clips in a project can now be automatically analysed for dominant motion and intelligently cropped with Smart Conform to convert them into square, vertical, or any other sized video — perfect for popular platforms like Instagram, Snapchat, and Twitter.
Transform Overscan reveals media outside the crop boundary when adjusting scale, rotation, and position, which allows storytellers to easily reposition the crop. Video editors can also add a Custom Overlay to guide them when placing text and graphics within a non-landscape frame.
Editorial Workflow Improvements
Video professionals can now work even more efficiently with a series of new workflow improvements in Final Cut Pro. ProRes RAW camera settings, such as ISO, colour temperature, and exposure offset are exposed in the inspector for the first time.
Editors can also apply audio crossfades on adjacent clips in one simple step, use a new context menu to close a project or clear timeline history, and sort clips and projects in List View according to the last date each file was modified.
This release also introduces significant performance improvements with new Metal-enabled plug-ins for RED RAW and Canon Cinema RAW Light. Transcoding 8K RED RAW video to ProRes 422 is up to two times faster on Mac Pro, and up to three times faster on MacBook Pro.1 And for the first time, Final Cut Pro editors can play and edit 8K Canon Cinema RAW Light.2
When working with 360-degree video, editors can quickly stabilise stereoscopic 3D video and view footage in the 360-degree Viewer with separate streams for each eye. They can also start working immediately with remote content while it is downloading in the background from web-based asset management applications, such as the Frame.io workflow extension.
Updates to Motion and Compressor
Motion now offers professionals a whole new range of possibilities for creating stunning effects and graphics. Creators can import third-party 3D models or choose from a built-in library of 3D models in the USDZ format for use in titles, generators, effects, and transitions.
They can even use behaviours or keyframes to manipulate the position, rotation, and scale of a model, and take advantage of existing replicators, emitters, lights, and cameras for further creativity.
Also included in today’s Motion update is the new Stroke Filter, a tool that automatically outlines an object or text element using its alpha channel. Editors can customise outlines by animating their offset, applying multiple stroke filters to the same object, or using the gradient tools to create multiple strokes with different colours. This enables motion graphics artists to create dazzling animations and effects while avoiding the time-consuming work of outlining elements by hand.
Compressor is also updated today with support for custom LUT effects, the ability to use Camera LUTs to convert log-encoded footage to SDR or HDR outputs, and other workflow enhancements.
I am the Editor-in-Chief of FCP.co and have run the website since its inception ten years ago.
I have also worked as a broadcast and corporate editor for over 30 years, starting on one inch tape, working through many formats, right up to today's NLEs.
Under the name Idustrial Revolution, I have written and sold plugins for Final Cut Pro for 13 years.
I was made a Freeman of Lichfield through The Worshipful Company of Smiths (established 1601). Though I haven't yet tried to herd a flock of sheep through the city centre!
Current Editing
2020 has been busy, the beginning of the year was finishing off a new property series (cut on FCP) for Channel 4 called The Great House Giveaway. I also designed and built the majority of the graphics as Motion templates. It has been a great success and the shows grabbed more viewers in the 4pm weekday slot than any previous strand. It has been recommissioned by C4 for 60 episodes, including prime-time versions and five themed programmes. The shows have also been nominated for a 2021 BAFTA.
Although both were postponed to later in the year, I worked again on ITV's coverage of the Tour de France and La Vuelta. 2020 was my 25th year of editing the TdF and my 20th year as lead editor. The Tour was the first broadcast show to adopt FCPX working for multiple editors on shared storage.
BBC's Snooker has played a big part in my life, I've been editing tournament coverage since 1997. I'm proud to be part of a very creative team that has pioneered many new ideas and workflows that are now industry standard in sports' production. This is currently an Adobe Premiere edit.
Covid cancelled some of the regular corporate events that I edit such as trade shows & events. I was lucky however to edit, from home, on projects for Amazon Kindle, Amazon Black Friday, Mastercard and very proud to have helped local charitable trust Kendall & Wall secure lottery funding.
As for software, my weapon of choice is Final Cut Pro and Motion, but I also have a good knowledge and broadcast credits with Adobe Premiere Pro, MOGRT design and Photoshop.
Plugin Design & Development
I'm the creative force behind Idustrial Revolution, one of the oldest Final Cut Pro plugin developers. 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.
FCP.co
Now in its 10th year and 4th redesign, running FCP.co has given me knowledge on how to run a large CMS- you are currently reading my bio from the database! Although it sounds corny, I am pretty well up on social media trends & techniques, especially in the video sector. The recent Covid restrictions has enabled live FCP.co shows online. This involves managing a Zoom Webinar through Restream.io to YouTube and Facebook.
The Future
I'm always open to new ideas and opportunities, so please get in touch at editor (at) fcp.co. I've judged film competitions, presented workflow techniques to international audiences and come up with ideas for TV shows and software programs!
