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Menu Menu. Search Everywhere Threads This forum This thread. Search titles only. Search Advanced search…. Everywhere Threads This forum This thread. Search Advanced…. Log in. Category 1 Category 2 Category 3 Category 4. Support UI. X Donate Contact us. New posts Trending Search forums. What's new. New posts New profile posts Latest activity.
Current visitors New profile posts Search profile posts Billboard Trophies. Photoshop CC won't open. Forums Apps Apps General Discussion. JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding. Previous Next Sort by votes. Tangane Commendable. Mar 24, 9 0 1, 0. Hi guys! So I just installed the Photoshop CC on my computer and unfortunately everytime I launch it the process starts and immediately stops.
Same thing happens with Photoshop CS6 for a weird reason. Illustrator and InDesign still launch fine without issue, so I feel like it's computer-related rather than an Adobe issue. I already tried restarting the computer and launching the app as Administrator.
Do you have any idea how to solve that? Mar 16, 7, 16 39, 1, Tangane :. There is no "64 bit" option. There is absolutely no error message, I just know that the process runs for a second because I can see a line is added in my Task Manager, but it goes away too fast for me to see anything.
And my device is OpenGL2 compatible. Captainawzome Estimable. Nov 28, 5 0 4, 1. So I just installed the Photoshop CC on my computer and unfortunately everytime I launch it the process starts and immediatly stops.
Same thing happends with Photoshop CS6 for a weird reason. Thank you for your quick response. Unfortunately I already done both of those things. Any error messages? Jul 20, 0 10, When Photoshop is loading, there is a small line of text that says what is being loaded at the moment, watch it and tell us the one it crashes on. Straight from Adobe forums. I figured out that when I launch Photoshop, it actually starts the process PDapp.
But still no Photoshop. Thank you all for your help. Greatly appreciated! You must log in or register to reply here. How to fix. What should i do now? Apps General Discussion 1 Sep 30, Similar threads Question Photoshop Elements error codes 81 and won't allow installation? Question Photo manipulation apps Solved!
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Question Photoshop Elements error codes 81 and won't allow installation? May 5, Mar 3, Question Photo manipulation apps. Apr 25, Mixbook - resolution warning.
Nov 15, Nov 5, Quadrupled my RAM Oct 21, Aug 28, Aug 23, Aug 4, Photoshop CS6 Portable Error. May 28, I'm still using Adobe Photoshop 7. May 10, Photoshop CC Lagginess. Apr 14, Surface Pro 4 m3 run Photoshop and Premiere Pro. Mar 27, I cant able to find the current version under regedit registry. Feb 27, Jan 23, Photoshop CS3 Freezes. Dec 12, Need a virus free and compressed adobe photoshop file. Adobe Photoshop CS6 won't complete installation. Oct 25, May i get in truble?
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Sorry this didn't help. Thanks for your feedback. If you have Office or earlier and choose to perform a clean install of Windows 10, you will need to locate your Office product key. For tips on locating your product key, check Find your Office product key or Enter the product key for your Office program.
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Elevate your creativity with the Object Tracker. Final Cut Pro uses powerful machine learning to detect faces and objects, then matches their movement with titles and effects. It also allows you to adjust focus points and depth of field on clips captured in Cinematic mode on iPhone Use the Object Tracker to add dynamic text or color correction to moving footage. Drag a title, graphic, or effect directly into the viewer to detect faces and other objects using powerful machine learning.
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Elevate your creativity with the Object Tracker. Final Cut Pro uses powerful machine learning to detect faces and objects, then matches their movement with titles and effects.
It also allows you to adjust focus points and depth of field on clips captured in Cinematic mode on iPhone Use the Object Tracker to add dynamic text or color correction to moving footage. Drag a title, graphic, or effect directly into the viewer to detect faces and other objects using powerful machine learning. Analyze the motion of your target — accelerated by the Apple Neural Engine — in a single click and instantly match its movement.
Apply tracking data to other text and graphics to enhance your work even more. Final Cut Pro can transform the look of video shot in Cinematic mode on iPhone With optimizations for Apple silicon and the power of its Metal engine, Final Cut Pro allows you to edit more complex projects and work with larger frame sizes, higher frame rates, and more effects — all at incredible speeds.
Final Cut Pro features breathtaking performance and efficiency on Mac computers with Apple silicon. 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.
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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.
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Use Compressor to create custom export settings and streamline delivery of your movie to the iTunes Store. Learn more. 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.
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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.
Adjust audio using effects plug-ins from Logic Pro X with redesigned, resizable interfaces. Faster Optical Flow analysis using Metal 2. Support for NFS-based libraries and media. XML 1. Issues addressed in Final Cut Pro Fixes a stability issue that could occur when using Final Cut Pro on macOS High Sierra with a laptop in closed-display mode and attached to an external monitor. Fixes an issue in which text in the Browser in List mode could occasionally disappear. Enabling transform, crop, or distort no longer closes Video Scopes.
Third-party asset management systems can now send low-resolution media to Final Cut Pro through XML import and later replace those low resolution files with full resolution files through another XML import. Support for new YouTube authentication protocols. Contextual menu option to create a new project from a selection of one or more clips in the Browser. Ability to use key commands in full-screen view when the Viewer is on a second display.
Alert dialog appears when sharing a file if playback mode is set to proxy. Square pixel photos at x and x resolutions no longer appear distorted.
Press Ctrl-Tab to cycle through tabs in the Inspector when the Inspector is selected. Fixes an issue in which certain editing operations could create an extra audio fade in. Fixes an issue in which the Share dialog could incorrectly display a codec warning. Fixes issues with updating older libraries. Faster redraw of audio waveforms when using clips that are being imported while recorded to disk.
Diamond icon in the Timeline Index to show when the user has modified display of roles in the timeline. More color options in the Role Editor. Reveal in Browser correctly displays the location of the original clip in the browser.
Resolves an issue in which the viewer could occasionally disappear when exiting full screen. Resolves issues in which Share to DVD could become unresponsive. Improves font quality of DVD menu and chapter titles. Improves image quality when creating a DVD. Enhanced DVD User dialog messages with embedded links to documentation.
Using ripple delete on audio-only clips no longer disables the selected range. Audio meters retain custom width after relaunch. Improves responsiveness when editing very long projects. Improves performance when exporting H. Exporting ProRes files with transparency using Compressor creates a correct alpha channel. Fixes an issue in which adjusting the line spacing of multi-line titles only applied to the first line.
Fixes an issue in which secondary storylines with mixed roles could overlap in the timeline. Fixes issues with updating libraries.
Fixes an issue when using Paste Attributes to copy color correction between clips. Configure window layouts into custom workspaces for tasks like organizing and color grading. Fill a second display with the Timeline or hide the Timeline completely. Expand the Inspector to full-screen height. Magnetic Timeline 2 Color coding of clips based on roles such as dialogue, music, and effects lets you understand your project at a glance.
Create, assign, and customize the colors of roles to identify different types of audio and video clips. Enhanced Timeline Index lets you drag and drop audio roles to rearrange the layout of your Timeline. Focus button in the Timeline Index lets you highlight specific audio roles and collapse all others.
Show Audio Lanes button in the Timeline Index displays a structured Timeline layout with dedicated spaces for each audio role. Add audio effects and keyframe audio volume changes to an entire role within a Compound Clip. Custom Roles assignment can be combined with iXML metadata during import. Create and manage a unique set of roles for each Final Cut Pro library.
Wide Color Images are now viewable in wide color on supported Mac computers and external displays. Import, edit, and deliver video in standard Rec. Configure color spaces for both libraries and projects. Range check overlay in the viewer highlights areas out of the standard RGB range. Video scopes display wide color in real time. Support for the Touch Bar on MacBook Pro Tap to execute common functions like volume control, fade in and out, and media import.
View your entire project at a glance and navigate with touch in the timeline overview. MXF master file export uses audio roles to configure industry-standard channel layouts.
Export AVC-Intra files Additional Features Flow transition seamlessly merges jump cuts to remove pauses or mistakes in on-camera interviews. Remove Effects and Remove Attributes commands let you delete specific effects from clips. SMB 3 network support enables library access on network-attached storage devices. Timecode effect displays clip name and source clip timecode in the Viewer and in exported files.
Copy and paste timecode to speed up numerical entry from text documents. Consolidate custom Motion projects into individual Final Cut Pro libraries. Option for continuous playback of clips in the Browser. Search custom metadata in the Browser and Timeline. Search Timeline Index for Auditions, compound clips, multicam clips, and synchronized clips. Ability to roll trim on adjacent connected clips. Larger Media and Content browsers provide more space for viewing photo libraries, sound effects, music, titles, and generators.
Skim and select ranges of audio files in the Music and Sound Effects browser. Enhanced XML support lets you import projects and clips into existing events. Ability to drag and drop clips, projects, and events as XML with supported applications. Option-click a component in the Audio Inspector to select that component while simultaneously disabling all other components. Disable an audio component in the Timeline by selecting it and pressing Delete.
When you open a Multicam clip in the Angle editor, Final Cut Pro now positions the playhead on the same frame you were viewing in the original Timeline. Ability to move subroles between roles and merge subroles with other subroles in the Edit Roles window. Synchronized clips now display a distinctive badge to easily identify them in the browser and Timeline. Customizable keyboard shortcuts for adding audio fades.
New preference to assign default fade duration when adding audio fades via keyboard shortcut. New Broadcast Safe Effect allows you to limit video levels to a specific color space including Rec. XML export of multicam clips now preserves the Angle ID which greatly improves integration with asset management systems.
Camera angle, camera name, and reel fields are now searchable using the text search function in the Browser. When importing from a camera card with mixed media such as stills and video, the Import window displays a single volume.
After upgrading a library to Final Cut Pro version Support for bit uncompressed MXF with standard definition video. New column in the Import window for Color Profile, so you can view and select clips for import based on color space. Users can now create and save a custom default Generator, Title, and Lower Third Title which can then be added to a Timeline with keyboard shortcuts. Timecode and audio meters are now displayed in the Event Viewer. An arrow cursor has been added as a new option for the Shapes generator.
Resolves an issue in which lines are displayed across the timecode window on macOS Sierra. In List View in the browser, audio waveforms now scale correctly to the width of the filmstrip. Synchronized clips now correctly roundtrip through XML export and import. If you use Replace function to replace a clip in the Timeline that has keywords and notes with a new clip that does not, the keywords and notes no longer remain in the Timeline Index.
Audio levels remain consistent when trimming an Audition during playback. After resetting volume in Inspector, new fade handles are not set to Linear. When launching Final Cut Pro with no libraries loaded, the app will remain open even if you decline to upgrade a library.
Zoom in the viewer works correctly after full-screen playback. Generators with shape masks export at the correct size. Video-only export does not send audio out when you export a second time. You can now exit full screen playback when editing control points on a Draw Mask. The Draw Mask effect works correctly when added to a clip in a Multicam angle. You can now continuously move the Color Correction pucks with the arrow keys. 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.
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