If you are an avid FCP X user and you’re predominantly working with ProRes RAW on a daily basis, you should be more than happy to know that with the latest update, Final Cut X now provides extended capabilities for ProRes RAW including newly added controls for ISO, color temperature, and exposure offset in the Inspector.
Final Cut Pro 10.4.9 also includes performance improvements with new Metal-enabled plug-ins for RED RAW and Canon Cinema RAW Light. With this update, 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.
Other improvements that come with FCP X 10.4.9 offer new social media tools that automate video cropping in square, vertical, and other custom sizes for social media platforms along with new workflow and performance enhancements of your favorite NLE.
Final Cut users can now also apply audio crossfades on adjacent clips way more efficiently, 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.
Other than that, FCPX editors can play and edit 8K Canon Cinema RAW Light when working with 360-degree video. You can also quickly stabilize stereoscopic 3D video and view footage in the 360-degree Viewer with separate streams for each eye.
Another noteworthy improvement is the ability to 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.
This FCP X update also brings some major improvements to proxy workflows. Video editors can now 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 that are already created. Editors can also link to proxy media generated by third-party applications via XML. Examples include Frame.io, 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 optimized version.
Using machine learning, clips in a project can now be automatically analyzed for dominant motion and cropped with Smart Conform to convert them into square, vertical, or any other sized video for platforms like Instagram, Snapchat, and Twitter.
Transform Overscan reveals media outside the crop boundary when adjusting scale, rotation, and position, 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.
There are some new improvements and new features added to Motion and Compressor as well. 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 behaviors 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.
There’s also a brand new Stroke Filter, a tool that automatically outlines an object or text element using its alpha channel. Editors can customize outlines by animating their offset, applying multiple stroke filters to the same object, or using the gradient tools to create multiple strokes with different colors.
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 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.
Final Cut Pro 10.4.9 is available today as a free update for existing users, and for $299.99 for new users on the Mac App Store.
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