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The good news for anyone coming from Final Cut Pro on the Mac is that the iPad version looks immediately familiar yet pleasingly fresh. I wanted this to be a real test for the new app. Fortuitously, I’d already shot some a-roll for a forthcoming YouTube video earlier that day and fancied diving straight in to see how easy it would be to edit. This is a lovely thing, but it also hints at what is clearly going to be a rather different experience to that of Final Cut Pro on the Mac.
We’re eased into editing life on the iPad with the offer of a demo project with which to try out the new features. I maintain that this is an absolute bargain and strongly disagree with those who think it should be included with the Mac version.
#Apple final cut pro 10 2 1 trial#
When you first open Final Cut Pro on the iPad, you’re treated to some rather lovely HDR footage (if your iPad Pro supports it) and an immediate reminder that you’ll need to subscribe if you want to use it long-term.Ī free month trial is offered, but beyond that, you’ll have to cough up either £4.99 monthly or £49 annually. I still wasn’t prepared for what happened next, though. Apple’s version 1.0 is always going to delight and frustrate in equal measure. It’s not really for pro editors but for the next gen pro editors that will learn the fundamentals on their only power device.Ī mixed bag, right? That’s to be expected. Though, it’s a step in the right direction, and can become really something special. The line draw tool is the only really cool feature.
#Apple final cut pro 10 2 1 full#
Also, $19 to get the full video tutorials, to be able to figure out some of the basics, is almost offensive. The controls for things aren’t obvious and the competition, at this point, makes it easier and feel more natural to use. The fact that usually it’s shift+click to select and with FCP for iPad Pro, it’s S+click.
#Apple final cut pro 10 2 1 software#
The inconsistencies between it and other software is frustrating. It looks like Final Cut but feels like an upgraded iMovie.ĭysfunctionally unintuitive and lacking features, for an Apple App, given the benefits they have from making the hardware and OS. While people who have been editing on iPad for years with iMovie and LumaFusion will think this is a great alternative. MacOS FCP users will think there is way too much missing and it’s a watered-down version. Here’s a selection of soundbites from some of my Twitter mates.ĭepending on where you are coming from you’re gonna love it or hate it. What initial opinions were beginning to form on behalf of regular users? What I was far more interested in was the feeling ‘on the ground’. I wasn’t among that crowd, in case you’re wondering.īut those videos felt like demonstrations of Final Cut Pro. All color grading tools and scopes support High Dynamic Range (HDR) video.As soon as Final Cut Pro arrived on the App Store yesterday, Twitter erupted.Īpple has clearly been investing significant time with content creators and influencers, as demonstrated by the sudden emergence of detailed reviews and hands-on reports.
Use keyframes to adjust corrections over time, and apply camera and creative Look Up Tables (LUTs) for the perfect look.
#Apple final cut pro 10 2 1 professional#
Professional color grading tools are built into Final Cut Pro, including a dedicated color inspector with color wheels, color curves, and hue/saturation curves.
The author can use the Clip Connections feature to glue key clips with other elements, such as titles and sound effects, while maintaining perfect synchronization of all elements regardless of their movement.Īpple’s professional video editor received support for all of the fastest hardware Macs ever produced, working with 4K monitors through Thunderbolt 2 and HDMI ports, as well as a number of new features, a variety of improvements in performance and stability. The latest Final Cut Pro release also takes full advantage of the new MacBook Pro with support for the Touch Bar and wide color workflowsįinal Cut Pro X is based on the Magnetic Timeline’s flexible timeline, which offers a new approach to video editing without tracks, with the ability to add and organize clips as conveniently as the author, while other clips immediately disappear from the screen. The new Magnetic Timeline 2 advances even further beyond traditional, track-based editing with automatic color coding and flexible layouts based on roles. A strikingly low-profile interface maximizes work space on any display. Final Cut Pro X debuts a powerful collection of new features for professional editors.
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