Apple has introduced a “significant update” to its professional video editing app, Final Cut Pro X, featuring new editing features for the Magnetic Timeline, support for the revolutionary Touch Bar on the new MacBook Pro and a redesigned interface with full support for wide color workflows.
The Touch Bar replaces the keyboard’s traditional function row with a Retina-quality Multi-Touch display that dynamically adapts to Final Cut Pro X by putting intuitive, context-sensitive controls right at your fingertips. Apple also released updates to Motion and Compressor.
“This is our biggest update to Final Cut Pro X since we completely redesigned it five years ago,” said Susan Prescott, Apple’s vice president of Apps Product Marketing. “The new version features a sleek interface and adds powerful new editing features that go far beyond what’s possible with traditional, track-based video editing apps; and integration with the revolutionary Touch Bar gives professional video editors a whole new way to interact with Final Cut Pro X.”
With the new Magnetic Timeline in Final Cut Pro X, users can understand their film at a glance with customizable arrangement and color coding of audio clips based on type or “role” — such as dialogue, music and effects. It’s simple to create and assign roles, and give each one a unique color, says Prescott. And in a first for pro video software, users can simply drag to instantly rearrange the vertical layout of their timeline or highlight specific audio roles while editing, she adds.
Integration with the Touch Bar on the new MacBook Pro means dynamic adapting to each task and the presentation of intuitive controls when and where users need them. While using Final Cut Pro X the Touch Bar lets users instantly switch between editing tools, adjust audio levels and tap into useful commands for trimming and playback. It will even display a color-coded, interactive overview of the entire timeline so users can navigate their project with the touch of a finger.
A redesigned interface streamlines the layout of Final Cut Pro X to optimize screen space for MacBook Pro users, while a darker, flat look puts the focus on the content. Customizable workspaces lets users adjust window arrangements for different tasks such as organizing, editing and color grading — even across multiple monitors. Full support for wide color workflows allows users to import, edit and deliver video in standard Rec. 601 and Rec. 709 color spaces, or in wide gamut Rec. 2020 color space.
Additional features in Final Cut Pro 10.3:
° Flow transition creates invisibly smooth jump cuts;
° Remove Attributes allows users to easily delete or reuse select effects across multiple clips;
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° Timecode overlay effect and generator allow users to edit with a large view of source timecode;
° Support for ProRes MXF, Panasonic V-Log and export of AVC-Intra;
° Direct video output via Thunderbolt 3 enables high-quality video monitoring on an external display with a single cable.
Motion 5.3 features a sleek new interface with support for wide color workflows and 3D text enhancements that improve the performance and realism of 3D titles. The new Align To behavior lets users connect separate objects to create advanced animations, and Touch Bar support provides access to a range of interactive tools on the new MacBook Pro.
Compressor 4.3 has a new dark look to match Final Cut Pro X and Motion. Enhancements to iTunes Store Package creation let users browse, verify and compress packages so they can be delivered to the iTunes Store faster and fully compliant. Wide color support ensures end-to-end color fidelity when delivering files in standard and wide color spaces, and Touch Bar support simplifies common tasks like setting up batches and adding markers on the new MacBook Pro, according to Prescott.
Final Cut Pro 10.3 is available as a free update today for existing users, and for $299.99 for new users on the Mac App Store. Motion 5.3 and Compressor 4.3 are also available as a free update today for existing users, and for $49.99 each for new users on the Mac App Store.
