We recommend 8 GB of RAM for 4k editing, 3d titles, and 360 editing. In addition, OpenCL-capable graphics card or Intel HD Graphics 3000 or later. 3.8 GB of disk space,and it is recommended to have discrete graphics card, macOS High Sierra or l. Send your iMovie for iOS project directly to Final Cut Pro for advanced editing, audio work and finishing Generate proxy media in custom frame sizes from 12.5% to 100% of the original in ProRes Proxy or H.264 Automatically display the most useful functions for your task using the Touch Bar on MacBook Pro. Send your iMovie for iOS project directly to Final Cut Pro for advanced editing, audio work, and finishing Generate proxy media in custom frame sizes from 12.5% to 100% of the original in ProRes Proxy or H.264 Automatically display the most useful functions for your task using the Touch Bar on MacBook Pro.
Read on for how these companies use our powerful tools with third-party applications for a seamless post-production experience.
Elsa Rhae and Barron Link
Nomadic. Power. Couple.
How two off-the-grid adventurers use Final Cut Pro and Motion to share their inspiring stories on YouTube — powered only by the sun.
Overview
Elsa Rhae, Barron, and their dog Kamp have been calling their 13-foot camper home for four years as they explore the great outdoors and share their adventures with half a million YouTube subscribers. The pair chose Final Cut Pro for its performance and energy efficiency — a critical consideration when the source of power for their MacBook Pro is a portable solar generator.
'Keeping ourselves alive in sub-zero temperatures is adventure enough,' said Barron. 'Documenting and sharing our experiences add even more complexity, so we try to keep things simple.'
Workflow
To capture their travels, Elsa Rhae and Barron use Canon DSLRs, a drone, GoPros, and their iPhones. 'A few of our most viewed videos were shot exclusively on my iPhone 11 Pro,' said Elsa Rhae. 'The camera has incredible dynamic range, which helps us capture clear, beautiful videos even when we're in snowy mountain environments and the sun is harsh. And the Ultra Wide lens is particularly useful in our little camper.'
After filming, they AirDrop several days of footage to their MacBook Pro and begin organizing and editing. Using Favorites and Smart Collections in Final Cut Pro, Elsa Rhae quickly creates a first assembly, while Barron outlines a script using note-taking app Bear for iPad. They record voiceovers with a Shure MV88 microphone, which plugs directly into any iPhone.
Elsa Rhae then enhances their videos with animated titles and graphics using mTracker from MotionVFX. 'It's incredible. With these plugins, I don't even have to open Motion unless I want to edit my graphics further. And if I do, the entire project is right there to customize,' she said. Elsa Rhae also takes advantage of Final Cut Pro's color correction tools and support for Camera LUTs to personalize the look and style of their videos, which set Elsa Rhae and Barron apart from other full-time travelers.
Final Cut Pro's fast export speeds allow them to quickly AirDrop finished videos to their iPad. With the iPad's amazing battery life, Elsa Rhae and Barron are able to upload their videos to YouTube even when cellular service is sparse.
Kin
Fast. Economical. Entertaining.
How Kin has used Final Cut Pro to produce content quickly and without compromising quality
Overview
Kin creates shows for women aged 25+, who are building their careers, homes, and family, but feel underserved by traditional media outlets. The programming features a diverse network of the best lifestyle creators, who have a combined audience of over five million YouTube subscribers. They produce meaningful and entertaining content in categories that include home, style, family, and food.
Kin's stars are true partners who finance, produce and distribute programming using their own post-production studios, in conjunction with Kin's seasoned in-house producers and editors. They depend on Final Cut Pro, Motion, and a variety of third party motion graphics, collaboration, and storage solutions daily to produce great-looking, cost-effective content — quickly.
Workflow
Final Cut Pro and Motion are at the heart of the post production process at Kin's centralized facility in LA. Film crews shoot the episodes on location and deliver the dailies to an assistant editor who prepares the media on a network attached storage system — a Jellyfish from LumaForge — that gives all the editors direct, fast access to all the media.
In Motion, editors build titles and effects, with heavy reliance on beautiful templates from MotionVFX. Editors apply these custom templates into projects quickly for a highly-polished finish.
Finally, editors load videos directly into Frame.io's review-and-approval system from their workflow extension in Final Cut Pro. Reviewers can add timecode-based comments onto a proxy and the editor can jump to the location of these comments directly in the Final Cut Pro timeline. This saves a huge amount of time compared to taking changes over the phone or sifting through long emails. After final approval, editors deliver content — in a high-quality compressed format, approved by QA — to YouTube or other social media platforms.
Joel Viertel and Steven Moyer
Banking on Apple TV+'s first film.
The making of The Banker
Overview
The first theatrical release by Apple TV+ features a powerhouse of acting talent: Samuel L. Jackson, Anthony Mackie, Nia Long, and Nicholas Hoult. Based on real events, The Banker tells the story of two African-American entrepreneurs (Jackson and Mackie) and the challenges they face as they launch a real estate empire in 1960s Los Angeles.
For this groundbreaking project, editor Joel Viertel assisted by Steven Moyer needed a unique and innovative editing app. They chose Final Cut Pro for its powerful organization capabilities and timesaving background rendering and exporting. Its unique audio features also allowed the editors to differentiate dialog, sound effects, and music sources, as well as keep the timeline organized without having to patch tracks. During the offline edit, the team worked in surround sound, which gave an added level of polish to the film.
Workflow
The film was shot on 35mm film; low-resolution proxies were made available quickly via a video tap on the on-set camera; and 2K proxies were available later via Kodak and Technicolor. To begin editing immediately, Viertel used the lo-res proxy footage to create a multi-cam clip for each take. When 2K proxies arrived and were ingested, the multicam clips automatically updated and the new higher-resolution footage was available on the timeline — instantly.
Moyer used Shot Notes X to add extensive metadata, including script notes with keyword ranges, 'burning in' edge code from the film, and more on-lining data such as gamma, aspect ratio, and color information. He also added dialog keywords from the final script so Viertel could search the notes to easily find the correct takes and scenes for editing. To organize audio elements and visual effects the duo used Roles. And to track the version of VFX clips in the timeline, they generated a spreadsheet from Final Cut's powerful metadata using Producer's Best Friend. Using the two utilities meant they could quickly generate a spreadsheet with customizable columns and a wealth of time-based information, which saved hours that would've otherwise lost to tracking shots by hand.
For quick turnarounds, Viertel and Moyer used X2Pro Audio Convert to convert Final Cut XML into AAF files with embedded audio to use in Avid Pro Tools. Being able to use Final Cut and Pro Tools seamlessly allowed the editors to map specific audio roles to tracks in order to organize sessions for sound designers. Finally, they completed turnovers for finishing using EDL-X by Rainer Standke to create a traditional Edit Decision List (EDL), a longstanding standard in the film industry for moving edits between systems.
In a surprise ending, Apple decided to leverage the quality of the 35mm film and deliver the project in 4K instead of 2K, as originally planned. Even though they were deep in post-production, the team was able to rely on Final Cut Pro's incredible proxy workflows, quickly switching out the shots in the project, making adjustments, and, most importantly, delivering the film on time.
DailyTekk
All. By. Himself.
How a solo creator uses Final Cut Pro to produce cinematic YouTube content daily
Overview
DailyTekk creates content for more than 250,000 YouTube subscribers looking for their daily dose of technology. 'I'm really just a guy who loves making videos about his favorite tech products,' said Chris, the content creator behind the blog-turned-YouTube channel. To keep up with the constant demand for new videos, Chris says he needs to work efficiently and to innovate constantly in order to keep his content fresh. In a single work day, he writes, shoots, and edits a new video. To do this quickly, he uses Final Cut Pro, Compressor, FiLMiC Pro for iOS, and more.
Workflow
.jpeg "Final cut pro 10")
How two off-the-grid adventurers use Final Cut Pro and Motion to share their inspiring stories on YouTube — powered only by the sun.
Overview
Elsa Rhae, Barron, and their dog Kamp have been calling their 13-foot camper home for four years as they explore the great outdoors and share their adventures with half a million YouTube subscribers. The pair chose Final Cut Pro for its performance and energy efficiency — a critical consideration when the source of power for their MacBook Pro is a portable solar generator.
'Keeping ourselves alive in sub-zero temperatures is adventure enough,' said Barron. 'Documenting and sharing our experiences add even more complexity, so we try to keep things simple.'
Workflow
To capture their travels, Elsa Rhae and Barron use Canon DSLRs, a drone, GoPros, and their iPhones. 'A few of our most viewed videos were shot exclusively on my iPhone 11 Pro,' said Elsa Rhae. 'The camera has incredible dynamic range, which helps us capture clear, beautiful videos even when we're in snowy mountain environments and the sun is harsh. And the Ultra Wide lens is particularly useful in our little camper.'
After filming, they AirDrop several days of footage to their MacBook Pro and begin organizing and editing. Using Favorites and Smart Collections in Final Cut Pro, Elsa Rhae quickly creates a first assembly, while Barron outlines a script using note-taking app Bear for iPad. They record voiceovers with a Shure MV88 microphone, which plugs directly into any iPhone.
Elsa Rhae then enhances their videos with animated titles and graphics using mTracker from MotionVFX. 'It's incredible. With these plugins, I don't even have to open Motion unless I want to edit my graphics further. And if I do, the entire project is right there to customize,' she said. Elsa Rhae also takes advantage of Final Cut Pro's color correction tools and support for Camera LUTs to personalize the look and style of their videos, which set Elsa Rhae and Barron apart from other full-time travelers.
Final Cut Pro's fast export speeds allow them to quickly AirDrop finished videos to their iPad. With the iPad's amazing battery life, Elsa Rhae and Barron are able to upload their videos to YouTube even when cellular service is sparse.
Kin
Fast. Economical. Entertaining.
How Kin has used Final Cut Pro to produce content quickly and without compromising quality
Overview
Kin creates shows for women aged 25+, who are building their careers, homes, and family, but feel underserved by traditional media outlets. The programming features a diverse network of the best lifestyle creators, who have a combined audience of over five million YouTube subscribers. They produce meaningful and entertaining content in categories that include home, style, family, and food.
Kin's stars are true partners who finance, produce and distribute programming using their own post-production studios, in conjunction with Kin's seasoned in-house producers and editors. They depend on Final Cut Pro, Motion, and a variety of third party motion graphics, collaboration, and storage solutions daily to produce great-looking, cost-effective content — quickly.
Workflow
Final Cut Pro and Motion are at the heart of the post production process at Kin's centralized facility in LA. Film crews shoot the episodes on location and deliver the dailies to an assistant editor who prepares the media on a network attached storage system — a Jellyfish from LumaForge — that gives all the editors direct, fast access to all the media.
In Motion, editors build titles and effects, with heavy reliance on beautiful templates from MotionVFX. Editors apply these custom templates into projects quickly for a highly-polished finish.
Finally, editors load videos directly into Frame.io's review-and-approval system from their workflow extension in Final Cut Pro. Reviewers can add timecode-based comments onto a proxy and the editor can jump to the location of these comments directly in the Final Cut Pro timeline. This saves a huge amount of time compared to taking changes over the phone or sifting through long emails. After final approval, editors deliver content — in a high-quality compressed format, approved by QA — to YouTube or other social media platforms.
Joel Viertel and Steven Moyer
Banking on Apple TV+'s first film.
The making of The Banker
Overview
The first theatrical release by Apple TV+ features a powerhouse of acting talent: Samuel L. Jackson, Anthony Mackie, Nia Long, and Nicholas Hoult. Based on real events, The Banker tells the story of two African-American entrepreneurs (Jackson and Mackie) and the challenges they face as they launch a real estate empire in 1960s Los Angeles.
For this groundbreaking project, editor Joel Viertel assisted by Steven Moyer needed a unique and innovative editing app. They chose Final Cut Pro for its powerful organization capabilities and timesaving background rendering and exporting. Its unique audio features also allowed the editors to differentiate dialog, sound effects, and music sources, as well as keep the timeline organized without having to patch tracks. During the offline edit, the team worked in surround sound, which gave an added level of polish to the film.
Workflow
The film was shot on 35mm film; low-resolution proxies were made available quickly via a video tap on the on-set camera; and 2K proxies were available later via Kodak and Technicolor. To begin editing immediately, Viertel used the lo-res proxy footage to create a multi-cam clip for each take. When 2K proxies arrived and were ingested, the multicam clips automatically updated and the new higher-resolution footage was available on the timeline — instantly.
Moyer used Shot Notes X to add extensive metadata, including script notes with keyword ranges, 'burning in' edge code from the film, and more on-lining data such as gamma, aspect ratio, and color information. He also added dialog keywords from the final script so Viertel could search the notes to easily find the correct takes and scenes for editing. To organize audio elements and visual effects the duo used Roles. And to track the version of VFX clips in the timeline, they generated a spreadsheet from Final Cut's powerful metadata using Producer's Best Friend. Using the two utilities meant they could quickly generate a spreadsheet with customizable columns and a wealth of time-based information, which saved hours that would've otherwise lost to tracking shots by hand.
For quick turnarounds, Viertel and Moyer used X2Pro Audio Convert to convert Final Cut XML into AAF files with embedded audio to use in Avid Pro Tools. Being able to use Final Cut and Pro Tools seamlessly allowed the editors to map specific audio roles to tracks in order to organize sessions for sound designers. Finally, they completed turnovers for finishing using EDL-X by Rainer Standke to create a traditional Edit Decision List (EDL), a longstanding standard in the film industry for moving edits between systems.
In a surprise ending, Apple decided to leverage the quality of the 35mm film and deliver the project in 4K instead of 2K, as originally planned. Even though they were deep in post-production, the team was able to rely on Final Cut Pro's incredible proxy workflows, quickly switching out the shots in the project, making adjustments, and, most importantly, delivering the film on time.
DailyTekk
All. By. Himself.
How a solo creator uses Final Cut Pro to produce cinematic YouTube content daily
Overview
DailyTekk creates content for more than 250,000 YouTube subscribers looking for their daily dose of technology. 'I'm really just a guy who loves making videos about his favorite tech products,' said Chris, the content creator behind the blog-turned-YouTube channel. To keep up with the constant demand for new videos, Chris says he needs to work efficiently and to innovate constantly in order to keep his content fresh. In a single work day, he writes, shoots, and edits a new video. To do this quickly, he uses Final Cut Pro, Compressor, FiLMiC Pro for iOS, and more.
Workflow
Chris starts his day by quickly researching and outlining the topic for his latest video using apps such as Drafts, Instapaper, and MindNode for iPadOS, iOS, and WatchOS — which conveniently sync with iCloud and allow him to see all of his ideas in one place. He then uses his iPad Pro to write his script and as a monitor during his shoot.
To shoot DailyTekk videos, Chris uses the Sony a7S III, a6600 and ZV-1 digital cameras and two iPhones. To get a cinematic 'look,' he uses an iPhone 11 Pro with either an ultra wide-angle or a telephoto lens from Moment and FiLMiC Pro. He can shoot 4K with FiLMiC at 60 frames per second, and do stabilization with high quality slow motion in Final Cut to achieve smooth, beautiful shots without using a gimbal. After filming, he uses AirDrop to easily send his footage to his 16' MacBook Pro and import it into Final Cut Pro. The ability to import footage wirelessly saves valuable time, especially when Chris is on deadline.
During the editing process, Chris frequently creates multicam clips in order to access other camera angles. To add a unique look to his videos he uses Final Cut's Optical Flow feature to slow down clips in a way that simulates footage shot at a high frame rate — and even with all the processing required the clips play back without the need to render. To add high-quality finishes, Chris uses the following: advanced color correction tools from mFilmLook; Better Stabilizer; SplitScreen Pro effects (a favorite filter among YouTube audiences); and Flow Pop's smooth and seamless transitions and dynamic movement plug-ins.
Finally, Chris encodes his final project using Compressor, and outputs it to HEVC for speedy upload to the DailyTekk YouTube channel. Home student office 2019.
David Tillman
One small step for man. One giant leap for National Geographic.
The making of Apollo: Missions to the Moon What is a rar file pc.
Overview
To celebrate the 50th anniversary of the historic Apollo 11 mission and man's first steps on the moon, National Geographic commissioned 1895 Films to produce 'Apollo: Missions to the Moon'. The documentary weaved together more than 10,000 photos and 1,300 hours of video and audio — including rare behind-the-scenes and never-before-heard mission audio from NASA. Renowned documentary editor and producer David Tillman helped lead the post-production phase of the project, and used Final Cut Pro to edit the film, which went on to win several awards, including Outstanding Achievement in Broadcast Editing from Cinema Eye Honors and Outstanding Producer of Televised or Streamed Motion Pictures from the Producers Guild of America.
Workflow
The documentary team first sifted through thousands of hours of archival footage, and cataloged and digitized it for use in the documentary. Producers and editors extracted notes taken on more than 100 archival tapes in a word processing document and imported the data into Final Cut.
Here, Final Cut's organizational features really shined. Editors were able to create a rich catalog of keywords, so they could find footage using search criteria in Smart Collections rather than using a rigid folder structure. To annotate archival interviews, the team used Lumberjack for iPadOS to take notes and capture keywords while a subject was speaking. The notes would then automatically sync with the video to create a searchable database of interview footage — saving hours of replaying and annotating footage by hand. The team also used Roles to organize thousands of hours of audio from NASA's Mission Control Center, and used Producer's Best Friend to create lists of footage and audio used to apply for copyright clearances.
As a final step, the team needed to export audio and the final edit in order to finish the documentary in different apps. They exported audio as an organized AAF project to Avid Pro Tools using X2Pro from Marquis Broadcast, and exported video as FCPXML and sent it directly to DaVinci Resolve for final color grade and delivery.
PLease Choose A Mirror
Final Cut Pro making everything feel very familiar and easy to navigate popular extensions include frame do which enhances post-production Shutter stock which allows for browsing and purchasing stock footage. You can simply select the extensions button and all of your downloaded extensions will be available to open.
It easy for video editors to follow along with color-coded clip. Names roll project time codes and source codes finally new noise reduction tools are designed to minimize artifacts in low-light. Footage and they can be easily found and applied via the effects panel under basic and noise reduction.
It is technically an incremental update these little features can be a big upgrade to some Final Cut Pro users depending on what their needs are so sure to check out the new version of Final Cut Pro 10. Final cut pro tutorial Animal crossing gamecue. is available for learning.
Download & Installation of Final Cut Pro For Windows 7, 8, 10 & XP:
Click on the above Download button to start to download the setup file. After downloading the exe file run the setup file and follow the instruction to start using final cut pro on your PC.
Final Cut Pro System requirements :
Before you start Final Cut Pro X Free download, make sure your PC meets minimum requirements.
- Minimum System Requirements: OS X v10.10.4 or later 256MB of VRAM (1GB recommended for 4k editing and 3D titles.
- 4GB OF RAM:(8GB recommended for 4k editing and 3D titles.
- Open CL-capable graphics card or Intel HD Graphics 3000 or later.
- Application: External monitoring of video and audio with third-party
Final Cut Pro 10
Thunderbolt and PCI devices, or via HDMI on select Mac computer
- 64-bit architecture to take advantage of more than 4GB of RAM
- Background rendering using CPU.
Final Cut Pro System Requirements For Mac
Related
