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Over the years, Final Cut Pro (FCP) has evolved into a workhorse application that handles everything from basic digital video editing to uncompressed HD video processing. While Avid’s Media Composer, FCP’s main competitor, offers more tools at a higher price (and Adobe is readying a new Mac version of Premiere Pro CS3), FCP 6.0.1 is an improvement on an already powerful, flexible, affordable, and scalable editing program for a wide range of professional and semiprofessional users. FCP 6 is part of Final Cut Studio 2.0.1, and it can no longer be purchased separately from the suite. It serves as a hub for the other Studio programs: Motion 3.0.1, Soundtrack Pro 2.0.1, Compressor 3.0.1, DVD Studio Pro 4.2, and the new Color 1.0.1.
Crack corel draw x6 activation code free trial. At first glance, FCP 6 looks identical to the, but if you look below the surface, you’ll find significant new features—such as the Open Format Timeline, the ProRes 422 codec, and the SmoothCam plug-in—that can substantially speed up and enhance your workflow and help you Get Stuff Done. In terms of bang for the buck, the Final Cut Studio 2 package offers many more features and capabilities than previous versions of the suite. Open Format Timeline The most notable new feature in FCP 6 is the Open Format Timeline.
In previous versions, you had to choose one frame size, one frame rate, and one codec to process a video sequence—but no longer. If you have a fast enough machine, you can now mix supported frame sizes, frame rates, and codecs in a sequence. FCP automatically handles frame-size and frame-rate conversion in real time.
When I tested this feature with a variety of video formats, the quality wasn’t perfectly smooth—imperfections were caused by the less-than-ideal frame-repeat patterns that make up the difference between 24- and 30-fps video. However, you can use the suite’s new version of Compressor to improve such troublesome shots (though the process may take multiple iterations). This is a vast improvement on the rigid specificity of previous versions, and it saves a lot of time if you need to edit various kinds of clips from different sources. ProRes 422 codec Apple’s new ProRes codec comes in two flavors: a 10-bit-per-channel, 145-megabit-per-second version called ProRes 422, and a 10-bit-per-channel, 220-megabit-per-second version called ProResHQ. There are several advantages: Full Raster The codec resolution is the actual size of the format—so the 1920-by-1080 format equals 1920 by 1080 pixels, instead of 1440 or 1280 by 1080 (as with the HDV and DVCPRO HD video formats). Similarly, 720p (nominally 1280 by 720 pixels) is actually 1280 pixels wide, not just 960 (as with the DVCPRO HD format and codec). 10-Bits Codec Instead of the 256 colors or shades of gray (and only 8 bits of color depth) you get with most codecs, you get up to 1,024 shades and 10 bits, for much smoother rendered results of color correction and other image manipulation.