Articles tagged with: Avid

Blackmagic Fusion 8.1: A new VR video option for Avid users

Wednesday, 08 June 2016

This week Blackmagic Design announced a new version of Fusion, their high-end compositing application.

The good news for Avid Media Composer users is that Fusion version 8.1 works with with Fusion Connect 8.1:

This software adds the Fusion Connect for Avid plug-in that is compatible with Avid edit systems, so you can send any clip or stack of clips from an Avid Media Composer timeline directly into Fusion or Fusion Studio. Now Avid editors can have access to Fusion’s powerful 3D compositing and animation tools

Up until now many Avid users have been advised to transfer timelines to NUKE as a 360° video solution. Fusion 8 is a free application that is a peer to NUKE. Before being bought by Blackmagic Design, it was an expensive application. Fusion has been used in the post production of many high-end TV shows and feature films. To promote their hardware, Blackmagic Design made a Mac version of Fusion and released a almost fully functional free version.

As well as being a high-end node-based 3D compositor, Fusion 8 can also use 360° plugins. For example there is the $249 Domemaster Fusion Macros from Andrew Hazelden

The Domemaster Fusion Macros allow artists to create immersive 360° stereo composites. The new immersive toolset is designed to work with Blackmagic Design’s Fusion compositing software. These macros are great for preparing pre-rendered content for use in a fulldome theater, or on a head mounted display like the Oculus Rift, Samsung Gear VR, HTC VIVE, OSVR, or Google Cardboard.

So, if you are a Media Composer editor who is comfortable with learning new compositing applications who is interested in working with 360° video, check out Blackmagic Fusion 8.1 and Domemaster Fusion Macros.

Visit the Apple Campus for a Final Cut Pro X presentation on June 26

Thursday, 04 June 2015

It seems that after years of very little access, Apple is opening up a little more. On June 26 members of the public will be visiting Apple's offices to get an update on Final Cut Pro X. The kind of access that usually granted only to a favoured few is available to attendees of Future Media Concepts' FCPX Creative Summit:

FCPX Creative Summit attendees have the unique opportunity to visit the Apple Campus in Cupertino and hear directly from FCPX product managers! You’ll get a unique perspective on how this video editing software has changed the industry and how it continues to innovate today.

Get an update from Apple Product Managers on the current release of Final Cut Pro X, exciting customer stories, and the thriving ecosystem of third-party software and hardware.

Representatives of Apple's ProApps team have appeared at professional events over the years, but this event marks the first time a large group of professionals have been invited to visit Apple.

Future Media Concepts is a company that runs training courses in media production in the USA, Canada and online. They also organise post production events such as the Editors Retreat, After Effects World and the Creative Cloud Masters conference.

Livinia Smith, Future Media Concepts' event marketing manager for the FCPX Creative Summit says that after running events for Adobe and Avid users for many years, recent improvements in Final Cut prompted them to turn to Apple's software. The weekend of June 26-28 is just over four years since Final Cut Pro X was launched. Did that factor into the timing? "Future Media Concepts approached Apple about hosting an event dedicated to this platform. We both decided the date for the conference" says Smith.

Smith went on "Regarding the visit to the Apple Campus, when we pitched the idea to Apple, they saw value in directly interacting with this community of FCP users and they agreed to host a talk with the conference attendees in a lecture room at Apple."

Peeking out over the parapet of a besieged castle

Although Final Cut Pro X and its companion applications Compressor and Motion have been very successful over the years, Apple hasn't seen the need to publically involve itself with the user community. Compare their activities with those of Adobe and Avid - companies whose video editing applications were the traditional competitors of Final Cut Pro.

As well as constantly updating their websites with Premiere Pro and Media Composer case studies, their online activities include blog posts, tweets and Facebook updates with named staff members. They run support forums that feature contributions from software engineers. If a small user group somewhere in the USA gets in touch with Adobe to say they're organising a meeting about Premiere Pro, there's a good chance product manager Al Mooney will appear to give an entertaining presentation on his baby.

In recent years parts of Apple have been interacting a little more with the wider world. For example last year's launch of Swift, a new programming language for developing OS X, iPhone and now Watch apps was a big surprise. Apple going on to launch a programming blog on Swift is even more of a surprise. 

Anyone who visits the online forums discussing Adobe Premiere Pro CC, Avid Media Composer and Final Cut Pro X know that the harshest critics of most applications are those who use them every day for their livelihood. The combination of a long-established culture of Apple not sharing much information and the rabid nature of online power user debate means that it will be hard for the Final Cut Pro X team to change how they interact with the wider Final Cut community.

On the way towards a professional application community

Hopefully the ProApps team will be able to more directly support a Final Cut Pro X community. Online support would include

  • A buyers guide for third-party hardware and software
  • A consultants network
  • Continually updated training materials
  • A job board for employers and job seekers
  • Forums and discussion groups where the developers of the application itself can take part
  • Regular conferences so people can learn from each other and network

The majority of Final Cut users are individuals don't need to set up complex workflows and never need to call on consultants. However, knowing that there is a robust community standing by makes trying a new complex application that bit less daunting.

Although this kind of community might seem at odds with the way Apple works, they have a model of their own they can look to: FileMaker. FileMaker is Apple's professional database system. The FileMaker website has all the features I listed above.

It is interesting that Apple refers to FileMaker as a platform - as it is made up of an authoring tool, a server product and software that runs on Macs, PCs, iOS devices and in web browsers.

Perhaps the ProApps applications might end up as a platform/ecosystem too. I hope June's FCPX Creative Summit is a step on the way.

Disclosure: I'm happy to say I'm presenting a couple of sessions on Apple Motion at the Summit.

 

Worldwide NLE Market until 2020: It's all about price

Thursday, 26 February 2015

A new report by market researchers Frost & Sullivan on the global non-linear editing market makes some interesting points and raises some interesting questions.

[The report] observes the NLE market through the lenses of the broadcast, post-production, and professionals segments during 2013–2020

The headline: Product Affordability Drives Sales of Pro-Video Non-Linear Editing Solutions Worldwide 

Here are some of their highlights:

  • With a steady pricing decrease since 2003, the professional editing solutions market opened up to a large number of users across all segments. Eventually, the availability of products at $1000 created a large user base of individual professionals who typically owned small boutique studios or small production houses.
  • The downward price spiral, the intensifying competition, and the slow growth in sales in the broadcast and post-production segments are challenges to the growth of high-margin, high-end NLE products.
  • The NLE market is preparing itself for innovation around cloud-based solutions, which are likely to challenge the adoption of off-the-shelf products.
  • The fast-growing and highly fragmented consumer devices market makes multi-platform content delivery a key requirement driving growth in the broadcast segment. In the post-production segment, adoption of solutions that help in increasing operational efficiency and reducing bottom- line while turning around content quickly is key.  
  • The main vendors in this space are Adobe, Apple, Quantel, Avid, and Grass Valley. Long-term growth in the pro-video segments (broadcast and post-production) is expected to be determined by a vendor’s ability to innovate, provide constant upgrades, and create an easy yet holistic ecosystem around the editing products. The ability to integrate into collaborative workflows and ensure interoperability will also be critical.

In return for your contact information, you can download a preview of the report from the Frost & Sullivan site.

According to the preview, a couple of questions the full report answers are:

  • Are the existing competitors correctly structured to meet customer needs? Will competing companies and products continue to exist or will they be acquired by other companies? Will these products become features in other markets? 
  • What technical trends, including cloud technologies, are shaping the marketplace? What trends are on the horizon, and what does this mean for future product strategy? 
  • How will the pro-video segments, such as broadcast and post-production, compare with the professionals segment that largely comprises individual video creators?

For those of us who can't justify buying these kinds of reports, perhaps discussing these questions might be useful. For example, how good are Apple, Adobe, Avid, Grass Valley and Quantel at

  • Innovation
  • Providing constant upgrades
  • Creating an easy yet holistic NLE ecosystem
  • Integration into collaborative workflows
  • Interoperability

Why Avid is No. 1 in Hollywood

Thursday, 28 August 2014

When Premiere and Final Cut users try to convince Avid editors that they are living in the past, they often don't understand the day-to-day experience of high-end TV and feature film post production.

To provide an insight into why Avid is still number 1 in Hollywood, Chris Fenwick invited TV editor Austin Flack to talk on his Final Cut Pro X podcast: the FCPX Grill.

fcpxGrill logo

If you don't have the time to listen to the whole 74 minute episode, here are my notes on what was said:

[6:05] AF: I’m a reality TV editor, I’ve been doing it for 6 or 7 years…

[6:47] AF:…I’ve done a lot of Top Chef, I did a season of Masterchef

[7:25] AF:…and I’ve done a few seasons of Catfish, that’s the latest thing I’ve been doing

[10:48] AF: USC, big film school, they had a big partnership with Avid…

[11:17] AF: I was using Premiere on my computer at home… I would try and click on the clips to drag them around and it wouldn’t work and I was “this is lame - screw this” and so I gave up on Avid

[11:55] AF: When I got my first TV assistant job, it was Avid, and I bluffed and said I used it in college

[12:23] AF: Since I got into TV it has been primarily Avid…

[13:08] AF: I did prefer Final Cut 7 - strongly - for several years. It was way more modern… a year into being on Avid shows, I realised I was faster on Avid. It was a more fluid process.

Collaboration

[15:26] AF: The primary reason that most editors and post people in L.A. working on big TV shows don’t think that Final Cut X or Premiere are ready are because of shared storage and multi-seat edits… Avid is fantastic at huge post-production projects.

[16:02] CF: So by shared storage you mean… all the media for all the episodes is going to go on one shared server …and everyone has access to the same media.

[17:14] AF: …we’re not just talking about editors, we’re talking about story producers, story assistants, assistant editors, even our supervising producers - they all have Avid …everything is happening at once. I’ve been on shows with 10–15 editors, another 10 story assists and story producers, other producers, five assistant editors … we can work at the same time in the same projects. That’s the big thing.

 

[18:20] AF: Final Cut X is not terrible, I’ve cut with it and there are things I like about it …Final Cut 7 was not a big threat to Avid in Hollywood …Final Cut 7 was never the incumbent. Avid has never let go of the throne

[20:04] AF: (On MTV’s Catfish) We are constantly jumping all over the place …I’m am touching virtually every episode and the other editors are touching my episodes

[20:40] AF: Right now I’m cutting the 5th episode of this show. I didn’t start it, other people are working on different things in it. We can break it up by act, we can break it up by scene and we’ll have the same project open - we are sharing the project. I can be editing Act 1, the editor down the hall can be editing Act 2, the assistant can be adding footage, graphics and music, and story producers can be making string outs for Act 3 and that is all happing in the exact same project.

[22:00] AF: We cannot work on the same timelines…

[22:26] CF: (In Final Cut Pro X terms…) So I open a library, you open the very same library, I open a project named scene 2, you’ve already opened up a project named scene 1

[23:14] AF: If I’m the first person to open a bin (an event in Final Cut Pro X terms), it locks to me - it’s my bin. No-one can change it while I have it open. When I close it someone else can open it and change it. They can still open it… if I had a bin open… they can just open it as read only

[25:13] AF: In Avid an assistant editor can email me or ping me and say the graphics are in, all I do is save mu project, which is a refresh all of a sudden these bins pop up in my project (events appear in a library) and everyone else’s project…

[25:51] AF:…As soon as I do something someone else has access to it, as soon as they do something I have access to it.

 

[26:02] AF: Although Avid isn’t easy to use, it’s a lot easier to use especially for story producers and story editors, who are not technically savvy, it is a lot easier than anything in the Finder (connecting to servers, uploading, version control)

[26:32] AF: It takes about two buttons to log into the servers… to log into the project and you are up an running… people can watch my cuts as I’m cutting… they can open them read only

[26:53] AF: You can load sequences into the source window (event viewer) from someone who is working on a project, but I want to steal some stuff from their timeline… (you can open their read-only compound clip in it’s own timeline) …you can pick out some stuff you want to take and overlay it onto your project… if I’m doing a flashback and I need a bit of that thing to flash back to, I can set an in and out, pick the tracks - maybe I don’t want their music, and I don’t want this graphic or something - and I can just lay that into my sequence

 

[27:58] AF: A lot of people in Hollywood love Adobe, they love Final Cut X, but if you add a bunch of editors to a project, that’s an Avid project.

 

Designed for editors to edit and assistants to assist

[28:37] CF: Austin, were you the person who Tweeted me once “I’ve been listening to the Final Cut Grill and everything you talk about helps the assistant editor” 

[29:14] AF: I will admit that I was an Avid assistant, once, but these days I could not do that job…

[29:27] AF: Avid is not easy… technically-speaking. …I could still be a Final Cut 7 assistant editor… Final Cut X, I really understand it, I’m a tech-savvy guy, DaVinci Resolve, After Effects. …in Avid’s world, the editor becomes an idiot. Why I need something, I call an assistant and say “Could you take care of this, I don’t really know how to do it” …there’s just some things that are kind of old and kind of weird to use.

[30:27] AF: I don’t do any tasks that would be an assistant editor’s task… I’m just editing… it’s a failure of the process if I have to string-out a scene. They’re paying me a fair amount more than the story producers to edit.

 

[31:00] AF: When I’m editing, I find Avid much easier, much faster. …the kind of work you describe in Final Cut Pro X, which is great - with metadata, keywords and all these wonderful things you can do… that’s not ever what I’m doing.

[31:26] AF: When I start editing in Final Cut X I get really frustrated …when I’m in a timeline doing a cut that’s when I think Avid is much more fluid…

 

CF talked about at his company different editors sharing media in different rooms using Final Cut Pro X, a million Final Cut Pro X sales vs. 25,000 professional editors.

[35:49] AF: (with Final Cut 7) the fact that we couldn’t have the same project open at the same time was a frustration.

 

[36:05] AF: Now Final Cut Pro X has reached parity with where Final Cut Pro 7 was, but Final Cut 7 wasn’t good enough. 

[36:53] AF: If you really wanted to, you could edit a very complicated show on Final Cut X, but it wouldn’t be as fast and fluid

CF talked about bullet-point marketing. From a marketing perspective MacOS and Windows were the same - until you tried them. The same with Tivos and Comcast DVRs

[38:45] AF: (With Avid) it’s all this version control, it’s this database …a robust database that can manage these enormous projects and keep these versions in control and make sure everything stays linked… 

 

Fluid timeline

[40:31] AF: As an editor… Avid is more fluid. Avid is, a lot of ways, antiquated… but when I’m editing - especially when I’m using dynamic trim, I’m so happy…

[41:48] AF: It’s a lot about not taking your hands off the keyboard… in Avid I can play the edit as I’m changing it …I change the edit with the J, K and L keys. If I select an edit, press L, the edit plays forward in real time, and if I press the space bar, the edit point has changed, and the great thing is that it loops forever until I unselect the edit…

[43:25] AF: (With dynamic trimming, you press the space bar when it feels right)

AF and CF discuss music editing.

[46:22] AF: I find it so terrible in Final Cut X that you are always mousing.

 

CF dismissed the need for dynamic trimming:

[47:59] FC: If it takes you five times to find the edit… you’ve got to get your chops up!

(Chris Fenwick does not speak for all Final Cut Pro X editors on this subject! AG)

[48:52] AF: (Dynamic trimming is) so wonderful… it gives you a second to think about it… there’s a fluidity, a simplicity and an elegance to just using your J, K and L keys… when you are rippling and rolling you get the four up, but you are still getting dynamic trimming…

 

[50:32] AF: I was a Final Cut 7 partisan… I preferred it in television… I preferred the mouse and clicking and dragging. In complicated television environments, the kind of cutting I’m doing am just way faster… when you are clicking and dragging, you are not seeing exactly what frame you dragged that out to. You are not seeing that frame play. You might look at the frame “that’s the frame where he closes his eyes” but then you play the edit and say “no that doesn’t work”

[51:35] AF: Dynamic trimming didn’t come to me quickly. The way it works in Resolve is powerful but sort of clunky… If you get into an Avid situation… you are not even clicking on stuff , it’s just a lovely world.

 

[53:22] AF: Probably 80% of what I’m doing… I am breaking audio sync on purpose in Avid… X makes it cumbersome to break audio sync and then… you can’t put them back together which is maddening to me… and it doesn’t show frame offsets, so you don’t see how much out of sync it is… I don’t like how its trying to keep audio in sync because usually not what I want…

[55:16] AF: I’m the editor. It feels like I’m in Microsoft Word and the paperclip is trying to tell me what to do… I’m in charge, I know what I’m doing.

 

AF then introduced “Franken-biting” making people say things they didn’t say.

[56:14] AF: (In Top Chef) We are trying to get them to explain the recipe in 10 seconds as opposed to a minute and a half…

[56:52] AF: The biggest reason why Avid is not going anywhere anytime soon is because of ScriptSync

CF agrees:

[57:10] CF: I’ll turn to the producer and say I need five different versions of where he says the word “and”

AF then went on to explain ScriptSync (for transcribed or planned scripts) and PhraseFind (detecting words in verité footage).

[1:01:41] AF: (There’s so much footage in reality TV that) we always work offline… almost never working full res… ScriptSync is virtually everything.

 

[1:04:36] CF explains how Final Cut Pro X’s product manager came from Avid, and that he understands how some editors see Avid’s advantages over Final Cut Pro X. He went on to say that one day Avid and maybe soon after that Final Cut Pro X will be the old way of doing things. CF also said that the vast majority of people who call themselves editors need to do the assistant editing stuff.

[1:07:09] AF: When I edit stuff at home, I often use Final Cut X if it is relatively simple… I did cut a TV pilot on it and I got very frustrated.

[1:07:24] AF: If you’re an owner-operator or a small production company, Final Cut X or Adobe are great choices, I don’t think I would invest in Avid…

[1:07:56] AF: For big-time TV work Avid is still virtually the only game in town… if you’re a younger editor who aspires to big-time TV work, you need to know Avid for at least the next 5 or 6 years. You are going to be cutting in Avid… that’s just what’s going to happen

[1:08:20] AF: In a lot of ways Avid is a dinosaur that is ready to be disrupted, and that there are a lot of things they’ve been slow to embrace. Frankly I think that Adobe is the real threat. They are better at software than Avid, they are a bigger company, their survival depends on it. Apple’s survival does not depend on capturing the very high-level professional TV market… what they need is a Final Cut Server, and if that’s going to cost $1500 and need dedicated hardware, I don’t know if they feel like its worth it… Did Final Cut Server even come out?

[1:09:43] AF: Everything’s going to change: Avid has a lot of ridiculous qualities that are from the 80s…

[1:10:13] AF: Hollywood wants to use the best tool and right now Avid is the best tool for these things.

 

To see Austin Flack's video of how well dynamic trimming works in Avid, and more useful links, visit the FCPX Grill podcast episode page.

Following on from this episode there was a discussion about dynamic trimming on the fcp.co forum - showing advanced trimming in Final Cut and where it falls short compared with the Avid version.

Follow Austin Flack on Twitter and visit his website.

 

If Apple wants Avid's market, could they change Final Cut Pro X faster than Avid could change Avid Everywhere to capture some of Apple's editing market? We'll see!

Televisual Production Technology Survey 2014: Editing Software

Thursday, 21 August 2014

As part of a survey of '100 senior production staff' Televisual asked about what post-production software they use.

Televisiual2014

 

Great news for Avid.

Who will step up?

Although this looks like bad news for Final Cut Pro X fans, I'm surprised it is used by ten of those surveyed. 

…the FCPX upgrade which alienated many users. “We always edited FCP until Apple produced a useless upgrade version,” says one indie head of production.  Respondents score FCPX poorly in terms of workflow, support and feature set – but highly in terms of price.

If post companies find X is too limited 'in terms of workflow, support and feature set', then fewer companies will being using it next year.

Would higher usage amongst this group of 100 companies result in bigger sales to the many professionals who would find Final Cut Pro X useful? If X gets more high-end features that would be a sign the business of these 100 execs matters to Apple.

It also falls to third parties to provide better workflow consultancy and support options - if they still think there's a large enough potential market for Final Cut.

If you think what they said is relevant to your buying choices, go to the Televisual site to see what the 100 said about compositing, grading, 4K and cameras

Thanks to the MotionVFX mBlog for pointing me in the direction of this survey.

 

Apple Pro Apps Revenue: 2005-2014

Monday, 28 July 2014

For many years most users of Apple's 'Pro Apps' assumed that they were a loss leader for high-end Macintoshes. Very light copy protection meant that many students pirated the software, but that wasn't a problem for Apple. 99.9% of Final Cut Pro users needed a Mac to run the software.

These days Final Cut Pro X and Logic Pro X users may love their software, but many are worried that Apple might discontinue them at any moment. Pro Apps are such a small contributor to Apple's bottom line, and the transition from Final Cut Pro 7 to Final Cut Pro X has left many people gun-shy. They don't want to bet their livelihood on an ecosystem that Apple may abandon at a whim.

Here's a look at how much revenue Apple probably gets from selling Pro Apps, some worries might be alleviated.  

Avid, Adobe and Apple NLEs: June 2013-June 2014 feature updates

Wednesday, 16 July 2014

If you are faithful user of a single video editing application, it is a good idea to keep up with improvements that other NLEs have made. In an ideal world competition would prompt features on one system to appear on others, but influence of each company on the other is unlike normal competitive markets.

I'll use Final Cut Pro X terms in some cases (for example Premiere 'sequences' are Final Cut 'projects').

Avid Media Composer

Avid-Media-Composer-Updates

v7.0 - June 2013

  • Dynamic Media Folders - Finder folders that 'listen' for new media content, when added MC creates new events using preset import settings
  • Camera-based (AMA) media is managed - All readable media on a drive can be imported
  • Files in the Finder can be dragged directly into Media Composer
  • Background transcoding and consolidation
  • Choose whether to relink audio, video or metadata tracks - after you've finished editing with proxies
  • Transcode or consolidate camera-based media only
  • Label which timeline clips were camera-based (AMA media)
  • Apply external LUTs to clips
  • Audio mixer elements can be configured
  • Audio plugins can be applied to whole tracks
  • Audio mixer master fader
  • Aspect ratio masks
  • Adjust audio level of clips using timeline window control
  • Buttons to switch library view between list, icon and script view
  • Export to AS-11
  • Markers with duration
  • Move marker from one track to another
  • QuickTime with alpha clips supported
  • XAVC support for 1080p projects
  • iXML metadata support
  • Timeline can scroll vertically
  • Mouse scroll wheel support
  • Editing and sync projects, libraries and clips stored on Avid Interplay servers
  • Send and receive messages between Interplay users

v7.0.2 - September 2013

  • Option to always keep at least one backup - To prevent deletion based on setting of the number of backups of all libraries
  • XDCAM EX 35 Capture
  • Rule-based naming of Dynamic Media Folders

v7.0.3 - December 2013

  • Effects browser buttons to show video or audio effects
  • Add markers at start and finish of marker with duration
  • 24fps sound timecode support in non SD PAL projects
  • Option to warn when resolution of imported media is too low
  • Frame interpretation control when using retimed clips
  • Simplied AAF export - Option to create new clips with video and audio effects baked in and audio mixed down to less tracks
  • More proxy resolutions
  • RED Dragon 6K and Red Rocket card support

v7.0.4 - May 2014

  • New Sony LUT
  • New crash report log
  • New SMPTE HD colour bars

Media Composer | Software v8.0 - May 2014

New licensing options 

  • Option to add NewsCutter features
  • Coloured borders around clips in event viewer that denote the kind of clip they are
  • Clip labels can show whether media is local or mixed resolution
  • Audio mix mode can now have a keyboard shortcut assigned to it
  • Option to choose the response to lasooing a transition: Enter trim mode or segment mode
  • For single viewer mode, you can switch between viewers with a button
  • Alternate edit replaces a timeline clip with a clip with a similar name from a special event
  • Auto tape import - when deck has servo-lock, footage is captured until tape is stopped
  • Satellite mode - 'capture from multiple sources at the same time while recording to tape'
  • Voiceover record
  • Remove clips based on voiceover silence
  • Trim with J-K-L keys
  • Easier access to software licensing information

Adobe Premiere Pro

Adobe-Premiere-Pro-Updates-a

CC 7.0 - June 2013

  • Sync settings - Preferences, presets and settings stored in the Creative Cloud, so you can quickly set up a new machine with the same settings instantly
  • Adobe Anywhere integration - The ability to work with special PC servers that manage group collaboration and distributed rendering.
  • Retina display compatibility
  • Customizable track headers
  • Relinking offline media - Even if it has been renamed or transcoded
  • Duplicate frames - Show which frames have been used more than once in a timeline
  • Closed captioning - Import, edit retime and export subtitles that can be optionally displayed in video plaback devices and applications
  • Multicam auto-syncing - based on markers, timecode or audio
  • Track patching - Choose which tracks in event clips interact with which tracks in your timeline - with the option to store track patch combinations in presets which can be given keyboard shortcuts.
  • Edit unnested sequences into timelines
  • Join through edits
  • Razor tool and Playhead snapping option
  • Enhanced paste attributes - After copying attributes from a clip, choose which of its attributes are applied to the destination clip.
  • Namable nexted sequences
  • Trim-to-zero duration - Remove a timeline clip using trimming keyboard shortcuts
  • Playhead stays with edit point after a ripple delete
  • New clip audio mixer panel - for adjusting the audio of clips (in contrast with the track audio mixer panel)
  • Hierarchical audio plugin-assignment popup menu
  • Audio meter in track headers
  • Volume and pan controls in track headers
  • Assign audio tracks to multiple output tracks
  • Access to AU audio plugins
  • Access yo third-party VST plugins
  • Multichannel QuickTime export
  • External hardware mixer support
  • Improved colour - Apply LUTs (and Adobe Speedgrade .look files) using a colour browser
  • Adobe Story integration - Import screenplays into a panel. Jump to scenes, characters or locations. Select edit points in clips based on transcribed audio.
  • New keyboard shortcuts - Select previous/next clip in timeline, Select clip at playhead, Select all clips between in and out point, Move clip up/down one layer
  • CUDA processing - on systems with compatible GPU cards
  • New codecs within Premiere - MXF-wrapped DNxHD, ProRes, Sony XAVC, Panasonic AVCi200
  • Improved import and export within Avid and Final Cut Pro workflows using AAF and the new codecs
  • Export to tape - using third party SDI tape export devices
  • Switching between audio and video waveform display with one click

CC 7.0.1 - July 2013

  • Duplicate timeline title by option-dragging
  • Lift or extract clips enhancement - works if only an in point or outpoint is selected
  • Cut/Copy/Clear works on in and out points
  • Enable or disable clips using a context menu 
  • Match frame uses selected clip - superceding track trageting
  • Only relink media used in selected project
  • Enhanced EDL export - choose which video and audio layers are included in the EDL amognst other new options
  • Match frame in source monitor to event clip
  • Linked selection toggle - select associated audio and video clips with a single click, or select a clip without selecting its associated clips
  • Reveal source file in Finder
  • Set default project start timecode value
  • Preview source files from the Finder in the source window
  • Match frame enhancements - In source window match frame first goes to the multicam or compound clip, then to the source clip in the event.
  • Offline clips shown in unexpanded tracks
  • Tone generator - Generates bars and tones using different options
  • Open closed caption clip using caption panel
  • Access event clip settings using timeline shortcut
  • Smarter auto-save - Only saves when there arch changes, doesn't skip saves when busy
  • Improved still image timelapse support - choose duration in frames for imported stills
  • Preference to prevent playing a clip again by pressing the space bar if playhead is on last frame
  • Preference to set window focus to timeline after editing clips from events to the timeline
  • Jump between edit points on clips in the event viewer window
  • Clear in and/or out points in multiple clips selected in an event
  • Toggle keyboard focus between event viewer and viewer using keyboard shortcut

CC 7.1 - October 2013

  • Round-tripping between Premiere and SpeedGrade - for colour correction
  • Render multiple projects - select multiple projects in an event and use a command to render them one after another
  • Ripple project markers option
  • Draggable project markers - showing selected frame in the viewer as you drag
  • Back button in library browser
  • Projects appear as thumbnail icon - which are skimmable
  • End of media indicator in viewers
  • Add edit command applies to selected clips - overriding track tragetting
  • J,K,L keyboard shortcuts in Edit to tape dialog
  • J,L shortcuts can playback at faster speeds
  • Using - in the speed dialog reverses the playback of the selected clip - No need to click the reverse speed check box
  • QuickTime exporting supports 5.1 and 8 channel export
  • New metadata columns in event browser list view - Sound timecode and sound roll
  • Clip name options - Each clip can be set to display its project name, event name or source file name
  • Timecode generator automatically uses project timebase
  • Paste a transition to multiple edit points
  • Reset parameter buttons for each parameter in the inspector
  • Metadata display for viewers - source timecode, edit points, media limits, marker comments, clip metadata, sequence timecode
  • Load embedded closed captions on import
  • Support of closed captions in MXF, DFXP and CEA-708 files and QuickTime movies using any codec
  • Display multicam camera angles as track names or clip names
  • Organize and select camera angles to view in multicam viewer
  • Multicam results play in viewer
  • Full multicam clip information from Final Cut Pro timelines
  • New import formats - ProRes 64-bit, Blackmagic Cinema DNG, Native MJPEGs (Canon 1DC), RED DRAGON with ROCKET-X, Panasonic AVC Ultra Long GOP, Phantom Cine, Sony RAW (F65, F55, F5, FS700), Sony XAVC Long GOP
  • New export formats - Panasonic AVCI-100 (50p, 60p), Panasonic AVCI-200, Sony XAVC Intra
  • Export QuickTime formats in 64-bit process
  • Preference to let current editing tool define which kind of edit will be applied to an edit - even if when last selected a different kind of edit was applied (such is ripple or roll)
  • New keyboard shortcut for preferences dialog

CC 7.2 - December 2013

  • Descriptive text in empty Project panel or Timeline panel - such as "Drop Media Here To Create Sequence"
  • Auto-save now saves even if you have recently manually saved 
  • Create sequence by dragging clip to Timeline
  • Export markers as a list
  • Duplicate frame marking improvments - now detects if frames from two different clips using the same media on disk, or have the same tape name and metadata
  • Use Ripple-Delete command for In/Out range
  • Warning to prevent project overwriting - if another editor has opened the project after you and you then attempt to save your work over theirs
  • Multiple library browsers
  • Create new library from project - Using only clips used in the project timeline
  • When showing a multicam clip with one angle in the angle viewer, show it full size
  • In the timeline multicam clip names append the name of the video source angle clip
  • Record voiceovers directly into a project timeline
  • Mosaic effect is now GPU optimized
  • Support for GeForce GT 750M
  • MXF Importer for importing P2 and Canon XF files
  • Natively import AVCI-100 .mov files and smart render the files to MXF-wrapped AVCI-100 files
  • When using third-party transmit tools for SDI display, audio and video remain in sync

CC (2014 release) - June 2014

  • Video effect masks
  • Masks can track objects and features within clips
  • Edit text within titles created in After Effects
  • Apply and modify event clip effects - which change every instance of the clip in any timelines they are used in
  • Access to thousands of Typekit fonts
  • Autosave projects to online cloud
  • Settings from previous version synced to new version
  • Match from from event clip to frame on timeline where clip is used
  • Open timeline clip in event viewer showing frame where playhead is on timeline
  • Change sync of timeline clip, drag back to event to create new clip with new sync
  • Assign multiple keyboard shortcuts to a command
  • Option to use native pixels for stills
  • Viewer option checkerboard background to show transparency
  • Project context menu option to export event clip
  • Option to not display FX icons on clips in timeline with effects applied
  • Preference to set how many frames are moved when using shift-left arrow and shift-right arrow keyboard shortcuts
  • New tool to select clips on all tracks back from clip clicked to start of timeline
  • Named markers
  • Option when importing to create a new folder for new clips
  • Option to prevent importing duplicate media
  • Import Finder folder hierarchy as folders in library
  • Context menu option to make sequences offline
  • Browse After Effects projects and within projects using the media browser
  • Add media folders to list of favourites
  • Maintain audio pitch when scrubbing option
  • Voice-over recording enhancements - Specify pre-roll countdown and sound cues
  • Cross-platform consistency between OS X and Windows versions - video effects and transitions available on only one platform now cannot be applied in CC (2014) projects
  • Faster RED debayering using OpenCL and CUDA GPUs
  • Support for Intel Iris GPUs
  • ARRI AMIRA workflow
  • Blackmagic CinemaDNG metadata support
  • Export to AS-11 for broadcast, Quvis Wraptor DCP, Dolby Digital, Dolby Digital Plus
  • Progress bar for dock icon
  • Go Pro lens presets for Lens Distortion video effect
  • Preserve multicam source clip effects when flattening
  • Cross Dissolve transition can now be saved as a preset
  • Change duration on multiple transitions at once
  • Closed captions can be exported as .scc, .mcc, .xml or .stl sidecar files
  • Improved Red Giant Pluraleyes workflows
  • Ability to use Sound Roll and Sound Timecode in EDL export
  • Mosaic effect is now GPU optimized
  • 12 more commands can have keyboard shortcuts assigned

Apple Final Cut Pro X

Final-Cut-Pro-X-Updates

10.1 - December 2013

  • Support of multiple GPUs in 2013 Mac Pro
  • HDMI and Thunderbolt output at frame sizes up to 4K
  • Selected titles, effects, and other media content scaled for 4K projects
  • Libraries, a new way to organize multiple events and multiple projects in a single container
  • Project snapshots - backup projects with frozen disconnected compound clips
  • Media file storage on disk locations external to libraries
  • Direct importation of MTS/M2TS files
  • Used clip range indicators
  • Direct import of photos from iOS devices
  • Support for portrait/landscape metadata in still images
  • More retiming options
  • New clip stabilization method
  • Custom project resolutions
  • Viewer control to choose better playback quality or better playback performance
  • Viewer control to choose source or proxy media
  • Through edits
  • Trim to playhead
  • Trim to clip range selection
  • Video or audio only edits from multicam clips
  • Access to multicam audio for editing
  • Blade audio tracks in J and L cuts to get independent audio clips
  • Roll audio edits in open split edits
  • Share 4K finished videos directly to YouTube
  • New API for customizing Share operations
  • Send Apple Events to Asset Management applications during export
  • FXPlug 3 update to include custom inspector controls
  • Effect parameters, fonts, and text size information preserved in XML files
  • Hide browser option for more workspace
  • New title
  • Cut / Copy / Paste / Delete animation keyframes
  • Custom speeds
  • Option not to ripple the timeline when making clip speed changes
  • Show unused media only

10.1.2 - June 2014

  • More control over optimised media, proxy media and render files in libraries
  • Apply LUTs to HDR and wide-gamut media from high-end cameras
  • A new ProRes flavour: 4444 XQ
  • Faster export of cuts only XDCAM media
  • Fine-grained control over XML export - from individual clips, multiple clips, projects, events or whole libraries
  • Library metadata view
  • Automatically apply keywords based on tags assigned in the Finder 
  • The ability to search for or create smart collections of used or unused media in the current project, compound clip, synchronized clip or multicam clip.
  • A 'Share to Vimeo at 4K' destination
  • Unused range indicators for compound clips, multicam clips and synced clips
  • Tools to support voiceover Audition clips
  • Adjust relaive as well as absolute audio volume of a clip or range within a clip
  • Option to sort events by date or name within libraries list
  • The ability to import a clip by dragging directly to the browser
  • New 'Basic Surround' audio preset
  • Break apart Auditions to see the individual clips on the timeline
  • Using the , and . keys to nudge clips in the timeline now acts as a slide edit
  • Updated version of Final Cut Pro X XML - so a wider variety of information can be exported to or imported from other workflow applications
  • More control of how synchronised clips are generated
  • Much better relinking of missing files
  • When importing from consumer devices choose whether to show photos or videos
  • New text format presets
  • 37 new effects, transitions, titles and generators
  • Paste a copied transition to multiple clips

 

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