Looking for:
- Apple Pro Training Series: Final Cut Pro X by Diana Weynand - PDF Drive |
- Final Cut Pro - Training and Resources - Apple (IN)
Final cut pro x 10.4 - apple pro training series pdf free
Final Cut Pro lets you edit multichannel audio using built-in tools like Voice Isolation 5 to enhance speech by reducing background noise and optimizing levels. Adjust multichannel audio files in the timeline or open the inspector for more information and options. Choose from dozens of bundled plug-ins for audio compression, EQ, and more — or send to a professional audio application like Logic Pro for advanced audio mixing.
Learn more about Logic Pro. And batch exporting makes it fast to deliver multiple files or projects in multiple formats. You can also use Compressor to create custom export settings that appear right in Final Cut Pro. Learn more about Compressor. Quickly display any audio or video that appears more than once in your project with highlighted clip ranges in the timeline.
Or you can list all matches in the Timeline Index. Select a clip to show its duplicates and use keyboard shortcuts to instantly navigate between them. View up to 16 angles at once in the Angle Viewer. And open the Angle Editor timeline to move, sync, trim, add effects, or color grade individual clips.
Create stunning effects and sweeping graphics with Motion, including studio-quality 2D and 3D titles you can open and adjust in Final Cut Pro. Use Compressor to create custom export settings and streamline delivery of your movie to the iTunes Store. Learn more. Use keyframes to adjust corrections over time, and apply camera and creative Look Up Tables LUTs for the perfect look. Unique color wheels improve on traditional controls by combining hue, saturation, and brightness into a single, simple interface.
Color and luminance curves allow ultrafine level adjustments with multiple control points to target specific color and brightness ranges. Sample a color with an eyedropper and change just the hue, saturation, or luminance of a specific color within the image. Work closer to reality than ever before with HDR video. Import, edit, grade, and deliver incredibly lifelike images with Final Cut Pro. Shoot on industry-standard cinema cameras, or in stunning Dolby Vision with the latest iPhone models.
You can view beautiful HDR content on a variety of Mac computers that use the reserve brightness of the display to show an extended range of light levels. View High Dynamic Range video the way it was meant to be seen. The amazing MacBook Pro display delivers up to 7. Import, edit, and grade original, untouched footage with RAW data straight from your camera sensor — without sacrificing any speed or smoothness.
The format is optimized for macOS and the latest Mac computers, allowing you to render and export faster than with other RAW formats. Work with untouched image data directly from your camera sensor. RAW files provide maximum flexibility for adjusting the look of your video while extending brightness and shadows — an ideal combination for HDR workflows. Final Cut Pro includes an intuitive, comprehensive set of tools for closed captioning in a variety of formats, without the need for expensive third-party software or services.
You can create, view, and edit captions within Final Cut Pro, and deliver them as part of your video or as a separate file. Learn about games. This feature works automatically across all apps, and you can take it even further. New APIs power automatic camera input switching, provide access to the Desk View camera stream, and let you use AVCapture to access iPhone Camera features, such as flash mode, high-resolution capture, and photo quality prioritization. Learn about Continuity Camera. Core ML adds new instruments and performance reports in Xcode, so you can analyze your ML-powered features.
Optimize your Core ML integration with new Float16 data types, efficient output backings, sparse weight compression, in-memory model support, and new options to restrict compute to the CPU and Neural Engine. In the Create ML app, explore key evaluation metrics and their connections to specific examples from your test data to help identify challenging scenarios and further investments in data collection to help improve model quality.
And use the new Create ML Components framework to define your own custom model and training pipelines by combining a rich set of ML building blocks. Learn about machine learning. The canvas outputs the contents of the Timeline. To add clips to the Timeline, besides dragging them there, it is possible to drag clips from the Browser or Viewer onto the Canvas, whereupon the so-called 'edit overlay' appears.
The edit overlay has seven drop zones, into which clips can be dragged in order to perform different edits. The default is the 'overwrite' edit, which overwrites at an in point or the space occupied after the playhead with the incoming clip.
The 'insert' edit slots a clip into the sequence at the in point or playhead's position, keeping the rest of the video intact, but moving it all aside so that the new clip fits. There are also drop zones to have the application automatically insert transitions. The 'replace' edit replaces a clip in the Timeline with an incoming clip, and the 'fit to fill' edit does the same thing, but at the same time, it adjusts the playback speed of the incoming clip so that all of it will fit into the required space [in the Timeline].
Finally there is the 'superimpose' edit, which automatically places the dropped clip on the track above the clip in the Timeline, with a duration equal to the clip below it. Unless an in or out point are set, all edits occur from the position of the playhead in the Timeline. Using the wireframe view on the canvas, the clip can be manipulated directly - dragging it around in the canvas to change its position, for example, or resizing it.
Precise adjustment controls for these things are in the viewer. The viewer has tabs for each channel of the selected clip's audio, in which the waveform for the audio can be viewed and scrubbed, and where its volume can be keyframed.
The filters tab is where effects for the clip appear and where their parameters can be adjusted and keyframed. If the clip selected is a generator such as an oval shape , a control tab appears for changing its geometrical properties. Finally, the viewer's motion tab contains tools to adjust the scale, opacity, cropping , rotation, distortion, drop shadow , motion blur and time remapping properties of a clip.
Mini-timelines to the right of each parameter allow the property to be keyframed. Clips can be edited together in timelines called sequences. Sequences can be nested inside other sequences, so that a filter or transition can be applied to the grouped clips. The Timeline in Final Cut Pro allows 99 video tracks to be layered on top of each other.
If a clip is higher [in the timeline] than another, then it obscures whatever is below it. The size of a video clip can be altered, and the clips can be cropped, among many other settings that can be changed.
Opacity levels can also be altered, as well as animated over the course of the clip using keyframes , defined either on a graphical overlay, or in the Viewer's 'motion' tab, where precise percentage opacity values can be entered.
The compositing mode for a clip is changed by control-clicking or right-clicking on the clip and selecting it from the cascading contextual menu , or by selecting the mode from the application's 'modify' menu. For either matte modes, the clip that will perform the key is placed overneath the fill clip on the Timeline. Final Cut Pro uses a set of hot-keys to select the tools. There are almost keyboard commands that allow the user to increase the speed of edits.
Randy Ubillos created the first three versions of Adobe Premiere , the first popular digital video editing application. Macromedia could not release the product without causing its partner Truevision some issues with Microsoft, as KeyGrip was, in part, based on technology from Microsoft licensed to Truevision and then in turn to Macromedia.
The terms of the IP licensing deal stated that it was not to be used in conjunction with QuickTime. Thus, Macromedia was forced to keep the product off the market until a solution could be found. At the same time, the company decided to focus more on applications that would support the web, so they sought to find a buyer for their non-web applications, including KeyGrip, which by was renamed Final Cut.
Final Cut was shown in private room demonstrations as a 0. At the demonstration, both Mac and Windows versions were shown. Get help. Learn something new. Ask and answer questions. And so much more. Discover the Avid Community Find, connect, message, and collaborate with other creators Dive in. Artist Relations Powering greater creators like you Visit Iamavid. Remote Media Production Discover the easiest way to move production to the cloud See how.
Online Learning Get inspired with free sessions for music, video, and graphics View webinars.
Comments
Post a Comment