- Plugins for Final Cut Pro X. 1000's of effects, transitions, themes and text presets for Final Cut Pro X. Design video graphics for Final Cut using Pixel Film Studios Plugins to simplify your next digital film project.
- DaVinci Resolve. Image via Blackmagic Design. Blackmagic's DaVinci Resolve is one of the industry.
This is your complete pro-Kit for your channels, use it in Final Cut Pro X and Apple Motion! We've reworked the entire underlying logic so Final Cut Pro-only-users can benefit from this amazing pack in a breeze!. 20 Logo Reveals. 25 Lower Thirds. 15 Transitions. 10 End Screens. 10 Side Infos. 20 Titles. The first time you open Final Cut Pro, a Library and Event should automatically be created for you, so you just need to create a Project. Open Final Cut Pro X. After a few seconds, the main interface should appear. At the top menu bar, go to File New Project (or Command + N) to create your new project.
Read on for how these companies use our powerful tools with third‑party applications for a seamless post‑production experience.
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 Los Angeles. 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 — directly from Final Cut Pro to YouTube or other social media platforms.
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 Los Angeles. 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 — directly from Final Cut Pro 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. Imovie 11 image stabilization. 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 Pro'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 have otherwise lost to tracking shots by hand.
For quick turnarounds, Viertel and Moyer used X2Pro Audio Convert to convert Final Cut Pro XML into AAF files with embedded audio to use in Avid Pro Tools. Being able to use Final Cut Pro 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.
Onvif device manager latest version. 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-inch 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 Pro'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.
David Tillman
One small step for man. One giant leap for National Geographic.
The making of Apollo: Missions to the Moon
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 Pro.
Here, Final Cut Pro'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.
Lumetri Final Cut Professional
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.
Color correction and color grading are part art, part science and part applied technology. With the recent addition of the Lumetri Color Panel to Adobe Premiere Pro CC, Adobe has gathered all of Premiere's color correction features into one easy-to-access place. This week's webinar explains how they work.
Lumetri Final Cut Project
- OR -Presented: Aug. 9, 2017
Several times each month, Larry Jordan presents a live, on-line, video training webinar discussing issues related to video editing and post-production. For a list of upcoming webinars, click here.
Duration: 56:10
Download file size: 936 MB (Downloaded ZIP file)
Format: QuickTime movie (HD: 1280 x 720)
DOWNLOAD NOTE: After you complete the store checkout process, you will see a Download Link on the Order Confirmation page. This link allows you to download the product to your computer. You are given four attempts to download the file. Since this title is downloaded, a CD/DVD will not be shipped to you.
(Click to view a larger image.)
COURSE DESCRIPTION
Color correction and color grading are part art, part science and part applied technology. With the recent addition of the Lumetri Color panel to Adobe Premiere Pro CC, Adobe has gathered all of Premiere's color correction features into one easy-to-access place.
But, now that we can find them easily, what do we do with them? Covering the basics of color correction and illustrating how to use the settings in the Lumetri color panel is what this week's webinar is all about.
Lumetri Final Cut Pro
Join host, Larry Jordan, as he covers:
- The fundamentals of color correction
- What the Lumetri Color panel is
- How to apply and remove LUTs to your media
- How the different settings work
- How to use presets to create different looks
- How to use the panel to customize color correction and grading
If you want to learn more about the Lumetri color panel, color correction and grading, how it works in Adobe Premiere and how to improve the look of your video, this session is for you.
Lumetri Final Cut Pro X
AUDIENCE LEVEL
This intermediate-level session assumes a basic working knowledge of Premiere. This session is delivered as a QuickTime movie, so you don't need to own the software to watch this.
CHAPTER MARKERS
To help you quickly find the information you need, we include chapter markers in the QuickTime download to simplify navigation. Click here to learn how to display them in your download.
CONTENT OUTLINE
- Welcome
- Agenda
- Definitions
- – HDR in Premiere Pro CC
- – Display video scopes
- – Configure video scopes
- – Waveform Monitor levels
- Color Fundamentals
- – Pixels and colors
- – Color grading tips
- – 3 Key Rules for Color Correction
- Reading Video Scopes
- – The Color Workspace
- – Display Video Scopes
- – Reading video scopes
- The Lumetri Color Panel
- – How to display the panel
- – The emotion of gray-scale
- – How to display the panel
- – Orientation
- – Apply a LUT
- – Apply a Look
- – Basic Correction settings
- – Curves
- Manual Color Correction
- – Analyze clips first
- – Color correcting priorities
- – SDR color correction workflow
- – The video limiter
- – Adjust gray-scale values
- – More Creative settings
- – Correct skin tones
- – Correct a color cast
- Color Key effect
- – Color key definitions
- – Create a color key
- – Add a mask to refine selection
- Skin Tone Table
- Summary
- Audience Questions
