Apple recently released Final Cut Pro X 10.4.9 update, which includes major improvements to editing in ProRes RAW, H.264 proxy files, and more.
Furthermore, the latest update adds new features such as automated tools for social media content to simplify your editing experience.
ProRes RAW – Change ISO, Colour Temperature, and Exposure Offset
Ever since ProRes RAW was announced, editors and colourists have been asking for more control over key parameters as you’d get in “true” raw formats such as REDCODE RAW for example.
Well, Apple has granted that wish. It is worth noting, though, that these new changes do not change the underlying nature of ProRes RAW, partial de-bayering is still happening. Still, these improvements are very welcomed and will make lots of editors and colourists working with ProRes RAW a lot happier.
In FCP X 10.4.9 update ProRes RAW gives editors and colourists even more control or the raw material. New improvements include – the ability to change ISO, colour temperature, and exposure offset in ProRes RAW.
Easier Audio Cross Fades and more Workflow Improvements
In addition, editors can also apply audio crossfades on adjacent clips in one simple step, use a new context menu to close a project or clear timeline history, and sort clips and projects in List View according to the last date each file was modified.
Metal-accelerated Canon RAW Light and RED RAW Now 3x Faster (on MacBook Pro)
MacBook Pro and MacPro users are also getting the benefit of the new Metal-enabled plug-ins for RED RAW and Canon Cinema RAW Light. In this update, transcoding 8K RED RAW video to ProRes 422 is said to be ‘up to 2x times faster on Mac Pro’, and ‘up to three times faster on MacBook Pro’. And for the first time, editors can play and edit 8K Canon Cinema RAW Light in FCP X.
Furthermore, the latest update also includes improvements to stereoscopic 3D. This includes the ability to quickly stabilize stereoscopic 3D video and view footage in the 360-degree Viewer with separate streams for each eye.
Remote workflow is also improved with the ability for editors to download in the background from web-based asset management applications, such as the Frame.io workflow extension.
ProRes RAW Explained
(thanks to Atomos and Assimilate Scratch, see video below)
New H.264 Proxies for Smaller Files
Another major improvement in FCP X 10.4.9 rrelates to proxy workflows. High resolution footage such as 6K and 8K is now much more easier to work with thanks to the new tiny H.264 proxies.
Their purpose is to make libraries more portable and streamline remote work with large, high-resolution files especially when editing on a MacBook Pro or older, under-powered MacOS machine.
For the first time within Final Cut Pro X, editors can create proxies in either ProRes Proxy or H.264 in dimensions as small as 12.5 percent of the original.
They can also consolidate proxy media, images, and audio to an external or network-connected drive. A Final Cut Pro Library can even be re-linked to proxies already created for added flexibility. Editors can now link to proxy media generated by third-party applications via XML.
Vertical Content for Social Media is Now Easier
In FCP X 10.4.9 editors also benefit from more automated tools for a more streamlined delivery of social media content.
Using machine learning, clips in a project can now be automatically analyzed for dominant motion and intelligently cropped with Smart Conform to convert them into square, vertical, or any other sized video — perfect for popular platforms like Instagram, and Twitter.
Features such as Transform Overscan reveals media outside the crop boundary when adjusting scale, rotation, and position, which allows storytellers to easily reposition the crop. Video editors can also add a Custom Overlay to guide them when placing text and graphics within a non-landscape frame.