Final Cut Pro doesn’t approach the special effects power of Adobe After Effects, but it does offer some high-quality effects that are great for quick composites. More important, you can actually use one Final Cut Pro edited sequence as a clip in another - an incredible timesaver that lets you assemble large movies out of shorter, easy-to-handle segments.Īnother strong point is Final Cut Pro’s special effects and layer compositing features. It’s easy to drop clip icons into bins (folders), and to make an entire custom folder structure. Organizing clips within Final Cut Pro is similarly intuitive. The timeline navigation bar, for instance, looks like a device from another planet - but get the hang of it and you can jump between parts of the timeline, moving and scaling all at once, with an ease that makes the slider-and-magnifying-glass interface of Premiere look like stone knives and bearskins. The timeline and the trimming window show careful attention to interface design, borrowing from the logical and wonderfully transparent design in Adobe’s After Effects. In fact, it often involved just a single movement, thanks to the pop-up menu of edit options that appears as you drag clips from one window to the other. Completing a basic three-point edit was simple. In a second window, you view the entire sequence as a movie. In one video window, you view and prepare clips for insertion into the sequence. Note that Premiere can do scaling for previews.įinal Cut Pro’s interface looks a bit crowded, but it’s actually easy to navigate and use. While this makes perfect sense within Final Cut’s paradigm, it can be a pain. Final Cut Pro won’t play back any clip that is not exactly the same size as the rest of the sequence until you’ve rendered that clip. Notably, the app makes it difficult to stitch together clips of different screen sizes (as you might have to do if you were assembling a reel of video mixed with wide-screen film, or a quick animatic from scanned drawings of various sizes). However, Final Cut Pro’s editing approach does have a few drawbacks. This allows you to work smoothly and efficiently, in many cases without any rendering. However, Final Cut Pro renders only the portions that need it, integrating them seamlessly with the rest of the sequence. Of course, this only applies to straight cuts you have to render transitions or special effects as in any other program. Final Cut Pro allows playback of final-quality edits directly from the timeline, without time-wasting rendering. Amazingly, once we had the app properly installed on our test machine - an over-clocked 466MHz beige G3 with 288MB of RAM and an UltraWide SCSI drive - everything ran smoothly and without a hitch.Įditing with Final Cut Pro is much more like editing with a high-end turnkey system such as Avid’s Media Composer. No doubt this is because the program went through an unusually long development period, first at Macromedia and then at Apple. Even seasoned Premiere fanatics will want to take a closer look at this compact and elegantly designed new editing tool.įor starters, you would never know this is a 1.0 release it feels like a 5.6 release. This app not only delivers on digital video’s promise of faster, more efficient editing, it is also a pleasure to use. However, a serious challenger has finally arrived - from Apple, of all places - in Final Cut Pro. Competitors such as Strata VideoShop and Radius EditDV have had little success in unseating Premiere, which is more powerful than its rivals and better supported in the industry, despite a few irritating misfeatures and lackluster speed. There has long been just one leading nonlinear editing package for the Mac - Adobe Premiere.
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