Industry veteran Gary Adcock outlines how the new version of Final Cut Pro X moves the app back into the professional realm.
While seemingly unchanged on the outside, the core of Apple's newest release of Compressor 4 reveals a robust workflow that's completely integrated within Final Cut Pro X.
With Final Cut Pro X, Apple has once again set out to completely re-invent the video industry. This is a truly groundbreaking release, says reviewer Gary Adcock. Here's the lowdown.
With the release of the hotly anticipated Final Cut Pro X video editing app, Apple has broken new ground in interface and infrastructure, redefining the whole concept of what it means to be a working professional video editor. Gary Adcock takes us through the major features of Apple's brand new non-linear video editor.
Apple unveiled Final Cut Pro X on Tuesday night, and video editor Gary Adcock was in the crowd, hanging on every word.
The video world has been buzzing about the unheralded demise of Apple's Shake. Here's a remembrance from someone who was on the Shake Train from the very beginning.
Avid Media Composer 3.0.5 is a must-have if you or anyone in your facility work with the emerging HD formats popularized by card-based camera systems.
Compressor 3.0.1 is a welcome upgrade from the previous version, and it delivers the fastest render times on multiprocessor Intel Macs. Apple has added a stylish new interface and simple render-management tools that augment the program’s processing power.
Color is a solid, best-in-class addition to the Final Cut Studio 2 suite, offering one of the most powerful color-correction tools available in video production. It lets you control your vision from start to finish.