![]() ![]() The best part is that you can even custom encode a proxy for a singular clip. For example, if your original source files was a 5.3 GB ProRes 422 UHD file and you encoded the proxy as a H.264 Proxy at 50%, your proxy file would now be 219MB or just 4% of your original file size. This simple adjustment can drastically improve your working files sizes. With either ProRes Proxy or H264 options, you can encode your proxies anywhere from a 960×540 resolution all the way up to your original frame size. Now you can quickly and easily select which resolution and even codec you want your proxy files to be. You got what you got and didn’t get upset. Previously, proxy workflows and proxy files in FCPX were fairly non-customizable. Now working with data intensive high resolution Raw files, while on a laptop, is easier and smoother than ever before with the improved proxy workflow. ![]() Luckily, FCPX’s improved proxy workflow has just enabled my vices even further. 5.7K Raw files and laptops don’t typically play well together. Yet, I love working with the highest quality files possible. I need the freedom to work wherever the wind takes me. I’ve tried to do desktops in the past, but I’ve always felt far too constrained doing so. Because of that, I’ve always been a little too afraid to fully try it out because, well, I’ll admit, I love to edit on a laptop and portable drives. The camera is capable of 5.7K Canon Cinema Raw Light files, which are massive in data. Improved Proxy Workflowīack in February, I got one of the new Canon C500 MII’s. Also, the playback and editing of 8K Canon Cinema Raw Light is available. Now the encoding of 8K RED RAW files to ProRes 422 is up to 2x faster. Now, FCPX, has a robustly built-in support for your ProRes Raw settings.Īlso improved are the workflows with RED Raw files and Canon Cinema Raw Light files. You can easily adjust your ISO and even color temperature all within your editor. If you’ve ever had the pleasure of working with Raw video files, you know just how malleable they can be. With the latest release, working with ProRes Raw footage features an entirely new interface. If you needed to create a 1:1 version, this feature allows you to use smart conform. However, this helps with most of the heavy lifting.Ĭustom overlays now also allow you to create your own uniquely sized overlays to help with framing of your projects. You’ll still need to verify that the reframing is to your liking. While this is a great and time-saving new feature, it’s definitely not something you want to set and forget. For example, if you need to conform a 16:9 project to 9:16, smart conform will analyze your footage and place the subject neatly and automatically within the new frame. The new smart conform feature removes a lot of the heavy lifting for filmmakers. The developers for FCPX realized this and created new and enhanced workflows to address this.īefore FCPX 10.4.9, editors would have to manually create and reframe projects for every unique aspect ratio. They need to be captured to cater to 16×9, 9×16 and 1:1 aspect ratios. Now, when I’m on a shoot, I have to ask if we need to frame and plan to deliver for social almost every time. The days are long gone when we only had to worry about filming or delivering in one aspect ratio. Let’s face it - TikTok and Instagram have completely changed the way we capture, edit, deliver and display video. Custom Overlay and Smart Conform for Social Media This round of updates has continued to solidify FCPX as one of the best NLEs out today. After the constant improvements made over the years, this video editing software now looks solid. As someone who quickly abandoned the program shortly after its initial release, I’ve now happily switched back. Apple’s newest version of FCPX, 10.4.9, includes many long-awaited and long-requested updates.įCPX has come a long way from the software it was 10 years ago.
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