Apple's latest version of FCPX, 10.4.9, includes many long-awaited and long-awaited updates.
FCPX came a long way from software 10 years ago. As someone who quickly gave up on the program shortly after it was first released, I am now happily switched back. After the constant improvements over the years, this video editing software now looks solid. This round of updates has further cemented FCPX as one of the best NLEs today. Let's look at the recent additions.
Custom overlay and smart conform for social media
Let's face it – TikTok and Instagram have fundamentally changed the way we record, edit, deliver, and display videos. Long gone are the days when we just had to worry about filming or delivering in one aspect ratio. Now whenever I'm on a shoot I have to ask if almost every time we have to set a framework and plan to deliver for social causes. Files no longer live only in 16 × 9. They must be captured to account for aspect ratios of 16 × 9, 9 × 16, and 1: 1. The developers at FCPX recognized this and created new and improved workflows to address this.
Prior to FCPX 10.4.9, editors had to manually create and redesign projects for each individual aspect ratio. The new Smart Conform function saves filmmakers a lot of weight. For example, if you need to adjust a 16: 9 project to 9:16, Smart Conform analyzes your footage and neatly and automatically places the subject in the new frame. While this is a great and time-saving new feature, you definitely don't want to set and forget about it. You still need to verify that the reformulation is what you want. However, this helps with most of the heavy lifting.
With custom overlays, you can now also create your own unique sized overlays to make designing your projects easier. If you had to create a 1: 1 version, you can use Smart Conform with this feature.
Improved workflows for setting raw cameras
With the latest version, working with ProRes Raw footage offers a completely new interface. If you've ever had the pleasure of working with raw video files, you know how malleable they can be. You can easily set your ISO and even color temperature in your editor. FCPX now has solid built-in support for your ProRes Raw settings.
The workflows with RED Raw files and Canon Cinema Raw Light files have also been improved. Now encoding 8K RED RAW files in ProRes 422 is up to 2x faster. 8K Canon Cinema Raw Light playback and editing is also available.
Improved proxy workflow
I already received one of the new Canon C500 MII in February. The camera is capable of handling 5.7KB Canon Cinema Raw Light files, which contain a lot of data. Because of this, I've always been a little too scared to try it out fully, as I'll admit I love editing on a laptop and portable drives. I am just like that. I've tried creating desktops in the past, but I've always felt way too limited. I need the freedom to work wherever the wind takes me. However, I love working with the highest quality files. 5.7K raw files and laptops usually do not work well together. What gives.
Fortunately, FCPX's improved proxy workflow has enabled my vices even further.
Thanks to the improved proxy workflow, working with data-intensive high-resolution raw files on a laptop is easier and smoother than ever. Let's see what has improved.
Previously, proxy workflows and proxy files were not customizable in FCPX. You have what you have and you are not upset. Now you can quickly and easily choose which resolution and which codec you want your proxy files to have. With the ProRes Proxy or H264 options, you can encode your proxies from a resolution of 960 × 540 up to your original image size. This simple adjustment can dramatically improve the size of your working files. For example, if your original source files were a ProHD UHD file with 5.3 GB ProRes 422 and you encoded the proxy 50% as H.264 proxy, your proxy file is now 219 MB, or only 4% of your original file size .
Best of all, you can even custom code a proxy for a single clip. For example, if you have a 40 minute 6K interview in a beefy codec that is having playback issues, you can now encode and compress that particular clip into a unique proxy file with completely different settings from the others.
To make things even better, you can now only create proxy libraries. If you're running out of storage or need to digitally send smaller files to another editor, proxy libraries make it a breeze. These new libraries only contain proxy media with no connection to the original media. This enables faster processing and less storage space requirements.
As soon as the editing is completed, the completed proxy project can be sent back to the location of the original files and then linked again. If you work with remote editors or work on a low-powered computer, this is a big breakthrough.
Since the release of FCPX, the editors have asked for an audio crossfade. Now, 10 years later, audio fading is finally here. Now we no longer have to grab our pen tool and create our own. You can easily create your own crossfade by selecting two adjacent audio clips and pressing OPT + T. Now you have a dissolve of your audio clips.
You can also adjust the length of your transitions by adjusting the length of the default audio transition to your liking in the settings.
360 video stabilization
FCPX has refined its stabilization features for 360 video. Now you can stabilize 360 video throughout the program instead of doing it beforehand in your stitching programs. You can now also view 3D video with separate streams for each eye. This allows you to refine your 3D videos with more precise details.
Overall, these updates have further consolidated the robustness of the FCPX processing software in recent years. If you'd like to try out these new features, you can download a free 30-day trial of FCPX.
You can find more of our FCPX tutorials here:
Cover picture via Apple