Final Cut Pro has been updated for the next-generation architecture in the new Mac Pro, providing unprecedented performance when editing and monitoring 4K video and working with complex graphics and effects.
Smoothly edit multiple streams of 4K at full resolution. An enhanced playback architecture paired with the power of the new Mac Pro lets you edit Multicam with up to 16 simultaneous streams of 4K ProRes. And if you prefer to work directly with 4K camera formats, Final Cut Pro natively supports Sony XAVC, REDCODE RAW, and more.
Final Cut Pro uses both graphics cards to play back effects the moment you add them, so you can color grade, retime video, and apply complex filters ― all in real time. And Final Cut Pro is optimized to use both GPUs for demanding tasks like optical flow analysis, which lets you create stunning slow motion faster than ever.
New Mac Pro
Previous Mac Pro
New Mac Pro
Previous Mac Pro
For the first time, Final Cut Pro supports external monitoring at resolutions up to 4K. Use the HDMI port on the new Mac Pro to connect directly to a high-quality display. Or use third‑party I/O devices for gorgeous 10-bit video monitoring via Thunderbolt 2.*
*4K video monitoring via Thunderbolt 2 requires a Thunderbolt 2-enabled I/O device like the AJA Io 4K or Blackmagic UltraStudio 4K.
Final Cut Pro harnesses the power of both GPUs in the new Mac Pro to accelerate rendering and export in the background, so you can deliver files as fast as you edit. Create 4K ProRes masters and even export directly to YouTube at 4K resolution.
New Mac Pro
Previous Mac Pro
Introducing the highest-quality version of ProRes, ideal for extreme color grading and visual effects compositing.
ProRes 4444 XQ is the highest-quality version of ProRes, designed to maintain the extraordinary detail of high‑dynamic‑range camera recordings throughout the most rigorous post-production processes. It is perfect for advanced compositing and color grading, in which tone‑scale blacks or highlights are stretched significantly. ProRes 4444 XQ will be available in the ARRI ALEXA XT camera and other high‑dynamic‑range professional cameras and applications.
View the ProRes White Paper
ProRes 4444 XQ encodes 4:4:4 image sources up to 12 bits per image channel, with an optional alpha channel for high-quality compositing of graphics and animations. Like the rest of the ProRes family, the new version uses variable bit rate encoding to optimize file size. It features a target data rate of approximately 500 Mb/s for 4:4:4 video at 1080p resolution and 29.97 fps.
Final Cut Pro X fully supports ProRes 4444 XQ for editing, compositing, rendering, and exporting.
ProRes 4444 XQ
ProRes 422 HQ
ProRes 422 LT
ProRes 422 Proxy
Efficiently organize and share media using new libraries that collect your source clips and edited projects into a unified bundle.
Projects and events are now contained within libraries, so there’s a single place for all your work. You can manage multiple productions using separate libraries and easily edit across libraries using the Library sidebar. It’s simple to open and close individual libraries to load just the material you need. And you can even configure Final Cut Pro to automatically back up libraries to a custom location.
View the Media Management White Paper
Easily share your creative work by passing libraries between editors, assistants, and high-end sound and color finishing. Each library can contain source media, edited projects, or both.
Save libraries and import camera files to any system directory. You can choose to keep original, optimized, proxy, and rendered media within the library bundle or place them in an external folder to simplify multiuser workflows.
High dynamic range video
Record video with high dynamic range on some of the most popular professional video cameras, then apply a real-time preset to adjust the look of the image to match broadcast specifications (Rec. 709). Supported devices include the latest pro cameras from ARRI, Canon, Blackmagic Design, and Sony.
Improved audio recording
New voiceover tools let you easily record audio right in Final Cut Pro X. A visual countdown allows you to start recording precisely on time. And multiple takes can be automatically added to an Audition clip so you can quickly choose the best version while looping playback.
Add just the audio or video portion of a Multicam Clip to the timeline. You can also detach audio from Multicam Clips in the timeline to manipulate audio and video separately.
FxPlug allows developers to create custom controls and layouts directly within the Inspector in Final Cut Pro X. And FxPlug 3 plug-ins can take advantage of the dual GPUs in Mac Pro to greatly improve real-time playback and speed up rendering.
Instantly capture the state of any project for fast versioning. With each Snapshot, Final Cut Pro also creates static Compound and Multicam clips to avoid accidental changes to the Snapshot as you continue editing.
Add precise retime speeds by entering them numerically in the Custom Speed window as percentage or duration. Choose to ripple or maintain length when adding a retime effect, and use the Replace with Retime to Fit command to swap clips while retaining the original timeline length.
A new stabilization engine analyzes footage for dominant motion characteristics and automatically applies the correct algorithm. The new InertiaCam can even eliminate wobble during pans and zooms, with controls that let you fine-tune stabilization amounts.
Final Cut Pro 10.1.2 includes many other highly requested features, such as used-media indicators for all clip types, unused-media filter in the Browser, 4K sharing to Vimeo, library export via XML, relative and absolute volume adjustments, and the ability to create keywords from Finder tags.
Export directly to third-party systems
Developers can plug directly into the Share interface within Final Cut Pro, allowing for seamless export to third-party systems including Primestream FORK, ToolsOnAir, Cantemo Portal, Softron, Sienna, and Vizrt.