Final Cut Pro offers unprecedented speed and superior quality through every part of the post‑production workflow.
No longer restricted to the 4GB limit of 32-bit applications, Final Cut Pro uses all the RAM in your system to handle larger frame sizes and keep more frames in memory. You can now create more extensive projects and work with deeper, more interesting multilayered effects.
Final Cut Pro uses the GPUs on the graphics cards for effects previews and rendering, so you can work with richer projects in real time. GPU utilisation also enables background exporting, allowing you to deliver projects while editing.
As you edit, Final Cut Pro takes advantage of unused cycles in the background to execute a range of tasks including rendering, transcoding and moving media. Open the Background Tasks window to get a detailed display of active processes, and manually pause or cancel any background process with a click.
ColorSync-managed colour pipeline
Final Cut Pro is designed to use Apple’s ColorSync colour management for display and processing, producing accurate and consistent colour from import to render and export. Colours look the same whether you’re playing back media in Final Cut Pro, Motion or QuickTime Player.
Shared Render Engine
Final Cut Pro shares a render engine with Motion and Compressor for consistent speed and quality. The shared engine allows Motion templates to play back in Final Cut Pro without rendering. The engine renders in linear-light colour space for exceptionally realistic results.
Use Thunderbolt I/O technology in the latest Mac computers to daisy-chain up to six high‑performance devices per port, including a video capture device, high-speed external drive and high-resolution display. You can also use Thunderbolt video devices to output audio and video to an external broadcast monitor.
Native format support
Final Cut Pro natively supports more formats than ever, including REDCODE RAW, Sony XAVC, AVCHD, H.264 and AVC‑Intra. Built-in support for MXF makes it simple to import, edit and deliver MXF files, while resolution independence lets you mix and match formats, frame rates and frame sizes to 5K and beyond. Final Cut Pro also lets you work with compressed audio formats — including MP3 and AAC — so you can use iTunes as your built-in music library.
Final Cut Pro is an OS X–native application built with the Apple Cocoa framework. It uses modern interface technologies like Core Animation and is enhanced for the Retina display on the MacBook Pro.
The high-quality rendering in Final Cut Pro makes it possible to compute realistic effects with extraordinary precision using floating-point, linear-light colour space calculations. You get the same superb results for blurs, scales and lighting effects as you would from high-end compositing software.
Output video to an external monitor using third-party PCIe cards or Thunderbolt I/O devices. You can even output directly from the HDMI port on selected Mac computers. Connect to waveform monitors, vectorscopes and calibrated, high-quality video monitors to ensure your final project meets broadcast specifications. Or send video to large HD or 4K screens so everyone in the edit suite can see the creative process at work.
Apple ProRes is a family of high-quality video codecs designed for maximum speed and optimal resolution in post-production. ProRes allows you to edit full-frame 4:2:2 and 4:4:4:4 HD, 2K, 4K and larger video sources — including ProRes Log C from ARRI ALEXA and AMIRA cameras — with multi-stream, real-time performance in Final Cut Pro. ProRes takes advantage of multiple processors to speed up background rendering, transcoding and exporting for delivery to web or digital broadcast. And when working with ProRes Log C files from cameras like the ARRI ALEXA and AMIRA, Final Cut Pro X automatically displays your footage with standard Rec. 709 contrast and colour levels while allowing you to manipulate the underlying Log C levels for greater range when colour grading and compositing.
Learn about ProRes-compatible devices
View the ProRes White Paper
Final Cut Pro X offers a single window for importing all your files. You can edit while importing continues in the background, and you can create ProRes proxies as you work.
Unified import window
Use the single-window interface to import from all sources, including file-based video cameras, card readers, DSLRs, external hard drives and network locations. Import files directly into the library bundle or place them in any system or network location for multi-user access. Customise the List view to display just the metadata you want to see when importing. Or switch to Filmstrip view for a visual representation of all your footage, so it’s easy to browse and mark for import. Add commonly used locations to the Favorites sidebar for fast access later. Once you start importing, Final Cut Pro gives you the option to work natively or transcode to ProRes in the background while you edit.
RED camera support
Import REDCODE RAW files directly into Final Cut Pro and start editing straightaway. Work natively with .r3d files or choose to transcode to either ProRes 4444 or ProRes Proxy in the background. Adjust essential debayer and colour settings to get the look you need in Final Cut Pro, or launch the REDCINE‑X PRO app to access the complete set of controls. Final Cut Pro also supports the RED ROCKET card, which you can use to accelerate playback and transcoding of RED video files.
Download the RED plug-in
Easily create a single-volume archive for any collection of media. When you create a Camera Archive, Final Cut Pro adds a unique identifier to every clip to ensure it’s tracked accurately throughout the editing process.
Import layered Adobe Photoshop graphics
Import and keep all the object layers from a Photoshop file in a single Compound Clip so you can animate, colourise and add effects to individual layers while editing in Final Cut Pro X.
Import and export media with third-party developers that use the XML format in Final Cut Pro X. XML includes a rich set of data such as edit information, custom metadata, audio keyframes, fonts, text size and intrinsic effects parameters like opacity and scale. This comprehensive XML support saves time and reduces creative rework when moving projects and events between applications.
Final Cut Pro supports streaming DV capture through FireWire. Or capture video from tape using third-party video cards and software. Let the capture run in the background at your workstation or use a dedicated capture station.
Create proxy media in the background, so you can work outside the edit studio without copying large original files. Import once using high-quality master sources, then transfer lightweight proxies to your notebook for editing on the road. When you’re back in the office, just reconnect from proxy to original media and keep working at high resolution.
Start your project in the new version of iMovie and finish in Final Cut Pro X. Create a rough cut and then move to Final Cut Pro for fully featured editing. Or expand your creative possibilities by graduating from iMovie to Final Cut Pro for powerful audio, colour grading and motion graphics capabilities.
Final Cut Pro features a new way to organise and search large amounts of media — without copying and moving files or rooting in old-fashioned static bins. Now you can find clips in a few clicks.
Simplify your media management with libraries that organise your source clips and edited projects into a unified bundle. Open and close libraries to switch between productions or clients, and easily manage media across libraries. You can save libraries in any system location and import camera media to any directory, making it easy to collaborate with others. Original source clips, optimised and proxy media, and render files can also be stored anywhere on your system. And you can even choose to automatically back up your libraries at regular intervals for additional security.
Learn more about updating to libraries
View the Media Management White Paper
Dramatically speed up your workflow by performing Content Auto-Analysis during import. Because the analysis runs as a background process, you can keep editing to meet your deadline. Or analyse clips later to streamline specific tasks.
Final Cut Pro analyses all metadata related to a clip and uses it for media management. The import process detects media type (audio only, video only, audio and video, or a still), frame size, frame rate and codec, along with a wide range of other details. And if you import directly from the camera, the rich camera metadata is attached to the clip, so you can use it to search and organise your media.
Auto-Analysis uses people detection to determine if there is a single person or multiple people in the shot. This information is used to automatically organise shots into Smart Collections.
Final Cut Pro flags shots as close-up, medium or wide, then organises them into Smart Collections by type of shot.
Final Cut Pro can analyse the colour of your clips on a frame-by-frame basis to produce superior results when you use the single-click Balance Color feature. The colour correction is optimised for the specific frames you’ve selected.
Final Cut Pro can analyse and fix significant audio problems — such as hum, excessive noise and silent channels — during import.
Old-fashioned bins don’t come close to the dynamic capabilities of searching through your media using keywords. Just select a range of time in your footage and assign one or more keywords to that range; you can create multiple overlapping ranges on the same clip. Use keyboard shortcuts to work even faster. When you assign a keyword, Final Cut Pro sets up a Keyword Collection and places the shot inside, ready for use. A simple Find function lets you combine keywords with other metadata to locate important shots.
Smart Collections make it easy to organise clips without moving or duplicating files. Easily create Smart Collections using custom keywords and metadata generated from Content Auto-Analysis. Final Cut Pro automatically updates Smart Collections as you import new media or add relevant metadata. For example, you could set up a Smart Collection to organise footage based on the shoot date, camera and scene number.
Multiple range selections
Preserve range selections when moving between clips in the Browser. Even create multiple selections on a single clip — perfect for working with long files from live performances or sporting events.
Easy-to-use search tools
Quickly find clips in any event by choosing from a full set of custom search functions that include clip name, keywords, Content Auto-Analysis tags and camera metadata. Then instantly create a Smart Collection based on your search criteria. You can easily browse and search for media in a single library and across multiple events.
Favorites and Rejects
A single keystroke marks a range selection as a Favorite so you can come back to it later. One click on a Favorites range creates start and end times so you’re ready to edit. Or mark a clip segment as a Reject and hide it from view to reduce clutter. Because you can mark multiple ranges on one clip, you have much more flexibility than you would with traditional In and Out points. Show only Favorites or only Rejects to find clips fast.
Browsers for photos and music
The Photos Browser in Final Cut Pro lets you quickly access your complete Aperture and iPhoto libraries. Use the search capabilities in the Photos Browser interface, then drag any photo or video clip into your project. Save even more time by using iTunes as the library for your music and sound effects. Craft an immersive soundtrack by choosing from more than 1,300 royalty-free sound effects, available through a free software update. Since Final Cut Pro can handle MP3 and AAC files, there’s no need to transcode before using the clips — just drag and drop to add them to the timeline.
Filmstrip and List views
Filmstrip view in the Browser makes it easy to screen your media, because you can immediately see what you’re looking for. List view includes small filmstrips that let you combine the power of a visual reference with rich metadata for sorting and searching. Skimming these views is faster than hunting for obscure clip names buried deep in bins.
Grouping uses the power of metadata to instantly organise related media in the Browser. Grouping can be based on media drive, reel, scene, duration, file type and much more. After grouping your media, you can quickly arrange it inside the group using camera metadata such as name, take, duration and timestamp.
Use the Timeline Index to navigate the timeline by jumping directly to clips, keywords, markers and to-do items. Filter information with a click so that you see only the items you care about when you’re stepping through a complicated project. Or use the built-in search tool to filter and find just the clips you want. Tick off to-do items in the Timeline Index so anyone can see what has been done and what items remain open.
Sharing with Xsan
Put your events and projects on a central SAN to speed up collaboration between multiple editors. Place your libraries and media anywhere on the network to optimise media management for large facilities and multiple users. Start a project on one system and hand it off to another editor to finish on a different system connected to the same SAN. Final Cut Pro is optimised for Xsan to ensure responsive skimming, playback and editing when working across a network connection.
Reconnect media and exchange files with third-party applications using a robust relink interface. Then easily relink to your Final Cut Pro X library.
Skim through footage, edit in a timeline that lets you move elements without clip collisions, and easily try out different shots and effects — all in a streamlined interface enhanced for the Retina display on MacBook Pro.
The Magnetic Timeline eliminates the restrictions of traditional, track-based timelines — so you’ll never be slowed down by clip collisions or out-of-sync problems as you’re working under pressure to assemble your story. As you add shots, other clips close up to eliminate gaps or move out of the way to make room. The Magnetic Timeline automatically tracks clip relationships as you rearrange, trim or add clips, letting you easily make changes in even the most complex sequences.
Edit multicam projects faster than ever before with a collection of innovative features. Select videos and photos, then create a Multicam Clip by automatically syncing different angles based on time of day, timecode, markers or audio waveforms. Play back multiple angles at once in the customisable Angle Viewer, and use the Angle Editor to dive into any Multicam Clip and make precise adjustments. Change, add or delete camera angles at any time and work with different formats, frame sizes and frame rates without conversion. When it’s time to cut your multicam project, simply click in the Angle Viewer or use keyboard shortcuts to switch between video and audio on the fly. You can even combine audio channels from multiple cameras with a click.
When you want to group clips in your timeline or library, consolidate them into a Compound Clip. Include any type of media — such as video, audio or graphics — to simplify your project or apply an effect, like a speed change, to multiple clips at once. If you want to work with individual elements, simply step into any Compound Clip or break it apart in the timeline. Because Compound Clips are automatically saved back to the Browser, it’s easy to reuse them in other projects. And Compound Clips work just like Multicam Clips, so changes you make in the Browser instantly ripple across your projects.
Inline Precision Editor
When you need to fine-tune the timing of an edit, just double-click any edit point to reveal the Inline Precision Editor. Skimming over the extra material in the clip lets you find the best edit point. A single click lets you trim to a specific frame or audio sample.
The most responsive way ever to view vast amounts of media, skimming in the Filmstrip view lets you fly through keywording and selecting the best takes. Combine the Skimmer with the familiar Playhead for ultra-fast navigation and editing. Skim to any point in your timeline, then press the Space bar to play the video instantly.
Now it’s easy to position B-roll, titles, music and sound effects, with direct links to reference clips in the timeline. Establish a new connection with a keystroke and change the connection point at any time to accurately sync clips. For precise edits, you can create a connection down to the level of an audio sample. When you move a clip in the timeline, you can choose to have its Connected Clips move with it or keep them locked in place. And when you’re working with a large number of connections, you can group them into a consolidated Storyline with a single connection point.
Use Auditions to quickly try out different shots. Collect multiple clips within one Audition clip in the timeline, then play them back in context to see which one works best. Use Auditions to see the same clip with different effects applied, try different performances of the same line or view different montages in the same location. As you try each shot, the Magnetic Timeline instantly adjusts to reflect the clip length, keeping everything in sync.
Enable a second viewer to display the source media you skim, select and play in your Browser. Choose to show video scopes for both viewers, making it easy to grade and match footage. You can even position scopes below each viewer to maximise screen real estate.
Use roles metadata to organise, search, mute, view and minimise clips directly in the timeline. Work with automatically assigned roles for video, titles, dialogue, music and effects, or create and assign your own custom roles. Add subroles for more control as projects get more complex.
Edit with confidence using the timeline modes you know, with powerful options designed to speed up editing. Use any combination of techniques to place clips in your timeline — drag and drop, click intuitive icons or save time with keystrokes.
Attaches clips such as B-roll and audio to the Primary Storyline; for more complex projects, create and manage a Secondary Storyline.
Places the clip at a precise location in your story; the Magnetic Timeline shifts other elements as needed.
Ensures that your clip always goes to the end of the timeline — without any extra steps. This is the fastest way to rough-cut a story.
Works with a selected range in the timeline or goes straight to the Skimmer location. With the Shift key modifier, you can even back-time clips so the end point matches the Skimmer position.
Allows you to swap one shot for another while leaving the rest of your project untouched. Choose to Replace from the start or end of a shot for more flexibility. And if the new shot is longer or shorter than the shot you’re replacing, use the Replace and Retime option to perfectly fit the shot in place.
Combined with the power of the Magnetic Timeline, the classic three-point edit is even better. Single keystrokes let you insert and overwrite, giving you complete control without slowing you down.
Adjust your clips directly in the timeline for the fastest, most straightforward way to make timing changes. Grab a clip edge to make a quick trim, or use the Trimming tool for all the standard trimming functions like ripple, roll, slip, slide and extend. You can also make precise adjustments by entering numerical trims on the keyboard. With the immediate visual feedback of the Magnetic Timeline, you can watch your project adjust as you get the timing just right.
Switch to the Position tool with a keystroke to preserve timing and leave a gap when you move material. Then switch it off to regain the advantages of the fluid Magnetic Timeline.
Choose from more than 90 professionally designed transitions and add them to your project with drag-and-drop ease. Instantly insert a classic cross-dissolve with a simple keyboard command (Command-T).
Change your timeline view to reflect exactly what you need to do at that moment. Adjust video thumbnails, display audio waveforms, change clip height and show Clip Connections — all from the Clip Appearance window. You can even choose to show clip names or roles metadata for a visual check before exporting media stems.
When you skim video in the Browser, you can enable a tooltip-type display that shows the clip name and source timecode. Seeing basic metadata makes it easy to know exactly where you are at all times.
Top and Tail
Use the technique favoured by professional news and documentary editors all over the world. Trim the top or tail of an interview clip with a keystroke. Shortening sound bites and streamlining interviews just got a lot faster.
The secret to dialogue editing is using split edits such as J and L cuts. Hear the dialogue before you see the picture (J cut) or let the sound carry over to the next shot (L cut) to smooth out transitions or add dramatic tension. Easy to learn and use, J and L cuts can add polish and professionalism to every project.
Control speed changes directly in the timeline. Select an entire clip or choose a range, then pick a preset or custom speed using percentage or duration. You can also click and drag the retiming bar to make fast adjustments, and quickly choose between rippling the timeline or keeping the overall length unchanged. Pick from three types of frame blending, including high-quality optical flow. You can even apply audio retiming — without affecting pitch — to fit any voiceover or music selection exactly where you need it.
If you have to begin editing before you’ve received all the source material, insert Placeholders to rough together a sequence to be filled in later. You can even use Placeholders to build a complete storyboard in Final Cut Pro.
Accelerated editing with the Skimmer
Place the Skimmer in the timeline to trim with precision, extend an edit and more — all while your Playhead stays right where you left it.
Final Cut Pro continuously saves all the work in your projects and events, so you never have to worry about losing unsaved changes.
Choose from a rich array of visual effects, easy-to-use transitions and animated templates for titling. See real-time previews and use built-in controls to customise elements as you work.
With a wide selection of high-quality effects in Final Cut Pro, it’s easier than ever to experiment with glows, blurs, lighting, drop shadows and more. Just select a shot, then choose an effect; skimming the effect thumbnail lets you preview before applying it. Press the Option key while skimming to preview the effect at varying intensity levels. Apply the powerful chroma or luma keyer to instantly create a high-quality key, even from irregular or poorly-lit backgrounds. And use intuitive onscreen controls to directly manipulate effects, such as vignettes and drop shadows.
FxPlug 3 is Apple’s standard for filters and effects, and Final Cut Pro natively supports the rapidly growing ecosystem of third-party FxPlug effects. These effects can support 64-bit processing and GPU acceleration — including dual-GPU playback and rendering on the new Mac Pro. And third-party plug-ins can even include custom interfaces with unique controls and graphics that appear in the Inspector.
There’s no need to jump into a separate interface to adjust effect keyframes — you have full control from the timeline, so you can adjust timing based on other content in your project. Choose to show video or audio animation and start adding keyframes. Automatic smoothing between keyframes means less time spent tweaking to get the perfect result.
Royalty-free themed animations
Final Cut Pro ships with a large number of animated titles, transitions and effects sequences, all created by leading motion graphics designers and a top Hollywood effects house. Preview content in the Themes Browser, then drag and drop to add elements to your project. Simplified controls for each animation let you make adjustments that produce consistently good results, and you can open any item in Motion for greater customisation.
Advanced chroma keying
In addition to using the high-quality, one-step chroma key in Final Cut Pro X, you can now access advanced keying controls for colour sampling, edge adjustment and light wrap. Tackle complex keying challenges without exporting to a motion graphics application. And play back results instantly and in context to make critical editing decisions.
Final Cut Pro includes professionally designed animated templates, with intuitive onscreen controls that make it easy to create titles that leap off the screen. With more than 150 animated templates to choose from, you can achieve a polished look immediately. If you want to customise a template or create your own professional-quality titles, you’ll find all the tools you need by opening the animation in Motion 5 — the motion graphics companion to Final Cut Pro.
Learn more about Motion
Reposition, rotate, crop and distort — all with overlaid onscreen controls that let you manipulate the image directly. Use numerical controls in the Video Inspector to fine-tune parameters.
Open the Generators Browser to access a range of automatically generated video elements — including animated backgrounds and varied textures. Just drag and drop to add them to your project.
Ken Burns effect
Animate stills and video without keyframes by using simple onscreen arrows to pick start and end points. Choose between ease in, ease out and linear movement to further customise your animation. For images that contain people, Final Cut Pro recognises the location of faces to create intelligent results.
One-step freeze frame
Create a freeze frame — from your timeline or from source media in your event — and add it to your project with a single keystroke.
Working with Motion
If you have Motion 5 installed, you can right-click any title, transition or video generator in Final Cut Pro to open it in Motion and customise it. When you save your modified effect in Motion, you can instantly access it in Final Cut Pro and even share it with other editors. Or have a motion graphics designer create unique effects in Motion and save them as easy-to-use, streamlined templates in Final Cut Pro.
Learn more about Motion
Built-in professional audio editing features — including libraries of high-quality sound effects and audio effect plug-ins — let you enhance, edit and mix audio without leaving Final Cut Pro.
Multichannel audio editing
Quickly edit multichannel audio by expanding any clip to view its separate audio channels in the timeline. Easily enable or disable entire channels and select ranges for selective focus on timing and volume. Fade handles on every channel provide quick controls for smoothing transitions between clips. For a complete view of your audio file, access the Inspector, where you can rename and hide individual channels. And if you’re working with Multicam Clips, you can switch between and combine multiple audio sources with a click.
You can have Final Cut Pro repair significant audio problems during import or select clips later for automatic enhancement. Final Cut Pro analyses audio files for common problems such as excessive background noise, hum, silent channels and extreme volume changes, allowing you to quickly view and fix problematic clips.
Automatic audio sync
When working with DSLRs and video cameras, it’s increasingly common to record high-quality audio separately. Final Cut Pro compares waveforms from the camera audio and second audio source to sync sound automatically — down to the sample level. If camera audio is unavailable, Final Cut Pro uses timecode to match recorded audio with picture. In short, syncing by hand is a thing of the past.
If you have multiple clips recorded with different microphones or in different environments, use the Match Audio feature to automatically adjust EQ for consistent sound across your project.
Bundled audio effects
Search and preview audio effects in the Effects Browser before applying them to your clips. Select from a collection of more than 100 audio effect plug-ins — including more than 40 from Logic Pro — each with its own specialised interface. All effects can be keyframed and played in real time.
Subframe audio editing
Edit audio with the greatest precision possible. Final Cut Pro supports subframe audio editing at a sample level up to 192kHz, so you can make audio adjustments with a high degree of accuracy.
Grab the fade handle at the edge of any clip or individual audio channel to control audio fade-in and fade-out directly in the timeline. Drag the handles to visually align an audio fade with action, graphics or other elements in your project. Unlike keyframe-based audio fades, trimming the audio clip leaves the fade handles intact. And with built-in options to adjust the type of fade curve (linear, S-curve, and fast or slow ramps), you have even more precise control.
Professional EQ control
Choose a 10-band or 31-band equaliser for each audio clip to make expert adjustments with high precision. Use one of the many EQ presets to get a quick start on enhancing dialogue and music.
Audio Units plug-ins
Final Cut Pro supports 64-bit, high-quality Audio Units plug-ins from professional third-party effects developers, with access to the full interface and all controls for each plug-in. Choose plug-ins for professional digital signal processing (DSP) effects, noise removal, pitch correction, reverb and more.
Record a musical performance or a voiceover directly into Final Cut Pro. Choose the input device, monitoring type and volume — all in the Record Audio interface.
Royalty-free sound effects
Download more than 1,300 royalty-free sound effects through a free software update, then access them via the built-in Music and Sound Browser.
Pick from a variety of stereo or surround presets to improve the sound of your mix. Presets include surround animations that let you instantly fly your 5.1 sound from front to back or side to side. You can also customise your mix using a graphic surround panning interface and easily add keyframes to adjust panning over time.
Whether you want to improve the colour in a scene or create a distinctive look for an entire film, you’ll find both single-click improvements and fine-grained controls in Final Cut Pro.
All colour grading begins with colour balancing. The Content Auto-Analysis feature can analyse clips for colour balance in the background as they’re imported. After your footage has been analysed, you can improve the look of any clip in the Browser or timeline with a click. The Balance Color feature uses sophisticated algorithms that increase contrast and remove colour casts while making skin tones appear more natural.
Keying and masks
To isolate and change the colour of just the sky or the skin tone of the actors in a shot, Final Cut Pro puts a powerful combination of keying and masks at your fingertips. First select the area or colour you want to affect, then apply the key by dragging across the image with an eyedropper that dynamically shows the range of selected colours. For additional control, place an adjustable mask around the key. Any mask can be keyframed over time to change shape or move with the action on the screen.
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.
Save hours of painstaking work by using the Match Color feature to instantly align the look of clips that were shot at different times of day or with different cameras. Simply choose the source shot, click your reference shot, and Final Cut Pro intelligently adjusts colours for the best possible match. You can also use Match Color with a clip of your favourite movie. If you’re looking for a sci-fi grunge or film noir look, find a reference image with the look you want and use it to match colour.
For editors who prefer hands-on control of colour, saturation and exposure, the Color Board can make quick work of common corrections. Because you can control the highlights, midtones and shadows separately from the master control, it’s easy to get the look you want.
Waveform, vectorscope and histograms
Monitor your colour and brightness values using the built-in, industry-standard waveform and vectorscope monitors. Final Cut Pro also includes a histogram view commonly found in photo editing programs like Aperture. The configurable display lets you choose to display scopes for both viewers and save screen space by arranging them vertically under each window.
Deliver your project to popular devices and destinations in a few clicks. Final Cut Pro offers a wide range of output settings designed for Apple devices, discs, QuickTime and the web.
The customisable Share interface makes it fast and easy to deliver high-quality files from Final Cut Pro. Choose from export presets optimised for a wide range of destinations, including iPhone, iPad, Apple TV and the web. Or build custom Compressor settings that you can access directly in Final Cut Pro. It’s easy to export projects, clips or ranges, and the Share window provides essential information about your exported file. Create custom bundles to deliver the same media to multiple destinations in a single step. And add Chapter Markers to quickly move between sections within a QuickTime file, DVD or Blu-ray disc. Final Cut Pro uses the power of the GPU to accelerate exports in the background, so you can continue editing.
Media stems export
Roles metadata makes it easier than ever to export a QuickTime movie with custom video and audio tracks arranged just the way you need them for delivering to broadcast or sound mixing. Combine all audio into a single multi-track QuickTime movie or export each role as a separate file. Automatically create different versions of your finished project during export, including swapping titles and dialogue for different languages, dates and locations.
Deliver your project as XML for finishing with advanced third-party compositing, audio mixing and colour-grading tools. Or send your event as XML to update an asset management system with new media tagged and organised by multiple editors. You can even choose to export a specific Metadata View with custom fields that can be read and edited by third-party apps.
Fast ProRes export
When you’re editing with ProRes media, creating a self-contained QuickTime movie for delivery is incredibly quick. Because ProRes file exports use rendered effects files without having to re-render, the output is as fast as copying a file.
Native support lets you export OP1a MXF files directly from Final Cut Pro using a variety of bundled Compressor settings.
For those who can’t wait for the world to see their latest project, Final Cut Pro features direct sharing to Facebook, Vimeo and CNN iReport — plus 4K publishing to YouTube. Final Cut Pro also lets you upload to Chinese video sites Youku and Tudou.
DVD and Blu-ray
Final Cut Pro provides several easy-to-use templates for delivering discs. Choose from a set of themed menus and burn a DVD or Blu-ray disc.* Burn a red laser AVCHD disc using DVD media on your Mac, or connect an external Blu-ray burner to create a standard Blu-ray disc for longer projects like full-length films.
*Blu-ray recorder required for burning Blu-ray discs.
HTTP live streaming
HTTP live streaming is becoming the most popular way to make video available over the web. Final Cut Pro simplifies delivery with a specially designed preset optimised for web streaming.
Working with Compressor
Use Compressor to access a full range of professional encoding features. Send a project to Compressor or create custom output settings for reuse in Final Cut Pro. You can share these custom settings with other Final Cut Pro editors, even if they don’t have Compressor installed on their workstations.
Learn more about Compressor