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May 19, 2015  Film Touch (iPhone, iPad, $9.99). Though it was designed around commercials, industrials and music videos, Film Touch also comes in handy when you can’t keep track of old call sheets or remember.

• Audio Post Production Software
• Post Production Video Editing Software
• Video Production Software For Pc
• Best Video Production Software
• Video Production Software For Mac
• Video Post Production Software

Audio Post Production Software

Work at a faster clip.

• This is plenty of time to finish post production on a moderately sized project or to at least get a rough cut done before you must pay for a subscription. The same applies to Final Cut Pro X – it has a 30-day free trial before you have to purchase the software outright.
• Here then is our selection of the best live streaming and video broadcasting software for Mac of 2020 in order of ranking. Wirecast Studio (Desktop) When it comes to live streaming, broadcasting or any kind of video production on Mac, Wirecast Studio is easily.

With its modern Metal engine, Final Cut Pro allows you to edit more complex projects and work with larger frame sizes, higher frame rates, and more effects — all at blazing speeds. And it’s built to harness the extreme power of the new Mac Pro for next-level performance.

Accelerated performance with Metal

Metal dramatically accelerates graphics tasks like rendering, real-time effects, and exporting. Video editors on 15-inch MacBook Pro will benefit from render performance that is up to 20% faster while editors using iMac Pro will see gains of up to 35%.¹ And when you’re working on a system with an eGPU attached, you can select which GPU to use — internal or external — for peak performance.

Optimized for the all-new Mac Pro

For the ultimate editing experience, run Final Cut Pro on the world’s fastest Mac, the new Mac Pro. Final Cut Pro takes advantage of all the GPUs in Mac Pro and uses multithreading to spread tasks across up to 28 cores. And when equipped with the optional Afterburner card, Mac Pro delivers the fastest ProRes and ProRes RAW performance ever with dynamic distribution of decoding across Afterburner and multicore CPU. So you can do things like edit video, create motion graphics, and color grade in groundbreaking 8K resolution. All at maximum velocity.

The tools you need. From start to finishing.

With innovative features and an intuitive design, Final Cut Pro accelerates post-production. So editors can create and deliver at the speed of thought.

The Magnetic Timeline allows you to easily experiment with story ideas by moving and trimming clips without collisions or sync problems. Use Compound Clips to bundle separate video and audio clips into a single movable package, create Auditions to try out multiple takes in the timeline, and use Synchronized Clips to align video with second-source audio automatically. Color coding makes it easy to identify different types of content, with the ability to customize the look of your timeline while you edit.

Final Cut Pro offers the most advanced organizing tools of any professional video editing application. Easily tag entire clips or clip ranges with metadata for searching, and create Smart Collections that automatically collect content according to a set of custom criteria. Skimming lets you efficiently browse hours of material in a more visual way, so you can identify what you want in seconds.

Create 2D and 3D titles right in Final Cut Pro, apply and modify filters, and use the built-in chroma key for high-quality green- and blue-screen effects. Expand on the built-in effects with thousands of third-party tools and templates. And for even more control, use Motion to create stunning titles, transitions, generators, and effects you can access from Final Cut Pro.

Final Cut Pro lets you edit multichannel audio using built-in tools for removing background noise and optimizing levels. Adjust multichannel audio files in the timeline or open the inspector for more information and options. Choose from dozens of bundled plug-ins for audio compression, EQ, and more — or send to a professional audio application like Logic Pro X for advanced audio mixing.

Quickly encode video using the power of multicore CPUs and high-performance GPUs. Take advantage of presets to deliver ultra-high-quality masters or files optimized for iPhone, iPad, Apple TV, and websites like YouTube and Vimeo. And batch exporting makes it fast to deliver multiple files or projects in multiple formats. You can also use Compressor to create custom export settings that appear right in Final Cut Pro.

Multicam

The industry’s most advanced multicam editing lets you automatically sync up to 64 angles of video with different formats, frame sizes, and frame rates. View up to 16 angles at once in the Angle Viewer. And open the Angle Editor timeline to move, sync, trim, add effects, or color grade individual clips.

Video noise reduction

Improve the look of archival and low-light images with powerful noise reduction tools that reduce or eliminate grain and video noise. Simple controls let you quickly adjust intensity, and it’s easy to change processing order by dragging the effect in the inspector.

Motion and Compressor

Create stunning effects and sweeping graphics with Motion, including studio-quality 2D and 3D titles you can open and adjust in Final Cut Pro. Use Compressor to create custom export settings and streamline delivery of your movie to the iTunes Store. And because Final Cut Pro, Motion, and Compressor all share the same Metal architecture, you’ll experience blazing performance and consistent rendering across applications.

Compressor

Advanced color grading.
Every pixel closer to perfection.

Professional color grading tools are built into Final Cut Pro, including a dedicated color inspector with color wheels, color curves, hue/saturation curves, and keyframes to adjust corrections over time. You can work with High Dynamic Range footage on recent Mac systems that display an extended range of brightness. Or connect the all-new Pro Display XDR for the ultimate HDR experience.

Unique color wheels improve on traditional controls by combining hue, saturation, and brightness into a single, simple interface.

Color and luminance curves allow ultrafine level adjustments with multiple control points to target specific color and brightness ranges.

Sample a color with an eyedropper and change just the hue, saturation, or luminance of a specific color within the image.

Work closer to reality than ever before with HDR video. Import, edit, grade, and deliver incredibly lifelike images with Final Cut Pro. High-resolution scopes reflect HDR brightness levels as you edit, and tone mapping lets you easily convert HDR to Standard Dynamic Range output for broadcast. You can view beautiful HDR content on a wide range of Mac computers that use the reserve brightness of the display to show an extended range of light levels.

HDR on Pro Display XDR

View High Dynamic Range video the way it was meant to be seen. The gorgeous new Pro Display XDR delivers 6K resolution and 1000 nits of sustained brightness for HDR editing, grading, and delivery with Final Cut Pro. And setup couldn’t be simpler — just connect a single Thunderbolt cable from your Mac to Pro Display XDR to use it as an additional display or video monitor.

Post Production Video Editing Software

ProRes RAW. The flexibility of RAW with the performance of ProRes.

Import, edit, and grade pristine video with RAW data straight from your camera sensor. Work with ProRes RAW files and experience all the creative advantages of RAW with the seamless performance of ProRes. And with Mac Pro and the Afterburner card, you can edit in ProRes RAW faster than ever before.

ProRes performance

Remarkably smooth playback and real-time, multistream editing are part of the ProRes RAW package. The format is optimized for macOS and the latest Mac computers, allowing you to render and export faster than with other RAW formats. And if you’re working on Mac Pro, the optional Afterburner card accelerates ProRes RAW performance so you can edit at 8K resolution in real time. Since ProRes RAW files are smaller than standard formats, you can fit more footage on every card.

RAW flexibility

Work with untouched image data directly from your camera sensor. RAW files provide maximum flexibility for adjusting the look of your video while extending brightness and shadows — an ideal combination for HDR workflows. And ProRes RAW preserves more of the original image data, making it a great format for archiving.

Workflow extensions. Extend the power of Final Cut Pro.

Work directly with powerful third-party applications — without leaving Final Cut Pro.

Use the Frame.io extension to simplify review and approval. Drag and drop clips and timelines, jump between markers, and review comments and annotations in real time from your Frame.io collaborators.

The Shutterstock extension lets you browse stock photos, videos, and music while you edit. Drag and drop watermarked files into the timeline and easily replace them later with licensed, high-resolution versions.

Connect directly to CatDV and KeyFlow Pro media asset management systems so you can browse, mark, and transfer files from within the Final Cut Pro interface.

Simon Says uses AI to transcribe and translate audio in 100 languages. Drag and drop clips and timelines into the extension to easily create accurate subtitles and captions for your Final Cut Pro project.

360° video. Take your work further. In every direction.

Final Cut Pro includes a complete toolset for importing, editing, and delivering both monoscopic and stereoscopic 360° video.

360° editing

Import and edit 360° equirectangular footage in Final Cut Pro. Open the 360° viewer to see a headset view of your footage, and take advantage of simple tools for changing orientation, straightening the horizon, removing camera rigs, and more.

360° graphics and effects

Easily add 2D and 3D titles to your 360° video and apply blurs, glows, and other 360° effects. Or create more advanced 360° motion graphics in Motion, then add them directly to your Final Cut Pro project. You can even add 360° video to non-360° projects, using the Tiny Planet effect to create interesting spherical looks and animations.

VR headset playback

Watch your 360° video in real time with a VR headset like the HTC Vive Pro. Choose to mirror the headset view in Final Cut Pro, or turn off mirroring to watch video in the headset while independently controlling a separate view on your monitor.

Closed captions. Open to all.

Final Cut Pro includes an intuitive, comprehensive set of tools for closed captioning in a variety of formats, without the need for expensive third-party software or services. You can create, view, and edit captions within Final Cut Pro, and deliver them as part of your video or as a separate file.

Add an existing caption file to your project and Final Cut Pro automatically connects each caption to the corresponding video or audio clip in your timeline.

Type captions from scratch — in multiple languages and formats — and watch the text play back in real time right in the viewer.

Attach captions to connected audio or video clips in the timeline so they move in sync with your edit. It’s easy to adjust text, color, location, and timing in the captions inspector. And the enhanced Timeline Index lets you quickly search and select captions, or use captions roles to instantly switch between different versions.

Export captions in the industry-standard CEA-608, iTT, or SRT formats. Or burn them directly into your video. When delivering, you can choose to embed caption metadata in your video file or create a separate sidecar file. Captioned videos can be shared directly to YouTube and Vimeo. And you can send your project to Compressor to include captions in a batch or an iTunes Store package.

Step up from iMovie to Final Cut Pro.

iMovie is the easiest way to start making movies. And when you’re ready to ramp up production, it’s effortless to switch to Final Cut Pro from iMovie for iOS or iMovie for Mac. You’ll cut faster and more precisely with advanced editing tools, improve the look of your projects with third-party plug-ins, and easily integrate video recorded with professional cameras from RED, Sony, Canon, and more. You can import your iMovie projects right into Final Cut Pro, so you won’t miss a beat — or a cut — when you upgrade.

Third-party tools to make your workflow flow.

Choose from thousands of custom transitions, titles, and motion graphics. Work directly with powerful applications through workflow extensions in Final Cut Pro. And take advantage of other third-party tools for advanced tracking, EDL and AAF interchange, and more.

Five amazing apps.
One powerful collection.

Unleash your creative potential with the Pro Apps Bundle for qualifying college students, teachers, and education institutions. Get all five professional applications for video and music creation at a special price — including Final Cut Pro X, Motion, and Compressor, along with Logic Pro X and MainStage.

Video Production Software For Pc

The new Mac Pro offers powerful performance, but which video editing applications are best suited for the system?

Two of the main benefits of those cores packed into the new Mac Pro is the ability to split (thread) parts of high performance tasks to each core, therefore getting the job done faster, and sending computational instructions to the two GPU’s that ship with each Mac Pro configuration.

But as the Mac Pro is new, there aren’t a load of software applications that are ready to do that multi-threading work. So what software works best on the new Mac Pro?

Final Cut Pro X on the Mac Pro

As FCPX 10.1 is obviously Apple’s own product, it works extremely well on Apple’s own hardware. FCP.co posted this report on their first 24 hours with the new Mac Pro and had this to say about the performance in FCPX:

For the purposes of testing, I decided I’d try and see what I could do in real time. I took a quick trip into FCP’s preferences, disabled the background rendering function and enabled the dropped frames warning. Next, I switched the Viewer’s menu from the default “Best Performance” option to “Best Quality”. With these settings in place, skimming and playback was very responsive, with the exception of the 4K RED RAW footage which dropped frames on playback (though skimming was absolutely fine).

Best Video Production Software

Barefeats.com did their own FCPX and MacPro test and posted these results. Interestingly in these Mac Pro benchmarks the 6-core D500 configuration beat out the 12-core D700 config.

It may have to do with core clock speed since FCPX uses only 8 cores to render the two effects. Motion uses only 3 cores to render the RAM Preview. In other words, the 12-core Mac Pro has no advantage over the 6-core (12 with hyperthreading) — at least in this instance.

Phillip Hodgetts, who is an outspoken supporter of FCPX, posted this video of FCPX playing back 5 streams of native RED RAW files in real time.

Now FCPX is probably doing ‘adaptively debayering’ in order to achieve this – which colorist Juan Salvo had this to say about it:

Video Production Software For Mac

@lettershome FCPX is doing adaptive debayer… Between 1/8-1/2. If you force full res you’ll get same shitty/awful performance on both.

— Juan Salvo (@j_salvo) December 23, 2013

DaVinci Resolve 10 on the Mac Pro

It is interesting to note that the other ‘headline’ software that Apple point to on the official Mac Pro site is Blackmagic Design’s DaVinci Resolve 10. Is it a sign of Resolve’s ever growing market domination in the color grading world? Whatever it means here is a round up of what some colorists make of the new Mac Pro:

In the latest Coloristo’s podcast Jason Myres leads a discussion on his round of color grading tests on both a 6-Core and 12-Core machines in Resolve 10. The colorist’s conclude that the 8-Core with a D700 and 32gbs of RAM might be the sweet spot in terms of best bang for buck. For a full run down of all the tests, the results and what they all mean, plus a PDF download of the results, head over to the Lift Gamma Gain forum. Very interesting listening!

Colorist Tom Parish has blogged about his experiences in testing the new Mac Profor color grading and whether an iMac might be a betterbuy depending on your performance requirements.

Yes, the Mac Pro is quiet. Frankly, I never heard it, as even the quietest disk drives seemed to be louder than Mac Pro. On the tests below where I rendered 5K files using the full debayering feature, the Mac Pro was pushing warm air out the top but there was no loud rush of fan noise. This to me is a huge deal for me. I do a lot of audio work. It’s critical to keep my studio as quiet as possible, so that’s a plus.

Video Post Production Software

If you’re still wondering about the difference between the Nvidia GPU vs the AMD GPU discussion then this short post from Linear Post should help you out.

Although this next link from Business Insider, is a complete aside from color grading, it’s interesting to see that studios like Pixar are using the Mac Pro in their pipeline.

Premiere Pro CC on the Mac Pro

Philip Hodgetts has run some ‘real-world’ tests on the updated version of Premiere Pro with R3D files, based on the simple test mentioned above.

Bottom line is that the Mac Pro 2013 is a very fine computer for Premiere Pro CC given an optimized release (mid December 2013, version 7.2.1). The performance of both Premiere Pro and Final Cut Pro X on this hardware is way more than most people need, most of the time.

The 7.2 release of Adobe Premiere CCprovided support for the dual GPU’s found in the Mac Pro – although only one is used for playback, but both increase the speeds of exports.

Adobe Media Encoder Vs Compressor on the Mac Pro

Larry Jordan has two interesting articles on video compression on the Mac Pro. In this first article he compares it’s performance to an iMac, performing a plethora of tests with different types of video content, codecs and lengths. You can download a comprehensive PDF of all of Larry’s results here.

During the course of this test, I learned that the Mac Pro does not support hardware acceleration, that clock speed is only part of the equation – with or without turbo boost – and that different codecs yield different results on both systems. It will be very hard for any Mac Pro to beat the hardware acceleration in an iMac.

In this second article Larrycompares the performances of Adobe Media Encoder to Apple’s Compressor 4.1. As you’ll see from the length of the article and the number of updates to it, it is not a straight forward comparison, but it is worth a read to get to the bottom of what is happening. In the end Larry concludes that:

If MPEG-4 is your prime focus, AME may be the better choice. If QuickTime movies are your primary focus, Compressor wins. AME is the best choice for Flash. Compressor for HTTP Live Streaming.

Finally, Larry also has this interesting tip on speeding up your video compression speeds using multiple instances of Compressor 4.1