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Programs iPad: iTeleport. Programs iPad: iThoughtsHD. Battery Go! Nokia S Human Anatomy Ultimate. DiskAid 4. JailBreak 4. Software for iPhone and iPad: iRinger. Software for iPhone and iPad: iSpirit. To do this, place all your camera clips at the start of the timeline. Make sure there are no in or out marks. Stack the different camera angles with audio onto ascending video tracks. All cameras should be lined up at the head of the sequence and on separate tracks.

In other words, Cam 1 clips can stay back-to-back on V1, Cam 2 clips on V2 and so on. The software takes a few minutes to analyze and process the tracks and to create a new synced sequence, as well as multi-clip groups. Another project that I tested, which was a 3-camera, half-hour interview show, took a couple of minutes. These tests were both on a MacBook Pro. Once PluralEyes is done, return to FCP and you will have a new synced sequence and source multi-clip groups. In my interview show test, the studio crew recorded it in segments, so each section was broken into a separate multi-clip group by PluralEyes.

In any case, Singular lets you download a trial version to see for yourself. I will offer one caveat about sync. Since the clips are aligned based on the audio, there is no guarantee that the audio recorded by the camera itself will be in perfect sync with its own video.

This is due to the natural delay inherent in such live venues. Fortunately Final Cut offers some quick functions to adjust clip sync, either for the master clip itself or when trimming clips later during the edit.

Using PluralEyes is a no-brainer for any editor who works with multi-cam projects in Final Cut. Check it out.

On another note, Singular is also working with post solutions for the Canon 5D Mark II, which can be found here and here. In the world of plug-in effects filters, CoreMelt might seem like the new kid but that would be incorrect. CoreMelt is the brainchild of Roger Bolton, an accomplished Flame artist and visual effects veteran with numerous film credits, including Kingdom of Heaven and The Lords of the Rings trilogy.

In fact, both CoreMelt and Noise Industries recommend that you might need to do that for compatibility with legacy projects.

Previous versions installed under FxFactory show up with a CM prefix in the effects palette, whereas the new filters have a C2 prefix. Be sure to look for the installed effects in those three folders. Transition effects will have an asterisk after the name to indicate a two-layer transition effect.

Even so, these filters run fast on the laptop and adjustments are responsive. Plus, these filters are just plain fun to work with. The CoreMelt V2 product line groups filters into packs with similar functions. There have been some solid improvements to ImageFlow Fx V2. Now you have a lot more control, including such things as adding frames around the stills from a selection of preset graphic frames.

I do a lot of the color grading, so the Pigment and Luminous filters had the most appeal to me. Like many of the newer advanced filters, CoreMelt departs from the standard FCP slider parameters to add its own custom GUI in the filter control pane. If you get lost in how an effect should work, click on the CoreMelt logo and a PDF manual opens in Preview to walk you through the steps. You can pick between the standard or custom interface. Custom uses certain range-based sliders that are helpful in some of the color correction adjustments.

You may have this up the entire time or only when dragging a slider. This seems particularly helpful when making S-curve adjustments. CoreMelt breaks their products down into a number of attractive bundling options ranging from CoreMelt Complete V2 to individual filter packs. For instance, if you are only interested in the color correction tools, than all you have to do is purchase the CoreMelt Pigment pack for just those 22 plug-ins.

These filters seem to have a low system impact — in other words, safe to try. The last 6 — 12 months have seen a bumper crop of new Final Cut plug-ins and utilities that extend its power and functionality.

The cardinal mistake that I see many editors make is in how they handle file organization. I occasionally inherit projects from other editors and am confronted with missing media. The majority of the camera media relinks just fine from an external drive, but then I find a handful of clips that are offline.

Another problem is sample rate conversion of audio. FCP does an poor job of dealing with Issues like these, which are automatically handled for Avid editors by their application, require extra thought on the part of the FCP editor. Enter Loader, which helps to resolve this dilemma. Loader is designed to deal with still images, sound files and QuickTime movies that are not ingested from tape, P2, XDCAM or other professional camera format.

The application does three very simple functions:. The original images, tracks and movies are preserved and untouched. More importantly, the media that is used in the edit stays with the rest of the project files.

You get to choose where these files are to be placed at the time of the first import into the project. Apply tracking data to other text and graphics to enhance your work even more. Final Cut Pro can transform the look of video shot in Cinematic mode on iPhone With optimizations for Apple silicon and 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 incredible speeds.

Final Cut Pro features breathtaking performance and efficiency on Mac computers with Apple silicon. Tap into superfast unified memory shared across the CPU, the GPU, and the Apple Neural Engine to play back more high-resolution video streams and render your movie in record time. Complex tasks, like video analysis for object tracking or automatic cropping, are lightning fast on the Apple Neural Engine. And with hardware acceleration of encode and decode, ProRes performance is staggering — in some cases, delivering playback capabilities that are a first for any Mac.

With great new 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. In the browser you can now create and save custom column views and search for media using clip names, markers and notes.

Also quickly sort clips by proxy, optimized or missing media types. 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. Learn more about Motion. 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 for advanced audio mixing. Learn more about Logic Pro. 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. Learn more about Compressor. 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. 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. Learn more. Use keyframes to adjust corrections over time, and apply camera and creative Look Up Tables LUTs for the perfect look. 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.

Shoot on industry-standard cinema cameras, or in stunning Dolby Vision with the latest iPhone models.