While I can see it becoming a nuisance when maneuvering intricate sequences with carefully placed audio and video, the fact that it automatically keeps your from de-synchronizing parts of a project due to user error is a big plus. The magnetic timeline is going to be one of those love it, or hate it features. That makes sense from a library management perspective, but it's a shame you can't do it from both places. While it's very straightforward to add and apply range-based keywords from the media library, you can't do it on the timeline. This is incredibly useful, but I found the implementation less than intuitive. You can give any section of the video one or more of these keywords, making it easy to search or categorize sections of a clip for later use. While there's no people finding, as there is in iPhoto-meaning a way to identify and mark clips with specific people-Final Cut Pro X introduces a new organization tool called range-based keywords that are effectively timed tags. The popular people finder, and shot analyzer are new features for Final Cut Pro X. You can preview what a shot will look like with one of these effects without having to apply it, which is very handy. There are a number of effects settings and templates that make it easy to adjust a clip right from the timeline, then keep going with a project. This can potentially be a pain for bigger projects you may want to tweak, but it's nice your settings are kept in the first place. Instead, users have to ditch the color corrections entirely and start anew. To ease the transition, the software is capable of bringing over any color corrections you made in iMovie, which cannot be further adjusted using Final Cut Pro X's more granular controls. ![]() Missing are features like iMovie '11's movie trailer feature, so there's still a reason to go back if you're looking for a template-style movie making experience. Options for finding media, setting transitions, and penning titles are all in the same place. ![]() There's no simple or "iMovie style" view to toggle in Final Cut Pro X, but iMovie users will find themselves in familiar territory. And it will set you back $300 instead of the $1,000 its predecessor cost. Now if you want to get your foot in the door with something beyond iMovie-the editing software that's included in every new Mac-there's Final Cut, the company's top of the line software. ![]() Apple has done away with Final Cut Express, the $199 version of Final Cut that was nestled between iMovie and the Final Cut Studio suite. While it's aimed at pros, it's become a more consumer-friendly product. What's so interesting with Final Cut Pro X is where it now sits as a product in Apple's software lineup. These days Apple has made it so you can handle both those edit scenarios from your phone and places where you might end up posting the video-like YouTube-offer video editing tools of their own. Since then, my video editing habits have taken a distinctly YouTube-centric twist, cutting the shaky, button-fumbling snippets at the beginning and the end of clips and hopping into iMovie if I needed to do anything more substantial.
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