Final Cut Pro combines unmatched scalability, precision editing tools and seamless workflow in one high-performance, comprehensive application. Now supporting DVCPRO HD capture and output over FireWire in addition to HD-SDI capture over PCI, Final Cut Pro HD works with the widest range of input formats available. Edit AVCHD!
Released:Jan 19, 2017
10.3.2 (January 19, 2017)
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Download Final Cut Pro X 10.3.2 [2867MB] [Mac]
What's New in Version 10.3.2
Ability to add custom folders of audio files to the Sound Effects browser
Using ripple delete on audio-only clips no longer disables the selected range
Audio meters retain custom width after relaunch
Improves responsiveness when editing very long projects
Improves performance when exporting H.264 files and changing frame rate
Exporting ProRes 4444 files with transparency using Compressor creates a correct alpha channel
Fixes an issue in which adjusting the line spacing of multi-line titles only applied to the first line
Fixes an issue in which secondary storylines with mixed roles could overlap in the timeline
Fixes an issue that could prevent burning Final Cut Pro projects to DVD via Apple USB SuperDrive
What's New in Version 10.3.1
Fixes an issue with cropped images in the Viewer when the Language & Region System Preference is set to Spanish
Fixes issues with updating libraries
Fixes an issue when using Paste Attributes to copy color correction between clips
What's New in Version 10.3
Redesigned dark interface puts the focus on your video
Configure window layouts into custom workspaces for tasks like organizing and color grading
Fill a second display with the timeline or hide the timeline completely
Expand the Inspector to full-screen height
Magnetic Timeline 2
Color coding of clips based on roles such as dialogue, music, and effects lets you understand your project at a glance
Create, assign, and customize the colors of roles to identify different types of audio and video clips
Enhanced Timeline Index lets you drag and drop audio roles to rearrange the layout of your timeline
Focus button in the Timeline Index lets you highlight specific audio roles and collapse all others
Show Audio Lanes button in the Timeline Index displays a structured timeline layout with dedicated spaces for each audio role
Add audio effects and keyframe audio volume changes to an entire role within a Compound Clip
iXML support enables automatic creation and assignment of roles based on metadata from an audio field recorder
Create and manage a unique set of roles for each Final Cut Pro library
Images are now viewable in wide color on supported Mac computers and external displays
Import, edit, and deliver video in standard Rec. 601 and Rec. 709 color spaces, or in wide Rec. 2020 color space
Configure color spaces for both libraries and projects
Log footage from ARRI, Blackmagic Design, Canon, Panasonic, and Sony cameras, as well as RED RAW footage, can be manipulated in real time while preserving wider color
Range check overlay in the viewer highlights areas out of the standard RGB range
Video scopes display wide color in real time
More Video Formats
MXF-wrapped Apple ProRes provides a flexible new format for broadcast delivery
MXF master file export uses audio roles to configure industry-standard channel layouts
Support for Canon Log2/Cinema Gamut and Panasonic V-Log
Support for Sony XAVC-L at 4K for the Sony PXW-FS7 and PXW-X70 cameras
Playback support for Panasonic AVC-Intra LT
Export AVC-Intra files
Flow transition seamlessly merges jump cuts to remove pauses or mistakes in on-camera interviews
Remove Effects and Remove Attributes commands let you delete specific effects from clips
SMB 3 network support enables library access on network-attached storage devices
Timecode effect displays clip name and source clip timecode in the Viewer and in exported files
Copy and paste timecode to speed up numerical entry from text documents
Consolidate custom Motion projects into individual Final Cut Pro libraries
Option for continuous playback of clips in the Browser
Search custom metadata in the Browser and Timeline
Search Timeline Index for Auditions, Compound clips, Multicam clips, and Synchronized clips
Ability to roll trim on adjacent anchored clips
Larger Media and Content browsers provide more space for viewing photo libraries, sound effects, music, titles, and generators
Skim and select ranges of audio files in the Music and Sound Effects browser
Use a Thunderbolt cable for direct A/V output to an external display, without the need for a separate I/O device
XML 1.6 supports role-based audio components for Magnetic Timeline 2
Enhanced XML support lets you import projects and clips into existing events
Ability to drag and drop clips, projects, and events as XML with supported applications
What's New in Version 10.2.3
Customizable Default Effect lets you choose both a video and audio effect that is assigned to a keyboard shortcut
4K export preset to create video files for Apple devices
Improves speed when opening libraries on a SAN
What's New in Version 10.2.2
Native support for Sony XAVC-L and Panasonic AVC-Intra 4:4:4 up to 4K resolution
Import Canon XF-AVC 8-bit video files with Canon plug-in
Export interlaced H.264 video
What's New in Version 10.2.1
Restores support for Panasonic AVCCAM video at 25p and 30p
Improves accuracy when dragging to select a range in the Timeline
Fixes an issue that may cause Final Cut Pro to quit on launch
What's New in Version 10.2
Requires OS X 10.10.2 or later
Introducing 3D titles
Beautifully animated and easily customizable 3D text
Simple templates to get started quickly
Cinematic templates with built-in backgrounds and animations
Large collection of text styles to create stunning looks in one click
Customize your titles with hundreds of combinations of materials, lighting, and edges
Additional controls let you adjust environments, shadows, and more
Instantly convert any 2D title to 3D
Open any title in Motion to add multiple lights, cameras, and tracking
Display up to four video scopes simultaneously
Apply super ellipse Shape mask to any clip
Apply Draw mask to any clip, with options for linear, bezier, or B-spline smoothing
New Shape and Color mask controls for every effect
Instantly display the alpha channel for any effect mask
Save custom effects as presets for quick access
Color Board merged into the new Color Correction effect
Rearrange the processing order of Color Correction effect
Improved keyframing with better motion smoothing
Improved optical flow for beautiful slow motion on a wider range of content
Better performance of FxPlug plug-ins and built-in effects that use multiple frames like Visual Echo and Trails
Panasonic AVC-Ultra codec family
Import Sony XAVC and XDCAM formats without separate plug-in
JVC H.264 Long GOP
GPU-accelerated RED RAW processing with support for dual GPUs
Support for RED RAW anamorphic formats
Smart Collections can be used at the event and library level
Import window consolidates all options into single sidebar
GPU rendering when using Send to Compressor with support for dual GPUs
What's New in Version 10.1.4
Native MXF import, edit, and export with Pro Video Formats 2.0 software update
Option to export AVC-Intra MXF files
Support for import and editing with Panasonic AVC-LongG media
What's New in Version 10.1.3
Fixes reliability issues when burning a Blu-ray Disc or creating a Blu-ray disk image
Color corrections pasted between clips are retained during Share
Effects applied to clips in the Browser in prior versions of the app are retained when adding those clips to the timeline
XML round-trip imports correctly when using gap clips
Improves reliability of automatic library backups
Improves stability when skimming growing files in the Browser
Introduced in Version 10.1.2
Optimized, proxy, and rendered media can be stored at any location outside of the library
Easily delete optimized, proxy, and rendered media from within Final Cut Pro X
Used media indicators for Compound clips, Multicam clips, and Synced clips
Option to show only unused media in the Browser
Apply a standard (Rec. 709) look in real time to high dynamic range and wide color gamut video from ARRI, Blackmagic Design, Canon, and Sony cameras
Automatically apply an ARRI embedded 3D LUT from the new AMIRA camera
Support for Apple ProRes 4444 XQ
Improved speed and accuracy when synchronizing clips
Audio recording improvements including countdown and automatic Audition creation from multiple takes
Fast export of cuts-only projects containing XDCAM media
Export entire library as a single XML file
Selecting a library displays key metadata in the Inspector
Adjust relative and absolute volume of a clip or range selection
Create Keywords from Finder Tags when importing media
Option to sort events by date or name in the Libraries list
Import a clip by dragging directly into the Browser
Share 4K video to Vimeo
What's New in Version 10.1.1
Preserves media files if external drive or network is disconnected while consolidating a library
Resolves an issue loading audio content in the Music and Sound Browser
Fixes a stability issue when applying a Motion effect with Scroll Text behavior
What's New in Version 10.1
Optimized playback and rendering using dual GPUs in the new Mac Pro
Video monitoring up to 4K via Thunderbolt 2 and HDMI on select Mac computers
4K content including titles, transitions, and generators
What's New in Version 10.0.9
Addresses issues resulting in green artifacts when using Sony XAVC media
Fixes several issues related to interlaced media and retimed segments which could cause exports to fail
Includes stability improvements
Final Cut Pro X. Whats New.
Final Cut Pro 7. Whats New.
Final Cut Pro 6. Whats New.
New features in Final Cut Pro 6 offer more ease of use and flexibility than ever including expanded format support and deeper integration with the other applications in Final Cut Studio 2.
Open format Timeline
The new open format Timeline in Final Cut Pro 6 lets you mix and match source material in a wide range of formats and even different frame rates. Freely edit a combination of HD and SD, including NTSC and PAL, all in real time.
Apple ProRes 422
Final Cut Pro 6 introduces ProRes 422, Apples new post-production format offering uncompressed HD quality at SD file sizes. Use ProRes 422 when collaborating over an Xsan storage network or working on a portable computer in the field; when working with non-native camera formats; or to preserve maximum quality for composites and demanding color grading work.
The SmoothCam feature automatically smoothes out shaky shots while preserving standard camera moves like dollies, pans, and zooms. SmoothCam uses powerful optical flow technology to analyze your footage in the background while you continue to edit other material.
Deep integration with Motion 3
Editable Motion 3 master templates complete with video drop zones and text fields let you easily update content without leaving Final Cut Pro. Send clips from Final Cut Pro to Motion for advanced image processing, including sophisticated retiming effects and image stabilization. Data from variable speed changes and SmoothCam adjustments made in Final Cut Pro appears in Motion along with your footage.
FxPlug filters and transitions
Add to more than 150 real-time filters and effects in Final Cut Pro 6 by bringing in third-party filters based on the FxPlug standard the format used to produce the extraordinary real-time effects in Motion. Leading developers use FxPlug to create hundreds of real-time, GPU-accelerated plug-ins at 32-bit float quality. Final Cut Pro 6 includes more than 25 new FxPlug filters to get you started.
New Soft Normalize and Gain controls can be applied to single or multiple clips to automatically raise the level of any clip to its maximum without distortion. Create a surround sound mix in Soundtrack Pro, then return to Final Cut Pro to monitor your audio in full 5.1 surround sound as you continue your video edit.
Setting up a sequence is now as easy as dragging and dropping. Final Cut Pro instantly configures the setup to match the format of the first clip you drop into the Timeline. For manual setups, the Easy Setup feature takes you through three simple choices. Select a format category (for example, HDV), frame rate, and finally the specific format. Each list shows you only the options you need based on the other choices youve made.
Integration with Color
When you want to give your finished project a specific cinematic look or if you need to do significant color correction across the entire project send it to Color for advanced color grading with round-trip ease. Color can also be used in Digital Intermediate workflows to color grade and output high-resolution film scans.
Cinema Tools 4
Cinema Tools 4
Cinema Tools 4 includes a streamlined interface that helps you work more efficiently than ever. Customizable film lists now let you mix timecode and keycode in the same list. Output beautifully formatted, easy-to-read PDF lists for reference or to share with clients. You can also export your lists as XML and import them into industry-standard tracking systems used to pull film negatives.
New in Final Cut Pro 5.1.1 Update
* Optimizes application compatibility on specific hardware and fixes critical bugs
Final Cut Pro 5
* Real-time, native HDV editing: Work with HD as easily as you work with DV.
* Multicamera editing: View simultaneous, multicamera playback in real time for on-the-fly editing.
* Dynamic RT: See more real-time effects than ever thanks to dynamic image quality and frame rate scaling.
Acronyms / Also Known As
Final Cut Pro, Final Cut Pro X, FCP, Final Cut Express, FCPX, Apple Final Cut Pro
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While I wouldn't go so far as to say it's "the standard by which all others are judged" (because, 8 years after I bought my first copy of FCP, I STILL compare it to Avid Media Composer...), FCP is a tremendously impressive, easy to use program that will allow any professional editor to shine, without getting in the way (for the most part).
But...you may be seeing some reservations, and you would be right.
-I ABSOLUTELY HATE the grey-on-gray interface, with it's tiny window headers, puny type, and windows (especially the viewer window) which don't resize properly or consistently.
-It loses render files like nobody's business. Not so bad on my little local system, but a major pain in the patoot on the Xsan-based networked systems I work on.
-Apple is a little slow to implement support for newer compressed formats of video (anyone remember version 5, HDV and the Apple Intermediate Codec?), expecially when compared to the format-agnostic leanings of, say, Vegas.
-the keyframing interface can be balky, frustrating and downright difficult to use when you're tired and it's late in the session...those little black diamonds just don't effing go where you want them
-and who in god's green earth decided that the "Center" function shouldn't have a "smooth" keyframe mode accesible from the keyframe window, but instead, from the Browser window, and only when you have the wireframe view mode turned on? Stupid, stupid, stupid.
-needs to be restarted, and/or have prefs tossed, far too often. NEVER have to do this on any Avid I've worked on (and I've worked on plenty, both PC and Mac).
That being said, FCP is definitely the biggest bang for the buck out there...I've made a business using this software!
Mar 24, 2008 Version: 5.1.4
OS: MacOSX Ease: 8/10
Final Cut Pro has been the standard by which all video editors are compared. I've switched platforms from a PC using Adobe Premiere to Mac's OS X using Final Cut Express HD. Compared to Premiere, Final Cut is blazingly fast and has a superior interface. Final Cut Pro and Final Cut Express HD have a near identical interface. Express is less than 1/3 the price of Pro and with some careful shopping around you can find it for 1/10th the price. With the cheaper Express version ($300 msrp/$170 street) you will loose some advanced video editing features and Apple's mpeg encoder - stuff I never use anyway. Apple's mpeg encoder (bundled with "Pro") has been a problem for many and those who have it tend not to use it. Save yourself some money and buy Express and an mpeg2 encoder which supports Apple's codec. I have been using TMPGEnc (running under Parallels) to encode for DVD after editing on the Mac with excellent results. Multi-track and single-track editing can be mixed and rendering is faster and easier.
Jan 22, 2007 Version: Express HD 3.51
OS: MacOSX Ease: 9/10
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