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If you are a Final Cut Pro X user, you may find that certain built-in effects and generators are fairly limited in terms of parameters that you can adjust.

For example, the built-in gradient generator doesn't allow you to change colors.

Well, the fix is simple. This tutorial requires that you have Motion 5 installed.  If you have Motion 5, you can make changes to any built-in effect within Final Cut Pro X.  You can then create new effects with all the parameters and adjustments that you need.

Check out this short tutorial on how to publish new parameters within Final Cut Pro X by using Motion 5.

Click on the title of this blog for the full tutorial.
Here is short tutorial on how to import hi-res images from iPhoto into Final Cut Pro X.  Also, In this tutorial you will learn the following:

  • Creating a video slideshow from your hi-res photos
  • Changing the duration of all your clips at the same time
  • Adding multiple transitions all at the same time

Click on the title of this blog to read the full tutorial.

FCPX's Import Camera tool makes it stunningly easy to import video from your camera and jump right into editing.  This brief walkthrough illustrates just how easy that can be, whether you intend to import all of the video from a camera, some of the shots, or even selected portions of shots on the camera.  Enjoy the video, and see the bonus protip after the jump...

UPDATE: I've got some bad news for Windows fans who were hoping Final Cut Pro would run on a Windows operating system.  With the introduction of Final Cut Pro X, it's unlikely you will ever see a version that will run natively in Windows.  Apple has rewritten FCP using more than just modern coding techniques like 64-bit programming.  The new Final Cut Pro X is built on technologies exclusive to Apple's Mac OS X operating system.

If you're committed to editing on a Windows machine, Adobe Premiere is the most direct alternative to Final Cut Pro.  Avid Media Composer also runs on Windows.  It's popular in high-end workflows, but more expensive and more difficult to learn.  We teach Adobe Premiere and Media Composer classes for both Windows and Mac.

The good news is that moving to the most popular editing software in the industry is cheaper and easier than ever.  Even an entry-level MacBook Air ($999 at time of writing) will run FCPX, albeit slowly—and the price of Final Cut Pro has plummeted to just $299 for a license good on every Mac you own or use.  There's even a free, full-featured trial available for your Mac if you want to test drive Mac OS and Final Cut.

Final Cut X does away with sequences, which, in previous versions, provided an unlimited number of "Timelines" within a single Final Cut project.  Each sequence's Timeline could contain a completely independent set of clips and other sequences.  Editors would depend on multiple sequences per project for two main reasons: tracking older versions of sequences and "nesting" sequences into other sequences.  This nesting process made it easier to organize long, complex projects.  The editor could assemble all of the hundreds of pieces of an individual scene or segment in its own sequence, then the editor could assemble those larger sequence "chunks" into a master sequence.

Screen shot 2011-11-08 at 4.07.10 PM.png
Screen shot 2011-11-08 at 4.07.21 PM.png
The "old way" in Final Cut Pro 7

At first glance, FCPX only provides one Primary Storyline per project.  That would seem to break both the versioning and the nesting uses of multiple sequences.  Indeed, you can't simply duplicate your "master sequence" to keep a copy of it as you may have before (although you can still duplicate your entire FCPX Project, and as Lion's file versioning system catches on, you'll probably use it to manage your FCPX projects too).  But for the second use case–nesting chunks of a project for organizational purposes–Final Cut Pro X has introduced a whole new type of object: the Compound Clip.

Discussion and examples after the jump ...
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