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In an attempt to convince professionals to give Final Cut Pro X a chance, Apple has introduced a trial version which anyone can now download, install and use on their Mac free of charge for 30 days.
Apple then offers the installation instructions which basically have users dragging and dropping the trial software in their Applications folder. Users can install the trial application even if a prior licensed version of Final Cut Pro is present on their hard drive. Clicking on the Download Now (Visit Site) button above will open a connection to a third-party site.
The bottom line: Final Cut Pro X is truly a dramatic rewrite of Apple's mature and well-developed video-editing software.
Final Cut Pro X's bold philosophy of video editing will definitely take some getting used to, but in return, editors will be rewarded with blazing performance and a future where tapes are as outdated as wax cylinders. It's been three years since Apple last updated its venerable Final Cut Studio 3 suite of applications. Second, computers have gotten a lot faster, with multithreaded cores and GPUs that can generate lifelike 3D graphics at 120+ frames per second at resolutions double that of even 1080p video. Now, imagine the frustrations that editors feel when running Final Cut Pro on a Mac Pro with 16GB of RAM and eight cores, only to discover that FCP can only address 4GB of memory and only a few operations and codecs support any multithreaded operations.
Third, like how blogging gave everyone the ability to compete with the likes of major newspapers, magazines, and publishers, YouTube, Vimeo and other online video-sharing sites are giving legions of wannabe filmmakers a platform to display their work and show Hollywood that you don't need millions of dollars to create something that hundreds of millions of people will see.
Finally, many things can be said about Apple, but one thing that the company truly embraces is change. With all those forces at work, Apple is doing the same transition with Final Cut Pro as it did with Mac OS. Apple surprised the Mac world when it announced that Mac OS X Snow Leopard 10.6 wouldn't contain many major new features, but instead was an under-the-hood improvement to the OS X operating system.
The original Final Cut Pro took very little advantage of any of these new leaps because it was still shackled to a 10-year-old code base and 32-bit Carbon APIs. In the new Final Cut Pro X, Apple rewrote the whole application from the ground up to finally support 64-bit Cocoa APIs, but also to take advantage of the power of GPUs through programming frameworks like OpenCL and multithreaded operations. For an extra $49 apiece, you can purchase Motion 5 and Compressor 4 as add-on companion apps to Final Cut Pro X. Final Cut Pro X also has the distinction of being the first app available for voluming licensing.
Still, it's a far better and easier installation method than the previous Final Cut Studio, which required swapping out DVDs repeatedly for an hour or two.
When you first launch Final Cut Pro X, the old Final Cut loading screen is replaced by a new semitransparent load screen that let's you know this is the 10.0 iteration of the professional software.
You'll first notice a prominent option to Import iMovie Events right above the Import Files and Import From Camera options. FCPX's new interface borrows some style elements from iMovie, which will really have many editors scratching their head.
For the most part, the panel locations are generally where you want them to be, but we would have preferred more customization options. Final Cut Pro 7 used the decades-old convention of Source and Record editing (which Apple, of course, had to refer differently as the Viewer and Canvas). Starting a new project feels a bit strange because the program does little to explain new concepts like Events. When you create a new project, there are no options like resolution or codec until you select custom. You can select custom options, which will support most of the standard resolutions: 1080i, 1080p, 720p, NTSC, PAL, 2K, and 4K. Additionally, there are options for audio and video rendering, which default to Surround Sound at 48KHz, and variable bit rate ProRes 422. Perhaps the most unsettling behavior so far is that Final Cut Pro X doesn't let you specify where you want to save your project file in the New Project dialog box.
Final Cut Pro X does have a Supported Cameras page, but it isn't as long as we'd like, nor is it completely up to date. If you do have compatible files or footage to import into Final Cut Pro X, there are some great new options that give you a taste of what Apple has been working on these last three years of developing FCPX. Additionally, Content Auto-Analysis analyzes footage for color balance, audio problems, shaky footage, and even the notorious rolling shutter distortion that occurs with many CMOS-based cameras when panning. The Events Library organizes your media in a tree with the main branches being the hard drives connected to your system. There are many things in the above sentence that might make a few people unhappy, but fortunately, you can import footage into your local Event Library without having to copy over gigabytes of data. Within the Event Library is the Event Browser, and this is where much of the magic of the new Final Cut Pro X lives. When importing footage, Smart Collections will automatically create a number of premade groups based on things like whether the shot is a wide, medium, or close-up. For example, a user can tag all the footage of an interviewee, and then perform a search query looking for medium-only shots for that interviewee.
Finally, the Event Browser in Final Cut Pro X does away with Media Manager in Final Cut Pro 7, and now within your Events Library, you can create lightweight proxy versions to take on the road on a laptop. As you discover the quirks of the new interface, one thing that might not be so obvious is that there is exactly one timeline or sequence to every project.
That might sound natural for amateur video editors, but it's a major change for professionals. While many will be upset that projects can only contain a single timeline, Apple has really rethought the old track-based timelines, and in the process created some innovations that might make the lack of multiple timelines more palatable.
Final Cut Pro X's most touted feature has got to be the new Magnetic Timeline and all the features that build off of it.
Like lanes of traffic, clips automatically make room for one another when you move them on the timeline, so you never have to worry about accidentally overwriting a track of audio or video. New and amateur video editors will absolutely love the Magnetic Timeline, but it is going to take some time and practice before you see many professional editors embracing it. Without source and record windows, Apple's replacement for the classic Trim Mode is called the Inline Precision Editor. As many gripes as we might have with the loss of separate Viewer and Canvas windows, the Inline Precision Editor is a much better view of footage than Trim Mode. In large projects, once you've finished a complex scene or segment, you can now group all the audio, title, and video clips together to act as a single massive clip. Often, an editor will be the only individual who has seen all the footage, and by the time directors and producers join edit sessions, an editor will have likely laid out the core elements and structure of a video piece.
Because virtually every part of the Final Cut Pro X application is different from its predecessor, it probably isn't a surprise to many that your old 32-bit Final Cut Pro 7 plug-ins won't work with the new FCPX. Final Cut Pro X comes complete with a new plug-in architecture that is 64-bit from the start, called FxPlug 2. This is 10 teeny tiny thumbnails of the soon to be heretofore thought of as the greatest landing pages ever seen on November 23rd, 2010. And that’s exactly what your visitors do when your design sucks, you have a video auto-playing with no mute button, there are no indicators of trust or security, the form has a million fields and the testimonials look like you wrote them yourself.
Soooooooo, today we’re going to take a trip down to the Top-Notch Landing Page Store and see if we can rustle up something to inspire your next design.
Each of the following pages exhibits excellent qualities of conversion centered design, but most of them also do a couple of things wrong. Even with a clean and conversion oriented design, many pages still commit the cardinal sin of providing outbound links that aren’t part of the conversion funnel.
The links at the bottom of the page still go to external microsites (click the image to see the full screenshot). Social proof in the context of landing pages refers to the idea that your visitors will be influenced positively (although there can be negative effects) by showing evidence of others participating in the use of your product or service. I was a little underwhelmed when the next page was a blog, rather than a continuation of a marketing experience, so I’d do something more engaging at that point. They have used geo-targeted segmentation to set up my location, and are presenting a big bold value proposition statement (50%-90% off) to get me interested.
Simple forms: In step 2 (the lead gen portion), they ask for your email address only, reducing the barrier to entry to a bare minimum.
It pains me to repeat the same thing over and over, but the call to action on your buttons is REALLY IMPORTANT.
It tells a simple story: As a click through page, it provides enough information and interest to warm up visitors and encourage them to continue down the intended conversion path.
This is the modern apple-esque equivalent of the old-school long sales letter landing page.


The price and call to action to buy the app are nicely positioned above the fold, leaving you to explore the page knowing how to interact when you are ready. Proof of concept: The photo gallery at the end caps it off nicely by showing that you can take great photos with this app.
The reviews beneath the phone are highlighted in red, making them the most important visual aspect of the first screen. Despite how much this looks like a standalone landing page, it’s actually their main pricing page.
Trust and credibility: The Verisign symbol is placed next to the purchase button and the grouping of worldwide brand names directly below helps to reinforce the value of the product. Attention to different reading styles: There is a nice mix of bullet points, coupled with detailed descriptions for those who need to dig deeper. Would love to know how this converts in comparison to a similar page that had the regular global navigation and footer distractions. As one of the world’s biggest newspapers, they clearly need to keep up with the times when it comes to marketing.
It’s a great video that really demonstrates the power that video has to tell a story.
Like I said at the start, I don’t want to link to the campaign page, to prevent skewing the stats just for editorial purposes.
If you have other great examples of landing pages or have any questions, please jump into the comments. I just thought Group On page was very generic and can?t convert well depending on the users intents when landing there. It does give you a complete registration form at the 3rd step so they do lose a bit of their street cred for simplicity. I think the Theme Forest ones (and the ones we provide) are a great way to get started when you don’t have a designer.
The Theme Forest ones are nice, and if you biught one of them, you could re-create the page inside Unbounce (either by chopping up the PSD) or getting an HTML version that has pre-chopped images and just importing them and laying it out in Unbounce.
Do you think they started off from scratch, or have they bought any of the templates that you can buy? I think most of them will have internal design teams or design agencies that they pay to do this kind of thing.
If you are working on a smaller scale (most of our customers are SMB) – then starting with one of our templates is an easy way to get going. I notice that all the links in your nice piece here open external sites in the same tab, thus removing viewers from your page.
If this were a promotion specific landing page I would open them in lightbox modal windows most likely. Here the links are more there as a thank you to the owners of the content rather than a place to drive readers as they go to their main homepages (for the most part) rather than the landing page in question (to protect their conversion stats). I prefer opening a link in a new tab because that way when a person ventures off down the internet rabbit hole and gets distracted, they don’t lose the original place they started from which can happen when you have tons of tabs open and click through many links in one session.
The ideal NLE for creative video editors, Final Cut Pro X introduces a new Magnetic Timeline, dynamic media organization, and blazing performance.The Mac App Store makes it easier than ever to browse and download Pages, Keynote, Numbers, Aperture, and Final Cut Pro X a€” are just a click away.
As the 1.5 GB download commences, customers are notified that their free trial will expire 30 days after they open the application for the first time. It features three demonstration videos (Overview, Magnetic Timeline, and Powerful Media Organization), as well as a link to Final Cut Pro X Resources, to learn more about the app’s potential. It borrows some interface elements from iMovie that may disappoint seasoned professionals, and also it loses many key features that are simply an absolute necessity in the professional world, like XML export. For amateur video editors, iMovie is still the best balance of features, ease of use, and price. However, it is the same reason that it took Apple six iterations of Mac OS X before the company finally managed to update the ubiquitous Finder app to 64 bits: rewriting applications is hard. Like Cheetah, Final Cut Pro X is missing many features, some of which likely won't make it, but they lay the groundwork for a next generation of video editing. Snow Leopard brought improved performance, enhanced support for 64-bit applications, new tools like Grand Central Dispatch for multicore programming, and a new programming framework to take advantage of the massive power of graphics processors called OpenCL. The change is obvious when you look at the Activity Monitor, which shows many more threads.
The previous Final Cut Studio came with heavy instruction manuals, which are now just help files in FCPX.
In comparison, the previous Final Cut Studio costs $999, but of course it came with Motion, Soundtrack Pro, Compressor, LiveType, Cinema Tools, and Color.
Licenses for businesses and schools will be available via the Apple Online Store for quantities of 20 or more. Final Cut Pro X weighs in at 1.33GB, and it can take hours to download if you have a slow connection. Users can specify the Viewer or the Events panels to live on secondary monitors, but it's still no match for arranging windows to whatever your project or personal preferences are. Previous users of Final Cut Pro will wonder what happened to the Viewer and Canvas windows.
In previous versions of Final Cut Pro, the Viewer loaded clips to edit or it let users manipulate the properties of a clip. It traces back to the day of linear editing, when a producer or editor would load up one clip from a video deck, mark the start and stop, and then record on to a second tape.
ProRes 422 HQ, ProRes 4444, and Uncompressed 10-bit are also available as options, if you need those extra bits of color information or editing with an alpha channel. By default, FCPX creates new projects in the root directory of whatever drive you have selected in the Project Library.
Render files are essentially media files that FCP uses to save rendered work, like effects. Users lose some granularity when choosing a scratch disk, but they get the benefit of having a single folder that they can move around, complete with their projects' rendered media. For example, importing P2 footage into the new FCPX is possible, but it is not included in the Support Cameras page. Fortunately, you can select which drive you'd like to import your footage to from this dialog box. Not only do you get the standard metadata that FCPX would collect like frame rate, codec, resolution, and more, but it also borrows some technology from iPhoto and iMovie to automatically detect people in the shot as well as shot size.
FCPX can even transcode supported footage as it imports into native ProRes as well as create small proxy media files, if you're working on a low-power machine. But not just any drives will be recognized in FCPX; Apple says "spinning disks," so you won't see USB drives. Users can now create their own keyword tags, and even tag-specific sections of clips using custom keywords.
Editors routinely duplicate sequences in the same project, so that if you have to go back to a previous version because the new sequence just didn't work out, it's right there.
Tracks have disappeared, and instead we have what Apple calls "lanes." Because of this, our favorite tool, the Track tool, is gone, because you don't need it anymore. Most professional editors won't admit it, but we do spend too much time making room for clips we want to insert, closing up gaps and keeping everything in sync. By just double-clicking on the border where two clips meet, the Inline Precision Editor will expand the clips to show all the footage available in the outgoing and incoming clips.
In previous Final Cut Pro apps, you would have to tediously separate out the clips from a sequence before moving them around.
Editors can try out alternate takes by simply marking an in and an out on alternate clips, drag them onto the existing clip on the timeline, and select "Add to Audition." As you try out alternate takes, the Magnetic Timeline will simply ripple around, removing the gap or making room for clips of various lengths. Rather, I’m going to cling to the assumption that it sucks simply because most of them do. If you’re looking anywhere for design inspiration for lead capture forms, this is a good place to start. To get around this they’ve placed a directional cue (arrow) at the top of the form to point the way to the action area below. This keeps visitors on the landing page instead of wandering off onto another page – and away from your conversion goal. This can be presented via counters showing your social followers (Twitter, Facebook etc.), and testimonials that describe the emotional reaction to your offering from real world customers. Instead of showing people following or registered for the conference, they are showing the photos and names of a huge collection of famous players in the marketing industry. Here, they’ve added a Twitter sharing button to help visitors spread the word on their behalf.


But there’s no denying that the click through rate of this landing page would be very high.
The progress indicator below the form lets you know that there are 3 steps and where you are in the process. The imagery indicates alcohol which might be why I agreed to enter my email, but some qualification of the offer details would be good.
The branding is so powerful in this case that it can be safely relegated to the bottom of the page.
Any doubt in the visitors mind as to what will happen can lead to little leaks in confidence. You’ve probably seen the less trustworthy ones before, where the writer uses reams of ultra persuasive copy to convince you that, despite being an average Joe, they have managed to build an online internet business that prints money. The target customer already has an iPhone, so they are used to seeing beautiful design with apps placed in context with their intended use.
Professional photographers that just want a cool app for their phone will find this convincing. While I would normally recommend the CTA get this level of attention, it really pushes you towards what is often the swing vote in a purchase – what other people say.
They’ve taken conversion design principles and applied them directly to the most important page on the site.
Coupled with the name and company name, you’d be able to verify that these are real business people quite easily. However, the video from this landing page is freely available on YouTube, which as I mentioned earlier, is a great re-use of campaign content to help your organic rankings. If you see it in action its quite nice too as the forms for each stage just scroll in from the side. I’m actually about to release a product in the next few months and need to create a solid landing page.
Yeah, it’s hard work finding the good ones, but when you do it can make everything very clear for people. I like UPS lander, but instead of the text I would place opt-in box next to the video player, and not bottom left.
Obviously it’s a random sample but it will be an interesting ration to keep tabs on to see if it climbs as awareness of video effectiveness grows. Just going to prove that what we learn each day is that we’ll never know it all, but instead can find satisfaction in our attempts. Most of these would have been designed and put online by marketing professionals, so do you have any hints and tips for those of us who doing this for ourselves rather than a big multinational? Then if you want to step it up a bit, I’d recommend 99designs to get a really great design for your page. Some like external links to open in a new tab, some in the same (so that they can go back rather than close).
HitFilm MAC Plug-in for FCPX for MAC I don't work for Kinema In 2006 Matrox changed the game for Final Cut Pro editors by making HD-SDI from a MacBook Pro a reality and facilitating the trend toward mobile editing. On the other hand, those looking to upgrade from iMovie will find a lot more features in Final Cut Pro X, but there are some caveats. Forces are at work changing the world of video editing, and even the most hardened video-editing professionals will tell you that editing needs to evolve. The first iteration Mac OS X 10.0 "Cheetah" was slow and missed basic features like DVD playback and CD burning. We appreciate reducing paper waste, but be warned that the digital help files won't offer any images unless you are connected to the Internet.
Some of those apps have disappeared for good in the new Final Cut Pro X with only some of their functionality integrated into the app. Users will receive a redemption code, which they can use to download the app from the Mac App Store. In addition, there is 637.2MB of supplemental content like effects and backgrounds, which is downloaded via the Mac OS X Software Update feature because it's shared between applications.
Loading clips, scrubbing through to find the perfect clip, marking an in point and an out point, then laying on the timeline could be accomplished without touching the mouse at all. As a sign from the future of where Apple wants to take video editing, FCPX supports 4K resolutions at 60 progressive frames per second. For example, it's common for an editor to routinely save projects in network drives and organize by folders and subfolders. So even if you are diligent enough to create a new project on a separate hard drive, your render files must live in the same folder. Also, it's also not entirely obvious that some formats like P2 have to be imported through the Import From Camera option and not the Import Files option. By default, Final Cut Pro X will copy over your media files and automatically organize the footage for you using Content Auto-Analysis.
Other smart features include the ability to intelligently group mono or stereo audio channels and remove silent audio channels. As far as we know, neither will Xsan, NFS, AFP, or SMB-mounted volumes appear in the Event Library. Just be sure to deselect the copy files to FCPX's events folder, otherwise the media will be copied to whatever drive you have set up for your events. You could comment and mark a clip as a good or bad take, but the new FCPX brings metadata into the world of Google. All this tagging and metadata becomes incredibly powerful when you realize that Final Cut Pro X adds search capabilities. Apple also says that the metadata engine will be extensible via third-party plug-ins, so it won't be too far from the day that we see plug-ins that transcribe and auto-sync transcripts to video. For now, Apple says that if you want to create a snapshot of the current sequence, you can use the Duplicate feature in the menu bar, which creates a new copy of your current project. Admittedly, we find ourselves itching to press the T key for the Track tool to make some space in the timeline. Once you have extended or decreased the selection, the timeline ripples all the changes through the sequence, keeping everything in sync. Now, with Clip Connections, you can have multiple pieces of video, title and audio move around on the time line and remain perfectly in sync. Effects can be applied as a whole onto Compound Clips, and video can even be retimed as one giant clip. Sorry Webtrends, as much as I love you, this is a rookie mistake that should never be repeated.
You can see what I’m talking about on one of the Unbounce contest landing pages (click the contest rules link near the bottom to see the modal window).
In the end, the radical transition to Cheetah laid the foundation of the wonderfully featured and much faster Mac OS X Panther, Tiger, Leopard, Snow Leopard, and soon-to-be-released Lion. Final Cut Pro X now combines both the viewer and canvas into one panel simply called the Viewer. The new import interface does support FireWire and can read mounted memory cards, as well as control playback options using the classic JKL (rewind-pause-play) keys. It’s becoming increasingly common (for good reason) to include testimonials on pricing pages. Video marketing specialists Turn Here highlight good conversion improvement numbers and the side benefit that properly optimized video can be 53 times more likely to reach the front page of Google search results. But it just goes to show you how much Apple believes that data-based video workflows are the future of post-production.
For now, you can either set up your RED camera to record QuickTime movie files, which FCPX can import natively, or you can use RED's own free conversion program to convert into Apple's native ProRes format.
Apple says it is working with companies like Sony and Red to create plug-ins that will allow FCPX to be a one-stop-shop for importing video.
Bladerunner The Final Cut DVD Ger Eng AC3 A» video movies dvdr ?4 years4302 MB 02 Final Cut Pro is a non-linear video editing software developed by Macromedia Inc.
These video training tutorials Compatibility: MS Windows 7, Vista, XP, 2000, 98, NT, Mac OS X, OS 9 Introduction To Chapter 10.



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