新版Final Cut Pro X的优缺点分析！
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#设备体验#
这是EOSHD做的一个关于Final Cut Pro X的分析，和大家一起来具体谈谈这个苹果的突破作FCPX。
ps：蹩脚翻译，接受各种拍砖！专有名词太多，请各位多多指教T.T
优势
当程序不在运行时，打开一个工程文件，FCPX有256MB的内存的覆盖区域。而Adobe仅Flash播放器的Safari插件就要使用512MB内存，那只是一个的网页广告横幅动画插件。对于FCPX这么一个复杂的软件，这是内存有效利用表现。似乎苹果的年轻工程师们更喜欢研究这些新的技术，而不是对传统FCP 7和XML的延续。
在FCPX编辑AVCHD不像在CS5.5上那么方便，但它会被快速转码成H.264，除非该项目是ProRes或XDCAM。这些文件会被存储在硬盘的目录上。你可以共享raw文件。
视频输出选项内置于FCPX中，大大简化了FCPX。而更先进的编码功能现在都在Compressor 4上。
FCPX目前仍然有许多错误。比如不能从时间线中导出全分辨率的JPEG图像。还有人抱怨“工具栏”中少了素材管理器导致无法整理剪下来的素材到文件夹。当然你可以创建一个新的事件，并拖动素材到里面，并用关键词重新命名，只要你愿意。
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如果你不喜欢片段缩略图，需要更多的空间修剪它们后再将它添加时间线，你可以切换到列表视图，让你更广阔的空间剪辑和修整，以及更详细列表形式展现视频信息。
你可以很快地从FCPX的一堆长镜头中找到自己所需要的，更直观，更直接，更快捷了很多。但是一些FCP7的视频操控项现在都没了，一些人应该会想念他们的。
新的时间表有一个窗口以指数形式显示所有的或特定的素材，让你在你的时间线上更快地找到某些素材。点击标题标签筛选，索引标题，点击标题直接跳转到它所在时间轴上，并允许快速进行编辑访问。您还可以通过标记关键字将素材用标签形式在列表中组织起来。
FCPX不具有保存功能——没有Apple & S. 所以不可以拆分项目并保存一个副本，你可以复制项目。但它会为你保存当你Mac崩溃或是失去电源而丢失的项目。
那FCPX到底给了我们一个什么呢？更多对它内在的想象，少些表面文章？
缺点
时间线和用户界面的改进其实并不重要，相反它是相当限制的。时间轴间隙现在看起来像一段一段的，如果你删除一个空隙时间线会填补它，移动整体视频剪辑，而分离的音轨却没有同步。
不支持变形和不兼容AVCHD 1080/60格式，让人不得不买的应用程序。尽管苹果公司在其新闻稿中说FCPX支持解决独立编辑，但事实上你不可能选择一个专门定制的方案去做变形画面的剪辑。
而在整个应用程序中唯一提及宽高比选择的是一个标准DV预设项。您可以选择标准16:9 1080p甚至2K和4K宽高比，解决一些低分辨率的网络素材、不标准的工程文件，但你不能自定义设置变形的宽高比分辨率，像3.55:1（1920×540），甚至不能在FCPX里自定义分辨率导出视频（如H.264经过裁切而失去了黑边）
为此，您需要使用Compressor 4。
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（图为：Compressor 4）
在这里，你可以看到很多奇怪的编码预设，不属于苹果的或ProRes的编解码器LT，如ProRes 422和422多种代替品。您可以创建自己的自定义预设，然后选择任何你喜欢的视频编解码器。
你可得到HTTP直播预置以及VIMEO和YouTube推荐的设置。
Compressor也有支持隔拍摄的图像排序功能。
由于编码和导出选项FCPX的基础，Compressor 4是几乎每个人都必买，尤其是如果你需要改变视频宽高比。
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HX9v与FCPX
影片是他用索尼HX9v以AVCHD格式拍摄的，现在甚至不能在导入媒体窗口显示。虽已经找到了破解可以导入HX9v素材，通过将raw MTS文件复制到GH2 AVCHD MTS目录中。结果它导入了一半，就发送了错误报告！可怜。
HX9v是一款消费级相机，因此它不仅是专业人士恼火的点。Premiere CS5.5做这些则非常快，具备了编辑AVCHD原生素材的能力。
感谢RichST，一个EOSHD读者，他已经找到了迅速改变AVCHD，变成一个老MPEG 4的解决方案。这可能有助于在FCPX中编辑1080/60P 和在Compressor 4中将AVCHD的将素材转换成ProRes。但它仍然不如在Premiere CS5.5中编辑AVCHD简单、快速。
总结：
FCPX试图抓住两个明显非常不同的群体：消费者和专业人士。
除了简化，速度快和摄像机导入窗口，苹果还支持4K。也许这是一个暗示，在未来几年4K将会普及。不过，虽然苹果支持4K，但他们没有支持REDcode。当然，它还有很多这样类似的矛盾。
苹果公司已经成功地捕捉了业余爱好者和更大的部分专业用户，并以低得多的价格从而降低了盗版的规模。
问题是，它还丢掉许多优势。
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参考翻译:
Pros (ironic title huh?)
Whilst running idly with a full project opened, FCPX has a RAM footprint of just 256MB. Adobe’s bloatware Flash Player plugin for Safari was using 512MB. Yes – for a mere webpage plugin for animated ad banners. That is incredibly effective use of RAM by a piece of software as complex as FCPX. It gives signs of what technical achievements have been made under the bonnet and I have a feeling Apple’s young engineers were more enamoured with achieving this than working with pros to implement support for legacy FCP7 projects and XML.
Editing AVCHD in FCPX is not native like in CS5.5 but it transcodes unbelievably quickly to H.264 unless the project is specifically set to ProRes or XDCAM. Those files are stored in a directory on your drive. You can then share the raw files with other editors. In many ways FCPX ‘just works’.Media export options built into FCPX are vastly simplified over FCPX but again, just work. More advanced encoding features are now all in Compressor 4, which maintains a good level of functionality relative to the last version.
There’s still a lot of mis-information out there. I heard someone saying that you couldn’t export a JPEG still frame in full resolution from your timeline. I heard a lot of complains that ‘bins’ were gone from the media manager and that you can’t organise clips into folders “like having no Finder on Mac OSX just spotlight!”. Yes you can – just create a new event and drag the media into it, and rename the event bin however you like.
I prefer the event library to the old media manager in FCPX. If you dislike the thumbnail view of clips and need more room to trim clips before adding them to the timeline, you can switch to a list view which gives you a wider area to scrub over the clip and trim, as well as more detailed information about your media in list form.
I find it much quicker to locate the shots I need from a ton of footage in FCPX, because scrubbing is more intuitive, more direct and a lot quicker. But some of the video scrubbing controls from FCP7 are now missing. Do I miss them? Not personally but some might.
The new timeline has a clip index window with tabs to show all or specific kinds of media in a index form, allowing you to quicker find certain media in your timeline. This is particularly useful for finding titles. Clicking the titles tab filters all but titles in the index and clicking the title jumps to it on the timeline and allows quicker access for editing it. You can also organise media in this list by tagging media with keywords and showing the results by tag.
FCPX does not have a Save function – no more Apple & S. To branch off a project and maintain a copy, you can do Duplicate Project, but other than that it saves as you go to prevent you from ever losing work if your Mac crashes or you lose power.
So what has FCPX really given us at the end? A lot of fancy under the bonnet stuff, and less on the surface?
Cons
I feel that the magnetic timeline and other user interface improvements are in the end not that significant and in fact quite limiting. Gaps on the timeline now behave like clips, and if you ｄｅｌｅｔｅ a gap the timeline collapses to fill it, shifting clips out of sync with a separate audio track.
Anamorphic support and compatibility with the AVCHD 1080/60p of my Sony HX9v does not exist in FCPX and I had to buy the app to find this out. There’s no trial and despite Apple saying on their press release that FCPX supports resolution independent editing, you cannot in fact choose a custom resolution for anamorphic editing.
The only mention of anamorphic aspect ratios in the whole app is for a standard definition DV preset. You can ｓｅｌｅｃｔ standard 16:9 1080p and even 2K and 4K aspect ratios and resolutions for the project and some non-standard resolutions for low resolution web-clip editing, but you cannot set custom resolutions for anamorphic aspect ratios like 3.55:1 (1920×540) or even export video at custom resolutions within FCPX (like a H.264 with a crop to lose the black bands).
For this you need to use Compressor 4.
Compressor 4
Here you get a lot of encoding presets but curiously not Apple Intermediate Codec or Prores LT, just ProRes 422 and it’s 422 Proxy variety. You can create your own custom preset and ｓｅｌｅｃｔ whatever video codec you like though.
You get HTTP live streaming presets as well as recommended settings for Vimeo and YouTube.
Compressor 4
Compressor also has the Image Sequence support for timelapses that Apple removed from Quicktime when it went from Pro to X.
Since encoding and export options are so basic in FCPX, Compressor 4 is a must-buy for almost everyone especially if you need the anamorphic aspect ratio support.
HX9v woes in FCPX
Footage shot with my Sony HX9v in AVCHD doesn’t even show media in the import window. I’ve found a hack to import the HX9v footage by copying the raw MTS files into a GH2 AVCHD directory. And then it imported half successfully and delivered an error message on the rest! Pitiful.
The HX9v is a consumer camera, so it’s not only the pros who are going to be annoyed at this. More worryingly for FCPX is that the all singing all dancing performance deserted the app with the 1080/60p footage that I did manage to import from the HX9v. Premiere CS5.5 was quicker with it, and that’s editing AVCHD natively.
Thanks for RichST, an EOSHD reader, he has found a workaround for stripping the AVCHD wrapper off media instantly, turning into good old MPEG 4. I’ll have more this week about this, and it may help 1080/60p editing in FCPX to strip the AVCHD wrapper and convert the footage to ProRes in Compressor 4. But it’s still not as quick or as simple as editing AVCHD in Premiere CS5.5.
Concluding Part II
FCPX attempts to capture two such very distinct different needs, those of the consumer and those of the pro.
Alongside simplification, speed and a camera import window that defaults to your webcam, Apple have 4K support. Maybe it’s a sign that 4K is going consumer, as it undoubtably will do in the coming years. But whilst Apple have 4K support, they don’t have support for REDCode, so who on earth is the 4K support for? You see the contradiction here – and there are many similar ones.
Apple have succeeded in capturing a much larger section of amateurs and prosumers and at a much lower price point that reduces the scale of piracy we’ve seen before in this market.
The problem is, they are going to lose a hell of a lot of pros to Adobe.
Yes FCPX is forward facing, it heralds the future first and Apple did the same with the iPhone, the iPad and iTunes whilst the rest put out Nokias, netbooks and CDs. But that was in the consumer market, where Apple excel. Is the pro video industry really ready to shift to this shiny new editing package when so many crucial things are lacking? No.
Is Apple now firmly a consumer-only company, who have pulled out of the pro software market? It certainly looks that way.
Perhaps Steve should make recapturing the pros a bigger priority than the Turner Family and the Summer Vacation?
链接：http://www.eoshd.com/content/3204/final-cut-pro-x-and-compressor-4-review-part-ii