![]() ![]() These discrepancies make it worryingly easy to end up with dropped or repeated frames. ![]() The timeline’s frame rate doesn’t automatically match the footage, either. There’s an option to match export settings to the imported footage, but it isn’t clearly signposted, and wasn’t available for 24fps, 30fps or 60fps footage. Having set the region to UK during installation, the software offered various 25fps but no 30fps profiles, and 24fps and 50fps options were woefully under-represented. It looks friendlier than the old dropdown list, but it carries over the same patchy support for frame rates. Each one comes with profiles at various resolutions, frame rates and bit rates. The Capture, Edit and Share tabs are redesigned, but while they look a little neater, there’s less room available on the screen for the various panels.Ĭlicking the Share tab reveals export options, and these have been tidied up with individual buttons for the available export formats. There were waits of up to three seconds between hitting play and playback commencing, making it tricky to fine-tune edits.Ĭorel lists a “sleek new look for the user interface” among its new features, but we struggled to spot the difference between X6 and X7. Navigating the timeline and editing clips often resulted in a delay of around a second while the software performed the requested action. Sadly, we didn’t notice any discernible improvement to the responsiveness of the interface. Both results were a little faster than Movie Studio Platinum. Meanwhile, a simple AVCHD-based project was only marginally faster than X6 to export, down from 1min 29secs to 1min 24secs. It still wasn’t as quick as Movie Studio Platinum, though. A project based on the same footage took 6mins 6secs to render to 1080p MPEG4 in X6, and 3mins 12secs in X7 – almost twice as fast. ![]()
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