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9L0-964 Answer: A Question: 64
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What does the visual indicator (overlay) along the right side of the Canvas represent?(Select the
best answer.)
39
9L0-964
. A The first frame of an edited clip in the Timeline .
. B The last frame of an ed ited clip in the Timeline .
C. The end of a sequence. Answer: C Question: 66
Which synchronization options are available when creating a multiclip.(Select all that apply.)
A. In Points
. B
Out Points
C. Markers
D. Timecode Answer: D ,B ,A
40
9L0-964 Question: 67
Click the button that allows you to display Title Safe.(Select the best answer.) Answer: Pending. Please Send your suggestions to feedback@ .com Question: 68
Which tool would perform this edit in one drag?(Select the best answer.)
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B. Ripple Tool
C. Roll Tool
D. Slip Tool Answer: B Question: 69
Click the tool used to make keyframes.(Select the best answer.)
41
9L0-964 Answer: Pending. Please Send your suggestions to feedback@ .com Question: 70
Which transition alignment is being used at this edit point?(Select the best answer.)
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WASHINGTON, Dec 12 (Reuters) – Apple (AAPL.O) has said it now requires a judge’s order to hand over information about its customers’ push notification to law enforcement, putting the iPhone maker’s policy in line with rival Google and raising the hurdle officials must clear to get app data about users.
The new policy was not formally announced but appeared sometime over the past few days on Apple’s publicly available law enforcement guidelines. It follows the revelation from Oregon Senator Ron Wyden that officials were requesting such data from Apple as well as from Google, the unit of Alphabet (GOOGL.O) that makes the operating system for Android phones.
Apps of all kinds rely on push notifications to alert smartphone users to incoming messages, breaking news, and other updates. These are the audible “dings” or visual indicators users get when they receive an email or their sports team wins a game. What users often do not realize is that almost all such notifications travel over Google and Apple’s servers.
In a letter first disclosed by Reuters last week, Wyden said the practice gave the two companies unique insight into traffic flowing from those apps to users, putting them “in a unique position to facilitate government surveillance of how users are using particular apps.”
Apple and Google both acknowledged receiving such requests. Apple added a passage to its guidelines saying such data was available “with a subpoena or greater legal process.” The passage has now been updated to refer to more stringent warrant requirements.
Apple did not offer an official statement. Google did not immediately respond to a request seeking comment.
Wyden said in a statement that Apple was “doing the right thing by matching Google and requiring a court order to hand over push notification related data.”
Tue, 12 Dec 2023 09:16:00 -0600en-UStext/htmlhttps://nypost.com/2023/12/12/tech/apple-now-requires-court-order-to-release-customers-information-to-law-enforcement/We’ve never understood how hunger works. That might be about to change.
You haven’t seen hungry until you’ve seen Brad Lowell’s mice.
A few years ago, Lowell—a Harvard University neuroscientist—and a postdoc, Mike Krashes, figured out how to turn up the volume on the drive for food as high as it can go. They did it by stimulating a bundle of neurons in the hypothalamus, an area of the brain thought to play a key role in regulating our basic needs.
A video captures what happened next. Initially, the scene is calm as a camera pans slowly along a series of plastic cages, each occupied by a docile, well-fed mouse, reclining on a bed of wood chips. None of the eight mice shown are interested in the food pellets arrayed above them on the other side of a triangular metal grate that drops down from the ceiling. Which is not surprising, since each mouse has just consumed the rodent equivalent of a Thanksgiving dinner.
But as the seconds displayed on a timer at the bottom of the screen tick away, half the mice begin to stir—the first evidence that a chemical agent designed to turn on specific neurons associated with appetite is reaching its targets.
Soon, the mice seem possessed. Some stand on their hind legs, thrusting their noses through the grates above them at the inaccessible pellets. Others climb the walls, hang from the bars of the grate, or dig frantically through the wood chips.
“It looks like they’re losing their minds,” Lowell says.
Lowell, who is one of the world’s leading experts on the circuits in the brain that control hunger, satiety, and weight regulation, sometimes references this video to make a point: When you’re starving, hunger is like a demon. It awakens in the most ancient and primitive parts of the brain and then commandeers other neural machinery to do its bidding until it gets what it wants.
“Sure, we managed to have the brain say ‘Go eat,’” Lowell says. “But that’s not really an explanation. How does that actually work?”
What might begin as a small sensation quickly spirals. Intrusive thoughts pulled from our memory centers burst into our consciousness. Images of meatball sandwiches. The smell of bread. The imagined taste of a cork-like food pellet. The motivational and emotional areas of our brain infuse the need to eat with a nonverbal imperative that feels so powerful it eclipses all else. Our prefrontal cortex kicks into gear, considering how we might obtain food. (If we are in a dangerous situation like a war zone, we weigh how much danger we are willing to risk to get it.) Then we mobilize our sensory and motor areas. We steal a chicken, attempt to spear a fish in a pond, raid the work refrigerator, or hurl our body against a metal grate, hoping to get a taste of a food pellet.
So by exciting the hunger neurons in those mice, Lowell catalyzed a storm of neural activity that spread to the cerebral cortex and other higher-order processing centers, leading directly to a chain of complex goal-directed behaviors (ineffective though they turned out to be).
It also drove home for Lowell just how much we still have to learn.
“Sure, we managed to have the brain say ‘Go eat,’” he says. “But that’s not really an explanation. How does that actually work?”
To answer that question, Lowell has teamed up with Mark Andermann, a neuroscientist who studies how motivation shapes perception (and who also happens to occupy the office next to his at Boston’s Beth Israel Deaconess Medical Center). Together they are following known parts of the neural hunger circuits into uncharted parts of the brain, in some cases activating one neuron at a time to methodically trace new connections through areas so primitive that we share them with lizards.
Their work could have important implications for public health. More than 1.9 billion adults worldwide are overweight and more than 650 million are obese, a condition correlated with a wide range of chronic health conditions, including diabetes, fatty liver disease, heart disease, and some types of cancer. Understanding the circuits involved could shed new light on the factors that have caused those numbers to skyrocket in exact years.
And it could also help solve the mystery behind a new class of weight-loss drugs known as GLP-1 agonists. Many in the field of public health are billing these drugs, which include Wegovy and Ozempic, as transformative, providing the first effective method of combating obesity, and allowing some individuals to lose more than 15% of their body weight. They’ve also become something of a cultural phenomenon; in the last three months of 2022, US health-care providers wrote more than 9 million prescriptions for the drugs. Yet no one can explain precisely how and why they work. Part of the reason is that scientists still haven’t decoded the complex neural machinery involved in the control of appetite.
“The drugs are producing the good effects, the satiety effects, through some aspect of this larger system,” says Lowell, who has watched their emergence with surprise and genuine fascination. “One of the most important components in figuring out how they work is to define what the system is. And that is what we are doing.”
But the ultimate goal for Lowell and Andermann is far loftier than simply reverse-engineering the way hunger works. The scientists are searching for the elusive bundle of neurons that allow our instinctual urge to eat to commandeer higher-order brain structures involved in human motivation, decision-making, memory, conscious thought, and action. They believe identifying these neurons will make it possible to study how a simple basic impulse—in this case, a signal from the body that energy stores are beginning to run low and need to be replenished—propagates through the brain to dominate our conscious experience and turn into something far more complex: a series of complicated, often well-thought-out actions designed to get food.
This quest has so consumed Lowell in exact years that his graduate students have coined a term for the elusive bundle of brain cells he is seeking: “Holy Grail” neurons.
It might sound like a tired scientific trope. But for the understated Lowell, the term is perfectly apt: what he’s seeking gets at the very heart of human will. Finding it would be the culmination of decades of work, and something he never imagined would become possible in his lifetime.
The hunger mystery
Brad Lowell likes to joke that he is the token local at Beth Israel Deaconess Medical Center. Born in the hospital next door to where he now conducts research, he grew up 25 miles north in the town of Boxford and attended the University of Massachusetts, Amherst, a couple of hours’ drive away.
Soon after arriving at UMass as an undergrad in the late 1970s, he was accepted into the physiological psychology lab of Richard Gold, a pioneering neuroscientist who was working to identify neural structures involved in regulating appetite.
Gold’s focus was the hypothalamus—a primitive structure deep in the brain that hasn’t changed much through evolution. It is thought to be responsible for keeping the body in “homeostasis” by monitoring and balancing important functions like body temperature, blood pressure, our need for food and water, and other basic drives.
Gold suspected that the paraventricular hypothalamic nucleus (PVH), a tiny patch of roughly 50,000 neurons in the hypothalamus, played a role in controlling appetite. By today’s standards, the tools to study it back then were “stone age”—Lowell says he used a “retracting wire knife” to sever bundles of neuronal projections that emanated from the PVH and connected to neurons outside it—but they were effective. When the anesthetized rodents Lowell had operated on woke up, they were crazed with hunger, and they quickly became obese.
The experience made a lasting impression. Lowell, then an athletic 19-year-old soccer aficionado, had always assumed that anyone who was overweight was just “lazy.” The experiment suggested there was likely far more to it than that. It also convinced Lowell to become a scientist.
But further research into how precisely the brain worked to control hunger and satiety had reached something of an impasse.
“Gold and a few other labs put the PVH on the map as a site required to restrain what you eat,” Lowell explains. “But they didn’t have the tools to look any further.”
Figuring out which of the 50,000 neurons in the PVH were actually important to appetite, the ones that could essentially mute the hunger switch, was a challenge that seemed insurmountable—akin to, as Lowell puts it, trying to untangle a “huge bowl of spaghetti.”
“How do you differentiate one strand of spaghetti from another? These being neurons, right?” he asks. “There’s no way. They all look the same.”
When Lowell opened his own lab at Beth Israel Deaconess Medical Center in the early 1990s, after earning an MD and PhD at Boston University, he studied metabolism in tissues like muscle, organs, and fat that were connected to the brain through the peripheral nervous system. But his undergrad experience in Gold’s lab nagged at him.
“The brain is the Lord of the Rings,” Lowell says. “It’s the one ring that rules them all. And it was not that interesting to study these other things with the master player up there.”
The entry point
Early in his career, Lowell envied his colleagues who studied vision. For decades, neuroscientists had been able to trace the neural circuits involved in that function by shining light into the eyes of mice, identifying which neurons lit up, and then following them to map out the relevant brain circuits. Lowell and his peers who were interested in hunger had never had a similar entry point.
That changed in 1994, when Jeffrey Friedman, a researcher at Rockefeller University, gave Lowell and others a way to identify the first important neurons—or individual “strands of spaghetti”—involved in hunger regulation.
Back in 1949, scientists at the Jackson Laboratory in Bar Harbor, Maine, had bred mice with an unidentified genetic mutation that caused them to grow massively obese. They hypothesized that the obesity stemmed from the mice’s inability to produce a crucial protein involved in weight regulation.
Decades later, Friedman was the first to apply cutting-edge genetic technologies to clone the DNA sequences that were abnormal in the obese mice; he then confirmed that their obesity was caused by an inability to produce a key hormone released by fat cells, which the brain uses to track the body’s available energy stores. Friedman purified the hormone and named it leptin. He also identified the DNA sequence needed to make the leptin “receptor”—the specialized proteins that stick out of brain cells involved in appetite regulation like microscopic antennae, sensing whenever leptin is present and kicking off a chemical cascade that promotes a sense of satiety.
The discovery added further evidence to the idea that obesity was biologically determined, and more specifically to the concept of a “set point” when it comes to weight—a predetermined weight, fat mass, or other measurable physiological characteristic that the body will defend. Appetite is the means by which the body performs “error correction” and mobilizes to devote energy and attention to the task of restoring homeostasis.
A “cure” for obesity suddenly seemed within reach. The biotech firm Amgen licensed the rights to leptin for $20 million, hoping to develop a drug that could mimic its effects. But the drug it came up with had very little effect on most people with obesity, suggesting that leptin was only part of the story—a hypothesis that seemed to be confirmed when other labs discovered additional hormones and signals that seemed to be involved in hunger. Further experiments showed that many obese humans in fact had normal or high levels of leptin.
It stood to reason, then, that somewhere in the brain leptin was being combined with other signals related to available energy, and that this information would then have to be compared with a homeostatic “set point.”
This suggested a highly complex set of neurological circuits involved in hunger regulation. Understanding how this process worked would require a detailed wiring diagram that might explain how all the parts fit together. And while Friedman’s discoveries regarding leptin didn’t answer all the questions, they provided the entry point that Lowell and the rest of the field had been waiting for, allowing them to begin to draw such a map.
Following the path of leptin, scientists in other labs found the hormone’s first target, and therefore the first important way station in the hunger circuit: a specific patch of neurons known as the arcuate nucleus (ARC). Located at the base of the hypothalamus, the ARC, we now know, integrates information coming from other brain structures, as well as circulating nutrients and hormones like leptin and insulin. All of these inputs convey key information about the current state of the body, such as the level of existing energy stores and nutrient availability.
Determining how the ARC worked—and where it sent information after taking it in—was the next question facing the field. By then, Lowell had abandoned studies on peripheral systems and joined the hunt.
Switching hunger on and off
In 1997, the next part of the puzzle fell into place after Roger Cone, then a researcher at Oregon Health and Science University, discovered a key part of the switch that essentially turned hunger on and off.
He bred mice with a gene mutation that interferes with another class of key signaling proteins, called melanocortins. Mice with this mutation more closely resembled obese humans than did mice with leptin mutations: their obesity set in relatively late, and they had diabetes-causing levels of insulin and glucose. This particular mutation prevented key receptors from detecting melanocortin hormones, which in turn interfered with the feeling of satiety and caused mice to continue to eat. But when these melanocortin receptors were functioning normally, detecting the presence of the melanocortin hormones seemed to turn down appetite. In essence, Cone had found the brain’s “satiety switches.”
This discovery was critical in helping scientists determine how leptin worked its magic in the ARC, the first stop in the hunger circuit. It turned out that when leptin reached the ARC, it set off a biochemical chain reaction that caused more melanocortin hormones to be released, eventually activating these “satiety switches.”
But these satiety switches were not present just in the ARC; they were on neurons distributed throughout the hypothalamus, the hindbrain, and the forebrain, suggesting that one of these areas was the next key hub in the hunger circuit. So which one was it?
It still did not answer perhaps the most fascinating question of all: How did these signals eventually make it into the conscious parts of the brain?
Some of these switches were in the paraventricular hypothalamic nucleus—the brain area Lowell had studied in the lab of Richard Gold as an undergraduate. Since Lowell had seen with his own eyes that mice ate voraciously if you took it offline, he had long believed the PVH to be a stop in that circuit.
Now he had the tools to prove it. Over the years, Lowell had developed an expertise in cutting-edge genetic engineering techniques that allowed him to target and delete specific genes and create new strains of “knockout” mice—meaning specific genes had been knocked out in an embryo, causing a mouse to be born without a functional copy.
In 2005, Lowell and a colleague, Joel Elmquist, engineered mice to carry a genetic sequence that prevented them from making functional copies of satiety switches anywhere in the brain. As expected, the mice grew obese.
Lowell and Elmquist then created pairs of microscopic molecular scissors. Using genes unique to neurons in the PVH as a homing beacon, they programmed these scissors to seek out only DNA associated with PVH neurons and snip away the small sequence that prevented the development of functional satiety switches in that part of the brain. In other words, they “fixed” the satiety switches in the PVH, while they remained disabled in the rest of the brain. If the PVH was where the magic happened, restoring the satiety switches there would fix the problem of obesity.
Indeed, Lowell’s knockout mice were effectively “cured” of obesity—confirming his hypothesis. He had proved that the PVH was the next key relay point in the hunger-satiety circuit.
For Lowell, confirming the PVH’s place in the circuit was huge‚ but it still did not answer perhaps the most fascinating question of all: How did these signals eventually make it into the conscious parts of the brain, the parts that could make an animal take action to get food? How did hunger, in other words, manage to commandeer the neural machinery of those crazed mice? How do intrusive thoughts of a meatball sandwich compel someone to put on shoes and a coat and track one down?
To find out, Lowell needed to determine where the signals in the PVH led, in the hopes that if he continued to follow the string it would lead him to the gateway to higher-order brain structures. This was complicated by the fact that neurons in the PVH sent signals to a number of different areas, including the brain stem, regions that affect thyroid function, and others.
Lowell was stymied. “We could knock out these genes and then measure how much food the mice ate or measure how fat they got, but we couldn’t go much further,” he says.
A magic “remote control”
In the summer of 2009, four years after the PVH discovery, Lowell was visiting Colgate in upstate New York with his high-school-age son. Lying on the grass outside the administrative building while his son did an interview, he flipped open the latest issue of the scientific journal Neuron. An article detailed a new laboratory tool developed by Bryan Roth at the University of North Carolina, Chapel Hill: a “chemical-genetic remote control” that could be used to turn specific neurons on and off in mice. Lowell recognized instantly it was the breakthrough he had been waiting for his entire career.
Instead of just knocking out populations of neurons permanently in mice, Lowell could instead create new strains of mice that were bred to have this genetic “remote control” switch, allowing him to turn distinct populations of neurons on and off simply by administering a chemical agent. (A separate technique known as optogenetics also allows him to do this by beaming a specific wavelength of light into the brain through a fiber-optic cable.) He could then observe the behavioral effect of turning specific neurons on and off in real time.
“Suddenly I was able to do things that when I was an undergraduate I never dreamed I’d be able to do,” he says.
In 2014, Lowell used the remote-control tool to methodically turn each bundle of neurons leading out of the PVH on and off, to see which ones produced satiety. Once he identified the neurons that affected satiety, he followed them out of the hypothalamus. It led him to an area in the brain stem called the parabrachial nucleus (PBN)—the third key hub involved in the hunger-satiety circuit.
It was a scientific watershed. Lowell had finally arrived at an area of the brain with direct connections to higher-order brain structures affecting all aspects of our conscious experience, including areas involved in motivation, reward, emotion, processing sensory stimuli, memory, selective attention, and a wide array of other functions.
Somewhere in that area of the brain was the last way station, the “Holy Grail” neurons: those finally telling the rest of the brain to “go eat.”
Hunting for the Holy Grail
For the past eight years, Lowell and Andermann have been looking for the PBN neurons involved in hunger. It’s a painstaking hunt—the PBN contains hundreds of thousands of neurons. Lowell’s lab is tracing the hunger-satiety circuit forward out of the PBN while Andermann’s lab works backwards toward it from the insular cortex, an area associated with the conscious experience of bodily states like hunger. The goal is to meet in the middle.
If they can trace this circuit, then they will begin to examine how it is that a simple signal—a signal that we are hungry—works to recruit higher-order brain areas and focuses them on the completion of a task. They will have the opportunity to develop a model of how animals translate desire into action. Put simply, they might be able to characterize a complex action from beginning to end.
The sheer number of neurons in the PBN makes the task daunting. It’s made even more complicated by the fact that the PBN isn’t just involved in sending hunger signals to higher-order brain processing centers but is also the final stop for scores of other impulses and needs. It is a huge way station for all sorts of information, most of which has nothing to with hunger—like sexual arousal; the sensations associated with pain; the detection of heat and cold, itches and nausea; and signals associated with a wide array of autonomic functions, including respiration, blood pressure, and temperature regulation. Each one of these signals likely has its own set of dedicated, genetically distinct neurons in the PBN. Most of these neurons have never been identified or studied. And they all look identical.
At times, the researchers have had to trace the path of nerve impulses one neuron at a time—activating a neuron they know is part of the hunger-satiety circuit using the “remote control” technologies, and then watching to see which neurons light up in response. (The DNA of the mice he works with also contains sequences for fluorescent tracers that light up when certain neurons fire, and that light can be detected, using sophisticated optical sensing technology, through a window in the skull and then reproduced on a computer screen.) This has allowed Lowell and Andermann to reduce the number of candidate neurons he is considering from hundreds of thousands to about 10,000.
To further narrow down the possibilities, Lowell spent three years sorting these 10,000 neurons into different subtypes using their genetic signatures. He has identified 37 genetically distinct subtypes.
Now Lowell and Andermann are experimenting with subtype after subtype to see which ones are involved in the hunger circuit.
To do so, they are exposing live mice to different conditions and watching to see which neurons fire in response. They can see if a neuron fires when, for instance, the mice are shown pictures they’ve learned to associate with a tasty treat.
Once they identify neurons that are activated in the PBN by the food cue, they are using other experimental techniques to figure out which of the 37 distinct genetic profiles these neurons carry.
The process, which involves sacrificing the mice and dissecting their brain tissue, can be painstaking. But Lowell and Andermann insist they are closing in on their target. They hope that within the next five years they will have found the neurons they are looking for. From there, they can proceed into higher-order areas of the brain.
The exact development of the new class of weight-loss drugs—and the experiences reported by patients—tantalizingly illustrate how much power the circuits they are tracing can have on those areas. Not only is the physical experience of hunger absent—because the drugs seem to lower the body’s “set point”—but everything else that usually goes along with hunger seems to fade away. Patients report that they are no longer plagued by intrusive thoughts of food. (These reports parallel what Andermann and Lowell are seeing in the lab. Using their neural imaging techniques, the researchers can actually tell when mice are thinking about visual cues they have seen in the last minute or hour.)
It remains to be seen whether Lowell and Andermann’s work will actually resolve the intense debate in the field over how these drugs work, and what parts of the brain they act on. But the researchers hope that by decoding the circuit, their findings may inform the development of new generations of drugs that are even more effective and lack side effects such as nausea, vomiting, diarrhea, abdominal pain, and, in some cases, pancreatitis and changes in vision.
Though this would be newsworthy, it’s still not what excites Lowell the most. He remains most committed to the idea that his research could yield new insights into motivation, decision-making, and a wide array of other functions—into human will and survival. To illustrate why he is excited, he talks about a video he’s seen of a hungry squirrel navigating a “Mission Impossible” course to access food; the squirrel climbs up a pole, hurls itself through the air and lands on a windmill, and shimmies through a small opening in a plastic barrier while hanging upside-down from a clothesline.
“The squirrel isn’t operating on reflex,” he says. “It’s a totally novel environment. It has to use all of its higher processes to achieve that goal.” How does this very simple system manage to take over?
“That’s the big question,” he says. “We don’t know how any of that works, those higher processes.”
Now that he’s finally equipped with all the tools he needs to untangle the dizzyingly complex bowl of neural spaghetti, it may just be a matter of time before he finds out.
Adam Piore is a freelance journalist based in New York. He is the author of The Body Builders: Inside the Science of the Engineered Human, about how bioengineering is changing modern medicine.
Mon, 01 Jan 2024 20:00:00 -0600entext/htmlhttps://www.technologyreview.com/2024/01/02/1084713/how-does-hunger-work-appetite/Apple's NameDrop allows easy contact information swapping, but is it a security threat?Your browser is not supported | azcentral.com
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Sun, 03 Dec 2023 16:39:00 -0600en-UStext/htmlhttps://www.azcentral.com/story/money/business/tech/2023/12/04/is-apples-ios-17-namedrop-feature-a-threat-to-your-privacy/71767184007/Adobe Premiere Pro vs Apple Final Cut Pro
Adobe Premiere Pro earns its reputation as one of the best professional video editing software out there. Packed with pro-level tools, the newest updates create an effective movie-making workflow.
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Apple Final Cut Pro felt like it was languishing a few years ago, but exact updates have boosted its stability and introduced great new features which will be of benefit to editors new and old.
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Adobe Premiere Pro vs Apple Final Cut Pro: First impressions
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The latest version of Apple Final Cut Pro, meanwhile, has seen dramatic, exact improvements. And it continues to evolve - albeit under pressure from top industry editors who want to see more productions using Apple’s flagship video editor.
During our time with Final Cut Pro, we found it an incredibly powerful piece of video editing software. It’s been around for a while now, and might not be evolving as fast as some would like, but it’s very stable, and the more exact features help it remain a worthy contender. If you're a Mac user seeking one of the best alternatives to Premiere Pro, you can't go wrong here.
In the battle for best overall, our pick would be Premiere Pro. There's a reason it's a favorite in Hollywood, after all. But by pitting Adobe Premiere Pro vs Final Cut Pro, it’s about finding the software for editing videos your way. That matches the machine you use, and fits your creative flow.
Adobe Premiere Pro vs Apple Final Cut Pro: Platform
Premiere Pro: Windows, Mac
Final Cut Pro: Mac
In the Premiere Pro vs Final Cut Pro debate, the real question is: are you running Windows or macOS? Video editor apps are notoriously resource-intensive, so whichever you use, you'll need the best video editing PC or laptop for the smoothest workflows.
Adobe Premiere Pro is a video editor for PC and Mac.
Adobe Premiere Pro vs Apple Final Cut Pro: Interface
Premiere Pro: Easy to use, looks more complicated than it is
Final Cut Pro: Simple interface that welcomes beginners
A great user interface is easy to navigate and intuitive to use - and, as you’d expect from premium tools, both Premiere Pro and Final Cut Pro deliver outstanding designs.
Adobe Premiere Pro may feel a bit more overwhelming to novice editors. Because it’s built for professional use, there’s a lot going on at first glance - but like all Adobe products, the interface isn’t really as complex as it first appears. It doesn’t take long to master, and once you know where to find the right tools and how to use them, it starts to feel like child's play.
One update to Adobe’s premium video editor introduced the Essentials and Vertical Video workspaces. These simplified workspaces are streamlined for general editing and editing in the 9:16 aspect ratio, placing all key tools within easy reach in a logical left-to-right order.
Apple Final Cut Pro has also seen exact updates - but none introduced major interface upgrades. Maybe that’s no bad thing. Part of Final Cut Pro’s charm is the beginner-friendly UI, making it relatively painless to upgrade from Apple iMovie - one of the best free video editing software tools for Apple users - to the professional-grade FCP.
In our review, we found “FCP’s simple interface hides a powerful and stable video editing package.”
Ultimately, in terms of Premiere Pro vs Final Cut Pro, the fact is both offer differently styled but excellent editing experiences.
Adobe Premiere Pro vs Apple Final Cut Pro: Workflow
Final Cut Pro: Intuitive, far less glitchy than previous versions
Workflows will be unique to you. It’s about choosing the best software for editing videos your way - a way that just clicks.
If you’re already engaged in the Adobe or Apple ecosphere - for example, you or your business use Photoshop for your social media marketing or iCloud for your cloud storage - then it makes sense to stay within that sphere. It’s usually more cost-effective, and there’s no need to learn a whole new system, so productivity won’t take a hit.
Both video editors offer excellent editing experiences. Premiere Pro’s workflow is as seamless as you’d expect from the industry-standard, ideal for heavy workloads. The latest version has a new focus on importing media. A redesigned import window now places your clips front and center. Selecting these and clicking Import then adds them to your sequence in a new project.
Although these settings can be changed, in our view, “getting right down to working with your clips in their native format will be what people choose to do. This removal of potentially unnecessarily complex tweaking is most welcome.”
Apple’s video editor offers a similarly fluid workflow. We found it much easier to get started, but feels best for lighter editing work. It’s also seen a lot of bug squishing, improving the experience further and “we can state with confidence that glitches that frustrated us back in 2020 no longer reared their nasty little heads. We remember random glitches with rendering on export, for instance, that really were a deal-breaker. These have disappeared.”
Adobe Premiere Pro vs Apple Final Cut Pro: Performance
Premiere Pro: Powerful, fast, stable
Final Cut Pro: Powerful, faster, finally more stable than previous versions
Performance is always a factor when choosing a video editor.
We found Premiere Pro is fast and stable (though not as fast as Apple’s software when exporting and rendering). Final Cut Pro now matches Adobe in stability, feeling robust under use.
We discovered “the app very rarely crashes. When it does, you’ll be glad for the software’s automatic saving feature that means that most of the time, you can relaunch FCP and get back to work without having lost a single cut.” However, we still think, “it’s about time things felt stable enough that you don’t have to worry about it at all.”
With both tools supporting Apple silicon on M1 machines, there's also the promise an even further performance boost.
According to Adobe, HEVC exports “are faster with macOS 12 on M1 Macs. Hardware encoding is now enabled for DCI 4K and 8K HEVC exports, resulting in significantly faster performance.”
And Apple continues to Excellerate performance, efficiency, and stability on Macs with Apple silicon. “Working with Apple’s Silicon does speed up processes,” we found.
Adobe Premiere Pro vs Apple Final Cut Pro: Tools & effects
Premiere Pro: Fully loaded toolkit, regularly updated, incredible use of AI
Final Cut Pro: Slow to release new features, but impressive when they arrive
When it comes to tools in the Premiere Pro vs Final Cut Pro showdown, both are extremely well-matched. But then, both are aimed at those who want professional results. That includes 8K support and the now metaverse-inspired 360-degree editing for virtual reality.
Adobe regularly updates Premiere Pro, adding new features and refining existing ones. In a exact update, new styling tools came into play, letting you add multiple shadows to text layers.
It also saw the launch of the transcription option, an automatic speech-to-text tool that we loved. Not only does Premiere Pro now automatically transcribe and caption videos in 14 languages, you can even search clips for a specific word or phrase, making it a genuinely accessible tool for your and your viewers.
Apple has come under fire for leaving Final Cut Pro to apparently fester - resulting in an open-letter from editors desperate to see the video editing software take a central role in film & TV productions.
However, in exact months, Apple has rolled out a raft of new updates and features that keeps it relevant for editors new and old. It even dropped the controversial X from its name. Apple Final Cut Pro X is vanquished.
Both video editors also use artificial intelligence to simplify the workflow. Adobe’s AI Sensei is built into the Adobe stack, but will be most familiar to creatives making quick, accurate edits in Photoshop, Adobe Illustrator, and Premiere Pro.
One cool tool we found for Adobe's AI was Remix, which retimes songs to fit your video. Traditionally, this can be a time-consuming process. So, we tested the capabilities with an original track (just to make sure the AI had some work to do). It took just a few seconds. And sounded great.
Apple’s FCP AI helps you adjust color corrections, and detects and fixes duplicate clips. The The AI voice isolation tool will be welcomed by anyone looking to Excellerate audio quality, as it cleverly strips back background noises.
It also features AI-based effects. Using the comprehensive object tracking tool, you can now drag effects onto the preview screen, apply the effect to a specific area, and let the robots do the legwork. While the AI recognises certain objects, like buildings, we found it excelled at facial recognition.
For iPhone 13 owners, the launch of the video editor’s new Cinematic Mode will be especially interesting, as it lets you film, pull focus and track focus on your phone. You can then manually handle the f-stop, just as you would with any other camera.
“Changing it over time is just a matter of keyframing the effect,” our review noted. “It’s not perfect, of course. That’s due to the algorithms used to separate the subject from its background. But, under the right conditions, being able to play around with your footage in this way can lead to very impressive results.”
Adobe Premiere Pro vs Apple Final Cut Pro: VFX & integrations
Premiere Pro: Integrates with Adobe After Effects
Final Cut Pro: Integrates with Apple Motion
As you’d expect, each video editing software plays best with the company’s other products.
Premiere Pro works flawlessly with other Adobe tools. Notably, it works great with Adobe After Effects - “a visual effects powerhouse” and our pick for best VFX software - and you're free to use any of the best Adobe After Effects alternatives, too. However, there’s no integrated visual effects in Premiere Pro, so if you’re a motion graphics designer or compositor, you’ll need to introduce a secondary tool into the mix.
Final Cut Pro integrates perfectly with iMovie, ideal if you’re using the simplified video editor for rough cuts or concept work. It’s also ready for Apple Motion, which is an efficiently designed special effects app.
The visual effects tool might lack the power of After Effects or Autodesk’s animation and 3D modeling software Maya. But when we tested it out, we found it more accessible for less-experienced VFX artists. Among its features are advanced color correction and a useful set of tools for designing and animating text.
Adobe Premiere Pro vs Apple Final Cut Pro: Import & export
Premiere Pro: All major media formats supported
Final Cut Pro: All major media formats supported
Adobe Premiere Pro supports almost all common audio and video formats - see the full list here - which gives you great flexibility over your projects when importing files. Export file types are just as extensive with Adobe Media Encoder, with the added ability to also directly export ProRes, XML, and more.
Apple Final Cut Pro is similarly versatile when it comes to supported import and export file types. All major media formats can be used, such as HEVC, H.264, DV, and MPEG.
Adobe Premiere Pro vs Apple Final Cut Pro: Pricing
Premiere Pro: Monthly or annual subscription
Final Cut Pro: One-time payment
Premiere Pro, like most Adobe tools, is only available through a monthly or annual subscription that must be maintained to receive the latest updates and features.
The standalone video editing app costs from $20.99 / £19.97 a month. The Creative Cloud All Apps subscription, which includes over twenty tools like After Effects. Photoshop, and Lightroom, starts at $54.99 / £51.98 a month.
Final Cut Pro is available for a one-off payment of $299.99 / £249.99. This gives you access to all future updates and features, big and small. The same is true of iMovie and Apple Motion, too, so there’s no on-going costs when editing video with Apple products.
Adobe Premiere Pro vs Apple Final Cut Pro: How to choose
When deciding which is best, Premiere Pro or Final Cut Pro, it really comes down to platform, ecosystem, budget, use, and experience.
Both are intensely powerful video editors - and if you’re running a Mac, you have the luxury of choosing between the two. If you’re on Windows, you can only get Premiere Pro or look for alternatives.
If you’re part of the Apple or Adobe ecosystem already, you’ll likely be most comfortable using the company’s own video editing software. It makes the learning curve less severe, and can possibly save money.
Money: that’s arguably the most noticeable difference between Premiere Pro and Final Cut Pro. Adobe subscription vs Apple’s one-time fee. Select the video editor that best meets your budget.
Make a decision based on your needs - both now and in the future. If you’re a big, media-heavy company, Premiere Pro will likely meet all your needs. Smaller businesses and sole creators may be better served by Final Cut Pro.
But, really, it comes down to experience - how it fits into your creative workflow. And that’s entirely subjective. So, it’s worth seeing how to download Premiere Pro and Final Cut Pro, trying them out, discovering which one works for you.
Premiere Pro vs Final Cut Pro: Alternatives
Our team has reviewed some of the best video editing apps across mobile, tablet, and desktop. So, it’s not just a case of Premiere Pro vs Final Cut Pro - there are a lot of excellent video editing software out there for a range of skill-levels and uses.
DaVinci Resolve - a Hollywood-level tool that may look overwhelming at first glance as it’s so full featured, but that’s because it contains pretty much everything you need to catalog, organize, edit, alter, and composite your video project.
Lightworks from LWKS is a free editing software offers basic tools for casual editors, with advanced features tucked behind a subscription or perpetual license paywall.
CyberLink PowerDirector and Pinnacle Studio are ideal budget video editors that are surprisingly powerful and easy to use considering the high-end features on offer.
If you’re looking for the best video editing software for beginners, and want to stay in the same stable, Apple iMovie is a good alternative for novice creatives. It's a basic but one of the best video editing software tools that's free and user-friendly.
Meanwhile, Adobe has Premiere Elements (available for a one-off fee) and free video editor app Premiere Rush, available on mobile and desktop.
Adobe Premiere Pro vs Apple Final Cut Pro: How we test
When testing top video editing software like Premiere Pro and Final Cut Pro, we’re looking for fluid interfaces and professional results. Our reviewers are steeped in years of editing experience, and thrilled by new features, tools, and updates that make using the software easier for consumers.
User experience is critical. Under clear instruction, creatives should be able to intuitively navigate the video editor app and start building projects - friction-free. In our experience, both tools offer outstanding experiences centered around the user.
With premium video editors like those from Adobe and Apple, we also look how well they ‘play’ with other tools. We expect high-powered performance - users shouldn’t have to worry about software crashes or footage that stutters on export.
Thu, 07 Dec 2023 03:51:00 -0600entext/htmlhttps://www.techradar.com/versus/adobe-premiere-pro-vs-apple-final-cut-proFinal Cut Pro
Final Cut Pro X is Apple's non-linear, non-destructive video editing software. It is a native 64-bit application capable of utilizing all CPU cores and GPU-accelerated processing, useful for improved playback, rendering, and transcoding. It is used by hobbyist filmmakers and industry professionals in TV, Film, and streaming media.
The software is available to purchase directly from the Mac App Store for $299.99.
Final Cut Pro History
Macromedia initially created Final Cut Pro as an alternative to Adobe Premiere, designed to work alongside Apple's QuickTime. Randy Ubillos, a designer behind the first three iterations of Adobe Premiere, led the project. While the program saw some initial copyright issues before its release, Apple purchased the development team in 1998.
In the early 2000s, the video editor began receiving praise from industry professionals. Independent producer Michael A. Bloom had praised the program in an interview with Larry King. He cited that the program did not fail a single time while rendering his film.
Roger Avery, the director of Rules of Attraction, became the official spokesperson for Apple's video software. His appearance in global print advertisements helped encourage other editors to make the switch.
In 2002, it won a Primetime Emmy Engineering Award for its impact on the television industry.
Final Cut Express, a less expensive version of the software, was launched in 2003. While it was well-received at launch, the program was later discontinued in 2011.
Final Cut Pro X, the official successor, was launched in April of 2011. The program was rebuilt entirely and featured a new interface and now conformed to 64-bit application standards. Other new features included workflow enhancements, automation, Core Animation, and ColorSync integration. Later iterations of the software would gain support for the MacBook Pro's Touch Bar, enhanced color-editing tools, 360-degree video editing support, and support for HDR.
As Apple continues to Excellerate upon its iPad Pro line, it is expected to introduce more professional-grade apps to the ecosystem. Apple's professional media editing and creation apps are perfect targets for such implementation, but very little in terms of rumors or leaks has indicated any imminent release.
Final Cut Pro Features
Final Cut Pro X uses a magnetic timeline, allowing non-destructive editing of clips. Clips can be moved, trimmed, and reordered without collisions or syncing problems. Compound Clips enable users to bundle video and audio clips into a single, movable package. The addition of color-coding helps users identify different types of content at a glance.
Organization has also been brought to the forefront of the software. Users can tag clips and clip ranges with metadata for searching or create Smart Collections that automatically collect content based on custom criteria.
Apple also added more functionality for video editors to take advantage of, including workflow extensions for third-party apps and services and several other highly-requested features. The additions allow editors to drag media into their libraries, add clip markers, synchronize playback between extensions and the timeline, and other features.
Other integrations include review and approval of work via Frame.io, the ability to search for product stock footage with Shutterstock, and enhanced media asset management via CatDV.
In line with previous versions, it also gives users robust text and graphics tools. Users can easily create 2D and 3D titles, apply filters, and use a built-in chroma key for blue- and green-screen effects.
By taking advantage of Metal, the app has seen vast speed improvements. Those who edit videos on a 15-inch MacBook Pro will see 20% faster render times, while those using an iMac Pro could see up to 35% faster renders. It also allows users to utilize external GPUs.
The latest update has been optimized for the new Mac Pro. Designed to take advantage of all the GPUs in Mac Pro, the app uses multithreading to spread tasks across up to 28 cores. It supports up to six streams of 8K ProRes RAW, 23 streams of 4K ProRes RAW, and can see up to 2.7x faster render speeds on the Mac Pro.
There is also extensive support for the Pro Display XDR, Apple's high-quality screen it introduced alongside the Mac Pro. As well as using it as a display or reference monitor, there is also support for up to three Pro Display XDR units in the software, with two used for the main interface and one for dedicated monitoring.
Apple also included support for Sidecar, a macOS feature that lets you use an iPad as a second display. Sidecar works with both wired and wireless connections.
There are High Dynamic Range improvements as well, with enhanced color-mask and range-isolation tools for grading HDR footage and the ability to view HDR video tone-mapped to compatible Standard Dynamic Range displays when used in macOS Catalina.
A June 2021 update made it possible to create and edit column views, plus added improved options for sorting clips.
Apple updated Final Cut in April 2022 to optimize playback and graphical performance on M1 Max and M1 Ultra chips in the Mac Studio.
Compatibility updates for macOS Ventura added faster exporting of H.264 or HEVC on Macs with Apple Silicon.
Motion
Motion is Apple's motion graphics tool that gives users the ability to create cinematic 2D, 3D, and 360-degree titles, transitions, and realistic effects in real-time. The interface is designed to be familiar to users if they have already used Apple's other professional software.
Users are also able to create Smart Motion Templates, which lets users adjust motion graphics quickly and easily.
Motion is available to purchase separately from the Mac App Store for $49.99.
Compressor
Compressor is Apple's video and audio compression and encoding application and is designed to work alongside Apple's professional audio and video apps. Users can encode MPEG-1, MPEG-2, Quicktime .mov, and MPEG-4 profiles, as well as convert NTSC to PAL and vice versa. Just as with Motion, Compressor's interface should look and feel familiar to those used to Apple's professional apps.
Compressor is available to purchase from the Mac App Store for $49.99.
Notable projects edited with Final Cut Pro:
500 Days of Summer
Burn After Reading
The Girl with the Dragon Tattoo
Leverage
The Social Network
Trailer Park Boys
X-Men Origins: Wolverine
Wed, 05 Aug 2020 10:40:00 -0500entext/htmlhttps://appleinsider.com/inside/final-cut-proApple iMovie vs Apple Final Cut Pro
Apple Final Cut Pro 10.6 review
After some great updates adding new tools and boosting stability, Final Cut Pro is starting to feel like the video editor it should've always been. Gaining popularity across the industry.
For
One-off cost
Very stable
Numerous tools
Great new additions
Against
Mac only
Slow update rate
Apple iMovie 10.3.1 review
A consumer-focused video editor, Apple iMovie is ideal for those with little to no knowledge of video editing. But although it’s free, it's starting to feel in urgent need of new features.
For
Integrates with iMovie for iOS and Final Cut Pro
Great for beginners
Free
Against
Mac only
Near-non-existent update rate
Wondering which is better, Apple iMovie vs Final Cut Pro? Or want to know the differences between two of the best video editing software for Apple devices? We've tested, reviewed, and rated them both and trust us when we say they're about as different as two video editors can be.
>Apple Final Cut Pro is packed full of tools and effects, aimed at professional video editors. It doesn't quite have the industry-wide popularity of Adobe Premiere Pro, but it’s a Hollywood-grade program.
If you own a new Mac or iOS device, you already have Apple iMovie - it comes free and pre-installed on Apple machines.
iMovie vs Final Cut Pro: Features
Final Cut Pro: Equipped with professional tools
iMovie: Basic toolkit for simple edits
Both iMovie and Final Cut have a large selection of built-in text titles you can select. However, iMovie provides few options to subsequently customize these after they have been added to your video. Whilst editing titles on Final Cut Pro is less intuitive, it allows you to frame, time, and visually alter text in almost any way.
Apple excels at designing software that’s incredibly easy to use. That’s no different with Final Cut Pro or iMovie. But it’s fair to say, as iMovie is specifically pitched at those with less video editing experience, it’s the more intuitive of the two programs.
That’s not to say Final Cut Pro is difficult to use. There’s certainly a steeper learning curve. But, it’s arguably the most intuitive of the professional-level editors available on the market.
iMovie has all of the features a more basic video project might require, including transitions, sound effects, speed adjustment, and photo overlays.
Final Cut Pro’s roster of VFX far outstrips this, and can be combined in lots of unique ways to achieve stunning results. For example, you can exactingly adjust frames using the color inspector tool and keyframes feature. Final Cut Pro also offers a huge bank of preinstalled effects, but allows you to import your own if needed.
Final Cut Pro ticks all the boxes when it comes to features, allowing users to achieve almost any desired outcome. If you’re cutting a simpler project without complex effects, Apple iMovie should meet your needs.
iMovie vs Final Cut Pro: Performance
Final Cut Pro: Runs fast and stable
iMovie: Quick to process
When it comes to Apple Final Cut Pro vs Apple iMovie, there’s no doubt that FCP is the massively more powerful editing software - but you'll likely need one of the best video editing laptops or any of the best video editing computers to run it smoothly and flawlessly.
In terms of features and effects, Final Cut Pro offers a higher degree of detail and customizability, while not sacrificing too much in terms of ease of use and interface.
On the other hand, iMovie is designed for beginners and those simply looking for an easy-to-use video editor. Its bank of tools and features, and the overall interface and experience reflects this.
For their respective users, both tools excel - although there are other free video editors, such as DaVinci Resolve, that are undeniably more powerful than iMovie.
When you need to choose between Final Cut Pro and iMovie, pick the video editing software that fits your needs, your budget, and your creative flow.
iMovie vs Final Cut Pro: Verdict
In the battle between Apple Final Cut Pro vs Apple iMovie, there’s no doubt that FCP is the massively more powerful editing software.
In terms of features and effects, Final Cut Pro offers a higher degree of detail and customizability, while not sacrificing too much in terms of ease of use and interface. On the other hand, iMovie is designed for beginners and those simply looking for an easy-to-use video editor. Its bank of tools and features, and the overall interface and experience reflects this.
For their respective users, both tools excel - although there are other free video editors, such as DaVinci Resolve, that are undeniably more powerful than iMovie.
When you choose between Final Cut Pro and iMovie, pick the video editing software that fits your needs, your budget, and your creative flow.
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Tue, 05 Dec 2023 21:54:00 -0600entext/htmlhttps://www.techradar.com/versus/imovie-vs-fcp-x-which-is-bestBest Apple TV 4K Deals for January 2024
Apple launched the original Apple TV 4K in September 2017, and as of October 2022 we have brand-new third-generation models of the Apple TV 4K. With its tvOS App Store, Apple TV 4K allows you to download video apps including Hulu, Amazon Prime Video, and HBO Max, which funnel into the centralized TV app to organize every show and movie that you watch.
Apple announced an update for the Apple TV 4K in October 2022, with a design that mostly looks the same as the previous generation but a faster A15 Bionic chip, support for HDR10+, and a fanless design. The 2021 redesign of the Siri Remote has also stuck around.
Notably, the 2022 Apple TV 4K starts at 64GB of storage and includes support for Wi-Fi connectivity at $129. The higher-end model at $149 has double the storage and an Ethernet port.
The older models of the Apple TV have been discounted by as much as $70 in past sales at major Apple resellers like Adorama, Amazon, B&H Photo, Best Buy, and MacMall (which is now integrated with TigerDirect). In this guide we'll be tracking the lowest prices for Apple TV 4K models - as well as the non-4K Apple TV HD - from these retailers and others.
Apple TV 4K (2021)
The 2021 Apple TV 4K was priced the same as the 2017 model: $179 for 32GB and $199 for 64GB. Amazon had both the 32GB model and 64GB model at all-time low prices for Black Friday 2022, but those sales have now ended. Right now, both of these Apple TV models are out of stock on Amazon, and we aren't tracking any other deals on the 2021 devices.
Apple TV 4K (2022)
Discounts on the latest Apple TV 4K were very sparse in 2023. Right now, we aren't tracking any markdowns on either model.
We follow deals on Apple TV 4K and much more over in our full Deals Roundup, so head there for even more information on the latest bargains related to Apple products and accessories.
Apple TV 4K (2021): A12 Chip, 32 GB
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$179.00
Apple TV 4K (2021): A12 Chip, 64 GB
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$199.00
Apple TV 4K (2022): A15 Chip, 128 GB w/ Ethernet & Thread
$149.00
Apple TV 4K (2022): A15 Chip, 64 GB
$129.00
Apple TV HD (2021): A8 Chip, 32 GB
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$149.00
Note: MacRumors is an affiliate partner with some of these vendors. When you click a link and make a purchase, we may receive a small payment, which helps us keep the site running.
Mon, 01 Jan 2024 18:49:00 -0600Mitchel Broussardentext/htmlhttps://www.macrumors.com/guide/apple-tv-deals/Apple Health
Over the years, Apple has vastly expanded the Health app on iPhone with ways to track weight, fitness, and much more. Earlier this year, we broke down the best smart scales for syncing weight with an iPhone. And with iPadOS 17, the Health app is also now on iPad.
Another measurement that can integrate with Apple’s Health app is blood pressure. Here are some of the current options on the market for syncing blood pressure with the Health app on your iPhone.
ExpandExpandingCloseSun, 16 Aug 2020 22:41:00 -0500en-UStext/htmlhttps://9to5mac.com/guides/apple-health/Apple seeks a way in court to keep 2 of best watches on shelves during patent dispute
Apple is filing an emergency motion asking a court to let it keep selling two of its most popular watches until a final decision on its broader appeal in a patent dispute is decided
ByThe Associated Press
December 26, 2023, 1:25 PM
Apple filed an emergency motion seeking court permission to begin selling two of its most popular watches again until a final decision on its broader appeal in a bitter patent dispute is decided.
The company cut off sales right before the Christmas holiday and in a motion filed Tuesday, Apple said it would suffer “irreparable harm” if previous court orders remain for the two weeks that it said the U.S. International Trade Commission will take to respond to its appeal.
The disruption will likely cost Apple about $300-400 million in holiday-season sales, estimated Wedbush Securities analyst Dan Ives. That’s a relative drop in the bucket for Apple, given that industry analysts are expecting the company to generate nearly $120 billion in sales this quarter, which includes the holiday shopping season.
On Oct. 26, the ITC determined that Apple infringed on two patents owned by Masimo Corp. and Cercacor Laboratories, both U.S. companies. After a 60-day review, the ITC's decision became final Tuesday, but the company had already pulled the watches from store shelves and removed them from its online sales lineup.
On Tuesday, United States Trade Representative Katherine Tai let the ITC decision stand.
“After careful consultations, Ambassador Tai decided not to reverse the ITC’s determination,” the office of the U.S. Trade representative said, meaning that the ITC decision officially went into effect Tuesday.
The Cupertino, California tech giant stopped online sales of its Apple Watch Series 9 and Ultra 2 internet-connected watch Thursday in the U.S. after ITC rejected Apple’s bid to get around a late October order blocking the company from using some of technology underlying the blood oxygen measurement feature on the watches.
Previously purchased Apple Watches equipped with blood oxygen measurement aren’t affected by the ITC order.
Apple contends that the ITC's decision is based on multiple factual errors and that Masimo does not sell a competing product in the U.S. in “meaningful quantities” and would not suffer harm if the order is stayed.
Shares of Apple Inc. are down slightly on a day when the tech sector is one of the strongest in Tuesday trading.
Mon, 25 Dec 2023 20:25:00 -0600entext/htmlhttps://abcnews.go.com/Business/wireStory/apple-seeks-court-2-best-watches-shelves-bitter-105925113New Movies on Streaming: ‘The Hunger Games: The Ballad of Songbirds and Snakes’ + MoreNo result found, try new keyword!As Christmas approaches, so does the chaos of the holiday season, so why not chill out by watching some great new movies on VOD? This week marks the arrival of the Hunger Games prequel The Hunger ...Fri, 22 Dec 2023 02:21:00 -0600en-ustext/htmlhttps://www.msn.com/
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