One copious absence from Apple’s latest Final Cut Studio upgrade (touting over 100 new features) is any mention of DVD Studio Pro… or ANY disk authoring program at all.
I’ve copied their “what’s new page” here so you can see at a glance some of their highest touted new features.
DVD Studio Pro is not mentioned in new features at all- which is very odd considering that burning to Blu-ray is one of the newly touted features of Compressor, which you would think is a compression tool based on its name, not a burining or authoring tool. This really makes no sense. The actual DVD-SP page lists nothing new.
You can now easily burn a Blu-ray disc or a DVD directly from Compressor. Quickly add a menu to your disc by choosing one of the beautiful Apple-designed HD or SD templates included in Compressor. Because Compressor uses an open XML-based template format, you can import third-party or custom templates for a specific look. Compressor now includes a setting that allows you to create Blu-ray–compatible H.264 files that can be imported directly into third-party Blu-ray disc authoring software. (Blu-ray recorder required for burning Blu-ray discs.)
Maybe now Apple will join the rest of the computer industry and finally offer a Blu-ray drive?
Another interesting twixt of phrase is that 4k is supported… but only Color is mentioned. It is well known that Final Cut Pro can’t actually edit full 4k video files from RED. But touting 4K support, Apple tries to counter sony’s claim to actually be able to edit native 4K footage from RED, which FCP apparently still can’t do (or else they’d tout it highly!)
The new Time Code window looks very nice (even if it does hog screen real estate). Adding AVCintra from Panasonic is welcome. Now if the computer could natively handle MP3 files in the timeline… you know, those audio files that have been around for many years now, then we could digitize our entire sound library at high bitrate and save a ton of space. But no.
No note of changing the way Multicam is set up- which is currently awful. Instead of creating a multi-layered sequence with clips of your choosing, wherever and whenever you want (multiple different cameras on a single layer over time) and then just right-click on the sequence in the bin and say it’s a multicam sequence (EASY!) you still have to use the wonky Multicam setup tool.
FCP touts “improved render management” and “background exporting” but how about steaking a page from iMovie 1.0- from 10 years ago- and have background rendering on everything. For Pros, even dedicate only a certain number of cores to background rendering so foreground responsiveness is not detrimentally affected. It’s possible, but maybe it’ll take another 10 years.
The iChat theatre support looks very cool- for those clients with Macs. IF it works as touted, it could be very cool indeed. Adobe’s print to PDF is also a very useful tool. I’ve used it and it works as advertised. The demo on the What’s New page looks pretty nice, except it really shows what has become a limitation of iChat in what has become a 16:9(or 10) world: the 4:3 only infrastructure of iChat. Our screens are wide screen. Hook up an external camera to iChat and it’ll take in wides creen video- and squeeze it to 4:3. Now with FCP’s iChat Theatre Preview, you can share wides creen video, in a 4:3 window. This wouldn’t be so bad if there was a way to put the wide screen video at the top and leave room for your picture and time code below it, but there’s no provision for that. Again, maybe in the future they’ll think this stuff through.
New ProRes codecs: ProRes Proxy, with a “low data rate around 36 Mbps” this is called a proxy for “offline” use. Which is funny because the XDCAM EX that I edit for Healthy Flavors on PBS is recorded at 30 Mbps and it is stunning. Definitely not “proxy” by any stretch of the imagination. However, the ProRes Proxy probably offers more realtime capability than XDCAM EX footage in the same timeline. I’ll have to test that later.
So ProRes now means:
ProRes Proxy – 35 Mbps
ProRes LT – 100 Mbps for news
ProRes 422 – 145 Mbps for “uncompressed” HD workflows
PrRes 422 HQ – 240 Mbps for advanced post production
ProRes 4444 – 320 Mbps for graphics & visual effects workflows
Final Cut Pro 7 lets you do more — and do it faster — with new ProRes codec options, time-saving interface improvements, and easy collaboration tools.
Expanded ProRes family
New versions of the Apple ProRes codec let you edit faster and at higher quality across a wide variety of workflows. The family now includes ProRes 422 (Proxy), ProRes 422 (LT) and ProRes 4444, in addition to the original ProRes 422 and ProRes 422 (HQ).
Choose ProRes 422 (Proxy) for offline editing or use ProRes 422 (LT) for projects that require reduced file sizes at broadcast quality, such as news, sports, and events. At the other end of the scale, ProRes 4444 is ideal for compositing and digital workflows that require the highest-possible image fidelity. Watch the video
Delivery to your Apple devices, the web, and disc is just a click away. Choose your output format in the Share window, then keep working while your projects are rendered, compressed, and even published to the web in the background.
Use this convenient feature to export your file to iTunes for syncing with iPod, iPhone, and Apple TV; publish to YouTube or MobileMe;1 or burn a Blu-ray disc2 or a DVD, with a choice of Apple-designed menu templates. You can also create custom presets in Compressor for use in the Share window. Watch the video
iChat Theater support
Now you can work with clients or collaborators as if they were in the room with you — in real time, from anywhere in the world. Just send your Final Cut Pro video to iChat Theater to let everyone see the same footage while you view dailies, select shots, and make edits.3 You can instantly switch the iChat view between clips and sequences as you talk, and turn on a timecode overlay to help identify specific frames. Watch the video
New speed change tools
Change clip speeds with ease in the redesigned Change Speed window, which includes presets that ease in and ease out retimed clips. A new option lets you make speed changes without rippling the sequence, which means you can experiment freely without affecting the surrounding clips.
You can also now create constant or variable speed changes right in the Timeline. For constant speeds, use the new Speed tool, which adjusts the speed as you drag to shorten or extend a clip. For variable speeds, add keyframes directly in the Timeline and creatively fine-tune playback with click-and-drag controls. Watch the video
It’s now easier than ever to create dramatic transitions with moving mattes. Apply a matte instantly by choosing one of the beautiful Apple-designed transitions, available through a free download. You can also bring in a third-party transition (sold separately), or create a custom transition using a motion graphics or animation program, such as Motion 4. Quickly see how various options look with your video by dragging animated elements into an effects drop zone. Watch the video
Color-code clip and sequence markers and use them to search or jump directly to important locations. You can add marker notes and metadata while the clip is playing, create a custom name for each marker color, and control whether markers of a specific color are visible in the Timeline. A new option allows marker positions to automatically ripple as you edit. You can even export a tab-delimited Markers list to track marker information in a spreadsheet or database. Watch the video
When you’re working under deadline, every second counts. Final Cut Pro now saves you setup time when you transfer clips from a wide range of file-based cameras including Panasonic P2 and Sony XDCAM. The files are automatically copied to your media storage volumes the moment your media is mounted. A new Log and Transfer option allows you to set up custom metadata and add it to all your assets in a single step. Watch the video
New timecode window
Now you can see the timecode up close or from across the room. The floating, resizable window is easily visible when you’re working with clients and can be quickly adjusted for your own logging and note-taking.
Native AVC-Intra support
Final Cut Pro 7 makes it easy to work with the latest high-quality cameras from Panasonic. Native support for the AVC-Intra format means you can ingest footage directly into Final Cut Pro at high speeds — without transcoding. Work with real-time effects and edit with multiple streams, thanks to ultrafast decoding of both 50-Mbps and 100-Mbps formats.
Closed captioning support
Final Cut Pro 7 offers expanded support for closed captioning — including both Line 21 for SD and VANC for HD video. You can preserve captioning data when you capture tape sources, and use popular third-party captioning software to create new captions as needed. New options let you output video with captioning to tape as well as to formats for web playback.
Save time by applying a single transition to multiple cut points in one step. Just select a range — either a set of clips or the entire sequence — then add a transition. Final Cut Pro automatically inserts the effect at every cut point and resizes the transitions to use available media. Easily substitute different transitions until you get just the look you want.
Faster media reconnecting for workgroups
Final Cut Pro now uses the Spotlight engine to speed up media searches.
The increased speed produces significantly faster media reconnecting as well as better media management for an entire workgroup using a high-speed network such as Xsan.
Multi-Touch gesture support
Work quickly when you’re on the set or on the road by using the Multi-Touch trackpad on your MacBook Pro. Navigate faster with gestures: Pinch to zoom horizontally within the Timeline; rotate to scrub the Timeline, Viewer, or Canvas; and use a three-finger swipe to advance the playhead across edit points.
Improved media management
Use the Media Manager to archive media and projects with confidence. It’s been optimized to improve media trimming, especially for clips with speed changes, multicam clips, and anamorphic media.
Optimized codec performance
Final Cut Pro 7 renders four popular formats faster than ever: XDCAM HD, XDCAM EX, interlaced HDV, and interlaced XDCAM HD 422. This lets you work faster and experiment with greater freedom when you’re creating complex, multilayered sequences.
Final Cut Pro editors use tabs to quickly and easily organize material as they work. In Final Cut Pro 7, tabs are even more flexible and convenient to use — which is particularly helpful for editors working on larger projects.
You can now color-code tabs to make them easier to identify, and drag to reorder them. It’s also easy to distinguish Projects from Bins with the new Project icon in the tab header. Work fast by using the Close Other Tabs shortcut to close all nonactive sequences or Bins with a click, and save even more time by using a host of new keyboard shortcuts for efficient tab navigation.
Improved render management
Render management enhancements reduce the need to re-render as you trim clips, move media, and perform a wide range of other functions. This means you can work more efficiently as you experiment with creative options.
Markers in multicam
You can now prepare multicam projects faster thanks to new support for markers. Retain markers on multiclips wh
en you switch angles and add marker notes to make multicam projects more efficient when you’re working with multiple editors.
Display SD safe title area inside HD
If you’re working in HD but need to deliver in SD, it can be challenging to position titles and graphics. Now you can display tick marks that show where graphics will be cut off on standard-definition displays based on the broadcast safe title area.
Log and Transfer improvements
Improvements to the Log and Transfer interface make handling of file-based media even more robust in Final Cut Pro 7. You can easily find and mount missing volumes during batch ingest, and sort clips to show only the ones that require re-ingest. Improved automatic naming makes it easier to identify clips that span multiple cards.
Now you can keep editing in Final Cut Pro while using Compressor to render, export, and publish in the background — whether you choose a template in the new Share window or use the Send to Compressor option in the File menu. To render in the background at maximum speed, use the Apple Qmaster QuickCluster feature.
Cinema Tools 4.5
Streamline your digital cinema workflows with the improved film management features in Cinema Tools 4.5, an application included in Final Cut Studio. Now you can create new databases simply by dragging files into Cinema Tools, and produce change lists with ease using XML files that describe the original version and the new version. Use Cinema Tools as part of a digital cinema workflow to track DPX files created during high-resolution film transfers or files from 4K cameras such as the RED ONE.
Comprehensive matchframe and reveal options
New matchframe options make it easy to find original frames or source files that are used in a sequence. If you’re working with subclips, you can choose to matchframe to the subclip or to the original clip. Matchframing now works with freeze frames as well as nested sequences, which are treated like a true master clip.
Use the new Reveal Affiliate Clips feature to automatically select every instance of a clip in a sequence, so you can apply a color correction or efficiently move or delete all instances in a single step. You can also find the project file without digging through your drives. Just right-click an empty space in the Final Cut Browser and choose Reveal Project in Finder.
Improved XML interchange
Final Cut Pro XML Version 5 supports greater interoperability with third-party software by preserving additional settings and metadata during round-trip file interchange. XML Version 5 also supports AUX timecode, which is used for sound sync and audio editing.
Numerous improvements to the Timeline make it more intuitive to edit and navigate:
- The Close Gap command now operates on the gap at the cursor location.
- Editors often use the Razor Blade tool to split clips for more flexibility in multitrack editing and trimming. The Join All Through Edits command lets you clean up the sequence in a single step.
- You can now use Audio Gain (Adjust) buttons on a selected audio keyframe or the two keyframes surrounding the playhead.
- If you’re working with multiple sequences, you can get started faster by holding down the Option and Shift keys when you open Final Cut Pro.
Motion 4 makes it easy to add excitement to your motion graphics with dynamic 3D shadows, reflections, and depth-of-field effects, as well as new text animations.
Quickly add dramatic shadows that animate dynamically with the movement of objects and lights. When you set up a point or spot light in Motion 4, a single click lets you designate it as a shadow-casting light. Then Motion adjusts the shadow as you position objects, lights, and the camera.
By default, all objects both receive and cast shadows. For greater control, you can restrict an object to be just a shadow-caster, a shadow-receiver, or a shadow-only object. Further refine the look of any shadow by adjusting edge softness and shadow color. Watch the video
Create reflections that change naturally as objects move through 3D space. You can now turn any shape, video plane, or paint stroke into a reflective surface. Use sliders to adjust the amount of reflectivity, soften reflections by adding blur, and fade them by using the Falloff feature. Watch the video
Depth of field
Draw attention to one or more moving objects in 3D space by selectively setting the focal point. Motion 4 makes it easy to highlight or de-emphasize objects by defining a range of focus, with an interface that illustrates the near and far focus planes as well as the point of focus. Add a Focus camera behavior to lock focus to a single object, or create a rack focus effect by using multiple Focus camera behaviors.
Now you can create and edit even a long list of production credits with ease. Just import a text file or type in your credits using the new Scroll layout in the Text tool. An innovative graphical interface lets you jump to any location in the credits with a click.
After you’ve set up your list, apply the new Scroll Text behavior to animate the credit roll in a single step. If you want to make refinements, you can adjust the speed with a slider and set an option to reduce flicker for progressive or interlaced outputs. Watch the video
Adjust Glyph tool
The new Adjust Glyph tool allows you to manipulate a character in a text object the same way you manipulate any shape in 3D. Just select the character to make adjustments directly in the Canvas. Options include Move, Scale, Rotate, and Adjust Four Corner, which lets you skew or corner-pin the face, outline, glow, or shadow style of the character. Watch the video
In Motion 4, when you make changes to one object, other objects can automatically respond. For example, if you animate a moving bicycle, Motion can dynamically change the rotation of the wheels as you adjust the position of the bicycle.
The new Link parameter behavior lets you associate a parameter value in one object with parameter values in other objects. There is no need to calculate values or manage keyframes. All you have to do is set the scale and offset for each linked parameter. Motion instantly adjusts the linked animations as you make changes. Watch the video
It’s now easier than ever to make a camera fly from one object to another, precisely framing each object as the camera slows or stops. To frame a single object, drop the Framing camera behavior on the camera and identify the target object. To animate the camera passing from one object to another, set up additional Framing camera behaviors and arrange them in the Timeline.
Redesigned Sequence Text behavior
The Sequence Text behavior lets you ripple characters onto or off the screen one character, word, or line at a time — and even modify all of the glyph attributes. Just manipulate a single letter and Motion animates the change through the entire sequence.
Four new Text generators make it easy to create and animate text sequences. Apply the Numbers generator to create an animation that counts up or down in sequence or at random. The Time Date generator lets you animate time and date sequences either forward or backward.
Use the Timecode generator to create running timecode sequences in any standard frame rate. The File generator allows you to rapidly sequence lines from the text contained in a file.
Bad Film filter
Instantly give your footage a historical look by making it look like bad or damaged film. Just apply the new Bad Film filter, then easily adjust parameters for focus, brightness, grain, jitter, scratches, dust, and more to get the look you want.
Multi-Touch gesture support
Navigate faster with gestures using the Multi-Touch trackpad on your MacBook Pro. Quickly browse tabs and navigate the Timeline with two-finger scrolling. You can pinch to resize icons or to adjust zoom levels in the Timeline and Canvas, and use the Rotate gesture to scrub the Timeline. A three-finger swipe toggles the Timing and Project panes and lets you move forward and backward in the Library and File Browser.
Numerous shape improvements
More than ten new or improved features in Motion 4 let you create and manipulate shapes faster than ever. Use the new Roundness shape parameter to round the corners of any geometric shape or mask. Create a mask instantly by dragging a shape onto an object. You can also save time in mask-intensive projects by customizing the color of mask outlines to eliminate confusion.
Several of the new shape features allow you to work with greater precision. You can now modify the control points of multiple shapes, either separately or simultaneously. The new Transform Control Points feature lets you use a bounding box overlay in the Canvas to intuitively scale, move, or rotate all or selected control points on a single object.
New preset Text Sequence behaviors
Save time by choosing one of 149 new preset Text Sequence behaviors, which feature a wide variety of playful or dramatic effects, such as Scramble In or Shimmer Out, for animating text onto or off the screen. Highlight effects include Scale Through, which makes the text look as if a magnifying glass is being passed over each letter in turn. You can use any preset as is or modify its parameters to get just the effect you want.
ProRes 4444 support
With support for the new ProRes 4444 format, Motion 4 makes it possible to work with masks, alpha transparencies, and other high-resolution effects, maintaining pristine image quality at smaller, highly optimized file sizes. Fast, efficient decoding lets you take advantage of dynamic, real-time feedback as you work.
Concentric Shapes generator
The Concentric Shapes generator is used to generate patterns derived from circles or from polygons ranging from 3 to 100 sides. Choose two fixed colors or set up a flexible multicolor gradient.
The new Spirals generator in Motion 4 lets you instantly create and easily modify precise spiral patterns. You can choose between classic and modern spiral types, and color the spiral with two solid colors or a multicolor gradient. Create a hypnotic visual effect by using the rotation parameter to make the spiral spin.
Support for 3Dconnexion SpaceNavigator
Take tactile control of Motion 4 with the SpaceNavigator 3D mouse (sold separately). Move the flexible, joystick-like control on this special-purpose controller to smoothly manipulate cameras, objects, and views. You can simultaneously pan, dolly, and orbit cameras, and intuitively position and rotate objects in 3D space.
Delivery to your Apple devices, the web, and disc is just a click away. Choose your output format in the Share window, then keep working while your projects are rendered, compressed, and even published to the web in the background.
Use this convenient shortcut to export your file to iTunes for syncing with iPod, iPhone, and Apple TV; publish to YouTube or MobileMe; or burn a Blu-ray disc2 or a DVD, with a choice of Apple-designed menu templates.
The Share window also gives you access to Compressor presets that let you export to other formats — including ProRes 422, ProRes 4444, and H.264 — with a click.
Create complex image distortions with the new Polar filter. Make the image look as if it has been unwrapped from a sphere. Or warp the image by choosing the rectangular polar view.
Optical flow retiming improvements
Motion 4 lets you perform optical flow retiming tasks more efficiently. Optical flow analysis is now automatically limited to just the portion of the clip you’re using. The new Task list lets you pause calculations and reorder the analysis tasks so they finish in order of priority.
New features in Soundtrack Pro 3 let you repair common audio problems in a few clicks and work faster than ever using new, streamlined navigation tools.
Sometimes the dialogue in a take you want to use is much softer or louder than the dialogue in the rest of your project. Now you can use the new Voice Level option in the Lift and Stamp tools to seamlessly match dialogue volume in just a few clicks.
Soundtrack Pro instantly identifies and analyzes vocal content in both the lifted clip and the clip you stamp. It automatically adjusts the amplitude of the stamped clip to make the dialogue levels match. Watch the video
Advanced time stretch
Stretch and compress audio with unprecedented precision using three Apple time-stretch algorithms as well as popular third-party plug-ins (sold separately). Native support for Serato Pitch ‘n Time, iZotope Radius, and SoundToys Speed lets you seamlessly switch algorithms as you work.
Use the Actions list to edit, suspend, and reorder time-stretch operations. A new option in the Time Stretch window lets you specify duration as a percentage with up to four decimal places. The window displays the number of samples added or removed as you stretch or compress audio. Watch the video
Noise reduction enhancements
Two new features make it easier — and more precise — to repair and restore damaged audio with problems such as background noise or power line hum. The improved broadband noise reduction feature uses a high-resolution noise print to reduce unwanted background audio with even more precision. In addition, the Power Line Hum feature allows you to adjust the number of harmonics you remove when repairing recordings that have picked up hum from ground loops. Watch the video
Enhanced File Editor
The File Editor in Soundtrack Pro 3 lets you use a simple drag-and-drop interface to add, remove, and reorder channels. In the Frequency Spectrum view, you can adjust the amplitude of frequency selections as well as cut, copy, and paste them. Tighter integration with Logic Pro makes it easier for musicians to nondestructively round-trip mono or multichannel audio files when they use the File Editor in Soundtrack Pro.
New multitrack editing tools
New features designed for audio post make it easy to save time and work with greater precision. Fly through editing using new commands for trimming and extending clips and adding fades. Record directly into the Multitake Editor, so you don’t waste precious time with separate recording setups in the Timeline.
The enhanced Normalize function lets you select Peak or RMS algorithms when making level adjustments. Use the new Waveform Zoom function to closely inspect low-amplitude audio clips right in the Timeline.
Now you can speed through editing sessions using new, special-purpose commands. Work efficiently with new options for playhead scrolling, multiple concurrent snap levels for playhead and clips, user-definable nudge, and additional playback options for auditioning changes. Support for Multi-Touch trackpad gestures lets you zoom, toggle windows, and control playback without reaching for a mouse.
Previously when you wanted to evaluate an alternate take or mic placement, you had to root through the Bin or file system to find the files. Now Soundtrack Pro puts related audio files at your fingertips. Just Control-click any clip in the Timeline to call up a menu of related files. Soundtrack Pro instantly inserts any file you select while maintaining existing clip boundaries.
Improved application performance
Soundtrack Pro 3 has a vastly reduced memory footprint and a redesigned architecture for faster performance. Automatic Audio Unit validation on launch helps ensure that your third-party plug-ins function smoothly.
Clear gridline mapping
Gridlines in the Timeline intelligently adjust to your zoom level, so you always maintain a clear view of frame boundaries and clip locations.
Improved notification when exporting large files
Soundtrack Pro now notifies you when you attempt to export AIFF, WAV, and SDII files that are larger than the 4GB maximum allowed by these three audio file specifications.
Soundtrack Pro now reads iXML metadata, which is used in audio field recording to capture details such as project name, scene number, take number, and notes.
You can view the iXML metadata in the Bin, in the Details pane in the Multitrack Editor, and in the Project pane in the standalone File Editor. In addition, Soundtrack Pro uses iXML tags behind the scenes to help identify related files and display channel information in the “Replace with Related File” pop-up menu.
Spot Timeline clips to playhead/timecode
Easily shift clips across the Timeline by spotting to the playhead location or timecode value.
Record, Mute, and Solo shortcuts
Instantly access commonly used track controls using new menu items and keyboard shortcuts. Just type R for Record Arm, T for Mute, and Y for Solo.
Streamlined cycle region control
It’s now especially easy to create and modify cycle regions. Create a cycle region by dragging in the lower ruler. To remove the region, simply double-click the lower ruler or drag the cycle region to zero duration.
Deep integration with Euphonix control surfaces
With new support for the EuCon protocol, Soundtrack Pro lets you experience tactile control through an attached Euphonix control surface, from fully equipped Pro Series consoles to portable Artist Series units (sold separately). Choose the Euphonix MC Mix for desktop mixing or select the MC Control, which now features a high-resolution touchscreen interface designed specifically for surround panning in Soundtrack Pro 3.
Improved DC offset detection and repair
DC offset can significantly impair audio quality through reduced headroom and related artifacts. Soundtrack Pro now detects and repairs audio with variable DC offset as well as fixed DC offset.
Quick Look support
New Quick Look support lets you instantly audition Soundtrack Pro Audio File Project (STAP) files from anywhere in the Finder. Just tap the Space bar to play the STAP file without opening Soundtrack Pro.
Now with expanded support for digital cinema workflows, Color 1.5 lets you confidently create unique color grading looks and deliver at the highest quality.
Seamless round-tripping with Final Cut Pro 7
You can now send most long, complex sequences — including scenes with still graphics, speed effects, multicam clips, and other advanced functions — directly to Color from Final Cut Pro, with no preparation required. Speed changes render faster when you send your graded sequence back to Final Cut Pro. Watch the video
Color 1.5 allows you to grade and render at maximum quality, with a workflow that supports native 4K files from cameras such as the RED ONE. Output directly to ProRes 4444 for HD delivery or render DPX or Cineon files for digital cinema mastering or film outs.
Support for new high-quality formats
Whether you’re grading a sequence in HD or creating a grade for a film out, Color 1.5 produces stunning quality. Work natively in new high-end formats such as Sony XDCAM HD 422 (50 Mbps) and Panasonic AVC-Intra, or use the new ProRes 4444 for grading with the maximum amount of color information.
Relinking for digital cinema workflows
Color 1.5 can read a database created in Cinema Tools 4.5 to track your original film or digital files. This means you can edit quickly in Final Cut Pro using ProRes proxies, then use the industry-standard film tracking process in Cinema Tools to easily relink to the original DPX or RED files for color grading.
Color 1.5 renders more efficiently by processing only the shots that have changed. The Add Unrendered feature automatically selects the shots you need to re-render when you make changes. The Add All Beauty Grades option ensures that you render only the grades you have flagged as the final, approved version. Open the Render Log to see at a glance a detailed record of your rendered jobs.
Disabled grade status display
The new status display warns you when you have disabled all your grades to view original footage. This lets you compare the latest color grade and the original footage without confusion.
Copy grades to all selected clips
Now you can grade an entire scene in the time it takes to grade a single clip. Just grade the first shot, then select all of the clips in the scene. Drag and drop a “one-light” grade, and you’re done.
Improved waveform display
You can now view the waveform display in either millivolt or IRE scales for PAL or NTSC formats. A zoom indicator lets you know whether you’ve enlarged the view to show greater detail in the signal.
Affordable options for hardware control
Dedicated control surfaces help you work efficiently when you’re grading hundreds of shots. In addition to support for high-end controllers from JLCooper and Tangent Devices, Color now supports a new generation of affordable control surfaces, including the Tangent Devices Wave and the Euphonix MC Color.
Shift-Z shows entire sequence
When working with long sequences, it’s essential to be able to quickly zoom out to re-establish your context. Now you can view all clips at once in the Timeline, using a single keyboard command that is identical to the one used in other Final Cut Studio applications.
Copy and paste in the Color FX room
You can create new looks faster than ever by copying and pasting Color FX nodes. Modify an existing effect by quickly duplicating elements, or bring a set of nodes into an entirely new effect.
Direct import and grading of DPX files
Pregrading your dailies before editing lets you work with footage that loo
ks more polished — especially important when a client or director is in the room. With Color 1.5, you can work directly with DPX files, which means you can import and grade your dailies before the creative editing begins.
New Apple-designed looks
In addition to more than 20 signature looks provided in Color, you can download more than 90 new Apple-designed color grades. The looks, reminiscent of your favorite films, include Glows, Sepias, Day for Night, Blues and Greens, and more. Download Apple-designed looks
Compressor 3.5 lets you work even more efficiently, with new batch templates, job actions, and enhanced droplets that are like miniature encoding applications.
Compressor 3.5 introduces batch templates for automating end-to-end encoding workflows. For common encoding tasks, you can choose one of the preset batch templates that are similar to those in the Share window in Final Cut Pro 7 and Motion 4. For complete flexibility, create your own templates for use in Compressor, using any combination of settings and destinations, as well as a job action. Watch the video
Droplets allow you to create a standalone Compressor preset that you can use on your desktop. With the new droplet architecture in Compressor 3.5, you can create a self-contained miniature Compressor application that has just the options you need for a particular encoding task. Choose alternative settings at any time by double-clicking the droplet to reveal its interface. A set of Apple-designed droplets is available at no charge. Download Apple-designed droplets Watch the video
The new Job Action feature in Compressor 3.5 makes it easy to automate a variety of post-transcoding tasks. Choose a job action to have Compressor open a file, publish it to the web, or send it to your iTunes library. You can also use job actions to burn a Blu-ray disc2 or a DVD, or even trigger Automator workflows.
Blu-ray disc and DVD burning2
You can now easily burn a Blu-ray disc or a DVD directly from Compressor. Quickly add a menu to your disc by choosing one of the beautiful Apple-designed HD or SD templates included in Compressor. Because Compressor uses an open XML-based template format, you can import third-party or custom templates for a specific look.
Blu-ray–compatible H.264 encoding
Compressor now includes a setting that allows you to create Blu-ray–compatible H.264 files that can be imported directly into third-party Blu-ray disc authoring software.
Cluster-based reference file encoding
The Apple Qmaster application for distributed encoding, included in Final Cut Studio, now greatly streamlines reference file encoding. It automatically transfers required source media to cluster nodes, eliminating the need for manual copying, and verifies that each node has the required applications and media before encoding begins.
Image sequence support
Graphics compositing applications and film workflows often use an image sequence format for cross-platform compatibility as well as to keep quality high. Image sequences treat each video or film source frame as a still image.
Compressor 3.5 imports image sequences in standard formats including TIFF, Targa, DPX, and OpenEXR. You can specify an audio file to incorporate with the image sequence as you import it — for example, the original field-recorded audio for a clip that was converted to a sequence.
Compressor 3.5 lets you create a custom transcoding setting from an existing file with a simple drag and drop. Just drag any QuickTime file into the Settings pane to have Compressor analyze the file and instantly create a preset with matching characteristics.
Enhanced networking for distributed encoding
Apple Qmaster now allows you to expand a cluster beyond your local Bonjour network. You can set up a node on any visible IP address within your domain and use the Batch Monitor to view encoding status on all nodes across your cluster.
Faster frame controls rendering
Improved optical flow processing permits faster rendering of jobs that require advanced frame controls, such as de-interlacing and reverse telecine transcodes.
Complete What’s New page here: http://www.apple.com/finalcutstudio/whats-new.html
As noted on Macintouch: “My copy of the new Final Cut Studio will be delivered Monday by FedEx. Their tracking info says the package weighs two pounds. That means no manuals.
If you remember the last version weighed over 10 pounds because of the weight of the books.
It is very helpful, on complicated pro software, to include a printed manual.”