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Final Cut Pro is a series of non-linear video editing software programs first developed by Macromedia Inc. and later Apple Inc. The most recent version, Final Cut Pro X 10.4.6, runs on Intel-based Mac computers powered by macOS High Sierra or later. The software allows users to log and transfer video onto a hard drive (internal or external), where it can be edited, processed, and output to a wide variety of formats. The fully rewritten Final Cut Pro X was introduced by Apple in 2011, with the last version of the legacy Final Cut Pro being version 7.0.3.

Since the early 2000s, Final Cut Pro has developed a large and expanding user base, mainly video hobbyists and independent filmmakers. It had also made inroads with film and television editors who have traditionally used Avid Technology's Media Composer. According to a 2007 SCRI study, Final Cut Pro made up 49% of the United States professional editing market, with Avid at 22%.^[1] A published survey in 2008 by the American Cinema Editors Guild placed their users at 21% Final Cut Pro (and growing from previous surveys of this group), while all others were on an Avid system of some kind.^[2]

• 2Interface
• 4File format

Features[edit]

Final Cut Pro provides non-linear, non-destructive editing of any QuickTime-compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM (via plug-in), 2K, 4K, 5K, and 8K film formats^[3] and can import projects directly from iMovie for iOS. It supports a number of simultaneously composited video tracks (limited mainly by video form capability); unlimited audio tracks; multi-camera editing for combining video from multiple camera sources; 360º video editing support; as well as the standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de-poppers and de-essers. It also has multiple color correction tools including color wheels, sliders and curves, video scopes and a selection of generators, such as slugs, test cards, and noise.^[3]

Interface[edit]

The legacy (v. 7.0.3 and earlier) Final Cut (Pro and Express) interface was designed around non-computerized editing work-flows, with four main windows that replicate tried-and-trusted methods of organising, viewing and editing physical tape or film media. The browser, where source media files (or clips) are listed, replicates the editor's traditional film 'bins' or stacks of videotapes. The Viewer, where individual media files can be previewed and trimmed, replicates the source monitor of older tape-based systems. The Canvas replicates the 'program' monitor in such systems, where the edited material is viewed. The Timeline, where media are assembled into a sequence, replicates the physically edited film or master tape of earlier systems. There is also a small Toolbox window and two audio-level indicators for the left and right audio channels.

Both the Viewer and Canvas have a shuttle interface (for variable-speed scanning, forwards or backwards through a clip) and a jogging interface for frame-by-frame advancing.

Browser[edit]

As in most digital non-linear editing applications, the Browser is not an interface to the computer's file-system. It is an entirely virtual space in which references to clips (aliases) are placed for easy access, and arranged in folders called 'bins'. Since they are only references to clips that are on the media drive of the computer, moving or deleting a source file on the media hard drive destroys the link between the entry in the Browser and the actual media. This results in a 'media offline' situation, and the media must be 'reconnected'. Final Cut Pro can search for the media itself, or the user can do this manually. If multiple clips are offline at the same time, Final Cut can reconnect all the offline media clips that are in the relative directory path as the first offline media clips that is reconnected.

Final Cut Pro 7 Mac Os High Sierra

The browser has an 'effects' tab in which video transitions and filters can be browsed and dragged onto or between clips.

Canvas[edit]

The canvas outputs the contents of the Timeline. To add clips to the Timeline, besides dragging them there, it is possible to drag clips from the Browser or Viewer onto the Canvas, whereupon the so-called 'edit overlay' appears. The edit overlay has seven drop zones, into which clips can be dragged in order to perform different edits. The default is the 'overwrite' edit, which overwrites at an in point or the space occupied after the playhead with the incoming clip. The 'insert' edit slots a clip into the sequence at the in point or playhead's position, keeping the rest of the video intact, but moving it all aside so that the new clip fits. There are also drop zones to have the application automatically insert transitions. The 'replace' edit replaces a clip in the Timeline with an incoming clip, and the 'fit to fill' edit does the same thing, but at the same time, it adjusts the playback speed of the incoming clip so that all of it will fit into the required space [in the Timeline]. Finally there is the 'superimpose' edit, which automatically places the dropped clip on the track above the clip in the Timeline, with a duration equal to the clip below it. Unless an in or out point are set, all edits occur from the position of the playhead in the Timeline.

Using the wireframe view on the canvas, the clip can be manipulated directly - dragging it around in the canvas to change its position, for example, or resizing it. Precise adjustment controls for these things are in the viewer.

Viewer[edit]

The viewer has tabs for each channel of the selected clip's audio, in which the waveform for the audio can be viewed and scrubbed, and where its volume can be keyframed. The filters tab is where effects for the clip appear and where their parameters can be adjusted and keyframed. If the clip selected is a generator (such as an oval shape), a control tab appears for changing its geometrical properties. Finally, the viewer's motion tab contains tools to adjust the scale, opacity, cropping, rotation, distortion, drop shadow, motion blur and time remapping properties of a clip. Mini-timelines to the right of each parameter allow the property to be keyframed. The Viewer is not present in Final Cut Pro X.

Timeline[edit]

Clips can be edited together in timelines called sequences. Sequences can be nested inside other sequences, so that a filter or transition can be applied to the grouped clips.

The Timeline in Final Cut Pro allows 99 video tracks to be layered on top of each other. If a clip is higher [in the timeline] than another, then it obscures whatever is below it. The size of a video clip can be altered, and the clips can be cropped, among many other settings that can be changed. Opacity levels can also be altered, as well as animated over the course of the clip using keyframes, defined either on a graphical overlay, or in the Viewer's 'motion' tab, where precise percentage opacity values can be entered. Final Cut also has more than a dozen common compositing modes that can be applied to clips, such as Add, Subtract, Difference, Screen, Multiply, Overlay, and Travel Matte Luma/Alpha.

The compositing mode for a clip is changed by control-clicking or right-clicking on the clip and selecting it from the cascading contextual menu, or by selecting the mode from the application's 'modify' menu. For either matte modes, the clip that will perform the key is placed overneath the fill clip on the Timeline.

For more advanced compositing Final Cut Pro is compatible with Apple's Shake (discontinued) and Apple Motion software.

Keyboard shortcuts[edit]

Final Cut Pro uses a set of hot-keys to select the tools. There are almost 400 keyboard commands that allow the user to increase the speed of edits.^[4] This combined with the nonlinear approach that digital editing, provides Final Cut Pro users with several editing options.

Users can also set their own customisable keyboard preferences.

History[edit]

Randy Ubillos created the first three versions of Adobe Premiere, the first popular digital video editing application.^[5] Before version 5 was released, Ubillos' group was hired by Macromedia to create KeyGrip, built from the ground up as a more professional video-editing program based on Apple QuickTime. Macromedia could not release the product without causing its partner Truevision some issues with Microsoft, as KeyGrip was, in part, based on technology from Microsoft licensed to Truevision and then in turn to Macromedia. The terms of the IP licensing deal stated that it was not to be used in conjunction with QuickTime. Thus, Macromedia was forced to keep the product off the market until a solution could be found. At the same time, the company decided to focus more on applications that would support the web, so they sought to find a buyer for their non-web applications, including KeyGrip, which by 1998 was renamed Final Cut.

Final Cut was shown in private room demonstrations as a 0.9 alpha at the National Association of Broadcasters (NAB) exposition in 1998 after Macromedia pulled out of the main show floor. At the demonstration, both Mac and Windows versions were shown. The Mac version was working with a Truevision RTX dual stream real time card with limited real time effects. When no purchaser could be found, Apple purchased the team as a defensive move. When Apple could not find a buyer in turn, it continued development work, focusing on adding FireWire/DV support and introduced Final Cut Pro at NAB 1999.

In order that Final Cut Pro would be supported from the beginning with third-party self-paced and instructor-led training, Apple worked with DVcreators.net, who released a training disc called 'Final Cut Pro PowerStart' at NAB on the day Final Cut Pro was released. Apple worked with DVcreators.net to host hundreds of free and paid Final Cut Pro seminars and workshops in 60 cities in the U.S., Canada and other countries over the following years, a strategy that some feel fundamentally contributed to Final Cut Pro's early awareness in the marketplace and rise in market share.

After the introduction of Final Cut Pro, Adobe Premiere's market share remained strong on Windows but began to decline on the Mac as its older codebase was more difficult to maintain. In 2003, Apple announced a program for Premiere users to trade in their discs for a free copy of Final Cut Express or a $500 discount on Final Cut Pro.^[6]

Final Cut Pro benefited from the relative maturity of QuickTime and its native support for then-new DV cameras connected with FireWire (IEEE1394).

The first fully Broadcast quality, Worldwide Distributed TV show produced on Final Cut Pro was 2000's WOW! Women of Wrestling, using the Pinnacle CinéWave uncompressed video card. The Oxygen Network was a beta site for Final Cut Pro in late 1999 through network launch in early 2000. Shows like ShE-Commerce were cut using FCP.

In late 2001, Independent Producer, Michael A. Bloom announced in an interview with Larry King while defending his controversial film 'PlayCouples, A New Era Of Swinging (2003)' was made possible only after his transition from Avid Media Composer to Final Cut Pro. He cited the relatively new platform hadn't failed once while rendering his film which was not what he experience with Avid. After completing much of the leg work under a separate agreement between The Oxygen Network and his production company during beta testing of Final Cut he became an outspoken advocate. The studio motion picture The Rules of Attraction was edited on beta versions of Final Cut Pro 3, proving to the film industry that successful 3:2 pulldown matchback to 24fps could be achieved with a 'consumer' off-the-shelf product.^[7]Roger Avary, the film's director became the spokesperson for Final Cut Pro, appearing in print advertisements worldwide. His advocacy of the product gave confidence to mainstream editors such as Walter Murch, that the product was ready for 'prime time.'

In August 2002, the application won a Primetime Emmy Engineering Award for its impact on the television industry.^[8]

Final Cut Pro 4 was announced in April 2003. It included three new applications: Compressor, used for the transcoding between video formats; LiveType for advanced titling (such as the creation of animated lower thirds); and Soundtrack, for royalty-free music soundtrack creation. It also bundled Cinema Tools, which was previously sold separately for filmmakers working with telecine.

Also in 2003, Apple launched Final Cut Express, a less expensive version of Final Cut Pro. It uses the same interface as Final Cut Pro, but it lacks some of the film-specific tools and other advanced options, limiting the feature set for non-professional editors. In January 2005, Soundtrack and LiveType, previously only available with Final Cut Pro, were added to Express, and features were added to edit HDV. Soundtrack was subsequently removed with Final Cut Express 4. In June 2011, Final Cut Express was officially discontinued, in favor of Final Cut Pro X.

In April 2004, version 4.5 of Final Cut Pro was introduced and branded by Apple as 'Final Cut Pro HD' due to its native support for Panasonic's tape-based DVCPRO HD format for compressed 720p and 1080i HD over FireWire. (The software had been capable of uncompressed HD editing since version 3.0, but at the time had required expensive video cards and high speed storage.)

Final Cut Pro 5 was announced at a pre-NAB event in April, and shipped in May 2005. Final Cut Pro 5 added support for the burgeoning HDV format for compressed HD, which had previously been supported in Final Cut Pro's 'scaled-down' cousin, Final Cut Express. Final Cut Pro 5 also added support for Panasonic's P2 format for the recording of DVCPRO HD video to memory cards rather than tape.

In January 2006, Apple stopped selling Final Cut Pro as a stand-alone product. In March 2006 the Universal Binary 5.1 version was released as part of Final Cut Studio. Upgrades were achieved by sending the original installation discs back to Apple with a fee. One noticeable difference is that the Intel versions of Final Cut and Motion no longer recognize After Effects plug-ins. Instead, Apple released its own universal plug-in architecture FxPlug.

On April 15, 2007, Apple revealed Final Cut Pro 6.0, as the cornerstone of the Final Cut Studio 2 bundle. Once again, Apple did not have a booth at NAB 2009, though the product was well represented on the show floor in various booths. The RED Camera team relied heavily on FCP during development.

On July 23, 2009, Final Cut Pro 7/Final Cut Studio 3 (not officially designated as such by Apple but adopted by most users to describe the 2009 changes) was released, but it was not yet a 64-bit application.

Final Cut Pro X was announced on April 12, 2011 and released on June 21.^[9][10] It is a 64-bit application completely rebuilt with a new interface, workflow enhancements and automation, and new features such as ColorSync integration, resolution-independent playback system, system scaling with Core Animation, and more. The three Final Cut Studio apps, Color, Soundtrack Pro, and DVD Studio Pro were dropped, while Motion 5 and Compressor 4 were released onto the Mac App Store.

In its initial release, Final Cut Pro X was met with mixed reviews as many video editors eschewed its dramatic departure from the traditional editing interface and the dropping of many legacy (and some non-legacy) features. At the time of the initial release, a significant number of long-time Final Cut Pro users considered the new product to be an unsatisfactory product undeserving to be part of Final Cut Pro product line.^[11] An online petition was started demanding either the continued development of the legacy Final Cut Pro product or its sale to a third party by January 1, 2012. The initiator of the petition was banned from the Apple discussion forums.^[12] By January 2014, the petition had received well over 9,000 signatures.

On October 27, 2016, Apple unveiled Final Cut Pro 10.3, which included a redesigned interface, enhanced window resizing, extended multiple display support, support for the Touch Bar on the new MacBook Pro, and an updated version of the Magnetic Timeline.

In December 2017, Apple updated Final Cut Pro X to version 10.4, which included enhanced color editing tools, 360-degree video editing support and support for HDR. The new version also supports the HEVC video format and HEIF photo format. Final Cut Pro X 10.4 has also gained the ability to import projects from iMovie for iOS, and now supported enhanced performance on the iMac Pro.^[13]

File format[edit]

A Final Cut Pro Project technically consists of separate files:

• Project File
• Media Source Files
• Render Files, Cache Files

The location of the Media and the Render/Cache Files is not standardised. Final Cut Pro can be configured where to store them. Some users have a central directory where they store all their Source/Render/Cache files, some set those file paths to their specific project directory, so that they have all project files at one place.

After having finished a project, one can erase everything but the project file, to save disk space, and at a later time Final Cut Pro can re-capture/re-link all source data and recalculate all render and cache data, provided it can access all linked sources.

Project file[edit]

The first versions of Final Cut Pro and Final Cut Express used a binary file which contained all montage information such as timecode information, clip's in/out-points, size/crop/position, composition nesting, filter settings, automation data, etc.

More recent editions of Final Cut Pro and Final Cut Express, before Final Cut Pro X, used the file extension .fcp.

The latest version of Final Cut Pro, Final Cut Pro X, uses a new file extension; .fcpx. Apple has come under some criticism for not supporting the older .fcp project files, when it does support importing iMovie projects (.imovieproj files).^[14] This concern has been addressed through the use of third party software, allowing for the migration of legacy FCP file formats into working FCPX libraries and projects. The software is called 7toX^[15] and was developed by Philip Hodgetts.

Media source files[edit]

Either captured from tape or loaded/imported from the file system.

Render files, cache files, etc.[edit]

Files which are generated by Final Cut Pro, i.e. audio waveform display, filter effects, etc.

Major films edited with Final Cut Pro[edit]

• The Rules of Attraction (2002)^[7]
• Full Frontal (2002)^[7]
• The Ring (2002)
• Cold Mountain (2003) (Academy Award nominee for Best Editing – Walter Murch)^[7]
• Intolerable Cruelty (2003)
• Open Water (2003)
• Napoleon Dynamite (2004)
• The Ladykillers (2004)
• Sky Captain and the World of Tomorrow (2004)
• Super Size Me (2004)
• Corpse Bride (2005)
• Dreamer: Inspired by a True Story (2005)
• Happy Endings (2005)
• In the Shadow of the Palms (2005)
• Jarhead (2005)
• Little Manhattan (2005)
• Me and You and Everyone We Know (2005)
• 300 (2007)^[7]
• Black Snake Moan (2006)
• Happy Feet (2006)
• Inland Empire (2006)
• Zodiac (2007)
• The Simpsons Movie (2007)
• No Country for Old Men (2007) (Academy Award nominee for Best Editing – Roderick Jaynes)
• Reign Over Me (2007)
• Youth Without Youth (2007)
• Balls of Fury (2007)
• Gabriel (2007)
• Enchanted (2007)
• Traitor (2008)
• Burn After Reading (2008)
• The X-Files: I Want to Believe (2008)
• The Curious Case of Benjamin Button (2008) (Academy Award nominee for Best Editing - Kirk Baxter and Angus Wall)
• X-Men Origins: Wolverine (2009)
• (500) Days of Summer (2009)
• Where the Wild Things Are (2009)^[7]
• A Serious Man (2009)
• Tetro (2009)
• By the People: The Election of Barack Obama (2009)
• Gamer (2009)
• Eat, Pray, Love (2010)
• Twixt (2011)
• Courageous (2011)
• John Carter (2012)
• Hemingway & Gellhorn (2012)
• The Patrol (2013)
• A Most Violent Year (2014)
• Focus (2015)^[16]
• What Happened, Miss Simone? (2015)^[17]
• Whiskey Tango Foxtrot (2016)^[18]
• Saved By Grace (2016)^[19]
• Kubo and the Two Strings (2016)

See also[edit]

References[edit]

1. ^'FCP passes the million mark'. TVB Europe. May 1, 2008. Retrieved January 22, 2010.
2. ^'American Cinema Editors Society 2008 Equipment Survey'. American Cinema Editors Society. June 21, 2009. Archived from the original on July 24, 2011. Retrieved February 21, 2010.
3. ^ ^ab'Final Cut Pro X - Tech Specs'. Apple.
4. ^Jordan, Larry (February 2009). 'Customizing Final Cut Pro Keyboard Shortcuts'. Larry's Final Cut Pro Newsletter. Larry Jordan & Associates, Inc. Retrieved September 24, 2012.
5. ^'Apple Announces New DEST Member'. AppleWeb. November 5, 1999. Retrieved January 22, 2010.
6. ^'Apple Offers Premiere Users Easy Switch to Final Cut Pro'. Apple. July 16, 2003. Retrieved January 22, 2010.
7. ^ ^abcdefBurley, Shane (August 5, 2008). 'The History of Final Cut Pro'. Bright Hub. Retrieved January 23, 2010.
8. ^'Apple's Final Cut Pro Wins Emmy Award'. Apple. August 20, 2002. Retrieved January 22, 2010.
9. ^'NAB 2011 Final Cut Pro Supermeet Coverage [Final Cut Pro X Announced]'. MacRumors. April 12, 2011.
10. ^Dove, Jackie. 'Apple released Final Cut Pro X on 21st June'. Retrieved June 24, 2011.
11. ^'Final Cut Pro X, Motion, Compressor out! - Apple'.
12. ^'Petition seeks to bring back old Final Cut Pro'.
13. ^https://www.apple.com/newsroom/2017/12/final-cut-pro-x-introduces-360-degree-vr-video-editing/
14. ^Weintraub, Seth. 'Criticism for not supporting older .fcp file'. 9 to 5 Mac. Retrieved June 25, 2011.
15. ^Wiggins, Peter. 'Philip Hodgetts presents Final Cut Pro 7 to X at the LAFCPUG'. Retrieved July 23, 2016.
16. ^Wiggins, Peter. 'How the Hollywood feature film Focus was edited on Final Cut Pro X Part One'. Retrieved July 23, 2016.
17. ^Wiggins, Peter. 'Post Production on 'What Happened, Miss Simone?' An Oscar Nominated Documentary Edited on Final Cut Pro X'. Retrieved July 23, 2016.
18. ^Wiggins, Peter. 'How the Hollywood film Whiskey Tango Foxtrot was edited on Final Cut Pro X'. Retrieved July 23, 2016.
19. ^Courtens, Ronny. 'Hollywood veteran Lance Bachelder explains why he has chosen to use Final Cut Pro X on his latest feature film 'Saved By Grace''. Retrieved July 23, 2016.

External links[edit]

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• Apple Final Cut Pro 7

It has been more than two long years since Apple released Final Cut Pro 6 (), its flagship pro-level nonlinear video editing app. While there are a few extremely sexy new features in Final Cut Pro 7— among them new ProRes flavors, iChat Theater, and Easy Export that will attract lots of attention—the main focus of this new version seems to be enhancing stability, speed, and productivity.

New ProRes flavors

ProRes, a high-definition lossy video compression format developed by Apple for use in post production, was introduced in 2007 with Final Cut Pro 6 (FCP). The new variations are designed to broaden the codec family’s capabilities into higher-end post production, news markets, and offline editing. In the most compelling new feature of this release, Apple builds on the success of its excellent ProRes codec family by adding three new flavors: ProRes 4444, ProRes 422 (LT), and ProRes 422 (Proxy). ProRes 4444 is designed for highest end work or compositing with alpha channel. The LT version is for lightweight deliverables, such as broadcast, while the 422 (Proxy) is specifically for offline editing. That’s in addition to the two flavors for “normal” editing and finishing—the regular flavor for most projects, and the HQ for higher end quality, which are still included from the previous version.

Final Cut Pro 7 Mac High Sierra

ProRes 4444 For video editors like me who try to push FCP as far as it can go, there is now a ProRes codec for working with high end formats (think HDCAM SR or Redcode) or for higher quality when rendering from FCP or other programs, specifically compositing applications. ProRes 4444 supports either the traditional Y'CbCr video color space or RGB at full 4:4:4 color sampling, at up to 12 bits per pixel according to Apple. Wait, what is the fourth four for? It is for your alpha channel, and yes, Virginia, they did it right and it does have 10 bits per pixel as well. This codec runs at 330 megabits per second in a “worst-case scenario” of 1080i60 video, not including the alpha channel. The alpha is “mathematically losslessly encoded” Apple says, at a variable data rate, which hints that the codec is using some kind of compression that makes the file size smaller than an uncompressed alpha channel but of identical quality.

ProRes 422 (LT) If you know the regular ProRes 422, you like it, you use it, then think of this as ProRes 422 on a bandwidth diet. So why bother? Turns out a lot of broadcast equipment is built around 100 megabits per second pipelines—Panasonic started it with the Varicam and its DV100 (aka DVCPRO HD) codec, and continued with its AVC-Intra codec, both of which run at a maximum data rate of 100 megabits per second. So a lot of folks had their digital plumbing set up for 100 megabits per second, and regular ProRes 422, which can run up to 145 megabits per second for 1080i60 footage, could gum up the works since it was nearly 50 percent larger than the anticipated data rate. So along comes ProRes 422 (LT). It’s the same thing as ProRes (10 bit, full raster, 4:2:2 color sampling), just at a lower data rate, and it'll fit nicely into existing broadcast infrastructure. Sports and news editing for broadcast, for instance, will love this codec, since the decrease in quality will never be noticed by the time is it is compressed even further and sent out to air.

ProRes 422 (Proxy) The other ProRes codecs are fine for online editing (at final quality) for various quality expectations, but what about for offline editing? That's where ProRes 422 (Proxy) comes in. It is still full frame, 10 bit, and 4:2:2, but is much more heavily compressed. It takes the data rate all the way down to 45 megabits per second for 1080i60 video—or a touch over 5.5 megabytes per second. How small is that? That’s about 20 gigabytes per hour, or a bit less than twice the data rate of DV, if that gives you a better seat-of-the-pants sense of how tight this new codec is. But instead of DV’s Standard Definition resolution, this is 10-bit full raster 1080 resolution video at less than twice the data rate. Most impressive, but how does it look? It is clearly of inferior quality, compared with the other ProRes codecs or DVCPRO HD, but this is for offline editing, not finishing work. When editing for offline purposes, you don’t need the quality, nor storage capacity and throughput of a codec meant for finishing or online work. My non-scientific vibe after looking at some samples of ProRes (Proxy) footage is that this is the “Dish Network”-quality codec—it looks like fairly heavily compressed satellite or cable HD footage.

Easy Export

Easy Export will probably be the favorite new feature of most editors for its ease of use and time savings. Found under File->Share, it replaces Export Via Compressor. At first glance, it looks like Apple has just lifted a page from the Share interface of iMovie ’09 () , but there’s more to it than that. There are three new aspects of the Easy Export feature that significantly enhance productivity and flexibility.

• You can assign settings for target outputs such as Web, iPod, AppleTV, or DVD, directly in Final Cut Pro without having to launch Compressor, thus keeping the editor in the friendly and familiar confines of Final Cut Pro. You can assign multiple settings right from this interface, as well.

• You can assign post compression Job Actions to any of the queued targets, which are more extensive than the options you could to assign in Compressor in the past. You can, for instance, do any of the following (or more) with the click of a button: Post directly to MobileMe upon completion of compression; import into iTunes to sync to AppleTV, iPod or iPhone; publish directly to YouTube; burn a DVD or Blu-ray disc directly from this interface without going to DVD Studio Pro; or create your own post render process within Compressor, even launching Automator scripts. Then of course, you can make them available via the Share interface.

That's right—you can burn a Blu-ray disc directly from within Final Cut Pro 7. The downside is that Apple (as of this writing) still doesn't sell a Blu-ray capable SuperDrive, so you have to get a third-party drive. You can, however, burn AVCHD Blu-ray content to a standard recordable DVD disc in your SuperDrive via Share, and that will play in a Blu-ray player. DVDs and Blu-ray have a limited slate of templates to choose from, but you can at least assign custom graphics (with alpha) for background, logo, and title graphics, and even generate a chapter menu.

Another significant catch—this is the only Blu-ray support offered in the entire Final Cut Studio suite. DVD Studio Pro does not support Blu-ray in any fashion, and gets only the smallest of increments—from version 4.2.1 to 4.2.2. It does not support Blu-ray authoring, encoding, or burning. Easy Export is powerful, convenient, and useful, but that is the extent of Blu-ray support in this release. Considering that Adobe has offered Blu-ray authoring support on Intel Macs for two years, this is a startling hole in Final Cut Studio's capabilities

• All of the above can happen in the background, meaning, you can export from Final Cut Pro in the background and keep editing, even the same sequence you’re simultaneously exporting. The exported files won’t show any changes you’ve made since export started, but you can keep on working, regardless. This feature will probably be the biggest productivity boost, since you don’t have to sit and twiddle your thumbs unproductively while waiting for Final Cut to finish feeding Compressor frames, as you had to in the past. Final Cut Pro even takes advantage of Compressor clusters to accelerate the process.

iChat Theater

iChat Theater will be a boon to editors cutting remotely. OK, so you’ve used iChat’s video chat feature, right? What if you could send the live output of your edit session to someone over iChat? And wouldn’t it be nice to have a picture-in-picture of yourself over the video so you could talk to the remote client on video chat while editing? And wouldn’t it be nice to have a timecode burn-in on screen while you did it? Now you can. That is iChat Theater’s whole point—you can video chat with the client the same way you would normally with iChat, but instead of seeing the client up close, you (and they) see the live output of your edit session, either the sequence or individual clips you're working on. This has been possible in the past with an AJA Io or similar device, or with a second Mac and a DV hardware codec, but now it is possible with no additional hardware from within Final Cut Pro 7.

Of course, how well this works is entirely dependent on how fast your outbound internet connection is. From my home-office cable modem, I get 500 to 800 kilobytes per second for downloads, but at best about 125 kilobytes per second for uploading, which is what you’re doing when you send a video stream to someone. And of course, their download speed has to at least match that–they have to be able to catch as fast as you can pitch.

New Change Speed tools

A new interface for the Change Speed window lets you set Ease In and Ease Out and has an option that lets you keep the timeline from rippling so you can doodle without pushing the rest of your timeline further down the sequence, which would mess up your audio sync. Also, a new interface element gives you keyframes in the timeline and a graphic display of how stretched your video is in time. You can either drag stretch for constant speed changes, or set keyframes for variable speed changes, right in the timeline. Unfortunately it does not take advantage of Apple’s Optical Flow technology (high quality motion and pixel blending technology from Apple’s Shake) that is present elsewhere in Final Cut Pro, Motion, and Compressor that could result in smoother frame blending. However, you can always run the clip through Motion for more accurate control and smoother results.

More fixes and features

Native AVC-Intra Support: Final Cut Pro 7 now supports native editing of this format–you can import it and edit it directly in its native file format (as it was captured), rather than having to import and wait for it to transcode to ProRes before it is editable in Final Cut Pro. Native support also includes RT Extreme acceleration for real time transitions and effects.

Alpha Transitions: Alpha transitions are scene transitions that use an animated graphic element with a matte (or alpha channel, thus the name) to do a wipe between two shots. This demos well–palm leaves brush across the screen to transition from the beach to the bungalow shot—but I’d file this in the “fluffy” category of often demoed, rarely used features outside of travel and sports shows.

New Timecode window: Previously only available as a third-party option, now you can display a resizable floating window that shows the timecode. This is ideal for that client on the couch in the back of the room.

Improved Markers: You can now color-code your clip and sequence markers, search and jump to them, and add information to them as the clip plays, and more.

Automatic Transfer: XDCAM and P2 footage now optionally copies to designated scratch directories as soon as the media is detected, and custom metadata can be added automatically via a new Log and Transfer window. Footage can start importing as soon as media is connected, which opens the door to faster, more efficient workflows as well as potentially automated workflows.

New Redcode Log and Transfer options: When importing Redcode via Log and Transfer, you can transcode to any of the ProRes flavors on import, or just import it as native. But there are no new options for cropping or scaling which I had hoped to see, nor will the 2K layer of 4K native files play back in real time in Final Cut Pro 7. Footage shot in the default 4K 16:9 will come in at a nonstandard (for video) size of 2048 by 1152, and there are no options in Final Cut to scale this to 1920 by 1080 ProRes. Similarly, if 4K footage is shot in the 2:1 aspect ratio, no provision for cropping or letterboxing to fit into 1920 by 1080 ProRes is provided by Apple. This can be done with Red provided tools, however.

This version of Final Cut Pro includes much improved closed captioning support, the ability to globally change transitions (or cherry pick the ones you want to change in bulk), improved tabs (color coding and other improvements), trackpad multi-touch gesture support for timeline navigation, and a new version of Cinema Tools for working with file-based workflows like image sequences and Redcode footage. This is a huge improvement over prior versions, but not clearly documented within Cinema Tools.

• Apple Final Cut Pro 7

  Pros

  • Plethora of genuine productivity enhancements
  • Convenient iChat Theater
  • New ProRes flavors
  • Time saving and automation of Easy Export

  Cons

  • Mediocre progress after two years since previous version
  • Some glitches still not fixed
  • Limited Blu-ray support
  • Redcode still not optimally supported

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Compressor, the video compression uis now more powerful and easier to use–a win-win proposition