Enhanced text support is just part of the toolset available in the new Final Cut Studio package. The new Final Cut Studio (not version 3 or the 2009 edition) contains Final Cut Pro, Motion, Soundtrack Pro, Color, Compressor, DVD Studio Pro, Cinema Tools and Qmaster. Noticeably absent is LiveType, which didn’t make the cut, because Apple is shifting its text animation efforts totally to Motion. If you prefer LiveType, upgrading a previous version of Final Cut Studio won’t overwrite LiveType and you can continue to use it. The big highlights of this release are Blu-ray support and expansion of the ProRes codec family.
Blu-ray support is handled through a new Share function in Final Cut Pro 7 or the Job Action window in Compressor 3.5. These are both essentially the same thing.
Blu-ray is just one of the choices, along with DVD, MobileMe, YouTube and others. If you have a Blu-ray burner, then you can use a simple template in Share or Job Action to create a Blu-ray disc consisting of a single track with chapters. Apple took the bare minimum approach—enough for one-offs to show the client, but not enough to author a disc with several tracks and menus.
Adobe Encore is still a better tool for that. In fact, DVD Studio Pro, which would have been the logical choice, was hardly touched and still doesn’t support Blu-ray, even at this small level. It’s received so little attention that I have to question its future. The ProRes family gained three new codecs: ProRes 422 (Proxy), a lightweight offline editing resolution; ProRes 422 (LT), a broadcast-quality, reduced bandwidth codec; and ProRes 4444, a high-end codec for compositing, which also supports an alpha channel. By rounding out these options, Apple has clearly made ProRes their editing codec of choice in much the same way as Avid has with DNxHD. This gives the Pro Apps team a codec they can control independent of the rest of the myriad QuickTime codecs. Final Cut Pro 7 received the most new features and, by itself, makes the upgrade worthwhile.
It is Intel-only, but you’ll see very little initial difference between it and the previous version. Stability is worth a lot, so it’s also important to note that this version is ready for Snow Leopard (Mac OS 10.6). Initial anecdotal information—from others who have made that jump—is that it’s fine, but with a few issues, such as XDCAM SxS card support.
Hi everyone I'm using Dvd Studio Pro 4.2.1 with Mac OSx Leopard 10.5.8 with Final Cut Studio 2 and today received a project from a client made in Dvd Studio Pro version 4.2.2, I need to open and work with it to re-author the dvd and burn it.
It’s also important to note, however, that FCP7 doesn’t appear to be specifically optimized for Snow Leopard. That will happen down the road. It’s best to check out the Ripple and Lynda tutorials for more in-depth details of the new features, but the best one for me is the new speed change tools. This finally makes variable speed ramps functional within FCP.
You can access this by clicking on the keyframe button at the bottom of the timeline to reveal the speed tick marks. Select a clip and right-mouse-click the keyframe track to open the contextual menu, which includes the change speed option. Once selected, a new menu opens to reveal a number of related parameters, such as speed and velocity interpolation at the beginning and end of the effect.
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Final Cut adds native support for Panasonic’s AVC-Intra. Bring in your clips through the Log and Transfer module and Final Cut will ingest the footage.
For example, over the past decade the Slavic and Baltic Division has received a large quantity of late 18th- to early 19th-century hand-colored prints, engraved maps, and folios from the estates of several New York area collectors, including that of the great bibliophile, Paul M. Fekula (1905-1982). In subsequent decades, up to the present day, NYPL has actively solicited donations from collectors of Russian and East European visual materials.
It copies the file, rewraps it with a QuickTime wrapper, but does not transcode. Both the 50 Mbps and 100 Mbps flavors of AVC-I support real-time, multi-stream effects through FCP’s RT Extreme engine. Other Final Cut Pro 7 improvements might seem minor, but are huge for many editors.