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Apple unveils Final Cut Studio 2

post #1 of 82
Thread Starter 
It would appear there is a new Final Cut Studio 2 out. And new Final Cut Studio Server (available this summer). Cool.
post #2 of 82
Quote:
Originally Posted by josa92 View Post

It would appear there is a new Final Cut Studio 2 out. And new Final Cut Studio Server (available this summer). Cool.

Yes, just saw this too. A very unusal time to release this news on Sunday. Have never see the new product released on SUNDAY, normally release on either Monday to Wednesday.

Funky
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post #3 of 82
Apple site finally updated. It is listed in the Apple Store. $1299 retail; $499 for a retail upgrade; $699 for academic full version (no upgrades).

Engadget has the keynote blow-by-blow

One new feature to note is the ability to intermix different formats (DV and SD up to HDV, XDCAM HD, DVCPRO HD).
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post #4 of 82
Looks excellent! I only wish I could afford it

Wonder how much new stuff will make it into FCE...
post #5 of 82
I just watched the Demo Reel for the new Final Cut Studio 2... http://www.apple.com/finalcutstudio/action/?movie=nab

It rocks... and I was brought to tears by the song as soon as I realized it was "What a Wonderful World" by Joey Ramone

Poor Joey, being used in their marketing... even a very cool Demo Reel.

Sebastian
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Þ & þ are called "Thorn" & þey represent þe sound you've associated "th" wiþ since þe 13þ or 14þ century. I'm bringing it back.
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post #6 of 82
Quote:
Originally Posted by Slewis View Post

I just watched the Demo Reel for the new Final Cut Studio 2... http://www.apple.com/finalcutstudio/action/?movie=nab

It rocks... and I was brought to tears by the song as soon as I realized it was "What a Wonderful World" by Joey Ramone

Poor Joey, being used in their marketing... even a very cool Demo Reel.

Sebastian

Poor? He's probably proud and honored that his music is being used posthumously.
post #7 of 82
While the FCS 2 release is appearing to be a very good one, and will cut the difference between it and Avid a bit more, it's the server that is the really big news here.

One of the biggest differences between Apple and Avid's product line-ups has been the lack of project and media control on the Apple side. This product seems to more than close that gap. While I'm not familiar with it, because it was just announced, if what I see is true, this is a very important release for Apple, and will end numerous complaints over the FCS package. From what I see, it may even give Apple a big advantage.
post #8 of 82
Quote:
Originally Posted by Chucker View Post

Poor? He's probably proud and honored that his music is being used posthumously.

"Spicy" and "Cheesy" from a Dorito's Commercial when he's singing/saying "And I think to myself..." don't exactly bring to mind "Proud" and "Honored"

Sebastian
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post #9 of 82
Between Motion 3 and Color I had to get a mop to wipe up the drool.. I could've really used both of them last week..

My main issue now is that I need to figure out how much I can get for my organs on the black market so I can buy a RedCam..
post #10 of 82
Quote:
Originally Posted by Solar View Post

Between Motion 3 and Color I had to get a mop to wipe up the drool.. I could've really used both of them last week..

My main issue now is that I need to figure out how much I can get for my organs on the black market so I can but a RedCam..

Heh. $17K for the camera plus $3K for the lens is the only the start of the blood-letting. What will really drain you is the money for the multi-terabyte storage array you'll need to record at 2K or 4K.

The days of 1GB per 5 minutes on DV are at an end.
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post #11 of 82
Quote:
Originally Posted by sCreeD View Post

Heh. $17K for the camera plus $3K for the lens is the only the start of the blood-letting. What will really drain you is the money for the multi-terabyte storage array you'll need to record at 2K or 4K.

The days of 1GB per 5 minutes on DV are at an end.

Looks like we can look at a Spike in Xserve RAIDs and similar products then.

Sebastian
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post #12 of 82
Quote:
Originally Posted by Slewis View Post

"Spicy" and "Cheesy" from a Dorito's Commercial when he's singing/saying "And I think to myself..." don't exactly bring to mind "Proud" and "Honored"

Well, that's not Apple's fault.
post #13 of 82
Apple on Sunday introduced Final Cut Server, a new server application designed to work seamlessly with Final Cut Studio 2 to provide media asset management and workflow automation for post production and broadcast professionals.

The scaleable server application supports workgroups of any size, and includes a cross-platform client that enables content browsing, review and approval from within a studio or over the Internet.

The software automatically catalogs large collections of assets and enables searching across multiple volumes via a unique user interface. It was designed to manage the flow of work, as assets and projects move from producer to editor to artist through the entire production process.

“Final Cut Server’s powerful media asset management capabilities simplify managing the thousands of assets that make up a typical edit,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “And Final Cut Server’s sophisticated workflow automation tools ensure projects flow smoothly through an organization, enabling everyone to be more productive.”

Final Cut Server automatically catalogs content, generating thumbnails and low resolution clip proxies in the process. Broad search capabilities extend from simple keywords to complex combinations of IPTC, XMP and XML metadata. Final Cut Server can configure a range of highly specific access controls that define user permissions on an asset or project basis.

The new Apple software includes customizable templates that manage the flow of work typically found in broadcast, post and education environments. Sophisticated watch-and-respond systems can be configured to track the progress of assets, alert editors as projects move through the production pipeline and automatically notify producers by email when a project is ready for evaluation. In addition, location-independent review and approval tools enable clients to view, annotate and approve content from anywhere.



Final Cut Server includes a time-saving shot selection and editing tool that supports drag and drop integration with Final Cut Pro 6 projects. An offline/online workflow enables editors to work with HD proxies in the field on a MacBook Pro. Final Cut Server integrates directly with Compressor 3 for delivery and provides pristine format conversions for publishing to broadcast television, web, iPod, Apple TV, DVD and mobile phones.

Pricing & Availability

Final Cut Server will be available this summer through the Apple Store , Apple’s retail stores and Apple Authorized Resellers for a suggested retail price of $999 (US) for one server and 10 concurrent client licenses, and $1,999 (US) for one server and unlimited client licenses. Full system requirements and more information on Final Cut Server can be found at Apple's web site.
post #14 of 82
Presenting at the National Association of Broadcasters conference on Sunday, Apple unveiled Final Cut Studio 2, a significant upgrade to its industry leading video production suite that delivers new creative tools designed expressly for editors.

Final Cut Studio 2 includes Final Cut Pro 6, which introduces Apple’s ProRes 422 format for uncompressed HD quality at SD file sizes and support for mixed video formats and frame rates in a single Timeline; Motion 3 featuring an intuitive 3D environment, paint and new behaviors; Soundtrack Pro 2 with dozens of innovative tools for multitrack editing, surround mixing and conforming sound to picture; Compressor 3 delivering powerful batch encoding for multiple formats with a single click; and DVD Studio Pro 4.2 for SD and HD DVD authoring. Final Cut Studio 2 also introduces “Color,” a professional color grading and finishing application for ensuring consistent color and creating signature looks.

“Final Cut Studio 2 was specifically designed to enable the rapidly growing community of over 800,000 Final Cut editors worldwide to animate, mix, grade and deliver their work as a natural extension of the editorial process,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “Final Cut Studio 2 is the most powerful production suite on the planet.”

At the core of Final Cut Studio 2 is Final Cut Pro 6, the latest version of Apple’s Emmy award-winning editing software which includes a new Open Format Timeline that lets editors mix and match virtually any video format and frame-rate in a single Timeline without transcoding. ProRes 422, a new full raster, 10-bit 4:2:2 post production format produces stunning HD quality at SD file sizes, making it ideal for working efficiently across a SAN or on a MacBook Pro in the field. Companies including Panasonic, Sony and RED are embracing ProRes 422 as they continue to innovate on the next generation of cameras. Final Cut Pro 6 also includes optical flow based SmoothCam technology to remove unwanted or jarring camera movement with simple, easy-to-use tools. Deep integration with Motion includes the ability to edit Motion templates with video drop zones and editable text fields directly in Final Cut Pro.



New to Final Cut Studio is Color, which puts a logical task-based color grading and finishing workflow in the hands of every Final Cut Pro editor. The primaries in Color include advanced color correction tools such as gamma, lift and gain adjustments, as well as custom R, G, B and luma curves, and the secondaries provide the ability to isolate specific areas of an image with soft-edged mattes and custom-shaped vignettes, which can be tracked with ease. Professional scopes provide precise monitoring of chrominance and luminance values via waveforms, histograms and new 3D scopes. Color includes over 20 signature looks which can be customized to create a unique mood for any given project, and offers a seamless roundtrip workflow where projects can be sent from Final Cut Pro 6 directly to Color for grading, finishing and final rendering with 32-bit float 4:4:4 image processing.

Motion 3, the latest version of Apple’s motion graphics software, takes all the familiar Motion tools and extends them to a 3D environment. New camera behaviors add depth and realism with drag-and-drop simplicity. Vector based paint tools allow editors to easily create brushes with color, particles, video or pictures. A simple, yet highly precise match moving tool automatically maps any image or effect to the path of any other object. New retiming behaviors enable editors to slip and slide retiming effects on the Timeline without keyframes, while new audio behaviors allow users to easily create animations that respond to soundtrack volume and frequency. Motion 3 includes over 1500 new design elements including professional stock imagery, beautifully animated line drawings and stunning vector artwork.

Soundtrack Pro 2, a brand new version of the audio editing application in Final Cut Studio 2, features powerful new multitrack editing and recording tools in a streamlined interface that simplifies every aspect of the audio post production process. Soundtrack Pro 2 introduces a breakthrough heads up spotting display that lets editors precisely align effects and dialog with picture. Advanced take management tools enable editors to quickly combine pieces of the best takes to craft seamless performances. Stereo and surround mixing tools enable users to create 5.1 and stereo mixes in the same project, saving time and eliminating costly errors. Editors can work with a royalty-free library of over 5,000 professionally produced foley and sound effects, including over 1,000 surround sound effects and evocative multi-channel music tracks. A powerful new Conform tool enables users to synchronize and track changes between picture and sound editorial.

Compressor 3, the latest version of Apple’s industrial strength encoding tool, comes with a new streamlined interface and simplified workflows that make encoding and delivering in multiple formats easier and more efficient than ever. Powerful batch processing and job chaining capabilities enable editors to create pristine quality output for a wide range of delivery formats with a single click. Compressor 3 extends support for industry-standard codecs such as MPEG-2 and H.264 to include new drag-and-drop presets for delivery to broadcast television, web, iPod, Apple TV™, DVD and mobile phones. Dynamic filters applied during pre-processing now support timecode overlays, audio/video fade in and out, and animated watermarks that can be applied directly from Motion projects.



Apple today also introduced Final Cut Server, a powerful new server application that works seamlessly with Final Cut Studio 2 to provide media asset management and workflow automation for post production and broadcast professionals.

Pricing & Availability

Final Cut Studio 2 will be available in May through the Apple Store, Apple’s retail stores and Apple Authorized Resellers for a suggested retail price of $1,299 (US). Registered users of the current version of Final Cut Studio can upgrade for $499 (US) and registered users from any previous version of Final Cut Pro can upgrade for $699 (US). Full system requirements and more information on Final Cut Studio 2 can be found at Apple's website.
post #15 of 82
Thread Starter 
I have been watching the videos. THIS IS AMAZING!
does anyone think they borrowed some of the 3D engine stuff from Pixar? Is that even possible?
post #16 of 82
Quote:
Originally Posted by Funky View Post

Yes, just saw this too. A very unusal time to release this news on Sunday. Have never see the new product released on SUNDAY, normally release on either Monday to Wednesday.

Funky

Umm this is NAB. The place for FCS to debut. Sunday is also the unoffical opening of it, as exibit starts tomorrow, and yesturday was the pre parties.

Sunday is THE day as far as NAB is concerned

I almost was able to goto the event, but unfortunely not as it's not in my schedule. Actually a lot of people was able to go but couldn't which seems like apple schedule this very very late in the process. Though it's nothing new at NAB. ALmost every big vendor send out invites like a day before the limit. Almost always it's insiders in apple who get to go simply because there's such a short window.

I'm surpised and not surpised. Almost everything is expected depending on your angles. You have one side like, "apple is going to go toe to toe with avid" while the rebuttal was, "Apple wouldn't scew their relationship with so many vendors"....with both side grinning.

But everyone I knew working with apple said, NDA, but it's going to be software(i.e. FCS).

In the end...they are going after avid, with the HW bob complete solution.
post #17 of 82
Quote:
Originally Posted by sCreeD View Post

Heh. $17K for the camera plus $3K for the lens is the only the start of the blood-letting. What will really drain you is the money for the multi-terabyte storage array you'll need to record at 2K or 4K.

The days of 1GB per 5 minutes on DV are at an end.

Considering REDCAM is not competing against your average HD-Cam, it isn't that bad -- this is a 4-k cam that competes with the ~$150,000 Sonys.

This is for feature films...not youtube videos, or even the evening news.
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post #18 of 82
Whoa! I watched the FCServer video and they mention something along the lines of Windows users being able to preview segments. (Halfway through when the blonde woman is working). Just after that they show what looks like a Windows viewer client (??) because it's using a white pointer rather than the Mac black. The rest of interface was Pro Apps slate. They never showed it full screen to see if it had OS X or Windows window buttons.

I thought they were just referring to the video format, but is there a Windows client in the works?
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post #19 of 82
Yeah I was alluding to the relative lower cost of the camera itself.

Larger market evening news are going HD too.
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post #20 of 82
Quote:
Originally Posted by josa92 View Post

I have been watching the videos. THIS IS AMAZING!
does anyone think they borrowed some of the 3D engine stuff from Pixar? Is that even possible?

Camera stabilization and the Color node-like approach are both derived from Shake. I can't wait until the successor to Shake is released. Shake's interface is not exactly the most intuitive..
post #21 of 82
Overall, a very nice update. Well worth the wait.
post #22 of 82
Quote:
Originally Posted by sCreeD View Post

Whoa! I watched the FCServer video and they mention something along the lines of Windows users being able to preview segments. (Halfway through when the blonde woman is working). Just after that they show what looks like a Windows viewer client (??) because it's using a white pointer rather than the Mac black. The rest of interface was Pro Apps slate. They never showed it full screen to see if it had OS X or Windows window buttons.

I thought they were just referring to the video format, but is there a Windows client in the works?

Final Cut Server will have a client each for Mac OS and Windows.
post #23 of 82
This is the motion upgrade I've been waiting for. Bye bye After Effects!
post #24 of 82
Quote:
Originally Posted by Cory Bauer View Post

This is the motion upgrade I've been waiting for. Bye bye After Effects!

Do you think ? Still no expresions though .... so camera shake , wobble and WIGGLE funstions are probably still not going to exist. ( Unless apple has wiggle plug in , that'd be cool)
post #25 of 82
Quote:
Originally Posted by wally007 View Post

Do you think ? Still no expresions though .... so camera shake , wobble and WIGGLE funstions are probably still not going to exist. ( Unless apple has wiggle plug in , that'd be cool)

There are ways around that. Old skool skills can do all but the most demanding ones. Unless you mean amateur sources...those are of a different breed.

Sure it's nice, but that's why you pay more for higher stuff and 3rd party stuff. This is FCS, not a master collection post plus.
post #26 of 82
Quote:
Originally Posted by wally007 View Post

Do you think ? Still no expresions though .... so camera shake , wobble and WIGGLE funstions are probably still not going to exist. ( Unless apple has wiggle plug in , that'd be cool)

For me at least.

I'm not an advanced After Effects user, there are many features I've surely never touched, but I am a big user of the camera and lighting, and now that Motion has that I'm hoping to cut one more program out of my workflow (and budget). Being able to render my animations directly in the Final Cut timeline, which don't need to be archived because they are re-renderable, is a major time and workflow saver; I've been trying to use Motion as much as possible, but find myself back in After Effects whenever I wanted to use camera and lighting effects. So at least for me, Motion should now do everything I need from an animation program at this time

Regarding wobble and wiggle, one could always opt to just keyframe the camera (especially easy with Motion's recording capabilities) if Apple doesn't allow behaviors to be applied to the camera itself.
post #27 of 82
so what's the verdict from the pros? Is this is a big deal that'll sell a lot of software (and of course your movies/content) and hardware or just another day?
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post #28 of 82
Quote:
Originally Posted by sandau View Post

so what's the verdict from the pros? Is this is a big deal that'll sell a lot of software (and of course your movies/content) and hardware or just another day?

I don't think a proper verdict can be made until the pros actually got a chance to test this software themselves. With some of it not coming out for months, that's rather hard.
post #29 of 82
Quote:
Originally Posted by Chucker View Post

I don't think a proper verdict can be made until the pros actually got a chance to test this software themselves. With some of it not coming out for months, that's rather hard.

No PRO here but Final cut pro has everything i've wanted now ... timeline is now on par with Premiere and everything else was already just as good or better , so that's great.

Color is something i'll have to see .... seems VERY robust from demo. If it's as advertized , it's killer app.

Motion 3 did exactly what we expected. 3D. I didnt use Motion 2 much ( if at all ) because of lack of lights / camera / 3d. Still not AE killer i was hoping for. I guess that's going to be Shake's successor.

But for christ sake , where's our GPU ?!?! My Mac Pro is dying with 7300GT. It's joke of a card for $4k machine. Motion/Color/and now parts of Final Cut pro are offloaded to GPU yet Mac's have day before yesterday's GPU's in their best computers. I dont know what to say anymore.
post #30 of 82
Final Cut Server is coming from Apple's acquisition of Proximity Corporation and Color comes from the acquisition of Silicon Color.

FC Server was needed to compete with Avid's Unity. Proximity has an impressive client base of 150 broadcasters. That does give Apple Server a great head start.

Color is what looks most exciting for me and what I do. Unfortunately I'm not at NAB this year to test it out.

I also wish I were there to ask about RED. Apple confirms that it supports REDCODE, which is Red's codec. But they don't explicitly say if and how FCP supports 4K.
post #31 of 82
Quote:
Color is something i'll have to see .... seems VERY robust from demo. If it's as advertized , it's killer app.

Final Touch was already a mature product.
post #32 of 82
Wow that RED camera + lens is a little more expensive than a Toyota Corolla but man its cheap in the world of pro gear though. Looks like it will be able to replace or get real close Film at that point.

For those who think 17+3K is expensive, try buying a Panavision camera and lets see how much film will cost.

Looks like for 30K you can build a nice setup for Pro work. (RED + Mac Pro and finalcut and other necessities)

I remember back when nonlinear editing was newfangled stuff running on turnkey systems costing a shitload of money, 30K would not even get you in the door just for the editor.
post #33 of 82
Quote:
try buying a Panavision camera and lets see how much film will cost

Panavision doesn't sell cameras. Rental only.

A new Arriflex camera can get over $100,000. From what we've seen so far RED does not really replace all of the functionality of an Arri 435.

post #34 of 82
Quote:
Originally Posted by TenoBell View Post

Panavision doesn't sell cameras. Rental only.

A new Arriflex camera can get over $100,000. From what we've seen so far RED does not really replace all of the functionality of an Arri 435.



Whats a base gold + lens rental going for 4000-5000 bucks a week?

Yeah but you are talking a huge price differential and I think with the RED you are getting a shit load of bang for the buck at the moment and no film cost.

I see a new future with this new stuff coming down the pipe, opening up the doors for some quality stuff from smaller productions etc..
post #35 of 82
Could Apple ProRes 422 be the key to something even bigger? HD quality at SD file sizes. Hmmm... Could this be used to deliver HD iTunes content?
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post #36 of 82
Quote:
Originally Posted by murk View Post

Could Apple ProRes 422 be the key to something even bigger? HD quality at SD file sizes. Hmmm... Could this be used to deliver HD iTunes content?

Of course, Apple really means compressed HD at uncompressed SD file sizes, which are not small to begin with (17MBytes/s?). These editing codecs are completely different from delivery codecs like H.264, so don't jump to conclusions.
post #37 of 82
Quote:
Originally Posted by wmf View Post

Of course, Apple really means compressed HD at uncompressed SD file sizes, which are not small to begin with (17MBytes/s?). These editing codecs are completely different from delivery codecs like H.264, so don't jump to conclusions.

Thanks for yanking my foot out of my mouth so quickly.
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post #38 of 82
Quote:
Originally Posted by Funky View Post

Yes, just saw this too. A very unusal time to release this news on Sunday. Have never see the new product released on SUNDAY, normally release on either Monday to Wednesday.

It's not released. Still, a product announcement on a Sunday is rare. A trade show like this is a bit of an exception, they need to promote it when the expo opens tomorrow.
post #39 of 82
Quote:
Originally Posted by sCreeD View Post

Yeah I was alluding to the relative lower cost of the camera itself.

Larger market evening news are going HD too.

Yes, but they don't need RED to do that, the extra resolution is just thrown away anyway, by the time there is a broadcast format that can use it, the footage they capture isn't that important. Granted, the defacto standard for local evening news seems to be XDCAM HD, even the cheapest of those cameras aren't that are much cheaper than the base price of RED One. I think XDCAMs are usually a complete camera without requiring expensive add-ons just to make it work, like with RED.
post #40 of 82
Quote:
Originally Posted by TenoBell View Post

Panavision doesn't sell cameras. Rental only.

A new Arriflex camera can get over $100,000. From what we've seen so far RED does not really replace all of the functionality of an Arri 435.


Ah! For my old Arri 16Bl Quartz with Nagra. Nothing like having an assistant follow you around with a recorder.
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