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.
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.
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.
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.
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.
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.
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.
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.
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?
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..
Comments
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
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).
Wonder how much new stuff will make it into FCE...
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
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.
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.
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
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..
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.
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
"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.
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.
[ View this article at AppleInsider.com ]
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.
[ View this article at AppleInsider.com ]
does anyone think they borrowed some of the 3D engine stuff from Pixar? Is that even possible?
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.
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.
I thought they were just referring to the video format, but is there a Windows client in the works?
Larger market evening news are going HD too.
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..