Final Cut Pro 6

Here’s a more complete list of the new features and changes in FCP6 from various discussions at the Apple booth:

Redesigned Easy Setup window

FCP’s flexibility in handling so many formats can be a double-edged sword - in FCP5 the Easy Setup list was so long that it was often difficult to find a particular setup. In FCP6, this has been improved by adding two extra popup menus - Format (codec) and Frame Rate. so you choose the codec first (e.g. DVCPROHD, DV), then the frame rate and finally the easy setup from a shorter list. A welcome change.

Log and Transfer Tool

For importing any non-tape sources into FCP. e.g. AVCHD, P2, XDCAM (?) and RED.

ProRes 422

Clearly aimed at taking on Avid’s DNxHD codec, ProRes 422 is a visually lossless, VBR, 4:2:2, i-frame only codec. It comes in two varieties:

• ProRes 422 - 8 or 10 bit (automatic depending on the source) at 145mbs
• ProRes 422 (HQ) - 10 bit at 220mbs

Unlike DNxHD, ProRes can also be used for SD. Read the white paper here

Rename media file or clip

This one is interesting. It’s always been the case in FCP that if you rename a clip then the original media file does not get renamed. It’s never particularly bothered me but I know that a lot of editors want the QT media file to match the name of the clip in the Browser. In FCP6 there are two new options from the Modify menu or by right-clicking on a Browser clip:

• Rename > Clip to match file
• Rename > File to match clip

With this new feature, you can have the clipname match the QT filename and vice versa without having to rename manually and then reconnect the media. Unfortunately if the renamed clip has been used in another project then it will be offline when that project is next opened. This is the same result as when renaming media files in FCP5.

Open Format Timeline

Mix and match different codecs, frame sizes and frame rates in real time.

SmoothCam

Using optical flow technology from Shake, this new video filter enables sophisticated stabilisation right inside FCP.

Master Templates

This integrates Motion templates into FCP. The templates can be accessed from three places - a Master Templates folder in the Effects Browser, the Generators popup menu in the Viewer and from the Effects menu. A template can be superimposed on the current shot (nice feature - no need to set in/out points) and then the text and drop zones edited. It is possible to update a template and have that change ripple through all the uses of that template in the current sequence or project.

Output of HDV sequence to DV over firewire

This is quite big news and will be very welcome for some editors. The sequence stays as HDV but the video output is transcoded to DV in real time for SD monitoring.

ProRes 422 render option

Not totally clear on this but I think it’s connected with the AJA ioHD which requires a ProRes 422 output from the FCP timeline. This option is available in the Sequence Settings window and I believe overrides the current sequence codec and renders to ProRes 422.

Playback quality for Motion files

If a Motion project (.motn) is placed in a FCP6 timeline, it is now possible to reduce the quality for better performance.

Reveal Master Clip

If the master clip doesn’t exist in the project containing the current sequence then FCP6 asks whether it should create a master clip.

Video Scopes

Now possible to control the graticule and scope brightness.

Soft Normalize and Gain

Not sure whether these are two separate audio plug-ins or just one but normalize has been a long standing feature request, so it’s good to see.

UPDATE: I’m told that when you Normalize a clip, a gain filter gets added to it. So it sounds like the Gain filter is also available for adding manually to a clip and Normalize is a separate command.

Improved “Send to Motion”

Retains speed changes as well as SmoothCam metadata.

Improved OMF Export

Now supports export of clip level and pan data.

Automatic change of audio output preset for clips in 5.1 surround

If a surround clip is added to a sequence then FCP6 asks whether a 5.1 audio output preset should be selected.

Modify > Conform to Sequence

Not totally clear on this but I think it’s connected with copying and pasting clips between sequences with different frame sizes.

Tools > Background Processes

This window displays the status of the SmoothCam analysis.

Gamma Fixes

No specifics but I was told there have been fixes for gamma shifts when exchanging media between apps.

Cinema Tools 4

Redesigned easier to use interface plus ability to output lists with TC and Keycode to PDF or XML.

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