UPDATED – Jan. 31, Feb. 1

Today, Apple announced the latest update to Final Cut Pro X. Following its announcement last September that the next major version of the software would include support for multicam editing and broadcast monitoring, this update delivers on that promise.

THE HEADLINES

This FREE update – now available in the Mac App Store – includes:

• Project import from FCP 7 to FCP X (via a 3rd-party utility)
• Clip relinking
• Multicam
• Layered Photoshop import
• Broadcast monitor output
• And dozens of other features

According to the Release Notes from Apple, Final Cut Pro X version 10.0.3 adds the following features:

• Multicam editing with automatic sync and support for mixed formats, mixed frame rates, and up to 64 camera angles
• Media relink for manual reconnect of projects and Events to new media
• Ability to import and edit layered Photoshop graphics
• Advanced chroma keying with controls for color sampling, edge quality, and light wrap
• XML 1.1 with support for exporting basic primary color grades and both importing and exporting effect parameters and audio keyframes
• Multiple improvements to the Color Board, including new key commands, editable numeric fields, and adjustable parameters that act like infinite sliders when dragged
• Ability to reorder color corrections in the Inspector
• Reveal in Event Browser shows clip range in the filmstrip while in List View
• Batch offset for clip date and time
• Ability to search text added to Favorite and Reject ranges
• Automatic restore of projects and Events in case of file corruption
• Beta version of broadcast monitoring with third-party PCIe and Thunderbolt I/O devices

Final Cut Pro X version 10.0.3 also improves overall stability and performance, and addresses the following issues:

• Improves performance when editing text in titles
• Improves performance when applying an effect from the Effect Browser
• Improves key-framing behavior in the Inspector, with keyframes automatically added when moving to a new point in time and adjusting a parameter
• Modifies transition behavior so that all newly added transitions use available media and maintain project length
• Fixes an issue which affected audio solo while skimming
• Resolves issues related to using Synchronize Clips with media containing a silent audio channel
• Fixes an issue in which constant speed retiming was not properly applied when using the Paste Effects command

I had a chance to talk to Apple and spend some time with the updated app ahead of today’s release of Final Cut Pro 10.0.3. This isn’t a review – I haven’t had the time for that. Instead, let me give you my initial reactions to the new features in the upgrade.

FINALLY – WE CAN CONVERT PROJECTS!!!

First, thanks to the hard work of Philip Hodgetts and Greg Clark, Intelligent Assistance has released a utility with Apple’s blessing that supports transferring projects from Final Cut Pro 7 to Final Cut Pro X called “7toX.”

As Philip told me: “We worked very hard to offer a very high fidelity conversion, so that editors can take their Final Cut Pro 7 projects forward to Final Cut Pro X’s efficient working environment.”

With 7toX for Final Cut Pro, the high fidelity translation moves Bins and Sequences from Final Cut Pro 7 to Final Cut Pro X with Keyword Collections representing Bins and Compound Clips converted from Sequences. All Bins and Sequences are recreated with no metadata or log notes from Final Cut Pro 7 being lost.

All Motion tab settings and keyframes are translated into their equivalent in Final Cut Pro X; more than 20 Transitions and 45 Filters are matched and applied, including matching Color Correction filters from Final Cut Pro 7 mapped to the Color Board; and full support for Multicam.

7toX for Final Cut Pro fully reports any variation from the original using Final Cut Pro X’s To Do Markers and the original track numbers are applied to Clips in a Project as a Final Cut Pro X Role.

This is such a significant feature that I’ll cover it more in a separate blog later this week. Click here for more information: www.intelligentassistance.com.

Apple set the standard for multi-camera editing when it was introduced in Final Cut 5 — and totally blew past it with this latest release:

• Edit up to 64 cameras simultaneously, using 4 banks of 16 images each
• Combine any video format, frame rate, or image size into the same multicam clip
• Integrate video, audio, or stills in the same multicam clip
• Sync clips automatically using audio waveforms or manually using timecode, markers, or other options
• Reach “inside” a multicam clip and resync clips, apply filters, add or remove angles, or change the angle order at any time in the editing process
• Instantly switch between proxy and optimized media during playback to maximize hard disk throughput

This feature is amazing. Far more flexible than the multicam in FCP 7, it simplifies multicam editing using either the Viewer or the keyboard. The ability to revise multicam clips even after they are edited to the Timeline is very, very slick..

However, as HD files increase in size, this will benefit from every bit of speed your hard disk can throw at it. This is a perfect application for a Thunderbolt RAID.

I know none of your clips have ever gone off-line, but with all the files I’m juggling over here, it happens to me ALL the time.

Now, we can relink clips from either the Event Browser or the Project Timeline. Linking from the Event Browser reestablishes links to every occurrence of that clip in every Project. Linking clips from the Project Timeline simply reconnects that clip for that Project.

Relinking is as straightforward as it was in FCP 7 – with the added ability to change the links in a Project separate from changing links in the Event Browser.

Importing layered Photoshop files now works the same as it did in Final Cut Pro 7. Each layer of the graphic opens as a layer inside FCP X in what is essentially a compound clip. You can animate individual layers, apply filters, scale, rotate… all the stuff we could do before in 7, we can do again.

Just a note, however, that lPhotoshop ayer effects are not supported. This means that, just as with FCP 7, you need to rasterize any layer effects in Photoshop before bringing the file over to FCP X.

Apple says that this is included in this release, but is still in beta. That’s because to get an external monitor to work, you’ll need a Thunderbolt Mac, connected to either an AJA, Blackmagic Design, or Matrox conversion box, and not all these devices are shipping yet..

AJA has just released their IO XT unit, which is their version of what you’ll need to make this work. I have been told that Blackmagic Design is not far behind; and Matrox has committed to providing gear as well – though that may be a bit farther away.

However, Apple says that while video monitoring works fine for general editing, they are not happy with the performance of video monitoring for multicam clips, so Apple is continuing to work with their partners to get the performance up to their satisfaction.

One of the features Apple first touted in FCP X was its support for ColorSync to maintain consistent color throughout editing. This is an excellent solution for editors that only need to go to the web. What’s missing is any documentation from Apple on how to set this up. I’m hoping that they will publish this workflow on their website in the near future.

UPDATE – Jan. 31: In reading a white paper from AJA about FCP X 10.0.3, I learned that the Kona/3 card is supported in MacPros using updated drivers. Check out the AJA website for more details — www.aja.com/pdf/FCP_X_and_AJA.pdf.

UPDATE – Feb. 1: Blackmagic Design announced this morning support for FCP X with their release of Desktop Video 9.2 beta 1, a free download that supports DeckLink, Multibridge, Intensity, and UltraStudio – www.blackmagic-design.com

Many file-based cameras assign names to clips that only a cryptologist could love. This update now allows you to rename clips in batches, using naming presets that you can create or modify, from about two dozen template elements.

UPDATE: I just learned that this feature is also in FCP X 10.0.2. I have a note in to Apple to see what’s new about this feature in this version.

But, what really fascinates me is the amount of refinement in the smaller details with this release. Apple seems to have worked hard polishing the details, as well as inventing the big stuff.

For example….

Apple has added more flexibility to the Color Board through additional keyboard shortcuts and the ability to enter corrections numerically.

Video scope keyboard shortcuts have changed. And Command+7 now remembers the last scope you used, rather than returning to the benighted Histogram! (Scopes have also sprouted brightness controls.)

The chroma-keyer, which was totally rewritten for FCP X, has been updated with additional controls brought over from Motion 5. Now it is easier to adjust an image for translucency, add light wrap, and tweak the background color selections to clean up bad lighting, background wrinkles, or just general malfeasance on the part of the production crew.

There’s a lot to like with these keyer settings and the whole combination is a vast improvement over the native keying in FCP 7. Sadly, though, the mask function hasn’t changed and is seriously underpowered.

FCP X now automatically backups up every Project and Event folder. This is designed as an automatic recovery system should some wayward binary bad guys corrupt a file. Backups occur every 15 minutes whenever a file has changed. Since Final Cut already saves everything you do as soon as you do it, these backups are best thought of as disaster recovery.

We can now adjust the camera-stamped date and time associated with any clip. Since this can be used by a multicam clip for syncing, this becomes a very useful addition.

Transitions now default to using available media. Gone is the preference setting for “Full Overlap,” where the entire right side of your project was pulled left to get a transition with insufficent handles to work. Now, if you don’t have enough handles (extra media before the In or after the Out) FCP will popup a dialog asking what you want to do.

New preferences are added to clarify dropped frame warnings and enable broadcast monitors.

There is now a keyboard shortcut to apply a default full-screen title at the position of the skimmer or playhead – Control+T. AND a keyboard shortcut to apply a default lower-third title at the position of the skimmer or playhead – Shift+Control+T. Both of these new titles support full font styling, but don’t come with any annoying animation.

Cool!

Apple has told me on many occasions that they are committed to improving Final Cut Pro X to meet the needs of video professionals. Their record since then backs this up.

Since Final Cut was released last June, it has had two major updates and one minor bug fix. Several of their innovative features released as part of these updates – Roles and Multicam come immediately to mind – are stunning.

I will be the first to say that FCP X had a very controversial birth. I will also say that this version of Final Cut is not perfect — there are features that I wish it had that are still missing. But, with this update, my list of “I wants” is much shorter. I’m looking forward to exploring this version in more detail and writing about it in coming weeks.

If your deadlines are getting shorter and budgets are tight; and you need a fast, powerful system optimized for tapeless editing, the latest version of Final Cut Pro X delivers an amazing range of features in an easy-to-use package.

If you haven’t looked at Final Cut Pro X in a while, it’s time to take another look. Apple’s been making major improvements.

Let me know what you think.

Larry

P.S.While working with the software, I’ve assembled a series of ten training movies highlighting how to use the new features in the 10.0.3 release. Priced at only $19.99, and offering more than an hour of step-by-step traiining, these will get you started fast and right. Click here to learn more.

[Updated Sept. 21 with a few extra details and the link to the free trial.]
[Updated with a link for the QuickTime update.]
[Updated with more information on Roles, and clarification on Davinci and AutoDesk.]
[Updated with clarification on XSAN.]

About two hours after Apple updated Final Cut Pro X to version 10.0.1, earlier today, I was in a meeting with key Apple product marketing folks to discuss the new features. Let me share with you what I learned.

UPDATE ACCESS
Unlike past versions of Final Cut, upgrades are only available through the App Store. In fact, if you look closely at the App Store icon in the Dock, you’ll see a small badge appear, indicating that an upgrade is available for FCP; or any other application that you purchased through the App Store.

(By the way, a benefit to upgrading to Lion is that upgrades only download the differences between the old and new software versions, which significantly reduce the download time. I’m still on Snow Leopard, so my download is, um, continuing. Some people are reporting problems with the update. I downloaded mine with no difficulty, however, if you have troubles wait a day and try again. Otherwise, the workaround is to remove FCP X from the Applications folder, then redownload from the App Store. Or contact Apple Support.)

FREE TRIAL
Also, for the first time that I can recall, Apple is offering a free 30-day trial for Final Cut. The 30-day period starts when you launch the program, so you can download today, yet not work with it till the weekend without costing yourself time on the demo.

Here’s the link: http://www.apple.com/finalcutpro/trial/

Apple also updated QuickTime with new codecs. Get more information here:
http://support.apple.com/kb/DL1396

APPLE’S KEY POINTS
As our meeting began, I asked what were the key points Apple wanted to convey with this upgrade. The answers were instantaneous:

1. Apple is committed to the professional user.
2. Apple is listening to user feedback and adding major new features far faster than they could do in the past.

I remarked that a release labeled: “10.0.1″ was hardly a new feature release. At which point, our discussion began.

VERSION NUMBERING
The new version is numbered 10.0.1 – which, given the past numbering system Final Cut used, implies this is only a minor bug-fix.

However, Apple has moved FCP X to the same numbering system that OS X uses. Using that example, the current version of OS X is 10.7.1, which we commonly call “7.1″. Using the same convention, the upgrade moved FCP X to version 0.1. In other words, Apple views this as a significant product enhancement.

HIGHLIGHTS

You've probably read the highlights on Apple's webpage (by the way, Apple also refreshed the FCP webpage with this update): http://www.apple.com/finalcutpro/software-update.html

* Media Stems Export
* XML Import and Export
* XSAN network support
* Customized timecode by project

…and others. Let me go into detail.

XSAN (NETWORK) SUPPORT

XSAN is bundled with Lion (a small fact that I forgot). However, these network features should work with any network file server provided the data transfer rate is fast enough from the server to the local computer to support media file transfers, and the server supports user permissions and record-locking, which OS X Server does.

Shared media on a server has always been supported by FCP X. However, Project and Event folders needed to be stored locally.

Now, media, Projects, and Events can all be stored on a server. Media can be accessed by multiple users at the same time, however Project and Event folders can only be accessed by one person at a time. In other words, multiple editors can now access the same project, however only one editor can be in the Project at the same time. FCP X provides a simple menu choice allowing editors to move Events and Projects into, or out of, the app as necessary.

(As a network bandwidth thought, render files are stored in the Project folder. You might want to consider putting Events on the Server and storing Projects locally to minimize network traffic. Just a thought…)

XML IMPORT AND EXPORT

The core of Final Cut Pro is metadata and XML is the language of interchange of this metadata from one application to another. From XML we can get EDLs, OMFs, and all the other acronyms that we need. However, the first step is XML. The new version supports both XML import and export. While this feature will be used primarily by developers, the benefits of this feature will be used by all of us.

At our meeting, I was shown an XML export of an FCP X project directly into a pre-release version of Blackmagic Design’s DaVinci Lite! This replicates the ability to send a project to Color, with fewer restrictions and faster export. The Apple representatives told me that all the DaVinci Resolve line would support XML transfers from FCP X. (This is a correction, as I earlier wrote that this would be supported by the entire Davinci family.)

This is great news for anyone looking to do serious color grading of their FCP projects.

Another use of XML involved CatDV. Again, Apple showed a collection of media stored and cataloged in CatDV, a great media asset manager for the Mac. We built a short rough-cut, using clips stored in CatDV then, with a single AppleEvent keyboard shortcut which activated an Apple Event — Shift+Command+X — the entire rough cut was sent to FCP X, along with all the media and project data. The whole XML transfer process took about two seconds from pressing the button to seeing the new Event with media and the Project opened in the Timeline. This was very impressive.

Two other programs that use XML transfer were mentioned:

AutoDesk Smoke. Apple demoed an FCP X export to Autodesk Smoke. UPDATE: However, Apple told me that they are working with Autodesk and collaborating to support XML based workflows for FCP X. It is not supported just yet.

Atomos, I was told, is also launching an export utility for their file-based digital recorders that transfers ProRes files and metadata directly into FCP X. In fact, more than 20 companies are in the process of announcing new utilities or programs to work with the new version. (As we realized at the launch, XML import and export is the critical first step to unlocking the flow of third-party applications.)

AUDIO ROLES AND MEDIA STEMS

We spent a long time talking about Roles and Media Stems. Roles are a new metadata category that allow you to assign “roles” to clips. The most obvious is tagging audio for export to mixing, but the benefits are deeper than that.

FCP X is trackless. This means that the “age-old” method of putting the same audio in the same track so that you can mix all your dialog separately from your effects won’t work.

Instead, we assign Roles, which is a special metadata tag similar to a keyword. Some Roles are assigned on import. FCP looks at the file and attempts to determine if it is dialog, effects, or music. (If it guesses right, you save time. If it guesses wrong, you can easily change it.) You can create an unlimited number of new Roles.

Roles can apply to video, titles, or audio. There are three default audio Roles: Dialog, Effects, and Music. All have keyboard shortcuts and you can add as many as you want. You can even add “subroles” — roles related to other roles.

You can also apply Roles to titles – say to flag all English titles or Spanish titles.

When you export, you can export all audio that is flagged with a specific Role. You can export just music clips, or dialog, or effects.

But, Roles can be a real benefit in the Project, separate from exporting. You can solo all clips that belong to a specific role. For example, you can just listen to all dialog clips.

You can highlight all clips that belong to a specific Role – for instance, display all sound effects clips.

You can make invisible all clips in any combination of Roles. This is the equivalent of turning off the green Visibility light at the left side of the FCP 7 Timeline. This is VERY cool, because now, you can hide or reveal any combination of clips that all have the same Role assigned to it.

When it comes to exporting audio, using Roles we can export all our different audio stems, for example dialog, in a single pass. Or, for multiple-language video, Roles makes exporting video in different languages simple. Turn on all the English titles and export. Then, turn on all the Spanish titles and export again. I can see all kinds of ways to use Roles in editing.

UPDATE: For moving projects to ProTools, use Automatic Duck. According to Apple, the stems are really for delivery of final mixes either as a digital delivery or output to tape using a third party app like the upcoming Media Express or VTRxchange. The Roles info is in the XML so a third party could use the metadata for a wide range of workflows.

Apple took Roles far further than simply flagging clips for export into something that can help make sense of a complex timeline.

EXPORTING
Apple added an entirely new export option to allow exporting Roles. In fact, the process of exporting a QuickTime movie is now faster – if you are working with optimized media FCP just does a simple file copy of the ProRes in the Project to the ProRes of the export. Also, you can export a master QuickTime file and have it automatically loaded into Compressor, while still retaining the master file.

Then, both Blackmagic Design and AJA have announced products that will take the exported file and output it to tape.

OTHER NEW FEATURES

We can now change the starting timecode in a Project. Timecode is set in Project Properties.

We can now add transitions to connected clips with a single keystroke. What this does is both add the transition and converts the connected clip into a connected storyline. (We still can’t add an audio transition to audio in the Primary Storyline without detaching clips, however.)

A new Theme — Tribute — was added.

If you have Lion, FCP X now supports editing in full-screen mode. However, there are no other Lion-specific features in FCP X, so if you are still running OS X 10.6, you aren’t missing anything else in Final Cut.

Exports are now GPU accelerated. In the initial version, exports ran in the background, and they took advantage of multiple CPUs, but they didn’t take advantage of the graphics card. Now, exports are significantly faster. However, in order to take advantage of GPU acceleration, you need to export in the foreground, because the GPU is shared for both exports and real-time playback of Timeline effects.

(An interesting sidenote: Given the technical specs of the H.264 codec, exporting directly to H.264 will be MUCH faster if you use single-pass than multiple-pass. Apple suggested using single-pass unless you can see a difference in image quality, at which point compress as multi-pass.)

Apple released a camera import SDK so that camera manufacturers can provide support for their latest cameras without waiting for Apple to update the software. What this means to us is that we should see cameras launch with support for FCP X built-in.

THINGS STILL MISSING

For the first time ever, outside a Steve Jobs speech, Apple announced products that are coming, but more than 30-days away. Apple publicly stated that both multicam editing and output to broadcast monitors will arrive “early in 2012.”

I tried to pin them down to a more specific date; no success.

Apple said they also fixed a number of bugs, but I didn’t have time to find out what some of them were.

There are still some significant missing features which are not addressed in this upgrade or their announcement: Retaining In and Out points for clips in the Event Browser is undergoing a debate in Apple. So is the ability to read source timecode for clips in the Timeline. Drop shadows for elements other than text and a few generators requires creating a custom Motion template. The ability to apply an effect to a group of clips, then modify that effect — think audio mixing — is still severely limited. There is no out-of-sync indicator for detached audio clips that have shifted in the Timeline. There is no way to set the default project audio to stereo.

Apple stresses that there is far more development planned for the program.

But this update is significant for several reasons:

1. The speed with which Apple was able to get it released.
2. The fact that most of these features are of interest to pro editors; an iMovie editor is not going to care about audio stems
3. The flexibility Roles provide as part of the editing process is really amazing.

If you currently own FCP X, I recommend you get the update as time permits.

Let me know what you think.

Larry

P.S. If you have purchased my Final Cut Pro X training, I will be providing a FREE upgrade later this month highlighting how to use the new features. (This update applies to all new purchases as well.) We’ll send you an email notice when our update is available. Learn more about my FCP X training here: www.larryjordan.biz/fcpx

One of the problems of being in the middle is that I can see both sides. I don’t necessarily agree with them, but I can appreciate their point of view.

My blog this morning – Who’s Accountable – touched a nerve because, in addition to the people that commented directly on the blog, I’ve also had several private conversations with Apple and people who are very, very upset with Apple.

What’s become obvious over the last week, is that the way the Final Cut Pro X launch was handled has totally overshadowed the features of Final Cut Pro X.

Over the last several days, I’ve been consumed with trying to decide what to do – stay with Final Cut or move to another platform. If I switch, what do I switch to? What advice should I give to others trying to make the same choice?

As my office will attest, all this internal debating has not made me a pleasant person to be around.

Let me share my thinking with you — then, you can decide for yourself whether you agree or disagree.

First, let me say that I think the launch of Final Cut Pro X was very badly handled. As I’ve written, I don’t think Apple needed to cancel Final Cut Studio (3) as abruptly and coldly as they did. They should have given us more time to make an orderly transition. They were thinking as a technology company, not as editors managing a decade of assets.

Canceling Final Cut Server, even though it was incompatible with Final Cut Pro X, has unnecessarily jeopardized companies building a business on that platform.

Apple never does things accidentally, so they will disagree with me. Probably strongly disagree… I remember a remark one of the people at Apple told me before the launch, in that they were expecting a lot of controversy over the new version of Final Cut Pro.

Well, we can certainly agree about that.

I also think that Apple seriously erred in not providing a conversion utility between Final Cut Pro 7 and FCP X. The one-two punch of canceling FCS (3) and an inability to convert old projects dominated the discussion far more than the merits of FCP X.

Apple will disagree, but the launch did not take the feelings and passion of editors properly into account. And damage was done.

On the other hand, there are some very cool new features in Final Cut Pro X. Some editors are writing and telling me how much they are enjoying the new program. (Just as other editors are writing to tell me, at length, why they are moving to Avid or Adobe.)

There’s a lot of passion on both sides. And both sides have some truth behind them.

But, let’s look at a few more points:

* Apple said in their presentation at NAB that FCP X redefines video editing for the next ten years. There is lots of additional development planned.

* Apple told me that because FCP X is distributed via the App Store, they can update the program much more frequently than when it was sold as a package on DVD.

* Apple wrote in their FAQ that they are already working on adding new features, such as XML and multicam, to the product and releasing updates quickly.

* Apple has stressed that FCP X is designed to provide a feature set for professionals, and not just as an upgrade for iMovie. (I am not saying they MET the needs of professionals, but a look at the architecture of FCP X reveals features that no iMovie user would ever need.)

* However, it is also self-evident that Apple needed to provide a clear and consistent upgrade path to iMovie users who were totally lost trying to understand how Final Cut Express works. Apple feels that it is possible for one product to meet both needs.

As I wrote in an earlier blog – Moving Forward – the first rule of business is to stay in business. All of us should keep an eye on our options. Check out what Avid, Adobe, and Media 100 are offering. If you feel you can’t wait, then switch.

But I would also suggest that many of us would benefit by taking a deep breath and giving Apple a chance to live up to their promises for the program.

Final Cut Studio (3) still works.

It took Avid, Adobe, and Apple many years to evolve their programs to their current feature set. I’m willing to give Apple a few months to get their act together and fix what’s broken with FCP X.

I’m going to stay with Final Cut Pro for a while. Work at learning the new version. Give feedback to Apple on what they need to do to improve things. And share what I learn with you.

Final Cut Pro X has a lot of exciting potential – but, for many of us, that potential is not yet realized.

The burden is on Apple to deliver on their promises, update the program quickly, and repair the damage they did during the launch. The proof is in the program.

If they succeed, great. If not, Avid and Adobe will still be around in six months.

Larry

… and it’s a jaw-dropper.

Last week, Apple invited a few folks, including me, to a short meeting in Cupertino where they previewed the up-coming version of Final Cut Pro.

While I am under NDA and can’t talk about what I saw, I CAN tell you the meeting happened and that it showcased the new Final Cut Pro.

While the invited crowd was small, it was a Who’s Who of leaders in the post-production community. I felt like I was standing on the red carpet at an awards show, watching all the stars walk past.

There will be LOTS to talk about as this project gets closer. For now, I recommend you subscribe to my monthly Final Cut Studio newsletter – because I’ll share all the news that I’m allowed to share in there first.

Tell your friends … its gonna be a great year.

Larry

P.S. If you feel the urge to email me for more information, keep in mind that Apple’s lawyers are bigger than your lawyers. So, until Apple lifts the NDA, I’m telling you all I can … for now.

Recently, Apple released new updates for Final Cut Studio (3).

Pro Applications Update 2010-01 is a revision to Final Cut Studio (2009). This update includes Final Cut Pro 7.0.2, Motion 4.0.2, Color 1.5.2, Compressor 3.5.2, Apple Qmaster 3.5.2 and Cinema Tools 4.5.1. The software improves overall stability and addresses a number of other minor issues. This update is recommended for all users of Final Cut Studio, Final Cut Server, and Logic Studio.

Just as a note, Soundtrack Pro is not updated in this release.

You can find more information here:

www.apple.com/finalcutstudio/download/

As always, whenever Apple releases something new, I wait a bit before upgrading. You know, just in case….

However, there are lots of small bug fixes here that make this seem a worthwhile update – and I appreciate Apple’s willingness to tell us what they are. (For a complete list, see below.)

I installed this update yesterday and things seem to be running fine. If you are running Final Cut Pro 7.0.0, I strongly urge you to upgrade. If you are running Final Cut Pro 7.0.1, upgrade as your projects and schedule allow.

According to Apple:

Issues addressed in this update include the following.

Final Cut Pro

• Fixes an issue with clip duration when removing reverse speed.
• Fixes an issue with the Log and Capture window that could prevent the window from closing.
• Fixes an issue with HDV to Apple ProRes capture via FireWire creating a QuickTime movie with no extension in the Finder.

Cinema Tools

• Fixes an issue with importing telecine logs.

Motion

• Fixes stability issues when using Motion on computers with limited graphics or system memory.
• Addresses issues with filters returning rendered results at lower quality.
• Fixes an issue with the Checkerboard generator rendering incorrectly in 3D.
• Corrects an image corruption problem when rendering complex projects in 32-bit float after applying a motion blur.
• Fixes issues with aspect ratios of shapes in projects created by choosing File > Import as Project.
• Improves the rendering precision of intersecting objects in some 3D scenes.

Compressor

• Corrects disk size limitation messages when burning a project to an AVCHD dual-layer disc.
• Fixes issues with long chapter names and titles not appearing correctly in disc templates.
• Fixes issues when inserting a DVD-R or BD-RE disc with data already present.
• Addresses issues with saving and changing music channels and video using surround sound.
• Corrects color shift when transcoding image sequences.
• Fixes an issue with WAV audio files when transcoding an image sequence.
• Addresses an issue with upload to MobileMe with files containing reserved characters.
• Corrects a problem when burning a Blu-ray or DVD disc from a Final Cut Pro sequence with 5.1 surround sound.
• Fixes an issue with display of password-protected movies on iPhone.
• Addresses a pixel aspect ratio compatibility issue.
• Improves stability when processing large batches.

Color

• Fixes an issue with CFX nodes not being imported when choosing File > Import > Color Corrections.
• Addresses several problems with the loading and processing of trackers.
• Fixes an issue with the green channel on video scopes displaying an incorrect value.

For more detailed information about the changes in an application, choose Release Notes from the application’s Help menu.

Adam Connell, a long-time reader of my monthly Final Cut Studio newsletter, sent me the following:

I recently downloaded and tried out 10.6.2 on my ‘experiments’ mac, a 17″ MBP 2009 edition. On exactly the same HDV and XDCAM sequences that worked perfectlyu well on 10.6.1 in FCP 7, droped frames galore on regular sequence playback, crashing when tying to crop video etc… glad it was in a controlled enviroment and it didn’t go anywhere near my main cutting machine, the mac pro. – That would have had me u all night. Curiously, the software description for 10.6.2 says that it is meant to improve FCP. HOW?

Larry adds: I have not tested this, so I don’t know the extent of the problem. However, I wanted to give you a heads up so you can determine for yourself what you want to do.

With the release of the latest version of Final Cut Studio, I’m already working on a detailed look at it for my next newsletter. However, that issue won’t be out for a couple of weeks.

In the meantime, Bruce Nazarian and I are doing the first public preview (that I know about) next Tuesday – July 28 – in Santa Ana, CA, and the following week – Aug. 4 - in Folsom, CA.

Then, in mid-August, I’ll be in four cities in the UK with a series of seminars talking about the new version. Learn more here.

We are devoting the entire day at each seminar to answering your questions and taking a look at this new software. Plus, all this is at the very low price of $79 per day!

For all the seminar details, click here.

And, if you have questions you want me to answer in my next newsletter – please send them to me here.

This software is too new for anyone to understand it well. But before you commit your business and reputation to the new version, it makes sense to take a closer look.

We added a few chairs to all our locations, so there’s room for you. However, time and space are running out — please register today!

My recent thoughts about the relationship between Snow Leopard and the next version of Final Cut Studio generated a lot of comments — especially on other forums. For instance, here’s an example from KenStone.net:

http://www.kenstone.net/discussions/read.php?3,13183,13183#msg-13183

Thanks for all your comments and thoughts on this. My information for my posting was based on talking with both programmers and knowledgeable engineers at a variety of different companies. However, I would be foolish to ignore the expertise of Philip Hodgetts and others. My goal in both my blogs and newsletters is to be as accurate as possible and, when errors exist, to correct them quickly.

Philip Hodgetts did a detailed analysis of this issue in his blog a couple of days ago that I strongly encourage you to read:

http://www.philiphodgetts.com/2009/06/21/what-about-final-cut-studio-and-snow-leopard/

My bigger point was two-fold: to explain why I felt the next version of FCP would not ship until after Snow Leopard and to begin to explore the impact Snow Leopard may have on Final Cut editors. The reality is that we won’t know the impact until both products are announced and shipped. Until then, I’m grateful for everyone’s comments.

On another subject, after sharing my concerns about the latest round of Apple MacBook Pro laptops, yesterday Apple released:

MacBook Pro EFI Firmware Update 1.7 addresses an issue using drives based on the SATA 3Gbps specification with the MacBook Pro introduced in June 2009. This update allows drives to use transfer rates greater than 1.5Gbps, however Apple has not qualified or offered these drives for Mac portable computers, and their use remains unsupported. All previous and current Apple portables with a SATA drive interface include a SATA 1.5Gbps hard drive.

Here’s the link to learn more: http://support.apple.com/kb/HT3561

This afternoon, Apple released the latest version of QuickTime — 7.6 — which includes updates for encoding quality, reliability, compatibility, and security enhancements.

Media improvements include better single-pass H.264 encoding quality, better playback of Motion JPEG content, improved AAC encoding fidelity, and improved audio export from MPEG video files.

Click here for details on video improvements: http://support.apple.com/kb/HT3292

The release notes for the new update also include a variety of security fixes. Click here for information on security improvements:
http://support.apple.com/kb/HT1222

Windows download: http://support.apple.com/downloads/QuickTime_7_6_for_Windows

OS X 10.4 download: http://support.apple.com/downloads/QuickTime_7_6_for_Tiger

OS X 10.5 download: http://support.apple.com/downloads/QuickTime_7_6_for_Leopard

Final Cut editors should wait at least a week before upgrading to make sure this version does not introduce new problems. Also, never upgrade QuickTime in the middle of completing a project.

Here’s an article I’ve written that explains my thoughts on when to upgrade.

This afternoon, Apple released updates to the following software:

Final Cut Pro 6.0.5
Compressor 3.0.5
Color 1.0.3
Shake 4.1.1

Here is a link to the release notes:

http://www.apple.com/support/releasenotes/en/Final_Cut_Studio_2.0_rn/

My suggestion is to wait a week or two before upgrading to make sure there aren’t any unpleasant surprises in this version.

And NEVER upgrade in the middle of a project.