Apple previewed its soon to be released Final Cut Pro nonlinear editing system version 5.1.2 at the International Broadcasting Convention (IBC), which concluded in Amsterdam earlier this week. (Full show coverage will appear in next week’s SHOOT).
Compatibility is a big focal point in this release–compatibility with additional formats and compatibility with the new Apple Mac Pro, which includes real time profiling, taking advantage of the dual core processors in the new Mac Pro. Version 5.1.2. also addresses compatibility with third-party PCIe cards on the Mac Pro, from manufacturers such as AJA Video and Blackmagic.
Available as a free software update for registered owners of version 5.1, Apple reported that its new version would include native support for HDV 720p/25 and 720p/24 editing, as delivered by JVC’s ProHD camcorders. Apple explained that “native editing” means that the video is transferred directly into Final Cut Pro from the source without any changes, so that the video is edited in the same camera-original format that was shot and stored on the tape.
Important particularly in the European market, Apple is also adding 25p support for Panasonic’s new P2 format. And, Final Cut version 5.1.2 addresses compatibility with Sony’s new XDCAM format, with variable bit rate settings at 18 and 35 Mb/s.
Final Cut Pro is a part of the Final Cut Studio package, which also includes: Motion for graphics and animation, Soundtrack Pro for audio sweetening, DVD Studio Pro for SD and HD disc authoring, and Compressor for high-performance encoding and format conversions. Final Cut Studio 5.1 is universal, meaning that it will run on both legacy PowerPC hardware and the new Intel-based systems from Apple.
Apple also used IBC as a platform to remind customers that two Final Cut Studio programs will be discontinued by the end of the year: Universal Crossgrade, a promotion designed to enable customers who own a current PowerPC version of one of the Final Cut Studio products to “crossgrade” to the Universal version; and the Final Cut Studio Upgrade, a promotion to bring customers with standalone applications to the Final Cut Studio package.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More