New Features in Final Cut Pro 6

This is an overview of the new features in Final Cut Pro 6. For more information about
these features and their use, see the Final Cut Pro 6 User Manual.

Open Format Timeline Feature

In Final Cut Pro 6, you can freely mix clips with different formats in a single sequence and
play back the sequence in real time. This allows you to combine formats such as standard
definition (SD) and high definition (HD) video, full-resolution and offline-quality video,
and video with mixed frame rates, field dominance, and scanning methods (interlaced
and progressive).

Automatically Conforming a Sequence to Clip Settings

Final Cut Pro can automatically conform a sequence’s settings to the settings of the first
clip edited into the sequence. This allows you to make your sequence match your clips
without ever opening the Sequence Settings window. The “Auto conform sequence”
option in the Editing tab of the User Preferences window allows you to control how
conforming is handled.

Automatically Scaling Clips to Fit a Sequence

When you mix video with different frame dimensions in a sequence, some video
must necessarily be scaled to fit the dimensions of the sequence. Clips whose frame
dimensions are larger than those of the sequence are always scaled to fit in the
sequence, but you can choose how smaller clips are handled with the “Always scale
clips to sequence size” option in the Editing tab of the User Preferences window.

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 Master Templates
Master templates are Motion templates whose text and video elements you can
customize directly in Final Cut Pro. For example, you can create dozens of animated
lower third titles from a single master template. Each lower third title can have unique
text and video elements while the animation and effects remain the same. You can
immediately update the look of all your titles simply by changing the original Motion
template file.

You can create your own master templates in Motion and then use the installed master
templates in Final Cut Pro. Master templates are accessible from the following locations:
 Master Template Browser (choose Sequence > Add Master Template)
 Generator pop-up menu in the Viewer
 Effects menu
 Effects tab of the Browser

You can use the Master Template Browser to perform insert, overwrite, and
superimpose edits directly to the Timeline, or you can drag master templates from the
Browser or Viewer just as you would with any other clip. As with generator clips, you
can adjust master template parameters, such as text and video within a master
template, in the Controls tab of the Viewer.

SmoothCam Filter
The new SmoothCam filter steadies handheld shots and stabilizes jitter in shots created
with a dolly or jib arm. Using the SmoothCam filter is a two-step process:
 First, a clip’s entire media file is analyzed to determine what kind of motion
compensation is required. The new SmoothCam clip property and the Background
Processes window allow you to start and stop motion analysis of clips. Overlays in
the Viewer and Canvas indicate the status of motion analysis.
 Second, you adjust the parameters of the SmoothCam filter and the clip In and Out
points to specify how much motion compensation is applied.

Apple ProRes 422 Codec

Final Cut Pro includes the new Apple ProRes 422 codec, a high-quality 10-bit 4:2:2
video codec designed for demanding post-production workflows. Both SD and HD
resolutions are supported at two quality levels—standard and high. All standard
frame rates are available: 23.98, 25, 29.97, and 59.94 fps.

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Video Format Support and Easy Setups
Final Cut Pro includes the following new Easy Setups and features.

Improved Selection of Easy Setups

You can now limit which Easy Setups are displayed in the Easy Setup dialog using the
new Format and Rate pop-up menus. You can restrict the Easy Setups based on video
system format (such as NTSC, PAL, or HD) or by codec (DV, DVCPRO HD, and so on). You
can further restrict the displayed Easy Setups by frame rate.

New Sequence Presets for the Apple ProRes 422 Codec

Apple ProRes 422 sequence presets are included for SD and HD formats at most
standard frame rates and dimensions.

New Easy Setups for XDCAM HD

Final Cut Pro 6 includes Easy Setups for XDCAM HD constant bit rate (CBR) formats.

720p25 DVCPRO HD
You can now capture and output 720p25 DVCPRO HD from supported video devices,
such as the Panasonic AJ-HD1400 VTR.

Integrated DVCPRO HD Frame Rate Converter

The DVCPRO HD Frame Rate Converter is now installed with Final Cut Pro. Both 720p60
and 720p50 footage can now be converted.

Real-Time Support for 40 Mbps IMX

Final Cut Pro now supports real-time playback and effects for 40 Mbps IMX video footage.

Real-Time Support for 1080p30 XDCAM HD (SP)

Final Cut Pro now supports real-time playback and effects for 1080p30 XDCAM (SP)
video footage. This format uses a constant bit rate of 25 Mbps.

P2 Import Window Is Now the Log and Transfer Window

The Log and Transfer window can transfer footage from multiple formats, such as
P2 cards and Sony Video Disk Units (VDUs). To open the Log and Transfer window,
choose File > Log and Transfer (or press Command-Shift-8).

Improved Sony VDU Workflow

Footage from Sony VDUs is now accessible via the Log and Transfer window. The
Import Sony VDU command has been removed.

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 Color Correction and Video Evaluation
Final Cut Pro includes the following new color correction features.

Integration with Color

Final Cut Pro can send sequences to Color for advanced color grading. You can then send
the completed sequence and rendered media back to Final Cut Pro for final output.

Improved Broadcast Safe Filter and New RGB Limit Filter

The Broadcast Safe filter now includes RGB limiting to ensure that your video is
broadcast-legal in both Y´CBCR and RGB color spaces. The new RGB Limit filter provides
even more fine control over minimum and maximum RGB color values.

Video Scope Brightness Controls

New brightness controls allow you to finely adjust the readout of the Waveform
Monitor, Vectorscope, and other scopes. The graticule (or scale) brightness can be
adjusted independently of the scope readout brightness.

Improved Gamma Handling

Final Cut Pro now allows you to specify how gamma is handled for video media files
using RGB-based codecs (such as Animation and None). Many still-image formats are
also supported, including JPEG and TIFF. You can assign a default gamma level for all
imported clips, and you can also adjust an individual clip’s Gamma Level property in
the Browser or the Item Properties window.

Effects
Final Cut Pro includes the following new effect features.

Improved FxPlug Plug-in Support

Final Cut Pro 6 supports the FxPlug 1.1 plug-in specification and a wide range of
FxPlug plug-ins included with Final Cut Studio. The following new filters are available
in Final Cut Pro 6:
 Bad TV
 Bevel
 Bloom
 Channel Blur
 Channel Mixer
 Circles
 Color Emboss
 Custom Gradient
 Defocus
 Displace
 Earthquake

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Â Grid
 Indent
 Lens Flare Generator
 Light Rays
 Noise Filter
 Offset
 One Color Ray
 Overdrive
 Slit Scan
 Slit Tunnel
 Soft Focus
 Stripes
 Two Color Ray
 Vectorize Color
 Vignette
 Widetime
 YIQ Adjust
 YUV Adjust
 Zoom Blur

Applying Speed to Generator Clips

You can now apply constant and variable speed changes to generator clips.

Opening the Controls Tab Automatically When Opening a Generator Clip in the Viewer
When you hold down the Command and Option keys while dragging a generator clip
or master template into a sequence, the resulting edited clip is opened automatically in
the Viewer and the Controls tab becomes active. This allows you to immediately
customize the generator clip parameters.

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 Audio
Final Cut Pro includes the following new audio features.

Enhanced Integration with Soundtrack Pro

Final Cut Pro and Soundtrack Pro include new integration features, allowing you to do
the following:
 Send single or multiple audio clips from Final Cut Pro to Soundtrack Pro, keeping media
files in their native format or converting them to Soundtrack Pro audio file projects.
 Send only the media defined by a clip’s In and Out points instead of the entire
length of a clip’s media file. To limit the media sent to Soundtrack Pro, select the
“Send referenced media only” option in the dialog that appears when sending
clips to Soundtrack Pro.
 Send clips with multichannel audio media files to Soundtrack Pro.
 Apply a Soundtrack Pro script to multiple audio clips in Final Cut Pro, choosing
whether files are processed natively (destructive) or first converted to Soundtrack Pro
audio file projects (nondestructive).
 Create a Soundtrack Pro multitrack project from multiple clips or a sequence
in Final Cut Pro.
 Send a completed multitrack mixdown from Soundtrack Pro to a new sequence
in Final Cut Pro.
 Automatically conform changes made in a Final Cut Pro sequence to a corresponding
Soundtrack Pro multitrack project. This feature streamlines the tedious process of
manually conforming a sound mix when the video changes.

For more information about working with Soundtrack Pro and Final Cut Pro, see the
documentation included with each application.

Audio Normalization and Gain Filter

You can now apply nondestructive audio normalization to your clips by using the
Apply Normalization Gain command. This command analyzes a clip’s media between
In and Out points and then applies a Gain filter so that the highest sample plays at
0 dBFS (or the level you specify).

You can also apply the new Gain filter independently to boost audio signals higher
than the maximum 12 dB gain provided by a clip’s audio level overlay.

OMF Export with Level and Pan Settings

OMF files can now include audio level and pan keyframes.

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Automatic Audio Output Configuration
Using the Match Audio Outputs command, you can now configure your sequence’s
mono and stereo output groups automatically based on the currently selected clip in a
sequence. This feature is useful for quickly setting up output configurations such as 6-
channel surround sound monitoring. For example, if you select a sequence clip with
two mono audio channels and two stereo pairs and then choose Sequence > Match
Audio Outputs, one dual mono and two stereo output groups are created and
automatically assigned to your sequence.

Surround Sound Audio Output Preset

A new audio output preset called 5.1 Monitoring allows you to easily set up your system
to monitor 6-channel audio created in Soundtrack Pro or other applications with
surround sound capabilities.

Discrete Channel QuickTime Audio Export

The Sequence Settings window has a new audio export option called Discrete. This
option is used with the Export QuickTime Movie command. If you choose this option,
each exported QuickTime audio track is labeled with the corresponding output bus
number of your sequence.

Timecode Format Control for Broadcast Wave Format Files

with NTSC-Related Frame Rates
A new option in the Editing tab of the User Preferences window allows you to choose
the timecode format (drop frame or non-drop frame) of imported Broadcast Wave
Format (BWF) files. This option works only when the imported BWF file has an NTSC-
related frame rate, such as 29.97 fps.

Improved Integration with Motion

When sending clips from Final Cut Pro to Motion, several additional parameters are
now supported:
 Constant and variable speed adjustments are preserved.
 SmoothCam filter properties are preserved via the new Stabilize behavior in Motion.
 Clips in a mixed-format sequence retain sequence properties such as scale, aspect
ratio, and frame rate.

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 Real Time and Rendering
Final Cut Pro includes the following new real-time and rendering features.

Rendering Native HDV and XDCAM HD Sequences to the Apple ProRes 422 Codec
You can now choose to render native long-GOP MPEG-2 footage (HDV and XDCAM HD)
using the Apple ProRes 422 codec. This option can significantly improve rendering time
and quality compared to rendering in the native format. The pop-up menu to choose
the Apple ProRes 422 codec is available in the Render Control tab of the Sequence
Settings window.

Enhanced Render Status Bar Tooltips

Render status bars in the Timeline now provide detailed tooltips explaining why
segments with red render status bars can’t play back in real time.

External Video Monitoring

You can now output to external video interfaces whose settings don’t match those of
your sequence. Here are some examples of some of the possibilities:
 A DV or HDV sequence output to an SDI signal on a third-party interface
 An uncompressed NTSC or PAL sequence output to a DV FireWire output
 An HDV sequence output to a DV FireWire output

Sequence and output formats must have compatible frame rates. For example,
sequences with a frame rate of 60, 30, or 24 fps can be output to a 30 fps device,
but not to a 25 or 50 fps device. Also, when an output device does not match your
sequence settings, additional real-time processing is required. This means that
segments that already require a lot of real-time processing power may need to be
rendered to play back.

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Capturing and Media Management
Final Cut Pro includes the following new capturing and media management features.

Names of Captured Media Files Include File Extensions

Names of captured QuickTime media files now include the .mov file extension.

Automatically Creating Unique Media Filenames During Batch Capture

Before batch capturing, Final Cut Pro checks whether a media filename will conflict
with existing media filenames in the current Capture Scratch folder. If a media file
already exists with the same name as the clip you are about to capture, Final Cut Pro
adds a number to the end of the potential filename or, if the filename already ends
with a number, increases the number at the end of the filename until it is unique.

For example, if you are capturing a clip named RedCar and a media file called RedCar
already exists in your Capture Scratch folder, Final Cut Pro adds “-2” to the name of
the file to be captured and then checks to see if a file called RedCar-2 exists. If a file
named RedCar-2 already exists, Final Cut Pro tries RedCar-3, and so on, until a unique
name is found.

Renaming Clips and Media Files

Two new commands allow you to quickly rename media files to match clip names
and vice versa:
 Modify > Rename > Clip to Match File
 Modify > Rename > File to Match Clip

For example, suppose you capture some DV footage and the resulting media file and
clip are both named Untitled. You can quickly give both the clip and media file more
meaningful names by changing the clip name in Final Cut Pro, selecting the clip, and
then choosing Modify > Rename > File to Match Clip.

Maintaining Master Clips Across Multiple Projects

When you paste or add clips from one project to another, Final Cut Pro now checks to see
if any added clip has the same master clip identity as any clip in the destination project.
Added clips whose identity matches an existing master clip become affiliate clips of the
existing master clip, preserving master clip identities across multiple projects.

Final Cut Pro also checks for conflicts in master clip properties such as name, labels,
and comments. When there is a conflict, you can choose which master clip properties
are preserved and replaced, or you can create a new master clip to retain both sets
of properties.

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Reconnecting Clips
When you reconnect clips to media files, Final Cut Pro no longer uses file extensions
(such as .mov) when matching clip names to filenames. For example, if you have a clip
named Driving, the reconnect search mechanism will treat media files named Driving
and Driving.mov as matches. Also, when possible, the Reconnect dialog now checks to
see if clip and media file reel names match.

Updated Final Cut Pro XML Interchange Format

The Final Cut Pro XML Interchange Format has been updated to version 4. For more
information, go to http://developer.apple.com/appleapplications.

When you export XML in Final Cut Pro 6, the internal identities of clips in your project
may be updated, so there is now an option in the Export XML dialog to save your
Final Cut Pro project as part of the export process.

Saving a Project and an XML File Simultaneously

The new Save Project With XML command saves your current project and
simultaneously exports the project to the Final Cut Pro XML Interchange Format. Any
necessary clip and sequence metadata, such as internal identifier numbers, is updated
just prior to saving and exporting.

The XML file is saved with the same filename and in the same location as your project
file, overwriting a previous XML file with the same name if one exists. This command
ensures that all aspects of your Final Cut Pro project are in sync with the exported XML
file. Use this command when you are working with an application that routinely reads
your project file via the Final Cut Pro XML Interchange Format.

Copyright © 2007 Apple Inc. All rights reserved.

Apple, the Apple logo, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, QuickTime, and Soundtrack
are trademarks of Apple Inc., registered in the U.S. and other countries. Other company and product
names mentioned herein are trademarks of their respective companies.