Apple Final Cut Studio 2

Apple Final Cut Studio 2

Apple recommends running Color on a two-monitor Mac, thanks to all the doodads in Color’s interface. On a single screen, things get a little cramped.


Color. Color is a brand-new member of the Studio family, dedicated solely to the job of perfecting your video’s color. Color is supposed to democratize the deep science and high art of color correction, giving everyday video editors the same (or similar) high-powered tools that professional colorists use, but for a fraction of the price. And from a pure feature standpoint, Color doesn’t disappoint.


In most cases, you’ll use Final Cut’s Send To Color command to move your video edit into Color. Once there, you’ll see that Color is organized around the concept of “rooms” (represented by tabs along the top of the interface), and you’ll move sequentially from one room to another as you work.


Between the rooms, there’s little you can’t do. Naturally, you can quickly make primary color corrections to the entire picture. More importantly - and this where Final Cut’s built-in color tools pale in comparison - you can make precise color changes to parts of an image, either by creating color keys that isolate only a certain color range, such as someone’s aqua shirt, or by drawing custom Bézier masks (you can use a four-point motion tracker or manual keyframes to keep those selections in place as they move).


You can also build unique looks by combining a wide variety of color effects into node trees (à la Apple’s Shake compositor), easily rearranging the nodes for different looks. When you’ve got a look you like, you can save it and quickly reapply it to other video clips on Color’s Timeline.


As you work, you’ll see real-time previews of many of the adjustments you make in standard-definiton, HD, and even 2K resolutions (provided you have powerful enough hardware). Eventually, you may add enough effects to make real-time previews impossible, at which point you can see them at a reduced framerate or render them out.


Color isn’t perfect. Its interface isn’t exactly Mac-like and doesn’t always use the same conventions of other Studio apps (in fact, Apple purchased a high-end program called Final Touch from a third-party developer and turned it into Color). Expect a steeper learning curve than usual.


Color also won’t work with some of the footage you may have in your Final Cut Timeline, including Motion and LiveType elements you’ve imported, footage that’s been retimed in Final Cut, and even lowly ol’ still photographs that you’ve animated (we can hear Ken Burns’s heart breaking right about now). Of course, you can always render these elements into QuickTime movies and then reimport them into Final Cut before going to Color, but that’s a pain.


The biggest “problem” with Color is that having a professional color tool won’t automatically make you a good colorist. You also need to know a fair amount about color theory, and how to use Color’s subtle, sophisticated tools to get quality, original results. That means learning a new and potentially deep skill set, which can take a fair amount of time. We almost wish that Color had been a little less high-powered but a little more accessible for busy editors who want to get great results without developing a whole new expertise.






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That makes it much easier to edit the high-quality HD footage used in broadcast TV and film, without the pricey RAID storage systems and other add-on cards that high-end HD usually requires. Very helpfull.



Sony hasn't finished the specs for blu-ray. How can Apple give support to a format that has no specs defined. And yes this also means that a blu-ray player bought today may not be able to reproduce certain features from tomorrow's discs...

I guess Apple is waiting for Sony to update blu-ray and to see who s going to win this war, by bet is with Blu- Ray but it is still too early to tell...

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