REVIEW: Final Cut Studio 2
Studio Monthly by David Leathers 
ProRes 422, an Open-Format Timeline and Color Push this Package to a New Level The latest pro video application suite includes substantial upgrades of its central programs: Final Cut Pro 6, Motion 3, Soundtrack Pro 2 and Compressor 3 are the standouts. But new additions, such as a powerful new color-grading program and codec, bring the suite to life. Inside FCS 2 Final Cut Pro 6, the main editing application at the heart of the collection is, at first glance, little changed from the previous version. Upon closer inspection, however, there’s plenty new here. In fact, there are two major features that alone are worth the price of admission. The first is an open-format timeline. In previous versions of Final Cut Pro, dealing with video from mixed source formats required various capture and conversion strategies, most of them time-consuming and somewhat experimental, to achieve optimal results. With FCP6, these problems are largely solved. Now, when you drop your first video edit into a new sequence, it automatically adjusts its setting to natively match the clip. All subsequent clips, regardless of format, will play back on the timeline without rendering or conversion. You can mix and match formats from DV through uncompressed HD, regardless of aspect ratio or frame rate. This will save you a lot of time and lead to a more creative, uninterrupted workflow. read more...
ProRes 422, an Open-Format Timeline and Color Push this Package to a New Level The latest pro video application suite includes substantial upgrades of its central programs: Final Cut Pro 6, Motion 3, Soundtrack Pro 2 and Compressor 3 are the standouts. But new additions, such as a powerful new color-grading program and codec, bring the suite to life. Inside FCS 2 Final Cut Pro 6, the main editing application at the heart of the collection is, at first glance, little changed from the previous version. Upon closer inspection, however, there’s plenty new here. In fact, there are two major features that alone are worth the price of admission. The first is an open-format timeline. In previous versions of Final Cut Pro, dealing with video from mixed source formats required various capture and conversion strategies, most of them time-consuming and somewhat experimental, to achieve optimal results. With FCP6, these problems are largely solved. Now, when you drop your first video edit into a new sequence, it automatically adjusts its setting to natively match the clip. All subsequent clips, regardless of format, will play back on the timeline without rendering or conversion. You can mix and match formats from DV through uncompressed HD, regardless of aspect ratio or frame rate. This will save you a lot of time and lead to a more creative, uninterrupted workflow. read more...
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