Late-Breaking News About Final Cut Pro 5 This document provides updated information about Final Cut Pro 5 and covers these topics: Â Late-Breaking News About Final Cut Pro 5.1.2 (p. 2) Â Previous Release Information About Final Cut Pro 5.1.1 (p. 16) Â Previous Release Information About Final Cut Pro 5.1 (p. 17) Â Â Â Â Â Previous Release Information About Final Cut Pro 5.0.4 (p. 22) Previous Release Information About Final Cut Pro 5.0.3 (p. 30) Previous Release Information About Final Cut Pro 5.0.2 (p. 32) Previous Release Information About Final Cut Pro 5.0 (p. 35) Corrections to Final Cut Pro Documentation (p. 39) This document may be updated as versions of Final Cut Pro are released or new information becomes available. You can check for updated information by choosing Help > Late-Breaking News when Final Cut Pro is open. For the latest information about product updates, tips and techniques, and qualified third-party devices, visit the Final Cut Pro website at http://www.apple.com/finalcutstudio/finalcutpro and the Final Cut Pro support site at http://www.apple.com/support/finalcutpro. For the latest support information from AppleCare, choose Final Cut Pro Support from the Final Cut Pro Help menu. To receive automatic notification about new support issues, use Safari to bookmark the AppleCare Final Cut Studio RSS page at feed://docs.info.apple.com/rss/fcp.rss. See Safari Help for more information about configuring RSS feeds. There is no late-breaking information about Final Cut Pro 5.0.1. Final Cut Pro 5.0.1 is a worldwide version of the Final Cut Pro 5.0 software and documentation. 1 Late-Breaking News About Final Cut Pro 5.1.2 Final Cut Pro 5.1.2 addresses effects compatibility issues and video format compatibility, and resolves long-standing issues with video scope performance and audio output. For updated information about format support, choose HD and Broadcast Formats from the Final Cut Pro Help menu. Note: The Download Only option in Software Update is disabled for the Final Cut Pro 5.1.2 software update package. HDV Format Support and Easy Setups Final Cut Pro 5.1.2 includes native support and corresponding Easy Setups for the following HDV formats: Â 720p24 and 720p25 (JVC GY-HD100 ProHD camcorder) Â 1080p24 and 1080p25 (Canon XL H1 HDV camcorder); also called 1080F24 and 1080F25 DVCPRO HD 720p25 and 1080pA24 Support Final Cut Pro 5.1.2 updates compatibility with DVCPRO HD camcorder devices by adding two new Easy Setups: Â DVCPRO HD 720p25: This Easy Setup is used for native editing of DVCPRO HD 720p25 footage imported from Panasonic P2 cards. Final Cut Pro does not support DVCPRO HD 720p25 capture from or output to tape. Â DVCPRO HD 1080pA24: This Easy Setup is used to capture and output DVCPRO HD 1080p24 footage with advanced pulldown (2:3:3:2) to and from tape. This format uses the same advanced pulldown technique as NTSC 24p. The footage on tape is actually recorded at 29.97 interlaced frames per second (fps), but Final Cut Pro removes redundant fields, resulting in a 23.98 fps progressive scan QuickTime movie on your scratch disk. Panasonic P2 Support Compatibility issues with Panasonic P2 camcorders have been resolved. For more information, see the Panasonic P2 chapter in the HD and Broadcast Formats document, available from the Final Cut Pro Help menu. 2 Sony XDCAM HD Editing Support Final Cut Pro 5.1.2 supports native editing of XDCAM HD. Ingest and export of XDCAM HD video requires additional software from Sony. You can find out more about the XDCAM and XDCAM HD formats at http://www.sony.com/xdcamhd. For a thorough explanation of how to use XDCAM HD with Final Cut Pro: Â In Final Cut Pro, choose Help > HD and Broadcast Formats and refer to the chapter about XDCAM HD. Â See http://bssc.sel.sony.com/BroadcastandBusiness/markets/10014/docs/ FCP_XDCAMHD_whitepaper.pdf. Real-Time Support for MPEG IMX at 30 Mbps Final Cut Pro 5.1.2 solves an issue that allows real-time playback and effects support for MPEG IMX at 30 Mbps (this includes both NTSC and PAL standards). PCI Express Card Compatibility When using a Mac Pro computer, there are restrictions concerning which slot you can install a PCI Express card into. For more details, see the documentation for the Expansion Slot Utility included with the Mac Pro computer. Changing Broadcast WAVE Audio File Timecode to Drop Frame When you import Broadcast WAVE files into Final Cut Pro, the timecode within the file is always interpreted as non-drop frame timecode. To modify the timecode of a Broadcast WAVE file to drop frame: 1 In the Browser, select the audio clip whose timecode you want to modify. 2 Choose Modify > Timecode, then choose Drop Frame from the Format pop-up menu. Select Previous and Next Tab Commands In Final Cut Pro 5.1.2, you can move through the tabs of the active window using the following keyboard shortcuts: Â Select Previous Tab: Command-[ Â Select Next Tab: Command-] These commands appear in the Tools category within the Button List window. Choose Tools > Button List (or press Option-J) to open the Button List window. 3 Managing and Revealing Master Clips In previous versions of Final Cut Pro, affiliate clips shared data with a master clip stored in the Browser. If you deleted the master clip, a dialog would appear requesting confirmation that you wanted to break the master-affiliate clip relationship. If you clicked OK, all of the affiliated clips would become independent. In Final Cut Pro 5.1.2, deleting a master clip no longer breaks the relationship between affiliated clips. Instead, the master-affiliate clip relationship still exists even when the master clip in the Browser is deleted. No dialog appears when you delete a master clip. Also, when you open an older project in Final Cut Pro 5.1.2, master clips are no longer created in the Browser. To create master clips for your sequence clips, you can use the Create Master Clips command described below. To create one or more master clips from independent sequence clips: m Select one or more independent sequence clips and drag them from the sequence to the Browser. Master clips are created for each independent clip dragged to the Browser. To create master clips for one or more selected sequences in the Browser: 1 Select one or more sequences in the Browser. If no sequences are selected, Final Cut Pro behaves as though all sequences are selected. 2 Choose Tools > Create Master Clips. If one sequence was selected, a bin named after the sequence is created, containing master clips for each independent clip in the sequence. If multiple sequences were selected, a bin named after the project is created, containing master clips for each independent clip in the selected sequences. To create a new master clip in the Browser using the Reveal Master Clip command: 1 In the Timeline, select (or move the playhead over) an affiliate sequence clip that no longer has a master clip in the Browser. 2 Choose View > Reveal Master Clip (or press Shift-F). A dialog appears asking if you want to create a new master clip. 3 Click OK to create a new master clip in the Browser. A master clip for all affiliated clips is created in the Browser. To make all clips in a sequence independent: m Select a sequence in the Browser, then choose Modify > Make Sequence Clips Independent. 4 Multiclip Master Clips and Project Size Reduction Multiclips now have a master-affiliate relationship that allows angle information to be shared among multiple instances of a multiclip. This relationship significantly reduces the file size of projects that contain a large number of multiclips. In previous versions of Final Cut Pro, every instance of a multiclip was completely independent. In Final Cut Pro 5.1.2, the first instance of a multiclip is considered a master multiclip. Copies of this clip, created by duplicating the multiclip in the Browser or editing it into a sequence, are considered affiliate multiclips. However, when you perform an operation on a multiclip that affects its angle structure, such as adding, deleting, or rearranging the order of multiclip angles, the modified multiclip loses its affiliation with the original master multiclip, and a new master multiclip is automatically created. Note: The new master multiclip does not automatically appear in the Browser, but if you attempt to reveal the master multiclip for a multiclip whose angles you just restructured, Final Cut Pro asks if you want to create a master multiclip in the Browser. To reveal an affiliate multiclip's master multiclip in the Browser: 1 Select a multiclip in a sequence or in the Browser. 2 Choose View > Reveal Master Multiclip. The master multiclip appears in the Browser, selected. If the multiclip has no master multiclip, Final Cut Pro asks if you want to create one. 3 Click OK to create a new master multiclip in the Browser. The new master multiclip is selected in the Browser. Note: You cannot make multiclips in a sequence independent. Multiclips in a sequence are always affiliated with a master multiclip. Video Scopes Issues Fixed Final Cut Pro 5.1.2 corrects the following issues in the Video Scopes tab that occurred in previous versions of Final Cut Pro: Â Not every line of video was analyzed. Â Video scopes did not update in real time during playback. Â Video scopes updated slowly while the playhead was scrubbing. To open the Video Scopes tab: m Choose Tools > Video Scopes (or press Option-9). 5 Full-Line Video Analysis In previous versions of Final Cut Pro, the video scopes analyzed half the pixels of 16 lines of video. In Final Cut Pro 5.1.2, you can choose three levels of accuracy from the Real Time Effects (RT) pop-up menu in the Timeline: Â All Pixels: Every pixel of every video line is analyzed and pixel values are displayed in the Video Scopes tab. The word "all" appears in the lower-right corner of the Video Scopes tab. Â All Pixels Except Top & Bottom: Displays every line except the top nine and bottom nine lines, which are reserved for signals such as closed captioning. The word "most" appears in the lower-right corner of the Video Scopes tab. Â Select Pixels (Fastest): This mode has the same accuracy as the video scopes in previous versions of Final Cut Pro. This is also the mode used during real-time playback. Important: The accuracy level you choose here affects video scopes when the playhead is paused or scrubbing; real-time video scopes updating always uses the Select Pixels (Fastest) option. The lower-right corner of the Video Scopes tab indicates the Scope Display option selected in the RT pop-up menu. Using Video Scopes in Real Time Depending on the format of your video and the processing capabilities of your computer, the Video Scopes tab can update in real time using the same level of quality available in previous versions of Final Cut Pro. To enable real-time updating in the Video Scopes tab: 1 Open a sequence in the Timeline window. 2 In the Timeline, choose Playback Scopes Live from the RT pop-up menu. Note: Using the Playback Scopes Live option requires additional processing power. Enabling this option could result in a red render bar in the Timeline. Also, the Video Scopes tab may not update in real time with some formats. For example, playing back an HDV multiclip requires significant processing power, so the Video Scopes tab may not update in real time in this situation. 6 Video Scopes Restrictions and Performance The following list describes limitations when using video scopes in Final Cut Pro: Â For the Playback Scopes Live option: Â Your editing system requires an AGP or PCI Express graphics card. Some older PCI graphics cards may not have enough processing power to update the Video Scopes tab in real time. Â You must be using a supported real-time format. For a list of formats that Final Cut Pro can process in real time, choose Final Cut Pro > System Settings, then click Effect Handling. Â The View pop-up menu in the Video Scopes tab must be set to Current Frame (referring to the Canvas) or Viewer. Options such as Current Frame w/o Filters and Previous Edit disable the Playback Scopes Live option. Â Video scopes accuracy: Â You can analyze all video lines only when playback is stopped or when scrubbing. The Playback Scopes Live option updates the Video Scopes tab using the Select Pixels (Fastest) option. For more information, see "Using Video Scopes in Real Time" on page 6. FxPlug Support Final Cut Pro 5.1.2 supports FxPlug, an image-processing plug-in architecture developed by Apple. FxPlug makes it possible for any plug-in developer to develop hardwareaccelerated effects using technologies such as OpenGL, CoreGraphics, and CoreImage. Processor-based effects are also supported. For more information about developing FxPlug plug-ins, go to http://developer.apple.com/appleapplications/fxplugsdk.html. Final Cut Pro 5.1.2 supports two plug-in interfaces: FxPlug and FXScript (the original Final Cut Pro plug- ...