World of Apple

Apple announced during yesterdays NAB2007 Keynote that it had teamed with AJA to deliver ioHD. No information is available on Apple’s website regarding ioHD, apart from a feature video from AJA.

While talking about ioHD Apple said in the keynote, “You can edit HD on location on your MBP — it’s everything in and out from ProRes. It’s really a new paradigm in post-production. It’s really made possible by Final Cut Pro, ProRes, and the IO-HD . I think it’s going to be another Apple earthquake that shakes things up in the post-production industry.”

AJA lists the following as official specifications for ioHD:

• Apple ProRes 422 and
• Apple ProRes 422 HQ Codec, SD, HD 720/1080
• Full-raster 10 bit 4:2:2, realtime, in hardware
• Up/down/cross-conversion, 10-bit, realtime, in hardware
• SD-SDI and HD-SDI I/O (2)
• Component I/O (SD and HD)
• Composite and S-video I/O
• HDMI video w/2-channel audio I/O
• Embedded SDI 8-channel audio I/O
• AES/EBU 8-channel unbalanced audio I/O
• Analog 4-channel balanced audio I/O (XLR)
• Analog 2-channel unbalanced audio output (RCA)
• Genlock with loopthrough
• RS-422 machine control
• LTC Timecode I/O
• Connects to Mac via a single FireWire 800 cable
• For Apple Final Cut Studio 2 on Mac OS X
• 3-year Warranty

Of notable interest Apple showed different images of ioHD during its keynote compared to what AJA is showing on its website.

Rear of ioHD shown during Apple’s Keynote yesterday | Photo courtesy Engadget

Rear of ioHD as shown on AJA’s website (note the presence of AJA logos)

Front of ioHD shown in the Keynote yesterday | Photo courtesy Engadget

Front of ioHD shown on AJA’s website (note the presence of AJA logos)

Apple today unveiled Final Cut Studio® 2, a significant upgrade to the industry’s leading video production suite that delivers new creative tools designed expressly for editors. Final Cut Studio 2 includes Final Cut Pro® 6, which introduces Apple’s ProRes 422 format for uncompressed HD quality at SD file sizes and support for mixed video formats and frame rates in a single Timeline; Motion 3 featuring an intuitive 3D environment, paint and new behaviors; Soundtrack® Pro 2 with dozens of innovative tools for multitrack editing, surround mixing and conforming sound to picture; Compressor 3 delivering powerful batch encoding for multiple formats with a single click; and DVD Studio Pro 4.2 for SD and HD DVD authoring. Final Cut Studio 2 also introduces “Color,” a professional color grading and finishing application for ensuring consistent color and creating signature looks.

“Final Cut Studio 2 was specifically designed to enable the rapidly growing community of over 800,000 Final Cut editors worldwide to animate, mix, grade and deliver their work as a natural extension of the editorial process,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “Final Cut Studio 2 is the most powerful production suite on the planet.”

Final Cut Studio 2

At the core of Final Cut Studio 2 is Final Cut Pro 6, the latest version of Apple’s Emmy award-winning editing software which includes a new Open Format Timeline that lets editors mix and match virtually any video format and frame-rate in a single Timeline without transcoding. ProRes 422, a new full raster, 10-bit 4:2:2 post production format produces stunning HD quality at SD file sizes, making it ideal for working efficiently across a SAN or on a MacBook Pro in the field. Companies including Panasonic, Sony and RED are embracing ProRes 422 as they continue to innovate on the next generation of cameras. Final Cut Pro 6 also includes optical flow based SmoothCam technology to remove unwanted or jarring camera movement with simple, easy-to-use tools. Deep integration with Motion includes the ability to edit Motion templates with video drop zones and editable text fields directly in Final Cut Pro.

New to Final Cut Studio is Color, which puts a logical task-based color grading and finishing workflow in the hands of every Final Cut Pro editor. The primaries in Color include advanced color correction tools such as gamma, lift and gain adjustments, as well as custom R, G, B and luma curves, and the secondaries provide the ability to isolate specific areas of an image with soft-edged mattes and custom-shaped vignettes, which can be tracked with ease. Professional scopes provide precise monitoring of chrominance and luminance values via waveforms, histograms and new 3D scopes. Color includes over 20 signature looks which can be customized to create a unique mood for any given project, and offers a seamless roundtrip workflow where projects can be sent from Final Cut Pro 6 directly to Color for grading, finishing and final rendering with 32-bit float 4:4:4 image processing.

Motion 3, the latest version of Apple’s groundbreaking motion graphics software, takes all the familiar Motion tools and extends them to a 3D environment. New camera behaviors add depth and realism with drag-and-drop simplicity. Vector based paint tools allow editors to easily create brushes with color, particles, video or pictures. A simple, yet highly precise match moving tool automatically maps any image or effect to the path of any other object. New retiming behaviors enable editors to slip and slide retiming effects on the Timeline without keyframes, while new audio behaviors allow users to easily create animations that respond to soundtrack volume and frequency. Motion 3 includes over 1500 new design elements including professional stock imagery, beautifully animated line drawings and stunning vector artwork.

Soundtrack Pro 2, a brand new version of the audio editing application in Final Cut Studio 2, features powerful new multitrack editing and recording tools in a streamlined interface that simplifies every aspect of the audio post production process. Soundtrack Pro 2 introduces a breakthrough heads up spotting display that lets editors precisely align effects and dialog with picture. Advanced take management tools enable editors to quickly combine pieces of the best takes to craft seamless performances. Stereo and surround mixing tools enable users to create 5.1 and stereo mixes in the same project, saving time and eliminating costly errors. Editors can work with a royalty-free library of over 5,000 professionally produced foley and sound effects, including over 1,000 surround sound effects and evocative multi-channel music tracks. A powerful new Conform tool enables users to synchronize and track changes between picture and sound editorial.

Compressor 3, the latest version of Apple’s industrial strength encoding tool, comes with a new streamlined interface and simplified workflows that make encoding and delivering in multiple formats easier and more efficient than ever. Powerful batch processing and job chaining capabilities enable editors to create pristine quality output for a wide range of delivery formats with a single click. Compressor 3 extends support for industry-standard codecs such as MPEG-2 and H.264 to include new drag-and-drop presets for delivery to broadcast television, web, iPod, Apple TV, DVD and mobile phones. Dynamic filters applied during pre-processing now support timecode overlays, audio/video fade in and out, and animated watermarks that can be applied directly from Motion projects.

Apple today also introduced Final Cut Server, a powerful new server application that works seamlessly with Final Cut Studio 2 to provide media asset management and workflow automation for post production and broadcast professionals.

Final Cut Studio 2 will be available in May through the Apple Store at the price of $1,299 (US). Registered users of the current version of Final Cut Studio can upgrade for $499 (US) and registered users from any previous version of Final Cut Pro can upgrade for $699 (US).

At NAB earlier this evening Apple unleashed Final Cut Server. Final Cut Server is a powerful new server application that works seamlessly with Final Cut Studio 2 to provide media asset management and workflow automation for post production and broadcast professionals. A scaleable server application that supports workgroups of any size, Final Cut Server includes a cross-platform client that enables content browsing, review and approval from within a studio or over the Internet. Final Cut Server automatically catalogs large collections of assets and enables searching across multiple volumes via an intuitive user interface. Final Cut Server is designed to manage the flow of work, as assets and projects move from producer to editor to artist through the entire production process.

“Final Cut Server’s powerful media asset management capabilities simplify managing the thousands of assets that make up a typical edit,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “And Final Cut Server’s sophisticated workflow automation tools ensure projects flow smoothly through an organization, enabling everyone to be more productive.”

“Apple has done it again—they’ve taken media asset management, simplified it and made it affordable, and most importantly, it works right out of the box,” said Jeffrey Birch, vice president, Engineering, CBS Television Stations.

Final Cut Server automatically catalogs content, generating thumbnails and low resolution clip proxies in the process. Broad search capabilities extend from simple keywords to complex combinations of IPTC, XMP and XML metadata. Final Cut Server can configure a range of highly specific access controls that define user permissions on an asset or project basis.

Final Cut Server includes customizable templates that manage the flow of work typically found in broadcast, post and education environments. Sophisticated watch-and-respond systems can be configured to track the progress of assets, alert editors as projects move through the production pipeline and automatically notify producers by email when a project is ready for evaluation. In addition, location-independent review and approval tools enable clients to view, annotate and approve content from anywhere.

Welcome to World of Apple’s live coverage of the NAB2007 Special Event.

Please review out Rumour Roundup for details on what the event could hold.

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NAB 2007 Special Event Invite

Apple is set to hold a Special Event at NAB 2007 tomorrow. Invitations were sent out to members of the media a month ago, the event which will take place in the Venetian Room at the Las Vegas Convention Centre will kick off at:

• 11:00AM - Pacific
• 12:00AM - Mountain
• 01:00PM - Central
• 02:00PM - Eastern
• 07:00PM - GMT / London
• 03:00AM - Tokyo (April 16th)

Join World of Apple live for complete coverage of the event at news.worldofapple.com.

As with every Apple event World of Apple endeavours to dig up the dirt on every rumour doing the rounds and offer a simple and concise roundup of the lot.

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Apple is set to hold its special event this weekend. The event is set to take place on Sunday 15th April at 11.00am PDT (2.00pm EDT, 7.00PM BST).

NAB (National Associations of Broadcasters) is one of the worlds largest show dedicated to mainstream broadcasting, in the past Apple has used the show to launch the 17-inch MacBook Pro, Shake Updates, as well as numerous Final Cut updates.

It is expected that Apple will unleash some brand new Final Cut products as well as a long-rumoured produced dubbed Final Cut Extreme.

World of Apple will be covering the event live and will also offer a pre-event Rumour Roundup.