Wacom SD-311E User Manual download pdf (Page 51)

COMPUTER VIDEO

APPLE

1072

FINAL CUT STUDIO 2 / FINAL CUT PRO 6

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◆ Final Cut Pro 6 provides a full set of industry-leading editing and trim-

ming tools. Edit in the Timeline or with the innovative Edit Overlay

tool. Choose from a comprehensive set of edits, including Insert,

Overwrite, Replace, Fit-to-fill, Superimpose, Add Edit, or Swap Edit.

Then fine-tune your choices with Ripple, Roll, Slip, Slide, Extend, and

Shorten, either in the Timeline or a dedicated Trim window.

◆ All the tools that professional editors expect — three-point editing,

JKL keyboard navigation, match frame, multitrack and asymmetric

trimming, extend and split edit functions, and more.

◆ Cut multi-camera footage as quickly as if you were switching a live

show. Simultaneously view and cut from multicamera sources using

the intuitive1-, 4-, 9-, or 16-up display. You can also group up to128

sources into multiclips, adding and subtracting cameras at any time.

◆ Customize window layouts and Timeline track sizes; customize

Browser column order, width, and layout; and adjust font size in the

Browser and Timeline. Then zoom through your work with customizable

access to more than 600 commands; create keyboard shortcuts — or

add buttons to the user interface — for the commands you use most.

◆ Work with 24 channels of audio input/output at up to 24-bit, 96kHz

resolution. Freely adjust your mix without altering the original audio

files. Adjust levels using the onscreen mixer or ride multiple faders at

the same time on any Mackie Control Protocol (MCP) device. The Soft

Normalize and Gain feature analyzes and automatically raises the level

of any clip to its maximum without distortion.

◆ Apply high-quality Audio Units filters — such as Reverb and EQ —

without leaving Final Cut Pro. Audio Units filters are also used in

Soundtrack Pro, so that you can continue to adjust your effects if you

send your project to Soundtrack Pro for additional mixing.

◆ High-quality scale and rotate algorithms ensure that picture-in-picture

effects or effects with rotation look crisp and beautiful. Other features

include enhanced gamma processing for high-definition video; 32-bit

floating-point filters; and frame-accurate precision for editing to tape.

◆ Use the Final Cut Pro Media Manager for project-, sequence-, or

clip-level operations. Quickly and accurately copy, move, and

consolidate projects. Search, sort, and sift right in the Browser to

rapidly find the assets you need for your project.

Incredible Real-Time Effects

Add visual interest to any production with the rich set of effects and visualization tools built into Final

Cut Pro 6. Experiment freely and iterate quickly. You’ll see the results of your changes in real time as

you work, with no need to waste time waiting for renders. Final Cut Pro is built for speed. RT Extreme

delivers real-time performance for more than150 filters and effects as well as for multistream video.

Dynamic RT adjusts image quality and frame rate on the fly for optimal playback on any system. Use

the SmoothCam feature to automatically stabilize shaky shots while preserving standard camera

moves. Easily swap out video clips and edit text in motion graphics without leaving Final Cut Pro,

using editable Motion 3 master templates.

◆ RT Extreme with Dynamic RT delivers real-time performance for DV,

SD, HDV, DVCPRO HD, and fully uncompressed HD video. RT Extreme

delivers real-time playback of over 150 effects — as well as multiple

streams of video used for picture-in-picture effects and multicamera

editing. Dynamic RT analyzes your system’s capabilities and adjusts

video playback quality and frame rate on the fly. If you prefer, set pref-

erences to favor playback quality or frame rate as the video plays back.

◆ More than 150 real-time capable filters and effects, many of which use

high-resolution 32-bit float image processing to produce stunning

film-quality results. Extend your repertoire even further by bringing in

3rd party filters based on the FxPlug standard — the same format

used to produce the extraordinary real-time effects in Motion.

◆ Smooth out shaky scenes without altering zooms, pans, dollies, and

other standard camera movements. The SmoothCam feature in Final

Cut Pro 6 uses sophisticated optical flow technology to analyze and

adjust your problem shots. SmoothCam works in the background, so

you can edit other material while it analyzes the shaky footage.

◆ Motion 3 master templates for Final

Cut Pro make it easy to update content such as video clips, titles, and

lower thirds, while preserving the underlying motion graphics. The

templates include video drop zones and editable text fields that let

you rapidly create multiple versions, all without leaving Final Cut Pro.

◆ Final Cut Pro 6 includes a comprehensive set of real-time color correc-

tion tools, including primary and secondary color correctors; image

control filters; broadcast-safe filters; tools for matte and key operations

as well as luma and chroma range checking; real-time scopes and

monitors; and a frame viewer for comparing your shots.

◆ Preview a digital cut of your HD video full screen — complete with

real-time effects — using Digital Cinema Desktop. Evaluate your edit

full screen on a single display. Or use a second display for video

output. Even if you’re working on a MacBook Pro, you can view the

video full screen or create an impressive screening for clients with a

second high-resolution display or projector.

Comprehensive Editing Tools

A complete set of professional editing and trimming tools lets you work quickly, while a full range of customization options gives you flexibility and

control. Use powerful multicamera editing tools to view and cut video from multiple sources in real time. Mix up to 24 channels of audio with the

onscreen mixer or use a Mackie Control Protocol device with faders. When you’re finished, output frame-accurate video at stunning quality. The faster

the tools, the more time you have to be creative.

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Wacom SD-311E User Manual Page 51

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